SPECTRES of the NEW REALM Project Documentation Joseph Gilling

SPECTRES OF THE NEW REALM Project Documentation Joseph Gilling

www.joegillingmusic.com

View online stereo version of the project here: https://www.youtube.com/watch?v=xf9LwSwbEpw

Table of Contents

Synopsis ...... 3

Project Statement ...... 4

Failures and the Virtual ...... 7

The Haunting Voice ...... 10

University of Brighton: 6.1 Project Setup ...... 13

Equipment Used & Signal Processing ...... 17

Mind Map ...... 18

Work-In-Progress Notes ...... 19

Steinberg Cubase Project File ...... 20

Adobe Premiere Pro Project File ...... 21

Reading Notes ...... 22

Bibliography ...... 25

Synopsis

Custom 6.1 surround sound array. Projected visuals.

Spectres of the New Realm is an intense and immersive experience which combines sonified data, near-defunct audio/video, and saturated human voices.

The work illuminates the hidden world of digital culture. Data mining. Bots. Fake news. Information overload. Documentation obsession.

All-encompassing noise, crackle, bleeps, and voices fill the space. A means of reviving dead media. An awakening to the future.

References to the project under alternative working titles may be found throughout this documentation.

Project Statement

The glitch materialised out of silence, growing with exponential technological consumerism. However, it will always remind us of the imperfections of human endeavours.1

Spectres of the New Realm documents a state of modern living. Digital culture today is overwhelming and heavily saturated with information. The human brain was primitively not built for the vast cataloguing of digital data as it does now. The audio/visual piece reveals the hidden mechanics which mediate our everyday virtual interactions. It bombards the viewer with striking colours, shapes, and textures. The piece questions what the future means now, when we have effectively lost our ability to rationalise futurity though our fetishization of archaic aesthetics and total psychological immersion within the virtual.

The work comments on a crisis of over-documentation, as mentioned by Simon Reynolds in his book Retromania: Pop Culture’s Addiction to Its Own Past (2010). The exponential growth of the internet, since the turn of the century, has led to the intertwinement of past/present/future and real/virtual due to digitals total access. I ask what notions of progression look like now, when ‘futuristic’ concepts are typically ideas founded within documentation and media from the past. As I mention in my undergraduate dissertation Haunted by the Glitch (2021), “The internet has provided the ultimate archival space to reminisce and re-contextualise all sound materials, even those once seen as defective.” We now seem to spend more time looking back than we do looking forward. The sonic artefacts once seen as ‘by-products’ of recorded sound are now used by artists as the primary media for compositions. By personally using and organising these materials, and purposefully creating new ones, I critique and humour what it means to be modern now. I do not produce as a way of reviving the past with nostalgic romanticism, but more with concern as to where we go from here. Mark Fisher’s book Ghosts of My Life (2014) reiterates these eerie thoughts - haunted by futures which failed to happen. Artists such as Burial, whom Fisher also writes of, influenced the ways in which I produced this composition. I take sampled ethereal voices, mysterious dark drones, and sounds of corrupted technology to form a piece not necessarily about the future/present now, but a future which will always seem to be slightly out of reach.

The project was created using a variety of sound sources which either intentionally contained ‘errors’ or happened to adhere to the glitch aesthetic due to the nature of their

