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   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

  

Critical Glitches and Glitch Art

story © Michael Betancourt | published July 16, 2014 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

My article discussing the political economy of glitch art came out on Hz Journal today. It's a discussion of how we identify a glitch as being critical, and what this means for media art makers.





 
About Making Dancing Glitch

story © Michael Betancourt | published September 11, 2013 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

OtherZine 25 has my article on making Dancing Glitch where I discuss how recognizing glitches depends on the audience, not what was done to/in making the work.






 
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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Adobe killed the FLM (film strip) file format?

story © Michael Betancourt | published March 3, 2011 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

I was looking at the newest Adobe Photoshop software the other day and noticed that it does not seem to support the Adobe file format known as "FLM" or film strip. I guess Adobe only wants people to make video as video, (the ability to make video changes in the same way you can with a film strip isn't video enough I guess), and all the weirdness that the .flm format offered were just too non-commercial. Too bad. I'm glad I still have my obsolete software.

Once again this shows how the obsolete just has more options and abilities than then most recent, top-of-the-line pro software: afterall, the pro software is set-up so you can do things weird.






 
Experimental Television Center Ltd. will end several programs

story © Michael Betancourt | published January 16, 2011 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

The Experimental TV Center has announced they will close some of their programs later this year. I enjoyed being a resident there and got a lot out of my time in the studio. They will be missed. Full announcement:

The Studio will close as of July 1, 2011.

This will end the residency program and workshop offerings.

Presentation Funds applications will not be accepted after July 1, 2011.

Finishing Funds
March 15, 2011 is the final applications deadline.

Technical Assistance
July 1, 2011 is the final applications deadline.

Sponsorship
We will not sponsor or act as a conduit for grant applications for anyone.


The explanation




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