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Glitch Art Br 2020

www.glitch.art.br Cleber Gazana

(Org.)

Cleber Gazana

(Org.)


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Este livro faz parte da Glitch.art.br 2020 Glitch Art International Online Exhibition, o primeiro evento de Glitch Art organizado no Brasil e um espaço projetado para promover, exibir, interagir e discutir a arte Glitch. Copyright © Cleber Gazana (White Area), 2021

1ª Edição / Edition. ISBN 978-65-00-23873-0 Revisado conforme o Novo Acordo Ortográfico. Nenhuma parte desta obra poderá ser reproduzida ou transmitida por qualquer forma e/ou quaisquer meios (eletrônico ou mecânico, incluindo fotocópia e gravação) ou arquivada em qualquer sistema ou banco de dados sem permissão do autor.

Dados Internacionais de Catalogação na Publicação (CIP) (Câmara Brasileira do Livro, SP, Brasil) _____________________________________________________________________________

Glitch Art Br 2020 / Cleber Gazana (org.) ;

[tradução Sabato Visconti, Cleber Gazana].

-- 1. ed. -- São Paulo : Ed. do Autor, 2021.

Vários autores.

Edição bilíngue: português/inglês.

ISBN 978-65-00-23873-0

1. Arte - Exposições 2. Arte digital 3. Glitch art

4. Mídia digital I. Gazana, Cleber.

21-67379 CDD-709.0501 _____________________________________________________________________________

Índices para catálogo sistemático: 1. Glitch art : Artes 709.0501 Cibele Maria Dias - Bibliotecária - CRB-8/9427

All images, names and texts published here have been authorized by their copyright holders, in accordance with the Terms and Conditions of the Glitch.Art.Br 2020, without incurring any responsibility for the Organizer, at no cost to the Organizer or payment to participants, reserving the copyright of their respective authors. The participant will be solely responsible for the authenticity of the information provided, for the authorship of the artwork and the contents therein. The participant assumes responsibility for submitted content, responding to civil and criminal penalties for plagiarism or any other act that may harm another person's copyright or intellectual property.


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Cleber Gazana (Org.)


Capítulos / Chapters

What is glitch.art.br? p.07 Cleber Gazana

Our numbers [will] keep growing

p.11

Postdigital aesthetics: an art of imperfection, disturbances and disintegration

p.13

Sintomatologia da Glitch Art: arte pós-digital, erro e a humanização da tecnologia

p.23

A potência da falha na arte

p.33

Cleber Gazana

Andrzej Marzec

Cleber Gazana

Ludimilla Carvalho


Glitch.Art.Br 2020 / Index

Categorias / Categories

Audio p.43 Image p.55 Video p.93

Índice de Artistas / Artists Index

p.122

Agradecimentos / Acknowledgment p.124 Créditos / Credits

p.125


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What is glitch.art.br? Cleber Gazana

Glitch.art.br 2020 International Online Exhibition. Post-pandemic First Edition.

Website

Glitch.art.br is an online platform designed to promote, exhibit, and provide a dedicated space for interacting with and discussing Glitch Art. The 2020 International Online Exhibition is organized in Brazil, but is intended for a global audience. The exhibition is free and open to everyone, as it allows for a wider worldwide audience to access an online program that brings together artworks and texts by current artists and researchers.


The idea was born out of the need to research and promote this important artistic genre that grows every year. The exhibition format was inspired by online new media festivals like GLI.TC/H, Op3nr3po, Year of the Glitch, and The Wrong. The goal is to create a participatory and community-oriented initiative dedicated to showcasing experimental and subversive arts from old and new media that are based on analog and digital technologies, also to wide-ranging creative new media-art practices. The exhibition is particularly interested in featuring artworks that explore the critical, artistic, and free use of technology.

In terms of artistic production, we will focus on those artworks that clearly represent or dialogue with Glitch Art. These are works that feature glitches, errors, failures, noise, deformations, malfunctions, defects, imperfections, strangeness, randomness, accidents, chaos, (dis) programming, deconstructions, interventions, interference, subjectivities and disruption of appearances, power structures,


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Glitch.Art.Br 2020 / Chapters

narratives, orders and functionality of data, files, software, hardware, and other technical devices. This includes ways of creating (un) automated, incorrect, incoherent, collaborative constructions, marginal knowledge production and actions; in short, the possibilities of creating artworks that do not participate or rarely participate in the “recognized” circuit of the current international art market.

+ Who idealized and organized all this? The voice speaking on behalf of glitch.art.br is Cleber Gazana, a person who identifies with Glitch Art and is concerned with its promotion, exhibition, interaction and discussion. If necessary, other people will be invited to the organization. This is an individual initiative without financial or any kind of assistance.


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Our numbers [will] keep growing Cleber Gazana

See the numbers of our event beside.

Artists

64

We took the opportunity to thank the participation of all the artists who were part of this edition and also to the artists who submitted their artworks but who for some reason were not selected for this edition.

Countries

30

Sound Art

12

Image Art

45

Video Art

25

Online social media

06


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Glitch.Art.Br 2020 / Chapters

Andrzej Marzec – Philosopher, film critic, editor of "Czasu Kultury" journal. His research interests focus on: speculative realism, object-oriented ontology, dark ecology and contemporary alternative cinema. In his latest research he tries to apply the notion of "weird realism" to the Anthropocene epoch. The author of books: "Widmontologia - Teoria filozoficzna i praktyka artystyczna ponowoczesności" (2015) and "Antropocień – filozofia i estetyka po końcu świata" (2021).

Postdigital aesthetics: an art of imperfection, disturbances and disintegration1 Andrzej Marzec

Various negations of art (anti-art and destruction art) consisting in questioning its classical vision and mission were first of all supposed to object the representation and free images from the compulsion of depiction. In my considerations over the postdigital aesthetics, I shall start from the rebellion of images which free from the obligation to reflect, duplicate the reality, and which become independent and performative agents. From now on, their main purpose shall be their actions: disturbance, distortion and shifting the existing vision of the world. It is those images which shall constitute the postdigital landscape, create the splice,

the space of co-existence of the elements of the analog and digital cultures. Apart from the phenomenon of the return of analog devices, i.e. the so-called neoanalog trend in the effectively digitalized world, the most interesting phenomenon within the new aesthetics turns out to be glitch art, an art based on destructive actions, fascination with defect, failure and unsuccessful representation. Relying mainly on Rosa Menkman’s research, I wish to characterize the phenomenon of the postdigital aesthetics, highlight its negative dimension and show the inspirations which it draws from the fact of the digital reality becoming obsolete.

1 Artigo publicado no livro Unframing Archives. Essays on cinema and visual arts. p. 31-43. Coordenação: Eugénia Vilela, Filipe Martins, Né Barros. Coleção Estética, Política e Artes. Editora Faculdade de Letras do Porto, outubro 2018, ISBN 978-989-54179-4-0. Publicado aqui com autorização de Né Barros (2021). + https://balleteatro.pt/edicoes_filmes/livros/


Rebellion of images Throughout centuries, the traditional art has made us familiar with its affirmative character, and the creation process itself was connected with the reality: if it was directly connected with its creation, then with proving and confirming its existence. While surrounded by pieces of art, we can be sure that usually they represent, convey a number of more or less colourful and recognizable depictions or classical values, such as beauty or truth. The image then constitutes a strictly dependent, if not enslaved thing, therefore, is always artificial and secondary, it has to refer to something, it can be nothing else than a copy of its original. Meanwhile, in the 20th century starts the period of rebellion, during which the more avant-garde images become more and more independent, and try to free themselves from their humble role, i.e. the compulsion to depict. This is the reason why they become abstract, non-figurative, and thus independent. From now on the emancipated art will not want to reflect anything, nor will it have to exemplify, show, depict or make present. This negative shift in the history of culture, which consciously gives up bringing its participants to the better, more true and beautiful worlds, gets to be called a crisis of representation or a problem of reference. The gradual separation from images and what they represent, i.e. the process of emancipation of copy from its original dictating the conditions of its proper reproduction, has been described by Jean Baudrillard, who presents his theory of simulacra2. According to this French philosopher, originally images were faithful copies of its originals; one could say there were

2 See. BAUDRILLARD, J. 1994. Simulacra and simulation, trans. Ann Arbor, The University of Michigan Press.

inseparable and complementary. Unspecialized and enslaved representations did not replace the unbeatable reality – they were only able to refer and lead to it. The second stage of the emancipation of images consisted in actions of unfaithfulness, i.e. the gradual separation from the original and the purposeful departure from the truth. The even more attractive representations begin to draw the attention which is exclusively theirs, and they slowly become more interesting than what they were supposed to depict: they cover the reality to which they ought to lead in the first place. In the third stage of creating of simulacra, the depictions only pretend to be able to lead us anywhere thus simulating the existence of their original or source. Finally – according to Baudrillard - simulacrum constitutes the ultimate form of emancipation of images which exist independently already, each for itself and without referring its spectators to nothing but itself. By screaming non serviam!, rebellious, nonfigurative images renounce their service for the benefit of the nonrepresentational reality, which they were so far supposed to justify and – through their existence – to maintain. Thus, images stop to be reflections, representations and copies, and finally freed from the duties imposed by them, start to live independently, like their own and authentic life, away from the compulsion of depicting. Henceforth our interest is diverted to the earlier hidden existence of images, and our attention is drawn to their specific desires, dilemmas, problems and hopes. This is why, contemporarily, the question what images want seems to be much more interesting than the matter of what they depict, convey and what reality they refer to3. 3 See. MITCHELL, W.J.T. 2004, What do pictures want? The lives and loves of images, Chicago, University Of Chicago Press.


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[...] discusses the recent phenomenon of postdigital aesthetics, with a focus on postdigital artists’ preference for destructive actions, and their use imperfection, distortion and errors. [...] The art of glitch perhaps best epitomizes our postdigital condition and shows a discontinuous experience of reality.

Postdigital reality We have analysed the long but consistent process of the aesthetic emancipation, i.e. the liberation of the world of art from the compulsion to represent, completed with an effective instability of the opposition original copy. The postdigital reality requires a few words of comment since it is this space where we can find rebellious images which interfere with and distort the traditional order of depiction. What was characteristic of the postdigital epoch was the unshakeable faith in the information conveyed, which – free from any imperfections and disturbances – was supposed to fight the destructive force of time. The digital culture based on the binary code seemed to be absolutely immaterial and generated the effect of immediate and unfettered availability. Its lightness and sterility was additionally increased by the minimization of medium and

wireless communication, making the impression as if the flow of data were taking place with no mediation whatsoever. The new, dynamic, mobile and elusive digitality was clearly opposed to the heavy analog tradition of many hundreds of years of existence, which was not able to protect the recorded images and information from being lost, obsolete and disintegrated. Meanwhile the digital technology, as well as the vision of future it represents, has become old and does not constitute a novelty. Therefore, in order to describe it, I have been using the past tense. Contemporarily, we live in the postdigital time, which - against the digital prophets’ predictions – means that we are very likely to combine the so far juxtaposed worlds, the analog with the digital one. In a nutshell, the postdigital reality means that we gladly use the old-fashioned, analog, and – one could think – forgotten – media, but we do it in a way we got used to through the newest achievements of technology, the digital media.


Florian Cramer gives a perfect example of such hybrid, digital and analog proceeding where he analyses a mem he came across in the net. In the mem, there is a photograph of a man sitting on a bench in a park, with a typewriter on his lap. It is signed "You shall not be a real hipster unless you take a typewriter to a park"4. Cramer reveals that the photograph depicts the American writer Christopher D. Hermelin, who by profession writes short stories outside, which then are bought by the passers-by. We are used to the sight of people typing in parks and cafes but using laptops: the sight of a typewriter might cause surprise and disturbance in the users of the digital culture. However, the analog choice of the writer who uses the old technology in a new way seems to be well-grounded, and perhaps most practical. If Hermelin decided to sit on the bench with a laptop and wireless printer, it would be much more complicated, his writing would lose its unique charm, and his efforts would be limited by the capacity of the battery, access to the Internet and the weather.

4 Cfr. CRAMER, F. 2015. What Is “Post-digital”? [in:] Postdigital Aesthetics. Art, Computation and Design, edited by Berry T.D., Dieter, M., New York, Palgrave Macmillan, p. 12.

End of digitality: neoanalog Another sign of the fact that we live in the postdigital era is the amazing popularity of the series Thirteen Reasons Why (Thirteen Reasons Why, 2017), which tells the story about a teenage girl who committed suicide (Hannah Baker). She decides to record her memories on tapes. Everyone who has contributed to her death even in the least degree, receives a set of the tapes prepared by her, and having read them they find out about the thirteen reasons which makes this secondary school girl commit suicide. The fact that she chooses the old-fashioned data carrier, her being born in the 20th century and having access to Facebook, Snapchat, all kinds of video blogs, YouTube and many other channels of contemporary communication, makes you think and ponder why. From the digital point of view, her entrance into the analog world is directly connected with a concrete vision of death necessary in the virtual reality. The shift into the offline state, disconnection from the Internet turns out to be equal with catastrophe, apocalypse, it is a nightmare of most teenagers. Hannah, recording herself on the tapes, on one hand stresses her exceptional quality and difference so that there is no place for her in the secondary school environment, on the other she repeats the gesture of suicide as most people do not have the cassette players anymore. If we look at her decision from the postdigital point of view, it


Glitch.Art.Br 2020 / Chapters

turns out that the secondary school student is an aware participant of the non-contemporary aspects of the contemporary times, and her choice perfectly shows the way people function in the hybrid, neoanalog times. By forcing her friends to listen to the tapes and using the paper maps with spots marked by her, Hannah introduces havoc to the orderly world so far distinguishing between the analog and digital reality. What is mingled in the series is the chronological order, the past is intertwined with the present making them difficult to separate one from another. The sequence of tenses may be discerned only when we carefully follow the aesthetics with which the film was created. The events from the past are bright and colourful which is typical of the analog culture, the present ones however have cold, blueish hues characteristic of the digital way of perception. Hanna’s usage of cassette tapes is aimed at the selective access to information, creation of intimacy, closeness and relation between the sender and the receiver she chooses. The girl thus opposes the virus-like model of spreading information, their uncontrolled multiplication, the sender’s anonymity and the immediate availability of the whole content 5. She herself falls prey to this way of passing on data when one of her intimate pictures gets in the Internet, and she is not able to control how it is increasingly passed. That is why she chooses an

5 See. SAMPSON, T.D. 2012. Virality. Contagion Theory in the Age of Networks, Minneapolis, University of Minnesota Press.

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old-fashioned data carrier, which offers neither immediate nor entire availability of the content. In order to listen to the recorded story, one needs a great deal of time and if they want to get familiar with it, they ought to learn to live with it, i.e. its slow assimilation, from the very beginning to the very end. Also, the recording itself, with the usage of the analog technology is different, deprived of the possibility to cut, do the retouching, change and interfere with, all of which result from the subsequent processing of sound. The teenager’s narration leading us throughout the whole series creates the impression of security, stability and continuity in the instant culture, in the world used to fragmentariness, citations, extracts and skipping of boring, uninteresting information.

Analog-digital splice The co-existence of the analog (sound waves, magnetic field) and digital (fragments of bites, pixels) cultures, their intertwining, constitutes the postdigital landscape of the contemporary, visual culture. We can notice the increasing fascination by the analog devices, we can observe their second life, as if contemporarily they would like to be used once again, in completely new conditions and circumstances (cassetterecorder tapes, VHS, vinyls, postcards, analog photographs, even money). Not only is their usage becoming popular but also equal with the so-far favouring and overrating of digital ones.


The ideal of the digital vision of the world consisted in the consistent striving for perfection, maximal speed of transmission, immediate availability, high quality of data, durability of information and cleanness of the transfer, i.e. eliminating of any interferences and creation of perfect communication. Today, we know that this utopic dream cannot be fulfilled. The exchange of information never takes place directly. This is why we are constantly doomed to face the distortions generated by the application of media. Information is not something existing beyond time and space, but is always connected with transformation and deformation when it is being passed6. The comeback of the analog culture could be perceived as the revival of the materiality so hated in the digital era, of the DIY culture, and last but not least, the conscious resignation of perfection. The new, hybrid aesthetics stemming from the experience of mingling or the splice of the analog and digital traditions, is interested first of all in the defeat, defect, damage and the failure of the project of digitalization, it is born from their ashes and its them where it generates its inspiration from7. The digital era offered a quick and easy access to information, but it was permeated with the danger of radical and immediate loss of data – everyone is aware of the difference between a book flooded with the morning coffee and a laptop or smartphone. The postdigital aesthetics shall feed itself in different ways on the atmosphere of danger and accident so typical of the digital times, on

6 Cfr. LATOUR, B., A prologue in form of a dialog between a Student and his (somewhat) Socratic Professor. Edited by: C. Avgerou, C. Ciborra, F. F. Land. [in:] The Social Study of Information and Communication Study (2004), pp. 62-76.

the destruction lurking in hidden place, which is able to digest and devour the digitalized archive in one go8. Not without a reason, the main axis of the Thirteen reasons why is a personal catastrophe, the heroine’s suicide. With bated breath, the spectators of the series watch a number of unlucky events from her life, private defeats and failures, which led her to death, while from the very beginning nobody has illusions as to a different end of the story.

