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<img1>1 Bit creature - zero or a one pixels by pixelnoizz


Abstraction[edit]

<img2>:“Luminant Point Arrays” by Stephan Tillmans A photographic series of old tube televisions taken at the very moment they are switched off.


This EMO entry is not about glitch as a form of new media aesthetics and fetishisation. It is about finding and redefining the glitch as a visual distortion - spotified, created and consumed in various ways. It is more or less the notion that everything could be perceived as a glitch, or hence a disruption of signal in the communication channel. This wiki article provides a brief overview of the current glitch theories, practices and practitioners, following backwards the formation, the distribution and the floating of digital artifacts. It evokes a collection of overwhelming eye-catchy bits of errors, intently or accidentally made.


Definition[edit]

By definition glitch art is the aestheticization of digital or analog errors, such as artifacts and other "bugs", by either corrupting digital code/data or by physically manipulating electronic devices (for example by circuit bending). src:[1]

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In his thesis "Seeking Perfect Imperfection: A Personal Retrospective on Glitch Art," Iman Moradi defines and examines glitch art as a form of new digital aesthetics. He uses two classifications in order to distinguish between common glitch practices which he calls pure glitch and glitch-alike.

Pure glitch practices are sub-classified as accidental, coincidental, appropriated, found and real. Pure glitches exist because in their origin they could reveal an imperfection, a bug in the software or the hardware, some notion of system error or computer-machine intervention.

On the other hand, glitch-alike practices could be divided into deliberate, planned, created, designed and artificial. The glitch-alikes serve as digital artifacts that resemble visual aspects of the real glitches found in their original form. Capturing and applying these artifacts is considered to be the domain of glitch art. Glitch-alikes are the easier, quicker form of messing around or compressing, decompressing, composing or decomposing already existing sources. In this case one could argue about the destructiveness of glitch art and to what degree it is an intentional form of appropriation.

Other theory In “The Glitch Moment(um),” Rosa Menkman observes the information theory by Claude Shannon where noise is an inevitable part of the information channel, not necessarily interfering destructively with the massage but rather something that could itself become part of the massage. Menkman argues that glitch practices are closely connected to the noise described as “noise artifacts”. Menkman goes beyond being a theorist and researcher, she demonstrates common techniques of modifying different file formats so that the reader is able to recreate the “distortion” of the image on his/her own.

The last section of the book deals with the social aspect of the current glitch scene or Menkman’s attempt to map the social network of glitch artists. They are mainly linked to each other, sharing and liking, posting or reposting their peers’ work (except a certain group of artists who are assigned as glitch artists by default even thought they do not identify as such like Jodi, Goto80, designingimperfection ).

Art relation[edit]

Traces or digital primary source could be found throughout the history of art, from Avant-garde movements like Cubism – in the fragmentation of the image and three dimensional form queries to Photography – in the accessibility of the technology and the on-going notion that everyone is a photographer. Similarly to glitch artists, everyone can glitch.

Glitch art can be compared to street art [2] as “public space practices” where the viewer is made to discover the work of glitch, questioning the existing environment or the online public space. Tagging or leaving a signature of your own could be a form of expression or a sign of one claiming “I was there”. Glitching could be seen as tagging / the relationship between hacking and street art for example Evan Roth

All of those examples tend to challenge the viewer to examine or re-examine the notion of already existing imposed practices. To sum up even though the on-going debates and more and more academic works proclaim glitch as a form of new aesthetics, there is nothing new.

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Glitch users or abusers

The text aims to address how glitch became a wide exploration of commercial and artistic practices. Are the glitch artists users or abusers? There are numerous examples of how glitches or the distorted data have been intentionally and widely used in every field of media; from cinema (“The Code P”, “The Minority Report”, “Black Mirror,” etc), to graphic design (Stefan Sagmeister), to commercials (Calvin Klein perfume television advertisement, “Absolute Failure project”2000) (Kanye West “Welcome to Heartbreak” 2009). There are some events and organized initiatives which mark the current glitch scene and art community. The first Glitch conference was held in Oslo in 2006, there is an annual festival for glitch art Gli.tc Chicago, a Glitch museum Glitch museum and many local initiatives worldwide. However an active online community of artists, theorists, designers and amateurs captivated by the idea of glitch is growing considerably. There are also various channels: glitch Tube, glitch wiki consisting of a number of authors, Glitch galleries where you can upload your own glitch experiments, self glitch web cam or glitches’ accident based as failed Skype connection. Thus it could be summed up that glitch has become a media object and glitching forms a recognizable style and practice. There is more or less a certain recognition of overwhelming of glitches. Everything tagged as a glitch could blur the border between real found by its origin or appropriated. Is there a need of categorization or name, which could serve as a bar code for the type and the price.



Essay

In the next scope I will elaborate the fragility of the digital image my current field of interest reflect to the poor images as an opponent of the class images. In "Defense of the poor images" the filmmaker and writer Hito Steyerl examines and redirecting the value of the poor images and the dematerialization of the digital image in broader context. images enhancing the resolution value, the exchange value and the lost of context matter. Poor image are defined as the bastard of an original image or the compressed, reduced, reproduced remixed image. There is inter connection between the glitch theory and claim of new aesthetics to the poor images. They are seen as a the digital trash seize failing to satisfy the promises of "Quality"/ the notion of so called audioVisual capitalism. By this it means establishing monopoly among the class images - high - resolution, immersive and seductive by their nature. ( the upraise of the technology) On the other hand the glitch images implied the fetish of the failure of the technology or the visibility The poor images are variables - varying from an artistic, experimental through pornographic, extreme or amateurs. Moreover they are victims of infinitive recombination, remixes and appropriations. As theoretical reference for this purpose serves "The work of art in the age of digital recombination" by Joe de Mul. Inevitably the exhibition value has been lost but there is partly a revival of the "cult" - the aura of the copy. Nevertheless poor images inherited different value or the exchange value. They resolve accessibility or high speed and wide range of distribution, re-usability and sharability which enable participation and modification. Thus the circulation of the poor images function as an industry where the users are engaged with the creation, the production and the distribution of the content. Therefore the border between the producer, the audience and the author is vanished. "Users became the editor, critics, translators and (co)-authors of poor images." The images became the symbolic orphans of the digital culture.





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