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Ment the Glitch Moment(Um)

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Ment the Glitch Moment(Um) Moment(um) The The Glitch Glitch The Glitch Moment Mo- Moment(um) (um) mentRosa MenkMan Glitch Mo- The Glitch t Moment(um)04 The Glitch Moment(um) 04 ConTenTs ACknowledGeMenTs 5 InTroduction 7 Glitch StudIes MAnIfesTo 11 A TeChnological Approach To noIse 12 LinearProgressionandtheMythofPerfectTransmission 12 NoiseArtifacts 15 EncodingAndDecoding:CompressionArtifacts 15 AVernacularOfFileFormats 17 OrderlyChaos:FeedbackArtifacts 26 The OtherNoiseArtifact:Glitch 26 The perCeption of Glitch 28 TheMeaningOfNoise 28 TheGlitchMoment(um):AVoidInTechno-Culture 29 TechnorealismAndtheAccidentOfArt 31 A phenoMenoloGy of Glitch ArT 33 ThePredicamentsOfDefiningGlitchArt 33 CategoricalPrecursors:ABinaryApproachToGlitchArt? 35 FromPassiveAppropriationOr‘PureGlitchArt’ToActive,‘Post-ProceduralGlitchArt’ 36 Post-proceduralGlitchArtOrtheIntentionalFauxPas 37 TheConceptAndTechniqueOfRuin 40 Creatingthe‘PerfectGlitch’UsingCriticalMediaAesthetics 43 TheTippingPointofCool:CriticalMediaAesthetics'BecomingCommodities 44 froM Artifact To Commodity 46 FromCircuitbendingtoSimulation 46 FromDatabendingtoTranscoding 49 FromEnchantingAffectToFilteredEffect 53 TheGlitchArtGenre:BetweentheVoidAndCommoditizedForm 55 TheGenreParadox 57 organIzInG Glitch spheres 59 GlitchArtNetworked 62 GlitchSphereRelations 63 SomeFinalReflectionsOnTheGlitchSpheres 64 The Emancipation of DissonAnCe Glitch 65 BiblIoGrAphy 67 Colophon Network Notebooks editors: Geert Lovink and Sabine Niederer Producer of this publication: Margreet Riphagen Copy editing: Rachel O'Reilly Design: Studio Léon&Loes, Rotterdam http://www.leon-loes.nl Printer: Printvisie Rotterdam Publisher: Institute of Network Cultures, Amsterdam Supported by: School for Communication and Design at the Amsterdam University of Applied Sciences (Hogeschool van Amsterdam, Domein Media, Creatie en Informatie) and Stichting Democratie en Media. The glitch moment(um) is composed of texts that have been extended and reworked by Rosa Menkman, 2006–2011. If you want to order copies please contact: Institute of Network Cultures Kenniscentrum Create-IT Singelgrachtgebouw Rhijnspoorplein 1 1091 GC Amsterdam The Netherlands http://www.networkcultures.org [email protected] t:+31 (0)20 59 51 866 – f: +31 (0)20 59 51 840 A pdf of this publication can be freely downloaded at: http://www.networkcultures.org/networknotebooks This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Amsterdam, October 2011. ISBN/EAN 978-90-816021-6-7 neTwork noTeBook serIes The Network Notebooks series presents new media research commissioned by the INC. PREVIOUSLY PUBLISHED NETWORK NOTEBOOKS Network Notebooks 03: Dymtri Kleiner, The Telekommunist, 2010. ISBN: 978-90-816021-2-9. Network Notebooks 02: Rob van Kranenburg, The Internet of Things: A critique of ambient technology and the all- seeing network of RFID, 2008. ISBN: 978-90-78146-06-3. Network Notebooks 01: Rosalind Gill, Technobohemians of the new Cybertariat? New media work in Amsterdam a decade after the Web, 2007. ISBN: 978-90-78146-02-5. 