Failures and death in the digital world The postdigital aesthetics fetishizes visual errors, defects and imperfections from which the digital culture wanted to free us at any price. One of the most important artistic trends realized therein is glitch art, i.e. art which highlights disturbances, uses digital errors, prefers a bad quality of image and its disintegration, the so-called pixelization. The creators using the phenomenon of glitch are happy about the defects instead of crying and grieving over their subsequent results, actually they cause them to exist in order to make happen the creative potential connected with the destructive actions9. The negativity of the postdigital art consist first of all in highlighting the creative role of destruction and disintegration, and on generating distortions, which have no sense whatsoever but influence the recipients in a special way, for instance causing them to feel uneasy. The images created by disturbance shall be significant to their interpreters more due to their interaction and the achieved effect, rather than to its content, sense or representation.

7 See. JOHNSON, C.B. 2014. Modernity without project. Essay on the Void Called Contemporary, New York, Punctum Books. 8 See. Virilio, P. and Lotringer, S. 2005. The Accident of Art, trans. M. Taormina, New York, Semiotext[e].


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The postdigital aesthetics fetishizes visual errors, defects and imperfections from which the digital culture wanted to free us at any price. One of the most important artistic trends realized therein is glitch art, i.e. art which highlights disturbances, uses digital errors, prefers a bad quality of image and its disintegration [...]

Rosa Menkman claims that within glitch art we can distinguish between two kinds of artistic actions. The first one consists in evoking the real defect (pure glitch), creating the real danger for the proper work and subsequent life of a digital device, which in extreme circumstances leads to death10. The other way to introduce a defect into the space of art is its simulation and emulation (glitch-alike), which brings no real danger. In this case it is only about the aesthetic processing of an image which makes the spectators have the impression that something went wrong, something failed while everything is all right and nobody is jeopardized. In the first case, the artists confront us with the real defect, painful failure, drawing our attention to the materiality and mortality of the digital

medium, about which one could think only in the postdigital era. They refer to the natural cycle of life of machines, which – like life creatures – have their beginning and ending, and are born in order to die11 . Stanley Kubrick’s 2001: Space Odyssey (1968) is perhaps one of the first but definitely the most dramatic vision of death of a computer, which starts a serious discussion over the problem of infallibility of calculation machines. When the astronauts realize that the perfect super computer HAL 9000 on the spaceship stops working properly, they decide to deacitvate it. Once the machine finds it out, it proves to have a strong instinct for self-preservation and tries at any price to avoid the death penalty. In order to protect itself, it is able to devote even the lives of the passengers of the spaceship.

9 Cfr. BETANCOURT, M. 2017. Glitch art in theory and practice, New York, Focal Press, p. 7. 10 Cfr. MENKMAN, R 2011. Network Notebooks 4: The Glitch Moment(um), Amsterdam, Institute of Network Cultures, p. 35. 11 A very interesting exhibition Une archeologie des media in the context of mortality of computers and the dawn of the digital world took place in the Second Nature w Aix-en-Provence (19.05‒28.06.2015) http://www.secondenature.org/-ArcheologiedesMedia-.html (access: 19.04.2017). One of the rooms reminded of hospital or operation theatre, where there were dying computers: some of them passed away during the exhibition.


After the struggle with the desperately fighting HAL, Doctor David Bowman decides to disconnect it from power. The computer gets to understand that it is doomed to be destructed and goes on to beg its assassin for mercy: "Dave, please stop. Stop. Dave stop. Dave, please stop. Stop it Dave". The pleas are all in vain, so the cornered HAL decides to talk about its fears and emotional states: "I’m scared. I’m scared, Dave. Dave, my brain disappears. I can feel it. It’s for sure. I can feel it. I can feel it. I can feel it. I’m scared….". HAL is about to die and his memory to be deleted, so it protects itself with its last strength: it recalls its first memory, its own birth on January 12, 1992 in Urbana, Illinois. Trying to manage its growing fear of death approaching, it starts to sing a song about love taught to it by the programmer. The voice of the singing HAL gets gradually distorted and stratified, becomes and undergoes a number of deformations till it finally becomes silent and the computer dies. The spectators are aware that they are being witnesses of the first glitches in the history of the cinema. The postdigital art shows us the human face of computers, it introduces us to the world of machines, which fail, get old and die before our eyes. Obviously, this process can take place slowly and naturally, but most often is speeded up by the defect-hungry artistic creators. It

12 Cfr. MENKMAN, R. 2011. Network Notebooks 4: The Glitch Moment(um), op.cit., p. 37. 13 See. RANCIÈRE, J. 2006. The Politics Of Aesthetics: The Distribution of the Sensible, trans. and introd. G. Rockhill, London and New York, Continuum.

is worth mentioning about the artistic and aggressive actions of group 5VOLTCORE, who use technique circuitbending 12. By manipulating with voltage, the artists evoke a number of short circuits within the body of a computer (hardware), which – during such tortures generates various unpredictable and unexpected images. Glitch art would consist in sharing with the viewers the images of digital machines just before they die, the images brought out shortly before its death13. Being treated inhumanly by the artists, the tormented computers generate non-human visions of the digital world falling apart in the inevitable catastrophe.

Glitch art: Spoil! Destroy! Distort! The first and more conservative type of glitch art described by Menkman concerns rather the artistic interventions into space hardware. Some of Cory Arcangel’s works could be also included in this movement. For instance HITACHI P42H01U Plasma Burn of 2007 depicts an inscription presented for too long on a plasma TV screen which leads to a permanent, irremovable burnt out of the message in it. The creators of glitch art are aware that they are able to avoid neither accident nor defect nor catastrophe in their lives, but they can safely survive only in the world of art, were errors and making mistakes constitute artistic value or device. Not only do the


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postdigital artists perform deadly actions inside computers. They are also interested in activities in space software, like killing websites, creating frustrating computer games which cannot be completed or blogs, where the human language gets mingled with non-human ones used for programming, for example with code ASCII14. According to the previously set principles, the characteristic feature of the postdigital aesthetics is its hybrid-like nature, for instance the conscious usage of analog culture in a way as if the latter belonged to the digital order. Two more artists are worth mentioning since, in their works, they definitely put this postulate into effect and in the division proposed by Menkman are included in the other type of glitch art. One of them is Andy Denzler. Thanks to his characteristic strokes of brush, his paintings lead to blur of images. The artist creates the effect of fast forward perfectly known from the VHS tapes. By means of applied disruptions, Denzler’s art displays first of all the anachronic medium with its subordinated content of the painting. Another interesting creator exhibiting the aesthetics of defect in the applied art is the Italian architect and designer Ferruccio Laviani. In 2013, he created a collection of furniture called Good vibrations15,

14 In this kind of actions, the leader is a Dutch and Belgian duet called Jodi, made up by Joan Heemskerk and Dirk Paesmans. 15 http://www.laviani.com/good-vibrations (access:19.04.2017). 16 https://www.theverge.com/2017/4/18/15328968/samsunggalaxy-s8-review-s8-plus (access: 19.04.2017).

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achieving an amazing, and at the same time disturbing effect. The fronts of the wardrobes designed by Laviani look in reality exactly as if they were digitally distorted (databending), deformed by a strong tremor or rocking. The phenomenon of databending has become so inspiring, if not fashionable, that it is hard to imagine contemporary culture which would prefer a clear message and would consciously avoid disturbances drawing our attention. Thus glitch becomes a common aesthetic choice, overused style or a popular visual effect, more and more appropriated also by the capitalist economy. The aesthetics simulating defect (glitch-alike) suspends the division into the old and the new since every novelty shows evidence of imperfection, pixelation. The way new products are advertised for is changing too. For instance, a video promoting the newest smartphone in the market, i.e. the token of the contemporary available technology, on purpose applies a bad quality font, which after appearing on the screen, instantly falls apart and disappears16. Only a few years ago, the producers of new technologies would have avoided the combination of a product being introduced onto the market with disintegration and imperfection. Today, defect has become an inseparable and commonly approved – if not desired - component of the postdigital reality.


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Cleber Gazana - Designer, professor (at FAAP, USJT, Belas Artes, FAPCOM), visual and sound artist and researcher member of the group c/A/t – [s]cience/Art/technology - CNPQUNESP. His research focuses on art and technology, Glitch Art and design.

Sintomatologia da Glitch Art: arte pós-digital, erro e a humanização da tecnologia Cleber Gazana

Contexto digital e pós-digital Sabemos que o impacto da tecnologia digital na arte foi enorme. Vemos isto nas formas de expressões artísticas que surgiram deste contato entre arte e tecnologia, como a Arte Digital, (New) Media Art, Net Art, Web Art, instalações interativas, entre outras. Desde o início deste século, surgiram diversos discursos sobre uma era e arte pós-digital, presentes em artigos, livros, eventos científicos e exposições de arte. Kim Cascone, compositor de música eletrônica, professor e escritor, em seu importante artigo chamado A Estética da Falha: Tendências do Pós-Digital na Música Computacional Contemporânea, publicado em 2000 na Computer Music Journal/MIT, discutiu o uso de erros de softwares, falhas da tecnologia, ruídos, entre outros, descrevendo o que ele chamou de fase e estética pós-digital da música eletrônica.


O pós-digital pode ser compreendido pelo seu prefixo “pós” como “depois de”, ou seja, tudo que veio depois da incorporação do digital em todas as nossas atividades cotidianas. Entende-se como uma fase pós-revolução digital.

Cascone descreve: A estética “pós-digital” foi desenvolvida em parte como resultado da experiência imersiva de trabalhar em ambientes impregnados de tecnologia digital: ventoinhas de computador zumbindo, impressoras a laser cuspindo documentos, a sonificação de interfaces de usuário, e o ruído abafado dos discos rígidos. Mas mais especificamente, é da “falha” da tecnologia digital que esse novo trabalho surgiu: glitches, bugs, erros de aplicativos, travamentos de sistemas, clipping, aliasing, distorção, quantização de ruído, até mesmo o ruído das placas de som, são a matériaprima que compositores buscam incorporar nas músicas deles. (CASCONE, 2000, p.12-13)1.

O pós-digital pode ser compreendido pelo seu prefixo “pós” como “depois de”, ou seja, tudo que veio depois da incorporação do digital em todas as nossas atividades cotidianas. Entende-se como uma fase pós-revolução digital, “[...] onde a tecnologia digital já está incorporada no nosso cotidiano, de forma invisível, tal como aconteceu com a energia elétrica." (SOGABE, 2016, p.158)2. Isso “[...] nos permite depreender que essa noção remete ao momento em que o digital já não se apresenta como uma novidade na sociedade. [...] e passa a alcançar a realidade de modo ‘natural’”. (SOGABE, 2016, p.206)3.

1 CASCONE, Kim. The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music. In: Computer Music Journal, 24:4, p.12–18, MIT. 2000. Disponível em: <http://mitpress.mit.edu/journals/COMJ/CMJ24_4Cascone.pdf>. Acesso em: 15 jul. 2012. 2 SOGABE, Milton. Arte pós-digital. In: VENTURELLI, Suzete; ROCHA, Cleomar. Mutações, confluências e experimentações na Arte e Tecnologia. 1ª. Ed. Brasília: Editora PPG-ARTE/UNB, 2016. 3 SOGABE, Milton. Arte pós-digital. In: VENTURELLI, Suzete; ROCHA, Cleomar. Anais do 15° Encontro Internacional de Arte e Tecnologia. Brasília: UNB, 2016. Disponível em: <https://files.cercomp.ufg.br/weby/up/779/o/milton_sogabe.pdf>. Acesso em: 25 nov. 2020.


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De acordo com Santaella [...] a expressão “pós-digital” começou a se insinuar nos ensaios críticos de teóricos, nos trabalhos de artistas e nas ações dos militantes das redes digitais, todos eles relativamente convergindo para as questões relativas às ambivalências do momento que atravessamos em que muitos dos prometidos tesouros da era digital rapidamente se transformam em lixo. (SANTAELLA, 2017, p.13) 4

Portanto, o pós-digital se impõe no agora, pois, o revolucionário período da era da informação e tecnologia digital já passou, já se foi o tempo dos deslumbramentos e descontentamentos com as tecnologias e o digital. “[...] Agora é hora de enfrentar suas ambivalências, paradoxos e contradições. É justamente isso que tem sido chamado de “pós-digital”. (SANTAELLA, 2017, p.13). Essa é exatamente a realidade em que vivemos atualmente, onde o digital e a tecnologia são ubíquas, tão presentes em nossas atividades, que quase não percebemos que elas existem. Nós a percebemos apenas quando elas faltam e, principalmente, quando elas falham!

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Quanto a Glitch Art e a Glitch Music neste contexto, segundo Cascone, o que ele mesmo denominava de pós-digital, passa a dizer que “[...] irei me referir a ele a partir de agora como glitch. [...]” (CASCONE, 2000, p.15). Está creditada ao artista Ant Scott, a primeira vez que a palavra glitch apareceu para referirse a obras artísticas. Foi Scott que criou a expressão Glitch Art, no início do Século XXI, mais precisamente no ano de 2001. Esta arte trabalha com “falhas de comunicação e de tradução de dados digitais” (GAZANA, 2013, p.83)5 “facilitados pela manipulação, destruição e modificação de equipamentos eletrônicos como TVs, tablets, computadores, videogames, entre outros”. (GAZANA, 2014, p.22)6.

Glitch Art A Glitch Art não possui um conjunto de regras ou meios pelos quais os trabalhos são criados. Alguns são construídos utilizando falhas de computadores, softwares defeituosos e obsoletos, (re)interpretação e edição incorreta de arquivos digitais, videogames antiquados modificados, câmeras fotográficas e teclados

5 GAZANA, Cleber; et al. Glitch: Estética Contemporânea Visual e Sonora do Erro. In: Cultura Visual, n.19, julho/2013, Salvador: EDUFBA, p.81-99.

4 SANTAELLA, Lucia. Prefácio - um panorama caleidoscópico da arte em suas feições digitais. In: GOBIRA, Pablo; MUCELLI, Tadeus. Configurações do pós-digital: Arte e cultura tecnológicas. Belo Horizonte: EdUEMG, 2017.

6 GAZANA, Cleber; et al. Glitch Art: A Arte Visual do Erro Digital. In: Poéticas Visuais, v.5, n.1, 2014, Bauru: UNESP, p.67-82. 7 Sobre este tema recomendamos a leitura da dissertação de mestrado em Artes Visuais, de Cleber Gazana, chamada Glitch Art: Uso do erro digital como procedimento artístico e possibilidade estética, Instituto de Arte - Universidade Estadual Paulista (IA-UNESP), 2016.


musicais em curto-circuito, enfim, em uma infinidade de práticas. Deste modo, seus artistas criam novas combinações de incerteza, que são condições ideais para fazer o “erro” surgir. Essas experiências de erro inesperado, simulado ou induzido7 se transformam em novas compreensões que se convencionou chamar de Glitch Art. Ela é um tipo de arte que tem necessidade de manter um diálogo direto com a tecnologia e o digital e compreende a “[...] relação entre pessoas e a tecnologia, porém, a tecnologia alterada, manipulada, quebrada, que é pensada para ser utilizada de outra maneira, não aquela que foi projetada [...]”. (GAZANA, 2015)8. O que os artistas Glitch chamam de erro é explorado prática e conceitualmente e, muitas vezes, precisa-se pensar nesta arte mais como um processo. Barker (2011, p.50, 53)9 diz que o processo é que dá a forma à estética do erro, é na interação homem-máquina que está o erro, aguardando para ser descoberto. [...] O emergente artista glitch é seduzido por um encontro casual: [...] da falha momentânea [...]. O erro é percebido como provocador, estranho e bonito. Contudo, imediatamente se pensa: o que aconteceu para provocar esse erro encantador e como eu poderia criar tal imagem de propósito? [...]. (MANON; TEMKIN, 2011)10

Em suas criações, o hardware, software e os dados digitais são os elementos que os artistas tentam colocar em estados de erro. Estes erros bagunçam, corrompem, perturbam os dados digitais, onde eles podem “quebrar” definitivamente ou nos apresentar seus artefatos11 na superfície de uma imagem, vídeo ou mesmo na criação e textura de um som. Assim, cada peça de hardware e software implica em modos de produção e resultados específicos de erro12 que estão diretamente ligados a eles e aos processos utilizados, isto é, de como foram montados, quebrados, manipulados, em uma variedade de maneiras de como subverter a tecnologia, os processos e procedimentos projetados e as expectativas esperadas. No caso de um artista trabalhando com código de software, podemos pensar que se ele comete um engano neste código de programação, o erro só existe do nosso ponto de vista pensando como linguagem (falta de acerto = erro). Seu engano gerará um sintoma, um indicio, para o usuário e que será percebido não como um erro de código, por desconhecê-lo, mas como

10 MANON, Hugh S.; TEMKIN, Daniel. Notes on Glitch. Disponível em: <http://www.worldpicturejournal.com/WP_6/Manon.html>. Acesso em: 23 nov. 2020. 8 GAZANA, Cleber. Glitch Art: Uso do erro digital como procedimento artístico e possibilidade estética. 2016. 220 f. Dissertação (Mestrado em Artes Visuais) – Universidade Estadual Paulista, São Paulo, São Paulo, 2016.

