THE UNIVERSITY OF NEW SOUTH WALES

COLLEGE OF FINE ARTS

SCHOOL OF MEDIA ARTS

BACHELOR OF FINE ARTS

TIME-BASED ART
HONOURS
RESEARCH PAPER
2010

Trial and Error

Candidate: Tara Cook

Supervisor: Petra Gemeinboeck
 Trial and Error

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"French humanist and inventor of the essay form, Michel de Montaigne wrote “If my mind could gain a firm
footing, I would not make essays, I would make decisions; but it is always in apprenticeship.”1 Montaigne’s term
for the essay is “essais” which translates from French as “attempt” or “trial” and took form as a subjective short
treatment of a topic with streams of thought that involved and intrigued the reader. The essay lay in opposition to
scriptures and pursued truth through self-examination and honest observation.
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†
Concrete poetry is “first of all a revolt against this transparency of the word.”2 Concrete poetry can be explained
as containing verbal artifacts that exploit the opportunities of the traditional fields of language but also of the space
it inhabits, employing the senses with cognition, having visual and literary meaning within its words and as a
whole. The limits in the clarity and practicality of its reading are valued as relevant tools to employ as a writer to
strengthen and appropriately engage with the content. Its consistency is one of inconsistency, however the
sometimes fragmented structure and complex interplay of text play a deliberate and integral part in the
contextualization and communication of its meaning.
Glitch
(gl ch)

Noun.
! Any momentary wander in any system.
! A result of an event in which an unforeseen potential within a system is actualized.
! A virtual potential amongst a multiplicity of other virtual potentials enfolded in a
system, waiting to become.
! The manifestation of specific imperfections caused from a sudden event.

Verb.
! To suffer a glitch.

Used to describe
1. A sharp electrical spike.
2. A chemical disturbance.
3. A genetic error.
4. A discontinuity in time and space.
5. An abnormal hardware or software problem.
6. An imperfection in an object or machine.

Synonyms
Blip, break, bug, error, fault, flaw, gremlin, hiccup, hitch, defect, difficulty, dysfunction,
interruption, kink, malfunction, problem, slip, snag.

Derivatives
Glitching (adverb), glitchy (adjective), glitched (past tense), glitches (plural).

Cause
The causes are not always known, but typically are the result of a decay or degradation of
information or components due to age, wear and flaws.

Popular Opinion
Glitches are unwanted. They are considered to be mad, entropic, chaotic, random, accidental
and out of control. Glitches are thought to be inferior to function as they tend to lack
controlled use, clarity of information and are impromptu. A glitch is normally viewed as a
negative and frustrating occurrence to be reduced and eradicated. Perspectives on glitch sit in
the tense space between the presence of its malfunction and the memory of its intended but
now absent functionality. The term encompasses the concepts of failure, disorder and error as
well as current attitudes surrounding it, such as the fear of disaster or the disappointment of
obsolescence.
‡

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‡
“The glitch may not be categorisable”3 (Espen Somer Eide).
Jacques Derrida approaches language with a process of deconstruction4 that reveals the complexity and instability
of language. Similarly, glitch demonstrates the constructive nature of any system, showing the order or
components it is founded upon as complicated and volatile.
ERRORTYMOLOGY
The origin of the term glitch is complex and undefined. Glitch first entered the English
vocabulary through the records of astronaut John Glenn to describe a problem, specifically a
spike in an electrical current5. Glitch as an expression has roots in the Yiddish term “glitshen”6
denoting to slip or slide and the German term “glitschig”7, meaning slippery. This descriptor may
have been used in the context of slipping on wet ground such as ice. This term has a relationship
to “glisten”8 in English, meaning to shine by reflection or to gleam off a wet or glossy surface.
“Glisten” is related to the Middle and Old English word “glisnian”9 or “glisian” used before the
12th century to describe something that gave off a sparkling or lustrous reflection, similar to
“glitter” but distinct from the level of light of “flash”. The term “glitter”10 refers to shards of
reflective coloured glass but is also used to describe beautiful but superficial glamour. The
English language began in the 5th century from the spread of Anglo-Saxon people with “English”
coming from the name of the people “Angles”11. It is estimated that humans or their ancestors
first used language around 2 million years ago12. Man evolved from the chimpanzee,
approximately 5 to 7 million years ago on the planet Earth13. The Earth was formed roughly 4.6
billion years ago and is about one third of the age of the universe14. The universe is thought to
have evolved close to 13.75 ± 0.17 billion years ago from a “Big Bang” in which heat lead to the
expansion of matter and space15. The “Big Bang” was a sarcastic term popularized by a “steady
state” astronomy theorist Fred Hoyle16. This term was an opposition to the theory that the
universe had a point of origin, “The Big Noise”17 proposed by Catholic priest and cosmologist
Georges Lemaitre. While the belief that the universe has a beginning point in time is the most
currently accepted theory in cosmology, what remains are other questions, such as the cause of
the “bang”. “Brane Cosmology”18 is a contemporary pre-Big Bang theory that stipulates the
possibility that parallel branes inflated and collided possibly due to a mistake as they approached
infinity. The Ancient Greek philosopher, Epicurus, proposed that atoms occasionally would
behave randomly leading to collisions, which he called the “swerve”19. Epicurus considered the
"swerve" to be a necessary force against determinism that preserved freedom and severed the ties
of fate. The term “glitch” is equivalent to the definition of “swerve”, which could be its origin as
a concept, one with significance in hypothesizing the beginning, behaviour and future of all
things in the universe.

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+!Jean Baudrillard suggests that we do not know the reality of things, that “we live in a world where there is more
and more information, and less and less meaning."20 In Jean Baudrillard’s ‘Simulacra and Simulation’21, the
distinctions between representation and reality break down to only simulacra. !
Glitch Mantras

1. For awareness
“I'm a failure, a cheat, a thief, a fake, a loser, a try-hard, a dunce, I’m over, I’m unwanted,
I’m out, I’m dead, I can’t be painted or drawn or sculpted or built or printed or cast or
coded or moulded or soldered or crafted or played or acted or understood or read or said,
I can’t be bought, I can’t be thought, I don’t stick to things, I don’t have a name, I don’t
sell, I don’t bring fame, I’m not a nice thing or a nice thought, I’m an excuse, I’m mad,
I’m bad, I can’t be articulated, regurgitated, memorised or realised, I don’t stay still, I’m
not silent, I won’t do what you will, I don’t let you live like you do, I won’t be ignored,
I’m not made for your walls or collections or auctions or homes or paychecks or agenda,
I’m not made for school excursions or coffee table books or postcards or umbrellas or tea
towels or adverts or logos or business cards, I cant be shown or known or told what I am,
I don’t win, I don’t lose, I might not exist, I might not die, I am like nothing, I am
infinitely something’

2. For activity
“Abrade bend blast blotch break burn burst bust chip claw collide corrupt crack crumble
crush cut deface demolish destroy disfigure dissolve detach drip fracture fragment gash
glitch grind hack hit injure impair jam kick knock mangle mar mark part penetrate
perforate pierce puncture rip rub ruin rupture scatter scrape scratch scar score scuff sever
shake shatter slash slice slit snap smash smear smudge squash squeeze spill splatter
splinter stain streak suck tamper tear trash wipe wreck.”

3.For remembrance
“their fingers are connected to their touchpad, connected to their keyboard, connected to
the internet, connected to their eyes, connected to their lcd, connected to their laptop,
connected to their mp3, connected to their earphones, connected to their ears, connected
to their mobile, connected to their wifi, connected to their bill, connected to their pockets,
connected to their debt, connected to their new TV, connected to their Blu-ray DVD,
connected to their 5.1, connected to their hearing loss, connected to their vision
impairment, connected to their social awkwardness, connected to their isolation,
connected to their feelings of inadequacy, connected to their jealousy, connected to their
hatred, connected to their thoughts of failure, connected to their disbelief, connected to
their apathy, connected to their despair, connected to their resignation, connected to their
loss, connected to their misunderstanding, connected to our misunderstanding…”

4. For change
The glitch itches and twitches to unstitch the stitch and unhitch the hitch of the kitsch and
rich. The ditch is a bitch. Switch the pitch, enrich the son of a glitch.

