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<p>Die Seite wurde neu angelegt: „ == Reference == Iman Moradi: Glitch Aesthetics. Thesis, School of Design Technology, Department of Architecture, The University of Huddersfield, January 27th …“</p> <p><b>Neue Seite</b></p><div><br /> == Reference ==<br /> Iman Moradi: Glitch Aesthetics. Thesis, School of Design Technology, Department of Architecture, The University of Huddersfield, January 27th 2004. <br /> <br /> == DOI ==<br /> <br /> == Abstract ==<br /> In music classification, the Glitch has been elevated to the prestigious status of<br /> having its own genre. However, there have been very few discussions on the<br /> practice of creating or capturing visual manifestations of Glitches in today’’s<br /> highly signal perfect media and pixel perfect computer interfaces. This seems<br /> paradoxical in relation to earlier trends of discussing qualities of media and is<br /> testament to the fact that we are becoming more silent as technology finds its<br /> own voice.<br /> <br /> The underlying theme in this study, was to find out what it is that drives visual<br /> glitch artists in their desire to create glitches and to seek an answer to the<br /> question, can the glitch be an effective medium in the ‘‘pantheon of artforms?’’1 -<br /> ““While Glitch Music has experienced a greater amount of exposure, other forms of<br /> Glitch Art have remained more obscure. Some have not been conceptualised as art<br /> at all”” (Motherboard, 2002). This dissertation aims to address this void and its<br /> surrounding issues.<br /> <br /> == Extended Abstract ==<br /> <br /> == Bibtex == <br /> <br /> == Used References ==<br /> The American Heritage® Dictionary of the English Language (2000) Houghton Mifflin Company, Boston.<br /> <br /> Adorno, T. W. (1984) Aesthetic Theory, Routledge, London and New York.<br /> <br /> Briggs, J. (1994) Fractals &quot;The Patterns of Chaos&quot; Thames and Hudson Ltd, London.<br /> <br /> Cascone, K. (2000) Computer Music Journal, 12-18.<br /> <br /> Danto, A. C. (2002) The Nation.<br /> <br /> Darley, A. (2000) Visual Digital Culture: surface Play and the spectacle in new media genres. Routledge, London &amp; New York.<br /> <br /> Douglas, M. (1966) Purity and Danger, Bauhaus.<br /> <br /> Eide, E. S. (2002) In Glitch Symposium Live Art.<br /> <br /> Fenwick, R. (2003) In Unified Systems.<br /> <br /> Fer, B. (1997) On abstract art, Yale University Press, New Haven and London.<br /> <br /> Finney, T. (2001) Freaky Trigger, UK.<br /> <br /> Fo.AM (2000), Vol. 2003 foam.<br /> <br /> Grieman, A. (1990) Hybrid Imagery: The fusion of Technology and graphic design, Architecture Design and Technology Press London, London.<br /> <br /> Harger, H. (2003) In Evolution 2003, Leeds.<br /> <br /> Kennedy, L. (2002) In Wired.<br /> <br /> Levinson, P. (1999) Digital McLuhan, Routledge, London and New York.<br /> <br /> Manovich, L. (2000) information and Form Review of Electrolobby.<br /> <br /> Moradi, I. (2003) In Live Art Magazine, Nottingham.<br /> <br /> Motherboard (2002) liveart.org.<br /> <br /> Nergaard, K. Glitch Report (2003).<br /> <br /> O&#039;Connor, F. V. (October 1998 and February 1999), Vol. 2003.<br /> <br /> Palmer, F. (1972) Visual Awareness, B T Batsford Limited London.<br /> <br /> Pioch, N. (2002), Vol. 2003 http://www.ibiblio.org/wm/.<br /> <br /> Sangild, T. (2002) Datanom.<br /> <br /> Scott, T. (2001), Vol. 2003.<br /> <br /> Singh, S. The Code Book, (2001).<br /> <br /> Vanhanen, J. (2001).<br /> <br /> Veen, T. V. (2002) In University Art Association of Canada Calgary.<br /> <br /> Velásquez, L. V. (2000) La Revistade Investigacion Clinica, 52, 569-580.<br /> <br /> <br /> == Links ==<br /> === Full Text === <br /> http://www.haraldpeterstrom.com/content/5.pdfs/Iman%20Moradi%20%E2%80%93%20Glitch%20Aesthetics.pdf<br /> <br /> <br /> [[intern file]]<br /> <br /> === Sonstige Links ===</div>

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