Submitted by CLEBER GAZANA (clebergazana@gmail.com) on 2016-03-13T16:11:00Z No. of bitstreams: 1 cleber_gazana_dis_me_unesp_glitch_art.pdf: 22450806 bytes, checksum: 1ff9ea658df80665b9bdecf854bb12e5 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-03-14T22:39:59Z (GMT) No. of bitstreams: 1 gazana_c_me_ia_par.pdf: 1834545 bytes, checksum: 9ab6d42f3a3b8f8870f06e3404ffe295 (MD5) / Made available in DSpace on 2016-03-14T22:39:59Z (GMT). No. of bitstreams: 1 gazana_c_me_ia_par.pdf: 1834545 bytes, checksum: 9ab6d42f3a3b8f8870f06e3404ffe295 (MD5) Previous issue date: 2016-02-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa tem como objetivo constatar a possibilidade e potencialidade estética por meio do uso do erro digital e de usos não projetados dos dispositivos técnicos e softwares na Glitch Art. Por ser um tema quase inédito, foi importante explicar o significado dos termos tilt, bug, failure, fault, error e mistake em relação ao campo técnico e artístico da Glitch Art, à sua prática e a nossa experiência, assim como a definição do termo glitch e de seu uso como designação deste recente gênero artístico. Seguiu-se para a investigação de suas bases fundamentais, classificações, características visuais, procedimentos artísticos, relação com o passado da arte, seus artistas visuais mais expressivos e sua aplicação para além da arte digital. Para tanto, este trabalho apoiou-se, principalmente, nos pensamentos de Moradi, Manon, Temkin e Menkman nos aspectos exclusivos da Glitch Art. Por fim, de modo teórico-prático, resultou a criação da obra Decode, de minha autoria, onde se dialogou e se experienciou as teorias e os procedimentos aqui discutidos. / This research aims to verify the possibility and aesthetic potential through the use of digital error and not designed uses of technical devices and software in Glitch Art. For being an almost unheard subject, it was important to explain the meaning of tilt, bug, failure, fault, error and mistake terms in relation to the technical and artistic field of Glitch Art, its practice and our experience as well the definition of glitch term and its use as designation of this recent artistic genre. We proceed to the investigation of its fundamental basis, classifications, visual characteristics, artistic procedures, relationship with the past of art, its more expressive visual artists and its application beyond the digital art. Therefore, this research grounds on mainly thoughts of Moradi, Manon, Temkin, and Menkman in exclusive aspects of Glitch Art. Finally, with theoretical and practical way has resulted in the creation of my own work Decode, where was connected and experienced the theories and procedures discussed herein.

This thesis aims to analyze how interfacing affects viewer experiences and viewer positions, and how glitch art online makes that effect visible. Glitch art is concerned with disruptions in the systems that govern how for instance photography is produced, circulated and displayed in a digital image flow. The system’s usually undisrupted operation emerges through the friction created between the key components of the study: the viewer, the photo-based mediation, and the inter­face where the two meet. These components are encircled by the relation between individual and system, whose increased integration with one another requires a sharper eye: a tactical spectatorship in response to how the interface of the image flow can turn the individual into a part of the system. The unfolding of such a spectatorship is in­vestigated through three questions: What can a viewer see and do by interfacing with the web­site, and with what means? How is the photo-based material on the web­site produced, dis­played and concept­ualized? How does the website and its photo-based material – glitched and not glitched – position the viewer haptically and epistemologically? With a cross disciplinary approach, three media phenomenological case studies present glitch artworks­ in an online environment. The case study on Phillip Stearns’s project Year of the Glitch concerns the web­site’s index and archive pages as well as still images with a focus on camera reconstruction, verbal con­cept­ualization, and image materiality. The case study on Rosa Menkman’s website Sunshine in My Throat includes index and artwork pages, two art­works with still and moving images as well as a thema­ti­za­tion of the entire online environ­ment being glitched. The case study on Evan Meaney’s project Ceibas Cycle focuses on the index page and an interface-based artwork, two video works as well as a portfolio of photo­graphs that are not glitched. The timeliness of the case study materials – created between 2004 and 2012 – is anchored in systems aesthetics, in which technical problems are explored as a cultural critique since the 1960s. The quali­tative analysis both emphasizes and problem­atizes experience, as a complement to quantitative studies about images in relation to a digital flow. The study analyzes how glitch art shapes experiences both by follow­ing the interface and by disrupting it. The effect of the underlying system thus appears in a material that has not yet been given an in-depth art historical analysis with a particular focus on the individual viewer. With such a focus, glitch is conceptualized as systemic friction in this study, which clarifies how the artworks online produce knowledge about the interface by providing the individual with a possibility of creating tactical breaks into the image flow. The results of the study consist of the ways of seeing that develop such a possibility – and they gain relevance as they make visible how the flow usually operates in invisible ways. These results point out that the experience of the artworks – and by ex­ten­sion, other experiences of images online – can alert viewers to their own activity within the image flow. If the system sets boundaries for experiences of and through the interface, a tactical spectatorship becomes possible when a glitch gives the individual an opportunity to try different positions towards these boundaries.

Occlusion is a procedurally randomized interactive art experience which uses the motifs of repetition, isolation, incongruity and mutability to develop an experience of a Folie àDeux: a madness shared by two. It draws from traditional video game forms, development methods, and tools to situate itself in context with games as well as other forms of interactive digital media. In this way, Occlusion approaches the making of game-like media from the art criticism perspective of Materiality, and the written work accompanying the prototype discusses critical aesthetic concerns for Occlusion both as an art experience borrowing from games and as a text that can be academically understood in relation to other practices of media making. In addition to the produced software artifact and written analysis, this thesis includes primary research in the form of four interviews with artists, authors, game makers and game critics concerning Materiality and dissociative themes in game-like media. The written work first introduces Occlusion in context with other approaches to procedural remixing, Glitch Art, net.art, and analogue and digital collage and décollage, with special attention to recontextualization and apophenia. The experience, visual, and audio design approach of Occlusion is reviewed through a discussion of explicit design choices which define generative space. Development process, release process, post-release distribution, testing, and maintenance are reviewed, and the paper concludes with a description of future work and a post- mortem discussion. Included as appendices are a full specification document, script, and transcripts of all interviews.