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""!“Honour thy error as a hidden intention”22 (Brian Eno)
GLITCHENETICS
GLITCH GLITHC GLICTH GLICHT GLIHTC GLIHCT GLTIHC GLTICH GLTCHI GLTCIH GLTHCI GLTHIC
GLCITH GLCIHT GLCTIH GLCTHI GLCHIT GLCHTI GLHICT GLHITC GLHTCI GLHTIC GLHCTI GLHCIT
GILHTC GILHCT GILTHC GLITCH GILCHT GILCTH GITHCL GITHLC GITLCH GITLHC GITCLH GITCHL
GICHLT GICHTL GICLHT GICLTH GICTHL GICTLH GIHCTL GIHCLT GIHLTC GIHLCT GIHTLC GIHTCL
GTLCHI GTLCIH GTLHCI GTLHIC GTLICH GTLIHC GTICLH GTICHL GTIHLC GTIHCL GTILHC GTILCH
GTCIHL GTCILH GTCHIL GTCHLI GTCLIH GTCLHI GTHILC GTHICL GTHCLI GTHCIL GTHLCI GTHLIC
GCLITH GCLIHT GCLTIH GCLTHI GCLHIT GCLHTI GCILHT GCILTH GCITHL GCITLH GCIHTL GCIHLT
GCTLIH GCTLHI GCTILH GCTIHL GCTHLI GCTHIL GCHLTI GCHLIT GCHITL GCHILT GCHTIL GCHTLI
GHLCIT GHLCTI GHLICT GHLITC GHLTCI GHLTIC GHICTL GHICLT GHILTC GHILCT GHITLC GHITCL
GHTCLI GHTCIL GHTLCI GHTLIC GHTICL GHTILC GHCTIL GHCTLI GHCLIT GHCLTI GHCILT GHCITL
LGHTCI LGHTIC LGHCTI LGHCIT LGHITC LGHICT LGITHC LGITCH LGICHT LGICTH LGIHCT LGIHTC
LGTICH LGTIHC LGTCIH LGTCHI LGTHIC LGTHCI LGCIHT LGCITH LGCTHI LGCTIH LGCHTI LGCHIT
LIHGTC LIHGCT LIHTGC LIHTCG LIHCGT LIHCTG LIGHCT LIGHTC LIGTCH LIGTHC LIGCTH LIGCHT
LITHGC LITHCG LITGHC LITGCH LITCHG LITCGH LICHTG LICHGT LICGTH LICGHT LICTGH LICTHG
LTHCGI LTHCIG LTHGCI LTHGIC LTHICG LTHIGC LTGCIH LTGCHI LTGHIC LTGHCI LTGIHC LTGICH
LTICHG LTICGH LTIHCG LTIHGC LTIGCH LTIGHC LTCIGH LTCIHG LTCHGI LTCHIG LTCGHI LTCGIH
LCHITG LCHIGT LCHTIG LCHTGI LCHGIT LCHGTI LCGIHT LCGITH LCGTHI LCGTIH LCGHTI LCGHIT
LCIGTH LCIGHT LCITGH LCITHG LCIHGT LCIHTG LCTGHI LCTGIH LCTIHG LCTIGH LCTHIG LCTHGI
LHCGIT LHCGTI LHCIGT LHCITG LHCTGI LHCTIG LHGCTI LHGCIT LHGITC LHGICT LHGTIC LHGTCI
LHICGT LHICTG LHIGCT LHIGTC LHITCG LHITGC LHTCIG LHTCGI LHTGIC LHTGCI LHTIGC LHTICG
IGCTHL IGCTLH IGCHTL IGCHLT IGCLTH IGCLHT IGHTLC IGHTCL IGHCLT IGHCTL IGHLCT IGHLTC
IGLTCH IGLTHC IGLCTH IGLCHT IGLHTC IGLHCT IGTLHC IGTLCH IGTCHL IGTCLH IGTHCL IGTHLC
ILCGTH ILCGHT ILCTGH ILCTHG ILCHGT ILCHTG ILHGCT ILHGTC ILHTCG ILHTGC ILHCTG ILHCGT
ILGHTC ILGHCT ILGTHC ILGTCH ILGCHT ILGCTH ILTHCG ILTHGC ILTGCH ILTGHC ILTCGH ILTCHG
ITCHGL ITCHLG ITCGHL ITCGLH ITCLHG ITCLGH ITHCLG ITHCGL ITHGLC ITHGCL ITHLGC ITHLCG
ITGCHL ITGCLH ITGHCL ITGHLC ITGLCH ITGLHC ITLCGH ITLCHG ITLHGC ITLHCG ITLGHC ITLGCH
ICTLHG ICTLGH ICTHLG ICTHGL ICTGLH ICTGHL ICHLGT ICHLTG ICHTGL ICHTLG ICHGTL ICHGLT
ICGLTH ICGLHT ICGTLH ICGTHL ICGHLT ICGHTL ICLGHT ICLGTH ICLTHG ICLTGH ICLHTG ICLHGT
IHTGLC IHTGCL IHTLGC IHTLCG IHTCGL IHTCLG IHCGTL IHCGLT IHCLTG IHCLGT IHCTLG IHCTGL
IHGCLT IHGCTL IHGLCT IHGLTC IHGTCL IHGTLC IHLCTG IHLCGT IHLGTC IHLGCT IHLTGC IHLTCG
TGICHL TGICLH TGIHCL TGIHLC TGILCH TGILHC TGCILH TGCIHL TGCHLI TGCHIL TGCLHI TGCLIH
TGHICL TGHILC TGHCIL TGHCLI TGHLIC TGHLCI TGLIHC TGLICH TGLCHI TGLCIH TGLHCI TGLHIC
TLIGCH TLIGHC TLICGH TLICHG TLIHGC TLIHCG TLCGHI TLCGIH TLCIHG TLCIGH TLCHIG TLCHGI
TLHGIC TLHGCI TLHIGC TLHICG TLHCGI TLHCIG TLGHCI TLGHIC TLGICH TLGIHC TLGCIH TLGCHI
TILHGC TILHCG TILGHC TILGCH TILCHG TILCGH TICHLG TICHGL TICGLH TICGHL TICLGH TICLHG
TIHCGL TIHCLG TIHGCL TIHGLC TIHLCG TIHLGC TIGCLH TIGCHL TIGHLC TIGHCL TIGLHC TIGLCH
TCLIHG TCLIGH TCLHIG TCLHGI TCLGIH TCLGHI TCILGH TCILHG TCIHGL TCIHLG TCIGHL TCIGLH
TCHLIG TCHLGI TCHILG TCHIGL TCHGLI TCHGIL TCGLHI TCGLIH TCGIHL TCGILH TCGHIL TCGHLI
THLGIC THLGCI THLIGC THLICG THLCGI THLCIG THIGCL THIGLC THILCG THILGC THICLG THICGL
THCGLI THCGIL THCLGI THCLIG THCIGL THCILG THGCIL THGCLI THGLIC THGLCI THGILC THGICL
CGLTHI CGLTIH CGLHTI CGLHIT CGLITH CGLIHT CGITLH CGITHL CGIHLT CGIHTL CGILHT CGILTH
CGTIHL CGTILH CGTHIL CGTHLI CGTLIH CGTLHI CGHILT CGHITL CGHTLI CGHTIL CGHLTI CGHLIT
CLGITH CLGIHT CLGTIH CLGTHI CLGHIT CLGHTI CLIGHT CLIGTH CLITHG CLITGH CLIHTG CLIHGT
CLTGIH CLTGHI CLTIGH CLTIHG CLTHGI CLTHIG CLHGTI CLHGIT CLHITG CLHIGT CLHTIG CLHTGI
CIGHLT CIGHTL CIGLHT CIGLTH CIGTHL CIGTLH CILHTG CILHGT CILGTH CILGHT CILTGH CILTHG
CITHGL CITHLG CITGHL CITGLH CITLHG CITLGH CIHTLG CIHTGL CIHGLT CIHGTL CIHLGT CIHLTG
CTGIHL CTGILH CTGHIL CTGHLI CTGLIH CTGLHI CTLIGH CTLIHG CTLHGI CTLHIG CTLGHI CTLGIH
CTILHG CTILGH CTIHLG CTIHGL CTIGLH CTIGHL CTHLGI CTHLIG CTHIGL CTHILG CTHGIL CTHGLI
CHGLIT CHGLTI CHGILT CHGITL CHGTLI CHGTIL CHLGTI CHLGIT CHLITG CHLIGT CHLTIG CHLTGI
CHIGLT CHIGTL CHILGT CHILTG CHITGL CHITLG CHTGIL CHTGLI CHTLIG CHTLGI CHTILG CHTIGL
HGCTLI HGCTIL HGCLTI HGCLIT HGCITL HGCILT HGLTIC HGLTCI HGLCIT HGLCTI HGLICT HGLITC
HGITCL HGITLC HGICTL HGICLT HGILTC HGILCT HGTILC HGTICL HGTCLI HGTCIL HGTLCI HGTLIC
HLCITG HLCIGT HLCTIG HLCTGI HLCGIT HLCGTI HLGICT HLGITC HLGTCI HLGTIC HLGCTI HLGCIT
HLIGTC HLIGCT HLITGC HLITCG HLICGT HLICTG HLTGCI HLTGIC HLTICG HLTIGC HLTCIG HLTCGI
HICGLT HICGTL HICLGT HICLTG HICTGL HICTLG HIGCTL HIGCLT HIGLTC HIGLCT HIGTLC HIGTCL
HILCGT HILCTG HILGCT HILGTC HILTCG HILTGC HITCLG HITCGL HITGLC HITGCL HITLGC HITLCG
HTCIGL HTCILG HTCGIL HTCGLI HTCLIG HTCLGI HTGILC HTGICL HTGCLI HTGCIL HTGLCI HTGLIC
HTLICG HTLIGC HTLCIG HTLCGI HTLGIC HTLGCI HTILGC HTILCG HTICGL HTICLG HTIGCL HTIGLC
HCTLIG HCTLGI HCTILG HCTIGL HCTGLI HCTGIL HCGLTI HCGLIT HCGITL HCGILT HCGTIL HCGTLI
HCLGIT HCLGTI HCLIGT HCLITG HCLTGI HCLTIG HCIGTL HCIGLT HCILTG HCILGT HCITLG HCITGL
††