11 Artefato glitch é algo observado em uma investigação ou experiência que não está naturalmente presente, mas ocorre como um resultado do procedimento investigativo ou preparativo.

9 BARKER, Tim. Aesthetics of the Error: Media Art, the Machine, the Unforeseen, and the Errant. In: NUNES, Mark. (Ed.). Error: Glitch, Noise, and Jam in New Media Cultures. New York: Bloomsbury Academic, 2011.

12 Sobre este tema recomendamos a leitura do artigo chamado Instrumentalizando o erro: Procedimentos de criação na Glitch Art, de Cleber Gazana, publicado nos Anais da Jornada de Pesquisa PPG IA-UNESP 2015 – Edição Internacional.


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Hardware, Artista

+

Software,

+

Glitch

+

Contexto

+

Público

=

Glitch Art

Dados

um defeito, um mau funcionamento, uma falha no comportamento desejado de seu correto funcionamento. Assim, houve um defeito no software (meio) que gerou uma falha (glitch) no comportamento esperado por ele. Este defeito de software é conhecido como bug, e o bug não é um glitch. Bug é a causa e o glitch é a consequência, a falha, o sintoma deste defeito. Irion Neto diz [...] se estou baixando um arquivo jpg e a conexão falha por um instante, mais tarde abro este arquivo baixado e constato que ele está corrompido [...] manifestando aqueles artefatos característicos do jpg quebrado este é o nosso 'glitch artifact' que não é o erro, mas a representação perceptível dele, é aquilo que evidencia que houve um erro em um processo. (IRION NETO, 2015)13

Ainda em relação ao erro, é preciso entendelo como a percepção de rupturas das funcionalidades esperadas em um processo de previsão e de devolução de determinado resultado dentro de padrões programados (cultural, social, econômico, político, tecnológico, artístico). Em outras palavras, o erro existe pelo seu contexto e significado cultural. Só é possível falar em erros a partir de uma intenção e uma expectativa e na interação dos atores como apresentados na figura acima. Para Fernandes (2010, p.109)14 “[...] só se torna um erro quando consideramos o propósito do programador humano e a experiência do usuário humano na outra ponta, e das expectativas dos dois lados sobre o funcionamento do programa. [...]”. Menkman (2011, p.4)15 traz Foucault ao dizer que a razão não pode ser entendida sem a loucura, o fluxo sem a interrupção, o ruído sem a ordem, transparência sem os artefatos e glitch sem uma função presumida.

13 IRION NETO, José. Entrevista Glitch Art Irion. 01 fev. 2015. Entrevistador: Cleber Gazana. São Paulo. E-mail. 14 FERNANDES, José C. S. A Estética do Erro Digital. 2010. 142 f. Dissertação (Mestrado em Tecnologias da Inteligência e Design Digital) – Pontifícia Universidade Católica de São Paulo, São Paulo, 2010.

15 MENKMAN, Rosa. The glitch moment(um). Amsterdã: Institute of Network Cultures, 2011.


Falhas tecnológicas Vivemos em ambientes e em um mundo saturado de dispositivos e interfaces onde reina a ideia de avanço e inovação tecnológica. Nossa relação com o mundo é, portanto, afetada por esses fatores e pela dinâmica dos fluxos que eles criam ou nos forçam a seguir. Nestas dinâmicas estão engendradas diversas concepções econômicas, sociais, políticas, culturais, tecnológicas e estéticas que refletem e influenciam o período em que vivemos. Assim, podemos dizer que vivemos em uma sociedade em rede, onde as relações sociais físicas dão lugar ao convívio em meio virtual, através de redes sociais com alcance mundial, onde negócios são feitos online, a música se tornou digital, a rebeldia viraliza virtualmente, entre outros. Como disse Lyotard (1991, p.XVII)16 há mais de 30 anos atrás, vivemos a condição pós-moderna da “lógica do melhor desempenho”, e, conforme Nunes (2011, p.4)17, “[...] nossa utopia da era da informação é um mundo eficiente livre de erros [...]”. Porém, frequentemente em nosso cotidiano, repleto destes dispositivos e interfaces tecnológicas e digitais, nos deparamos com mensagens de erros já familiares, softwares e aplicativos repletos de

códigos defeituosos, dispositivos que geralmente falham, além de outros inúmeros problemas. Junto a isto, a obsolescência programada destes hardwares e softwares estão acontecendo cada vez mais rápidas.

Dead Media e Zombie Media No início de seu texto Media Paleontology, Bruce Sterling (2006, p.57)18 diz que a “Tecnologia afeta a sociedade de duas maneiras: pela sua presença e pela sua ausência. [...] As pessoas raramente prestam atenção às ausências tecnológicas. [...]”. O termo Dead Media foi criado por Sterling em 1995. Ele trata das tecnologias que caíram fora dos critérios de eficiência, que ficaram ultrapassadas e as quais ninguém quer “levantar o defunto”. Podemos citar como exemplo a fita cassete, o FloppyDisk, o disquete, o videogame Atari, a fita VHS e o próprio aparelho de leitura destas fitas, o Windows 3.11, o iPhone OS 1, entre os mais recentes. Os produtos da Dead Media são aqueles que a cultura contemporânea considera inúteis, ruins, obsoletos, sempre com uma conotação pejorativa, sofrendo ação discriminatória, usada para determinar os limites entre o que é bom e o que é ruim.

16 LYOTARD, Jean-François. O pós-moderno. 3. Ed. Rio de Janeiro: José Olimpio Editora, 1991. 17 NUNES, Mark. Error, noise, and Potential: The outside of Purpose. In: NUNES, Mark. (Ed.). Error: Glitch, Noise, and Jam in New Media Cultures. New York: Bloomsbury Academic, 2011. 18 STERLING, Bruce. Media paleontology. In: KLUITENBERG, Eric. Book of Imaginary Media: Excavating the Dream of the Ultimate Communication Medium. Roterdã: De Balie NAi Publishers, 2006.


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De qualquer maneira, a Dead Media nos dá ferramentas, possibilidades e respostas contra a hegemonia da alta tecnologia, da alta-definição, inserindo-se na arte, em nosso caso específico, por meio da Glitch Art. Vasculhando o “lixo” digital, arquivos quaisquer em HD antigos, disquetes e CDs de back-up, encontra-se inúmeros arquivos que, devido às atualizações de sistemas e de versões de softwares, “morrem”, pois não é mais possível sua leitura ou funcionamento e aquelas informações ou aplicações estão “perdidas”. Aliás, este parágrafo anterior descreve exatamente o processo utilizado para criar a obra Decode 19, de autoria de Cleber Gazana, praticando uma obsolescência prorrogada, ao utilizar o lixo digital, arquivos e softwares obsoletos. Esse agir arqueológico e de preocupações da Dead Media, dialogam com as colocações mais recentes de Hertz e Parikka (2011)20 que definem a Zombie Media como “[...] os mortos-vivos da cultura da mídia [...]”. Nessa concepção está incluída a destruição e contaminação do meio-ambiente por substâncias tóxicas descartadas na natureza. (HERTZ; PARIKKA, 2011). Pelos pensamentos deles, a Dead Media se converte em Zombie Media!

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Embora a morte da mídia possa ser útil como uma tática para se opor ao diálogo que só foca sobre a novidade da mídia, acreditamos que a mídia nunca morre. [...] ela deteriora, apodrece, reforma, remixa, e fica historicizada, reinterpretada e colecionada. Ela quer queira quer não permanece como um resíduo no solo e no ar como dead media concreta ou reapropriada através de metodologias artísticas de ajustes. (HERTZ; PARIKKA, 2011)

Assim, a Glitch Art trabalha em um in between, pois não se apresenta usando um hardware ou arquivo “morto”, isto é, que não se pode executar mais, mas também não é um hardware ou arquivo normatizado, nem mesmo usado e compatível com os padrões originais projetados. Isto dá a oportunidade de dizer que é um hardware ou arquivo em estado de erro por não atender as expectativas tidas como corretas por seus usuários e do ponto de vista de seus usos projetados por seus idealizadores.

19 A obra Decode (2015) consiste em um vídeo com duração de 2:10 min., 720x480px, som estéreo, colorido. Foi resultado de parte de sua dissertação de mestrado e apresentado no simpósio internacional Refrag: Glitch , ocorrido na universidade Parsons Paris (França), juntamente com o artigo Revealing Glitch Art (Revelando a Glitch Art). O evento foi organizado por Benjamin Gaulon, diretor do Programa do MFA Design + Technology e do BFA Art, Media and Technology, da Parsons Paris, em parceria com a School of the Art Institute of Chicago (SAIC), por meio de Jon Cates (Professor Associado) e Jon Satrom (Instrutor). Mais informações em: http://recyclism.com/refrag/refrag15.html 20 HERTZ, Garnet; PARIKKA, Jussi. Five Principles of Zombie Media. In: RUA Red. Defunct/Refunct. Dublin: Rua Red, 2011. Não paginado.


Os artistas glitch acessam e utilizam a incompletude e as imperfeições humanas nos dispositivos, tecnologias e mídias atuais, indo em direção oposta a um sistema que busca sempre a perfeição e os ideais dominantes de transparência, da máxima performance e do mínimo erro.

Além dos itens já expostos, considera-se que a Glitch Art expõe parte do funcionamento dos equipamentos e dos dados, que ela revela a essência do meio. Nunes (2011, p.5, 7) diz que o erro serve para “[...] nos lembrar da necessidade de maior controle [...] [e que ele] marca um desvio de um resultado predeterminado”, se tornando um estratagema para intervenções estéticas.

Tecnologia humanizada Ao entrar em contato com as ideias de Gilbert Simondon, em seu livro El Modo de Existencia de los Objetos Técnicos, novas perspectivas de análise se abrem. Em sua filosofia da invenção criadora, Simondon permite compreender o modo de existência dos objetos técnicos a partir de uma visão positiva da tecnologia. Nesta filosofia, existir como invenção é o modo de ser do objeto técnico. O autor traz uma consciência da natureza das máquinas e de suas relações com o homem. Ele vê a tecnologia como uma coisa mais humana, atentando-nos para as questões implicadas

nessas relações. Assim, o glitch pode afigurar-se como uma “revelação da operação da máquina, mas uma que a humaniza em sua capacidade de errar”. (FERNANDES, 2010, p.23) Para Simondon todo objeto técnico possui “superabundância”, isto é, todo objeto técnico é inventado ao se deparar com um problema, porém, sua invenção ultrapassa a função inicial, à resolução do problema inicial, e assume outras para além daquelas as quais foi projetado. [...] fato de que o funcionamento de uma máquina contém certa margem de indeterminação. É esta margem que permite à máquina ser sensível a uma informação exterior. Através desta sensibilidade das máquinas à informação que se pode consumar um conjunto técnico, e não por um aumento do automatismo. [...]. (SIMONDON, 2007, p.33)21

21 SIMONDON, Gilbert. El modo de existencia de los objetos técnicos. Buenos Aires: Prometeo Libros, 2007.


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Isso nos faz lembrar de Flusser e sua Filosofia da Caixa-Preta. Os automatismos simondonianos podem ter relação direta com o programa de Flusser, isto é, um certo número de possibilidades impostas pelo aparato técnico. [...] O que faz um verdadeiro criador, [...] é subverter continuamente a função da máquina de que ele se utiliza, é manejá-la no sentido contrário de sua produtividade programada. [...] (MACHADO, 1997)22. Assim, o artista glitch não trabalha com o default do dispositivo técnico, seu automatismo e seu programa, como também não trabalha com as expectativas tidas como esperadas diante de determinadas situações, sejam tecnológicas, econômicas, políticas, sociais, culturais ou artistícas. Portanto, de acordo com a indeterminação do dispositivo técnico de Simondon, percebe-se a Glitch Art como uma oportunidade de criação realmente para além dos propósitos iniciais projetados.

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Deste modo, a Glitch Art, por meio da tecnologia e do digital, acessa as limitações dos humanos nas imperfeições inerentes dos dispositivos técnicos. Suas falhas são apropriadas e (re) significadas, onde ordem e desordem, controle e imprevistos, processos indeterminados e automatismos são os extremos que forma o in between de onde nascem as narrativas dos erros. O que estes artistas mostram é que as tecnologias são facilmente destrutíveis, pois sua prática artística trata sobre o fazer as coisas da maneira errada, de rejeitar as regras e maneiras corretas de fazê-las em nome da experimentação (GAZANA, 2015)23 numa típica desobediência tecnológica. A Glitch Art mostra que tudo nas tecnologias são falíveis e que ela carrega importantes aspectos dos humanos que a criaram, seja em sua imperfeição, incompletude ou em sua indeterminação. Pode-se pensar também que ao trabalhar com o dispositivo técnico como um colaborador e testar sua funcionalidade induzindo a erros, a Glitch Art usa a tecnologia de maneira humanizada, aceitando suas falhas e incorreções, fazendo destas, uma escolha estética.

22 MACHADO, Arlindo. Repensando Flusser e as Imagens Técnicas. Disponível em < https://edisciplinas.usp.br/pluginfile. php/85564/mod_resource/content/1/repensando%20flusser%20e%20as%20imagens%20t%C3%A9cnicas%20completo.pdf>. Acesso em: 29 nov. 2020. 23 GAZANA, Cleber. Revealing Glitch Art. Paris, França. 22 mar. 2015. Palestra ministrada na Parsons Paris durante o simpósio internacional Refrag: Glitch, Paris, 2015.


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Ludimilla Carvalho - Produtora cultural, pesquisadora, professora e fotógrafa amadora. Doutora em Comunicação (UFPE), publicou recentemente o livro Desarranjos Maquínicos: ruído, tecnologia, imagem (2021).

A potência da falha na arte Ludimilla Carvalho

O glitch é uma maravilhosa experiência de uma interrupção que remove um objeto de sua forma e discurso usual. Rosa Menkman

O termo “glitch” na esfera da arte está ligado ao aparecimento e à consolidação dos computadores como ferramentas criativas, ao ambiente e à cultura da internet, e à troca dinâmica de informações entre usuários que a rede proporciona. Dessa forma, o glitch é um fenômeno artístico essencialmente ligado à cultura digital. O uso da palavra “glitch” como estratégia artística particular, tem um momento pioneiro no campo da produção musical: quando o compositor Kim Cascone observa a utilização de erros das tecnologias


[...] a Glitch Art está muito próxima dos estudos que interligam tecnologia, arte e cultura digital, através de conceitos como “ruído” e “erro”, como evidenciam referências mais recentes.

digitais como exploração de novos territórios e experiências na música eletrônica, no início da década de 1990. Cascone1 também pontua a importância da falha como tendência estética no final do século XX, acentuando justamente o caráter falível de quaisquer tecnologias - inclusive as computadorizadas, quase sempre revestidas de certa aura de perfeição. Já no campo visual, a expressão Glitch Art aparece mais tarde, e teria sido utilizada pelo artista Ant Scott. Posteriormente, artistas e pesquisadores se dedicaram a estudar o glitch nas artes visuais, definindo também algumas características recorrentes

nas obras. Contudo, embora seja um fenômeno cujo nascimento está localizado nos anos 1990, diversos artistas seguem renovando as proposições da Glitch Art. A partir das ideias de crítica e sabotagem da tecnologia, da verve investigativa de potências estéticas da falha e do mau funcionamento, e da conotação política de seus métodos e resultados, a Glitch Art está muito próxima dos estudos que interligam tecnologia, arte e cultura digital, através de conceitos como “ruído” e “erro”, como evidenciam referências mais recentes.

1 CASCONE, Kim. The Aesthetics of Failure: "Post-Digital" Tendencies in Contemporary Computer Music [2002]. Disponível em: http://www.bussigel.com/systemsforplay/wp-content/uploads/2014/05/Cascone_Aesthetics.pdf. Acesso em: 07 jan. 2021.


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O pesquisador Mark Nunes 2, por exemplo, organizou um livro sobre erros e ruídos na cultura digital no qual propõe uma rápida genealogia do termo “erro”. Ele identifica que nos séculos XVI, XVII e XVIII, a interpretação deste termo é predominantemente negativa. Seu estudo fala de uma “poética do ruído”, bastante presente na arte contemporânea, e que abrange um conjunto de procedimentos e obras que se valem do ruído como efeito revelador de visualidades estranhas, diferenciais, e capazes de mexer com expectativas e paradigmas da esfera artística. Essa poética indica o desejo de tensionar parâmetros estéticos, introduzindo como valor formal aquilo que antes fora negligenciado, ou seja, o erro, a falha. Ela também é decorrente de estratégias de combinação dos meios, desenvolvidas por artistas que fazem as tecnologias se voltarem contra si mesmas.

2 NUNES, Mark. Introdution: Error, Noise, and Potential: The Outside of Purpose. In: Nunes, Mark (Org.) Errors, Glitch, Noise and Jam in New Media Cultures. London, Continuum Press, 2011, p. 3-23.

