Glitch

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n recent years mankind’s dependence on technology has risen greatly. Computers are a part of everyday life and we are constantly being influenced by the digital.

In the modern world, a glitch is an unexpected moment of failure produced by an imperfect system. A glitch temporarily snaps us out of a digital fantasy

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◊ and indicates that the ◊ ◊◊

◊◊ ◊ system is corrupted and unpredictable. A glitch ◊ ◊◊

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◊ ◊◊ ◊ provokes a feeling of ◊ ◊ ◊ ◊◊ ◊ ◊ suspicion, awareness and

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awakens the conscience. Therefore, it is no wonder that artists have latched on to the influence and power of glitch and created a movement around its philosophy.

The lines that separate databending, image hacking, datamoshing and other practices are very blurred but they all fall under the umbrella of glitch art.

Glitch art is difficult to define but it is essentially the aestheticiza¬tion or visualisation of digital malfunctions. This essay will delve into the unknown and to attempt to comprehend the movement that manages to break down all artistic traditions and boundaries.

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he origin of glitch culture is disputed and it is often argued that many similarities can be made between glitch aesthetics and historical artwork. For example, the works of cubist artists such as Braque and Picasso can be likened to aspects of the visual aesthetic of glitch. Similarly, glitch compositions of blocky, geometric form seem to resemble modernist abstract art such as the works of Mondrian and some Bauhaus works. However, it is clear that the evergrowing popularity of glitch culture has come in conjunction with the increasing influence of technology in society.

Many say glitch art began in the late 1990s when artists such as Ant Scott and Iman Moradi began to incorporate the hardware circuit-bending methods used by musicians to manipulate music into visual technology. Artists began to hack into scanners and cameras in order to create corrupted imagery. Later, as technology became more advanced, these artists started to use software to manipulate the digital data that makes up an image and began to discover increasingly more methods to corrupt images. The beauty of glitch art is that the artist does not have complete control over what the imagery will look like; they can only point technology in the right direction and hope for the best (or the worst).

GLI.TC/H conference

[ABOVE] Yung Lean - Hurt [BELOW] Kanye West - Black Skinhead

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litch art does not originate in any specific location, rather it was revealed to hundreds of people in hundreds of places simultaneously. The majority of people who have experienced technology have noticed a failure or glitch and it didn’t take long for people to realise the artistic potential of these errors. If glitch art was born anywhere it is indubitably the Internet, which allows ideas to be shared and spread around the world instantly.

The advancement in internet technology has allowed the popularity and interest of glitch culture to explode massively. In 2010 the first ever GLI.TC/H conference was held in Chicago, the Glitch_Art page on Reddit has over 32,000 subscribers and aspects of glitch are beginning to appear all over new media. For example, the music video for Kanye West’s ‘Black Skinhead’ by photographer and filmmaker Nick Knight is undeniably glitch-like, even the title is stylised as “BLKKK SKKKN HEAD”.

Musical glitch musicians such as clipping., Dälek and Yung Lean are at the forefront of youth subcultures. Like it or not, there is no avoiding the fact that Glitch aesthetics and philosophy are on their way to creating the next big shift in new media. ¬

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ODI is a collective of two artists, Joan Heemskerk and Dirk Pasesman, which is seen by many as the pioneer of Web art. In the late 1990’s JODI were among the first artists who began to experiment with computer programing, video games and the Internet.

JODI thoroughly disrupts the fundamental coding of these media in the hope to undermine the connection between computer technology and humanity. JODI wants people to witness their work and immediately be impacted in such a way that means they will never be comfortable with technology. In JODI’s work there is no structure, there is no composition and many don’t even consider it art. However, there is no denying that their work has a certain eeriness to it as well as an incredibly ability to provoke attention. Furthermore, the underlying philosophy, which is carried across all of JODI’s work, is the foundation that all glitch art has come to be based on.

[ABOVE] text.jodi.org [BELOW] asdfg.jodi.org [LEFT ABOVE] BINHEXmessage.hqx [LEFT BELOW] SURGERY

[ABOVE] [LEFT] [FAR LEFT]

BLINX6 Zugzwang A Glitch Timond

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osa Menkman is a Dutch theorist and Glitch artist. In 2006 Menkman graduated from the University of Amsterdam with a Master of Arts (New Media) and went to on to obtain a Research Master of Arts “The perfect glitch shows (Media Studies) in 2009. Throughout how destruction can change her studies, Menkman become aware of into the creation of glitch artists such as JODI and quickly something original.” took to the genre. In 2011, her research - Rosa Menkman; The about glitch culture was published as a Glitch Stuides Manifesto book titled ‘The Glitch Moment(um)” and in the same year she wrote the “Glitch Studies Manifesto”, which is known as one of the most prolific documents and influential documents in the genre. Menkman experiments with a variety of different glitching techniques but in order to create her piece ‘BLINX1’ she exploiting the video compression created by converting analogy signals to digital. The end result is a mysterious, digitalised face. In my opinion, Menkman is trying to represent how humanity is able to create a personal relationship with computers as though they are a real person. Menkman may be suggesting that computers are not quite as advanced as mankind, hence the muddled and pixelated image, but they are still able have to have a distinguishable personality.

