Cross-readings along the axes of I:
While most people experience these fingerprints as negative (and sometimes even as accidents) I emphasize the positive consequences of these imperfections by showing the new opportunities they facilitate.
I feel stuck in the membranes of knowledge, governed by social conventions and acceptances.
As an artist I strive to reposition these membranes; I do not feel locked into one medium or between contradictions like real vs. virtual or digital vs. analog.
I surf the waves of technology, the art of artifacts.
I use these instances to exploit noise artifacts, that I sub-divide as glitch, encoding / decoding (of which compression is the most ordinary form) and feedback artifacts.
|||IIIII||||||IIII|||IIIII|||||||||IIIIIIIIIIIIIIIIII|IIIII||||||IIII\\\\\\\\\\\\\\\\\||||||||||IIIII||||||||||||||||III|||II|IIIII||||| |I| I |I| ||IIIIIIII|| |I| I|||IIIII||||III|||II|IIIII||||| |I| Use the glitch as an exoskeleton of progress.
For a moment I am shocked, lost and in awe, asking myself what this other utterance is, how was it created.
But once I named it, the momentum -the glitch- is no more...
Use bends and breaks as a metaphor for difference As an artist, I find catharsis in disintegration, ruptures and cracks.
I manipulate, bend and break any medium towards the point where it becomes something new.
This is what I call glitch art.
Over time some of the glitches I made developed into personal archetypes; I feel that they have become ideal examples or models of my work.
Moreover, some of the techniques I (and others) used became easily reproducible for other people, either because I explained my working process, or sometimes because of the development of a software or plugin that automatically simulated or recreated a glitching method (that then became something close to an ‘effect’).
I have started to believe that the popularization and cultivation of the avant-garde of mishaps has become predestined and unavoidable.
T h i s f o r m o f ' c o n s e r v a t i v e g l i t c h a r t ' o f t e n f o c u s e s m o r e o n d e s i g n a n d end products then on the procedural breaking of flows and politics.
Celebrate the critical trans-media aesthetics of glitch artifacts I use glitches to assess the inherent politics of any kind of medium by bringing it into a state of hypertrophy.
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.
Something I describe as critical trans-media aesthetics .
The nomad of noise travels the acousmatic videoscape I am a voyager of videoscapes: I create conceptually synesthetic artworks, that use both visual and aural glitch (and other noise) artifacts at the same time.
What actually happens when a glitch occurs is unknown, I stare at the glitch as a void of knowledge; a strange dimension where the laws of technology are suddenly very different from what I expected and know.
Whenever I use a ‘normal’ transparent technology, I only see one aspect of the actual machine.
I have learned to ignore the interface and all structural components, to be able to understand a message and to use the technology as easy and fast as possible.
The glitches I trigger show the technology as the obfuscated box that it actually is (and not absent or transparent).
They shroud its inner workings and the source of the output as a sublime black veil, while they confront me with a message that I cannot understand.
I perceive the glitches and the machine without understanding where they originate from.
This realization gives me the opportunity to concentrate better on their formal qualities - to interpret their structures and to learn more from what I can actually see.
These glitching technologies create an acousmatic videoscape in which I can perceive an output outside of my goggles of immediacy, transparency speed and usability.
http://videoscapes.blogspot.com I curate a Vimeo video pool about conceptual synesthetic artifact videos: http://vimeo.com/groups/artifacts
After reading about Deen here and there and everywhere, I had the idea that perhaps there was something worth writing about.
Only the problem was, that the more I watched of his work, the less I had a desire to write about it.
The first is a screen, stuck, overwhelmed as a consequence of having too many windows open, too many things playing at once; I am trying to get an education, make a determination for myself, so I want to see everything, hear everything, right now, all at once.
The second irruption I will leave for you to guess at.
I will hint at the latter by saying that a petite morte of the physical self can be easily mirrored in the metaphor of the digital “glitch”—a little digital death, a wheeze, a shift, a breath, a sneeze, a pause.
I am writing from there: the glitch.
I am writing about “sexual activity” broadly, an overarching umbrella: I am talking about the watching of porn, but also about cybering, sexting, G-chat fantasy play, or the uploading or downloading of other sex-oriented content from the Internet.
With this in mind, I propose the turning of a new radicality, coining the term “Glitch Feminism” to make use of here in these pages for the first time, by my hand, which on this journey has found its home both on the keys and between my legs, equally.
