location | Digital Editing Lab (Kerr Hall)
days/time |  MW 1:00-2:20pm
Professor Laila Shereen Sakr [vjumamel.com]
contact | email: ssakr AT filmandmedia.ucsb.edu | twitter:  @vj_um_amel
office hours | TH 12-1pm in 2020 SSMS, or by appt.
PDFs for all Readings: https://goo.gl/RpwZgf
PDF of Syllabus


This production course surveys the field of contemporary glitch practice and glitch studies, while exploring the ways in which the concept might be applied to new areas of arts practice and theory. By translating a twentieth-century industrial cinema model of pre-production, production, and post-production into a twenty-first-century fluid and persistent non-linear workflow, this course offers students a solid foundation in basic film production skills, including managing digital assets, visual effects, 3D, sound design, and codecs/aspect ratios.

The concept and creation of the glitch continues to engage artists and theorists working across a number of different arts disciplines, and in particular visual arts, digital art, music, and sound art. Celebrated as a productive, generative figure within art practice, and also as a disruptive, destabilizing form with radical potential, the glitch celebrates faults, failures, malfunctions, disturbances, anomalies, bugs, errors and noise. As the repressed sounds and images of technology, glitches render audible and visible technology itself, as well as the normalized systems and codes that underpin representation, communication and language. Although the glitch has been closely associated with technology, it may nevertheless also have the potential to illuminate other areas of experience and understanding, and in particular, as a form of noise, brings a political dimension to arts practice.

For the final, students will submit collaborative projects (glitched moving images and sound), including 2-page paper and presentations addressing issues relating to the glitch within arts practice and theory. These presentations will be peer-critiqued. Alternatives to the traditional forms of presentation are welcome, and in particular presentations that seek to blur the boundaries between performance and formal presentation.

Topics for consideration might include (but are not limited to):

• the glitch in film, video and photography
• glitch dance, theatre and music
• the glitch in poetry and prose
• the history of the glitch and glitched history
• the politics and poetics of the glitch
• the glitch and materiality
• queer glitch
• hi-fi lo-fi
• glitch scat, sample, and scratch
• turntablism and glitch
• genetics, disease and the glitch


The course will use WordPress (FAMST109GA.wordpress.com) as the main online platform to provide: weekly syllabus updates, PDFs for all readings, events and resources. Students must use the blog to regularly reflect on readings, share relevant projects and report on their ongoing group projects. Students will use UCSB Net ID to Box.net for file storage. Please regularly check the website for syllabus updates.


Please be respectful of one another’s opinions.
Be rigorous: do the readings thoroughly and carefully and bring all readings to class.
Be on time.Turn off and put away all cellular phones.


Grading: 50% of the course grade reflects the conceptual design, production and presentation of the collaborative work. The remaining 50% of the grade involves an assessment of students’ individual participation and contributions to the course and your peers. All grades are final and are not subject to change. The following grading rubric will guide the evaluation of student work for the course:

Assignments (30%): all assignments must be posted to your website page by 12 noon the day they are due. There are five assignments throughout the quarter.

Participation (10%):  Very important.

Midterm (Two parts: (1) Each student will submit a 1,200 word article based on readings; and (2) Collaborative groups each submit and present Treatment for final project. The Treatment includes storyboard, scripting, overheads, mood sheets, and a 1,000 word description of project and student roles) 30%: The course expects students to engage critically and collaboratively (in small teams) to research, conceptualize and produce glitch video, image series, sound art or creative intervention that tackle a specific topic. The groups will present their midterm to the class in 7-minute presentations with peer feedback.

Final (Submit all class work onto individual page on the blog) 30%: In addition to submitting your videos, your final grade will include assessment of presentation and documentation of the collaborative projects onto our class blog. Each group project will be featured on its own page. Students must design the page as a formal portfolio — well-designed, people roles defined, images, links, and the Treatments from the midterm. And final projects will be due finals week.


  • Collaborative Projects: Students will collaborate in groups of two and three to produce one of the following. Deliverables includes Treatment at Midterm and webpage at Final.
  • Assignments: Students individually submit assignments to the class website.
  • Midterm: 1200 word online articles; and collaborative project treatment and presentation of the treatment for formal peer-critique.
  • Final: Your final will be a presentation and documentation of the collaborative installation projects onto our class blog. Each group project will be featured on its own page. Each project must design the page as a formal portfolio — well-designed, people roles defined, images, links, and the Treatments from the midterm, related blog entries by anyone in class. And final projects and portfolio page will be due finals week.


Students will have access to technical materials needed from the Carsey-Wolf Center including HD and film cameras, a digital editing lab, private screening rooms and our soundstage. You are responsible for providing your own digital media storage using your university Box.net account, signing up for equipment access via Carsey-Wolf, and setting. FAMST 109GA has 3 NX5U Sony cameras reserved for students.