1 Young, Rob (Ed.) Undercurrents: The Hidden Wiring of Modern Music. Continuum, London. 2002. p.49.

4 existence. My main source of audio inspiration came from a glitch-producing technique whereby one runs digital files in playback formats which differ from the file types. For example, I converted images, software programmes, and text documents into raw data which could then be sonified using the freeware Audacity. Other sonic materials used included: hardware artefacts (such as vinyl crackle), damaged compact discs, white noise, computational hiss, and feedback. One of the concurrent themes throughout the piece is the use of sampled voices. I will not reveal the exact source of these in order to uphold personal artistic license, however choices were conceptually appropriate, often political, and essentially hauntological - morphing and reviving sounds and spirits, spectres if you like, from the captured past. Structurally, the piece is sporadic, harsh at times, beautiful at others, overwhelming, and often familiar in a strange techno-relational sense. Motifs emerge briefly before undergoing a process of complete destruction. Rhythms form out of recognisably atonal and typically non-melodic materials. The timbres created as a result of extreme layering and collaging, leaves audiences feeling overloaded with information and sensory stimuli. A feeling of optimism is proposed – perhaps with greater self-awareness we can change the destination ahead. The low-fidelity and muddy distortion throughout makes listeners pay close attention to what they are hearing as they attempt to comprehend the ghostly vocals and abstract tones approaching them.

Visually, the work heavily distorts, corrupts, and manipulates found/sampled moving images. I was inspired by artists such as Max Cooper who often combines organic shapes and textures in a very digital way. Furthermore, the German musician and visual artist Carsten Nicolai, better known as Alva Noto, influenced my visual aesthetics with his harsh, glitchy, and fragmented creations - most recently re-released online for his 2018 album Unieqav. Spectres of the New Realm features pulsating, microbiological, and rich textural imagery. The intense viewing process develops around flickering colours and patterns, symbolic with RGB glitch art released around the turn of the millennium. Disturbing human-like forms appear throughout the piece, acting as a cultural zeitgeist figure, only just recognisable, after falling into and loosing oneself within the virtual. I experiment with foreground/background, collaging different sections together before breaking them down into the smallest of particles. Playing with synchronicity as well as asynchrony enhances the auditory experience by combining the power of 6.1 sound with visuals, accurately reflecting the unpredictable and uncontrollable nature of the digital medium and subsequent glitch. When processing the images, I used a combination of in-the-box saturation and disintegration techniques as well as more unorthodox approaches. For example, I observed the results of using a hexadecimal code editor. This software allows a user to edit the binary data which

5 constitutes a digital file. By adjusting small sections of code, unusual and strange alterations are made to the playable file.

Using a custom 6.1 surround sound array enabled me to spread sound to fill the room, immersing the audience within my constructed world and enhancing the unexpected through turbulent and disorderly speaker functionality. Voices move around and behind listeners, reiterating the ‘noise’ of information found online. I found myself inclined to characterise this typically unpleasant aesthetic due to the writings of James Bridle within his 2018 book New Dark Age: Technology and the End of the Future. Bridle argues that whilst we have the technological capabilities to collect and compile more and more data about life on earth, we know ever less about it. A dangerous fallacy is revealed - we both model our own minds on our understanding of computers and believe they can solve all of our problems. The idea that one can produce a machine with greater cognisance than its creators is hindered by a non-humanly ability to have access to all available knowledge. AI/AR/VR technologies will only increase human submersion into the virtual as they become more refined in years to come. As we continue to live in a digitalised post-truth era, the future begins to look ever more dystopian.

However, Spectres of the New Realm does not leave an audience in a place of defeat in the wake of technological innovation. Hope is found within greater education and understanding of our reliance on the machine. The real price we pay for escapism could be life itself. Humans will continue to struggle balancing virtual living with reality as technologies become more accurate and artificial intelligence is relied upon more for day-to-day tasks. In order to comprehend and reflect upon where we are now and where we are going, we must admit that this lifestyle is not sustainable.

Failures and the Virtual

The glitch is pivotal in my work not only because of the atonal and shocking aural aesthetics, but also due to its occurrence in our everyday lives. The glitch fundamentally demystifies technologies to audiences. Computers carry out orders and actions with high levels of precision and accuracy. The failures of computers, contrary to popular belief, all stem from the very humans which built them. This means that the linguistic notion of a glitch is the failure of humans, not machines.