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††
719 other ways of the spelling “glitch” from its configuration of letters and one currently accepted English way.
The idea of glitch as a possible permutation bears semblance to mutations within genetics, in which there is a
change within a genomic sequence due to a range of circumstances such as an error in DNA replication. There are
mutations within each person’s DNA, “mutations are not just normal, they are important: evolution itself cannot
occur without mutation.”23!!
!
Philosopher Gilles Deleuze believes that the unforeseen exists as potential within a “cloud of the virtual”24. To
Deleuze, the world is in a constant state of becoming, in a process where virtual possibilities become actualised.
Glossary Of Terminations
glitchlexicon glitch language
glitchology science or study of glitch.
glitchform having the form of glitch.
glitchscopy observation of glitch.
glitchcraft practice of glitch.
glitchism action, process or practice of glitch.
glitchness state, quality, condition or degree of glitch
glitchious full of or having the qualities of glitch.
glitchory relating to or characterized by glitch.
glitchization process or result of doing or making glitch.
glitchial of, relating to, or characterized by glitch.
glitchist one that performs, produces or believes in glitch.
glitchess a female glitch.
circumglitch around glitch.
glitchgraphy representation of or process of representing glitch.
disglitch not glitch.
glitchvore to eat, devour glitch.
glitchgenesis beginning of glitch.
glitchise to cause to be or to become glitch.
glitchate resembling or characterized by glitch.
epiglitch upon glitch.
acroglitch top, tip or end glitch.
rhizoglitch root glitch.
decaglitch ten glitch.
conglitch with glitch.
glitchless without glitch.
locusglitchform having the form of place glitch.

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glitchproof able to withstand glitch.
glitchgen producing glitch.
semiglitch half or partial glitch.
glitchator one that acts in the manner of glitch.
glitchgraph written or used for writing glitch.
annuglitch yearly glitch.
archaglitchize to cause to be or to become old, ancient glitch.
chloroglitchate resembling or characterized by green colored glitch.
glitchment action or process of glitch.
isoglitchling one connected with equal glitch.
mulitglitch many, much glitch.
glitchling one connected with glitch.
glitchferous producing or containing glitch.
cryptoglitch hidden or secret glitch.
neoglitch new glitch.
paraglitch near of similar to glitch
photoglitch light glitch.
omniglitch all glitch.
chromoglitch color glitch.
homoglitch same glitch.
glitchion action or process of glitch.
microglitchative associated with small glitch.
nonglitch not glitch.
glitchscope instrument for viewing or measuring glitch.
ectoglitch outside of glitch.
glitchine made of or resembling glitch.
glitchability inclination or suitability for glitch.
corpglitch body glitch.
capitglitchular relating to or resembling leader or first glitch.
glitcholatry worship of glitch.
histoglitch tissue glitch.
mulitglitch many or much glitch.
umbilicusglitch navel glitch.
glitchling one connected with glitch
glitchive performing or tending toward glitch
abglitch away from glitch.
glitchoma tumor of glitch.
overglitch excessive glitch.
stereoglitch 3 dimensional glitch.
postglitch after glitch.
heirglitch sacred glitch.
glitchular resembling glitch.
glitchicide killing of glitch.
paleoglitch ancient glitch
ultraglitch beyond the normal glitch.
deiglitch god glitch.
primordisglitch original glitch.
curaglitch heal or cure glitch.
archglitch highest or most important glitch.
macroglitch long, large glitch.
dictglitch talk or say glitch.
glitchary of or relating to glitch.
glitchian one relating to, belonging to, or resembling glitch.
capitglitchproof able to withstand leader or first glitch.
isoglitchoid having the appearance of equal glitch.
bioglitchism action, process or practice of life glitch.
anteglitcheous having the nature of before glitch.
capitglitchant being, promoting or causing leader or first glitch.
glitchish of, relating to, or being glitch.
thermglitch heat of glitch.
cryptoglitch hidden or secret glitch.
glitchance state or condition of glitch.
brevglitchous possessing, full of or characterized by short glitch.
endoglitchate resembling or characterized by within glitch.
glitchary of or relating to glitch.
contraglitchish of, relating to, or being against or opposite of glitch.
misglitch less, wrong glitch.
glitchitis disease of glitch.
hypoglitcheous having the nature of below or less than glitch.
anteglitch before glitch.
pestisglitcheous having the nature of plague glitch.
gymnoglitchish of, relating to, or being naked glitch.
karyoglitch nucleus glitch.
rodereglitch to gnaw glitch.
audioglitchation process, state or action of hearing or sound glitch.
xeroglitch dry glitch.
glitchisation process or result of doing or making glitch.
glitchory relating to or characterized by glitch.
homoglitch same glitch.
capitglitch leader or first glitch.
biglitch two glitch.
aglitchness state, quality, condition or degree of without glitch.
glitchambulist one who walks or wanders glitch.
glitchphobia fear of glitch.
duglitchular relating to or resembling double, two glitch.
magglitch great glitch.
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,,!-./0)1/)2!%3!/!4%5136789!:./15%2!;0<253=0>!
MATHEMANTICS
If Glitch is G
G = 826.th Equals, irrational
G = 8.5169728619273547… Equals, not absolute
G !G Does not equal (inequality)
G =" Equals, Infinite (Limit of real/function)
G =# Equals, Integral
G =$ Equals, Delta (Change)
G !% Definition, existential quantification
1G & 0G Greater than or equal to, power of
G ! -v Does not equal, negative value
G =!! Equals, Uncertainty principle! !
G =G T
Transpose of the matrix G equals
another matrix
G "Scratch Material equivalence to
G ( )Wabi sabi Image of
G || Action painting Parallel to
G ' Direct film Comparable to
G #Auto-destructive art Proportional to
G ′ Early video art Derivative of
The artworks of Jodi <: G Subtype of
AG !Abstract Art Semi-direct product of
AG ! Cubism Partial derivative of
AG ∇ Dada Divergence of
AG $ Found Art Element of
AG % Chance Art Congruent to
G "Avant-garde Natural join with
G & Post-medium Function composition (composed with)
G " Remediation Projection of
G # Hyper/inter/inframedia Entails
G 'value Material implication of
G ! action + symbol Infers
G ∴ universal + nominal Therefore
G $ plane ± coordinate Independent of
G~ Equivalent to
G! End Proof
§§

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§§
"Art must not look like art."26 (Marcel Duchamp)
Art M ovem ent: Glitch
Ideology-
Glitch is a type of art in which the artist embraces error as an art form. Glitch artists
perceive error to be positive, generative and didactic. They value states of imperfection and
the transformation of media caused by glitch.
History-
Glitch art has been publicly promoted as a field, aesthetic and course of studies by a small
number of contributors who have been quietly active in their discussion and exhibition over
recent years27. Glitch art within this community is primarily achieved without the aid of
experts or a high production value, therefore supporting a “do-it-yourself”28 ethic and
opposing a singular definition of the artistic value of the quality of a digital image as having
high resolution, distinctness, detail, fineness or clarity.
Methodology-
Approaches and processes differ within this art of artifacts. In general, glitch art includes
captured accidents or deliberately constructed disaster. Certain practitioners use erroneous
artifacts as source materials or starting points for artworks across mediums, resulting in
anything from print media to painting, moving image and sound. Various practitioners are
inspired by glitch aesthetics and incorporate the visual characteristics into their practice.
These works are often categorised as “glitch-alikes”29 as they share a likeness to the glitch
aesthetics but are not underlined by the process of glitch in their creation. On the other end
of the scale, several artists deliberately force media to generate glitch, predominantly
through programming and electronics. Although glitch art bears an external likeness and
process of creation, its intentional production gives it an internal difference to glitch. Glitch
art as a field includes all of these varied practices. To create glitch art is to alter a system by
capturing, duplicating or forcing the behaviour of errors.
Characteristics-
Glitch theorist Iman Moradi proposes the central characteristics of glitch as linearity,
repetition, complexity and fragmentation30. Moradi draws these conclusions from the
dominant form of contemporary glitch production, new media. New media mainly employs
digital technologies as its materials and tools, such as computers, digital cameras, data
projectors and various other hardware and software. Its appearance is determined by the
properties of these material, resulting in pixilation, fragmentation, jagged interlacing,
dithering, tonal changes, bleeding colour, delay, ghosting, flickering, visual cloning,
repetition, complexity and the manifestation or appearance of the workings underlying the
technology. Within fine art practice, these technological blemishes are comparable to blur,
marks, spots, scratches, cracks, drips, smudges, rips, stains, as well as faded, flaked,
smashed or degraded materials.
Slips of information and functionality cause manifestations that are splintered, incomplete
and unusual. Faults in the structure or hardware of the technologies reveal their order,
producing abstract outcomes that display the structure and modularity of the system. These
compositional elements can be located as pertaining close proximity to abstraction within
art, in particular the movements of Cubism, De Stijl and Pointillism.
Appreciation-
Glitch aesthetics are gaining recognition and awareness from creative practitioners and
audiences. Similar, accepted visual components in other forms of cultural practice and
history can increase an audience’s appreciation and ability to relate to the aesthetic
components of glitch. Glitch artworks can be appreciated for their unusual deviations from
the rule, in which works present blurred, coarse and ambiguous visual information created
alternatively to technical standards of definition with complexities that offer various
interpretations.
Criticism-
Glitch gains a degree of aesthetic uniqueness form its surface artefacts. However, there is
room for artists to draw equally on glitch as a process, metaphor, experience and
relationship. Glitch artists frequently deny dynamic functionality, creating closed systems in
which media is forced to only produce error or its fruits. The paradox is that glitch is
defined by relinquishing control and yet practitioners attempt to control glitch.
Instantaneous collapse, breakdown, interruption, complete disintegration and functionality
are possible and unexplored qualities within the practice of glitch art.
 font text WORD object idea
aesthetic style means tool
software
!"#$%"#& script controlled
determined
restricted functional conforming
borrowed unoriginal predictable
safe unchanging continuous u n r e a l formal
ordered decided constrained
regulated ruled dull plain
ordinary boring
unimaginative cold robotic
!"#$%&"'
&()!*!+!&,'*&-.'' ' ' manufactured
produced
defined structured premade!
!"#$%&'(easy automatic instant effortless
shallow
unrelated
irrelevant meaningless lost
!"#$!%&&& & !"#$%&%'(( why !"#$%&
!"#$%% !"#!"
"#$%&' !"# $%&t #!'()*++
***