4 Acknowledgements IamverythankfultotheInstituteofNetworkCulturesforsupportingmeandmylovefor glitch,andfordevotingoneoftheirpublicationstothissubject.Iamespeciallygrateful toGeertLovink,notjustforhisendlessinsightsintoandsupporttowardsallfringesof digitalculture,butspecificallyforpushingmeintounexpectedterritories.Ihavetothank JodiforopeningmyeyelidsandGoto80foropeningmyearlids,andforthejourneywe shared.Besidesthis,IhaveKarlKlomptothankforhistechnicalsupport. AnnetDekkerandJosephineBosmawrotethefirsttextsthatshowedmeawayintotheo- rizingglitchart–IhavetothankthemforwritingthosetextsandalsoMatthewFullerfor theconversationthatwehadthedayhewelcomedmeintohisoffice,whichIconsiderthe startingpointforthistext.Specialthankstomyeditor,Rachel,whoworkedlonghours reviewingmyglitches. Finally,IwouldliketomakeashoutouttoThegli.tc/h/botsandallbrokenexecutables everywhere,forbringingmelatenightUnicodebarf,alltheorganizersoffestivalsIhave attendedandallthepeoplewhohavesupportedmeinthelastyears,artistically,theoreti- callyandtechnically.Finally,myfamilyandclosefriends–maygoodspambewithyou. 5 Introduction Glitchfirstcameintomylifein2005,whenIvisitedtheworldwidewrongexhibition bytheDutch/BelgiumartistcollectiveJodi(JoanHeemskerkandDirkPaesmans)atMon- teVideo/TimeBasedArtsinAmsterdam(nowknownastheNIMK,NetherlandsMediaArt Institute).AnintroductorytextontheworkoftheartistsbyAnnetDekkerwentalong wayinarticulatingtheartists’deconstructivemethods.However,theworkthatmadethe biggestimpressiononme,untitledgame(1996-2001),whichwasamodificationofthe videogamequake1,seemedthemostincomprehensible.Icouldonlyunderstanditas irrationalandvoidofmeaning,andsoIwalkedawayfromit,confusedandtitillated.In hindsight,Ilearnedaboutmyselfinthatmoment–aboutmyexpectationsandconcep- tionsofhowavideogameshouldwork.Thestrangegameseemedonlytoreturnmetomy ownperspectivesandexpectationsaroundthemediumthatitwasfailingtobe.Asecond text by Josephine Bosma usefully outlined Jodi’s active deprogramming of computers, andtheparadoxesandtensionsinherenttotheirworkingmethod.Evenstill,untitled game in particular remained for me under-articulated in theory, which increased my curiosityaboutthiskindofartpractice.Ididnotrealizeitthen,butmytasteforglitch, andforitspotentialtointerrogateconventionsthroughcrashes,bugs,errorsandviruses, wasspawnedbythatinitialandpersistentcriticalevasionofuntitledgamefrommy theoreticalgrasp. Attheendofmymasterthesisin2006,whichfocusedonJodi’sworkuntitledgame, IhadstillnotyetreferredtoJodi’sartworkas‘glitch art’–Ionlymentionedthewords ‘glitch’and‘buggy’.Thisisprobablybecausethenotionofglitchartwasjustcrossingover fromsoundculture,andleakingintovisualartculturesonlysporadically.01Glitchmore fullyenteredmyvocabularyforvisualsandnetworkswhenIbegananartisticcollabora- tionwiththemusicianGoto80(AndersCarlsson)in2007.Heexplainedtomehowheex- ploitedtheCommodore64soundchip(theSIDchip)forthecreationofmusic.Thebugs Goto80usedgaveaveryspecifictexturetothesound(theresultofnoise artifacts)andI begantodevelopandrecognizevisualequivalentstothisprocess.Ifoundmoreandmore artifact-basedcorrespondencesbetweenaudioandvisualtechnologies,suchascompres- sions,feedbackandglitches,inmyatthattimemostlyonlineartpractice.Theninearly 2008,GeertLovinkinvitedmetotheVideoVortexconferenceforavisualliveperformance (which was quite a challenge since I had