Cross-readings along the axes of glitch:
Glitch Feminism Manifesto.
https://rhizome.org/editorial/2013/mar/12 /glitch- body-politic/.
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.
The glitch is the digital orgasm, where the machine takes a sigh, a shudder, and with a jerk, spasms.
The glitch is the catalyst, not the error.
The glitch is the happy accident.
We want what we cannot have; whatever the material we are aiming to access, the glitch makes us wait and whimper for it.
The glitch splits the difference; it is a plank that passes between the two.
Yet, simultaneously, it is also the glitch that prompts us to “choose-our-own-adventure”, to finish the story, and, in doing so, to acknowledge that when the mediation of digital space fails us, albeit briefly, we continue right where we left off, taking the revolution offline, but not out of body, thereby demonstrating the fallacy of the digital dualist dialectic.
It is the glitch that incites anticipation—that ecstasy of interference.
Though pejoratively dismissed all too frequently as an aspect of technical error, for me the glitch denotes an extension of the realm of foreplay, whether it be “play” with oneself, or with a virtualized other, imagined, or waiting just on the other side of the proverbial screen.
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.
It must be noted that the word glitch is oft delegated to the realm of slang, which explains why it is so easy to pin it with negative connotations.
In a society that conditions the public to find discomfort or outright fear in the errors and malfunctions of our socio-cultural mechanics—illicitly and implicitly encouraging an ethos of “Don’t rock the boat!”—a “glitch” becomes an apt metonym.
Glitch Feminism, however, embraces the causality of “error”, and turns the gloomy implication of Glitch on its ear by acknowledging that an error in a social system that has already been disturbed by economic, racial, social, sexual, and cultural stratification and the imperialist wrecking-ball of globalization—processes that continue to enact violence on all bodies— may not, in fact, be an error at all, but rather a much-needed erratum.
This glitch is a correction to the “machine”, and, in turn, a positive departure.
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.
A Glitch Feminist acknowledges the value of visuality, and the revolutionary role that digital practice has in expanding the construction, deconstruction, and re-presentation of the female-identifying corpus.
“Glitch” is conjectured as finding its etymological roots in the Yiddish “Glitch” (“slippery area”) or perhaps German glitschen (“to slip, slide”); it is this slip and slide that the “Glitch” makes plausible, a swim in the liminal, a trans-formation, across selfdoms.
Glitch Feminism is not gender-specific—it is for all bodies that exist somewhere before arrival upon a final concretized identity that can be easily digested, produced, packaged, and categorized by a voyeuristic mainstream public.
Glitch Feminism therefore is feminism for a digital age, a heralding of virtual agency, a blooming of particularity and selfhood.
“Glitch” refuses being categorized as subtext, it rejects being labeled as subversive, it does not speak for the marginal or the subaltern, as “sub-” as a prefix needs to be marked as a mode of acquiescence to our own exclusion from the canon, the academy, the Platonic ideal.
The first step to subverting a system is accepting that that system will remain in place; that said, the glitch says fuck your systems!
The glitch respectfully declines second rank to common convention.
The 3D Additivist Manifesto [EN] (2015)
Just as a glitch can un-resolve an image, so it can resolve something more posthuman: manifold systems – biological, political, computational, material.
Glitch Studies Manifesto.
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.
The glitch is a wonderful experience of an interruption that shifts an object away from its ordinary form and discourse.
Is it perhaps ...a glitch?
But once I named it, the momentum -the glitch- is no more...
As a holistic celebration rather than a particular perfection the glitch can reveal a new opportunity, a spark of creative energy that indicates that something new is about to be created.
The glitch has no solid form or state through time; it is often perceived as an unexpected and abnormal mode of operandi, a break from (one of) the many flows (of expectations) within a technological system.
But as the understanding of a glitch changes when it is being named, so does the equilibrium of the (former) glitch itself: the original experience of a rupture moved passed its momentum and vanished into a realm of new conditions.
The glitch is a new and ephemeral, personal experience.
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.
Glitch art is often about relaying the membrane of the normal, to create a new protocol after shattering an earlier one.
The perfect glitch shows how destruction can change into the creation of something original.
Once the glitch is understood as an alternative way of representation or a new language, its tipping point has passed and the essence of its glitch being is vanished.
The glitch is no longer an art of rejection, but a shape or appearance that is recognized as a novel form (of art).
Artists that work with glitch processes are therefore often hunting for the fragile equilibrium; they search for the point when a new form is born from the blazed ashes of its precursor.
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 beautiful creation of a glitch is uncanny and sublime; the artist tries to catch something that is the result of an uncertain balance, a shifting, un-catchable, unrealized utopia connected to randomness and idyllic disintegrations.
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.
Nevertheless, some artists do not focus on the procedural entity of the glitch.
They skip the process of creation-by-destruction and focus directly on the creation of a formally new design, either by creating a final product or by developing a new way to re-create or simulate the latest glitch- archetype.
There is an obvious critique: to design a glitch means to domesticate it.
When the glitch becomes domesticated, controlled by a tool, or technology (a human craft) it has lost its enchantment and has become predictable.
For many actors it is no longer a glitch, but a filter that consists of a preset and/or a default: what was once understood as a glitch, has now become a new commodity.
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.
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.
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.
In these works, the glitch emphasizes what is normally rejected as a flaw and subsequently shows that accidents and errors can also be welcomed as new forms of usability.
The glitch does not only invoke the death of the author, but also the death of the apparatus, medium or tool (at least from the perspective of the technological determinist spectator) and is often used as an anti ‘software-deterministic’ form.
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.
The role of glitch artifacts as critical trans-media aesthetics is twofold.
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.
Also specific to Glitch Feminism Manifesto [EN] (2012):
glitch Glitch Deen screen digital the foreplay ourselves Feminism writing us dualism error I two at refuses Museum participating Legacy Glitches oriented Russell IRL sides AFK malfunction buffering slide narrative glitschen Baraniuk Dictionary Jurgenson categorized slip audiences selves am online female physical bodies we that as a via activity