Today, the average user is obliged to stay on top of the technological curve, thrust into a vortex of consumer myths, riding waves of both euphoria and disappointment. This has prompted artists and theorists alike to break these assured flows of media, for instance by zooming into the otherwise transparent Human Computer Interface and turning its limiting, characteristic blueprints into a revolting yet delightful spectacle. On other occasions, artists bend particular devices, or even create completely new technologies. Through these subversive tactics artists show the governing filters of not only noise, but also “unwanted functionalities”, and how limiting these shiny black-boxed commodities have become. This panel will pay special attention to nostalgic problems, subversive tactics (like glitch) and media archeology as an artistic practice.

The glitch takes on a different form in relation to noise, failure or the accident. It transitions between artifact and filter; between radical breakages and commodification processes. Menkman shows how we need to be clearer about the relationship between the technical and cultural dimensions of glitch culture. Honing in on the specificities of glitch artifacts within this broader perspective makes it possible to think through some of the more interesting implications of glitched media experience. Using a critical media aesthetic orientation, Menkman addresses the ongoing definitional tensions, paradoxes, and debates that any notion of glitch art as a genre must negotiate, rather than elude.

about the author: Rosa Menkman is a Dutch visualist, theorist and curator, working with glitches, compressions, feedback and other forms of noise artifacts, aiming to contribute to the development of a discourse for glitch art and culture.

colophon: Network Notebooks editors: Geert Lovink and Sabine Niederer. Producer: Margreet Riphagen. Copy editing: Rachel O’Reilly. Design: Studio Léon&Loes, Rotterdam http://www.leon-loes.nl. Publisher: Institute of Network Cultures, Amsterdam. Supported by: Amsterdam School of Design and Communication, Interactive Media (Hogeschool van Amsterdam) and Stichting Democratie en Media.

The Glitch Moment(um) Rosa Menkman, The Glitch Moment(um). Network Notebooks 04, Institute of Network Cultures, Amsterdam, 2011. ISBN: 978-90-816021-6-7.

Now in its second year, GLI.TC/H gathers a variety of participants + works + ideas from within glitch/ dirty/ -new-media art communities into a multi-day & multi-format happening consisting of video screenings, real-time performances, workshops, lectures, panels, a gallery exhibition and on-going online components.

Thinkers and artists; Makers and breakers converge to celebrate technological catastrophe. A glitch is a moment known to everyone but enjoyed by few. GLI.TC/H brings together those inspired/ curious/ provoked by glitches and provides a platform to break things, share thoughts, and develop ideas.

Recent writings, works, and experiments in glitch art exemplify the potential of new-media-art to expose critical links within our (increasingly mediated) digital-culture. Last year’s conference brought a diverse and geographically scattered community together to discuss and share their works and ideas in real-time and real-space. The conversations had and connections made at GLI.TC/H 2010 have continued to develop virtually over the past year. GLI.TC/H 20111 will collate and celebrate these glitchy developments in an unstoppable multi-city event fueled by these chaotic communities and vibrant participants old and new.

GLI.TC/H 20111 has been made possible by 146 online Kickstarter backers.

█████████████████████████████████████████████████████████SCHEDULE:
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THU: Nov 3 @7pm — GLI.TC/H Gallery Opening @MBLABS FRI: Nov 4 @7pm — Real-time Performances/Executables/Events @ENEMY SAT: Nov 5 @11am — Lectures & Performances @theNIGHTINGALE @1pm — Workshops @theNIGHTINGALE @6pm — GLI.TC/H Screening Program @theNIGHTINGALE @8pm — Real-time Performances/Executalbes/Events @ENEMYSUN: Nov 6 @noon — Politics in/of Glitch [panel + open forum] @MBLABS

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FRI: Nov 11 @1pm — Opening + Book Release Rosa Menkman “The GLitch Moment(um)” @STEIM @2pm — Lectures Part I @STEIM @5pm — GLI.TC/H Screening Program @STEIM @7pm — GLI.TC/H Gallery Opening @PLANETART SAT: Nov 12 @11am — Lectures Part II @PLANETART @1pm — Workshops @PLANETART @8pm — Real-time Performances/Executables/Events @STEIM

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SAT: Nov 19 @12pm — Workshops @VIVID @3pm — Lectures @VIVID @6pm — GLI.TC/H Screening @VIVID @7pm — Real-time Performances/Executables/Events @VIVID

For more details visit:
http://gli.tc/h
http://glidottcslashh.tumblr.com/ https://www.facebook.com/glidottcslashh
@GLIDOTTCSLASHH [twitter]

Digital is anti-noise. In the shift from analog, physical, or chemical forms of art making — where physical agents operate on physical material — to digital, the noise of the medium is minimized (controlled) as a default of the technological substrate.

