Resolution Dispute 0001 : Material research : Glitch Art (original) (raw)
Related papers
Critical Glitch Artware Rosa Menkman 2010
From April 15-18th, the Critical Glitch Artware Category (CGAC) [[ http://criticalartware.net/winners/ ]] celebrated its fourth edition within the Blockparty demoparty and this time also as part of the art and technology conference Notacon. The program of the CGAC consisted of a screening curated by Nick Briz, performances by Jon Satrom, James Connolly && Eric Pellegrino and DJ sets by the BAD NEW FUTURE CREW. There were also a couple of artist presentations and the official presentation of a selection of the (115!) winners within the Blockparty official prize ceremony.
Glitch art br 2021 - Cleber Gazana - Book
Glitch art br 2021, 2022
O evento Exposição On-line Internacional de Glitch Art – Glitch.Art.Br 2021 é uma plataforma on-line projetada para promover, exibir, interagir e fornecer um espaço dedicado para discutir a arte Glitch. Um evento organizado no Brasil com alcance global. É gratuito e aberto a todos, pois permite a um público mais amplo, em todo o mundo, acessar um programa online que reúne obras e textos de artistas e pesquisadores da atualidade. É uma iniciativa participativa e voltada para a comunidade dedicada a mostrar artes experimentais e subversivas de velhas e novas mídias que se baseiam em tecnologias analógicas e digitais, além de práticas abrangentes de nova arte-mídia criativa. O evento está particularmente interessado em apresentar obras de arte que exploram crítica, artística e livremente o uso da tecnologia. Este livro é um registro da primeira edição da exposição e conta com três artigos que discutem a Glitch Art e o uso de erros e da tecnologia na arte pós-digital. The Glitch Art International Online Exhibition – Glitch.Art.Br 2021 is an online platform designed to promote, display, interact and provide a dedicated space to discuss Glitch art. An event organized in Brazil with global reach. The exhibition is free and open to everyone, as it allows for a wider worldwide audience to access an online program that brings together artworks and texts by current artists and researchers. The goal is to create a participatory and community-oriented initiative dedicated to showcasing experimental and subversive arts from old and new media that are based on analog and digital technologies, also to wide-ranging creative new media-art practices. The exhibition is particularly interested in featuring artworks that explore the critical, artistic and free use of technology. This book from the first edition of the exhibition has three articles that discuss Glitch Art and the use of errors and technology in post-digital art.
Menkman Rosa 2011 Glitch Studies Manifesto
Collapse of PAL', an A/V performance by Rosa Menkman (2010). Video Vortex Reader II MOVING IMAGES BEYOND YOUTUBE 336 337 ONLINE VIDEO ART 3. Claude E. Shannon and W. Weaver, The Mathematical Theory of Communication, Urbana, Illinois: University of Illinois Press, 1949. I realize that Shannon's and Weaver's model is not a correct blueprint for communication. But because it is basic and doesn't focus on the transmission of meaning, the model makes it possible to leave semiotics or textual analysis out of the picture, at least for now. In this way the model can be used to research communication strictly from a formalistic point of view, which is in my opinion one part (the 'beginning') of the many different stratifications of glitch art.
"gLossing Over Thoughts On Glitch -A Poetry of Error"
In the past 10 years a proliferation of visual work that embraces the style of digital error has crept into mainstream advertising and popular culture. Recent and ongoing events such as GLI.T/CH in Chicago and Bent Festival in New York City have helped to establish an international dialogue for artists working in this digital underground. As more institutions begin to recognize glitch as an art form and more people begin to theorize its relevance, we must ask, where is the genre heading and where has it been? /////AN UNANTICIPATED ART In our modern, networked world, the glitch is everywhere. A dropped phone call, a dropped frame during a televised broadcast, and the Windows operating system's "Blue Screen of Death" are all examples anyone working with technology has experienced as our tools of communication and entertainment have progressed into the digital realm. As a result of this paradigm shift, the errors of our instruments have taken on a new character; analog static has been replaced with digital precision. We have accepted this new imperfection into our everyday lives as a byproduct of progress and have welcomed it as the personal computer has steadily replaced what is now old media. Where there were once neon lights there are now display panels wired to present the latest in high definition commercial advertisement. As the natural elements erode the electronics, these new displays fragment into colourful, geometric forms, sometimes retaining their original content, sometimes creating entirely new images. A bad electrical contact or an improperly connected cable is enough to elicit novel geometric forms. This broken visual landscape is omnipresent, familiar to anyone living in our urban environments and to those who are paying attention, a new form of readymade machine art surrounds us. Conventionally, a glitch is an error. It is a break from an algorithmic flow. Its unanticipated appearance simultaneously frustrating and mesmerizing. But a glitch uncovers another ordering principle. It is chance made manifest and a spontaneous reordering of data, like the wave function collapse of quantum theory. In its pure, wild sense, a glitch is the ghost in the machine, the other side of intention, a form that is hidden until it manifests itself of its own accord. It is a true type of machine art and a crude form of artificial intelligence inasmuch that once an algorithm is let go to run free, due to the architecture of digital systems, a break from routine creates an ordering of its own. The pixel grid of the computer display provides the framework and serves as the canvas for this manifested algorithmic hiccup. It's as if the computer is freed from its normal task and instead displays what it wants, the architecture of the electronics giving shape to sudden random
Compressed version of paper for publication in Varoom OCT 2014. Varoom is the journal of the UK Association of Illustrators. Over the last decade ‘glitch’ culture has emerged in art and music as creatives explore the possibilities of harnessing error in digital tools. By describing his own creative experimentation, Thomas Barwick demystifies the ‘magic’ of software to help us rethink materials and forge a creative discipline of error
Glitch Theory: Art and Semiotics (Introduction)
Glitch Theory: Art and Semiotics, 2023
Introduction from the book Glitch Theory: Art and Semiotics. Glitches and Glitch Art illuminate the unseen assumptions, ideology of dialectical thinking, and role of established knowledge that shapes as well as determines our engagement with the world. Betancourt builds on the role of perception in guiding these interpretations to explore the possibilities offered by glitches for addressing digital media. Not confined to esoteric questions of semiosis, this study presents an expansive model of ambivalence and ambiguity whose ramifications address how initial assumptions and beliefs create meaning. Tracking glitches across technical media old and new, and moving from early abstraction’s attempts to visualize a transcendental spiritualism through to contemporary AI generated art and media, Betancourt describes how glitches are not just technical failures but products of the instabilities between human interpretations and autonomous machinic operations that create a ‘discursive aesthetic’ guided by cultural fantasies of digital media’s immateriality that idealize it as a perfect, transcendent form. (This is a low resolution preview. If you find it useful or interesting, please consider buying a copy.)