[-empyre-] glitch device/divide

Eduardo Navas eduardo at navasse.net
Thu Dec 8 01:34:18 EST 2011

About what you write below,

Your observation is a summary of what informs contemporary art practice, no
matter the medium. The need for context that you point out is what makes all
art discourse, no matter the form of delivery.  This is also what allows
artists to worry about what they want to say rather than sticking to a
specific form.  This brought about the concept of ³interdisciplinarity.²
Duchamp figured this out a while back.

However, it is because glitches are the result of a material occurrence that
can be reproduced within a certain range of error once a person understands
the process why they need to be discussed with a specific understanding of
the context in which they take place, in direct relation to the material
elements that make glitches ³glitches.²  This enables glitch artists to
develop a field of aesthetics of their own.  I think that if we really
thinkg about the term ³intrinsic² it only functions once we accept a
specific context in which to discuss a thing to which an extra value based
on discourse is added.  Glitches have values that are material (before that
are recognized as glitches) and these values once recognized within the
field of glitch art allow people to add on their own interpretations and
develop a discourse.  This is what is relevant.

Eduardo Navas

On 12/6/11 10:33 PM, "Evan Meaney" <emeaney1 at gmail.com> wrote:

> so, my point. 
> if glitches depend on specified contexts to function in the moment
> and if they are functions of re-presentation and curatorial (or
> curator-as-artist)
> intent, then any critical work about a glitch is really critiquing the context
> and
> the curator, and not the glitch itself.
> tl:dr - we appropriate glitches to our own purposes. let's stop pretending
> that they
> have intrinsic value when we classify them.
> xo. 
> evan

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