The Glitch Moment(um)

Aus de_evolutionary_art_org
Wechseln zu: Navigation, Suche


Menkman, R.: The Glitch Moment(um). Network Notebooks, vol. 04. Institute of Network Cultures, Amsterdam (2011). ISBN 9789081602167



Glitch first came into my life in 2005, when I visited the world wide wrong exhibition by the Dutch/Belgium artist collective Jodi (Joan Heemskerk and Dirk Paesmans) at Mon- teVideo/Time Based Arts in Amsterdam (now known as the NIMK, Netherlands Media Art Institute). An introductory text on the work of the artists by Annet Dekker went a long way in articulating the artists’ deconstructive methods. However, the work that made the biggest impression on me, untitled game (1996-2001), which was a modification of the videogame quake 1, seemed the most incomprehensible. I could only understand it as irrational and void of meaning, and so I walked away from it, confused and titillated. In hindsight, I learned about myself in that moment – about my expectations and concep- tions of how a videogame should work. The strange game seemed only to return me to my own perspectives and expectations around the medium that it was failing to be. A second text by Josephine Bosma usefully outlined Jodi’s active deprogramming of computers, and the paradoxes and tensions inherent to their working method. Even still, untitled game in particular remained for me under-articulated in theory, which increased my curiosity about this kind of art practice. I did not realize it then, but my taste for glitch, and for its potential to interrogate conventions through crashes, bugs, errors and viruses, was spawned by that initial and persistent critical evasion of untitled game from my theoretical grasp.

Extended Abstract


Used References

Adelbert, Ames, Jr. ‘The Morning Notes’, in Ernst Hans Josef Gombrich, The Sense of Order: A Study in the Psychology of Decorative Art, London: Phaidon Press, 1984. p. 117.

Altman, Rick. Film/Genre, London: British Film Institute, 1999.

Attali, Jacques and Brian Massumi. Noise: The Political Economy of Music, Manchester: Manchester University Press, 1985. p. 33. George Orwell, Nineteen Eighty-Four, London: Secker and Warburg, 1949.

Ballard, Susan. ‘Information, Noise and et al’, M/C Journal, 10.5 (October, 2007).

Barnouw, Jeffrey. ‘The Morality of the Sublime: To John Dennis’, Comparative Literature, Vol. 35, No. 1 (Winter, 1983): p. 21-42.

Baumgärtel, Tilman. ‘TP: Interview with Jodi. "We love your computer"', Telepolis. May 2006,

Benjamin, Walter. ‘The Work of Art in the Age of Mechanical Reproduction’, in Hannah Arendt (ed.) Illuminations, New York: Schocken, 1968, pp. 219-254.

Blanchot, Maurice. The Writing of the Disaster, Nebraska: University of Nebraska Press, 1995.

Bolter, Jay David and Richard Grusin. Remediation: Understanding New Media, Massachusetts: MIT Press, 1999.

Bohm-Duchen, Monica. The Private Life of a Masterpiece, California: University of California Press, 2001.

Broeckmann, Andreas, Joke Brouwer, Bart Lootsma, Arjen Mulder and Lars Spuybroek. The Art of the Accident, NAI Publishers/V2_Organisatie: Rotterdam, 1998.

Cascone, Kim. ‘The Aesthetics of Failure: Post-Digital Tendencies in Contemporary Computer Music’, Computer Music Journal 24.4 (Winter 2000).

Cranfield-Rose, James Brady. Tick-tick-tick-tick-tick... Oval, the glitch and the utopian politics of noise, unpublished master thesis, Burnaby, Canada: Simon Fraser University, 2004.

Davis. Paul B. Define Your Terms (Or Kanye West Fucked Up My Solo Show), 28th May 2009.

Debatty, Régine. ‘Playlist, it’s not (just) about nostalgia’, Make Money Not Art, 15 January, 2010.

DeLanda, Manuel. War in the Age of Intelligent Machines, New York: Zone Books, 1991.

Deleuze, Gilles and Claire Parnet. Dialogues II, London and New York: Continuum, 2006.

Deleuze, Gilles and Pierre-Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia, Trans. B. Massumi, Londen: The Athlone Press, 1988.

Doane, Mary Ann. The Desire to Desire: The Woman’s Film of the 1940s, Bloomington and Indianapolis: Indiana University Press, 1987.

Durham, Meenakshi Gigi and Douglas Kellner. Media and Cultural Studies, New Jersey: Wiley-Blackwell, 2006.

