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   avant-garde movies, motion graphics, and theory

Defining the Critical Glitch

story © Michael Betancourt | published December 17, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Glitch & Postdigital

Glitch may be best known from its role in electonic music and digital composition, but it is equallyand more commonlya part of the everyday visual engagement with computers. The technical aspects of digital technologypixellated images that re/compose reality as a juxtaposition of discrete fragmentssuggests a translation of visual space into a virtuality, cyberspace, that instead of being continuous is instead shot through with errors and failures of various types. Transfers between this digital technology and art have been a continuous part of its history, but the prominence of digtial imagery and digitally-derived forms has become an insistent part of contemporary media since the opoular embrace of the Internet in the mid-1990s. These visual forms of glitch, unlike its musical counterparts, have consistently been grouped with a variety of other terms, prominent among these are post-digital, post-internet and the new aesthetic; in academic contexts visual glitch will often simply identified with new media art, or occasionally video art.




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Glitches and the Aura of Information

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



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



My Movies

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



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



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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