.ƒ3ª┼ . 𝛥 - Ƶ . Ø - 1 . ◌⟵
SHAWNÉ MICHAELAIN HOLLOWAY
Shawné Michaelain Holloway creates, curates, and teaches. She started making Glitch Art in 2012, organized events at the international GLI.TC/H festival of Glitch Art in Chicago, curated at Paris’ first Glitch Art Festival, and she has developed and defined the theories and practices of Dirty New Media Art. She continues to curate and present in the international network of dgtl fmnsm (Digital Feminism). Her work is intersectionality black, feminist, queer, sexpositive, conceptual, kink, and critically technosocial. She exhibits her work widely across the world in prestigious galleries, museums, and online. She currently teaches at the University of Illinois at Chicago and The School of the Art Institute. *
New York City, USA
"In 2013, I coined the term Glitch Feminism and began producing scholarship surrounding this socio-techno construct of gender and sexuality.
First published as an item for The Society Pages, and then later expanded upon in a commission for Rhizome, The Glitch Feminist Manifesto observes: "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." (L. Russell, The Society Pages, 2013)" - #GLITCHFEMINISM by Legacy Russell
“Like computer viruses,” Hershman Leeson writes, “[anti-bodies] escape extinction through their ability to morph and survive, exist in perpetual motion, navigating parallel conditions of time and memory.” Intersectional with these “anti-bodies”, the glitched body answers to world conditions in its aim to transform the socio-economic machine of gender; thus, the glitch and the bodies that claim it can be both subversive tool and radical technology in and of themselves" On #GLITCHFEMINISM and The Glitch Feminism Manifesto By Legacy Russell
Anchi Iss Ciwas
臺北市 台灣 (Taipei, Taiwan)
"As an Indigenous Taiwanese woman of Atayal and Hō-ló heritage, I grew up in an urban environment where I found myself not fitting into any group or category. My sense of belonging is always floating. Oftentimes, I feel that I, myself am and experience on-going glitches within my own culture. For example, low language fluency of my mother tongue, unable to weave and so on. Therefore, I feel glitches open up a space, a method for me to question structural problems.
A couple of months ago, I accidentally dropped my Android phone into my hotpot soup. Perhaps the grease or the high temperature in the hotpot went inside of my phone, because all the videos became glitched. I love the un-smooth motion; deconstructive and unpredictable aspect of these images that became so out of control. This visual experience metaphorically mirrors our contemporary society and my experience within it."
It Can Be Altered - Documentation from Pearl Salas on Vimeo.
Pearl Marie Salas
"As an indigenous woman of Mexican, Yaqui, and Navajo ancestry, my work plays off this unique cultural mix to interrogate how the modern world relates to notions of past, present, and future selves. How do ancient traditions revered by marginalized peoples fit into a society that sought to destroy them? What role can media and art play in carrying those traditions into modern society? I take many of the indigenous concepts, teachings, and stories I have learned throughout my life, and find ways to insert them into an audio and visual realm while still maintaining a balance between sacred storytelling, and the personal stories of others and myself."
Indigenous, Coast-Salish-Cowichan filmmaker originally from Vancouver island
"Societal pressures and emotional abuse start erasing the spirit of a queer woman of color who must fight to regain her voice from within the void." - Spirit Glitch by Mary Galloway (2019)
Whitney (Whit) Pow
New York, USA
Whitney (Whit) Pow researches, writes on, and teaches Queer and Trans histories of games, software, computing, and Glitch Art. They work as an independent Game designer and developer. Their Glitch Art Game project Digital TV Breakfast was created for, commissioned by, and exhibited in the Chicago New Media exhibition curated by jonCates with VGA Gallery’s Chaz Evans and Jonathan Kinkley. Digital TV Breakfast remediates Digital TV Dinner by Jamie Faye Fenton, from 1978, one of, if not the earliest work of intentional Glitch Art. Pow is Assistant Professor of Queer & Trans Media Studies in the Department of Media, Culture, and Communication at New York Univeristy (NYU). *
Jamie Faye Fenton
Digital TV Dinner by Jamie Faye Fenton, from 1978, one of, if not the earliest work of intentional Glitch Art. Jamie Fenton collaborated with Raul Zaritsky and Dick Ainsworth to create this work which she describes as glitching the game system of the Bally BASIC Arcade or Astrocade platform in what can also be described as a classic Chicago Dirty New Media Art approach. Fenton is herself the developer of the original games for the system and the system itself. Bally BASIC, the ROM-based operating system for the Bally Astrocade, was developed and project managed by Jamie Fenton for Dave Nutting Associates in 1977. A year later, in 1978, she also created BASIC ZGRASS a “Sophisticated Graphics Language for the Bally Home Library Computer” with Tom DeFanti and Nola Donato. Later, she continued these efforts, developing software that would become (Macromind, Macromedia and then Adobe's) Director, a profoundly influential application which enabled an entire genre of New Media Art and games, CD-ROM based Interactive Art.
