>>>> "Glitch as error and glitch as a chaotic system can be situated both within archaeologies regarding improvisation and chance and within more contemporary developments regarding complexity”
@Paul, this is all incredibly interesting, but I think what you were alluding to in regards to chance the abstract expressionists is in fact taste and habit. Cage wanted to remove all aspects of purposeful intent, to remove the baggage of habit and legacies from musical composition. So he introduced the “errors and glitch,” so to speak of chance operations into the process of music composition: to remove aspects of himself, ego, and taste from the work. This I think is the opposite of the abstract expressionists who wanted to express themselves intensely through total intent, though Pollock did in fact incorporate randomness in action painting. In returning to glitch then, it seems to be (for many) a form of chance operation intended to remove oneself from choice by giving up control to the indeterminacy of the machine and the code. From: Paul Hertz <igno...@gmail.com> Date: Wednesday, March 4, 2015 at 1:06 PM To: Randall Packer <rpac...@zakros.com> Cc: NetBehaviour for networked distributed creativity <netbehaviour@netbehaviour.org> Subject: Re: [NetBehaviour] The NetArtizens Project: starts right here, right now! Randall, Definitely—error and chance are central to avant-garde practices. One could also regard them as a media archaeology stratum with outcroppings as old as gambling, that show up in religion and ritual. Improvisation is also central to oral storytelling and orally-transmitted musical practices, where it assumes philosophical dimensions. Looking back over my notes from jazz workshops I find all kinds of references: improvisation as a sign of health, life as an improvisation, and improvisation "opening up a space where we can cut human relations loose from the old and awful signifiers" inherited from our culture. There were some interesting exchanges about chance operations between Cage and some of the Abstract Expressionists, that I'm too lazy/busy to track down just now. The AbEx folk were wrong in thinking humans beings were a good source of randomness, but the debate offers early insight into the differences between chaotic systems and aleatoric systems. Digital media have allowed us to distinguish different flavors of chance as never before, and to understand the complex relationship of deterministic systems to statistical randomness. The insight that deterministic systems can be unpredictable perhaps could not have been fully appreciated before computer simulations of weather or three-body gravitational orbits made this evident. Glitch as error and glitch as a chaotic system can be situated both within archaeologies regarding improvisation and chance and within more contemporary developments regarding complexity—which, though they emerge in mathematics as substantially new, surely point to ancient and intuitive realizations about order and chaos. -- Paul On Wed, Mar 4, 2015 at 9:44 AM, Randall Packer <rpac...@zakros.com> wrote: >>>>>> >>>>> "Noise and error go deeper, particularly as >>>>>> practices/attitudes/aesthetics that arise from traditions of >>>>>> improvisation.” > > @Paul, in reading your historical approach to glitch, it seems to me that > history provides us with so many examples of "error-driven” art, that it makes > me wonder if perhaps this dynamic is simply central to avant-garde “practice" > in general. > > Consider for example, the self-destructing sculpture, Homage to New York, by > Jean Tinguely, or Robert Rauschenberg’s White Paintings, or John Cage’s 4’33”, > the films of Stan Brakhage, the Happenings of Robert Whitman, the performances > of Yves Klein, or even the guitar virtuosics of Jimi Hendrix or Peter > Townsend, etc., etc, each of which revel in the accidental, the mistakes, the > chance event, the unexpected artifacts, the random occurrences: are these not > all examples of glitch? And if so, then what is glitch really in the broad > historical sense? So yes, these practices/attitudes/aesthetics do in fact run > deep and seem to relate to the artistic need to break free from the status > quo, to smash the past, and to surprise and shock. > > From: Paul Hertz <igno...