[-empyre-] glitch device

Nick Briz nickbriz at gmail.com
Tue Dec 6 12:46:12 EST 2011

First, I want to say thnx to Patrick + all for getting this started, it's
great to see online critical glitch and/or gl1tch and/or glitch.art and/or
GLI.TC/H <http://gli.tc/h> convos formulating so quickly after all the IRL
events of the last couple months (by which I mean not only
GLI.TC/H<http://gli.tc/h> but
also Glitch vs Scratch <http://www.atasite.org/2011/10/glitch-vs-scratch/>,
the FLIP Screening <http://www.flipfestival.co.uk/about/>, Algorithmic
, Destructional Video <http://www.leedsfilm.com/films/destructural-video/> at
Leeds, d1sc0nN3ct<http://english.ahram.org.eg/NewsContent/5/25/26639/Arts--Culture/Visual-Art/dscnNct-The-art-of-the-glitch-at-the-Townhouse-Gal.aspx>
Egypt [going on now] and all etc.evts I'm forgetting), all of which are
testament to an exciting moment>um (I mean moment>um here, I think, in the
same way jonCates did when he referenced the international glitchscene)

In re:to Andreas, I appreciate that you've introduced politics to the
conversation but take issue with your framing. I think there is a very
real/fluid/ongoing glitch && politix thread[s], which we made an effort to
present at GLI.TC/H <http://gli.tc/h> in the form of a panel + open
discussion <http://numbers.fm/media/Politics_in-of_Glitch_NUMBERS.FM.zip>.
Additionally, the political potential of glitch art is (has been) a major
thread in my own personal work <http://nickbriz.com/glitchcodectutorial/>.
For me, it is by combining glitch w/ art that this potential manifests (not
a "deadly grip", but rather alimentation). A similar alimentation which is
a core motivation behind our organizing of GLI.TC/H <http://gli.tc/h>. I
don't think this motivation (and goal) is "elitist", in fact it's
intentionally (and carefully) open and inclusive. Within the context of
GLI.TC/H <http://gli.tc/h>, "glitch art" often refers to a community made
up of many communities, the art worlds mentioned being one of them, but
also academia (similar but different from these art worlds), also
"creatives" (in the commercial/design sense), also non-art world (fringe)
computer art scenes, also non-professional (amateur/folk) "participatory"
communities (which often convene on social-media: facebook, vimeo, flickr)
---- and I don't mean to create distinct categories here, rather propose
overlapping/fluid groups.

I agree with Rosa, I don't think that the binaries are particularly useful
(though it was a good starting
some conversations 7 or 8 years ago). Additionally, I think the "fetish"
perspective is a rash over simplification of thousands of
works/experiments/endeavors/thoughts being produced by hundreds of
artists/thinkers/enthusiasts. I think a more useful perspective might be
the glitch moment(um), by which I mean, as Rosa Menkman defines it, "the
moment which is experienced as the uncanny, threatening loss of control,
throwing the spectator into the void (of meaning)", the moment which
becomes a catalyst, a potential for (contemporary) glitch.errs to exploit,
often in the interest of, "modulate[ing] or productively damage[ing] the
norms of techno-culture."

This moment(um) becomes an array of impetuses, and this to me is incredibly
exciting. Glitch art (again, as [a] communie[s]) is concerned with + has
been exploring varies themes: failure <http://vimeo.com/14283462>,
interference/noise <http://laps.artoffailure.org/8silences.html>, digital
punk <http://www.flickr.com/photos/max-capacity/>, digital
, [retro] nostalgia <http://www.youtube.com/watch?v=MPb7zkCSz7g>, entropy,
,  human+computer interface <http://vimeo.com/15821484>, hacking/cracking +
Intellectual Property<http://www.youtube.com/watch?list=PLE7F731BE271DC5D4&feature=player_embedded&v=ZP8VkH_fc6w>
, Digital Rights <http://vimeo.com/11672869>, [planned]
obsolescence<http://www.recyclism.com/> and/or
[anti]upgrade and various other nuances of our digital ecology.

I think this could be a fruitful lens. Rather than debating whether the
glitch is a glitch if we call it a glitch, I'd
be interested in discussing/dissecting with yawl the avalanche of activity
that has sprung up over the last year (couple years) around this idea and,
as Curt suggested, what it's doing to us.


On Tue, Dec 6, 2011 at 12:37 AM, IR3ABF <ajaco at xs4all.nl> wrote:

> Andreas Maria Jacobs, i respectfully disagree w/what i read to be yr
> anti-art position in its most generalized application when you write
> w/sweeping confidence that "the art world's - deadly grip" is sum how a
> totalized effect/affect which will steal away possibility + "eradicate
> every possible trace of authenticity, replacing it with its commodified
> merchandazible fetish derivate." mayhaps you are opposed to Institutional
> Art or the institutions of art. or mayhaps the oppressive socio-economics
> of consolidated wealth/power that give rise to exclusionary elitisms... but
> if so, then these are specifics, not generalities, related to the unruly
> category of what constitutes 'art' or even "Art". && even if these would be
> the cases (that those are yr oppositions in specific) then those
> fears/concerns are warranted in our current context but not sum how
> predetermined. even the way 'we' (an inclusive term which may not be
> well-placed here) dfn 'art' +/or "Art" is technosocial + culturally
> contextualized. the dfns change + art modified over/through times
> @Jon Cates,
> Well, with all respect, I am somehow missing a clear standpoint in *your*
> movement in how you posit yourselves in conflicting societal environments,
> I am not discussing the specifics of glitch art 'as is', but about the
> specifics - are there any distinguishable specifics at all or are these
> just pronounced without being established? - of glitch art's relation with
> the established and functioning *art* world in a broader sense, i.e. not
> necessarily correlated or connected with glitch art.
> Has art/Art (including glitch art) in *that* art world any *meaning*
> besides its commodifiable fetish as art and if so how then to seperate art
> for the art markets - expressable in wealth accumulation for a small
> exclusive group, from art related with non-commodifiable non-fetish meaning
> and inexpressable in wealth, exclusivety etc etc, using alternative
> value/meaning measuring systems
> Without properly formulating an answer or pointing to a direction in a
> problematic field of mutual societal and economical contradictions, I see
> a naive and glitchy international partying bunch of youngsters unaware or
> unwilling to be aware of the dark and gloomy sides of existing art
> hierarchies and I feel offended being confronted by such ignorance if this
> naivety is also publicly stated
> also Andreas Maria Jacobs, im confused/troubled by the positions you seem
> to representing in yr -empyre- email. are you the same artist who makes
> "prints on paper. Signed & numbered, editions of 3" of domesticated +
> aestheticized Glitch Art which is exhibited in galleries (i.e. @ GLI.TC/H2010
> in Chicago) + sold (or @ least intended to be sold) on art markets? this is
> what you represent about yrself vry clearly on yr website:
> http://nictoglobe.com/new/room/New%20Room/2006/
> Yes, indeed I do make prints on paper - althought not domesticated or
> aestheticized - at least when I can afford the material costs which are
> currently by far too expensive to even think about, considering the
> physical dimensions I like my works to be. But in case there is interest I
> am more than willing to produce them in any amount or size you want. You
> can find the specifics at the same website
> Andreas Maria Jacobs
> "Antartica: empty colorful people making empty colorful products"
> http://nictoglobe.com (Art Magzaine, Amsterdam 1986)
> http://burgerwaanzin.nl (La Resocialista Internacional)
> Sent from my eXtended BodY
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
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