WEDNESDAY, SEPT 29

Melissa Barron [http://melissabarron.net/]

Glitch programmed in AppleSoft Basic on an Apple ][, printed to a Jacquard Loom.

Theodore Darst [http://www.theodoredarst.net]

I Corrupted Miley Cyrus is a collection of portraits of the tween icon disfigured digitally and metaphorically. Sourced from Cyrus' music videos, compression and corruption reveal a darker side to her well guarded, Disney-approved image.

Scott Fitzgerald [http://ennuigo.com]

Prints, either caught accidentally or created specifically with the intention of mangling an image.

Gijs Gieskes [http://gieskes.nl/]

Browser Jockey. http://gieskes.nl/browserjockey/, 2009.
Gijs takes machines apart and changes its circuitry; he is a circuitbender. He deconstructs the internal workings of the machine and redefines the medium as a material.
In Browser Jockey Gijs uses a web browser to make visuals to live music. Urls, gifs and other web native elements are crawled from the an Asian webspace and used to step by step draw East Asian emoticons like:
(Z.Z) - sleepy person
\(^_^)/ - cheers, "Hurrah!"
The results are often surprising, sometimes unrecognizable and once in a while serendipious.

Goto80 [http://goto80.com/]

HT Gold (2008) is an interactive Commodore 64 program for 2 persons, made by Glenn Again and Goto80. It is a reappropriation of the hockey game Hat Trick (1987). The machine code of the game has been analysed and tampered with, randomly but spaciously introducing events that alter the steering, graphics, physics, sound and destroys the goal counter. It is no longer a competitive game, but a less defined kind of play in an environment that gradually decays to show some sort of ?message of the medium?. The decay is conditioned by pre-determined code and chance, aswell as user interaction. HT Gold is not about arbitrary glitch-debunking or retro-kitsch, it is a playable noise remix that celebrates the inherent aesthetics of the machine that are usually suppressed by the engineer perfectionism of digital culture.http://www.hellocatfood.com/]
http://www.hellocatfood.com/2010/05/24/interpretations-of-reality/

Interpretations of Reality
"After many failed ideas I finally settled on showing the journey of a pixel and how it can be mutated through different ways of manipulating it, specifically through glitch art."
"In my never-ending quest to explore glitch art off the screen, what then intrigued me was how I could print this. I then had the idea to print these images onto of printed material. In this way we see how glitches can alter our perception of already existing media. Does it add to or detract from the original intent or is it even noticeable?"
"To pay homage to zine culture I?ve use pages from some of the zines that I?ve collected over the years as well as found papers that have been clogging up my inbox."

Morgan Higby Flowers [http://morganhigbyflowers.blogspot.com/]

[http://www.youtube.com/watch?v=Sr44ByT2H1g]
panel.raw is a digital diptych paring process and result of drawing within the data of a Photoshop RAW representation of a video file.

Andreas Maria Jacobs [http://www.nictoglobe.com/]

Projected Digital Prints

JODI [http://wwwwwwwww.jodi.org/]

Untitled Game [http://www.untitled-game.org/] 1996. Jodi?s work is often confrontational and hard to grasp. This is not just because the collective never adds an explanation to their work, but mainly because Jodi often overturns genres, expectations of the user and the behavior of the interface.
Untitled Game is not an exception to this rule. In this set of 14 modifications of the First Person Shooter (FPS) Quake 1, Jodi searched and exploited bugs within the source code of the videogame. The collective changed the graphics, sounds and coding and in doing so, rendered the game ?unplayable?. In E1M1AP (one of the mods) Jodi used the gravity algorithm to create unsettling vortex effects, while in Ctrl-Space the collective exploited anti-aliasing and 2x1 blocked sprites to create a cube filled with beautifully evolving moire patterns. In these Quake mods Jodi shows that a first person shooter game can be used in many different ways.

Karl Klomp [http://www.karlklomp.nl/]

Karls research focuses on live audiovisual expressions and interfacing with a fascination for glitch-art, hyper-kinetic audio visuals and glitch grabbing. His main fields of work are video circuit bending, frame grabbing, hardware interfacing and max programming. He is also doing commissioned video hardware tools for other artists. Karl plays live av performances together with Tom Verbruggen (Toktek) (toktek vs mnk).
At GLI.TC/H Karl presents the Panasonic AV-3, which is one of his favorite videomixers to bend because they are really good for audio visual glitching.

LoVid [http://www.lovid.org/]

486 Shorts stems from a personal interaction with an ordinarily closed off part of a common machine By getting inside the black box (the casing of an archaic 486 computer), LoVid reached the physical location where signals are passed. Connections were made on the circuit board of the video card, using wire to produce short videos. Recordings made from these shorts were then edited into 486 short clips, each corresponding to one of the physical shorts.

Tatjana Marusic [http://tatjanamarusic.com/]

In ?The memory of a landscape?, landscape and rider find themselves endless roaming through a continuous process of disappearance and becoming. Moshed and pixelated memories of an open horizon float atop often forgotten video compression algorithms.