This glitch I speak of here calls for a breaking from the hegemony of a “structured system” infused with the pomp and circumstance of patriarchy, one that for all too long has marginalized female-identified bodies, and continues to offend our sensibilities by giving us only a piece of the pie and assuming our satisfaction.
I am strings of binary.
I am pure artifice.
(I straddle my modem).
Trying to flee the binary I enter the chromozone which is not one.
i wanna live forever.
I become the FIRE.
Purple Noise Manifesto [EN] (2018)
--- #PurpleNoise feminist Noisification of social media # I make noise.
Purple Noise Manifesto [EN] (2018)
# I use my feelers.
Gynepunk Manifesto [EN] (2014)
I don't want to be forced to enter into their hygienist temples, in veiled body jails, in those fabrics of corporal standardization and sickness limited parameters.
Gynepunk Manifesto [EN] (2014)
I want glandular heretics, akelarres gynepunks, DIY abortive pots, midwife gangs, glitter abortions, spill placenta in every corner, hack analytic technics, ephemeral biolabs, DIT labs, hi-tech nursery secret meetings, black coats, chess coats.
RIOT GRRRL MANIFESTO [EN] (1989)
BECAUSE I believe with my wholeheartmindbody that girls constitute a revolutionary soul force that can, and will change the world for real.
I know no better stance to adopt from within the secular-religious, evangelical traditions of United States politics, including the politics of socialist feminism.
I t is also a rhetorical strategy and a political method, one I would like to see more honoured within socialistfeminism.
I am making an argument for the cyborg as a fiction mapping our social and bodily reality and as an imaginative resource suggesting some very fruitful couplings.
Perhaps that is why I want to see if cyborgs can subvert the apocalypse of returning to nuclear dust in the manic compulsion to name the Enemy.
I will return to the science fiction of cyborgs at the end of this chapter, but now I want to signal three crucial boundary breakdowns that make the following political-fictional (political-scientific) analysis possible.
I like to imagine LAG, the Livermore Action Group, as a kind of cyborg society, dedicated to realistically converting the laboratories that most fiercely embody and spew out the tools of technological apocalypse, and committed to building a political form that acutally manages to hold together witches, engineers, elders, perverts, Christians, mothers, and Leninists long enough to disarm the state.
I think that radical and socialist/Marxist-feminisms have also undermined their/our own epistemological strategies and that this is a crucially valuable step in imagining possible unities.
I do not know of any other time in history when there was greater need for political unity to confront effectively the dominations of 'race', 'gender', 'sexuality', and 'class'.
I also do not know of any other time when the kind of unity we might help build could have been possible.
I think MacKinnon correctly argues that no Marxian version of identity can firmly ground women's unity.
I think we have been, at least through unreflective participation in the logics, languages, and practices of white humanism and through searching for a single ground of domination to secure our revolutionary voice.
THE INFORMATICS OF DOMINATION In this attempt at an epistemological and political position, I would like to sketch a picture of possible unity, a picture indebted to socialist and feminist principles of design.
I argue for a politics rooted in claims about fundamental changes in the nature of class, race, and gender in an emerging system of world order analogous in its novelty and scope to that created by industrial capitalism; we are living through a movement from an organic, industrial society to a polymorphous, information system--from all work to all play, a deadly game.
Simultaneously material and ideological, the dichotomies may be expressed in the following chart of transitions from the comfortable old hierarchical dominations to the scary new networks I have called the informatics of domination: Representation.
Technologies and scientific discourses can be partially understood as formalizations, i. e., as frozen moments, of the fluid social interactions constituting them, but they should also be viewed as instruments for enforcing meanings.
I n a sense, organisms have ceased to exist as objects of knowledge, giving way to biotic components, I e., special kinds of information-processing devices.
I have used Rachel Grossman's (1980) image of women in the integrated circuit to name the situation of women in a world so intimately restructured through the social relations of science and technology.
I used the odd circumlocution, 'the social relations of science and technology', to indicate that we are not dealing with a technological determinism, but with a historical system depending upon structured relations among people.
Within the framework of three major stages of capitalism (commercial/ early industrial, monopoly, multinational) --tied to nationalism, imperialism, and multinationalism, and related to Jameson's three dominant aesthetic periods of realism, modernism, and postmodernism - -I would argue that specific forms of families dialectically relate to forms of capital and to its political and cultural concomitants.
I prefer a network ideological image, suggesting the profusion of spaces and identities and the permeability of boundaries in the personal body and in the body politic.
