Video Vortex Presentation

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Glitch Studies Manifesto presentation at Video Vortex, Brussels, Atomium. 20 November 2009.

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Video Vortex Presentation

  1. 2. Celluloid -> Cathode -> Plasma -> LCD 2. Len Lye. A Colour Box , 1937. 4. Cory Arcangel. Panasonic TH42PV60EH PLasma Screen Burn , 2007. 5. webcrash2800 . %SCR2 , May 16, 2009 3. Goto80 and Rosa Menkman. Eastern Fire Swim , 2007. 1. The dominant, continuing search for a noiseless channel has been, and will always be no more than a regrettable, ill-fated dogma.
  2. 3. <ul><li>2. Dispute the operating templates of creative practice. Fight genres and expectations! </li></ul>6. 5VOLTCORE. output screen 172. 2005. (circuitbend computer)
  3. 4. 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 3. Get away from the established action scripts and join the avant-garde of the unknown. Become a nomad of noise artifacts!
  4. 5. 7. RyBN performing Monochrome , (Cimatics Festival, Brussels: 28 November 2008) 8. Still from registration of Botborg performance at TransAcoustic, Auckland, New Zealand, December 2005. < http://www.botborg.com/index.php?go=imageslive > 3 May 2009. 9. Beflix. Glitch (12) . 2001-2005, re-colored 2007. Fuji Crystal Archive prints from hi-res digital images < http://www.beflix.com/works/glitch.php?id=121 > 1 May 2009. Exploit compressions, feedback and glitches! Noise artifact in the arts
  5. 6. 10. Screenshot of Goto80 and Autoboy. HT Gold. 2008. Videogame for Commodore 64. Challenge actors (artist, tools [hard/software], input and public) and perspectives (genres, interfaces and expectations)! 4. Use the glitch as an exoskeleton of progress.
  6. 7. <ul><li>5. The gospel of glitch art sings about new models implemented by corruption. </li></ul>11. Takeshi Murata. Monster Movie, 2005.
  7. 8. <ul><li>Glitches and filters are inevitably connected. </li></ul>12. Title Credits America’s Next top Model. 2009.
  8. 9. 6. The ambiguous contingency of glitch depends on its constantly mutating materiality. 13. Notendo. 2001. Circuitbent Nes Console. 14. no-carrier. GlitchNES. March 2009. 15. Rosa Menkman. Romscape. July 2008. 10. Screenshot of Goto80 and Autoboy. HT Gold. 2008. Videogame for Commodore 64.
  9. 10. 7. Glitch artifacts are critical trans-media aesthetics. * Shows a medium in a critical state (ruined, unwanted, not recognized, accidental and horrendous state), a state of hypetrophy. * Criticize the inherent politics of the medium (genre, interface norms and expectations) 16. Libeskind, Daniel. Jewish Museum Berlin (Blitz or Between the Lines). 1989-1999.
  10. 11. 17. Menkman, Rosa and Extraboy. Radio Dada, 2008. 8. Translate acousmatic noise and soundscapes into acousmatic video and videoscapes to create conceptual synesthesia.
  11. 12. <ul><li>9. Speak the totalitarian language of disintegration </li></ul><ul><li>Glitchspeak (opposing ‘Newspeak’: Orwell, 1984), is not just a new form, but an exoskeleton of progress, a new generative form. </li></ul>18. Jodi. <$BlogTitle$>. 2006-2007. webpage. Text Text Text Text Text Text
  12. 13. 19. Friedrich, Caspar David. The wanderer above the sea of fog. 1818. Oil on canvas, 98 × 74 cm. Hamburg: Kunsthalle. 10. Study what is outside of knowledge: Glitch studies Theory is just what you can get away with!
  13. 14. Rosa Menkman Email: [email_address] Homepage: http://rosa-menkman.blogspot.com 2

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