@gmail.com> > Reply-To: NetBehaviour for networked distributed creativity > <netbehaviour@netbehaviour.org> > Date: Tuesday, March 3, 2015 at 1:34 PM > To: NetBehaviour for networked distributed creativity > <netbehaviour@netbehaviour.org> > Subject: Re: [NetBehaviour] The NetArtizens Project: starts right here, right > now! > > Randall, > > The discussion about glitch as aesthetic and glitch as accident seems to have > gone on from the very moment when a glitch could be created on purpose and > even controlled. Antonio Roberts (hellocatfood) and Jeff Donaldson (notendo) > created the Glitch Safari Flickr group > (https://www.flickr.com/groups/glitchsafari/) as a humorous search for "feral" > glitch, glitch in its pure state, and showed it at GLI.TC/H <http://GLI.TC/H> > 2010 as part of the debate over control/accident. Speaking in Chicago a few > weeks ago, Jeff noted how "glitch" has lately come to be applied to any noisy > or warped image: the aesthetic as currently practiced online has abandoned the > initial practices. I have occasionally pointed out (in FB glitch groups) that > the "history" of glitch and its "historical" practices may have some value for > grounding glitch art, and that the constraints of databending, datamoshing, > bitcrushing, etc., actually offer a crunchier aesthetic than "anything > goes"—but I do not expect that the glitchen will ever return to their old > hunting grounds. > > In that light, I could say that I am interested in glitch as a historical > practice. The software that I developed largely has to do with randomness and > misusing code. The aesthetics of noise and randomness hardly need explanation, > except to point out that in addition to operating as a data source, random > numbers drive decision-making processes in code. By the misuse of code I > generally mean using algorithms for purposes other than those for which they > were intended. Sorting algorithms have been a particular playground: by > breaking out of them at random points, the inner workings of different > algorithms are revealed as different flavors of image artifacts. Similarly, if > transcoding is a time-honored glitch technique, why not mix up its > implementation. If Fast Fourier Transforms can be implemented to enhance > signals, why not use them to damage signals, possibly beyond recognition, when > treating an image as an audio signal. > > My earliest work with algorithmic art appeared as a formal system (IgnoTheory > <http://paulhertz.net/worksonpaper/pages/ignotheo.html> ) that could poke fun > at itself, muddy itself with symbolic interpretation and grow intermedia > appendages as the need arose. You could say it was designed for error and > misinterpretation. When I branched out into other algorithmic techniques, > partly as a result of teaching programming to art students, glitch seemed a > natural part of the repertory I wanted to pursue. Using glitch as a metaphor > for memory and loss also seems to fit in with my earlier work, which tried to > point out the ineluctable human desire to discover or produce meaning where > there is none. > > If there is a distinction to be made between "accident" and "error," then I am > probably more interested in error, particularly as a somewhat perverse > attitude towards software. I am definitely in favor of constraints because > they offer resistance and choices that cannot be found within an "anything > goes" aesthetic. I am not sure where that places me on a "glitch continuum" > but I suspect it makes me more old school than not. These days, glitch seems > more a bag of techniques than an artistic subculture, anyhow—though the > communities that were interested in glitch do seem to persist, they have moved > on. > > I will close by stating that I find rootedness in culture to be central to > producing meaningful art. Glitch by itself has rather shallow roots. Noise and > error go deeper, particularly as practices/attitudes/aesthetics that arise > from traditions of improvisation. Where glitch draws on those traditions it > has the most power to communicate. > > cheers, > > -- Paul > > > > On Tue, Mar 3, 2015 at 11:14 AM, Randall Packer <rpac...@zakros.com> wrote: >> Paul, this is a larger question about glitch as an expressive device and the >> way you have used it to transform your images of the Island of Hierro. In >> your case, it seems that glitch is a “technique” for intentionally altering >> or stylizing a series of photographs, whereas often glitch is a process of >> “found accidents” to investigate the stray occurrences and gestures that >> result in the making and breaking of digital images. I have been following >> the glitch scene fairly carefully over the past few years and it is >> remarkable to see how far and wide this practice has evolved for so many >> artists. Where do you see yourself in the “glitch continuum?” >> >> >> >> Isla Del Hierro Virtual >> <https://www.flickr.com/photos/ignotus/sets/72157650716881840/with/1620167917 >> 6/> is a series of glitched images of the Island of Hierro in the Canary >> Islands, captured form Google Street View. I lived on that island for a while >> in the 1970s, when the only way to get there was by boat four times a week. >> International communication was by a special phone in the Central Telefónica. >> It was really far away. Now it is so close by I can visit it by internet any >> time I want. I did go back two years ago, and reunited with old friends, the >> children of a family that had been especially close to me. >> >> -- Paul >> >> >> On Mon, Mar 2, 2015 at 1:17 PM, Randall Packer <rpac...