CONTENTS

 
   about
   MICHAEL BETANCOURT NEWS
   movies: AESTHETICS
   movies: NEWS & REVIEWS
   movies: SHOWS & SCREENINGS
   random art notes
   random how-tos
   research: AVANT-GARDE MOVIES
   research: MOTION GRAPHICS
   research: VISUAL MUSIC
   theory: CRITICAL OBSERVATIONS
   theory: DIGITAL CAPITALISM
   theory: GLITCH & POSTDIGITAL
   theory: working notes

 

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SEARCH ARCHIVES

archives begin in 1996

  

Glitches and the Aura of Information

story © Michael Betancourt | published December 15, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

Compression glitches have become the most common type of glitch encountered, not only in art, but in our everyday uses of technology. These technical failures are usually transitory, a momentary breach in the continuous datastream; we notice that they happen as quickly as we forget they were there: once they have passed, they vanish not only from the screen but from memory.




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Going Somewhere: Episode IV (TRANSCENDENCE)

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



movies: NEWS & REVIEWS

Going Somewhere: Episode IV reconfigures science fiction movies with documentary/scientific NASA/JPL documentation and abstract glitch footage to reveal an underlying fantasy of transcendence. The story follows a simple trajectory: a traveler arrives, then embarks on a more abstract journey into inner spacea transcendent metaphor for exploring the self.




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Rationalized Production

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



theory: DIGITAL CAPITALISM

The rationalization of industrial processes known as Taylorism, appears as the fragmentation of production on the assembly line. This theory initially functions to enable mass production, but finds continued application in the algorythmic translation of agency into digital automation. This approach to how factories organized their processes, codified by engineer and theorist Frederick W. Taylor as scientific management, enables the particular type of mass production that defined American industry in the first half of the twentieth century. Links between Modernist art theory and industrial protocols inform the development of the digital. The transformation of machine labor from an extension of human actionas the mechanical amplification of human laborinto the digital, where the machine does not augment but supplant.




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Glitch Procedures in Helios | Divine (2013)

story © Michael Betancourt | published December 3, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

The music video produced for Saeed Alis song of the same title, Helios | Divine is 4 minutes long, organized into four sections of approximately equal length. It is designed to act as a posthuman landscape where what we believe we see is not entirely the same as what is actually visible on screen: a complex network of squares and rectangles that twinkle and contain a continually shifting field of colors that combine into larger blocks only to break into smaller, more discrete units. The imagery presented is emergentwhat can be seen when looking at a still image is radically different than the encounter with the moviebut is also composed from uniform squares of color, an effect of the glitching process that stripped recognizable, high definition imagery from the raw footage. This visual development follows the sequence of imagery common to the revelatory experiences described in the 1930s by German psychologist Heinrich Klver. A summary of his imagery describes the progression of Helios | Divine: in a continuously transforming shot (rather than a series of individual, discrete shots), the initial parting of the veil, becomes by degrees a beautiful landscape, then a figure that merges into a large, circular disk with light rays stretching out, followed by a second, darker landscape.




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An Immaterial Medium

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



theory: 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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