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

 

PORTFOLIO

 
Movies by Michael Betancourt

 michaelbetancourt.com
 Art of Light Organization
 Going Somewhere
 exhibitions [pdf]
 updates
 books
 contact
 purchase artworks

 
  Video Art listserv
 




 

SEARCH ARCHIVES

archives begin in 1996

  

Film Manifesto

story © Michael Betancourt | published April 2, 2004 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL
Here's a French Film Manifesto: Experimental ? Its not my "type" !

It makes a number of claims, but central to them is this obervation:




read more



 
IMHO 9: Welcome to Cyberia

story © Michael Betancourt | published September 19, 2003 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

repost from The Miami Art Exchange [pdf]

There is a set of engineering issues that are common to all technological arts in the digital age: sampling,fragmentation and reassembly, data compression and expansion... and the glitch. We like the glitch, not because it formalistically reminds us what we are seeing is an artifact (it does), but because in our encounter and by developing our relationship to the glitch, we can enter into a dialogue with our technology on its own terms, negotiating for points of contact between what we-as-audience will accept and what we reject as technological failure, as an interruption to our fantasies of dominance, power,mastery.




read more



 
The Gunz

story © Michael Betancourt | published September 23, 1996 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

The Gunz, 1996 (aka Gitchguns)

A spectacle of violence forms around the scene of the crime--the images of guns in the (increasingly) post-industrial world are arbiters of taste and fashion. They tell their viewers what is good and what should be desired. Within every potential there is its opposite: emergent in every birth is the ultimate death. To break an image is to reaffirm that in choosing any one thing is to deny all alternatives. This is the case with these images, taken from the combination of guns and commerce, created to influence the desires of those who see them with one specific purpose and a secondary, clandestine one. Immediately they want their audience to do something: it is not a passive buy this, go here, eat that; on another level they act to flatten out the experience of life by making all actions/desires equivalent. There are no higher or baser goals, only commerce, and any symbols, sacred or otherwise, can be used in the furtherance of this one goal.
(written 1996)