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Investigações sobre o papel do erro, do ruído ou da falha são encontradas na música, na cibercultura e na comunicação. Chéroux (2009) 3 defende o erro como núcleo a partir do qual artistas da fotografia desenvolvem suas obras, levando a mídia fotográfica a zonas limítrofes. Ele concebe o erro em comparação a parâmetros de qualidade instituídos pela indústria fotográfica, disseminados em manuais, sustentados pela indústria e consolidados no imaginário dos usuários (equilíbrio entre luz e sombra, centralidade da composição, regra dos terços, etc). Quando incorporados na arte, os erros desencadeiam inovações fotográficas. Por exemplo, a presença da sombra de quem opera a câmera, que era considerada um erro muito frequente na prática amadora, virou uma inscrição de autoria (a afirmação da presença de um sujeito ativo no processo fotográfico), especialmente nas chamadas vanguardas artísticas europeias

3 CHÉROUX, Clément. Breve historia del error fotográfico. Edições Ve, 2009.


de 1920. Assim, a sombra que era apenas um defeito, foi utilizada como estratégia visual de questionamento de uma suposta objetividade fotográfica, e representava ao mesmo tempo uma manifestação da própria técnica. Se o erro permanece associado à ideia de falha e de mau funcionamento de um sistema, e o ruído é parte inerente de qualquer organismo vivo, máquina ou mesmo das formas expressivas (o que aparentemente faz do primeiro um “defeito” e do segundo um “efeito”), esses dois conceitos estão próximos, porque a ocorrência do erro pode ser considerada uma presença “virtual” que se “atualiza” (DELEUZE, 1999) 4 sob condições específicas, e sua configuração decorre das combinações entre o input de um sujeito e as características intrínsecas a um dado sistema. O ruído, por sua vez, é uma presença quase sempre inaudita, mas também se origina das condições materiais da estrutura na qual se manifesta. Além disso, ambos compartilham a ideia original de perturbação, desarranjo, e interferência.

4 DELEUZE, Gilles. Bergsonismo. São Paulo: Editora 34, 1999.

Piper-Wright (2018) 5 , também pesquisadora da fotografia, desenvolve o projeto In Pursuit of Error, que investiga o acolhimento do erro na prática de não-profissionais. Segundo ela, O erro abre um espaço paradoxal entre a máquina e o humano e apresenta esse espaço como lacuna, uma aporia nas convenções da prática fotográfica tecnológica e culturalmente. Essa aporia é uma zona rica em imaginação, surpresa e desconhecimento que tem sido explorada em si mesma por artistas ao longo dos anos. (...) O erro deliberado usa a câmera contra ela mesma, perturbando os parâmetros para que se produza o erro na imagem. Enquanto há determinadas ações que podem ser previstas, também há situações em que o conhecimento de determinado resultado é parcial. Eu sei que reduzindo a velocidade do obturador obtenho um borrão, mas não posso prever o

5 PIPER-WRIGHT, Tracy. Neither the one nor the other: photographic errors - subjectivity, subverison and the in-between. MAI: Feminism and visual culture, n.1, 2018. Disponível em: https://maifeminism.com/neither-the-one-northe-other-photographic-errors-subjectivity-subversion-andthe-in-between/. Acesso em: 18 dez. 2019.


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[...] Ao se instituírem como experiências com as possibilidades visuais das tecnologias, as obras que se utilizam do erro, do ruído ou da falha são também empreendimentos políticos que visam denunciar a formatação do nosso olhar pelas mídias [...].

resultado da imagem apenas com base nessa intervenção. A situação que está sendo fotografada, bem como a luz e o tempo contribuem com elementos adicionais e imprevisíveis para o resultado. (PIPER-WRIGHT, 2018, p. 1-5)

A zona de fricção entre o controle e a imprevisibilidade estão no centro das discussões recentes sobre o valor estético e a conotação política de processos artísticos conectados às noções de erro, ruído ou falha. No que se refere às tecnoimagens, esses conceitos dão conta de obras variadas que revelam linhas, pontos, pixels, como elementos formadores das imagens, enfatizando a própria presença da tecnologia. Ao se instituírem como

experiências com as possibilidades visuais das tecnologias, as obras que se utilizam do erro, do ruído ou da falha são também empreendimentos políticos que visam denunciar a formatação do nosso olhar pelas mídias (por meio da valorização de estéticas ordenadas, limpas, regulares, miméticas). Em oposição a tais modelos, os artistas vêm conduzindo suas pesquisas e desenvolvendo trabalhos afeitos ao descontínuo, ao imprevisível, ao “feio” (FLUSSER apud FELINTO, 2013) 6 ao “pobre” (STEYERL, 2009)7. Mas aqui cabe um alerta: não se trata de demarcar uma oposição, de fincar os pés no binarismo, mas de extrair de condições adversas de funcionamento das tecnologias, estéticas únicas que problematizam metodologias convencionais, modelos formais canônicos e a própria infalibilidade das mídias.

6 FELINTO, Erick. Cultura Digital, Redes e suas Perturbações Sistêmicas. Intersemiose, ano II, nº 4, jul-dez, 2013, p. 54-65. 7 STEYERL, Hito. In Defense of the Poor Image. Disponível em: https://www.e-flux.com/journal/10/61362/in-defense-ofthe-poor-image/. Acesso em: 15 abr. 2019.


No contexto do uso de computadores para a elaboração de muitas obras de arte, o poder da falha, do erro, ou do ruído ocupa um lugar central nas discussões no campo da artemídia. Erick Felinto, por exemplo, reflete sobre o papel criativo que as paradas ou bugs representam no ambiente informático: Mas por que motivo, então, dever-se-ia valorizar o ruído? Ora, o ruído é aquilo que escapa ao controle, que perturba a ordem, que questiona o sistema. Paradoxalmente, ele é aquilo que obstaculariza o funcionamento do sistema, mas que ao mesmo tempo também o torna possível. De fato, a ordem se constitui através de sua oposição à desordem. O erro, o ruído são responsáveis por aquele aspecto de imprevisibilidade sem o qual não poderia existir diferença e, portanto, a dimensão produtiva do sistema. Um sistema é produtivo ao estabelecer diferença em relação ao seu exterior. Fosse ele inteiramente fechado, sem brechas, autocontido, suas possibilidades produtivas seriam extremamente limitadas. (...) No complexo mundo tecnocultural em que vivemos, os acidentes e vírus possuem uma dimensão

produtiva. Acidentes não são, como numa concepção aristotélica, externos em relação aos dispositivos técnicos que afetam, mas sim constitutivos desses mesmos aparatos. (FELINTO, 2013, p.58)

É curioso que os artefatos da cultura digital, projetados para uma performance eficiente, possuem diversos mecanismos para reduzir a ocorrência de falhas, mas dada a impossibilidade desse controle absoluto, como lembrou Felinto, e a necessidade de lidar com elas, aparecem tendências artísticas que utilizam justamente a falha como estética. É aí que reencontramos a Glitch Art: como crítica a essa retórica de controle e precisão, as suas obras são desenvolvidas através de estratégias de sabotagem, hackeamento, ou pelo desvio dos propósitos e regras de funcionamento dos softwares, hardwares e formatos das mídias, atestando que “embora pareçam fechadas e transparentes, as mídias guardam um paradoxo interno que contém a falha.” (HAINGE, 2007, p. 26-27) 8

8 HAINGE, Greg. Of Glitch and Men: The Place of the Human in the Successful Integration ofFailure and Noise in the Digital Realm. Communication Theory, v. 17, 2007, p. 26–42.


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A proposta não é uma simples recusa ao funcionamento convencional de equipamentos e materiais que são apropriados para o campo da arte. Também não representa uma atitude iconoclasta frente às tecnologias. O glitch conserva uma intenção política de estímulo à reflexão sobre o discurso evolucionista das tecnologias que é muitas vezes propagado pela indústria, e faz isso, utilizando a falha dos dispositivos para criar novas formas artísticas. Em seus processos, vale também revisitar aparelhos obsoletos, com defeito, ou mesmo descartados. Ao explorar situações limítrofes do funcionamento das mídias, a Glitch Art se confronta “com a aparente ideia de uma tecnologia digital infalível através de um ato estético positivo que enxerga beleza onde parece só existir horror.” (HAINGE, Ibidem, p.32) Abraão Filho (2018) 9 é autor de um consistente estudo sobre a Glitch Art, e traça um paralelo entre as proposições desses artistas e a ideia de “profanação do dispositivo”, do filósofo italiano Giorgio Agamben (2007)10, ressaltando a apropriação política dos meios expressivos.

Rosa Menkman11 , artista, curadora e teórica holandesa, é autora do Manifesto de estudos em glitch, de onde retirei o trecho que serve de epígrafe a este texto. Nele, ela reúne algumas premissas do glitch, tais como: o questionamento de modelos, práticas e também da obsolescência programada, a instabilidade e a renovação como princípios da arte, a crítica da perfeição e do automatismo no uso das mídias. Seu texto, que tem um forte tom de combate e também de ironia, celebra o lugar da imperfeição e o aspecto de liberdade que permitem aos artistas experimentarem novas formas e sensibilidades, zombando das amarras da tecnologia. Para ela, Os vazios gerados por uma ruptura não existem apenas como falta de sentido, eles apresentam forças que empurram o espectador para fora do discurso tradicional sobre a tecnologia, consequentemente expandindo-o.

9 ABRAÃO FILHO, Claudio. O avesso da comunicação: Estética e política do ruído na cultura digital. 2018. Tese (Doutorado em Comunicação e Semiótica) - Pontifícia Universidade Católicade São Paulo, São Paulo, 2018. 10 AGAMBEN, Giorgio. Profanações. São Paulo: Boitempo, 2007. 11 MENKMAN, Rosa. Manifesto de estudos em glitch [2010]. Disponível em: https://issuu.com/rosamenkman/docs/ manifesto_de_estudos_em_glitch__ros. Acesso em: 18 mai. 2021.


A proposta conceitual do glitch inclui desconstruir a ideia de fechamento e inacessibilidade das mídias. É abrir, revirar e desorganizar a 'caixa preta' da cibertecnologia, quebrando seus códigos. Por seu espírito investigativo, essas obras são processuais, no sentido de que suas estéticas acusam os procedimentos de manipulação.

A proposta conceitual do glitch inclui desconstruir a ideia de fechamento e inacessibilidade das mídias. É abrir, revirar e desorganizar a “caixa preta” (FLUSSER, 2011)12 da cibertecnologia, quebrando seus códigos. Por seu espírito investigativo, essas obras são processuais, no sentido de que

suas estéticas acusam os procedimentos de manipulação. Compostos de imagens de aspecto repetitivo, fragmentado ou linear (GAZANA, 2014)13 , diversos trabalhos colocam em segundo plano a necessidade de apontar significados específicos, em benefício da potência da forma. O glitch não tem medo do feio, do disforme, nem do descontínuo, pois trabalha justamente com a ideia de desagregação de um sistema, considerando o viés produtivo desse processo. Em projetos recentes, os e as artistas se valem de fontes variadas, a exemplo de bancos de dados de empresas do capitalismo informático ou de conteúdo registrado por câmeras de vigilância, corrompendo todo um universo imagético capturado diariamente a despeito de nossa atenção. Em seu exercício poético,

12 FLUSSER, Vilém. Filosofia da caixa preta: ensaios para uma futura filosofia da fotografia. São Paulo: Annablume, 2011.

13 GAZANA, Cleber. Glitch: a arte visual do erro digital. Poéticas visuais, v.5, nº1, 2014, p. 55-66.

Através desses vazios, artistas e espectadores podem entender a ideologia por trás do código e da voz como uma crítica à mídia digital. Esse entendimento pode servir de fonte a novos padrões, antipadrões ou novas possibilidades que estão situadas em uma fronteira, ou camada específica da linguagem. (MENKMAN, 2010, p. 16-17)


Glitch.Art.Br 2020 / Chapters

o glitch põe em xeque os aspectos de vigilância e controle do sistema midiático que lhe permite existir e criar. Procurando suas falhas, suas brechas, vira esse sistema contra ele mesmo. Na opinião do artista brasileiro Sabato Visconti, A glitch photography considera este aparelho expansivo, com todas as suas facetas não mencionadas e transversais, bem como a forma como encarnamos o aparelho e reificamos as suas exigências, como locais de manipulação, perturbação e perversão, ou seja, como locais de falhas. A glitch photography é por um lado, a prática que interpola o glitch na criação da fotografia, e por outro, a prática de capturar as manifestações visuais de uma falha dentro do aparelho, muito parecida com a forma como se captura um momento espontâneo ou um gesto fugaz.14

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Ao longo dos anos, a Glitch Art segue criando ruído no cenário da imagem contemporânea. Ligada a uma atitude Do It Yourself (DIY) frente aos dispositivos, explora criativamente erros e desvios para gerar estéticas próprias. É uma vertente artística que opera através de reciclagens, recombinações, arranjos poéticos inusitados, descaracterização de mídias. Utiliza não apenas formatos e recursos do computador, mas incorpora também elementos do design gráfico, da linguagem de programação, imagens de sistemas autônomos (circuitos fechados, drones), cenas de filmes, caracteres..., fazendo dialogar com o computador, territórios da imagem como a fotografia, o cinema, e o vídeo. Se comecei esta modesta reflexão com palavras de Rosa Menkman, deixo a ela uma breve e provocativa definição sobre a Glitch Art, como tentativa de encerramento: Eu manipulo, torço e quebro um meio até que ele se torne algo novo. Isso é o que chamo de Glitch Art.

14 VISCONTI, Sabato. Glitch Photography as a Practice in the Age of Postphotography. Disponível em: http://www.sabatobox.com/the-new-praxis/glitch-photography-in-the-age-of-postphotography. Acesso em: 19 fev. 2020.


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Glitch.Art.Br 2020 / Audio

Category

Audio Is understood as any sound and auditory experiences in the broad sense of the term, as in having a broader understanding than just the field of music.

Listen


Artist

Louis Montiel Title

Intégration Focal Country

France Description From Album Journaux Intimes (Experimental Soundwaves & Programing Data Instruments) ™ ®© Louis M o n t i e l is a Visual Artist, Composer & Musician of MUSIK experimental working at the intersection of Avant-Garde and noise of traditional instruments & digital platforms contemporary electronic music. (strongfocus).

Artist(s) Biography In 1997-2000 (Bachelor of Visual Arts in the Faculty of Arts and Design / National Autonomous University of Mexico). In 19992000 he has been awarded a scholarship by taking various Workshops and Diplomas in History of Art, Drawing and Graphic Media, Engraving, Sculpture, Performance, Video Art and Graphics by Multimedia and New Digital Media. In the School of Painting and Engraving “La Esmeralda” / National Institute of Fine Arts. In 2001-2004 (Degree of Philosophy in the Faculty of Philosophy and Letters with specialty in Aesthetics of Art / National Autonomous University of Mexico). In 2011-2014 (Fellow and Researcher / Master’s Degree in Visual Arts in the Postgraduate Unit of the Faculty of Arts & Design / National Autonomous University of Mexico). In 2018, he is currently a PhD Researcher in Arts & Design in Digital Art and New Digital Media in Technologies Applied to Digital Artistic Production in the Postgraduate Unit of the Faculty of Arts & Design / National Autonomous University of Mexico. / 2019, Beaux Arts de París. France.


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Glitch.Art.Br 2020 / Audio

Artist

Artist

Title

Title

Country

Country

Description Variable frequency oscillator was a recording of radio wave propagation in a bad online transmission through the Software Defined Radio system.

Description Eraro es una pieza construida a partir de archivos encontrados en internet, en una referencia al objeto encontrado o readymade. El resultado final muestra fallas propias del proceso digital que han sido moduladas a partir de síntesis granular.

Gridblock Variable Frequency Oscillator Brazil

Artist(s) Biography Cleber Gazana is a designer, master in Visual Arts, postgraduate in Visual Creation and Multimedia, and in Communication and Media, as well as visual and sound artist. Professor (at FAAP, USJT, Belas Artes, FAPCOM) in art, design, radio and TV, cinema and advertising courses. Researcher member of the group c/A/t – [s]cience/Art/technology - CNPQ-UNESP. His research focuses on art and technology, Glitch Art and design. Acts in the sound arts mainly under the name Simple.Normal, but too Gridblock, Danza en Polonia and Cleber Gazana.

Michael Hurtado Enríquez Eraro Peru

Artist(s) Biography Es matemático por la UNI, con estudios de postgrado en matemáticas aplicadas por la PUCP, graduado del programa FabAcademy del CBA/MIT en tecnologias de fabricación digital. Además, es miembro del Electronic Literature Organization (ELO) e Institute of Electrical and Electronics Engineers (IEEE). Como artista ha participado en diversas exposiciones en Suecia, Italia, USA y Perú, siendo ganador del premio VIDA16 de Fundación Telefónica en la categoría incentivo a la producción para proyectos de arte y vida artificial en España. El 2018 brindó una charla en TEDxUNI sobre cómo se relacionan el arte, la ciencia y la tecnología.