@zakros.com> wrote: >>> I am intrigued by Alan Sondheim’s response to our NetArtizens call with a >>> reference to cultural heritage as a sequence of datapoints, i.e.: >>> >>> 0000000067141066147020145071157060440063556066145063040* >>> 0000020071157072040062550062563061040064545063556020163* >>> 0000040067543062555072040071150072557064147060440074556* >>> >>> Here are some questions to consider: >>> >>> Are we in fact producing a cultural history that emanates from the >>> language of computers? Are the cultural references of today increasingly >>> coded in numerical values that will need to be compiled and encoded in the >>> far future by curious historians of the 21st century? What in fact are we >>> leaving behind for future generations on our hard drives and cloud >>> repositories? And how will the technological culture of today be viewed >>> when these values are no longer decipherable. Are we in fact erasing our >>> historical past as we create it for the digital future? >>> >>> Randall >>> >>> >>> >>> On 3/2/15, 11:07 AM, "ruth catlow" <ruth.cat...@furtherfield.org> wrote: >>> >>>> >Dear NBers >>>> > >>>> >You can see some early submissions to 0p3nR3p0 here >>>> >http://0p3nr3p0.net/show/netartizens >>>> > >>>> >I have been tweeting some of them to twitter.com/netartizens >>>> <http://twitter.com/netartizens> using the >>>> >#netartizens hashtag. >>>> > >>>> >Check them out. >>>> > >>>> >Send @Lowpolybot your images for auto-asbtract low-polygon artworks by >>>> >@quasimondo http://bit.ly/18EPVBG. #netartizens >>>> > >>>> >net art expressionism or glitchart? - D!G!t4L.DUMP!ng.GR0UND by >>>> >@domibarra http://bit.ly/1DvQAwN #netartizens >>>> > >>>> >The Camera in the Mirror by Mario Santamaria: Google robot sees itself >>>> >reflected in the mirror. http://bit.ly/1APnn2z #netartizens >>>> > >>>> >Cultural Heritage by @alansondheim http://www.alansondheim.org/ch.png >>>> >#netartizens >>>> > >>>> >Cheers >>>> >Ruth >>>> > >>>> >The NetArtizens Project >>>> >http://www.furtherfield.org/netartizens/ >>>> > >>>> > >>>> > >>>> >On 02/03/15 13:30, Randall Packer wrote: >>>>> >> Greetings Everyone: >>>>> >> >>>>> >> First, thank you Marc & Ruth, along with Nick Briz & Joseph Chiocchi >>>>> >>from >>>>> >> 0p3nr3p0.net <http://0p3nr3p0.net> , who have been working for the past >>>>> weeks to create the >>>>> >> NetArtizens Project, which begins today and culminates with the Art of >>>>> >>the >>>>> >> Networked Practice | Online Symposium (March 31 April 2). >>>>> >> >>>>> >> So to begin the conversation, what does it mean to be a NetArtizen? >>>>> That >>>>> >> is the subject at hand over the next month, not to be defined by us, >>>>> but >>>>> >> fleshed out in in this space through all the varying perspectives that >>>>> >> make up this community. >>>>> >> >>>>> >> And furthermore, as NetArtizens, we ask: how has your practice as an >>>>> >> artist, educator, writer scholar & activist been shaped / catalyzed / >>>>> >> transformed / by your use of the network? How has the Net altered the >>>>> >> creation, contextualization, and diffusion of your work? How has the >>>>> Net >>>>> >> impacted your studio process? And finally, in reference to this forum, >>>>> >> what are the various ³net behaviours² that result in the immersion & >>>>> >>flow >>>>> >> of media creation, research, and information distribution that we >>>>> >> participate in each and every day via the network? >>>>> >> >>>>> >> As we consider and discuss these questions (and more!), we approach the >>>>> >> NetArtizens Project as an opportunity to experiment in the power of the >>>>> >> network to catalyze collective narrative. As NetArtizens, we have the >>>>> >> means to tell our stories, share our work, debate our opinions - not >>>>> >>just >>>>> >> as individual broadcasters speaking to the multitude but >>>>> >>collaboratively >>>>> >> in a hyper-distributed, socially-engaged, many-to-many exchange of >>>>> ideas >>>>> >> and opinion. >>>>> >> >>>>> >> We invite you to explore the NetArtizens