Glitch music exposes the fragilities of technological innovation, revealing an almost primitive pulsating memory of a time when everything was simpler.2

In order to understand the timbres and textures created, we have to reconsider our interactions with technology. Everyone who has experience with a computer also has experiences of the computer doing something they did not want it to do. This has resulted in an obvious disconnect between the ways in which we think about digital spaces and the ways computers actually process them.

Figure 2: Still Drinking. 2014. Web.

2 Gilling, Joseph. Haunted by the Glitch: Technological Malfunction – Critiquing the Media of Innovation. University of Brighton. 2021. p.8.

Spectres of the New Realm finds the excitement in breaking things and organising things which are already broken. Using glitched media to express and represent our current state of living seems appropriate given the cultural blame placed onto machines when they produce unexpected results. My work comments on our predominantly surface level understanding of computational technology and how the interest lies beneath this - with the many possibilities found in code and error. What we see on a computer screen is just one way of the computer interpreting data. There is no reason why the code which constitutes digital files could be shown in different ways to create alternative visual, audio, or text outputs. I use noticeably disruptive and typically unpleasant sounds in the piece to represent the heavily saturated and overcrowded nature of online browsing. The work is explosive and intense, yet also finds beauty within unwanted audio/visual materials.

The disturbing characteristics of the glitch are commonly picked up on, as we are familiar with them in our day-to-day digital actions. Glitch music subverts the original intention of computational design and structures itself to show the insubstantiality, fragility, and malleability of digital sound artefacts. As long as there is technology, there will be failures, glitches, and bugs. Instead of the audience navigating the piece, the piece controls the audience. Spectres (in this context a term used to define the revival of old media) are placed together in meetings which would never have occurred in reality. This juxtaposition and subconscious satire acts to reveal the mental and physical embodiment of the virtual.

We are swamped with information, new media, updates, data, algorithms, advertising, and as a consequence also e-waste. The virtual can be seen as a distraction from the bigger picture. In order to break this cycle of self-destruction, huge cultural reformation is needed whereby we no longer rely totally on what we see online for personal moral guidance and we also hold powerful corporations managing our data to account for their actions.

The internet is a giant network of information, which many of us choose to add to, whether that be voluntarily or involuntarily. As awareness grows, many express concerns regarding where their data is stored, collected, and passed on to (for targeted marketing and/or possible ‘surveillance’). Although this worry is understandable to an extent, it is also amusing in the way individuals who have expressed these feelings choose to document every aspect of their own lives online - effectively feeding themselves into the algorithm unknowingly. My project recognises human naivety and critiques a lack of technological comprehension and personal responsibility when it comes to our online actions. After the Cambridge Analytica scandal in 2018, the beginnings of a big-data revolution were broadcast worldwide - the use of our own data against us to implement personalised social media algorithms. Originally

8 created as a means of making content more useful, now a tool for manipulation and informational bias.

The very devices which are meant to bring us together could inadvertently be pushing us apart.

Art historian Professor Elizabeth E. Guffey discussed numerous ideas in relation to retrospection and artistic revival, “[…] a kind of subversion in which the artistic and cultural vanguard began looking backwards in order to go forward.”3 This feeling is woven throughout the project, reviving ‘dead media’, not in a romanticised nostalgic manner, but in one which brings up the past to haunt present pop-culture. When the signifiers of futurity are still referencing documentation from the past, the glitch is an attempt to reconcile faith in the present. However, this present is becoming ever bleaker. The knock-on effects of technological obsession and virtual submersion have altered society’s awareness of itself, causing the repetitive revival of the old in replacement of the new. The virtual personas created as a result of social channels for example, exemplify an ongoing and complex relationship between our online actions and physical existences.

