Ë̶́ͮR̽R̢̡ͨ̂̄͑Õͧͣͧ͛̿R̷ͧ͌̊̂̏̏ͯ̍̄!̷ͥ͂̃̄!̡̂͑̈́̽ͮ!̧ͦͭ̂ͮ̅̿̍̽̕

Aesthetics of the Error: Media Art, the Machine, the Unforeseen, and the Errant

I like the idea of using error as a creative, generative tool. It is interesting to compare this process to using wind power in art. Wind power is an outside force and error is an inside force.

In what ways are glitch artists limited by the technology they use?

I feel that their creative control depends upon the aesthetic of the errors that the particular technologies they are using offer. In a way, glitch artists have to give up some level of creative control and allow the process to take over. Like Franz Erhard Walther, they must set up situations in which change, often affected by outside or inside forces can occur.

I feel that the idea of “process artists” can be applied to filmmakers. Although many “auteurs” strive to have full creative control over their films, I think what directors really do is set up situations in which many creative variables come together. They control the process more than the outcome.

Degrees of Freedom: “The limits in which a system unfolds; the boundaries that direct the process of the system.”

This is an important concept for all creative people to understand.

How does the degree of freedom of what you are working with limit you?

How can you use it or look at it in a new way?

http://404.jodi.org/

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Why is this considered art?

It may be because it exposes the technology and error that underlies the seamless web design we take for granted.

Errors/Potentials/Virtuality

The idea that the conditions and potential for experience are just as real as actual experience is interesting. It suggests that to better understand things we must not just look at the things themselves but the invisible rules, laws and structures that govern things. I guess glitch art is attempting to expose these invisible aspects of the “real”.

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2 thoughts on “Ë̶́ͮR̽R̢̡ͨ̂̄͑Õͧͣͧ͛̿R̷ͧ͌̊̂̏̏ͯ̍̄!̷ͥ͂̃̄!̡̂͑̈́̽ͮ!̧ͦͭ̂ͮ̅̿̍̽̕

  1. I like your discussion on “process artists”- I too compared their approach to art to that of filmmaking (not surprised we were on the same wavelength). Your description of how glitch artists must “give up some level of creative control and allow the process to take over” was very thought-provoking, because as an artist it is very hard to put your creative process in the hands of others, but perhaps one might trust a machine more than other people. However, distrust may occur in terms of any errors the machine may invoke, but as glitch artists that’s the whole point… letting the errors occur and creating something new from them. Still, I’m sure certain glitches may not go as planned, and could frustrate some glitch artists by creating an end product that was different than the set of possibilities they imagined. But if error is really a concern, that artist probably shouldn’t aim to glitch in the first place… or maybe go into art at all.

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  2. First of all, the visual aspect of your blog is glitchin glidin and freakin GROOVY. I love how you addressed the aesthetic and artistic aspect of glitching explaining why it has been considered an art but with your own perspective. I completely agree that with you that part of the artistry is that it “exposes the technology and error that underlies the seamless web”. Love your choice of words expose and underlies but would even go so far as to add in the visual seamless web.

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