Gombrich, Ernst Hans Josef. The Sense of Order: A Study in the Psychology of Decorative Art, London: Phaidon Press, 1984.

Hayles, N. Katherine. ‘Print is flat, code is deep: The importance of media-specific analysis’, Poetics Today 25, no. 1 (2004): pp. 67-90.

Hegarty, Paul. Noise/Music: A History, London and New York: Continuum, 2007.

Heim, Michael. The Metaphysics of Virtual Reality, New York: Oxford University Press, 1993.�

Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts, Massachusetts: MIT Press, 1999.

Kirn, Peter. ‘Live Glitching with MIA at Coachella: Glotchy-Glithcy Videos, Pictures, Live Gig Report’, Create Digital Motion, 1 May 2009. coachella-glotchy-glithcy-videos-pictures-live-gig-report/#more-3750.

Kittler, Friedrich. Draculas Vermächtnis: Technische Schriften, Leipzig: Reclam Verlag Leipzig, 1993.

Kluitenberg, Eric. Delusive Spaces. Essays on Culture, Media and Technology, Rotterdam: NAi Publishers and Amsterdam: Institute of Network Cultures, 2008.

Kluitenberg, Eric. Transfiguration of the Avant-Garde/The Negative Dialectics of the Net, posting to nettime mailing list, 23 January, 2002.

Larsby, Johan and Rosa Menkman. Monglot, 2011.

Liu, Alan. ‘What’s cool?’, in The Laws of Cool: Knowledge Work and the Culture of Information, Chicago: University of Chicago Press, 2004, pp. 176-179.

Lotringer, Sylvere and Paul Virilio, The Accident of Art, Semiotext(e): New York, 2005.

Mackenzie, Adrian. ‘Codecs’, in Matthew Fuller (ed.) Software Studies, Massachusetts: MIT Press, 2008.

Matheson, Donald. ‘Weblogs and the Epistemology of the news: some Trends in Online Journalism’, Sage Journals, London: SAGE Publications, Thousand Oaks CA and New Delhi Vol 6.4 (2004): pp. 443-468.

McLuhan, Marshall. Understanding Media: The Extensions of Man, New York: McGraw Hill, 1964.

Menkman, Rosa. Beauty in the Age of Digital Art; aesthetic, poetic or rhetoric, June 2006.

Menkman, Rosa. ‘Glitch Studies Manifesto’ in Geert Lovink and Rachel Somers Miles (eds) Video Vortex Reader II: moving images beyond YouTube, Amsterdam: Institute of Network Cultures, 2011, pp. 336-347. Vortex%202%20reader.pdf.

Menkman, Rosa. Jodi op de Pijnbank, unpublished master thesis, Amsterdam: University of Amsterdam, 2006.

Michele, Michele. ‘The Aesthetics of Failure: Confusing Spectators with Net Art Gone Wrong’, in The Body and the Screen: Theories of Internet Spectatorship, Cambridge, MA: MIT Press, 2006, pp. 85-113.

Miller, Don. Biography for the Playlist exhibition, 2010,

Moradi, Iman. Glitch Aesthetics, Unpublished Bachelor Thesis, Huddersfield, UK: University of Huddersfield, 2004.

Neale, Steve. ‘The Question Of Genre’, Screen, vol. 31.1 (1990): pp. 45-66.

Pepperell, Robert. ‘Computer aided creativity: practical experience and theoretical concerns’, in Proceedings of the 4th conference on Creativity & cognition, Loughborough, UK: ACM, 2002, pp. 50-56.

Prandoni, Paolo and Martin Vetterli. Signal Processing for Communications, Lausanne: EPFL Press, 2008.

Shannon, Claude Elwood. ‘A Mathematical Theory of Communication’, Reprinted with corrections from The Bell System Technical Journal, Vol. 27 (July, October, 1948).

The American Heritage® Dictionary of the English Language, Fourth Edition, Houghton Mifflin Company, 2004.

Truscello, Michael. Behind the Blip: Essays on the Culture of Software (review), Cultural Critique, no. 63, (2006): pp. 182-187.

Virilio, Paul and Julie Rose. The Original Accident, Cambridge: Polity Press, 2007.

Wiener, Norbert. Cybernetics: Or Control and Communication in the Animal and the Machine, Paris: Hermann & Cie & Camb, 1948.

Williams, Raymond. Television: Technology and Cultural Form, Hanover: University Press of New England, 1974.

Winkler, Dan and Anton Marini. Open Emu, 14 Jan 2009.


Full Text

intern file

Sonstige Links Glitch Art Resources