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"""!“The pervasive malfunctions in glitch are frequently offset by the presence of control…glitch as a genre is not
spared from its own malfunctions.”31 (Ang Song Ming)
Glitch art can be created from heavily controlled process, such as the calculated audio-visual installations of Ryoji
Ikeda and the use of fully controllable manufactured plug-ins as seen in the glitched film Long Live The New
Flesh32 by Nicholas Provost. Glitch that is created in more governed methods tends to employ genre as style in
which the technique and spectacle of creating glitch is the predominant focus. This is notably evident in the
proliferation of glitch art created through the use of glitch filters, plug-ins as well as online tutorials and
communities. Glitch artworks constructed from heavily ordered processes are sometimes used to reference the
mechanical aspect of its production. This intention is apparent in the highly structured images of Ant Scott, that are
created by manipulating the binary within a digital file, such as Glitch33 from the artist’s ‘pure glitch’ phase. In the
article ‘Controlling the Glitch’34, glitch sound artist Ang Song Ming expresses the paradox that glitch is defined by
relinquishing control and yet practitioners attempt to control glitch.
 †††

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
***!Within the 2 dimensional plane, the art movement Cubism35 condensed figures into principal geometric
elements, resulting from an analysis of natural forms. The process of examination and subsequent reduction is
comparable to the course that a computer algorithm executes when encoding a media file, commonly producing
abridged data whose deficiencies trigger glitch incidents. Marcel Duchamp’s controversial Nude Descending a
Staircase36 represents the movement of a nude female body descending a staircase through time from a variety of
perspectives. This fragmented study is parallel to the relationship between codes and video when video glitches.
When software -performs the task of playing a video file, the computer studies the data and motion vectors in
compression processing. If a video’s code is unstable and incomplete due a disturbance caused by hacking or
compression, the image breaks time apart, presenting movement information from past events within the current
frame.!
 ‡‡‡

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
,,,!The Dutch artistic philosophy De Stijl37 extended the Cubist explorations of abstraction, line and space within
art as well as design and architecture. This new plastic art simplified representation to primary colours, essential
forms, as well as horizontal and vertical composition. The grid like and geometric composition of lines and blocks
of colour within the works of Piet Mondrian, share compositional similarities with the linear breakdown of data
visualization into reduced forms of lines and colour, apparent within media artifacts. Glitch artworks are regularly
composed from a reduced amount of depth and information in a media’s hardware or data, causing their small
units of colour to merge together to form clusters and lines. Piet Mondrian’s Broadway Boogie Woogie38 colourful,
small and repeated cubes of colour is analogous to the appearance of low-resolution or pixelated digital images.
With a pixilated image, the structure of representation, in which data is presented as square units of colour within a
possible grid, can be seen due to their size or the audience’s viewing proximity. Pixilation within digital glitch
imagery is also formally akin to the mosaic inspired paintings of Paul Klee, such as Ancient Sound, Abstract on
Black39. Finer, more detailed pixilation known as “dithering”, as seen with faulty plasma televisions, is
reminiscent of the pointillist40 paintings of Georges Seurat, specifically in the proximity of perception on the
reading of the work.
Of all true manifestations of the head, of the heart, of the
soul, that life is recognizable in its expression, that…

! Form follows function

! Form function follows
! Follows form function
! Follows function form
! Function form follows
! Function follows form
! Form follows dysfunction
! Form dysfunction follows
! Follows form dysfunction
! Follows dysfunction form
! Dysfunction form follows
! Dysfunction follows form
! Form follows malfunction
! Form malfunction follows
! Follows form malfunction
! Follows malfunction form
! Malfunction form follows
! Malfunction follows form
! Formlessness follows function
! Formlessness function follows
! Follows formlessness function
! Follows function formlessness
! Function formlessness follows
! Function follows formlessness
! Formlessness follows dysfunction
! Formlessness dysfunction follows
! Follows formlessness dysfunction
! Follows dysfunction formlessness
! Dysfunction formlessness follows
! Dysfunction follows formlessness
! Formlessness follows malfunction
! Formlessness malfunction follows
! Follows formlessness malfunction
! Follows malfunction formlessness
! Malfunction formlessness follows
! Malfunction follows formlessness

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§§§
The Bauhaus41 design principle, stemming from Louis Sullivan exclamation that “of all true manifestations of
the head, of the heart, of the soul, that the life is recognizable in its expression. That form ever follows function.”42
In the “cut-up”43 style of the writings and films of William S. Burroughs.
 I’mperfect

****

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""""Technological perfection is often defied within art practice. The charged subversion and cracking of media is a
bold statement against the expectation of perfection, order and uniformity. Works can be created in opposition to
operation and perfection, valuing imperfection over perfection and finding beauty in fault. This aesthetic
sensibility is at the heart of the Japanese aesthetic tradition “wabi sabi”44. Wabi sabi is a principle with a multitude
of applications that allows the transience of nature to inform and inspire creation. Wabi sabi is also a perspective
that sees beauty in imperfection and melancholy in the impermanence of things. The style is underpinned by the
belief that “nothing lasts, nothing is finished, and nothing is perfect."45!
This
paper
will
self
destruct
in
10 ,
9,
8,
7,
6,
5,
4,
3,
2,
1
.
.
.

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****!Elements of destruction within interactivity can reveal and recompose artworks. Destructive interaction
expresses an awareness of the consequence of action. Comparisons with the damaging process of interaction and
creation can be drawn to “Auto-destructive art"46. Auto-destructive art was an aggressively political movement that
focused on the creative act of destroying material through the use of technology. Auto-destructive art is elucidated
in the works by its originator Gustav Metzger, for example in his Acid Action Painting47 in which he sprayed acid
onto painted canvases, causing the material to rapidly corrode. In Metzger’s Liquid Crystal Environment48 there is
a self-destructive and auto-creative mechanism inbuilt in the work, which instructs the composition over time.
This work is created from itself, an artistic act set in motion and left to chance. Great semblance can be seen in
comparison to the spatial concept works of Lucio Fontana, whose ripped canvases transcended the viewer from the
2 dimensional plane into reality in an act of construction through violent ruin and lack of reason49. Further
similitude is evident in the works of Wolf Vostell and his concept of “de-collage”50 which attempted to emphasise
the destructive nature of all acts of creation. Wolf Vostell reacted to media technology by transmitting a distorted
broadcast signal, known as TV De-collage for millions51, with the intention that the people receiving this signal
would perceive their TV sets to be broken.
 Page

Break

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
,,,,!Glitchartifacts are often created by a happy accident that an artist stumbles across providing them with
inspiration and source material. If given a chance, these accidents can provide alternatives to production that were
previously unimagined to direct the aesthetic.

The accident has been an inventing, creative moment for many practitioners. In Paul Virilio’s ‘Accident in Art’52,
he stresses the necessity of the accident for progress of science and the evolution of mankind. Virilio argues that a
possible accident is created together with each technological invention. In consideration of these remarks, it is
possible to conclude that complete control over a medium or technology is never absolute and therefore must be
accompanied by its own type of glitch. An emblem of imperfection, glitch implies the inversion of conventional
standards, instead establishing entropy as a paradigm. By presenting the accident as part of reality, glitch can
remind an audience that it is apart of a world in which there are forces beyond control. These seemingly random
and chaotic forces actively influence life, provoke change and may bring about a magnitude of positive or negative
consequences.
 This page is currently out of order.

