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   avant-garde movies, motion graphics, and theory

An Immaterial Medium

story © Michael Betancourt | published November 30, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Glitch & Postdigital

The particular dimensions of a physical engagement with immateriality in motion pictues depends on the fragmentary nature of the digital medium itself: everything inside the computer exists as numerically encoded data: the fragmentation and digital organization of information that when replayed for a human audience appears continuous via discrete units (commonly called samples) is a given when considering any product of digital technology. These discrete fragments of reality enable the transmission, reproduction, and reassembly that are the common features of any digital technology, and the apparently prefect reproduction originated precisely in the actuality that what is encountered through the immaterial production of the digital work is not a copy so much as a new example produced specifically for the moment of encounter; it is an original. This reassembly from fragmentary samples may not have been an invention of the late nineteenth century, but it was in this period where sampling, coupled with new developments in photography, introduced the essential foundation for the digital transformation of reality into data that enables the digital to function as a perfect reproduction.




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Going Somewhere - Animated Title Card

story © Michael Betancourt | published November 28, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



My Movies

This is a the animated title card for my new movie, Going Somewhere:





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Previews of My Glitches

story © Michael Betancourt | published November 26, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Glitch & Postdigital

I have an Instagram account with stills from my movies and movie-tests.






 

Anti-Formalist Glitches

story © Michael Betancourt | published November 26, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Glitch & Postdigital

​A potential revealation of the materiality of the digital is thus only one part of what the digital glitch might present: the other part is the utter dependence of all these technologies on the human social realm. The particular form of a digital work when rendered for human viewing/encounter makes the purpose of that particular data stream apparent, whether it is a movie, a piece of music, a text or anything else, the data itself is encoded for human purposes. The automatic nature of the digital device is of a different character than the autonomy of agency. The illusion that our devices function without our input, without responding to our desires and demands is a reflection of their design, and the functions these machines are constructed to achievethe superficially mysterious, perfect nature of the digitally manufactured, its magical aura, work to obscure the underlying physical reality of the digital and its subservience to human choices and agency. These foundations are all hidden within the aura of the digital, most especially the dependent relationship between the functioning of the digital technology and the demands made by the desires of human society (and provides its formal basis).




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The Limits of Utility

story © Michael Betancourt | published November 7, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Digital Capitalism

CTheory just published my new theory article on automation and the structural attempts of digital capitalism to keep the rate of profit from dropping. The Limits of Utiity develops a critical framework for the importance of utility in the production of value.