3 Guffey, Elizabeth E, and Dawsonera. Retro: The Culture of Revival. Reaktion, London. 2006. p.3.

The Haunting Voice

Abstract, granulated, and hauntologically inspired voices float throughout Spectres of the New Realm. The distorted and muddy timbres make them indistinguishable from their original sources. The reconceptualisation of these sampled sounds enabled me to create new, strange, and unsettling meanings from media of the past. Some of the samples I chose came from pop-cultural icons, politicians, and philosophical scholars. I decided to embed and re-voice these auditory hallucinations into my project to produce uncanny conversations between technically now fictional characters. We have all heard of fake news, bots, and widespread media deception. I reconstructed these overwhelming online informational encounters and disclosed how they can lead us to feel confused and torn between opinions - the spectres of the virtual. I process voices in a way which makes them seem familiar yet mysterious. The bringing together of ghostly presences which echo the past whilst creating their own new narratives. By pitching shifting, reversing, altering the speed, order, and intonation of the sounds, they undergo a complete transformation.

Due to digital documentation, the very possibility of loss seems ever more irrelevant as everything and every moment in time can be captured and brought back to life - throwing off the balance between past, present, and future. The evocation of these ghostly presences within my work produces sounds which simultaneously sound familiar yet just out of reach. I was primarily inspired by the elusive works of British electronic musician Burial, who typically foregrounds aesthetics of technological decay and incorporates sampled vocals dug out of the depths of the web. Some of the most fascinating factors about working with these unstructured and unusual sound sources are the questions raised surrounding intellectual ownership, artistic voice, and one’s ability to merge media from all points in time into something completely new and meaningful in its own right.

Instead of changing the world, we seem to be setting out to deconstruct all the different ways we have developed to know it. The present, in this case, has become a time out of joint. For example, when we try to describe an event that has just occurred, we are subconsciously already interpreting the event from our memories which can alter over time as our opinions and experiences of the world develop. The postmodern, at an extreme, would suggest an ‘unplugging’ of humanity by the machines themselves. In reality, the term now refers more to the blurring of lines between humans and machines.

The voice is the most fundamentally human tone. Personal and distinctive, yet it also possesses the space and opportunity for morphing and disassembling using digital tools. My work has consistently involved vocals of some variety. I find they bridge the gap between

10 real and constructed time. By playing with phrasing and pitch, one is able to filter and process sentences into indecipherable patterns which only faintly recall their original architecture.

Interview with Burial:

[…] I cut up a cappellas and made different sentences, even if they didn’t make sense, but they summed up what I was feeling.’ In the process of changing the pitch of the vocals, buried signals come to light. ‘I heard this vocal and it doesn’t say it but it sounds like ‘archangel’,’ says Burial. ‘I like pitching down female vocals so they sound male, and pitching up male vocals so they sound like a girl singing.’4

Figure 4: Resident Advisor. Burial/Untrue. n/d. Web.

Hauntology resonates with a digital generation, reinvesting in the traces of lost futures inhabiting the present.5 Hauntological concepts also make it difficult for us to grasp originality. Artistically, one struggles to say anything is truly original. Every invention or artistic creation is influenced by its predecessors and does not exist ex nihilo. Borrowing and sampling of art is still often penalised and frowned upon in traditional and commercial backgrounds. However, in tackling the idea of a never-ending past, one should be encouraged to build on ideas from previous artists - progressing forwards, instead of being stuck in a world which rewards repetition in the form of various re-releases and compilations.

4 Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Zero Books, Winchester, UK. 2014. p.105. 5 Gilling, Joseph. Haunted by the Glitch: Technological Malfunction – Critiquing the Media of Innovation. University of Brighton. 2021. p.4.

The electronic micro-genre vaporwave is a prime example of a part artistic movement, part cultural meme, developed out of the ghosts of 80s pop - closely associated with glitch art, 90s web design, and cyberpunk. Vaporwave tells us a lot about technological progression and also the ways in which we now live in a dream-like state which continually looks inwards on itself. The genre is highly relevant and applicable to my project because of the digitally simulated, retrogressive, and introverted world we live in. If we have plans for a more non- simulated future, we either have to wake up from this strange dream or perhaps just dream a little differently.

