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   avant-garde movies, motion graphics, and theory

Charles Recher (1950-2017)

story © Michael Betancourt | published September 30, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Art

The Miami Rail is running a tribute. This is my contribution.




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Naming the Glitch, New Aesthetic & Post-Digital

story © Michael Betancourt | published July 25, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Glitch & Postdigital

The convergence of immaterial digital processes and the physical world is an increasingly obvious part of everyday experience, and has been steadily getting more attention since the start of the twenty-first century. There is nothing new about this relationship, which has been developing since at least the 1980s, but what is of interest is how these developments have stopped being new and simply become a part of everyday reality, accepted and largely ignored as just an aura of the digital. The variety of terms attempting to name these developments reveals the different approaches and concerns of the people introducing them: as challenge, as celebration, as philosophical shift.




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Flow and Friction: a thesis on tactical glitching

story © Michael Betancourt | published July 24, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Glitch & Postdigital

I recently read my copy of Vendela Grundell's book, Flow And Friction: On The Tactical Potential Of Interfacing With Glitch Art and was pleasantly surprised to see my critical framework for considering 'glitch art' being applied to a new area, web design. I would be interested to see her analysis applied to media works as well, rather than just publications, but I can see the importance of art history working with web media. I am glad to see more work being done on the convergence of glitch processes and tactical media.






 

Going Somewhere - reviewed by David Finkelstein

story © Michael Betancourt | published July 12, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Betancourt

David Finkelstein wrote a review of my movie serial Going Somewhere for Film International called "Recombinant Modification of Sci Fi Going Somewhere (2015)" that's available online:

Something fascinating and strange is going on in Going Somewhere, an ongoing movie serial by Michael Betancourt, with individual episodes which are all 7 minutes long. The source material for these digital mini-epics comes from a variety of science and science fiction materials: old Grade Z Sci Fi epics, civil defense films and WWII documentaries, NASA footage. Betancourt uses sophisticated datamoshing and databending techniques to completely transform these materials. These techniques reach inside of the numbers which store digital video and mess up the data in more or less controlled ways that morph one image into the next. They allow Betancourt to radically change the original colors and forms.

Also available as a [pdf] for download






 

'Glitch Art' as a Movement?

story © Michael Betancourt | published July 10, 2017 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Glitch & Postdigital

Recently, I was asked during the Q&A after a talk if I think glitch art is a movement. The problem with calling the amorphous collection of people working with glitch art a movement is precisely its shapelessness: the things being done and called glitch art have been around and in use by artists since the late 1970s and first started to become prominent during the 1990s, emerging more-or-less independently in places as diverse as London, Chicago, Oslo and Miamiall places also associated with the use of glitches in electronic and avant-garde music. This plurality of origins makes any suggestion of a movement highly questionable: there were no manifestos, no proclamations that circulated across all these origin-sites. Instead, the use and embrace of glitches appears to have happened more or less simultaneously, as a result of the faults and failures of digital technology in the 1990s, especially the vagaries and interruptions common to dial-up internet access and the slow speeds of download that would often result in partial and damaged files. The embrace of glitch by this initial collection of artists (whose work from 2003 and earlier was collected in the Glitch: Designing Imperfection book) was highly dispersed geographically and aesthetically, even if they shared formal similarities because of the technologies involved.




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