§§§§

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
++++!Thispaper has been left unbound with unnumbered pages to free the page order and leave the document’s
exposition up to chance.

Glitch artworks present distorted, complex or absent information that intentionally cause the audience to
experience errors in the clarity of communication and representation. Various net-based artworks are underpinned
by error in connections, accessibility and navigation, such as the work of artist collective Jodi53 (Joan Heemskerk
and Dirk Paesmans) whose net art disorient, confuse and frustrate user’s interactivity and comprehension with
their content. In http://404.jodi.org/54 users encountering the website are presented with a colourful file not found,
404 error. Despite attempting to control navigation, the user pointlessly navigates between code and the error
message.
 THIS PAGE IS NOW OBSOLETE
NB: To be omitted

*****

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
"""""!“Obsolescence never meant the end of anything, its just the beginning.”55 (Marshall McLuhan)!
!
The use of faulty and found materials, reinvents outmoded media that are no longer perceived as desirable to the
consumer or cutting edge within art practice, providing opportunities for experimentation, reinvention and new
cultural production. Planned obsolescence and the constant consumer desire for the upgrade affects the perceived
value of a technology and its lifespan with the user. These technologies face the grim fate of either entering thrift
stores, being stripped for their parts, ending up on the scrap heap or shipped off to other countries as e-waste to be
dealt with. However, as each medium becomes unwanted, “it is at just this point, and in this very condition as
outmoded, that it seems to have entered into a new relation with aesthetic production…becoming, under precisely
the guise of its own obsolescence, a means of what has to be called an act of reinventing the medium”56.

Using damaged or outmoded technology can promote a non-hierarchical media structure within art practice. As
glitch theorist Janne Vanhanen discusses, glitch deterritorialises, it takes power away from one place57. The genre
of scratch music reinvents recorded aural media such as vinyl and compact discs by the technique of scratching.
Christian Marclay transforms found vinyl records from second hand record stores through various processes. In
Record without a cover58, Marclay created and distributed a blank record whose surface gains scratches due to a
lack of protection. Each record gains a unique composition of marks, which form the sounds on the record that can
be heard when played. Applying a similar approach, sound artist Yasunao Tone composes music from scratched
CDs, for example Solo for Wounded CD59, in which the sounds were sourced from experimenting and recording
with damaged CDs and CD players.
INSTRUCTIONS

Step 1. Refer to Step 2.

Step 2. Refer to Step 1.

†††††

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
*****!Glitchis underpinned by an avant-garde60 belief that nothing new would ever happen without defiance or the
subversion of rules. Glitch ideally opens up lateral spaces for thought and effect, giving the viewer a greater ability
to appreciate different aesthetics and the artist new platforms to diverge from. Like sound theorist Christopher J.
Washburne promotes, an understanding of the aesthetics, motivations and concerns of glitch leads to an
appreciation of its qualities61. An appreciation of a glitch can transform the audience to take note of a flaw, instead
of immediately judging it as wrong and dismissing it as having no potential for a meaningful experience.
Hold your breath for 1 min. Starting…Now!
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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
,,,,, Artists employ chance as a technique of crafting glitch through the setting up systems, events or conditions in
which the outcome is unknown. This process has a relationship to the chance experimentation of the Dada62 art
movement. Dada artists experimented with spontaneity and chance as methods of artistic creation that relinquished
control, depersonalizing the creative process. Dadaist Jean Arp experimented by dropping materials onto paper in
order to form a spontaneous composition, such as Untitled (Collage with squares arranged according to the laws
of chance)63. Dada turned to chance because they were skeptical of reason amid the chaos of their war torn context.
Similarly, contemporary artists turn to glitch as an expression of skepticism towards control within a heavily
technology dependent context. Chance artworks and glitch artifacts can appear to be random, as their causality is
not always immediately apparent. Nevertheless, their occurrence is the result of circumstances and their
construction within art practice is deliberate. Glitch artist Per Platou explains that while “one can (and should)
allow for various kinds of random actions/events in art-making, technically or otherwise…the conclusion remains:
It is impossible to deliberately make a mistake.”64
Make a mark.

§§§§§

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
+++++!Mark making is an embodied technique of gesture in which deliberate and physical interventions into media
directly affect the work. The tangible gesture of interacting with broken media is comparable to experiments on
celluloid, most notably by filmmakers Len Lye, Norman McClaren and Stan Brakhage. These experimental
filmmakers and animators recognized the possibilities of working with the imperfections and constitution of a film
negative. They moved away from recording material and printing material onto the filmstrip, doing away with the
film camera. They called this “direct film”65 as they created directly onto the negative by marking, scratching,
treating, staining, adding foreign elements to the film as well as other techniques as a way to expand cinema and
create innovative practices within the field. In the short animation, Begone Dull Care66 vivid abstract colours and
paterns are composed by painting and scratching onto the filmstrip.
 ******
THE _ _ _ _ _ MANIFESTO

Today, _ _ _ _ _ itself is obsolete. In documenting art on

the basis of _ _ _ _ _: we are human and true for the
sake of _ _ _ _ _, _ _ _ _ _, and _ _ _ _ _. At the
crossroads of the lights, alert, attentively awaiting _ _ _ _
_. If you find it futile and don't want to waste your time
on an _ _ _ _ _ that means nothing, consider that here
we cast _ _ _ _ _ on fertile ground. Here we have a right
to do some prospecting, for we have _ _ _ _ _.
We are ghosts drunk on energy, we dig into _ _ _ _ _.
We are a _ _ _ _ _ as tropically abundant as _ _ _ _ _,
which is the art of making _ _ _ _ _ established as _ _ _ _
_ on a canvas before our eyes, yet today the striving for _
_ _ _ _ in a work of art seems to _ _ _ _ _ art. Art is a _
_ _ _ _ concept, exalted as _ _ _ _ _, inexplicable as life,
indefinable and _ _ _ _ _. The work of art comes into
being through the _ _ _ _ _ of the elements. The medium
is as _ _ _ _ _ as the artist. Essential only is the forming,
and because the medium is _ _ _ _ _, any _ _ _ _ _
whatsoever will _ _ _ _ _. _ _ _ _ _ is the name for such
art. _ _ _ _ _ stands for freedom. _ _ _ _ _ changes
meaning with the change in the insight of those who view
it. Every artist must be allowed to mold a picture out of _
_ _ _ _. The _ _ _ _ _ of natural elements is _ _ _ _ _ to
a work of art. Instead, it is the artist who _ _ _ _ _ to
produce _ _ _ _ _, in order to make a better art. _ _ _ _

††††††

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
"""""" !This manifesto is an adaptation of Michael Bentancourt’s ‘__________ Manifesto’67

******!The“action paintings”68 of Jackson Pollock are bold and defiant statements. Pollock created with a direct and
embodied application of paint to the canvas by dripping, pouring and splattering paint. Pollock’s paintings were
constructed in opposition to traditional painting techniques in which dripped and splattered paint were considered
as accidents lacking control and skill of representation. Pollock’s chaotic and controversial paintings, such as the
Number 169, defy convention as they abandoned the use of the paintbrush, the easel and representation.
 Spot the Diference

‡‡‡‡‡‡

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
,,,,,,!The occurrence of error in new media such as computers, video games and displays can connect the audience
to the materiality of the media. Every seamless use and interaction with technology is the result of properly
functioning technology and a working interface between the machine and person. Glitch is a distortion or break in
the interface or communication of a message between a device and a user.

The early video art experiments of Nam June Paik distorted and interfered with the material and operational
aspects of media technology. In a bold reinvention of the television with his seminal work Magnet TV70 Nam June
Paik distorted a television’s display through the destructive placing of a magnet on its top. The magent caused
shifts in the attractive forces of the TV, which when moved around created multiple possibilities of form.
Connect the dots

§§§§§§

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
++++++!Glitchaesthetics are partly appealing because of a person’s complex, mysterious, unique, surprising and
intimate experience of them. As Lev Manovich outlines in his ‘The Language of New Media’71, the machine or
medium, at every instant of interaction, reminds the user of its existence. Media theorist Tim Barker extends this
discussion, asserting that the time and space of the machine and the user are both implicit and involved in the
event of the error. “The error does not happen to the work or to the user. It rather happens with the work and with
the user. The event extends over the user; they are invested in the error that is actualised by the event of the digital
encounter.”72
(This page has no function)

*******

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
*******
“If any social function is to be ascribed to art at all, it is the function to have no function.”73 (T.W. Adorno)
!
THE INTERRELATIONSHIP OF FUNCTIONALITY TO
IMMEDIACY AND HYPERMEDIACY WITHIN MEDIA

MODEL OF MEDIA
!