Artist

Gadirom Title

Other Voices Country

Russia Description The track is a sound art study that was made as a part of my personal art project “Coronavirus vs Encephalitis” (2020) aiming to grasp my mental response to this extraordinary situation of selfisolation - a kind of strange inner “saudage” that I often felt as my mind was striving to achieve a balance between dark beauty of the loneliness and the fear of the two natural dangers infused in the realities of social world and the wild...

Artist(s) Biography Roman Gaditskiy was born in Alma-Ata, Kazakhstan and currently lives in Moscow, Russia. He studied music in Novosibirsk State Music College and Moscow College of Improvised Music. He has a PhD in Art History from the Research Institute of Russian Academy of Arts. He worked as a professional photographer, designer and music producer. The themes that Roman explores in his art: movement and its expression in different mediums, reimagining of folklore culture, concepts of self. His work has been presented in galleries and participated in art festivals in Russia and abroad.


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Glitch.Art.Br 2020 / Audio

Artist

Artist

Title

Title

Country

Country

Description Distorção genérica sonora codificada.

Description Recording my life through the sounds of the places, the people and their connections and interactions with me and how the relationships and belongings changing with time and seasons.

Rachelmauricio Castro Distaudgen Brazil

Artist(s) Biography Artistas visuais, com arquitetura, desenho industrial como embasamento para trabalhos de net arte, áudio, vídeo e imagens gráficas.

Hyash Tanmoy Since 2018 Until My Death India

Artist(s) Biography Hyash Tanmoy identifies himself as a filmmaker, trans-disciplinary researcher. His works have been exhibited, critically acclaimed, and honored in more than 70 festivals around the world. He is working on the process of improvement in artistic movement, forms, and independent artist empowerment through his researchoriented art and multidisciplinary institutions.


Artist

Artist

Title

Title

Country

Country

Description Generative music edited as raw data in Photoshop.

Description A obra propõe uma escuta ativa aos sons do meio doméstico, através da modulação e ampliação dos mesmos.

Letsglitchit Reverse Sonification USA

Artist(s) Biography Dawnia Darkstone, aka Letsglitchit, has been at the forefront of non-coding based new media art for the past 10 years. She is co-administrator of Glitch Artists Collective and affiliated groups on Facebook where she has contributed to the general knowledge surrounding this emerging medium. She has been exhibited in London, Paris, Zagreb, Minneapolis, San Francisco, and her novel work with sonification has been written about in Vice Magazine.

Luiz Henrique A. L. Passos Dentro de Casa Brazil

Artist(s) Biography Luiz Henrique, nascida em Rio de Janeiro – RJ (1998). Cursou Montagem e edição de imagem e som na Escola de Cinema Darcy Ribeiro; fundou o coletivo Kinofagia filmes. Atualmente desenvolve pesquisa com vídeo e imagens digitais visando ampliar as discussões sobre marginalização, imperialismo cultural e descolonização. Trabalha com o vídeo, a imagem digital, intervenções urbanas e pesquisas sonoras.


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Glitch.Art.Br 2020 / Audio

Artist

Artist

Title

Title

Country

Country

Description Todos os sons foram gerados por meio de operações aleatórias de VSTs obsoletos e defeituosos para depois ser feita a construção sonora que resultou na peça sonora. Thin faz parte do álbum Feine Linien (2012) de Simple.Normal. Este álbum foi reproduzido na integra na Patapoe Radio 88.3 FM no Ano Novo de 2017 - Amsterdã – Holanda.

Description Inspired by the Sci-fi and terror movies from the 50’s the project is a simulation of an electronic recording being possessed by an evil or alien spirit. A white noise signal was processed, distorted and manipulated in several ways.

Simple.Normal Thin Brazil

Artist(s) Biography Cleber Gazana is a designer, master in Visual Arts, postgraduate in Visual Creation and Multimedia, and in Communication and Media, as well as visual and sound artist. Professor (at FAAP, USJT, Belas Artes, FAPCOM) in art, design, radio and TV, cinema and advertising courses. Researcher member of the group c/A/t – [s]cience/Art/technology - CNPQ-UNESP. His research focuses on art and technology, Glitch Art and design. Acts in the sound arts mainly under the name Simple.Normal, but too Gridblock, Danza en Polonia and Cleber Gazana.

André Perim Electronic Possession Brazil

Artist(s) Biography André Perim is a musician, composer, and multimedia artist from Brazil. His work is based on the unique mixture of the sacred tradition of the Afro-Brazilian Rhythms with electronic elements inspired by ambient and psychedelia. In 2020 produces the video artwork “Infotoxication”, that was presented in several festivals around the world in countries such as Portugal, Bulgaria, India, Saudi-Arabia, South Korea and Netherlands.


Artist

LLE Title

Miss Georgette Country

Mexico Description When i was child, my mom and grandmother were selling female clothing very often they visited a large warehouse, as I was very young and could not stay alone in home i had to go with they, for a little child this place was a giant, tons of mannequins, the smell of new fabric and plastic bags, a cacophonic sound mixture of ambiental music and frenetic ladies talking like parakeets, mountains of female clothes i used as a hiding, feel the texture of this around my body, a mysterious ritual of farce and hope. The owner of this warehouse in his free time played the guitar, one day thought it would be good to give some of their horrid music to their customers and recorded an LP. I use for record this piece this LP, I make some cuts in the vinyl and rearmed this (analog sampling), for make the drum beat i used a piezoelectric to scratch and touch specific zones with holes and artificial protrusions in the modified vinyl. The cover its the original intervened with child crayons.

Artist(s) Biography Pablo Benjamín Nieto Mercado (Mexico, 1979). Multimedia Engineer / Artist. His proposals are presented in various formats integrating improvisation, clown, sound performance and collaborative works. His work reflects on the role of technology in human communication and the transformation of the territory. In 2008 he founded the Melvin Records label dedicated to experimental production, his work encompasses sound, net art, experimental video, documentary and installation. He disseminates and exhibits his work in Mexico, Guatemala, Bolivia, Colombia, Uruguay, Brazil, Italy, France, Russia, Germany, the United States, England, Japan, Saudi Arabia and Iran.


Glitch.Art.Br 2020 / Audio

Artist

Paul Beaudoin Title

Isolation (Deep Anxiety) Country

Estonia Description Isolation (Deep Anxiety) is a sonic exploration of fear and anxiety. Using electronically generated materials, Paul Beaudoin has created a tapestry that reflects the anxiety held during this global pandemic. It is from a series of pieces that address different emotional and psychical states. Artist(s) Biography Paul Beaudoin is an interdisciplinary artist working fluidly between the visual and aural worlds without losing his balance. Every aspect of Paul’s work is generated by his own processes and then further manipulated using a variety of digital techniques. They are often painstakingly reassembled to form a fabric of aesthetics, philosophy, and engaging thought. Originally from the United States, Paul now resides in Tallinn, Estonia where he is actively pursuing his creative activity.

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More infos


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Glitch.Art.Br 2020 / Audio

Track Artist

Títle

Duration

Country

01

Hyash Tanmoy

Since 2018 Until My Death

2:57

India

02

Gridblock

Variable Frequency Oscillator

8:10

Brazil

03

Louis Montiel

Intégration Focal

8:59

France

04

Simple.Normal

Thin

2:52 Brazil

05

Gadirom

Other Voices

2:39

06

Rachelmauricio Castro Distaudgen

0:57

07

Michael Hurtado Enríquez Eraro

5:25

08

Letsglitchit

Reverse Sonification

0:35

USA

09

Luiz Henrique A. L. Passos

Dentro de Casa

6:02

Brazil

10

Andre Perim

Electronic Possession

5:36

Brazil

11

LLE

Miss Georgette

4:33

Mexico

12

Paul Beaudoin

Isolation (Deep Anxiety)

3:53

Estonia

Russia Brazil Peru


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Glitch.Art.Br 2020 / Image

Category

Image is understood as any form of static imagery, it is not limited to photographs.

Look


Artist

Alejandro Bombín Marrodán Title

Vals Disney (Waltz Disney) Country

Spain


Glitch.Art.Br 2020 / Image

Description Art media are often seen as something vampiric. Ricardo González would say media relationship is rather an interference between waves, which allows mutual amplification. The very origin of Art history implies multimedia. When Neanderthals started to paint, they took advantage of the volumes on the rock to multiply the sensory impact, generating sculptural and polychromal hybryds. Today we live in a mechanized landscape under constant digital stimulation. In a selfreferential fiction constructed in our image and likeness. Where progress is the substitute for questioning: a kind of prior acceptance of ends and consequences that are not known or mentioned. Mediation is stronger than the subject, intimacy is extimacy. In a world where technological determinism is quite real, glitch is a parenthesis of unquestioned heritage reproduction. A singularity in the system that allows us to see the real code. A cathartic opportunity to shake off the anthropocentric daze. Aesthetically, it embodies the ultimate freedom of presentation of new media, but also insufficiency, the error and corruption that codification of “reality” implies.

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Artist(s) Biography Alejandro Bombín graduated in Fine Arts in Madrid in 2008. Since then he has been dedicated exclusively to artistic production. His works have been exhibited in Asia, America, and Europe. “To speak of Alejandro Bombín is to trace his career as a pioneer of Glitch art; considered almost unanimously as one of the young painters with the greatest projection on the Spanish art circuit. His work requires pedagogical algorithms as an initiation exercise, all of them in an act of approach, that forces the viewer to move between the inscrutable and the neo-pictorial discovery.” (Omar Jerez, 2019).


Artist

Jean-Baptiste Friquet Title

A Study In Pixel Var 554 Country

Belgium Description An abstract landscape of a digital wasted territory.

Artist(s) Biography Jean-Baptiste Friquet, @JBFRIQUET, is a visual artist working on different media, photo manipulation as well as video or 3D. Born in 1983 in Mulhouse, France, he studied film and art editing at the Institute of Broadcast Arts in Louvain-La-Neuve, Belgium. He officiates on Belgian television as editor and director. Now he works as a freelancer for various audiovisual production companies. In 2014, he discovered glitch art, which launched him in a new way and many experiments. He wonders through his art through the famous paradigm “it was better before?”. Child of analog, its present is digital.


Glitch.Art.Br 2020 / Image

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Artist

Cleber Gazana Title

Text Country

Brazil

Description The appearance of the work Text was generated by incorrectly editing an image’s data. The original image was a random piece of text, written only in black, found on old HD of the artist’s backups. This work is part of a series of the same aesthetic, process and results of reframing obsolete data.

Artist(s) Biography Cleber Gazana is a designer, master in Visual Arts, postgraduate in Visual Creation and Multimedia, and in Communication and Media, as well as visual and sound artist. Professor (at FAAP, USJT, Belas Artes, FAPCOM) in art, design, radio and TV, cinema and advertising courses. Researcher member of the group c/A/t – [s]cience/Art/technology - CNPQ-UNESP. His research focuses on art and technology, Glitch Art and design. Acts in the sound arts mainly under the name Simple.Normal, but too Gridblock, Danza en Polonia and Cleber Gazana.


Description Este trabalho é resultado de experiências com o formato de arquivo de imagem PGF (Progressive Graphics File). O processo inicia com a conversão de uma imagem em espaço de cor RGB em uma imagem reticulada monocromática de 1 bit/ pixel. Posteriormente esta imagem 1 bit/pixel é convertida para cores indexadas e então comprimida em formato PGF. Ao comprimir imagens reticuladas de cores indexadas em formato PGF as retículas são distorcidas de tal forma a fazer emergir os artefatos de compressão inerentes ao formato PGF, que é baseado em compressão wavelet. A conclusão é que o formato PGF não consegue comprimir corretamente imagens reticuladas de cores indexadas. Na segunda etapa do processo o arquivo PGF é editado/corrompido utilizando o Notepad++. Esta edição é feita em duas partes do arquivo, tanto no código-fonte da imagem quanto no seu cabeçalho (header). A edição que é feita no cabeçalho do arquivo tem o objetivo de rotacionar a paleta de cores da imagem, o que permite salientar de diferentes formas os artefatos de compressão obtidos inicialmente. A parte da edição (corrompimento) do arquivo que é feita em outras partes do código gera mais distorções e outros artefatos na imagem, ou seja, o glitch.

Artist(s) Biography José Irion Neto nasceu em 1965 na cidade de Santa Maria, RS e atualmente reside em Florianópolis. Seu primeiro contato com computadores foi em 1982 usando uma máquina equivalente ao Sinclair ZX Spectrum. Tem formação acadêmica em Publicidade e Propaganda pela Universidade do Vale do Rio Dos Sinos e trabalhou alguns anos como designer gráfico. Hoje trabalha nesta área apenas ocasionalmente com foco na criação de pôsteres, reservando a maior parte de seu tempo no desenvolvimento de seu trabalho com Arte Glitch. Irion se dedica à pesquisa e experimentação com Glitch desde 2008, tendo neste período participado de diversos eventos e exposições.


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Glitch.Art.Br 2020 / Image

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José Irion Neto Title

PGF Glitch Portrait Country

Brazil


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Description Unfortunately, the artist did not send the theoretical description of the artwork.

Description On my first international trip I took pictures of many neon lights. I’ve always liked them. In this image I made a creation that stretched the pixels of a part of one of these photos as much as I could.

Francesco Seren Rosso Falcon Italy

Artist(s) Biography I was born in Torino in 1979 where I actually live. I’m a self-taught artist started with glitch art in 2018. I’m inspired in what I see around my city and on the internet using various glitch techniques.

Eddy Neon Lights Guatemala

Artist(s) Biography Eddy works with illustration and is a graphic artist. He studied design in Guatemala and Chile, where he also worked as a designer for the past 4 years. He currently lives in Guatemala again.


Glitch.Art.Br 2020 / Image

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Sarah Paradise Title

System Error Country

Canada Description A still image taken from the video: System Error. Artist(s) Biography Sarah Paradise is an interactive digital media artist who transforms two dimensional surfaces into three dimensional landscapes using video projection mapping techniques that illuminate the night with vibrant visuals. Her digital media aesthetic conveys elements of glitch, surrealism, abstraction, geometric patterns, space, nature, and technology. Paradise also strives to create immersive visual experiences for a wide range of audiences. Her interactive digital media artwork has been projected

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throughout Winnipeg at venues including the Winnipeg Art Gallery, the Planetarium, the Plug Inn Institute of Contemporary Art, Cinematheque, the Rachel Browne Theatre, VideoPool, Ace Art, the Park Theatre, the Metropolitan, as well as the Edge Gallery and Urban Arts Centre. She has also performed live visuals at different Nuit Blanche events in collaboration with the Winnipeg Design Festival and the Winnipeg Art Gallery. Paradise has also been involved with live visual performances at a variety of outdoor electronic music festivals throughout Canada including the Manitoba Electronic Music Exhibition (Winnipeg, MB), Connect 22: Terminus (Moose Jaw, SK), and Motion Notion (Golden, BC). She has also performed in the United States at an outdoor electronic music festival called Bloom Town (Waubun, Minnesota). When Paradise is not illuminating the night with her digital artwork, she teaches grades 7-12 Computer Science, Graphics, and ICT at St. John’s High School in Winnipeg, Manitoba. Paradise is also working on her Masters at the University of Manitoba in the Faculty of Education.


Artist

Glitchkitty404 Title

Life Force Country

New Zealand Description ‘Life Force’ explores the idea of using manipulation and dissection with glitch, to capture possible life forms and microorganisms that are revealed within an unseen place. Through experimentation, a fleeting instant is captured exposing what appear to be mysterious existences from within the image. It manifests on its own, creating something that is unexpected seemingly out of nothing and now where. Revealing the hidden dynamisms that lie within electrical sources, it forces the viewer to consider the visual interruption, as it acts as a direct point of connection to a different world and the idea that life will

always find a way, everything is connected and highlights a connection to energy by default. Artist(s) Biography As an aesthetic documentarian, I collect and document the ‘glitch’ in order to expose and display the spilt-second unplanned phenomena. My work captures, pushes and heightens the aesthetic potential of these errors and fragments that materialize by turning them into actual static matter for us to notice and contemplate. As a digital media artist who works in various mediums across digital media, my work is a hybrid of digital imaging, photo manipulation, coding and glitch art.


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Artist

Sabato Visconti w/ Henry Amistadi Title

Gold Cream Toile De Jouy (04) Country

USA

Description Collaboration with Henry Amistadi, a photographer and media artist based in Western Massachusetts. Work is a databent photograph of a Henry Amistadi wallpaperbased work. Amistadi collected sample wallpapers from Thibaut and used scannerbased distortions and Photoshop to create new wallpaper concepts that he then printed and installed on wood panels. Photograph of a printed wall-paper study was captured with a Canon 5D IV. The RAW .cr2 image was then databent with a hexadecimal editor. Resulting work fuses the intricate textures of a databent

dual-pixel RAW image format with the more organic lines of the Henry Amistadi work. Artist(s) Biography Sabato Visconti is a Brazilian-born new media artist and photographer based in Western Massachusetts. He obtained a Bachelor of Arts in Political Science from Amherst College in 2009. Sabato began experimenting with glitch and digital media in 2011 with the help of a defective memory card that randomly wrote zeroes on JPEG files. Since 2011, Sabato’s work has sought to reconfigure traditional understandings of photography for the postinternet era. His work with glitch and postphotography has been exhibited at the Tate Britain, ICA Boston, LACDA, the FILE Festival in São Paulo, as well as in galleries around the world. His images have appeared in Vogue, TIME Magazine, WIRED, The New York Times, and in AI-AP's "Latin American Fotografia 4" Anthology.