Kyle McDonald [http://kylemcdonald.net/]

pppd [http://www.openprocessing.org/visuals/?visualID=1138] 2009
pppd is a highly formalized audiovisual composition built around the esoteric programming language p'' ("p prime prime"). During each brief scene, a random sequence of p'' code is generated and run, while the memory it uses is visualized and sonified. pppd is an artistic re-imagining of the otherwise academic field of computability theory. It functions simultaneously as an investigation of complex behavior emerging from formally simple systems, and as a playful exploration of computational dreams.
p'' is a subset of the programming language better known as Brainfuck.

Rosa Menkman [http://rosa-menkman.blogspot.com/]

Noise Art > Filter art > when Cool becomes Hot
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Glitch has become hot. A brightly colored bubblegum wrapper that doesn't ask for much involvement, or offers any stimulus. Inside I find gum that I keep chewing - hoping for some new explosion of good taste - but the more I chew it, the less tasty and more rubbery it gets. Glitch design fulfills an average, imperfect stereotype, a filter or commodity that echoes a stabilized "medium is the message" standard.
Naturally, the "No Content - Just Imperfection" slogan of this kind of hot glitch design is complimented by cool glitches. In "The Laws of Cool", Alan Liu asks himself What is "Cool"? He describes that cool is the ellipsis of knowing whats cool and withholding that idea. Those who insist on asking, are definitely uncool.
Cool glitches do not (only) focus on a static end product, but (also) on a process, a personal exploration or a narrative element (that often reflects critically on a medium). This is why cool is in a constant state of flux, as is the genre of "cool glitch art", which finally exists as an unstable assemblage that relies on the one hand the construction, operation and content of the apparatus (the medium) and on the other hand the work, the writer/artist, and the interpretation by the reader and/or user (the meaning). There is no one definition of cool glitch art.
In an effort to make what was once cool now hot, or visa versa, I made this Vernacular of File Formats, in which I studied ways to exploit and deconstructed the organizations of file formats into new, brutalist designs.
...I am waiting for the first "Glitchs not dead" hoodie in H&M. And because "fans are as bad as the ignorant", for the sake of being bad, I will definitely wear the hoodie.

Mikrosopht [http://mikrosopht.godxiliary.com/]

GLITCH ENDLESS
"most of the time i just stumble upon glitches. and sometimes i can figure out how to exploit them, and dig as deep as i can and capture whatever however i can. i do not edit files to produce glitches."

David Musgrave [http://vimeo.com/user2418626]

I Love You, But Enough Is Enough. Hacked/Modified Arcade Game, 2010
David modified the trackball of a bowling arcade so that even the best the player can only throw a gutter ball. The game has been modified in a way that it still gives the illusion that there is a probability of winning. I Love You, But Enough Is Enough is an allegorical, critical exploration of the heterogeneous expectations around videogames cultivated by capitalism.
David figured out how the trackball worked and then made new pieces for the controller using Rhino 3D and a 3D printer. He also made a custom sign and arcade cabinet.

Alex Myers [http://alexmyers.info]

DNPWWO
"In DNPWWO (Does Not Play Well With Others) I used a simple video game hardware hack to subtly change the dynamics of DOOM2's death-match mode.
3 players experience the game space as an abstracted kaleidoscope while the 4th sees what was originally intended. The hack serves to change the relationships between the players. Restructuring the original ritual-combat both as the typical aggressive power-play and as a new hypnotic experience of the beauty within the machine.
For me, it's about play and the unfettered joy and sublime agony of experience. It is about how we ritualize these experiences in an effort to share with each other.
Whether we share pain or pleasure is up to us."

No-Carrier[http://www.no-carrier.com/index.php?/glitchnes/]

glitchNES is an open source software project for the Nintendo Entertainment System. This software causes graphical glitches similar to hardware circuit-bending. The current version is 0.2.
Version 0.2 is vastly different than 0.1, using both controllers and featuring more graphics banks, as well as controls created with live performance in mind. Be sure to check out the readme's of both versions, which outline technical details as well as button configurations. glitchNES works on emulators, the PowerPak, and of course EPROM carts. You'll see different results depending on what you use. Both versions are open source.

Ant Scott [http://www. beflix.com/]

TITLE: Glitch (#08,#09,#13) DATE: 2001-2005, recoloured 2007
These digital prints represent the best of BEFLIX's "pure glitch" phase. The images, which at first might appear bewildering, were created from computer crashes, software errors, hacked games, and megabytes of raw data turned into coloured pixels.
TITLE: Generatives DATE: August 2005
TITLE: Skyscrapers DATE: September 2005

Eric Souther [http://unseensignals.com]

Realtime Datamoshing (MAX MSP & VLC)

Daniel Temkin [http://danieltemkin.com/]

http://danieltemkin.com/Sector2/
http://danieltemkin.com/Sector2/
Sector 1 & 2 prints

Bob Weisz, Paul Korz, & Tom Butterworth [http://heywhatsupitsbob.com/] & [http://paulkorzan.com/]

Realtime Datamoshing (Quartz Composer)

UCNV [http://ucnv.github.com/aviglitch/]

GLITCHS NOT DEAD t-shirt, 2010
After reading Rosa Menkman?s Vernacular of FIle Formats, UCNV answered to her glitch hoodie request:
??I am waiting for the first "Glitchs not dead" hoodie in H&M. And because "fans are as bad as the ignorant", for the sake of being bad, I will definitely wear the hoodie.?
The result is hanging in the gallery is also available online at http://teeparty.jp/invalid_pixels/