never stood onstage before) and in 2009 put meintouchwithMatthewFuller,anartist,authorandlecturerinLondon,whichlater turnedouttobetwokeyturningpoints,artisticallyandtheoretically.Ibeganperform- ingandmorestronglytheorizingwhatIwasthencallingmyacousmaticvideoscapes.02 IexplainedtoFullermyobservationsofcompressions,feedbackandglitchesinsound 01|Aroundthistime,therewereonlyafewpeopleusingtheterm‘glitchart’inthecontextofthevisualarts:AntScotthadbeenworkingonhis ‘glitchart’sinceJuly2001andwasalsooneofthekeyperformersataGlitchfestivalthattookplaceinNorwayin2002.Besidesthis,Iman MoradijustfinishedhisGlitchAesthetics-dissertation(2004)inwhichheusedtheterms‘glitchart’and‘glitchdesign’interchangeably.The term‘glitchart’firstenteredWikipediain2007,whereitwasexplainedasmanipulatedB-moviesanderoticart,alsoknownasasubsetof RapeArt.Thisdescriptionchangedonlyin2009.InconversationwithMoradi,weagreedthatthetermonlypermeatedvisualarttheoryanda generalvocabularyafter2005,ifnotacoupleofyearslater. 02|InreferencetoPierreSchaeffer,Icalledthesevideos‘videoscapes’.Thesevideosfollowedthelogicofacousmatics;Irefusedtheaudience knowledgeovertheinstrumentandthusdeniedthemtheirinherentculturalconditioningthatwouldotherwisehelpthemintheirprocessof makingmeaning.Indoingso,Iputinfrontofthemthe‘unseenvisualartifacts’,frombehindPythagoras’curtain-theshrouded,blackveilof technology,http://videoscapes.blogspot.com/ 7 andtheircorrespondencestothevisualsphere,whopointedmetotheearlyinformation theoryofClaudeElwoodShannonandWarrenWeaver.Theirworkprovedmostuseful tomyprojectofdevelopingatechnology-drivenframeworkfortheorizingtheseusually unwelcome,increasinglyexploitednoise artifactsinwhichmypracticewassoinvested. Inthebeginningof2010,Idevelopedanddistributedtheglitchstudiesmanifesto (2010)inwhichIarguedinfavorofmorecriticalattentiontoglitch’sincreasingossifi- cationinstandardizeddesign.03Ialsowroteavernacularoffileformats(2010),a workinthegenreofahandbook,intendedtomorerigorouslycommunicatethetechni- calspecificationsofall(ormost-used)digitalcompressionartifactsthatcouldbecreated through random data insertion at that historical moment.04 This comprehensive PDF guidetocompressionartifactswaspositivelyreceivedbytheglitchcommunityandalso spawnedmynextproject,theco-developmentofapieceofgenerativeglitchdesignsoft- waretogetherwithJohanLarsby,calledmonglot(2011).monglotmadeitpossiblefor anybody, without extensive data corruption skills, to technically interrogate and learn aboutthedevelopmentofspecificglitchformations.05 MorerecentlyIhavemergedmytechnical,narrativeandhistoricalcomprehensionofdig- italglitchcultureintoanaudiovisualperformancecalledthecollapseofpal(2010),in whichthe(PaulKlee’s)AngelofHistory,asnarratedbyWalterBenjamin,reflectsspecifi- callyontheendingofPAL,theanalogPhaseAlternateLinetelevisionsignal.Byintroduc- ingacriticalandmelodramaticnarrativetoaworkofglitchart,Itriedtounderlinethat thereismoretoglitchart,andmoreatstake,thanjustdesignandaesthetics.Thework addressesthemessuchasplannedobsolescence,built-innostalgia,criticalmediaaes- theticsandthegentrificationandcontinuingdevelopmentofaglitchartgenre.Finally,I havebeenparticipatingincriticalcommunitybuildingaroundglitch,inmyworkasco-or-
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