According to Mark Fisher, due to the dominance of neoliberalism, we have reached a cultural impasse where we are no longer trying to anticipate the future. Neoliberalism demands of us short-term solutions, quick results, and the repetition of old already established cultural forms.6 Technological progress has not stopped. There is instead a change of behavioural technological usage. In the past, the emergence of new technologies enabled the emergence of new cultural forms. Today, technologies are subordinated to the repetition and refurbishment of already established cultural forms. We have unlearned the creation of the future. It seems to be near impossible to envision what the future would look like now. We ironically attempt to find the notion of futurity within the cancelled futures captured through media of the past. Futures which will never arrive or rather a past which will not disappear. Society seems content within the safety of the repeating familiar.7 Technological progression, whilst it appears to be advancing, is simply an extended reminiscence.

Figure 5: Byte. Internet Explained: VAPORWAVE. 2018.

6 Fisher, Mark. What Is Hauntology? Film Quarterly, Vol. 66, No. 1. 2012. p.20. 7 Čeika, Jonas. Hauntology, Lost Futures and 80s Nostalgia. YouTube. 2018.

University of Brighton: 6.1 Surround Sound Project Setup

Figure 6: Projected visuals and front facing speaker arrangement. University of Brighton. May 2021.

For the exhibition version of the piece, I use a custom 6.1 surround sound array. 2 channels at the front left of the room and 2 channels at the front right of the room. Followed by a central channel at the front at floor level and a rear surround channel directly behind and above the audience. The enhanced stereo image created by the additional L/R channels at differing heights produce a powerful physicality and immersivity to the sound - extending the project into the space with room to pan, move, and place audio in different areas in relation to the audience. Furthermore, during the 6.1 mixing process, I implemented additional surround effects including reverbs and delays which resulted in a chain-reaction movement of sound as glitches, bleeps, and crackles spark around the room.

The rear surround channel is primarily used for the saturated and distorted vocals in the piece as well as occasional startling sounds including application errors and static feedback. Sound placement is key here - closer to the audience than the other channels and in an unusual location. The creative process also considered the human perception of sound. The ears are naturally angled forwards, when sounds are heard from behind the auditory process is slightly different - combining the sound reflections from around the space, making audiences want to move to find the source.

Figure 7: Left side of the room with test visuals and speaker arrangement. University of Brighton. May 2021.

Figure 8: Right side of the room with test visuals and speaker arrangement. Tables and miscellaneous equipment are later moved for the exhibition. University of Brighton. May 2021.

Figure 9: Rear of the room - projector and active speaker for the exhibition. University of Brighton. May 2021.

Diagram

11 13

SCREEN/PROJECTED VISUALS

BLUE: Ceiling level speakers.

GREEN: Raised speakers.

ORANGE: Floor level speakers. AUDIENCE 7 BLACK: Subwoofer.

See following page for channel arrangement.

18 15

Figure 10: Room overview. For the exhibition tables are moved and the room is in complete darkness. University of Brighton. May 2021.

Figure 11: Exhibition day. University of Brighton. May 2021.

Equipment Used & Signal Processing Software:

- Steinberg Cubase 8.5. - Apple Logic Pro. - Adobe Premiere Pro. - Adobe Photoshop. - Audacity. - iZotope suite plugins. - Glitchmachines plugins. Hardware:

(Exhibition version)

- Apple Mac Pro. - MOTU 24Ao Interface. - 6x Genelec 8020D Studio Monitors. - 1x Genelec 7040A Subwoofer. - Optoma Projector. (Online version)

- Desktop PC. - Focusrite Scarlett 2i2 interface. - Yamaha HS7 Active Studio Monitors.