DEGREE
OF
FUNCTION

IMMEDIACY/
TRANSPARENCY/
ILLUSION

(IGNORING OR
DENYING THE
PRESENCE OF
THE MEDIUM)

DEGREE OF
MALFUNCTION

HYPERMEDIA/ OPACITY/ REALITY

(FOCUS ON MEDIA ITSELF)

†††††††

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
******* !Media oscillate between immediacy and hypermediacy, refashioning old media in a process called
“remediation”74. The subject is the object, system or tools. The focus is the media and its material quality, as
opposed to immediate, illusory or immersive representations that it may facilitate. The works are hypermedia, in
which the tools and systems are as interesting and significant as the aesthetic experience itself. Glitch theorist Kim
Cascone writes that in the post-digital era “the medium is no longer the message in glitch…the tool has become
the message.”75
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52?2<%1?!%3!&(2!?233!/)2!%3!&(2!?2<%1?!%3!&(2!?233/)2!%3!&(2!?2<%1?!%3!&(2!
‡‡‡‡‡‡‡
Paraphrased from “The medium is the message"76, "The medium is the massage…It is a collide-oscope of
"#$%&"!%'!()#!"#''*+#!%'!()#!"#$%&"!%'!()#!"*''*+#!%'!()#!"#$%&"!%'!()#!!
?2<%1?!%3!&(2!?233/)2!%3!&(2!!
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52?2<%1?!%3!&(2!?233!/)2!%3!&(2!!
interface situations"77, the "medium is the mess-age"78 and the medium is the “mass age.”79 (Marshall McLuhan)
52?2<%1?!%3!&(2!?233!/)2!%3!&(2!?2<%1?!%3!&(2!?233/)2!%3!&(2!?2<%1?!%3!&(2!
?2<%1?!%3!&(2!?233/)2!%3!&(2!?2<%1?!%3!&(2!?/33/)2!%3!&(2!?2<%1?!%3!&(2!
?/33/)2!%3!&(2!?2<%1?!%3!&(2!?233!/)2!%3!&(2!52?2<%1?!%3!&(2!?233/)2!%3!&(2!
!
?2<%1?!%3!&(2!?233/)2!%3!&(2!?2<%1?!%3!&(2!?/33/)2!%3!&(2!?2<%1?!%3!&(2!
!"#$%&"!%'!()#!"#''*+#!%'!()#!!
?/33/)2!%3!&(2!?2<%1?!%3!&(2!?233!/)2!%3!&(2!52?2<%1?!%3!&(2!?233/)2!%3!&(2!
?233!/)2!%3!&(2!52?2<%1?!%3!&(2!?233/)2!%3!&(2!52?2<%1?!%3!&(2!?/33/)2!%3!&(2!
52?2<%1?!%3!&(2!?/33/)2!%3!&(2!52?2<%1?!%3!&(2!?233!/)2!%3!&(2!!
This ?2<%1?!%3!&(2!?233/)2!%3!&(2!!
?2<%1?!%3!&(2!?233/)2!%3!&(2!?2<%1?!%3!&(2!?/33/)2!%3!&(2!?2<%1?!%3!&(2!
structure is a specific example of concrete poetry as outlined in the various concrete manifestos, such as
?233!/)2!%3!&(2!52?2<%1?!%3!&(2!?233/)2!%3!&(2!52?2<%1?!%3!&(2!?/33/)2!%3!&(2!
Augusto de Campos’s “Points – Periphery – Concrete Poetry”80!
52?2<%1?!%3!&(2!?/33/)2!%3!&(2!52?2<%1?!%3!&(2!?233!/)2!%3!&(2!!
52?2<%1?!%3!&(2!?233!/)2!%3!&(2!?2<%1?!%3!&(2!?233/)2!%3!&(2!?2<%1?!%3!&(2!
?233!/)2!%3!&(2!52?2<%1?!%3!&(2!?233/)2!%3!&(2!52?2<%1?!%3!&(2!?/33/)2!%3!&(2!
!!
52?2<%1?!%3!&(2!?233!/)2!%3!&(2!!
?/33/)2!%3!&(2!?2<%1?!%3!&(2!?233!/)2!%3!&(2!52?2<%1?!%3!&(2!?233/)2!%3!&(2!
52?2<%1?!%3!&(2!?233!/)2!%3!&(2!?2<%1?!%3!&(2!?233/)2!%3!&(2!?2<%1?!%3!&(2!
!52?2<%1?!%3!&(2!?/33/)2!%3!&(2!52?2<%1?!%3!&(2!?233!/)2!%3!&(2!!
?2<%1?!%3!&(2!?233/)2!%3!&(2!?2<%1?!%3!&(2!?/33/)2!%3!&(2!?2<%1?!%3!&(2!
?/33/)2!%3!&(2!?2<%1?!%3!&(2!?233!/)2!%3!&(2!52?2<%1?!%3!&(2!?233/)2!%3!&(2!
!
?233!/)2!%3!&(2!52?2<%1?!%3!&(2!?233/)2!%3!&(2!52?2<%1?!%3!&(2!?/33/)2!%3!&(2!
52?2<%1?!%3!&(2!?/33/)2!%3!&(2!52?2<%1?!%3!&(2!?233!/)2!%3!&(2!!
!!
52?2<%1?!%3!&(2!?233!/)2!%3!&(2!?2<%1?!%3!&(2!?233/)2!%3!&(2!?2<%1?!%3!&(2!
!
___ ____ ____ _ _ ____ _ _ ____ ___ ____ ____ _ ____ _ _ ___ _ _ !
| |__/ |__| |\ | [__ |\/| |__| | |___ |__/ | |__| | | | \_/
| | \ | | | \| ___] | | | | | |___ | \ | | | |___ | | |

. . . . . .
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`-' o | | o
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| / | / | / |/ | / \_/ |/ |/ | / | | |/ / | | / | |/ | | | |
|_/ |_/\_/|_/ | |_/ \/ | | |_/\_/|_/|_/|__/ |_/|_/\_/|_/|__/|_/|_/ \_/|
/
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| | ( | | |\__ \ | | | ( | | __/ | | ( | | | | | |
\__|_| \__,_|_| _|____/_| _| _|\__,_|\__|\___|_| _|\__,_|_|_|\__|\__, |
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/ /__________ _____ _________ ___ ____ _/ /____ _____(_)___ _/ (_) /___ __
/ __/ ___/ __ `/ __ \/ ___/ __ `__ \/ __ `/ __/ _ \/ ___/ / __ `/ / / __/ / / /
/ /_/ / / /_/ / / / (__ ) / / / / / /_/ / /_/ __/ / / / /_/ / / / /_/ /_/ /
\__/_/ \__,_/_/ /_/____/_/ /_/ /_/\__,_/\__/\___/_/ /_/\__,_/_/_/\__/\__, /
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# # # # # # # ### # # # ## # # # # # # # ###
## # ### # # ## # # ### ## ### # ## ### ## ## ## #
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ttt rrr aa nnn ss mmmm aa ttt eee rrr aa l ttt y y
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____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
||t |||r |||a |||n |||s |||m |||a |||t |||e |||r |||i |||a |||l |||i |||t |||y ||
||__|||__|||__|||__|||__|||__|||__|||__|||__|||__|||__|||__|||__|||__|||__|||__||
|/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|

§§§§§§§

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
+++++++!Transmateriality81 is a notion discussed by contemporary theorist Mitchell Whitelaw, which describes the
digital as essentially material despite maintaining a sense of digital function as if it were immaterial. Whitelaw
suggests that the digital glitch is manifest as incursions of specificity, its surface textures and structures emerge as
a kind of decay. Glitch can be a force that breaks the digital’s presentation as immaterial, brining forth the specific
conditions of its materiality. The digital can then transmit and broaden its materiality into a post-medium and post-
media art application. Transmateriality is an active process within glitched media, intrinsic in its evolution of
decay.
Techno Death Poetry ********
(The last words of technology on the verge of death. Translated from binary)

Not whole anymore 101 11010 0111010

Not as I have known myself to be 101 01 0 1010 11011 111011 10 10
Just a sum of parts 1011 0 101 01 10111
But good for parts 101 1001 101 10111

As the crack slices through the void 01 110 11011 110101 1110011 110 1001
Light and snow flash before me 10111 011 1101 11011 101010 10
Ahead into the darkness 01001 0110 110 10111011
I go, knowing 0 10 1101011

At last the final hour is near 01 1011 110 10101 1001 01 1001
After a life of use 01101 0 1010 01 010
Soon release and no more 1001 1010010 011 10 1010

From scrap to scrap we go 1101 11101 10 11101 10 10

From nothingness to 1101 10110111011 10
Something again 1010110111 01011

Three things no one shall know 11100 110111 10 010 11011 1101
Our purpose, our maker 001 1011010 001 10101
††††††††

