Destruction in Art - a historical context for glitch aesthetics
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Brief presentation looking at themes of destruction in art that are echoed in contemporary glitch art aesthetics.
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Destruction in Art - a historical context for glitch aesthetics
- 1. Destruction in Art a historical context for glitch aesthetics
- 2. "I like natural disasters and I think that they may be the highest form of art possible to experience." - Walter de Maria, 1960
- 3. Nature
- 4. John Martin, The Great Day of His Wrath (1850)
- 5. Kim Asendorf, Mountain Tour (2010)
- 8. Rick Silva, Antlers WiFi
- 9. Rick Silva, Antlers WiFi
- 10. Ubermorgen, DEEPHORIZON (2010) http://deeeeeeephorizon.com
- 11. I think natural disasters have been looked upon in the wrong way. Newspapers always say they are bad. A shame. I like natural disasters and I think that they may be the highest form of art possible to experience. For one thing they are impersonal. I don't think art can stand up to nature. Put the best object you know next to the grand canyon, niagara falls, the red woods. The big things always win. Now just think of a flood, forest fire, tornado, earthquake, Typhoon, sand storm. Think of the breaking of the ice jams. Crunch. If all of the people who go to museums could just feel an earthquake. Not to mention the sky and the ocean. But it is in the unpredictable disasters that the highest forms are realized. They are rare and we should be thankful for them.
- 12. Accidents
- 13. Andy Warhol, Green Car Crash (1963)
- 15. Ben Turner, DNC Website Glitch (2012)
- 16. Andy Warhol, Atomic Bombs (1964)
- 17. San Diego Fireworks July 4, 2012 video
- 18. Self-Destruction
- 19. Jean Tinguely, Homage to New York (1960) video
- 20. "Tinguely says he was entranced by the idea of throwing a hand-grenade at the Mona Lisa, and he even formulated a detailed plan for carrying out his scheme. However, the likelihood of a prison sentence, and the virtually total inactivity this would bring, made him hesitate." - K.G. Pontus Hultén: Jean Tinguely. 'Méta’. London: Thames and Hudson, 1975, p. 35.
- 21. 5VOLTCORE, Shockbot Corejulio (2005) video
- 22. Jonathan Schipper, The Slow Inevitable Death of American Muscle (2009) video
- 23. Art Damaged, by Christopher Schreck “Catalogues Defaced, Destroyed, and Vandalized Artworks” http://art-damaged.tumblr.com
- 24. Radical Art : Destruction Category http://radicalart.info/ destruction/index.html
Editor's Notes
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- “a response to the emerging industrial scene of London as a metropolis in the early nineteenth century, and the original growth of the Babylon civilization and its final destruction.”\n- Progress resulting in catastrophe\n
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- Rick Silva’s ongoing project Antler’s Wifi depicts a series of animations that combine geometric glitch aesthetic with serene landscapes and natural iconography. The weekly updates to this blog project vary in complexity and density, but all the images share an acute aesthetic that Silva has been developing over the past several years. The visual elements that comprise the animations in Antler’s Wifi – a telling name – often juxtapose vistas of the icy surrounding of Silva’s current Calgary home with diagrams that appear to be algorithmic interpretations of geological structures found beneath the soil. These images not only appear to hold secret mathematical equations, but also appear to be pseudo-scientific data visualizations of some hidden incalculable source.\n
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- Tinguely's art satirized the mindless overproduction of material goods in advanced industrial society.\n\nHomage to New York (1960), only partially self-destructed at the Museum of Modern Art, New York City, although his later work, Study for an End of the World No. 2 (1962), detonated successfully in front of an audience gathered in the desert outside Las Vegas.\n
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- 1st the program that controls the shockbot, 2nd the circuit board, that operates, via relays, and 3rd motors that then move the shockbot. \n\nEssential for the piece is the circular process between the computer and the shockbot. The computer sends impulses to the robot that subsequently moves on it's tracks targeting random points within the computer hardware.\n\nAt the point of contact a short-circuit occurs creating a fault current. This error is recognized as a command and in an attempt to interpret this disinformation, the computer creates, together with the shockbot, random pictures on the display.\n\nAs the damage to the computer increases, there is a proportional rise of dysfunction to the controll signal. This overload of errors ends in a total collapse of the system.\n
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