As the designer and developer of the technological systems themselves, Fenton glitches her own systems, playing with their boundary states, and pushing their borders to capturing unpredictable outcomes at an expert level. Jamie Fenton contributed considerably and consistently to the formation of New Media Art communities in Chicago, especially in the decade of the 1970s, building and experimenting with cyberpsychedelic small scale technologies for radical transformation including personal computers, video games, and New Media Art.
As a trans woman she has been active in trans communities while working at the highest levels of technology development, computer programming, and creative software: at Bally/Midway in the 1970s and 1980s, founding MacroMind and joining Apple Computers in the mid-1980s, then working with Alan Kay, transitioning in the mid-1990s, and later working with Amazon and many other companies— all while pursuing her own creative projects, from model trains to Glitch Art. *
Dawnia Carney aka "Letsglitchit"
“I'd always been really big into video games and found glitches enchanting whenever they'd pop up. Warbly sounds and graphics, long screeches punctuated by flashes of light and color, it was all very interesting to me. However I didn't come to learn that glitches were something others purposefully harvested until my early 20s. I had become temporarily immobilized due to a car wreck and was not able to creatively express myself through photograph how I liked, so when I stumbled upon sTallio's glitch art tutorial on reddit I was immediately hooked. Eventually I pushed some of the established methods further and was able to craft discernible music out of still-recognizable .GIF imagery, earning my 15 minutes of fame on Vice's Creator's Project.
I've recorded all of my notes/tutorials/etc here over the years, I hope they continue to help pepole push glitch further and further still.”
"December 2014, i'm inside Bohemian Cemetery's cathedral for some experimental metal... as the performances start the video artist casts the walls & musicians with cascading chaotic bits -- had never seen such aesthetic // soon after the show i bought my first analog glitch box, so excited i hardly used it // was not until the tail end of 2015, when particularly high peaks of madness disturbed my life, & in this state, i made my first glitch animation with that no longer dusty box // controlling, embracing, riding, & witnessing the wildly different waves of being human is how i relate to glitch."
"I stumbled upon glitch art while still living in my hometown of Portland, OR via vaporwave muzak, which often utilizes that theme a e s t h e t i c a l l y. It resonated with me a lot because I found many real-life experiences I have had seemed synonymous with what I felt when I saw or heard glitch. Events like mental illness (a perceived error of brain functioning), suicide (a fatal malfunction), gender stuff ([**binary**] structures resulting in chronic social malware, such as misogyny and patriarchal masculinity), and, of course, the now global worms that are capitalism, white supremacy, etc (the point where we just need to maybe need to get a new computer).
The decaying socio-political structure we’re currently living through, of which technology has risen and dictated, aligns with the “destructive” and “exposed” aspects of glitch. I find the visual output of glitch to often be mesmerizing, chaotic and unrefined. It helps me to embrace the nature of imperfection in my own work. It is a useful tool for storytelling these times, which I do by integrating it into my own 3D, video and live visual work. While things may feel apocalyptic, perhaps the destruction and “glitching” of the system must happen to reshape a much healthier future, in which we overcome the societal viruses that cause us to be having all these glitches in the first place."
盧藝 Lu Yi, Soundwatch Studio 響相工作室
臺北市, 台灣 (Taipei, Taiwan)
"During my early days as an artist, I met Sébastien Labrunie(Fr) by chance. We felt we had a good connection and wanted to do something together. We formed a group called “Sondes” , which means “electric wave receiver”. 我開始漸漸愛上這類型創作。"
Buenos Aires, Argentina.
"I started glitching pictures about four years ago while working on a project for performing arts and virtuality with my Scenic Experimentation Company "SinDomicilioFijo" (with no fixed abode). Since then, it's become a tool I use quite often.
