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Glitches, formally artifacts of errors in electronic transmission like CD stutters or dead pixels, interrupt communication and distract audiences without wrecking the systems they occur in. Permanent irritants, they operate as irruptions of difference into the indifferent flux of commodity exchange. They reveal the exclusions, notably of noise, that enable rational communication, and the underpinning dependence of ostensibly unique items in semantic chains on their mutual indifference. Glitches are symbols whose nonhuman labor reveals the limits of humanism.

Cover Page -- Halftitle Page -- Title Page -- Copyright Page -- Dedication -- Contents -- 00 - Introduction -- 01 - Glitch Refuses -- 02 - Glitch is Cosmic -- 03 - Glitch Throws Shade -- 04 - Glitch Ghosts -- 05 - Glitch is Error -- 06 - Glitch Encrypts -- 07 - Glitch is Anti-Body -- 08 - Glitch is Skin -- 09 - Glitch is Virus -- 10 - Glitch Mobilizes -- 11 - Glitch is Remix -- 12 - Glitch Survives -- Acknowledgements -- Image Credits -- Excerpted Text -- Notes.

This is a film review of A Glitch in the Matrix (2021), directed by Rodney Ascher.

Sehr gefährlich! Auf keinen Fall machen! – Gemeinfrei-ähnlich freigegeben durch unsplash.com Odd FellowImmer mehr Geld für sogenannte Künstliche Intelligenz, ohne Rücksicht auf die Konsequenzen. Dazu absurdes Marketing mit Warnungen vor Gefahren. Das ist kein Spiel, das betrifft uns am Ende alle.

From CBS News, mostly depicting NATO membership (before Sweden fully joined): Some surprising independent zones there, I believe including an entire national capital ….

Статья посвящена рассмотрению такого явления современной культуры, как glitch art формы цифрового искусства, использующего ошибку как свой центральный объект. В первой части статьи обсуждаются критические возможности объектов glitch art в рамках теории. Во второй части приводятся примеры таких художественных объектов. Ключевые слова: glitch art, цифровая культура, критическая теория. ; Term "glitch" is used in English language for identifying any visible or audible malfunction of any device. Glitch art can be described in several ways: as a set of practices aimed at obtaining or modeling errors or aestheticization as digital or analog error. This article describes the modern critical theory and practice of glitch art. Mostly, conceptual description of glitch art are focused on the critical potential of this form of art. Glitch art is supposed to criticize digital capitalism or information society. M. Betancourt conducting a detailed analysis of glitch art as a specific form of criticism in his article «Critical Glitches and Glitch Art». Different understanding of how criticism is possible within the glitch art shows us that there are problems of a theoretical nature, which will constantly ask artists for new solutions. The relationship of society and the arts, in which the society seeks to neutralize or subdue the critical potential of art was described by Theodor Adorno in "Aesthetic Theory". Following by the issues actualized by Adorno, Michael Betancourt tries to offer a way out of the current state of glitch art in two complementary ways. Firstly, he offers artists pay more attention to the theory in general and to the theory of glitch art. Second, he points to the impossibility of immanent critique, embodied in the form of the «glitch». The critical sense is born only in the interpretation of works by audience. The objective of glitch art is to find ways of creating such art objects that are detecting political, economic and social relations behind the phenomenon of digital media, that focuses on the ideology. There are two different glitched strategies of deconstruction of video games made by two different artists. Untitled Game (Eng., «Nameless Game») a project of the artistic group Jodi, 2001. The game is represented by 11 modifications of first-person shooter «Quake 1" (1996, ID Software). The modifications are consists in the fact that the player does not see the familiar interface and graphics, all he is offered abstract images, sounds from the original game and some graphics artifacts. Another artist Corey Archangel exploited cartridge schemes of the game «Super Mario Brothers», thus making a new version of this game that has been stripped of all the classic game elements «Super Mario Clouds». Michael Betancourt proposes to distinguish between these two games according to their functionality. If «Untitled Game» dysfunctional, then «Supermario Brothers Clouds» afunctional. The study of «glitches» makes a possibility of a critical look at how modern society is constructed and it is affected by digital technology. Key words: glitch art, digital culture, critical theory.

In 1978, queer and transgender programmer Jamie Faye Fenton created the first piece of experimental video glitch art, Digital TV Dinner, using the Bally Astrocade, a home computer and game console of her own design that was, for six months, the cheapest home computer available. Digital TV Dinner stands as a record of computational failure: it was created by Fenton through a pointed misuse of the computer system that caused the screen to dissolve into waves of pixelated glitches. What might it mean to center the glitch as a historically trans mode of media production? And how might we write trans media history as a history of unmediation—that is, a history of undoing mediation? A history of things that cannot be documented, or that evade or dismantle mediation, in which the fullness of trans life and history exceeds the images presented in the screen itself?

This paper explores the glitch as a generative problem which is capable of introducing unanticipated possibilities and futures into situations. We understand the glitch as a sociomaterial encounter rather than merely a technical error, and argue that it calls for (re)consideration of here-and-now possible futures through practices of response and repair. Exploring the ways that people seek to respond to glitches, we consider two case studies in which unexpected problems provoke those involved to speculate playfully and practically about new possibilities. In the first case, a malfunctioning 'Teacherbot' incites new challenges and pedagogical opportunities in an online learning environment. In the second, Hungarian activists creatively use infrastructural and political problems to make new spaces of protest and to press the government to respond to their concerns. Considering these empirical cases allows us to observe how playful and disruptive dispositions have worked to question the terms of possible futures in the real world, and to unsettle the seemingly given terms of power-relations. Glitches are not a panacea, but they can provide an impetus to act from within situations that are uncertain, and can therefore point to new trajectories and possible futures.

To err is human; to err in digital culture is design. In the glitches, inefficiencies, and errors that ergonomics and usability engineering strive to surmount, Peter Krapp identifies creative reservoirs of computer-mediated interaction. Throughout new media cultures, he traces a resistance to the heritage of motion studies, ergonomics, and efficiency; in doing so, he shows how creativity is stirred within the networks of digital culture. Noise Channels offers a fresh look at hypertext and tactical media, tunes into laptop music, and situates the emergent forms of computer gaming and machinima

"Arabic Glitch explores an alternative origin story of twenty-first century technological innovation in digital politics--one centered on the Middle East and the 2011 Arab uprisings. Developed from an archive of social media data collected over the decades following the 2003 U.S. invasion of Iraq, this book interrogates how the logic of programming technology influences and shapes social movements. Engaging revolutionary politics, Arab media, and digital practice in form, method, and content, Laila Shereen Sakr formulates a media theory that advances the concept of the glitch as a disruptive media affordance. She employs data analytics to analyze tweets, posts, and blogs to describe the political culture of social media, and performs the results under the guise of the Arabic-speaking cyborg VJ Um Amel. Playing with multiple voices that span across the virtual and the real, Sakr argues that there is no longer a divide between the virtual and embodied: both bodies and data are physically, socially, and energetically actual. Are we cyborgs or citizens--or both? This book teaches us how a region under transformation became a vanguard for new thinking about digital systems: the records they keep, the lives they impact, and how to create change from within"--

High-Tech Trash: Glitch, Noise, and Aesthetic Failure maps an archaeology of failure in a culture seemingly ill-equipped to deal with it. To better understand failure, Kane argues, we must abstract from our subjective, personal disappointments and see them as meaningful symbols of a broader human struggle. By connecting twenty-first century digital aesthetics to critical issues in the history of high-tech, the book elucidates what it means to be an error-prone, fallible human in an age of hyper technology; to fail again and again without recourse to anything but repetition.