University of Brighton: Sound Diffusion Lab

6.1 Surround:

- Analog 1: Raised Left - Analog 2: Floor Middle. - Analog 3: Raised Right. - Analog 11: Ceiling Left. - Analog 13: Ceiling Right. - Analog 18: Ceiling Behind Audience. Output Device: 24Ao

Initial work-in-progress notes which document the project as a longer composition.

Steinberg Cubase project file from which I extracted the stems for surround mixing.

Adobe Premiere Pro project file where I edited the visuals for the piece.

Notes on: Kane, Carolyn. High-Tech Trash. Glitch, Noise, and Aesthetic Failure. University of California Press. 2019.

Notes on: Fisher, Mark. K-Punk: The Collected and Unpublished Writings of Mark Fisher. Repeater Books, London. 2018.

Notes on: Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Zero Books, Winchester, UK. 2014.

Bibliography Books

Attali, Jacques. Noise: The Political Economy of Music. Vol. 16. University of Minnesota Press. Minneapolis, Minn. 1985.

AUDINT. Unsound:Undead. Urbanomic. The MIT Press. Cambridge, Massachusetts, London. 2019.

Bates, Eliot. Glitches, bugs, and hisses: the degeneration of musical recordings and the contemporary musical work. Routledge, New York. 2004.

Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. Penguin, London. 2008.

Berry, David M. Postdigital Aesthetics: Art, Computation and Design. Palgrave Macmillan, Basingstoke. 2015.

Blake, Andrew. Popular Music: The Age of Multimedia. Middlesex University Press, London. 2007.

Boyle, Casey. The Rhetorical Question Concerning Glitch. Computers and Composition, Vol. 35. 2015. pp. 12-29.

Bridle, James. New Dark Age: Technology and the End of the Future. Verso, London. 2018.

Bull, Michael, and Les Back. The Auditory Culture Reader. Bloomsbury, London. 2016.

Cox, Christoph, and Daniel Warner. Audio Culture: Readings in Modern Music. Bloomsbury Academic, London, 2017.

Demers, Joanna T. Listening through the Noise: The Aesthetics of Experimental Electronic Music. Oxford University Press, Oxford. 2010.

Derrida, Jacques. Specters of Marx: The State of Debt, the Work of Mourning and the New International. Routledge, London;New York. 2006.

Duckworth, William, and Nora Farrell. Virtual Music: How the Web Got Wired for Sound. Routledge, London; New York. 2005.

Dyson, Frances. Sounding New Media: Immersion and Embodiment in the Arts and Culture. University of California Press, London; Berkeley, Calif. 2009.

Emmerson, Simon (Ed.) Music, Electronic Media and Culture. Ashgate, Aldershot. 2000.

Fisher, Mark. Capitalist Realism: Is there no Alternative? O Books, Ropley. 2009.

---. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Zero Books, Winchester, UK. 2014.

---. K-Punk: The Collected and Unpublished Writings of Mark Fisher. Repeater Books, London. 2018.

---. The Metaphysics of Crackle: Afrofuturism and Hauntology. Dancecult, Vol. 5, No. 2. 2013. pp. 42-55.

---. The Weird and the Eerie. Repeater, London. 2016.

Foster, Hal. Postmodern Culture. Pluto, London. 1985.

Guffey, Elizabeth E, and Dawsonera. Retro: The Culture of Revival. Reaktion, London. 2006.

Gilling, Joseph. Haunted by the Glitch: Technological Malfunction – Critiquing the Media of Innovation. University of Brighton. 2021.

Goodman, Steve, and Dawsonera. Sonic Warfare: Sound, Affect, and the Ecology of Fear. MIT Press, London, Cambridge, Mass. 2009.

Hendy, David. Noise: A Human History of Sound and Listening. Profile Books, London. 2013.

Hogarty, Jean. Popular Music and Retro Culture in the Digital Era. Routledge, London. 2016.

Hugill, Andrew. The Digital Musician. Routledge, Abingdon; New York. 2008.

Jackson, Rebecca. The Glitch Aesthetic. Department of Communication. Georgia State University. 2011.