I believe the most wonderful thing about Glitch is that it has the potential to take the -error- and transform it into an esthetic and creative strength.
I love it!"
"I heard about glitch art accidently around 2013 and started reading up about it. I actually was a photography enthusiast who couldn't afford to buy a new camera owing to financial responsibilities at a young age of 23. But my creative expression found an outlet in glitch art - found fellow artists online who continue to guide each over the internet, which is natural since most glitch art is digital anyway. Digital connections, digital art, digital experiences. We're front runners of this evolution and I'm excited about what the future will unfold."
YOUNGGIRLS_XXXTRAPRINCESS from Paula Pinho Martins Nacif on Vimeo.
XXXTRAPRINCESS (愛真 Ei Jane Janet Lin and Paula Pinho Martins Nacif)
Taipei, Taiwan and London, United Kingdom
"xXxtra.Princess are princesses.
xXxtra.Princess have extracted all knowledge from #WHYPpl and defeated the imperialist, capitalist, ablelist, cis-heteronormative, white supremacist patriarchy.
xXxtra.Princess are weapons/products against/for mass destruction.
xXxtra.Princess are princesses because everyone died.
You can be an xXxtra.Princess too. All you have to do is #Feel."
"I was in Jon Satrom's Realtime class back in 2008 and my MacBook glitched up as I unplugged VGA cable a bit too quick. That's how I got my very first organic glitch.🍀"
"KANTOR GENRE BARU DAN TRADISI
NO SIGNAL BLUE"
Myri⋀m (Myriam C. Fernandez)
Roseville, United States
Perimetral from Giselle Beiguelman on Vimeo.
Cinema Lascado (Chipped Cinema) #2: Perimetral (2013)
São Paulo, Brasil
"O projeto investiga estéticas do ruído e da obsolescência, em particular o glitch, e os modos pelos quais dialogam com espaços fragmentados e as experiências que temos das ruínas urbanas. (The project researches on the aesthetics of noise, of obsolescence, and in particular, of glitch and how they dialogue with fragment spaces and our experiences of urban ruins.)"
Stockholm, Sweden 🇸🇪/🇯🇵
"Some glitch inspired art🤖 2020 came with a virus, I think it needs a system update😤 People often ask me how I manage to lay the paint so smoothly whenever I post a digital drawing, but it’s really just because it’s a digital drawing made on top of a sketch I took a photo of🙊 sorry to disappoint y’all!"
Anna Christine Sands
Indianapolis, IN, USA / Chicago IL / SAIC
"In 2015, Anna Christine Sands glitched her first glitch after watching a friend try it too. It was a small databend, nothing to write home about. The taste for corruption art had been planted as a seed and since 2015 it has grown exponentially."
≈sheglitchr (Camille Grigaut)
"As a child I was a huge video game player. From the traversable walls in Super Mario to the mountains you wasnt supposed to climb while riding a horse in Skyrim, I've been fascinated by this little glitches without considering them as an art form. A door wasn't open yet.
Back in 2014, I was living in a French city called Nantes and I wasnt fitting in my new art school so I decided to make a lot of experiments beside of it.
I created a facebook page called ≈sheglitchr where I was posting some silly photo montages with glitched aesthetic and raccoons riding Ataris. All of this was only a joke... Until one of my friend told me that there was a huge facebook group with people doing this kind of visuals with a lot of different techniques.
I opened the door and found so much possibilities. I immediately felt in love with the analog side of glitch art and and it's a love that hasn't faded since.
Things are more serious now I guess, I try to make it not too much serious tho."
Ras Alhague [Zoe Stawska]
"I believe glitches have always been present in my life, even when I wasn't exactly aware of their artistic potential (you know, when I was 5 and playing my favorite game, glitches were more likely to cause frustration and fear rather than contemplation on their aesthetic qualities). So I do not exactly remember my very first encounter with glitches, but I was first introduced to the art form back in 2014. It was a rather satisfying experience to finally discover the name of such an aesthetically-pleasing phenomenon. Since then I've been involved in glitch art communities on Facebook and participated and organized a few exhibitions offline to help spread the Word of Glitch on the outernet. I have also developed a huge crush on the Glitchet guy, but please don't tell him. Recently, I've been mostly producing erotic content, happily turning my own body into a glitchy mess on a wonderfully chaotic journey of self-discovery."
