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Bodies and machines are defined by function: as long as they operate correctly, they remain imperceptible; they become a part of the process of perception, as the extension of the action that engages the Self with the world.
Maurice Merleau-Ponty, Phenomenology of Perception, New York: Routledge, 2005 (1945), p.239. - See more at: http://interartive.org/2014/01/glitch-art/#_ftn1
The true nature of the machine –and the wilderness hidden underneath the orderly surface- suddenly makes itself evident through a glitch.[2] - See more at: http://interartive.org/2014/01/glitch-art/#_ftn1
[2] Hugh S. Manon and Daniel Temkin, “Notes on Glitch”, http://worldpicturejournal.com/WP_6/Manon.html - See more at: http://interartive.org/2014/01/glitch-art/#_ftn1
The notion of glitch is also present in other realms of contemporary culture, where the reuse and remix of existing elements into something new is fundamental. From John Cage’s prepared piano to Grand Wizard Theodore’s scratching and the latest releases in electronic music, scratching and sampling, as well as incorporating intentional or accidental noises have become mainstream practices.
In short, the aesthetics of error have been a driving force in modernist and contemporary culture. Glitch artists employ diverse approaches to the questions of randomness and error: they look for errors within systems and project them, they hack systems and transform them so as to produce distortions or create the frame where random deviations will take place.
See more at: http://interartive.org/2014/01/glitch-art/#_ftn1
http://interartive.org/2014/01/glitch-art/#_ftn1
https://en.wikipedia.org/wiki/Glitch_art
Glitch Art is often aestheticized and fetishized technological [human] errors or anticipated accidents that can produce unintended [desired] results.
http://www.worldpicturejournal.com/WP_6/Manon.html
Almost invariably, digital imagery greets its beholder in the guise of analog—as a smooth and seamless flow, rather than as discrete digital chunks. A glitch disrupts the data behind a digital representation in such a way that its simulation of analog can no longer remain covert. What otherwise would have been passively received—for instance a video feed, online photograph, or musical recording—now unexpectedly coughs up a tumorous blob of digital distortion. Whether its cause is intentional or accidental, a glitch flamboyantly undoes the communications platforms that we, as subjects of digital culture, both rely on and take for granted.
2. The existence of glitch-based representation depends upon the inability of software to treat a wrong bit of data in anything other than the right way. The word “glitch” in this sense does not solely represent the cause that initiates some failure, but also the output that results when improper data is decoded properly. An isolated problem is encountered and, rather than shutting down, the software prattles on. Stated differently, it is a given program’s failure to fully fail upon encountering bad data that allows a glitch to appear. The instigation of such defect-driven churning is the crux of the practice known as Glitch Art.
3. Standard dictionaries fail to define the word “glitch” except in relation to analog technology. The first documented usage in English belongs to John Glenn, in reference to voltage modulations encountered during an early manned space flight.1 Despite being rooted in analog culture, however, there is one aspect of the dictionary definition that both endures in digital glitching and in a strong sense defines it: the momentary or punctiform nature of the initiating impulse. A glitch is a “surge,” “a sudden short-lived irregularity in behavior” (OED), whose aftereffects are at once shocking and effusive. The garish appearance and obstreperous sound of glitch art betokens its origination in this way: a tiny variance has triggered major damage.
4. Although in some cases the production of glitch art may require a great deal of effort, its basic premise is opposite. Glitch art aims at drastic results, derived from seemingly insignificant alterations. One does next-to-nothing and voilà!
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