Kane, Carolyn. High-Tech Trash. Glitch, Noise, and Aesthetic Failure. University of California Press. 2019.

Kelly, Caleb. Cracked Media: The Sound of Malfunction. MIT Press, Cambridge, Mass. 2009.

Kurzweil, Ray. The Age of Spiritual Machines: How we Will Live, Work and Think in the New Age of Intelligent Machines. Orion, London. 1999.

LaBelle, Brandon. Sonic Agency: Sound and Emergent Forms of Resistance. Goldsmiths Press, London. 2018.

LaBelle, Brandon. Acoustic Territories: Sound Culture and Everyday Life. Continuum. London; New York. 2010.

Levitin, Daniel J. This is Your Brain on Music: The Science of a Human Obsession. Plume Books, New York. 2007.

Manovich, Lev. The Language of New Media. MIT, London, Cambridge, Mass. 2001.

Marshall, P. D. New Media Cultures. Arnold, London. 2004.

Miller, Paul D. (Ed.) Sound Unbound: Sampling Digital Music and Culture. MIT, London; Cambridge, Mass. 2008.

Moradi, Iman. Glitch: Designing Imperfection. Mark Batty, New York. 2009.

Reynolds, Simon. Retromania: Pop Culture's Addiction to its Own Past. Faber, London. 2011.

Roads, Curtis. Microsound. MIT, London; Cambridge, Mass. 2004.

Russolo, Luigi. The Art of Noises. Vol. No. 6. Pendragon Press, New York. 1986.

Sexton, Jamie. Music, Sound and Multimedia: From the Live to the Virtual. Edinburgh University Press, Edinburgh. 2007.

Storey, John. Cultural Theory and Popular Culture: An Introduction. Pearson, Harlow. 2015.

Sword, Harry. Monolithic Undertow: In Search of Sonic Oblivion. White Rabbit, London, 2021.

Tanner, Grafton. Babbling Corpse: Vaporwave And The Commodification Of Ghosts. Zero Books. 2016.

Toop, David. Sinister Resonance: The Mediumship of the Listener. Continuum, London; New York. 2010.

Young, Rob (Ed.) Undercurrents: The Hidden Wiring of Modern Music. Continuum, London. 2002.

Audio Works

Alva Noto. Unieqav. Noton. Released: 2018.

Aphex Twin. Drukqs. Warp. Released: 2001.

Apparat. Walls. Shitkatapult. Released: 2007.

Burial. Untrue. Hyperdub. Released: 2007.

Coil. Worship the Glitch. Dais Records. Released: 1995.

Fennesz. Endless Summer. Mego. Released: 2001.

Floating Points. Anasickmodular. Ninja Tune. Released: 2019.

Grischa Lichtenberger. Kamilhan; il y a peril en la demeure. Raster. Released: 2020.

Max Cooper. Yearning for the Infinite. MESH. Released: 2019.

Mille Plateaux. Clicks & Cuts 2. Frankfurt. Released: 2001.

Oval. 94 Diskont. Thrill Jockey. Released: 1995.

Oval. Systemisch. Mille Plateaux. Released: 1994.

Ryoji Ikeda. Dataplex. Raster-Noton. Released: 2005.

Ryoji Ikeda. Test Pattern. Raster-Noton. Released: 2008.

Tim Hecker. Haunt Me, Haunt Me Do It Again. Substractif. 2001.

William Basinski. The Disintegration Loops. Recorded 1982-2001. Released: 2002.