"As a person who never really learned the proper way of using a computer, a goth in love with colorful things, and a cyborg wannabe stuck in this ‘’faulty’’ meatsuit, I honestly can’t remember when I first started to glitch images. All I knew was that ‘’glitch’’ is the name of those eye catching, colorful and interesting phenomena I often noticed on my tv and in games. After a while those turned out to be a natural progression in my creative work. I studied painting, but painting often isn’t enough for me to say the things I want to say, so I was writing, I was sewing, and now I’m actively playing with electricity and wires, and learning new tricks to break files and disrupt signals. So, in search of new ways of connecting those natural dualities inside me, and my love of techy things, glitch just fit right in – as it turns out, it was here all along anyway."
"I'm an artist and VJ from Boston, MA. Glitch art is my favorite to make currently. I'm inspired by the randomness and unexpectedness of the glitches, and just how trippy it is. To describe my work would be weird, raw, psychedelic, glitchy, confusing, erotic, interesting, beautiful, and silly.
I love how I can take an image from nature or a human body and destroy it in a way that makes it look like you're on psychedelics, or to take an image or video and make somebody feel something completely unexpected and confused- like " what am I looking at?" "am i turned on by this or scared?"
The Hague, Netherlands and Hungary
"I saw first time a glitch accidentally on the Tv screen, when I am was a kid.
Many years later I starting to get more interested to different form of arts. I wrote poems in my teenager years, take photos, exhibited. Later, painting abstract and exhibited but painting sometimes is not enough to me so started to make more digital art. I love experimenting, the creative autonomy and when made my first glitch, I fall in love with the process."
"I used to watch damaged vhs tapes as a child and sort of enjoyed the aesthetic difficulties. I started to be genuinely interested in glitch art in 2013 when my first poetry book was printed on a problematic printer so the final prints had some 3d glitchy vaporwave accent which made the process of reading more challenging. In my artwork I enjoy to create chaotic noise post-de-con-structures on purpose, but they are often intended to be seen as a form of certain mythical analysis and self/transcendence of the present moment."
"I am fascinated with the complexity of a digital image and also the unpredictable nature of how an image can be altered either intentionally or via the simple product of an error; a glitch. These errors in technology are normally fleeting moments or ‘hiccups’ in transmission where screens freeze, break up the data, crackle the sound or fuzz out completely! We all find these errors a lot less tolerated and something that just shouldn’t happen in ‘today’s world’ as we continue to strive for perfection and instant, seamless results...
Whether or not you accept a glitch or an error in technology as an art form, glitches themselves are short-lived, unless captured and displayed and it’s my passion as an artist to do just that."
"colonialism is a glitch" - Santiago X
SANTIAGO X, M.Arch, MFA is an Indigenous futurist and multidisciplinary artist specializing in land, architectural, and new media installation. He is an enrolled citizen of the Coushatta Tribe of Louisiana (Koasati) and Indigenous Chamoru from the Island of Guam U.S.A (Hacha'Maori).
Santiago X has exhibited and designed Internationally, including The World Expo in Shanghai, China, Venice Biennale in Venice, Italy and Ars Electronica in Linz, Austria. He is a 2019 3Arts Award Winner, and the first Native American contributor in the Chicago Architecture Biennial. In 2020, X was commissioned by the U.S. State Department to be the lead artist of The American Arts Incubator Brazil, where he traveled and conducted workshops culminating in a virtual reality exhibition, entitlede PORTAL.
"I've long had an interest in glitch aesthetic, which most likely comes from my interest in live visuals, digital animation, and especially gaming where games would regularly glitch and corrupt themselves.
I first started to consider incorporating glitches into my practice after a photo I took in 2008 glitched https://www.flickr.com/photos/hellocatfood/2237523349/ It really intrigued me and so I researched various methods to replicate that corrupted effect.
I started making glitch art in 2009, initially following tutorials from sTallio and inspired by Nick Briz and Rosa Menkman. I eventually developed my own tools and techniques for glitching, including databending using Audacity and SVG glitching."
Craig Blackmoore (Sometimes BLKMRE or PRSN23)
"I started glitching creatively in 2011. It all started with sound and my urge to break away from industry norms and familiarity in music. Then eventually I applied the same ideas to my digital art, which was pretty "stable" back then. My current process varies but I usually glitch and modify photos and videos from my own personal photography portfolio.
