Cross-readings along the axes of medium:
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.
Noise thus exists as a paradox; while it is often negatively defined, it is also a positive, generative quality (that is present in any communication medium) .
I manipulate, bend and break any medium towards the point where it becomes something new.
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.
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.
On the one hand, these aesthetics media show a medium in a critical state (a ruined, unwanted, not recognized, accidental and horrendous state).
These aesthetics transform the way the consumer perceives the normal (every accident transforms the normal) and describe the passing of a tipping point after which the medium (might) become something new.
On the other hand, these aesthetics critique the medium (genre, interface and expectations).
In the acousmatic videoscape synesthesia exists not just as a metaphor for transcoding one medium upon another (with a new algorithm), but as a conceptually driven meeting of the visual and the sonic within the newly uncovered quadrants of technology.
The 3D Additivist Manifesto [EN] (2015)
4 The whole of humankind can be understood as a biological medium, of which synthetic technology is but one modality.
Glitch Feminism Manifesto [EN] (2012)
What needs to be written about is what happens when a woman sits down and engages with sex—specifically, her own, as tied to an exploration of her individual sexuality and liberation therein—via the medium of a computer screen.
Also specific to Glitch Manifesto [EN] (2009):
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