Glitch Aesthetics: Exhibiting Video Conference

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Glitch Aesthetics: Exhibiting Video Conference

  1. 1. Tim Ryan Crash Media c.2001 Glitch aesthetics and the institutional life of video Sean Cubitt Exhibiting Video, Saturday 24 March 2012, University of Westminster 309 Regent Street
  2. 2. Some Starting PointsNick Briz’s Glitch Codec Tutorialhttp://nickbriz.com/glitchcodectutorial/Mark Amerika’s Museum of Glitch Aestheticshttp://glitchmuseum.com/the artists featured athttp://gli.tc/h/2010 and 2011 festivals.Karl Klomp’s devices for glitching video athttp://karlklomp.nl/and Ant Scott {Beflix} [UK] co-author of Glitch: Designing Imperfectionhttp://markbattypublisher.com/books/glitch/http://www.beflix.com/
  3. 3. Paul Herz, Shimmer, from the series Sampling Patternshttp://www.flickr.com/photos/ignotus/sets/72157626088733463/with/5408302433/
  4. 4. based on regular random distributions knownas “blue noise.” Natural phenomena such asidentically charged particles jostling for posi-tion within a limiting boundary or a flock ofbirds adjusting their mutual distances havesimilar distributions. Blue noise dot patternshave interesting visual and cognitive effects:Their regularity seems to imply an order justabout to emerge, which their randomness ne-gates. These and other works in my “SamplingPatterns” series are snapshots from interac-tive real-time animations where the geometricpoints of the distribution are used to samplefunctions that control color, scale, shape, andother visual attributes. The snapshots are fur-ther edited to produce prints.http://paulhertz.net/factory/2011/07/cae2011/
  5. 5. Tim Head Dust Flowers, printhttp://www.ucl.ac.uk/slade/timhead/art/art2000/80dus.htmTim Head Scent (2009), :http://www.ucl.ac.uk/slade/timhead/art/art2000/81sce.htmComputer programs for the digital projectionsare written to generate unique events in realtime. The unsettled surfaces of the projec-tions are composed of random colours, eachoccupying a single pixel and filling every pixelon the screen, and programmed to change ormove in particular ways across the screen asfast as possible.The programs written for flat screens selectrandom colours to fill (or attempt to fill) theentire screen at very fast rates of change,bringing to the surface the medium’s physicalcharacteristics of instability and speed.The work with digital inkjet prints attempts toredefine the prescribed role of the commercialinkjet printer, diverting it from a sophisticatedreproduction machine into a direct primaryprinting medium. Specially written programstalk directly to the printer, generating uniquedecisions in real time for all its printing opera-tions (the colour and location of each dropletof ink laid down along horizontal lines) toreveal the physical grain of the inkjet print.http://www.ucl.ac.uk/slade/timhead/texts/th_digitaldimen-sion.htm
  6. 6. jimpunk’s #crashtxt Twitter feed of mangled text from a custom-mangled keyboard -https://twitter.com/#!/crashtxt/
  7. 7. GlitchinessJohn Cayley’s wotclockhttp://programmatology.shadoof.net/index.php?p=works/wotclock/wotclock.html
  8. 8. Rosa Menkman’s Collapse of Pal (2011)http://videoscapes.blogspot.co.uk/2010/07/collapse-of-pal.htmlcompare Woody Vasulka’s Art of Memory
  9. 9. Gene YoungbloodIn Buffalo the Vasulkas built their own imaging device, called the Digital Image Articulator. The sche-matics are in the archive, as well as a video diary of its construction and tapes of the “artifacts”the machine generated. Only one in 10 were released publicly. The rest were archived. Woody andSteina say they knew what they were looking for when they began using the machine. They un-derstood which artifacts would be historically important, but they had to build the machine to seethem. The Digital Image Articulator was the last user-built folk instrument to emerge from video’spioneering erahttp://www.fondation-langlois.org/html/e/page.php?NumPage=179See also analog video synthesisers developed byDan Sandinhttp://www.vdb.org/titles/five-minute-romp-through-ipandPeter Donebauerhttp://www.donebauer.net/manifestations/movingimages/broadband/theseventies/theseventies.htm
  10. 10. Glitchiness
  11. 11. Rosa Menkman, Glitch Studies Manifesto in Lovink and Miles’ Video Vortex 2http://www.networkcultures.org/_uploads/%236reader_VideoVortex2PDF.pdf
  12. 12. Rosa Menkman Glitch Studies Manifesto in Lovink Tim Head, Artist’s Statementand Miles Video Vortex 2. The work focuses on the digital mediums elusiveThe dominant, continuing search for a noiseless material substance and on our evolving relation-channel has been — and will always be — no more ship to it as a physical entity. It uses the mediumsthan a regrettable, ill-fated dogma. physical characteristics that make it uniquely dif- ferent from other media. Bypassing its usual role... of representing images and texts, the work deals directly with its basic material elements - theRealize that the gospel of glitch art also reveals luminous fabric of pixels on a screen or digitalnew standards implemented by corruption. Not projection, the flurry of microscopic ink dropletsall glitch art is progressive or something new. The laid down by the inkjet printer, and the hiddenpopularization and cultivation of the avant-garde of real time calculations of the computer operat-mishaps has become predestined and unavoidable. ing at ultra fast speeds that drive these elements.Be aware of easily reproducible glitch effects, au- The mediums underlying material substance istomated by softwares and plug-ins. What is now a exposed, moving it out from its usual confine-glitch will become a fashion. ment in virtual space towards the same physical space that we ourselves occupyhttp://www.networkcultures.org/_ http://www.ucl.ac.uk/slade/timhead/texts/th_digitaldimension.htmuploads/%236reader_VideoVortex2PDF.pdf

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