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Get away from the established action scripts and join the avant-
garde of the unknown. Become a nomad of noise artifacts!!
software that is used to encode and decode the information!
There are three instances when the static notion of transmitting information is
interrupted. These interruptions result in noise artifacts:
Encoding / decoding (compression), Glitch (other noise) and Feedback
7. RyBN performing Monochrome, (Cimatics 8. Still from registration of Botborg performance at 9. Beflix. Glitch (12). 2001-2005, re-colored 2007.
Festival, Brussels: 28 November 2008) TransAcoustic, Auckland, New Zealand, December Fuji Crystal Archive prints from hi-res digital
2005. images <http://www.beflix.com/works/glitch.php?
<http://www.botborg.com/index.php? id=121> 1 May 2009.
go=imageslive> 3 May 2009.
Exploit compressions, feedback and glitches!
The dominant, continuing search for a noiseless channel has been,
and will always be no more than a regrettable, ill-fated dogma.!
2. Len Lye. A Colour Box, 1937. 3. Nam June Paik, Magnet TV, 1965
4. Cory Arcangel. Panasonic TH42PV60EH Plasma Screen Burn, 2007. 5. webcrash2800. %SCR2, May 16, 2009
Dispute the operating templates of creative practice. Fight genres
and expectations! !
6. 5VOLTCORE. output screen 172. 2005. (circuitbend computer)!
Glitches vs Glitch art!
10. Serial Cosign. Broken Mac Screenshot. 2008. Screenshot. 11. Beflix. Glitch (12). 2001-2005, re-colored 2007.
<http://www.flickr.com/photos/serial_consign/sets/72157605952462193/ Fuji Crystal Archive prints from hi-res digital images
> 1 May 2009. <http://www.beflix.com/works/glitch.php?id=121>
Employ bends and breaks as a metaphor for différance. Use the
glitch as an exoskeleton for progress.!
Programmed glitch art!
12. Still from Jodi. UNTITLED GAME: E1M1AP. 1996. 13. Still from Jodi. UNTITLED GAME: Ctrl-F6. 1996.
Videogame Mod Executable.<http://www.untitled- Videogame Mod Executable.<http://www.untitled-
Challenge the materiality (input and hard/software) and interpretation (genres, interfaces and expectations)!
Rejoice the critical trans-media aesthetics of glitch artifacts. !
* Glitches can show any medium in a critical state (ruined, unwanted, not recognized,
accidental and horrendous state); a state of hypetrophy.!
Then we see the exoskeleton of the “Vernacular of File Formats”!
* Glitches can be used to criticize the inherent politics of the medium (genre, interface
norms and expectations)!
23. Libeskind, Daniel. Jewish Museum Berlin (Blitz or Between the Lines). 1989-1999.
Realize that the gospel of (progressive) glitch art also tells about
new standards implemented by corruption.!
15. Takeshi Murata. Monster Movie, 2005. 16. Nabil Elderkin
KANYE WEST "Welcome To Heartbreak"
Directed by Nabil, 2009
From Artifact to Filter.!
17. noteNdo. 2001. Circuitbent Nes Console. 18. no-carrier. GlitchNES. March 2009.
19. Rosa Menkman. Romscape. July 2008. 20. Dan Winckler, Anton Marini. OPEN EMU. Jan. 2009.plugin for Quartz Composer.<http://
Glitches and ﬁlters are inevitably connected!
21. Title Credits America’s Next top Model. 2009. 22. Title Credits America’s Next top Model. 2010.
Cool vs Hot glitches!
Force the audience to voyage the acousmatic videoscape!
24. Menkman, Rosa and Extraboy. Radio Dada, 2008.
Speak the totalitarian language of disintegration!
25. Jodi. <$BlogTitle$>. 2006-2007. webpage.
Glitchspeak (opposing ʻNewspeakʼ: Orwell, 1984), is not just a new form, but an
exoskeleton of progress, a new generative form.!
Just like Foucault stated that there can be no reason without madness, Gombrich wrote that order does not exist without chaos and Virilio described that there is no technological progression
without its inherent accident, I am of the opinion that ﬂow cannot be understood without interruption or functioning without glitching. This is why there is a need for glitch studies.!
Employ Glitchspeak (as opposed to Newspeak) and study what is outside !
of knowledge. Glitch theory is what you can just get away with!!
26. Friedrich, Caspar David. The wanderer above the sea of fog. 1818. Oil on canvas, 98 × 74 cm. Hamburg: Kunsthalle.
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