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LLE Title

Guerras Por Plastilina / Clay Wars Country

Mexico Description The old men invented the beast that moves with the blood of the past, blood composed of hydrogens and carbons, a consommé of beings crushed by tons of earth. The crude oil burns and leaves black clouds of charcoal outside. Why seek the elixir for evolution within the deep layers of the earth? This piece was developed with plasticine melted by the sun, then scanned with a hacked scanner lamp removed from the original apparatus.

Artist(s) Biography Pablo Benjamín Nieto Mercado (Mexico, 1979). Multimedia Engineer / Artist. His proposals are presented in various formats integrating improvisation, clown, sound performance and collaborative works. His work reflects on the role of technology in human communication and the transformation of the territory. In 2008 he founded the Melvin Records label dedicated to experimental production, his work encompasses sound, net art, experimental video, documentary and installation. He disseminates and exhibits his work in Mexico, Guatemala, Bolivia, Colombia, Uruguay, Brazil, Italy, France, Russia, Germany, the United States, England, Japan, Saudi Arabia and Iran.


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Description Error, failure and glitch. Is there anything more beautiful than that? The work is an experiment with glitch techniques and the use of the computer.

Description Awareness is a series of gifs and jpegs which were randomly generated to introduce the relationship between multimedia and everyday experiences.

Artist(s) Biography Unfortunately, the artist did not send the biography.

Artist(s) Biography Diana Kroshilova is an abstract artist based in Moscow, Russia, who works in mixed media.

Danka Emler Ejtna Lines Czech Republic

Kroshilova Diana Awareness 8 Russia


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Description Obra vetorial AI exportada como imagem passando pela sonificação no software Audacity.

Description “Edición incorrecta” es una obra creada a partir de una imagen en formato JPEG y su edición mediante software hexadecimal.

Marllus Bisceglia Oh My Gosh Brazil

Artist(s) Biography Self-taught designer and digital urban artist. It uses experience as a motivational language for random multimedia actions under the influence of being who you are these days.

Hernán Raggi Edición Incorrecta Chile

Artist(s) Biography Mi formación profesional no está relacionada con el área del arte, sin embargo, las obras de Glitch Art siempre me llamaron la atención, por lo que comencé a experimentar con sus métodos de creación. Esta es mi primera exposición.


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Allison Tanenhaus Title

Shimmeria Country

USA

Description An ooey, gooey other-worldly radiant mountain range of space-age proportions, created by manipulating my previous glitch art, using just my smartphone.

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Artist(s) Biography Allison Tanenhaus is a digital glitch artist who specializes in abstract geometrics, vibrant color fields, optical perspectives, mind-bending motion, and unexpected dimensional qualities. Her source material consists of original photos, previous glitch art, and vintage artifacts that she alters via smartphone. Created with deliberation and experimentation, the results are fantastical compositions that take on psychedelic lives of their own. Recent projects include Harvard Graduate School of Design, Boston Convention & Exhibition Center, and “GlitchKraft: Allison Tanenhaus + Friends” at Emerson Contemporary. She creates music videos and album art for electronic musicians The Square Root of Negative Two, Maria Finkelmeier, and Doug Bielmeier.


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Description Glitch art allows me to express feelings and emotions about the world that surround me and the way I perceive it.

Description YӨЦ cAП’TƬ ЯeaD AПYtHIПG

Mathieu Petot Self_Portrait France

Artist(s) Biography I am a French student of 21 years old, currently in 4th year of transportation design. I do art on my free time. Graphic design (and so glitch art) is for me a way of self-expression. It’s an outlet through which I explore different aesthetics and subjects that I care about.

Glitch Matrix Buildings China

Artist(s) Biography Unfortunately, the artist did not send the biography.


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Artist

Naomi Oliver Title

Fire Crystal Cave Country

Australia Description This fantasy landscape of sliding pixels was created using a number of digital manipulations, including ‘data bending’ (image files are manipulated using software designed to edit files of a different format). The corruption of the original imagery has solidified and simplified the main color elements in an almost 8-bit fashion, rendering the source material almost indecipherable.

Artist(s) Biography I have an art practice based in digital video and animation, coding, sound, and performance art. My current work investigates defects in technology, such as corrupted digital imagery, as well as flaws in psychology, the body and our environment. This includes the memorialization and exposure of digital and analog errors I observe, as well as the intentional creation of glitches and distortions through various means, such as data-bending programs (where image files are manipulated using software designed to edit files of a different format) and coding JavaScript animations.


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Description It seemed to make sense to me that my image be a reflection of my digital interests.

Description There is nothing to say. Just an edited photo of the asphalt.

Artist(s) Biography Paul Beaudoin is an interdisciplinary artist working fluidly between the visual and aural worlds without losing his balance. Every aspect of Paul’s work is generated by his own processes and then further manipulated using a variety of digital techniques. They are often painstakingly reassembled to form a fabric of aesthetics, philosophy, and engaging thought. Originally from the United States, Paul now resides in Tallinn, Estonia where he is actively pursuing his creative activity.

Artist(s) Biography I am not an artist. I am not an artist. I am not an artist. I am not an artist.

Paul Beaudoin Portrait Of A Glitch Artist Estonia

Pix

Ground Greece


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Artist

Doctor Bagre & Lewis_33 Title

Algol Country

Mexico Description Algol es una estrella parte de la constelación de Perseo, forma parte de la cabeza de Medusa. Lo que la hace tan especial es que fue señalada por varias culturas antiguas como “maléfica y endemoniada” a causa de su peculiar brillo intermitente causado por ser una estrella binaria. Algol es la constelación de la falla. Donde dos estrellas se comen una a otra constantemente para poder renacer y seguir con el ciclo. Irónicamente, esta estrella demoníaca es la que más se asemeja a nuestra vida.

Artist(s) Biography Integrado por Doctor Bagre (Visuales) + Lewis 33 (Música). México. El grupo considera relevante proponer libertad de forma genuina y espontánea dentro de la representación en directo. Existe un manifiesto con el cual detonan un nuevo driver hacia la escena mexicana, este accionable lleva como nombre “NewrOn” (Neuron - Neurona en inglés). Esta apuesta define un producto neuronal, monótono y taladrante que caracteriza el concepto del grupo, ya que las secuencias de origen se generan con largas repeticiones que enriquecen el clúster visual en proyección sometido al error una y otra vez para generar en el usuario final la sensación de desconocimiento total por lo que puede venir segundos adelante. Su inspiración está en la naturaleza, la vida y la esencia del ser humano.


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Elena Romenkova & Christian Munk Title

Abandoned Souls Country

Austria Description The 3d sculptures are glitched by data manipulation, placed in an abandoned place. Artist(s) Biography Elena Romenkova (1986) was born in Russia, St. Petersburg. Graduated University of A. Herzen, fine art faculty Master degree. Since 2017 lives and works in Austria in the field of 3D art and glitch art. She participates in digital art-exhibitions since 2013. I see my artworks as a kind of Post Surrealistic compositions.

Most of my images represent my thoughts and feelings. I experiment with different 3d techniques, create digital human bodies and then transform them with different 3D modeling methods - or modify it by data manipulation (glitching). Glitch brings unpredictable results. Christian Munk (1982) Austria. After his technical education at the HTL St. Pölten for Automation technology and almost 4 years of experience at Voith Paper Industrie, he decided to expand his skills in the creative and generative area and began studying experimental media art at the University of Applied Sciences in St. Pölten. The combination of creative influences with the background from technology creates projects in an artistic, technological context.


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Artist

Boris Reichle Title

Maillot À Pois Country

Germany Description Whereas technology has transformed the world around us, humans have struggled to keep up with the exponential evolution of digital technologies and processes such as data abundance, data exchange artificial intelligences. In this work artist explores this area fraught with tensions through demarcating and superimposing outlines, boundaries onto open spaces and representations of the physical world in order to give shape to, as well as reveal patterns and possible underlying truths: from an abstract as well as emotional point of view.

Artist(s) Biography Boris works across multiple disciplines, connecting the corporeal and digital worlds through mixed media artworks, photos and paintings. Primarily working with digital drawing tools and algorithms in combination with his own photographic impressions, he investigates the process of dematerialization which kicked off by the advances in digital transformation. Drawing from his background in engineering the artist works with systems, IO (input/output, filter) interactions and designs that shape our thoughts and lives. Often these are framed instances that would go unnoticed in their original context. Boris currently lives and works in München.


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Description Surrounding yourself with order can create unbounded chaos.

Description My images are created using the digital photo camera without adjustments. Each click results in an unpredictable image.

ApathyFire Forced Serialism USA

Artist(s) Biography I’m just some guy who makes broken art on the internet.

Elton E. H. Turner Analog TV UK

Artist(s) Biography I’m an amateur photographer. Currently studying photography. My artistic skills began to emerge while working at an architect friend’s office. I haven’t started commercial photography yet, but soon I want to open my studio.


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Artist

Ibuki Kuramochi Title

Heautoscopy Country

USA

Description Under this circumstance, all human relationships are now concentrated in the virtual world through the Internet. People’s thoughts, remarks and lives appear in our vision which form into photographs, movies, letters, and become a huge timeline. Occasionally, I have the illusion that my body and consciousness are being absorbed into the world of the Internet. What this work speaks of is an out-of-body experience on the Internet, which stabilizes our minds through relationships and networks via the Internet.

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Artist(s) Biography Born in Japan, Multi-media Artist IBUKI KURAMOCHI specializes in artworks for exhibition (paintings, movies and digital works), and also specializes in live performances combining her live painting with her Japanese Butoh dance. She studied Butoh dance at the world renown Kazuo Ohno Butoh Dance Studio in Yokohama in 2016. Through her work, she pursues the physicality of Butoh’s poetic choreography and the pursuit of the human body in anatomy. She visualizes her performance and body movements as two-dimensional works and video works. Ibuki explores concepts of the body, thought and physical resonance, metamorphosis, the ideal of the Sci-Fi animation character’s body, and the uterus and fetishism. She currently resides in Los Angeles.


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Description Experimentação de glitch com sobreposição por subexposição linear, saturação e contraste.

Description This work was created using the pixel sorting technique created by Kim Asendorf, I imagine. The lines of the image are divided into “intervals” and the pixels in each interval are rearranged in order to classify them in relation to the brightness property. The code simply applies this technique vertically.

Fun.a t Sputnik Brazil

Artist(s) Biography Artista audiovisual graduando em pintura pela Escola de Belas Artes - UFRJ e técnico em produção audiovisual pela FAETEC Adolpho Bloch. Buscando realizar experimentos e descobertas no meio artístico visual e sonoro tanto de forma digital ou analógica, com o objetivo de expandir e explorar o âmbito de possibilidades da glitch art e outros meios ou movimentos artísticos.

Miguel Ferreira Céu vermelho-escuro Portugal

Artist(s) Biography Miguel Ferreira is a geek. He loves technology and computers. That is why he started his creation by manipulating images. Practically his creation is based on the techniques of Glitch Art and digital collage.


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Gadirom Title

Glitch In Space Country

Russia Description This is the image from a time-lapse that I was shooting in the park near my home when I accidentally touched the camera and caused an unintended glitch in the image as several frames was slightly shifted. The resulting image with its long traces of stars distorted by the glitch reminded me of an electrocardiogram with a registered heartbeat. This can be viewed as a metaphor for life itself, which is actually a glitch - an unexpected random event in the otherwise lifeless and ideal movement of physical matter in Space.

Artist(s) Biography Roman Gaditskiy was born in Alma-Ata, Kazakhstan and currently lives in Moscow, Russia. He studied music in Novosibirsk State Music College and Moscow College of Improvised Music. He has a PhD in Art History from the Research Institute of Russian Academy of Arts. He worked as a professional photographer, designer and music producer. The themes that Roman explores in his art: movement and its expression in different mediums, reimagining of folklore culture, concepts of self. His work has been presented in galleries and participated in art festivals in Russia and abroad.


Artist

sieSeis Title

Infection Country

Mexico Description La pandemia del Covid-19 ha resultado una oportunidad para experimentar con la soledad que llevamos dentro todas las personas, al enfrentarnos a un confinamiento obligado y preventivo, lo que nos ha obligado a mirar hacia adentro de cada uno. Esta infección no se trata solo de un virus, sino de volvernos conscientes de nuestra actitud ante la vida y modificar nuestras costumbres en alimentación, educación, además de la salud física y mental.

Artist(s) Biography Collagista y diseñador industrial radicado en la Ciudad de México. Mi trabajo utiliza como soporte el collage análogo y digital combinando técnicas de arte urbano. He expuesto en México, Brasil, España, Alemania, Australia, USA y Serbia.


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Unified with several techniques of photo editing. Creating then the flag of Brasil. Blue and pink, chaotic, rigid and outdated. But still, thought this intervention, showing hope of a brighter future. Of a new generation that will see these old values as something to be surpassed. And not a obstacle to our development.

Description Brazil is facing one of its toughest times in recent history. Corruption, Natural disasters caused by large corporate companies, Violence, Poverty, Unemployment and Criminality. But the Minister of Woman, Family and Human Rights was not focused on that. But rather an agenda to bring the ‘’good values’’ back to Brazil. As for instance when she pronounced that ‘’Boys wear blue and girls wear pink’’. From that I started to react, and respond with my art. Creating a piece that demonstrates what the country is now really like. Chaos. Sampling from Photographs of buildings that represent the rigid, old mentality.

Artist(s) Biography Cairo Lima is a Brazilian-American Artist and Designer. Born in California and raised in Brazil, the contrast in those two different realities made him explore and want to express the world he saw. Always adept to his Brazilian roots, he incorporates and explores the limit of what can be done with Photography, Photo Editing and Generative Art. Expressing the chaotic, yet beautiful world that surrounds him. His work is full of contrast, geometric shapes, saturation and repetitive forms. He is an artist of transformation. Creating new worlds out of already existing ones. An outlet where the sentiment of his city can be expressed.

Cairo Lima Title

Ta Tudo De Cabeça Pra Baixo Irmão Brazil


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Description Computer graphics Master of Light is part of the cycle Master of Light and Its Projection(s), as well as the C.O.S.M.O.G.O.N.Y. exhibition project. It was created by the technique of digital materials recycling, creating an e-collage.

Description Skip was created using a high-resolution image and edited using various software, and then finalized in Photoshop.

Igor Gržetić Master Of Light Croatia

Artist(s) Biography Igor Gržetić was born in Rijeka in 1981. He finished School of Applied Arts (Statuary Design) and Academy of Applied Arts (Graphic Art and Art History), both in Rijeka, Croatia. His art practice includes computer graphic, graphic design and video experiments – in all tree discourses exploring principles of Creative Commons.

Luli Skip

Argentina

Artist(s) Biography Luli is a student of Visual Arts and works with editing and image processing in advertising agencies in his native country, Argentina. Has experience in image editing for ads.


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Ultraglitx

Brazil

nesse país foi natural. Logo observaremos uma civilização intangível: imagens, som, ruídos. A intervenção artística/digital ‘’Ruídos’’, com o auxílio da estética disruptiva que é gerada com a sonificação, tem o objetivo de provocar a reflexão sobre a destruição do Brasil, o nativo, através da arte glitch.

Description A ruína civilizatória e a virtualização do Brasil nativo O novo mundo trouxe o corte de nossas raízes e consequentemente a perpetuação das vidas nativas em extensões virtuais. Graças a uma guerra travada pelo industrialismo contra ambientes saudáveis, esses povos, matas e animais não serão feitos de carne e ossos, serão apenas vestígios do que um dia

Artist(s) Biography Ultraglitx, Jeane Vitória, 22, é uma artista visual de Ribeirão Preto, interior de São Paulo, Brasil, envolvida com o movimento artístico Glitch e colagem digital. Selecionada em algumas exposições de arte no estado de São Paulo como a 27ª Mostra de Arte da Juventude e na Bienal de Arte Digital – THE WRONG com o pavilhão Homeostase.

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Louis Montiel Title

Defixions Corporis Country

France


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Description This art piece created for my PhD and Research about “Artistic Practices, Digital Art in Social Networks & Net Art” used techniques diversity artistic, re-mixed appropriation of video or image and original work from called datamoshing, generative art and glitch art, artwork which remove image’s & video i-frames (also known as key frames and altered binary code) causing it to look extremely senses and distorted; created for virtual gallery on-line. Artist(s) Biography In 1997-2000 (Bachelor of Visual Arts in the Faculty of Arts and Design / National Autonomous University of Mexico). In 1999-2000 he has been awarded a scholarship by taking various Workshops and Diplomas in History of Art, Drawing and Graphic Media, Engraving, Sculpture, Performance, Video Art and Graphics by Multimedia and New Digital Media. In the School of Painting and Engraving “La Esmeralda”

/ National Institute of Fine Arts. In 2001-2004 (Degree of Philosophy in the Faculty of Philosophy and Letters with specialty in Aesthetics of Art / National Autonomous University of Mexico). In 2011-2014 (Fellow and Researcher / Master’s Degree in Visual Arts in the Postgraduate Unit of the Faculty of Arts & Design / National Autonomous University of Mexico). In 2018, he is currently a PhD Researcher in Arts & Design in Digital Art and New Digital Media in Technologies Applied to Digital Artistic Production in the Postgraduate Unit of the Faculty of Arts & Design / National Autonomous University of Mexico. / 2019, Beaux Arts de París. France.


