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?
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.
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”.