Monglot [A glitch software]

Monglot iconMonoglot

Of Mimicry and Glitch Art: The Ambivalence of the ‘colonial’ Glitch Art discourse**

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.

More here

About Rosa Menkman

Every technology possess its own inherent accidents. Rosa Menkman is a Dutch visualist who focuses on visual artifacts created by accidents in digital media. The visuals she makes are the result of glitches, compressions, feedback and other forms of noise. Although many people perceive these accidents as negative experiences, Rosa emphasizes their positive consequences. By combining both her practical as well as her academic background, she merges her abstract pieces within a grand theory artifacts (a glitch studies). Besides the creation of a formal "Vernacular of File Formats", within her static work, she also creates (narrative) work in her Acousmatic Videoscapes. In these Videoscapes she strives for new forms of conceptual synthesis (synesthesia) of sound and video artifacts.
This entry was posted in Uncategorized. Bookmark the permalink.

Leave a Reply

Your email address will not be published. Required fields are marked *


You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>