I want to suggest the impact of the social relations mediated and enforced by the new technologies in order to help formulate needed analysis and practical work.
I am conscious of the odd perspecdve provided by my historical position - a PhD in biology for an Irish Catholic girl was made possible by Sputnik's impact on US national scienceeducation policy.
I have a body and mind as much constructed by the post-Second World War arms race and cold war as by the women's movements.
CYBORGS: A MYTH OF POLITICAL IDENTITY I want to conclude with a myth about idendty and boundaries which might inform late twentieth-century political imaginations (Plate 1).
I am indebted in this story to writers like Joanna Russ, Samuel R. Delany, John Varley, James Tiptree, Jr, Octavia Butler, Monique Wittig, and Vonda McIntyre.
I look briefly at two overlapping groups of texts for their insight into the construction of a potentially helpful cyborg myth: constructions of women of colour and monstrous selves in feminist science fiction.
Earlier I suggested that 'women of colour' might be understood as a cyborg idendty, a potent subjecdvity synthesized from fusions of outsider identities and in the complex political-historical layerings of her 'biomythography', Zami (Lorde, 1982; King, 1987a, 1987b).
Superluminal stands also for the defining contradictions of a cyborg world in another sense; it embodies textually the intersection of feminist theory and colonial discourse in the science fiction I have alluded to in this chapter.
I would suggest that cyborgs have more to do with regeneration and are suspicious of the reproductive matrix and of most birthing.
Though both are bound in the spiral dance, I would rather be a cyborg than a goddess.
A Feminist Server Manifesto [EN] (2014)
As a mental exercise, I want to call attention to the space between the nodes.
Cyberwitches Manifesto [EN] (2019)
W .I. T.C.H., VNS Matrix, Gynepunk, Reclaiming, technoshamanism, xenofeminism, hyperstition, afrofuturism and ancestorfuturism inspire us, without us adhering entirely to one or the other.
The Manifesto of Futurist Woman [EN] (1912)
Women are Furies, Amazons, Semiramis, Joans of Arc, Jeanne Hachettes, Judith and Charlotte Cordays, Cleopatras, and Messalinas: combative women who fight more ferociously than males, lovers who arouse, destroyers who break down the weakest and help select through pride or despair, “despair through which the heart yields its fullest return:’Let the next wars bring forth heroines like that magnificent Catherine Sforza, who, during the sack of her city, watching from the ramparts as her enemy threatened the life of her son to force her surrender, heroically pointing to her sexual organ, cried loudly: “Kill him, I still have the mold to make some more!” Yes, “the world is rotting with wisdom,” but by instinct, woman is not wise, is not a pacifist, is not good.
The Manifesto of Futurist Woman [EN] (1912)
I n my Poems of Pride and in Thirst and Mirages, I have renounced Sentimentalism as a weakness to be scorned because it knots up the strength and makes it static.
The Mundane Afrofuturist Manifesto [EN] (2013)
Ol’ Dirty Bastard says “If I got a problem, a problem’s got a problem ’til it’s gone.”.
Wages for Facebook [EN] (2013)
AGAINST ANY ACCUSATION OF ‘ECONOMISM’ WE SHOULD REMEMBER THAT MONEY IS CAPITAL, I. E.
S.C.U.M manifesto [EN] (1967)
A few examples of the men in the Men's Auxiliary are: men who kill men; biological scientists who are working on constructive programs, as opposed to biological warfare; journalists, writers, editors, publishers and producers who disseminate and promote ideas that will lead to the achievement of SCUM's goals; faggots who, by their shimmering, flaming example, encourage other men to de-man themselves and thereby make themselves relatively inoffensive; men who consistently give things away--money, things, services; men who tell it like it is (so far not one ever has), who put women straight, who reveal the truth about themselves, who give the mindless male females correct sentences to parrot, who tell them a woman's primary goal in life should be to squash the male sex (to aid men in this endeavor SCUM will conduct Turd Sessions, at which every male present will give a speech beginning with the sentence: "I am a turd, a lowly, abject turd," then proceed to list all the ways in which he is.
Also specific to Glitch Manifesto [EN] (2009):
glitch art I artifacts IIIII o aesthetics procedural medium noise these videoscape conventions momentum the often flows media audience r f acousmatic within experience e works breaks normal a as form something or away break also glitches artist actors creation exists new genre Even search c filter historians protocol