The hiss and crackle of vinyl records, to be ignored or reduced as far as possible by the mid-20th century audiophile, became signifiers of historical authenticity in 1990s Trip Hop. The lens flare, light seepage and colour shift of cheap mass-produced chemical film-based cameras have been turned from annoyances to fetishes with Lomography (experimental analogue film photography) and Instagram. And the glitches of poor video connections or corrupted floppy disks have followed a similar path in Glitch art.
Glitch As Symbolic Form, 2013, essay.
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glitcherature-mode, 2014, Emacs editor mode.
Glitcherature is glitch literature, glitch aesthetics applied to text. “Kathy Acker uploaded by Bryce Lynch“, as I said of Orphan Drift’s novel “Cyberpositive“. glitcherature-mode is a text glitching mode for the Emacs text editor to help with making this kind of literature.
Uploads, 2012, software, Kinect, MindWave.
Uploads is a DIY Transhumanist system for creating low-resolution personality uploads using currently available consumer-level technology.
Canto, 2007, digital vector images.
Collages of autotraced photograph vector image artifacts. Remixed from an image by Tom Chance.
Titled, 2003, digital bitmap images.
Hard edged abstraction meets JPEG noise.
PostScript Viruses, 1993, PostScript code.
An exercise in aesthetic intervention in networked society. PostScript is the programming language used by high end printers and printing presses to render text and images. A virus written in PostScript could copy itself from printer to printer, changing the aesthetic of the language itself.
Mixes, 1993, digital images.
These would be called Mashups now. They mis-use primitive morphing software to sample and combine what was then considered to be canonical British contemporary art in order to create visual and conceptual relationships between, interrogating and critiquing them and making something new.