Glitch art (nonfiction)
Glitch art is the practice of using digital or analog errors for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices. Glitches appear in visual art such as the film A Colour Box (1935) by Len Lye, the video sculpture TV Magnet (1965) by Nam June Paik, and more contemporary work such as Panasonic TH-42PWD8UK Plasma Screen Burn (2007) by Cory Arcangel.
History of the term In a technical sense, a glitch is the unexpected result of a malfunction, especially occurring in software, video games, images, videos, audio, and other digital artefacts. Early examples of glitches used in media art include Digital TV Dinner (1978) created by Jamie Fenton and Raul Zaritsky, with glitch audio done by Dick Ainsworth. This video was made by manipulating the Bally video game console and recording the results on videotape.
The term glitch came to be associated with music in the mid 90s to describe a genre of experimental/noise/electronica (see glitch music). Shortly after, as VJs and other visual artist began to embrace the glitch as an aesthetic of the digital age, glitch art came to refer to a whole assembly of visual arts.
In January 2002, Motherboard, a tech-art collective, held a glitch symposium in Oslo, Norway, to "bring together international artists, academics and other Glitch practitioners for a short space of time to share their work and ideas with the public and with each other."
Methods
What is called "glitch art" typically means visual glitches, either in a still or moving image. It is made by either "capturing" an image of a glitch as it randomly happens, or more often by artists/designers manipulating their digital files, software or hardware to produce these "errors." Artists have posted a variety of tutorials online explaining how to make glitch art.
There are many approaches to making these glitches happen on demand, ranging from physical changes to the hardware to direct alternations of the digital files themselves.
Artist Michael Betancourt notes that "glitch art" is defined by a broad range of technical approaches that can be identified with changes made to the digital file, its generative display, or the technologies used to show it (such as a video screen). He includes within this range changes made to analog technologies such as television (in video art) or the physical film strip in motion pictures. Betancourt identified five areas of manipulation that are used to create "glitchart":
- Data manipulation (aka databending) changes the information inside the digital file to create glitches. Databending involves editing and changing the file data.
- Misalignment glitches are produced by opening a digital file of one type with a program designed for a different type of file, such as opening a video file as a sound file, or using the wrong codec to decompress a file. Tools commonly used to create glitches of this type include Audacity and WordPad.
- Hardware failure happens by altering the physical wiring or other internal connections of the machine itself, such as a short-circuit, in a process called "circuit bending" causes the machine to create glitches that produce new sounds and visuals. For example, by damaging internal pieces of something like a VHS player, one can achieve different colorful visual images.
- Misregistration is produced by the physical noise of historically analog media such as motion picture film. It includes dirt, scratches, smudges and markings that can distort physical media also impact the playback of digital recordings on media such as CDs and DVDs.
- Distortion was one of the earliest types of glitch art to be produced, such as in the work of video artist Nam June Paik, who created video distortions by placing powerful magnets in close proximity to the television screen, resulting in the appearance of abstract patterns.
In the News
Fiction cross-reference
Nonfiction cross-reference
External links:
- Glitch art @ Wikipedia
- The Art of PNG Glitch
- Glitching PNGs @ Boing Boing