Cross-readings along the axes of Art:
Cyberfeminist manifesto for the 21st century [EN] (1991)
we see art with our cunt we make art with our cunt.
I surf the waves of technology, the art of artifacts.
They do not work in (binary) opposition to what is inside the flows (the normal uses of the computer) but practice their art on the border of these flows.
This is what I call glitch art.
Even so, to me, the word ‘glitch’ in ‘glitch art’ means something slightly different than the term ‘glitch’.
The glitch art genre moves like the weather; sometimes it evolves very slowly while at other times it can strike like lightning.
The art works within this realm can be disturbing, provoking and horrifying.
Glitch art is often about relaying the membrane of the normal, to create a new protocol after shattering an earlier one.
The glitch is no longer an art of rejection, but a shape or appearance that is recognized as a novel form (of art .
Even so, glitch art is not always (or by everyone) experienced as an art of the momentum; many works have already passed their tipping point.
This is because glitch art exists within different systems; for instance the system of production and the system of reception.
Not only the artist who creates the work of glitch art is responsible for the glitch.
All these actors are positioned within different (but sometimes overlapping) flows in which the final product can be described or recognized as glitch art.
This is why an intended error can still be called glitch art and why glitch art is not always just a personal experience of shock, but has also become a genre; a schematic metaphor for a way of expression, that depends on multiple actors.
Realize that the gospel of glitch art also tells about new norms implemented by corruption.
The procedural essence of glitch art is opposed to conservation; the shocking experience, perception and understanding of what a glitch is at one point in time, cannot be preserved to a future time.
The essence of glitch art is therefore best understood as a history of movement and as an attitude of destructive generativity; it is the procedural art of non con-formative, ambiguous reformations.
Works from the genre ‘glitch art’ thus consist as an assemblage of perceptions and the understanding by multiple actors.
Therefore, the products of these new filters that come to existence after (or without) the momentum of a glitch cannot be excluded from the realm of glitch art.
Even so, the utopian fantasy of 'technological democracy' or 'freedom' that glitch art is often connected to, has often little to do with the colonialism of these glitch art designs and glitch filters.
If there is such a thing as technological freedom, this can only be found within the procedural momentum of glitch art; when a glitch is just about to relay a protocol.
Within software art, the glitch is often used to deconstruct the myth of linear progress and to end the search for the holy grail called the perfect technology.
This fatal manner of glitch presents a problem for media and art historians, who try to describe old and new culture as a continuum of different niches.
Unfortunately, these kinds of terms are misleading because in glitch art ‘post’ actually often means a reaction to a primer form.
I think that an answer to the problems of both historians and theoreticians could be found when glitch art is described as a procedural activity demonstrating against and within multiple technologies.
Cyberwitches Manifesto [EN] (2019)
We practice this art of changing consciousness at will.
Glitch Feminism Manifesto [EN] (2012)
Jurgenson’s problematizing of digital dualism opens the door for more discourse and discovery: female-identifying bodies and artists participating in the gorgeous scrambling of gender are still marking their own path within the lineage of art history; in the digital world we have claimed sure footing and a platform that allows us to explore new publics, engage in critical discourse with new audiences, and, above all, glitschen between new conceptions of our bodies, ourselves.
This is not too difficult for her, as the tension and anxiety, the lack of cool, the insecurity and self-doubt, the unsureness of her own feelings and sensations that Daddy instilled in her make her perceptions superficial and render her unable to see that the male's babble is a babble; like the aesthete "appreciating" the blob that's labeled "Great Art" , she believes she's grooving on what bores the shit out of her.
Having stripped the world of conversation, friendship and love, the male offers us these paltry substitutes: *"Great Art" and "Culture":* The male "artist" attempts to solve his dilemma of not being able to live, of not being female, by constructing a highly artificial world in which the male is heroized, that is, displays female traits, and the female is reduced to highly limited, insipid subordinate roles, that is, to being male.
"Great Art" proves that men are superior to women, that men are women, being labeled "Great Art" , almost all of which, as the anti-feminists are fond of reminding us, was created by men.
We know that "Great Art" is great because male authorities have told us so, and we can't claim otherwise, as only those with exquisite sensitivities far superior to ours can perceive and appreciate the greatness, the proof of their superior sensitivity being that they appreciate the slop that they appreciate.
The veneration of "Art" and "Culture"--besides leading many women into boring, passive activity that distracts from more important and rewarding activities, from cultivating active abilities--allows the "artist" to be set up as one possessing superior feelings, perceptions, insights and judgments, thereby undermining the faith of insecure women in the value and validity of their own feelings, perceptions, insights and judgments.
A degenerate can only produce degenerate "art" .
The true artist is every self-confident, healthy female, and in a female society the only Art, the only Culture, will be conceited, kookie, funky females grooving on each other and on everything else in the universe.
*Ugliness:* Being totally sexual, incapable of cerebral or aesthetic responses, totally materialistic and greedy, the male, besides inflicting on the world "Great Art" , has decorated his unlandscaped cities with ugly buildings (both inside and out), ugly decors, billboards, highways, cars, garbage trucks and, most notably, his own putrid self.
SCUM will destroy all useless and harmful objects--cars, store windows, "Great Art" , etc.
Also specific to Cyberfeminist manifesto for the 21st century [EN] (1991):
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