Algorithmic Unconscious highlights machine/ human collaborations where the primary material in the works exhibited is the inherent noise of electronic systems. By emphasizing random fluctuations, the artists explore the potential for electronic technologies to misinterpret and re-imagine the signals they are processing in order to complete the work. The featured artists work within and parallel to the Glitch Art movement, recognizing that algorithms for processing signals function as key materials of digital art. By feeding these algorithms “unconventional data” or by putting them through unconventional routines, noise is reintroduced as a signature of the machine.

The algorithmic unconscious itself may not yet be something that we can clearly define or identify, however, we may be able to view the works in this exhibition and identify between them a revised metaphor for ourselves and our relationship to our technology.

Exhibiting Artists: Jeff Snyder, Daniel Temkin, Phillip Stearns, Jeff Donaldson, Arcangel Constantini

Performance Lineup: Richard Garet, Kamran Sadeghi, Phillip Stearns.

In keeping with bending protocol and breaking structures GLI.TC/H has opened a document to collaboratively construct/ deconstruct the layout for the 20111 READER[OR]

GLI.TC/H is compiling a selection of TXTs to be output in digital static-document formats and printed on dead-trees. Writers, thinkers, and artists have encoded their thoughts, ideas, concerns, theories, philosophies, ideologies, and other txt.ecutable documents for the GLI.TC/H 2011 READER[ROR]!

copy/paste/screen-cap/re-code/de-code/re-bug/de-bug this document. Our erratic, unstable, and glitchy efforts will become the stable structured DOC for the festival/gathering/conference DOC.

We are looking for works that fit within the term “Destructural Video”. Destructural Video is a revisionist term to describe the work of artists who aestheticize the exploration, investigation and exploitation of medium specific faults and flaws in electronic moving image technology. Taking inspiration from both early video art experiments and also the Structural film movement, these works expose the usually hidden signal and data structures of electronic media to startling effect. The following faults, methods of investigation and working techniques are of interest to us in the work we are wanting to screen:

• Glitches
• Drop outs
• Digital artefacts
• Electronic signal manipulation
• Imperfect codecs
• Static
• Visual noise
• Nth generation video damage
• Circuit bent hardware
• Data manipulation (e.g “datamoshing”)
• Faulty or unorthodox wire connections
• Video feedback
• Corrupt filetypes
• Crashes
• Synthesized images
• Creative viruses
• Synaesthesia (AV) experiments: audio video
• Affected or broken videotapes, cameras, DVDs, laserdiscs, media players, computer programs, video games, televisions, games consoles etc.

As well as hopefully screening a number of well-known artists working within this field, I am also looking for exciting, diverse and impressive videos by new, emerging or otherwise neglected artists working within the “destructural” aesthetic. Please spread this event amongst people who you think would be interested in submitting work!

There are no submission fees and all lengths will be considered! We are able to screen the following formats: Super8, 16mm, MiniDV, Digi-Beta, Beta SP, and HDCam. As well as tape-based formats, we are also considering screening high-quality digital video files (potentially full HD) at this event too. All entries must be received before September 30th. Please send your work to the below address:

Cherry Kino c/o ESA
Patrick Studios, St Mary’s Lane
Leeds, West Yorkshire LS9 7EH
United Kingdom of Great Britain and Northern Ireland

Alternatively, send a download link to your work to jj.mcandrew AT gmail.com. Please include the following information with your entries: synopsis, running time, filmmaker, country, year of production, and screening format. All applicants will be informed of the festival’s decision by no later than October 15th.

The rough date for the screening will be November 17th - two days before the GLI.TC/H tour hits Birmingham! It’s going to be an exciting month for this sort of work in the UK and we really hope you can attend this event too!

John McAndrew

The Leeds International Film Festival is the second largest film festival in the UK outside of London. Held in November at various venues throughout Leeds, West Yorkshire, it shows over 200 commercial and independent films from around the world.

Cherry Kino is an independent DIY film organisation based in Leeds, UK. In 2008, Cherry Kino founded the wondermental film strand of the Leeds International Film Festival. As well as regularly organising screenings and visiting artist events, Cherry Kino also runs Super8 and 16mm film workshops open to the public and operates a DIY film lab in the UK.

In an effort to branch out further into the world of tech-based and internet art, Chicago Art Magazine attempted to send interview questions to the Belgium-based artist collective JODI, who have been making art for the internet for almost 10 years. When we attempted to contact the duo, we did receive a reply, but the answers completely befuddled us.

Here are a few samples of the answers we had received via email:

Chicago Art Magazine: What do you hope that people who visit your website, wwwwwwwww.jodi.com, take away from your artwork?

Ow w Ow w OOOw w COM wwwwwwwww.jodi.orgNot FoundThe requested URL /people-who-visit-our-website” was not found on this server.Additionally, a 404 Not Found error was encountered while trying to use an ErrorDocument to handle the request…

In an effort to interpret these responses, Chicago Art Magazine turned to Nick Briz, a Chicago-based tech artist, to help us understand. (Read more about Briz on CAMag: HTML5: Transforming Digital Art, and An Unknown Error has Occurred: New Media and Glitch Art.) More here.