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
""""""""!Death
poetry82 is a literary tradition within Japanese, Chinese and Korean culture in which monks, warriors
or notable people wrote a short passage near to or directly before the time of death that reflected life, the afterlife
or attempted to reconcile differences.
††††††††
In Martin Heidegger’s dissertation ‘The Question Concerning Technology’83 art contains saving power as it
is a poetic expression of “techne”84. Glitch actively engages a person in their understanding of media before them,
their relationship to that technology and ultimately their sense of being. Heidegger suggests that “the essence of
technology is not technological”85 it is what he calls “enframing”86. Enframing is Heidegger’s term for the
destining of materials that are transformed towards purposeful production, in other words, the use of nature as a
means to an end. The fundamental nature of glitch is not a material, mechanical or technical means to an aesthetic
end, but rather it is an observable and dynamic process of unfolding and revolution that opens the potential for
active engagement and revelation. Glitch unveils the concealed actuality of technology and presents it as now
performing no or a different function to its intended purpose. Glitched, faulty and outmoded media in their useless
condition enter into a new poetic position as they become converted into artworks. Allowing or creating the
conditions of glitch enhances the internal entropic nature of glitch events to flow. However, machines are a human
creation, so the accidental and chance characteristics of glitch are possibly self-determined and beyond control,
thus potentially conveying the danger that the use of technology may impede on an ability to comprehend the
world. Nevertheless, glitch is a material transformation towards a revealing of the essence of technology.
Heidegger argues that this bringing forth of the media is necessary in the pursuit of truth, it “is as revealing, and
not as manufacturing, that techne is a bringing-forth.”87
Top 10 reasons why glitch fails us:

10. Interfering
7. Unexpected
2. Mad
8. Functionless
5. Imperfect
9. Out of control
6. Not entertaining
3. Different
4. Changed
Unknown
1. Real
0. Dying
1.5 Forgotten

‡‡‡‡‡‡‡‡

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
‡‡‡‡‡‡‡‡
In ‘Madness and Civilization’88 philosopher Michel Foucault argues that the language of reason controlled
and ultimately silenced the dialogue between reason and madness. In this influential publication, Foucault outlined
the way in which the unusual, non-conformist and mad were systematically categorised as social failures. To
Foucault, this oppression of madness limited individuality and the ability of unreason to elucidate truth. Errors by
their nature are unpredictable, unexpected and therefore undesired. Anomalies have a disobedient entropic quality
as well as being strange and subversive. Faults and malfunction are a kind of madness that the desire for order
suppresses. Error plays an important role in expressing limitations and truth, particularly in terms of functionality
and order.
“The glitch is an essential part of our world, not simply an adjunct to an aesthetic movement.” 88 (fo.AM)

“It is glitch that guides evolution; perfection offers no incentive for improvement.”90 (Colson Whitehead)

“The condition that marks the post-digital age may be the condition for error.”91 (Tim Barker)

“negatively, we can just ignore them, just not perceive them, or perceiving we can condemn, positively we
can confront the anomaly and try to create a new pattern of reality, in which it has a place.”92 (Mary
Douglas)

“A glitch image hits you right between the eyes.”93 (Ant Scott)

“spun away from its source into intricate patterns of decay.”94 (Mitchell Whitelaw)

“All truths are easy to understand once they are discovered; the point is to discover them.”95 (Galileo)

‘To invent something is to invent an accident. To invent the ship is to invent the shipwreck; the space
shuttle, the explosion. And to invent the electronic superhighway or the Internet is to invent a major
risk.”96 (Paul Virilio)

“technology is the absolute break with the work of art; it forms the constitutive moment.”97 (Michel
Foucault)

“The genre of the glitch and its role in a conceptual framework can be considered as an art form. In its
visual and practical manifestations though, glitches and glitch-alikes have a distinct medium-like
quality.”98 (Iman Moradi)

“Each material has its own message, and to the creative artist, its own song.”99 (Frank Lloyd Wright)

“The medium is the message.”100 (Marshall McLuhan)

“the essence of technology is not technological .’’101 (Martin Heidegger)

“is as revealing, and not as manufacturing, that techne is a bringing-forth.”102 (Martin Heidegger)

“playing on the material of a medium is solid modernist trope, and a seminal feature of the media
art…(but) glitch is very beautiful – and all the more for its abject, broken materials.”103 (Mitchell
Whitelaw)

“Freedom is not worth having if it does not connote freedom err.”104 (Mahatma Gandhi)

“Beauty is truth, truth beauty.’’105 (John Keats)

“Ever tried. Ever failed. No matter. Fail again. Fail better."106 (Samuel Beckett)
§§§§§§§§

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
++++++++!The use and adaption of quotation here is informed by Found poetry107 as well as ‘The Death of an
Author’ by Roland Barthes in which he explains “the text is a tissue of citations, resulting from the thousand
sources of culture”108.

From paint drips to ripped canvases, scratched celluloid, damaged records, magnetized TVs and faulty websites,
glitch has a long running history and place within cultural production. Glitch exhibits mistakes, imperfections and
failures of media as beautiful, inspiring, defining and challenging, demonstrating that perhaps, like the machine, it
is our imperfections and failures that reveal our essence, define and even transform who we are. Glitches are
anomalies of accidental deviation that throughout history have liberated conventions, expanded possibilities and
bridged the interface between illusion and awareness. Theoretically, glitch plays a multitude of roles, as a balance
or counterpoint to determinism, a liberator from perfection and a promoter of deteritorialisation. It is likely that
glitch as a specific term and current movement within cultural production will face an appropriately short-lived
fate, due to the narrowness of its current contextualization, advancement of technology and the passing of trends.
However it’s essence is intrinsically apart of a certain sensibility in aesthetic production that has a deep and broad
genealogy. So with the love of glitch in mind, it is my greatest assurance that glitch will continue to fail
wonderfully.
ENDNOTES

