The exploitation of noise artifacts to create critical media aesthetics
1. 1. Serial Cosign. Broken Mac Screenshot. 2008. Screenshot.
2. 2. Len Lye. A Colour Box, 1937. 3. Goto80 and Rosa Menkman. Eastern Fire Swim, 2007.
4. Cory Arcangel. Panasonic TH42PV60EH PLasma Screen Burn, 2007. 5. webcrash2800. %SCR2, May 16, 2009
Our constant search for complete transparency has brought us new, more ‘perfect’
media. Even so, all these media have their own fingerprints of imperfection.
3. The continuing search for a noiseless channel is no more
then a regrettable, ill-fated dogma.
Within Shannon and Weavers model, there are three instances when the static notion of
transmitting information is interrupted and that result in artifacts:
Encoding / decoding (compression), Glitch and Feedback
4. 6. RyBN performing MONOCHROME, (Cimatics 7. Still from registration of Botborg performance at 8. 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 compression, feedback and glitches!
5. Failure is better than progress! Join the avant garde of the
9. Screenshot of Goto80 and Autoboy. HT GOLD. 2008. Videogame for 10. Jodi. <$BLOGTITLE$>. 2006-2007. webpage.
Challenge actors (hard/software, input and public) genres, interfaces and expectations
6. Glitches inevitably become ﬁlters
11. Takeshi Murata. MONSTER MOVIE, 2005.
Glitchspeak (opposing ʻNewspeakʼ: Orwell, 1984.) is not just a new form, but an
exoskeleton of progress.
The glitch is a new generative form.
This is why there is a need for Glitch Studies.
7. Speak the totalitarian language of disintegration
The role of artifacts in critical media aesthetics is a trans-media aesthetics (not a post-
* Shows a medium in a critical state (ruined, unwanted, not recognized, accidental and
* Critique the medium (genre, interface and expectations)
8. 12. Friedrich, Caspar David. The wanderer above the sea of fog. 1818. Oil on canvas, 98 × 74 cm. Hamburg: Kunsthalle.