Image Acquisition                       20%
Photo Glitch 1                               20%
3D Glitch                                        20%
Soundscapes                                20%
Sequence                                       20%


Do not be late. Do not miss class without speaking with me first. Every late arrival/departure and missed class will be deducted from your grade.

Week 1 – Introductions  to Glitch Studies

Mon, Apr 2 – Introductions: Class overview, Mechanics

Wed, Apr 4– Image acquisition and organization Cameras, rasterized and vector graphics

Assignment Due: (1) Image acquisition. Take pictures, find pictures, makes pictures. Collect or take up twenty images and add to a folder in your UCSB Box.net account. Share the link with everyone in class and professor. 

-Also, set up your page on this site and your Vimeo account.

-Menkman, Rosa (2011). “Glitch Studies Manifesto,”The Glitch Moment(um), p. 11.

Rosa Menkman
Kim Asendorf


Mon, Apr 9 – Hex Editor, Chroma and Pixel Sorting

Assignment Due: Databending the Image

-Barker, Tim (2011) “Aesthetics of the Error: Media Art, the Machine, the Unforseen, and the Errant,” Error: Glitch, Noise, and Jam in New Media Cultures, Ed. Mark Nunes. London: Bloomsbury Academic. pp. 168-186.

Mark Klink
Uğur Engin Deniz
Failure as a Generative Process: Expanded Cinema Experiments of Stan VanDerBeek at the Hammer

https://www.openprocessing.org  login: lailashereensakr@ucsb.edu p/w: glitchart

Wed, Apr 11 –  Glitch Theory in Practice
-Zizek, Slavoj (2016). “The Subversive Use of Theory,” Demanding the Impossible. Cambridge: Polity Press, 52-55.

In Class Processing 2.0 Lesson:
Download Code

Week 3 – 3D Glitch

Mon, Apr 16 

Thu, Apr 18
  – 3D Glitch and Triangulation Mesh: Finding a Single Diagonal

Screen Shot 2016-03-28 at 12.28.13 PM

Assignment Due: 3D Glitch Effects Tutorials 1-4
This is not an easy assignment. Will take some time.


Mon, Apr 23

Wed, Apr 25

-Nunes, Mark. (2011) “Error, Noise, and Potential: The Outside of Purpose,” Error: Glitch, Noise, and Jam in New Media Cultures, Ed. Mark Nunes. London: Bloomsbury Academic. pp. 3-26.


Mon, Apr 30
 Noise and Signal

-Krapp, Peter (2013) “Noise Floor Between Tinnitus and Raw Data,” Noise Channels: Glitch and Error in Digital Culture. Minneapolis: University of Minnesota Press. pp. 53-74.

Post blog reading response and come to class with ideas about final/group project.

Wireframe tool: https://gomockingbird.com

Wed, May 02 – Glitch Music

Google: Storyboard, Mood Board, or Style Sheet

View/List to Screenings:
Jessica Westbrook
The Glitch Mob


Mon, May 07 – MIDTERM: Individual online articlesand treatments of group projects  present to class for peer-critique.

Wed, May 09   – Sound Production

Music Glitch Archive

Assignment: Create a Soundcloud account.


Mon, May 14
 – Sound Lab

Soundscape instructions: Using a single image from the set you acquired or created in our previous assignments, you will create a two-minute audio soundscape that integrates sound effects, voiceover, and music. The goal is to bring the picture to life, enhancing the world represented through the photographer’s lens. Feel free to be as experimental as you want. You may download creative commons content from Soundcloud or other sources. You can record sounds, noise, or music as you see fit.

Wed, May 16 – Sound projects due

SOUNDSCAPE ASSIGNMENT DUE: Instructions to hand in: Upload your sound file to your Soundcloud account. Paste the embed code from the uploaded Soundcloud file  into your “page” on the class website. On your page, make sure to properly title the assignment, add the single image you used in the assignment, and add a few sentences or more describing your process, concepts, and intent. I will look at your pages for the assignment.


Mon, May 23
 – Glitch and the Body, Hardcore Glitch

– Russell, Legacy, “Digital Dualism And The Glitch Feminism Manifesto,”  Cyborgology, December 10, 2012.
-Parkhill, Chad and Jessica Rodgers (2011). “Queer/Error: Gay Media Systems and Processes of Abjection,” Error: Glitch, Noise, and Jam in New Media Cultures, Ed. Mark Nunes. London: Bloomsbury Academic. pp. 210-226.

Post blog reading response

Temas y Variaciones (subtitulado) MATURE (07:33:00) by Miroslava Tovar
Dirty Computer [Emotion Picture] (48:00:00) by Janelle Monáe
Queer Technologies by Zach Blas

Wed, May 25 – Works in Progress Presentation


Mon, May 28

Wed, May 30 – Moshing Techniques

Final assignment lesson: Video Sequence Glitch:




Week 10 – FINAL

Mon, Jun 04 – Open Lab

Assignment due: Video Sequence Glitch

Wed, Jun 06 – Final Critique


Wednesday, Jun 13 – 4-7pm