Soundscape assignment: https://soundcloud.com/matthew-hancock-5/western-soundscape
Soundcloud Account: https://soundcloud.com/matthew-hancock-294974905
Week 2 reading response:
Reading these weeks articles really put glitch art into perspective for me. In Tim Barkers piece he outlines the history and emergence of glitch art by reflecting on process artist. These are artists in which the emphasis of their work is on the process rather than the outcome, these artists set up degrees of freedom as a set of internal freedom in which the system directs rather than producing the final outcome. Learning about these process artists and their predigital instiluations was really fascinating as well as the other examples he included about jodi and other glitch artists. He also clearly describes the beauty of glitch art in the sense that the art is the aesthetics of the machine and the aesthetics of error, setting up situations that create crashes, glitches, etc. Barker also talks about the cultural significance of software and the Sender – Software – Message – Software – Receiver; in which this post digital model the information we end up recieve is largely reconstructed into code by the system it is transmitted by. Glitch allows for the machine to reveal itself. Baker also describes about how the potential for error is always present in the virtual space but doesn’t become actualized until it happens or acted upon by someone. This article gave me a new appreciation and perspective on looking on glitch art, making me appreciate the process and the beauty of losing control of the outcome in the creative process. The other article this week was The Subversive Use of Theory by Slavoj Zizek in which he talks about his experience as a researcher under a communist regime and how this type of knowledge that we strive for at universities should be the lifelong pursuit of every individual. Seeking to understand and solve real world problems rather than focusing on our everyday day jobs.
Week 5 Reading response:
The readings this week, helped to emphasize the political and cultural power that glitch holds in our current media environment and the ability that these technologies provide artists to challenge our systematic structures. In Nunes’ article, he describes the different meanings that error and glitch have held throughout time; expressing that rather than viewing glitch as an impediment to clear communication it should be seen as creating alternative mode of expression. He explains that this notion that glitch is a an impediment to communication comes from the desire of control our society holds and our obsession over maximum efficiency; thus our view of error is shaped as the failure to reach a specified goal. While many see this as an annoyance, Nunes’ views this as exciting and intriguing because error draws us “off our our path of intention” and pulls us into the unintended and unforeseen. In the other article that focused on sound glitch in particular and the formation of human-computer interaction into the music scene. Krapp discusses how with the development of each new audio format, the former tries to eradicate completely any interference emanating from the medium itself to a completely “noiseless” sound. While new formats are created, artists also use technological failures such as scratches or clicks to incorporate into their music and has become a staple in many genres of music today. He also points out that artists are taking advantage of analog and digital technologies by turning them into their own instruments artist use to develop new sounds.