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

 

SOCIAL

 
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The Visual Music Village


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Movies by Michael Betancourt

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 Going Somewhere
 exhibitions [pdf]
 updates
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SEARCH ARCHIVES

archives begin in 1996

  

My New Book is Now Available for Purchase

story © Michael Betancourt | published February 7, 2013 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



MICHAEL BETANCOURT NEWS

My book, The History of Motion Graphics: From Avant-Garde to Industry in the United States, is now available on amazon.com.

There is also a hard cover edition, appropriate for libraries....






 
Immaterial Physicality and Marx

story © Michael Betancourt | published February 6, 2013 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: DIGITAL CAPITALISM

My new article "Automated Labor: The New Aesthetic and Immaterial Physicality" is now in print on CTheory.

This essay considers Karl Marx' short essay The Fragment on Machines and its relationship to digital automation. The new aesthetic described by James Bridle is a typical example of this new, automated labor beginning to impact the physical world and provides a reference point for the examination of The Fragment on Machines: Marx divided labor into three categories (means, material and living labor) that is in the process of being reorganized by digital automated systems (in both immaterial labor and physical production forms). This reorganization forces an underlying paradox in capitalism into focus, foregrounding the mismatch between a capitalist productive system and the consumer society required to maintain that system, a paradox that emerges precisely because exchange value emerges from the relationship between one commodity and anotherfrom the exchange of a commodity for the acquisition of another: human labor is the underlying commodity required by this entire system, a commodity rendered obsolete by digital automation; the new aesthetic provides physical examples of this transition-in-progress.






 
Glitches in Art

story © Michael Betancourt | published January 20, 2013 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

This is an excerpt from a new article (slated for publication in Hz no 19) on the use of glitches in art, and how that use related to a critically engaged media practice:

The term glitch art is an attempt to distinguish between the specific use of glitches in an artwork as opposed to those happening spontaneously in non-art contexts/works: it is also a term that describes a particular media practice identified as being critically engaged. However, the distinction between an unpremeditated technical failure, unstable and transitory, and the use of audio-or-visual artifacts that coincide with these incidental errors, stable and repeatably a part of a finished work may be difficult to identify when encountered in a work since they can (and in artistic practice often are) indistinguishable; the ontological origins of any particular glitch are not necessary apparent in the form of the glitch itself. Various writers on glitch art have proposed terms to identify this ontological distinction between a transitory technical failure (always called glitch) and other variants that are then given a different designation, but which may have the same formglitch-alike (Morandi), domesticated glitch (Menkman). These distinctions are problematic in art, as theorist Curt Cloninger has observed: The term glitch art might apply to all domesticated glitches and all wild glitches that have been captured and recontextualized as art. The might opens the potential scope of glitch art beyond simply those glitches captured in a recording to include wild glitches orchestrated to occur on demand within a specific performace. Digital technology itself, based in sampling, enables the apparently perfect reproduction that is the hypothetical norm which allows the identification of the glitch. What is produced by the immaterial processing of digital technology is an always perfect new example of the work in question, made specifically for the moment of encounter; it is an original. This human-readable form is a pure product of the digitized samples (data) transformed by the decoding protocol. Glitch art is a reflection of how artists have engaged with this underlying structure by looking for, producing or exploiting the errors emergent in any complex system.




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SoundImageSound Festival 9

story © Michael Betancourt | published December 31, 2012 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



movies: SHOWS & SCREENINGS

My movie Antag|Protag will be screening in the Fixed Media Program on Thursday, January 31, 2013 at 7:30 PM as part of the SoundImageSound Festival.






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Dancing Glitch (2013)

story © Michael Betancourt | published December 29, 2012 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



movies: NEWS & REVIEWS

Here is a new movie that I've decided is finished, just in time for the new year.




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