Growing up I've always kinda enjoyed the unpredictability of technology. It's like we work so hard to make productions "perfect" but in reality, glitch can occur randomly and without warning. And a lot of times, the glitch will steal all of the attention. If the cable randomly goes out on your tv and turns your evening entertainment into a disgustingly beautiful moshed image, someone in the audience will react. Could be a positive reaction... more than likely will be a negative one. I love these kinds of moments. It's an immediate "performance" of stimulus and Response that is relatively tame and safe. Glitches happen. How do you react to them?
I've also always loved how glitches can make something appear or sound completely different from its original state. It's like technology went rogue and immediately remixed whatever you had going on. When listening to music you can recognize a ton of instruments when they are played clean, but the right glitch could turn familiar sound into something brand new and powerful."
王福瑞 Fujui Wang, Soundwatch Studio 響相工作室
臺北市, 台灣 (Taipei, Taiwan)
"In 1998, Atau Tanaka performed in Taipei demonstrating live interactions with sounds and images using body sensors, which surprised us. He also showed us the software Max/Msp at Etat Lab (www.etat.com). I then started to learn Max/Msp/Nato, Pure Data/Gem and electronic sensor-related techniques on my own, and applied them in my works."
Fujui Wang-NoiseDrome (1999) from Sound Watch on Vimeo.
"This is my first glitching work, 我使用DV 去錄製（to film/record） 傳統映像管電視（CRT）的畫面雜訊（noise），畫面不停地跳動讓觀者的大腦思緒進入一種『精神性 Spirituality』的狀態，也是我後來開始發行專輯：『Ching-Shen-Ching – 0.1.2.3』的靈感。In 1999, I released my first album, “Ching-Shen-Ching – 0.1.2.3”.
"The first thing I ever did on a computer was delete everything I could find on it and then repeatedly fail at deleting the bin itself, It took 5 years before my family would let me use one again. But like most homes in the beginning of the 2000s we bought a windows xp family edition central unit on which everybody had their own sessions pictured by tiny football and duck avatars.
I'm in my teenage dark years by then, so my main occupation is to find creative ways to hide poems about my crush and why I hate everybody else[..] by accident i open a picture in notepad and I'm like wtf why is this text ? I wasn't really looking for a glitch then, but I'd found the perfect hiding place for my txt. I'd write all my shit in img files and then save them back as jpg, sometimes it ended up corrupting the images sometimes not."
Taipei, Taiwan, and Chicago, USA
"i remember first listening to my Commodore 64 software programs saved on audio cassettes as raw data in the mid-late 1980s. Playing back software like that on my boombox was my first experience of the sounds of Noise Music and the Glitch Art process now known as sonification. between those experiences and playing early video games, as they glitched out in arcades and later at home, i fell in love with the ways that systems misbehave and surprise us."
鬼鎮 (Ghosttown), the Glitch Western - jonCates (2018 - present)
WHERE AM I, WHERE ARE WE?
This is an index listing international communities of Glitch Artists, a resource for sharing and understanding Glitch Art and the people who create, curate, discuss, develop, and teach this art form. We have myriad different engagements and approaches to share. We may have encountered or made an amazing glitch once or committed to making this art almost exclusively all the time. We might use an app or code our own software. We are probably all along these spectrums together as we experience Glitch Art, the art of surprise. Your stories and projects are important: email joncates @ gmail . com with SUBJECT line "GLITCH INTL" and the following:
How did you 1rst fall in love with glitch, glitches, or Glitch Art? 💖 When did you 1rst start glitching or making Glitch Art? 😎 (This text could be short [ie a sentence or so, or a paragraph] but not more than a few paragraphs in length) ✏️ See the contributions above for examples.
An example artwork of yours, the work itself as an attachment if you like or as a link to any media types.
Link(s) / URL(s)
When sending this data you agree to participate, being listed publicly on the platform, and contributing to the collective creation of GL!TCH.INTERNATIONAL.
GL!TCH.INTERNATIONAL is an open, inclusive, and international platform for Glitch Art and Glitch Artists founded by jonCates to further the development and understanding of our art form. jonCates is the author of Chicago New Media, and the curator of this exhibition, as well as many others.
* Entries marked * written by jonCates for GL!TCH.INTERNATIONAL.
Entries in quotations written by the artists.
All content © original authors. (2020 - ∞)