“The pixel is the fundamental unit of digital imaging, a square representation of a single color. Pixels are always the same size, and always arranged in orderly grids. This project looks at what happens when you change these universally agreed upon standards. More broadly, I’m interested in how the construction of digital images alters our perceptions of reality. Does computer-mediated vision change how we see without computers?”
AN INTERNATIONAL NOISE && [DIRTY] NEW-MEDIA
Now in its second year, GLI.TC/H gathers a variety of participants + works + ideas from within glitch/dirty/experimental-new-media art communities into a multi-day & multi-format happening consisting of video screenings, real-time performances, workshops, lectures, panels, a gallery exhibition and on-going online components.
Thinkers and artists; Makers and breakers converge to celebrate technological catastrophe. A glitch is a moment known to everyone but enjoyed by few. GLI.TC/H brings together those inspired/curious/provoked by glitches and provides a platform to break things, share thoughts, and develop ideas.
GLI.TC/H will include works from over 100 participants from more than a dozen countries and will be taking place in virtual-space at http://gli.tc/h and in real-space from Nov 3 – 6 in Chicago, US; Nov 11 – 13 in Amsterdam, NL; Nov 19 in Birmingham, UK.
“A glitch is a mess that is a moment, a possibility to glance at software’s inner structure, wheter it is a mechanism of data compression or HTML code. Altough a glitch does not revel the true functionality of the computer, it shows the ghostly conventionality of the forms by which digital spaces are organized.”
Olga Goriunova and Alexei Shulgin, Glitch, in Matthew Fuller (edited by), Software Studies: A Lexicon, Cambridge, MA: Mit Press, 2008, p. 114.
“Systems Fail. Errors Happen, Computers don’t know whats going on. We see interesting and unusual visuals artefacts and glitches, We capture them!
At other times we provoke them!
This book presents a really colorful and vibrant variety of unusual visual glitch artwork from some very talented people.
This book was 4 years in the making, and received over 900 contributions! The book is a must have for anyone with an interest in Glitch Art & Aesthetics. With interviews and introductions for those who want to learn more.”
“The concept behind Unpixelated (2009) by the Swedish artist Anders Weberg is the fact that Japanese law requires that all male and female genitalia in Japanese porn be blurred, so as to obscure it from sight, a procedure referred to as bokashi. In Unpixelated, Weberg utilizes software that reconstructs the censored images. Once the software has been applied, the rest of the image is blurred, so that only the previously censored genitalia are clearly identifiable.”
Web Aesthetics, p. 164.
“In Delter (2002), Victor Liu offers an explicit magnification of the approximate nature of the digital moving image. Using software capable of extracting what is between one frame and another in an MPEG video, Liu reveals the inter-frames as shaded, ghost-like traces of a video’s images. With this project, Liu exposes the structure of the data as fixed in a compression procedure, revealing a scheme designed to be viewed and interpreted by machines only. In viewing this structure, we see the human becoming machine: the last landing place of the desire to replace the machine in rebuilding the wholeness of the movement of the images that Delter deprives of their objects.”
Web Aesthetics, p. 164.
“Employing fragile and trembling aesthetic representations, Bill Morrison’s Decasia (2002) celebrates the precarious nature of cinema. Rather than impoverishing the images, the stains on the film renders them precious, something like the wrinkles that time traces on a face.”
Web Aesthetics, p. 163-164.
“Julien Marie’s Low Resolution Cinema (2005)31 is an abstract vision of the geopolitical space of the city of Berlin. Through a series of expedients, among which is the drastic lowering of the resolution, Marie aims at decompressing the image in a 3-D space. A special projector realized by two semi-broken black-and-white Liquid Crystal Displays is used to show only the upper or the lower part of the image, which is constantly moving closer and further from the projector lamp, which itself also moves back and forth. The resulting image is so damaged that it evokes the scrolling matrix code seen in The Matrix, or the tight characters produced on the scroll of a dot matrix printer. In Low Resolution Cinema the perfection of the image becomes a shaded memory, but the magic of cinema, that illusion produced by moving images, remains absolutely intact.”
Web Aesthetics, p. 163.