Audio/Visual Resources

Alva Noto. ALVA NOTO – UNIEQAV #07 UNI BLUE. YouTube. 2020. Last Accessed: 19/03/2021. (https://www.youtube.com/watch?v=WhaQJ3Gj5W4&t=73s)

Alva Noto. ALVA NOTO – UNIEQAV #10 UNI EDIT. YouTube. 2020. Last Accessed: 19/03/2021. (https://www.youtube.com/watch?v=27hiBK_c3Oc)

Aphex Twin. Aphex Twin – Come To Daddy (Director’s Cut). YouTube. 2018. Last Accessed: 19/03/2021. (https://www.youtube.com/watch?v=TZ827lkktYs)

Bridle, James. […] in conversation with Ben Vickers and more. Serpentine Galleries. 2018. Last Accessed: 07/10/2020 (https://www.youtube.com/watch?v=mwgrsc_RM1g)

Bridle, James. New Dark Age: Technology and the End of the Future. Verso Books. 2018. Last Accessed: 07/10/2020 (https://www.youtube.com/watch?v=7hSj01bAZAU)

Bridle, James. What Is Real? The Conference. 2018. Last Accessed: 07/10/2020 (https://www.youtube.com/watch?v=iT45s4roNME)

Čeika, Jonas. Hauntology, Lost Futures and 80s Nostalgia. YouTube. 2018. Last Accessed: 14/04/2021. (https://www.youtube.com/watch?v=gSvUqhZcbVg)

Cooper, Max. Live at the Barbican (Yearning for the Infinite). YouTube. 2020. Last Accessed: 19/03/2021. (https://www.youtube.com/watch?v=owdva7V2M0o)

Fisher, Mark. The Slow Cancellation of the Future. Pmilat. 2014. Last Accessed: 07/10/2020 (https://www.youtube.com/watch?v=aCgkLICTskQ) Goatley, Wesley. CTM 2018: MusicMakers Hacklab Input IV – Signal + Noise in Algorithmic Capitalism. CTM Festival. YouTube. 2018. Last Accessed: 14/04/2021. (https://www.youtube.com/watch?v=2Wfbxds3LAc)

Hutchinson, Simon. Databending and Datamoshing Audio 1: Databend with Audacity. YouTube. 2020. Last Accessed: 22/03/2021. (https://www.youtube.com/watch?v=XxeXm5GAUnc&t=213s)

Raster. Grischa Lichtenberger // 1s4 csr e. YouTube. 2020. Last Accessed: 19/03/2021. (https://www.youtube.com/watch?v=Tq_KsM_mtQM&t=137s)

Raster. Grischa Lichtenberger // syn resr. YouTube. 2020. Last Accessed: 19/03/2021. (https://www.youtube.com/watch?v=2ircCAoqdfY&t=104s)

St-Pierre, Mathieu. Canadian experimental visual artist. Website. n/d. Last Accessed: 22/03/2021. (https://www.mathieustpierre.com/)

Thorp, Wesley. Glitch Art. TEDx Talks/TEDxNewCollegeofFlorida. YouTube. 2016. Last Accessed: 22/03/2021. (https://www.youtube.com/watch?v=jtIe416Twpo&t=155s)

UCNV. Artist and programmer based in Tokyo. Website. n/d. Last Accessed: 13/10/2020. (https://ucnv.org/works.html)

Vaeprism. Databending in Audacity – glitch art tutorial. YouTube. 2018. Last Accessed: 22/03/2021. (https://www.youtube.com/watch?v=4iSe5qy8VwY)

Zero Books. Frozen Capitalism: Haunted by Vaporwave. YouTube. 2016. Last Accessed: 24/03/2021. (https://www.youtube.com/watch?v=g6UAKCU5vEs)

Journal/Publication (Online)

Balanzategui, Jessica. Haunted Nostalgia and the Aesthetics of Technological Decay: Hauntology and Super 8 in Sinister. Horror Studies 7.2. 2016. pp. 235–251.

Cascone, Kim. The Aesthetics of Failure: Post-Digital Tendencies in Contemporary Computer Music. Computer Music Journal, Vol. 24, No. 4. 2000. pp. 12–18. JSTOR, (www.jstor.org/stable/3681551) Last Accessed: 10/03/2020.

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