Project, survey the landscape >>>>> >>of >>>>> >> discourse & production we have provided, and become a >>>>> >>³super-participant² >>>>> >> by shaping & sharing & disseminating the ongoing narrative. If the flow >>>>> >>of >>>>> >> this project becomes a drowning experience, we ask that you embrace and >>>>> >> critique it! That¹s the only way we¹ll come to terms and fully grasp >>>>> the >>>>> >> meaning of our evolving role as NetArtizens. >>>>> >> >>>>> >> Best, >>>>> >> >>>>> >> Randall >>>>> >> >>>>> >> The NetArtizens Project >>>>> >> http://www.furtherfield.org/netartizens/ >>>>> >> >>>>> >> The Art of the Networked Practice | Online Symposium >>>>> >> http://oss.adm.ntu.edu.sg/symposium2015/ >>>>> >> >>>>> >> Reportage from the Aesthetic Edge >>>>> >> http://www.randallpacker.com/ >>>>> >> >>>>> >> >>>>> >> >>>>> >> >>>>> >> >>>>> >> >>>>> >> On 3/2/15, 7:00 AM, "ruth catlow"<ruth.cat...@furtherfield.org> wrote: >>>>> >> >>>>>> >>> Dear Netbehaviourists, >>>>>> >>> >>>>>> >>> It is our pleasure to introduce Randall Packer, composer, artist, >>>>>> >>> writer, educator, former Secretary of the US Department of Art & >>>>>> >>> Technology, and convener of the upcoming Art of Networked Practice | >>>>>> >>> Online Symposium (31 March 31 2 April 2015). >>>>>> >>> >>>>>> >>> We have invited Randall to act as host and moderator for The >>>>>> >>>NetArtizens >>>>>> >>> Project, a month of discourse and artistic production across 3 >>>>>> network >>>>>> >>> channels including our very own Netbehaviour discussion list, >>>>>> beginning >>>>>> >>> right here, right now, and leading up to the symposium. You are also >>>>>> >>> invited to contribute to the NetArtizens Open Online Exhibition, an >>>>>> >>> evolving showcase of works submitted between March 2 April 2, 2015. >>>>>> >>> >>>>>> >>> For more information about The NetArtizens Project and how to >>>>>> >>> participate:http://www.furtherfield.org/netartizens/ >>>>>> >>> >>>>>> >>> We invite you all to join us to explore, express, and debate the role >>>>>> >>>of >>>>>> >>> the network in our individual and collective practices as artists, >>>>>> >>> scholars, educators, and citizens of the Net. >>>>>> >>> >>>>>> >>> The NetArtizens Project is devised by Furtherfield in collaboration >>>>>> >>>with >>>>>> >>> Nick Briz & Joseph Chiochhi. >>>>>> >>> >>>>>> >>> RELEVANT LINKS: >>>>>> >>> >>>>>> >>> Randall Packer >>>>>> >>> http://www.randallpacker.com/ >>>>>> >>> >>>>>> >>> The NetArtizens Project >>>>>> >>> http://www.furtherfield.org/netartizens/ >>>>>> >>> >>>>>> >>> Art of the Networked Practice | Online Symposium >>>>>> >>> http://oss.adm.ntu.edu.sg/symposium2015/ >>>>>> >>> >>>>>> >>> Randall will say more about it now...! >>>>>> >>> Can't wait to see what happens!!! >>>>>> >>> >>>>>> >>> Marc, Ruth and the Furtherfield Crew >>>>>> >>> >>>>>> >>> ---> >>>>>> >>> >>>>>> >>> A living, breathing, thriving networked neighbourhood - proud of free >>>>>> >>> culture, claiming it with others ;) >>>>>> >>> >>>>>> >>> Furtherfield online arts community, platforms for creating, >>>>>> viewing, >>>>>> >>> discussing and learning about experimental practices at the >>>>>> >>> intersections of art, technology and social change. >>>>>> >>> http://www.furtherfield.org >>>>>> >>> >>>>>> >>> Reviews, articles, interviewshttp://www.furtherfield.org/features >>>>>> <http://www.furtherfield.org/features> >>>>>> >>> >>>>>> >>> Furtherfield Gallery Finsbury Park, London. >>>>>> >>> http://www.furtherfield.org/gallery >>>>>> >>> >>>>>> >>> Netbehaviour - Networked Artists List Community. >>>>>> >>> http://www.netbehaviour.org >>>>>> >>> _______________________________________________ >>>>>> >>> NetBehaviour mailing list >>>>>> >>> NetBehaviour@netbehaviour.org >>>>>> >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>> > >>> >>> >>> _______________________________________________ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> >> -- >> ----- |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)| --- >> http://paulhertz.net/ >> _______________________________________________ NetBehaviour mailing list >> NetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/net >> behaviour >> >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > ----- |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)| --- > http://paulhertz.net/ > _______________________________________________ NetBehaviour mailing list > NetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netb > ehaviour -- ----- |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)| --- http://paulhertz.net/
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