About Monglot (order and progress // chaos and destruction)
The name Monglot is a degeneration of the terms Mongrel and Monoglot (the term also references Homi Bhabha’s “forked tongue” of colonialism and my idea of Glitch speak).
Mongrel: the offspring of varieties of a species, mixed background, bastard, or an imperfect crossbreed
Monoglot: knowing only one language; monolingual.
The Monglot software generates glitch images by mashing two languages in one final image; first of all the visual language of the image and secondly the image-data encoded in the language of the compression, that erupts over the surface of the former. This is how common glitch aesthetics like fragmentation, grain, ghosting, heterodynes, interlacing, jitter, jaggies, (…) posterization, pixelating, quantization error, ringing, staircase noise, scan lines (…) are being generated (mimicked?) and come to the surface.
Monglot aims to show the ambivalence (cool vs. hot) and the double articulation (encoding vs. image data) of (File Format-based) Glitch Art. The images generated in the software are ironically standardized by repetition and as such exist as a compromise in-between cool and hot glitches.
This makes Monglot exists as a glitch discourse in-between the lines, against the rules and within them, which is where I think we should look for the discourse of Glitch Art and Glitch Studies.
By normalizing (standardization through rules and repetition) the glitched states of the image the maker develops (new) knowledge of the compression language of the image. At the same time Glitch Art (as progressive and against the grain) becomes a virtual entity (a concept that is only referenced). Monglot thus imposes failure strategically, as a norm, to fork itself from the realm of Glitch Art.