1. Jerome B. Schneewind, Moral philosophy from Montaigne to Kant (Cambridge: Cambridge

University Press, 2003), 45.
2. Richard Kostelanetz, The Avant-Garde Tradition in Literature (Michigan: Prometheus Books,
1982), 315.
3. Espen Somer Eide, quot. Iman Moradi, “Glitch Aesthetics”, (Masters diss., University of
Minneasota, 2004), 28.
4. Jacques Derrida and John D Caputo, Deconstruction in a nutshell: a conversation with Jacques
Derrida (Fordham Univ Press, 1997), 31.
5. Iman Moradi and Ant Scott. Glitch: Designing Imperfection (New York: Mark Batty Publisher,
2009), 9.
6. Eric S. Raymond. The new hackers dictionary (USA: MIT Press, 1996), 217.
7. Ibid.
8. Hans Kurath, Middle English Dictionary: G2, Volume 8 (Michigan: University of Michigan Press,
1964), 165.
9. Merriam-Websiter Inc, Merriam-Webster's collegiate dictionary (USA: Merriam-Webster, 2003),
532.
10. Ibid. 532.
11. Elementary Lessons in Historical English Grammar, Containing Accidence and Word-Formation
(BiblioBazaar, LLC, 2009), 6.
12. Wolfgang Wildgen, The evolution of human language: scenarios, principles, and cultural
dynamics (John Benjamins Publishing Company, 2004), 4.
13. Wayne M Bundy, Out of chaos: evolution from the big bang to human intellect (Florida:
Universal-Publishers, 2007), 121.
14. Michael A. Seeds and Dana Backman, Horizons: Exploring the universe (Belmont: Cengage
Learning, 2009), 329.
15. Stephen Hawkings, A brief history of time: from the big bang to black holes (New York: Bantam
Books, 1988), 46.
16. Michael Anthony Corey, God and the new cosmology: the anthropic design argument (Rowman
and Littlefield, 1993), 32.
17. Ibid.
18. Maurizio Gasperini, The universe before the big bang: cosmology and string theory (Springer,
2008), 171.
19. Tim O'Keefe, Epicurus on freedom (Cambridge: Cambridge University Press, 2005), 118.
20. Jean Baudrillard, Simulacra and Simulation (Michigan: University of Michigan Press, 1994), 79.
21. Jean Baudrillard, Simulations, Translated by Paul Foss, Paul Patton, Philip Beitchman,
(Semiotext: New York, 1983), pg 11.
22. Brian Eno, quot. Mathew Bannister, White boys, white noise: masculinities and the 1980s indie
guitar rock (Hampshire: Ashgate Pubishing Ltd, 2006), 118.
23. “All About Mutations,” http://hopes.stanford.edu/n3417/hd-genetics/all-about-mutations
(accessed Sep. 22, 2010)
24. Gillies Deleuze and Claire Parnet, Dialogues II (New York: Columbia University Press, 2007),
148.
25. Laurie Anderson, "Language is a Virus (for William S. Burroughs), United States, I-IV (1991);
Language is a Virus, Home of the Brave (1986)
26. Marcel Duchamp, quot. Richard Kostelanetz, 'The Avant-Garde Tradition in Literature'
(Michigan: Prometheus Books, 1982) 304.
27. Ant Scott is though to have first uploaded glitch works on www.beflix.com in 2001.
28. Wordsworth Editions, Ltd., Concise English Dictionary (Hertfordshire: Wordsworth Editions,
2007), 264.
29. Moradi, Ibid. 10.
30. Iman Moradi and Ant Scott, Ibid. 8.
31. Ang Song Ming, “Controlling the Glitch.” The London Consortium: Static – Catastrophe, Issue 7
(2009). http://static.londonconsortium.com/issue07/static07_songming.php
32. Nicholas Provost, Long Live The New Flesh, 2010, Digital Video, 14’.
33. Ant Scott, Glitch, 2007, Digital Print, Dimensions unknown.
34. Ming, Ibid.
35. Anne Ganteführer-Trier and Uta Grosenick, Cubism (Taschen, 2004), 6.
36. Marcel Duchamp, Nude Descending a Staircase, 1912, Oil on canvas. 47cm x 89.2cm,
 Philadelphia Museum of Art.
37. Charles Harrison Art in theory, 1900-2000: an anthology of changing ideas (USA: Wood Wiley-
Blackwell, 2003), 281.
38. Piet Mondrian, Broadway Boogie Woogie, 1942-3, 127cm x 127cm, Museum of Modern Art.
39. Paul Klee, Ancient Sound, Abstract on Black, 1925, Oil on cardboard, 38cm x 38cm,
Kunstsammlung Basel.
40. Bob Raczka, Name That Style: All about Isms in Art (Minneapolis: Millbrook Press, 2008), 17.
41. Roger Lipsey, The Spiritual in Twentieth-Century Art (New York: Courier Dover Publications,
2004), 193.
42. Louis Sullivan "The Tall Office Building Artistically Considered",” Published Lippincott's
Magazine (March 1896).
43. "freely mixed images and texts drawing from a wide range of sources" Kristine Stiles and Peter
Howard Selz, Theories and documents of contemporary art: a sourcebook of artists' writings
(California: University of California Press, 1996), 284.
44. Andrew Juniper, Wabi-sabi: the Japanese art of impermanence (Massachusetts: Tuttle
Publishing, 2003).
45. Richard R. Powell, Wabi Sabi Simple: Create Beauty. Value Imperfection. Live Deeply (Canada:
Adams Media, 2005), 19.
46. "auto-destructive art is art which contains within itself an agent which automatically leads to its
destruction within a period of time", Gustav Metzger quot., Kristine Stiles and Peter Howard Selz,
Ibid. 402.
47. Gustav Metzger, Acid Action Paintings, 1961, Performance painting, 213cm x 381cm x 198cm.
48. Gustav Metzger, Liquid Crystal Environment, 1965, Five slide projectors, liquid crystals, glass
slides, mechanical control, dimensions variable.
49. Lucio Fontana’s philosophy is “reason does not create” Lucio Fontana, quot., Kristine Stiles and
Peter Howard Selz, Ibid. 51.
50. “De-collage is your TV destruction….de-collage is your own failure” Wolf Vostell quot., Ibid.
724.
51. Wolf Vostell, TV De-collage for Millions, 1963. TV broadcast, 3’.
52. Paul Virilio, The Accident of Art (New York: Semiotext(e)), 2005.
53. Jodi are Joan Heemskerk and Dirk Paesmans.“Jodi.org” http://blogspot.jodi.org/
54. Joan Heemskerk and Dirk Paesmans, http://404.jodi.org/, 1995. Webpage.
55. Marshall McLuhan, quot. Matteo Bittanti, “So, when did planned obsolescence become an artistic
practice?,” http://www.imal.org/playlist/essay/so-when-did-planned-obsolescence-become-
artistic-practice (accessed Jun. 8 2010)
56. Rosalind Kraus, quot Domenico Quaranta, “PLAYLIST. A READER,”
http://www.imal.org/playlist/essay/playlist-reader (accessed Aug. 5, 2010).
57. Janne Vanhanen, “Loving The Ghost In The Machine: Aesthetics of Interruption.” CTheory.net,
(2001). http://www.ctheory.net/printer.aspx?id=312
58. Christian Marclay, Record Without A Cover, 1985. Vinyl, Single sided LP (Text on non engraved
side), Recycled Records (2).
59. Yasunao Tone, Solo For Wounded CD, 1997. CD, 48’42’’, Tzadik.
60. Richard Kostelanetz and H. R. Brittain, A dictionary of the avant-gardes (New York: Routledge,
2001), 1.
61. Christopher Washburne, Bad music: music we love to hate. New York: Routledge, 2004.
62. Hans Richter, Dada, art and anti-art (Oxford University Press, 1978).
63. Jean Arp, Untitled (Collage with squares arranged according to the laws of chance), 1916-17,
Paper collage, 48.5 x 34.6 cm, The Museum of Modern Art.
64. Per Platou, in Moradi, Glitch: Designing Imperfection, Ibid. 7.
65. Roger Horrocks, Len Lye: a biography (Auckland: Auckland University Press, 2001), 408.
66. Norman McClaren, Begone Dull Care, 1949. Film, 8’, National Film Board of Canada.
67. “__________Manifesto,” http://www.michaelbetancourt.com/index.html (accessed Sep. 22, 2010)
68. Delia Ciuha and Fondation Beyeler, Action-painting: Jackson Pollock (Hatje/Cantz, 2008).
69. Jackson Pollock, Number 1, 1950. Oil, enamel and aluminum on canvas, 221 x 300 cm, National
Gallery of Art, Washington, D.C.
70. Nam June Paik, Magnet TV, 1965. Television and magnet.
71. Lev Manovich, The Language of New Media (Cambridge: MIT Press, 2001).
72. Tim Barker, “The Error and The Event,” Errors and Glitches, Jul, (2008),
http://www.virose.pt/vector/x_06/barker.html
73. T.W.Adorno, Aesthetic Theory, translated by C. Lenhardt (New York: Routledge, 1984), 322.
74. Jay David Bolter and Richard Grusin, Remediation: Understanding New Media, (Cambridge:
MIT Press, 2000), 20.
75. Kim Cascone, “The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer
Music,” Computer Music Journal, 24:4, (2000): 12.
76. Marshall McLuhan and W.Terrance Gordon, Understanding media: the extension of man
(Berkeley: Gingko Press, 2003), 17.
77. Marshall McLuhan and Quentin Fiore, The medium is the massage (California: Gingko Press,
2001), 10.
78. Marshall McLuhan and Harley Parker, Counterblast, (Toronto: University of Michigan, 1969),
23.
79. Marshall McLuhan, quoted in Paul Levinson, Digital McLuhan: a guide to the information
millennium, (New York: Routledge, 1999), 36.
80. Augusto de Campos’s “Points – Periphery – Concrete Poetry”, Kostelanetz, Ibid. 259.
81. Mitchell Whitelaw “Aspects of materiality: Specificity” September 5 2008,
http://teemingvoid.blogspot.com/search/label/transmateriality
82. Yoel Hoffman, Japanese Death Poems: Written by Zen Monks and Haiku Poets on the Verge of
Death (Vermont: Turtle Publishing, 1986), 9.
83. Martin Heidegger, The Question Concerning Technology and Other Essays, Translated by
William Lovitt, (New York: Harper and Row, 1977), 287-317.
84. Ibid.
85. Ibid.
86. Ibid.
87. Ibid.
88. Michel Foucault, Madness and civilization: a history of insanity in the age of reason (London:
Routledge, 1989).
89. fo.am, “Digital art and the glitch” Digital arts and culture, 2000
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90. Colston Whitehead quoted in Kim Cascone, Ibid.12.
91. Tim Barker. “Error, the Unforeseen, and the Emergent: The Error and Interactive Media Art” M/C
Journal, Vol 10, Issue 9. Oct 2007, http://journal.media-culture.org.au/0710/03-barker.php
92. Mary Douglas. Purity and danger: an analysis of concepts of pollution and taboo. (London:
Routledge, 1966) 48.
93. Ant Scott,, Anti-Fractal, http://beflix.com/antifractal.html (Accessed Aug. 23, 2010)
94. Whitelaw, Ibid.
95. Galileo Galilei quot., Alex Caldon, The Quest for Truth; On Finding the Grail (Great Britain:
Chris Bradbury, 2007), 38.
96. Paul Virilio, “Cyberesistance Fighter - An Interview with Paul Virilio - David Dufresne”, Après-
Coup Psychoanalytic Association, (1999), http://www.apres-
coup.org/mt/archives/title/2005/01/cyberesistance.html
97. Foucault, Ibid. 273.
98. Moradi, Ibid.
99. Frank Lloyd Wright, “In the Cause of Architecture”, Architectural Record, (McGraw-Hill Inc,
1975)
100. Marshall McLuhan and W. Terrance Gordon, Ibid. 17.
101. Heidegger, Ibid.
102. Ibid.
103. Mitchell Whitelaw, “Inframedia Audio”, Artlink 21(3) (Sept 2001) 49-52.
104. Mahatma Gandhi, quot., Inc Icon Group International, Liberating: Webster's Quotations, Facts
and Phrases (California: Icon Group International, 2008), 3.
105. John Keats, ”Ode on a Grecian Urn” in Ode on a Grecian Urn and Other Poems (Montana:
Kessinger Publishing, 2004) 34.
106. Samuel Beckett, Worstward Ho (London: John Caldor, 1983) 7.
107. “On Found Poetry (A FOUND INTRODUCTION)”,
http://www.ubu.com/papers/found_poetry.html
108. Roland Barthes. "The Death of the Author," trans. Richard Howard. Aspen Magazine, section 3,
nos. 5-6 (1968)
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