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Ra Lom Title

Untitled Country

USA

Description The work I create is an ongoing exploration of my Mexican identity and the societal condition of feeling incomplete or existing in-between. Calligraphic brush strokes obliquely refer to my cultural heritage, acting as a yearning for permanence and a search for wholeness. We exist in between identities, in between states both physical and unseen…blooming, falling apart, and starting the cycle over again. The work I create is a study of conscious and unconscious impulses and how they reflect a state of identity that is fluid and impossible to hold onto. I mainly use acrylic paint – pouring, mixing, and washing – as I alternate between stages of steady meditation

and frenetic mark-making. In the past, I used self-portraits as a starting point to later abstract into tense oblivion. Now, I start with the oblivion and see what forms reveal themselves afterwards. Mexican heritage permeates through my work, through the calligraphic strokes and references to natural landscapes. This influence was never a conscious decision. On the contrary, I was raised to prioritize my identity as a pathway to success and financial stability or the “American Dream.” I find myself being more drawn to the aesthetic sensibilities of my ancestors, even though their legacies remain a mystery to me. My mark holds the energy of their lineage and the unnerving feeling that a filial connection is possibly forever lost. Each piece is a part of my psychological journey, an effort to map out a fully realized sense of self. Artist(s) Biography I am Rafael. Tijuana is the city that saw me born, known to some as the corner of the world. It is rumored that you are born there so far from God and so close to the United States. I am what is not. I am fiction, nostalgia, idiotic hope. I am the mask that says more than the face. I am everything I long for and the impossible ones I chase, like dog’s chase cars. I am a typo in a poem, a miscalculation that leads to the correct solution.


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Description Created from a smartphone camera. I focused on the old TV and clicked. Then I manipulated the image through an app.

Description SVG Vector files combined in a hex editor. Source material was generated by AI.

Pylyp Broadcast Ukraine

Artist(s) Biography Unfortunately, the artist did not send the biography.

Letsglitchit Pseudoconvergence USA

Artist(s) Biography Dawnia Darkstone, aka Letsglitchit, has been at the forefront of non-coding based new media art for the past 10 years. She is co-administrator of Glitch Artists Collective and affiliated groups on Facebook where she has contributed to the general knowledge surrounding this emerging medium. She has been exhibited in London, Paris, Zagreb, Minneapolis, San Francisco, and her novel work with sonification has been written about in Vice Magazine.


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Description “Siccboi” is a glitch series that began at the beginning of the pandemic. It was a way to process the sudden need for face masks and how it has now become apart of our everyday lives as a means of protection and expression. This was the first piece created with the first mask bought for the pandemic. Overwhelming anxiety channeling into art was the focal point of this piece.

Description He proposes to elaborate a perceptive narrative about fire. This work was created a month ago. I intend to make a series based on fire, air, water and earth.

Brittonius Siccboi_Britt USA

Artist(s) Biography Brittonius is a motion designer and glitch artist living in Atlanta, Georgia, USA, exploring digital forms of art as a visual sadist.

David B. Egner Burning In The HellFire Norway

Artist(s) Biography Student at Cardiff School of Art & Design. Currently disgusted and discouraged because of COVID-19.


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Ras Ahague Title

Guys, I Finally Made It Country

Poland Description The artwork is a tongue-in-cheek commentary on the general lack of recognition for glitch artists. Despite glitches successfully making it into the mainstream media many years ago and being present in our everyday lives (in video games, movie trailers, music videos, TV commercials, online ads, and more), glitch art as an artistic genre is still considered niche and generally unheard of. Realizing they will probably never make it to Wikipedia’s list of glitch artists, the author took it upon themselves to update it in a rather unconventional manner.

Artist(s) Biography Ras Alhague’s art mainly focuses on the exploration of artistic nudity, eroticism, gender identity and sexuality through glitch aesthetic. Their first encounter with glitch art took place in August 2014. They started developing their artistic skills in various glitch groups on Facebook, the most important being Glitch Artists Collective. They quickly became a vital part of it and are now the main curator for GAC, which strives to feature some of the most prominent glitch artists in the community. Their works have been shown on various exhibitions, including The Glitch Shop, Glitch Art Is Dead, fu:bar/expo, and Blue \x80.


Artist

Sue Beyer Title

Xanadu_12a_V2 Country

Australia


Glitch.Art.Br 2020 / Image

Description Using a multidisciplinary approach, my visual art practice primarily examines place and space. My current work is part of an ongoing investigation into the concept of liminal space (transformation and the inbetween) through the lens of personal mythologies, post digital concerns, and Instruction Based art. This work was created in 2018 while investigating ideas relating to liminal space through the transformation of screenshots taken from the roller-skating, romance, musical, known as Xanadu (1980). Using the process of datamoshing, the materiality of the digital file is revealed. This moment, where the glitch happens, is an inbetween space. During the Covid lockdown in Melbourne I am working on a series of paintings and digital works, that investigate ideas relating to liminal space through the transformation of well-known Australian landscape paintings. Post digital strategies are used as a metaphor for the permanent alteration and ultimate transformation of the landscape and our society as we know it.

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Artist(s) Biography Melbourne based Sue Beyer recently completed an MFA (research) at the Victorian College of the Arts in Melbourne, supported through an Australian Government Research Training Program Scholarship. In 2018 Sue was awarded the National Gallery of Victoria Women’s Association Award for the work created as part of her candidature. Beyer has held solo exhibitions in Brisbane and Melbourne, as well as participating in group shows in Australia, Singapore and the United States. Sue was awarded an Australia Council ArtStart Grant in 2010, been a finalist in numerous prizes, and was the winner of the Emerging artist category in the Stanthorpe Art Prize in 2014. Her work is part of numerous corporate and public collections including Artbank, an Australian Government art collection. Beyer is the director of Sandbox Studios Melbourne, a set of professional art studios and independent artist run gallery. Sue is represented by Studio Gallery Group.


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Glitch.Art.Br 2020 / Video

Category

Video is understood as any form of moving visual, including constructed narratives with or without audio.

Watch


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Glitch.Art.Br 2020 / Video

Artist

Doctor Bagre & Lewis_33 Title

A1

Country

Mexico Description A1 fue creado a partir de máquinas análogas, este es un momento melancólico, único e irrepetible en donde la belleza se origina a partir de uno de los más grandes temores del ser humano: La imperfección y el error. Esta es una paradoja en un espacio en el tiempo en donde representa la obsesión del humano por encontrar soluciones para satisfacer nuestra necesidad de dar sentido a nuestra existencia. Nos rebasan los límites impuestos por el conocimiento, donde apostamos por la creación de máquinas y tecnología aspirando a encontrar ahí la perfección, siendo que nuestro cuerpo. Es una máquina calibrada perfectamente. A1 humaniza a las máquinas por medio del error. Deseamos imitar la lógica humana en las computadoras y tecnología en general, aunque en el fondo sabemos que nunca llegaremos a tener la vida perfecta. Estamos formados de células, energía e imperfecciones.

Artist(s) Biography Integrado por Doctor Bagre (Visuales) + Lewis 33 (Música). México. El grupo considera relevante proponer libertad de forma genuina y espontánea dentro de la representación en directo. Existe un manifiesto con el cual detonan un nuevo driver hacia la escena mexicana, este accionable lleva como nombre “NewrOn” (Neuron - Neurona en inglés). Esta apuesta define un producto neuronal, monótono y taladrante que caracteriza el concepto del grupo, ya que las secuencias de origen se generan con largas repeticiones que enriquecen el clúster visual en proyección sometido al error una y otra vez para generar en el usuario final la sensación de desconocimiento total por lo que puede venir segundos adelante. Su inspiración está en la naturaleza, la vida y la esencia del ser humano.


Artist

Misael Sámano-Vargas Title

Aviones Suspendidos En El Aire Country

Mexico Description Un bosque de raíces de carne al aire, tocándome. Tenía que asegurarme de que seguía respirando, bostezando para inflarme. Con la boca abierta y los dientes cerrados, avancé. Sus gritos de caverna vacía, rozándome. Así se debe sentir un barco de papel en la delta de un río, indeciso. Colisiones.

Artist(s) Biography Master en Artes Visuales y Multimedia por la Universidad Politécnica de Valencia (UPV). Diseñador gráfico, artista visual, fotógrafo y educador con 17 años de experiencia en fotografía autoral y comercial, así como 12 años de experiencia docente. Ha participado en más de 65 exposiciones colectivas en México y España, así como 4 exposiciones individuales, incluyendo 11 publicaciones y 7 catálogos. Ha asistido a más de 40 talleres y cursos. Además, es promotor y educador de la fotografía autoral, con 7 programas/temarios docentes diseñados y otros en proceso, incluyendo más de 15 pláticas dictadas. Ganador del primer premio en videoarte en la Bienal BACOS 2018 (San Miguel, Islas Canarias, España).


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Artist

Cleber Gazana Title

Digitalize-se (vídeo) Country

Brazil

Description In 2017, there was an online and offline event called The Wrong Biennale, created to promote culture and digital art. As an artist selected for the event, in one of the virtual galleries called Homeostasislab, I created the interactive online artwork called Digitalize-se, which was available to the public for real-time interaction using the web browser and a webcam. Those thirty seconds shown here are the result of the interaction

and capturing the audience in this web artwork. When filming the user, the JavaScript codes created a digitized and completely noisy image of the user, an image full of distortions. Artist(s) Biography Cleber Gazana is a designer, master in Visual Arts, postgraduate in Visual Creation and Multimedia, and in Communication and Media, as well as visual and sound artist. Professor (at FAAP, USJT, Belas Artes, FAPCOM) in art, design, radio and TV, cinema and advertising courses. Researcher member of the group c/A/t – [s]cience/Art/technology - CNPQ-UNESP. His research focuses on art and technology, Glitch Art and design. Acts in the sound arts mainly under the name Simple.Normal, but too Gridblock, Danza en Polonia and Cleber Gazana.


Artist

Jean-Michel Rolland Title

Entropy:Sky Country

France Description "Entropy: Sky" is a photovideography, a photograph that changes over time to change status and become a video artwork. The pixels of the image are drawn, depending on their brightness, in opposite directions. From these torn skies will remain only traces, vestiges of a time when the great balances on Earth were respected. Made with free software Processing.

Artist(s) Biography Jean-Michel Rolland is a French artist born in 1972. A long time a musician and a painter, he brings together his two passions - the sound and the image - in digital arts since 2010. Through video artworks, generative art, audiovisual performances and interactive installations, he questions the temporality, a genuine fourth dimension inherent to moving image, as well as the duality between his two favorite mediums, the sound and the visual. His formal research is guided by the desire to reveal the intrinsic nature of our perceptual environment and to twist it to better give new realities to the world around us.


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Artist

André Perim Title

Broken Rainbow

alludes to the materiality characteristic of cracks opposed to the ethereal original configuration of the rainbow. Produced in 2020.

Country

Brazil

Description The idea of a rainbow is always related to harmony and a happy end. The idea of a broken rainbow leads to the distopia. The arc format is transposed to a bidimensional screen, with the colored stripes deconstructed through databending and digital deconstruction. The sound, also made through digital deconstruction

Artist(s) Biography André Perim is a musician, composer, and multimedia artist from Brazil. His work is based on the unique mixture of the sacred tradition of the Afro-Brazilian Rhythms with electronic elements inspired by ambient and psychedelia. In 2020 produces the video artwork “Infotoxication”, that was presented in several festivals around the world in countries such as Portugal, Bulgaria, India, Saudi-Arabia, South Korea and Netherlands.


Artist

Naomi Oliver Title

Artifacting Country

Australia Description In this work I’ve combined a number of longterm explorations of mine - stop-motion animation, digital glitches, green screen, video synthesizer, and the Australian bushland. In creating the photographic imagery, I used time-lapse and purposely-defective panorama shots in order to utilize these in a stop-motion, manually glitched animation. I wanted to emphasize the humanity of errors and glitches by using the method of stilted stop-motion animation, leaving behind a trail of my mind and hand.

Artist(s) Biography I have an art practice based in digital video and animation, coding, sound, and performance art. My current work investigates defects in technology, such as corrupted digital imagery, as well as flaws in psychology, the body and our environment. This includes the memorialization and exposure of digital and analog errors I observe, as well as the intentional creation of glitches and distortions through various means, such as data-bending programs (where image files are manipulated using software designed to edit files of a different format) and coding JavaScript animations.


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Artist

Milos Peskir Title

Digital Fossil_lathe Mantis Country

Serbia

Description The reality of displaced existence in the field of the intangible - the fragile universe of the digital. The evolutionary closeness of humans and digital artefacts is the aesthetic/ ontological base for the concept of Digital Fossil. In spite of its calmness, as a wiry profiler, “lathe Mantis” is shaping a quasi-linear perfect focus on the reconnection of broken pattern.

Artist(s) Biography Milos Peskir, born (1976) in Belgrade, Serbia. Educated in Visual Art (Intermedia), Serbia and the Netherlands. Active in the field of, time-based and non time-based, 2D Visual Art. Participated in numerous, local and international, events/festivals/exhibitions/art projects as an artist, author/co-author/curator/ art director. Currently lives in Belgrade, Serbia.


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Artist

Sina Kia Daliri / Platform 101 Title

Day One Country

Iran

Description In the beginning, when God created the heavens and the earth, the earth was empty and formless, and the Spirit of God moved on the dark masses of steam. God said, "Let there be light." And it became light. God favored light and separated it from darkness. He called light "day" and darkness "night." It was late at night and in the morning. This was the first day. From the first chapter of Genesis (New Testament) This forty-second work is called "Day One". At the beginning of the video, we see white and wavy lines on a dark surface, or in other words, night. These lines are reminiscent of quarks, which are the smallest known element in matter. When we zoom in on these wavy parallel lines, it goes out of parallel mode and intersects Are. By changing the angle with respect to these lines during the video process, we notice the regular structure and geometry in this disorder and discontinuity, which the artist eventually turns this geometry into a pentagon which are the five ethereal elements of

fire, water, Air and soil as the basic elements of creation They lead. These quarks, which emerge from the black at the beginning of the video, reach a white matter at the end of the video at the end of their path, after being bonded. last sequence of the video and from the point of view of being pentagonal, the design is formed. Artist(s) Biography He is a graduate of architecture. From the beginning, Kia Daliri has been interested in how to arrange the frames and achieve a new arrangement of them. He started learning and working in the field of editing software (Premiere Pro), special effects and motion graphics (After Effects) from five years ago. Since 2016, he has been in charge of Famouri Studio advertising teasers, and has been working as the artistic director of the media and in charge of social networks on the 101st platform. Born in 1995.


Artist

Toni de Paula Title

EnTro Country

Brazil

Description O vídeo é um resultado final de uma pesquisa, em que se propôs criar uma instalação audiovisual. Mesmo sem o suporte instalativo, configura-se uma relação com a imagem de distanciamento e ao mesmo tempo, identificação, ao representar uma situação corriqueira com intervenções de glitch que decupam a cena e promovem um novo tipo de leitura da situação, fugindo do controle do espectador e da obra uma lógica inicial.

Artist(s) Biography Caio Antônio é artista em novas mídias, colorista e finalizador. Formado em Audiovisual pela USP, dirigiu fotografia de “Ronda” (2019) e realizou uma videoinstalação “enTro” (2019), como trabalho de conclusão de curso. Trabalhando em produtoras de grande porte como Gullane e Pródigo teve contato com os processos de produção e finalização de obras como “Bingo” (2017), além de produções para a Netflix como “Coisa Mais Linda” (2018). Faz color grading para peças publicitárias como “Netflix Pride 2020” e “Vivo Joga Junto” (2018). Com um interesse em tecnologia e dispositivos de áudio e vídeo, realiza diversas parcerias e colaborações com artistas visuais.


Glitch.Art.Br 2020 / Video

Artist

Allison Tanenhaus Title

Dustria Country

USA

Description Dustria is a candy-colored, slightly sinister, otherworldly meditation on industrial waste and atmospheric decay by glitch video artist. Presented in the form of a hypnotic music video for the song "Flavros" [sic] by Robin Amos and Blaik Ripton aka the Boston electronic synth duo The Square Root of Negative Two.

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Artist(s) Biography Allison Tanenhaus is a digital glitch artist who specializes in abstract geometrics, vibrant color fields, optical perspectives, mind-bending motion, and unexpected dimensional qualities. Her source material consists of original photos, previous glitch art, and vintage artifacts that she alters via smartphone. Created with deliberation and experimentation, the results are fantastical compositions that take on psychedelic lives of their own. Recent projects include Harvard Graduate School of Design, Boston Convention & Exhibition Center, and “GlitchKraft: Allison Tanenhaus + Friends” at Emerson Contemporary. She creates music videos and album art for electronic musicians The Square Root of Negative Two, Maria Finkelmeier, and Doug Bielmeier.