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DA N IE%L P K I//N

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start with black

squares,

triangles, circles, and sometimes a series of stripes, applying sound effects to the images until they break down"

-Daniel Temkin

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hese images appeal to me because is stands out among the vast majority of glitch art. Daniel Temkin created theses images in 2013 as part of his series Glitchometry Stripes.

Temkin generated the imagery in this series by converting layers of basic geometric shapes with bold colours into sound data. Then he takes this data, imports it into an audio editor and applies different sound effects in order to manipulate the image. Unlike most glitch art, which is often heavily distorted and busy, Temkin manages to maintain a small sense of structure and order by utilising minimal colour palettes and negative space to create patterns not too dissimilar to optical illusions.

GLITCHOMETRY STRIPES

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hillip Stearns is a Brooklyn based glitch artist most known for being the creator of Year of the Glitch, a yearlong glitcha-day project, and Glitch Textiles, a project in which Stearns uses glitched imagery in order to create abstract textiles and clothing.

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“Textiles have long been used as a medium for imagery but are also closely connected to the development of automation and computer technology. Fragmented Memory collapses these two histories” - Phillip Stearns

In his Fragmented Memory series, Stearns created large tapestries by taking a snapshot of his computers physical memory and using custom software in order to transform the data into imagery.

These images were then imported onto a computerized industrial loom which used 8 colours of yarn to weave the tapestries. Stearn’s website [phillipstearns.wordpress. com] states, because the data has been directly mapped from image to textile, it is possible to decode the original binary from Steern’s computer using the pattern.

Glitch art is often seen as only a digital medium. However, Stearns is able to effectively apply glitch aesthetics onto a physical medium. He has managed to create textures which at first glance just look like complex patterns, but actually can be used as a method of sharing information and data. Stearns’ Fragmented Memory series is further proof that glitch culture is starting to creep out of its digital home and beginning to enter into our physical world.

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Fragmented Memory

“I get inspired by the relationship between media culture, ▓technology and humanity, and how they affect each other and so on” ▒░░▐░▒▓■□ -

▪⌂↨€№╙▓░ ▌▄█┬┼╧◘◙ Yoshi Sodeoka speaking to Shift Magazine

[ABOVE] Devils Reign [BELOW] Universe / Calibration

[ABOVE] Stereoscopic Optical Overdrive [BELOW] Disc: Void

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YOSH▒I SODEOKA

oshihide Sodeoka is an artist and musician from Yokohama, Japan but based in New York. Sodeoka’s is most renowned for creating psychedelic music videos for bands such as Tame Impala, Yeasayer and Beck.

He is also known for working on advertising projects with brands such as Apple and Nike. His work has been displayed across the globe in places such as Tate Britain, San Francisco Museum of Modern Art and Baltimore Museum of Art. In 2013 Sodeoka founded his own experimental video art label ‘Undervolt and Co’.When I look at the works of Yoshi Sodeoka I am instantly reminded of the 1980’s. Due to Sodeoka’s use of psychedelic colours and the way in which he blends multiple frames together I cannot help but to draw comparisons to the music video for Kool & The Gang’s ‘Get Down On It’, Sun Ra or the album art for any Earth Wind and Fire record. Sodeoka has an intense ability to create visuals for videos which complement their music perfectly. He makes sure his style matches that of the artists he chooses to work with, such as the psychedelic rock band Tame Impala, as well as the music he personally creates in order to produce videos in which visual and sound come together seamlessly.

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litch art has influenced my own work in numerous different ways. I have experimented with a variety of glitching techniques, such as using audio software and coding programmes to databend images. Often, glitch art tends to use a lot of juxtaposition with colour, such as applying small sections of bright bold colours amongst an almost entirely monochromatic piece. I have noticed in my own work that I am also beginning to utilise colour in a similar manner. Although I donâ&#x20AC;&#x2122;t exclusively focus on glitching when creating my own artwork, the methods I have learnt have been able to become a part of my library of favourite techniques which am I am able to use in tandem with my other skills in order to enhance and develop my work. Throughout my coursework I have experimented with page layouts inspired by glitch art as well as disruption artists such as David Carson. Glitch art has made me realise that I shouldnâ&#x20AC;&#x2122;t be afraid of experimenting and getting things wrong.

But mainly, glitch art has taught me to appreciate that not everything has to be planned out or deliberate, art can be random and haphazard.

Sometimes we need to break down traditional composition layouts in order to make room for something more.

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G

litch art has been criticised for being too accidental, down to chance and lacking in skill. However, I think it takes a great mind to be able to push artistic boundaries in order to create provoking pieces of art. I think there will always be a struggle to try and understand glitch art, our minds have been trained too well to search for meaning and intention, but the beauty of glitch culture is that it isn’t there to be understood or even admired. Glitch art is, in my opinion, simply meant to cause a reaction, and make people think.

Almost subconsciously people are being influenced by glitch art and I have begun to notice elements of the genre emerging into the mainstream. Overall, when writing this essay it has become apparent to me that glitch culture is growing and is fast becoming one of the most prominent movements in new media and design.