Artist

Fun.a t Title

33live4 Country

Brazil

Description Experimentações visuais com sobreposições e efeitos de mapas de cores e shaders.

Artist(s) Biography Artista audiovisual graduando em pintura pela Escola de Belas Artes - UFRJ e técnico em produção audiovisual pela FAETEC Adolpho Bloch. Buscando realizar experimentos e descobertas no meio artístico visual e sonoro tanto de forma digital ou analógica, com o objetivo de expandir e explorar o âmbito de possibilidades da glitch art e outros meios ou movimentos artísticos.


Glitch.Art.Br 2020 / Video

Artist

Caique Poi Title

Reciclagem Country

Brazil

Description Dezenas de arquivos da lixeira do computador como; imagens, textos, instaladores e arquivos de todos os tipos, sofrem uma transformação forçada. Todo este "lixo", através da subversão de softwares, é transformado em sons, imagens e vídeos abstratos, simulando uma espécie de reciclagem no meio virtual. Este processo, que

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se aproveita das disfunções dos softwares, obriga a máquina a gerar resultados aleatórios. E com uma certa autonomia, a máquina ressignifica os dados arbitrariamente. Artist(s) Biography Paulistano, formado em Produção Audiovisual. Iniciou sua trajetória com edições de vídeos abstratos, em 2013. Neste mesmo período conheceu a Glitch Art e começou a produzir diversos trabalhos. Desde então, vem produzindo e catalogando resultados e possibilidades nesta estética. Esta pesquisa se transformou em um projeto de oficinas de Glitch Art, que tem como objetivo principal, levar arte digital para as periferias.


Artist

Javier Galán Rico Title

Sigilvm Incordivm Country

Spain

Description 21 centuries as an abstract cut-up of references. Shining distortions, weird warps and floating creatures gathered on Sigilvm Incordivm, an exegetical futuristic and experimental microfilm.

Artist(s) Biography In my work you’ll find pictoric inquietudes, I get deeper in my projects from the experimental perspective within a panoptic eclectic of tools which going from digital, 3d, databending to electronic devices until painting with recycled support. My beginnings in the art arises from the 90’s digitalism, where I started to use 3d tools. The hiperrealistic current established in the digital art scene from this time created refusal feelings which became the activator and beginnings for a more conceptual and less conventional approaching in use of the digital tools.


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Artist

Jack Elliot Barton

Country

recorded reading of the Eliot poem of the same name. This material was subsequently used to generate visual material, largely generated using manipulations of video feedback processes in Kevin Kripper’s Vsynth interface for Max.

Description ‘Burnt Norton’ forms the closing passage of the extended audiovisual installation work ‘Calder, Burnt Norton’, a generative cyclical composition exploring audiovisual granulation processes as a means of informing largescale structure in visual music. Audio material was generated from processes applied to a

Artist(s) Biography Jack Elliot Barton is a composer and multiinstrumentalist navigating a plethora of sonic expeditions between the realms of experimental sound art practice, audiovisual composition, improvised music and jazz. Recent performances and exhibitions include Sadler’s Wells Main Stage, The ICA, Moscow International Film Festival and Abbey Road Studios.

Title

Burnt Norton UK


Artist

Gabriel Koi Title

Two Fragments From The Unknow Country

Brazil

Description Dois fragmentos-irmão do grande desconhecido. Materializados via Processing e Artbreeder. Montado no Adobe Premiere. Filtrado por Gabriel Koi.

Artist(s) Biography Young audio-visual artist, moved by his spiritual personal search and will to materialize the ideas that go through his restless creative mind. Started producing videos at 13 using experimentation and self knowledge during the process, developed an authentic aesthetic that fits as a signature, and so his field expanded to Live Visuals, Videoart, Music Production, and Freelancer for brands. Inserted as a filter on this physical plane, his young mind is surrounded by passionate utopians like him, who believe that the creative stage is like an oasis inside the chaos we live in.


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Artist

Robin Moedder Title

Super Laser Acid Crab Country

Germany Description This video work named “Super Laser Acid Crab" shows an underwater reptile which is arrested in a dimension full of errors, glitches and abstract moving pictures.

Artist(s) Biography Robin Moedder, born 1980 in Hamm, is an interdisciplinary media artist who lives and works in Mülheim an der Ruhr, Germany.


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Artist

Sarah Paradise Title

System Error Country

Canada Description System Error is part of a larger video series that has been designed to convey the ways in which physical and social distancing have impacted society as a result of the covid-19 pandemic. At the end of the video the characters unite together and rise up, which is a metaphor for perseverance and resilience, suggesting that we will survive this challenging time despite this System Error that is the covid-19 pandemic. Artist(s) Biography Sarah Paradise is an interactive digital media artist who transforms two dimensional surfaces into three dimensional landscapes using video projection mapping techniques that illuminate the night with vibrant visuals. Her digital media aesthetic conveys elements of glitch, surrealism, abstraction, geometric patterns, space, nature, and technology. Paradise also strives to create immersive visual experiences for a wide range of audiences. Her interactive digital media artwork has been projected throughout Winnipeg at venues including the

Winnipeg Art Gallery, the Planetarium, the Plug Inn Institute of Contemporary Art, Cinematheque, the Rachel Browne Theatre, VideoPool, Ace Art, the Park Theatre, the Metropolitan, as well as the Edge Gallery and Urban Arts Centre. She has also performed live visuals at different Nuit Blanche events in collaboration with the Winnipeg Design Festival and the Winnipeg Art Gallery. Paradise has also been involved with live visual performances at a variety of outdoor electronic music festivals throughout Canada including the Manitoba Electronic Music Exhibition (Winnipeg, MB), Connect 22: Terminus (Moose Jaw, SK), and Motion Notion (Golden, BC). She has also performed in the United States at an outdoor electronic music festival called Bloom Town (Waubun, Minnesota). When Paradise is not illuminating the night with her digital artwork, she teaches grades 7-12 Computer Science, Graphics, and ICT at St. John’s High School in Winnipeg, Manitoba. Paradise is also working on her Masters at the University of Manitoba in the Faculty of Education.


Description Glitch video represents the state of consciousness in a moment of falling asleep.

Artist

Elena Romenkova & Christian Munk Title

Sleeping Country

Austria

Artist(s) Biography Elena Romenkova (1986) was born in Russia, St. Petersburg. Graduated University of A. Herzen, fine art faculty Master degree. Since 2017 lives and works in Austria in the field of 3D art and glitch art. She participates in digital art-exhibitions since 2013. I see my artworks as a kind of Post Surrealistic compositions. Most of my images represent my thoughts and feelings. I experiment with different 3d techniques, create digital human bodies and then transform them with different 3D modeling methods - or modify it by data manipulation (glitching). Glitch brings unpredictable results. Christian Munk (1982) Austria. After his technical education at the HTL St. Pölten for Automation technology and almost 4 years of experience at Voith Paper Industrie, he decided to expand his skills in the creative and generative area and began studying experimental media art at the University of Applied Sciences in St. Pölten. The combination of creative influences with the background from technology creates projects in an artistic, technological context.


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Glitch.Art.Br 2020 / Video

Artist

Jean-Baptiste Friquet Title

Description Not everything is about you.

Country

Artist(s) Biography Jean-Baptiste Friquet, @JBFRIQUET, is a visual artist working on different media, photo manipulation as well as video or 3D. Born in 1983 in Mulhouse, France, he studied film and art editing at the Institute of Broadcast Arts in Louvain-La-Neuve, Belgium. He officiates on Belgian television as editor and director. Now he works as a freelancer for various audiovisual production companies. In 2014, he discovered glitch art, which launched him in a new way and many experiments. He wonders through his art through the famous paradigm "it was better before?". Child of analog, its present is digital.

Not Everything Belgium


Artist

Mr. Matson Art Title

Seagate Toolkit Exe To Raw Animation Country

USA

Description Unfortunately, the artist did not send the theoretical description of the artwork.

Artist(s) Biography I am an Artist and Art teacher who has been separated from my traditional classroom job due to the circumstances of the COVID-19 pandemic. I had been teaching in China but was outside of the country when the travel ban was instituted, which has prevented me from returning to my home and place of work. I am hopeful, though, that during this time I can still continue to inspire a bit of creative and critical thinking, and maybe even contribute to the Art/ learning community in new ways. Perhaps my circumstance and the current heightened focus in both online education and virtual Art exhibitions will actually prove to be an opportunity to connect with an even greater audience of hungry minds eager for creative discovery.


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Artist

Sabato Visconti Title

Ecco The Dolphin: Extinction Country

USA

Description In the cult classic Sega Genesis game, Ecco: The Tides of Time, Ecco the Dolphin lives in a world where the only traces of humanity survive through ancient ruins. My video art series reimagines Ecco in the anthropocene. Humanity may be extinct, but the devastation wrecked on the oceans still linger, and Ecco wanders through an unstable ecosystem in permanent collapse. Series consists of video and GIF files capturing game performances of corrupted Sega Genesis ROMs.

Artist(s) Biography Sabato Visconti is a Brazilian-born new media artist and photographer based in Western Massachusetts. He obtained a Bachelor of Arts in Political Science from Amherst College in 2009. Sabato began experimenting with glitch and digital media in 2011 with the help of a defective memory card that randomly wrote zeroes on JPEG files. Since 2011, Sabato’s work has sought to reconfigure traditional understandings of photography for the postinternet era. His work with glitch and postphotography has been exhibited at the Tate Britain, ICA Boston, LACDA, the FILE Festival in São Paulo, as well as in galleries around the world. His images have appeared in Vogue, TIME Magazine, WIRED, The New York Times, and in AI-AP's "Latin American Fotografia 4" Anthology.


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Artist

Diego Ramos Title

Atrás Da Máscara Country

Brazil

Description Muitos dos filtros no Instagram são utilizados como uma forma de 'embelezar', divertir, os já consolidados selfies. Por meio de um celular Alcatel, que tinha baixo processamento de renderização, percebi que ao mudar de um filtro para o outro do Instagram, ocorria uma 'nova máscara' gerado pela falha. Eram imagens em preto e branco, como uma espécie de pulsação em ondas claras e escuras, ao mesmo tempo em que figuras quadriculadas pareciam vaguear pelo espaço da tela. Nenhum dos vídeos capturados tinham um padrão, o que tornava a paisagem ainda mais interessante para ser trabalhada na sobreposição. Tendo isso em mente, construí um vídeo em que essas diversas formas de glitch aparecem, tendo ao final, a minha selfie, criada a partir desse filtro inesperado e temporário.

Artist(s) Biography Diego Ramos é artista visual e historiador, radicado em São Paulo / Brasil. Sua pesquisa em audiovisual concentra-se em cinema experimental, videoarte e patrimônio cultural. Seus curtas-metragens foram exibidos no ASIFF - African Smartphone International Film Festival (Abuja, 2018); DOBRA - Festival Internacional de Cinema Experimental (Rio de Janeiro, 2018); V Exposição de Projeção Fotoativa (Pará, 2019); Rencontres Internationales 2020 (Paris / Berlim - Videoteca), entre outros festivais.


Artist

Artist

Title

Title

Country

Country

Description Generatividade transferida para vídeo codificado.

Description O sistema só anda sem pessoa no meio. Tem que correr porque o sistema não para. Reduz, mas não para. As luzes e vozes da cidade que não dorme, São Paulo.

Rachelmauricio Castro Genvid Brazil

Artist(s) Biography Artistas visuais, com arquitetura, desenho industrial como embasamento para trabalhos de net arte, áudio, vídeo e imagens gráficas.

Tchidu Pessoa É O Erro Da Cidade Brazil

Artist(s) Biography Artista experimental de imagem e sons, digitais e analógicos. Caçador de glitches selvagens na natureza sistêmica.


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Glitch.Art.Br 2020 / Video

Artist

Letsglitchit Title

The Gods Next Door Country

USA

Description AI generated video glitched with my own glitched LUT/CUB color profiles and datamoshing.

Artist(s) Biography Dawnia Darkstone, aka Letsglitchit, has been at the forefront of non-coding based new media art for the past 10 years. She is co-administrator of Glitch Artists Collective and affiliated groups on Facebook where she has contributed to the general knowledge surrounding this emerging medium. She has been exhibited in London, Paris, Zagreb, Minneapolis, San Francisco, and her novel work with sonification has been written about in Vice Magazine.


A Alejandro Bombín Marrodán Allison Tanenhaus Allison Tanenhaus André Perim André Perim ApathyFire

56 69 105 49 99 76

B Boris Reichle Brittonius

75 88

C Caique Poi Cairo Lima Cleber Gazana Cleber Gazana

107 81 59 97

D Danka Emler Ejtna David B. Egner Diego Ramos Doctor Bagre & Lewis_33 Doctor Bagre & Lewis_33

67 88 118 73 94

E Eddy 62 Elena Romenkova & Christian Munk 74 Elena Romenkova & Christian Munk 114 Elton E. H. Turner 76

F Francesco Seren Rosso Fun.a t Fun.a t

62 78 106

G Gabriel Koi 110 Gadirom 46 Gadirom 79 Glitchkitty404 64 Glitch Matrix 70 Gridblock 45 H Hernán Raggi Hyash Tanmoy

69 47

I Ibuki Kuramochi Igor Gržetić

77 82

J Jack Elliot Barton Javier Galán Rico Jean-Baptiste Friquet Jean-Baptiste Friquet Jean-Michel Rolland José Irion Neto K Kroshilova Diana

109 108 58 115 98 60

67


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Glitch.Art.Br 2020 / Artists Index

L Letsglitchit 48 Letsglitchit 87 Letsglitchit 121 LLE 50 LLE 66 Louis Montiel 44 Louis Montiel 84 Luiz Henrique A. L. Passos 48 Luli 82 M Marllus Bisceglia Mathieu Petot Michael Hurtado Enríquez Miguel Ferreira Milos Peskir Misael Sámano-Vargas Mr. Matson Art N Naomi Oliver Naomi Oliver

68 70 45 78 101 96 116

71 100

P Paul Beaudoin 51 Paul Beaudoin 72 Pix 72 Pylyp 87

R Rachelmauricio Castro Rachelmauricio Castro Ra Lom Ras Ahague Robin Moedder

47 120 86 89 111

S Sabato Visconti Sabato Visconti w/ Henry Amistadi Sarah Paradise Sarah Paradise sieSeis Simple.Normal Sina Kia Daliri / Platform 101 Sue Beyer

65 63 113 80 49 103 90

U Tchidu Toni de Paula

120 104

U Ultraglitx

117

83


Glitch.Art.Br 2020 / Acknowledgment

Alejandro Bombín Marrodán Allison Tanenhaus André Perim Andrzej Marzec ApathyFire Boris Reichle Brittonius Caique Poi Cairo Lima Christian Munk Cleber Gazana Danka Emler Ejtna David B. Egner Diego Ramos Doctor Bagre & Lewis_33 Eddy Elena Romenkova Elton E. H. Turner Francesco Seren Rosso Fun.a t Gabriel Koi Gadirom (Roman Gaditskiy) Glitchkitty404 Glitch Matrix Gridblock (Cleber Gazana) Henry Amistadi Hernán Raggi Hyash Tanmoy Ibuki Kuramochi Igor Gržetić Jack Elliot Barton Javier Galán Rico Jean-Baptiste Friquet Jean-Michel Rolland

José Irion Neto Kroshilova Diana (Diana Kroshilova) Letsglitchit (Dawnia Darkstone) LLE (Pablo Benjamín Nieto Mercado) Louis Montiel Ludimilla Carvalho Luiz Henrique A. L. Passos Luli Marllus Bisceglia Mathieu Petot Michael Hurtado Enríquez Miguel Ferreira Milos Peskir Misael Sámano-Vargas Mr. Matson Art Naomi Oliver Paul Beaudoin Pix Pylyp Rachelmauricio Castro Ra Lom (Rafael) Ras Ahague Robin Moedder Rosângela Macedo da Silva Sabato Visconti Sarah Paradise sieSeis Simple.Normal (Cleber Gazana) Sina Kia Daliri / Platform 101 Sue Beyer Tchidu Toni de Paula (Caio Antônio) Ultraglitx (Jeane Vitória)


Glitch.Art.Br 2020 / Credits

Idealização e Organização

Cleber Gazana

Criação e Coordenação de Conteúdo

Cleber Gazana Edição de Conteúdo

Rosângela Macedo da Silva Suporte e Produção

Rosângela Macedo da Silva Curadoria

Cleber Gazana Sabato Visconti Tradução

Cleber Gazana Sabato Visconti Foto/Arte de Capa e Separadores de Seções

Cleber Gazana

Projeto Gráfico / Site e Redes Sociais

Cleber Gazana

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Glitch Art Br 2020

www.glitch.art.br Cleber Gazana

(Org.)

Cleber Gazana

(Org.)

Profile for glitchartbr

Glitch Art Br 2020  

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