The artist discusses her Master of Fine Arts exhibition Momentary Lapses, held at Tipton Gallery, February 25-March 8, 2019. The mixed media works and video examine the intersections between digital, somatic and societal decay through the mediation of the digital image by physical anthropogenic efforts. Themes in the work include glitch art and theory, entropy, memory, decay, and loss. Contemporary American society’s desensitization associated with the oversaturation of digital imagery is discussed, as well as Guy Debord’s theory of the Spectacle, and the artistic practices of Kurt Schwitters and Robert Rauschenberg.

Fragments d’Alep est le récit d’une navigation à travers des images de guerre. Celle-ci débute en 2016, année d’intensification et de conclusion de la guerre civile d’Alep. Elle tente de retrouver les moments marquant de la constitution d’un imaginaire de guerre et du monde arabe par son auteur. Imbriquée dans une mémoire technique où l’histoire de la représentation du Moyen-Orient semble déterminée par les transformations liées à l’ère du numérique, cette navigation devient le lieu de digression qui souhaite interroger les images de guerre à travers les textures des écrans qui les ont diffusées. / Fragments of Aleppo draws a navigation through images of war. It begins in 2016, year of the intensification and conclusion of the civil war in Aleppo. It is an attempt from the author to find the key points of the building of the collective imagination as regards war and the Arab world. Embedded in a technical memory where the history of the representation of the Middle East seems determined by the transformations engendered by the digital age, this navigation becomes a site of digression that wants to interrogate images of war through the texture of the screens that broadcast them.

Depuis les années 80, le développement rapide des nouvelles technologies microélectroniques a donné naissance à une nouvelle génération d’oeuvres d’art musicales. Souvent, ces oeuvres profitent d’une approche analytique provenant de la théorie des médias. En même temps, de nouveaux courants dans la philosophie ainsi que dans les études culturelles ont engendré une nouvelle notion de genre (anglais : gender), qui vient s’établir dans la musicologie anglo-américaine et, de manière plus conscrite, dans la musicologie allemande ; jusqu’ici, elle ne s’établit guère dans la musicologie française. Cette thèse entreprend une investigation théorique d’oeuvres d’art électroniques, tout en utilisant la notion de gender : gender + electronic = gendertronics. Pour cette investigation, des notions sont employées dérivant de la lecture féminine : une approche pluridisciplinaire associée à l’écriture féminine d’Hélène Cixous (* 1937), écrivain et théoricienne poststructuraliste. Puisque ni la lecture féminine ni la théorie des médias ne prend en compte des éléments musicaux, cette investigation incorpore également des aspects de l’analyse musicale. Trois artistes sont considérées : Gerhard Stäbler (*1943), Terre Thaemlitz (*1968) et Miss Kittin (*1973). L’investigation trace le développement des notions de « sujet » et de « matériau musical » depuis la théorie poststructuraliste et la musique contemporaine jusqu’à des notions philosophiques émergentes du « corps ». Une considération particulière est le genre musical electronica, repérant ses antécédents dans la musique électronique expérimentale en Europe du vingtième siècle et dans les musiques populaires de danse aux Etats-Unis dans les années 80 et 90. L’investigation cherche à joindre les recherches récentes dans ces domaines. Elle ouvre de nouvelles pistes et propose des nouveaux outils pour explorer plus profondément le domaine émergent des gendertronics / Since the 1980s, rapid development of new micro-electronic technologies has spawned a new generation of musical art works employing electronic means. These artworks are often theoretically approached using media theory. Contemporaneously, new developments in philosophy and in cultural studies have given rise to the new notion of gender, which has since found its way into Anglo-American musicological and, to a more limited degree, into German musicology, though not at all into French. The present work undertakes a gendered theoretical investigation of electronic art works – gender + electronics = ‘gendertronics’. For the investigation, notions stemming from lecture féminine are employed, a pluralistic reading approach associated with écriture féminine of the poststructuralist theorist/writer Hélène Cixous (born 1937). Since neither lecture féminine nor abovementioned media theory takes musical elements into account, this investigation also draws on music analysis. Aspects of the works of three artists are considered: Gerhard Stäbler (born 1943), Terre Thaemlitz (born 1968), and DJ Miss Kittin (born 1973). The investigation traces the development of the topics ‘Subject’ and ‘musical material’ from poststructuralist and New Music theory of the 20th century to emerging new philosophical notions of the body. Particular attention is given to the development of the musical genre ‘electronica’, tracing its antecedents from European experimental electronic music of the 20th century and from American popular dance music of the 80s and 90s; subgenres treated include rave, glitch, clicks-and-cuts, electroclash, techno, electro, ambient, and house. The investigation complements recent research addressing lacunae in these areas and offers new paths and tools for future investigation in the emerging area of gendertronics

When people go online and leave their mark in bytes, how do their traces get preserved, shared, or lost? In the early 2000’s through about 2012, communities of millennial girl web developers and bloggers flourished on the English-speaking Internet. They would write about their intimate lives, code their website designs from scratch, create portfolios of graphics, and forge friendships with fellow bloggers that lasted through years. Most of these blogs are now gone; only patches remain as screenshots on the Internet Archive Wayback Machine. For my senior project, I explored how techniques used in glitch art, normally used for destroying image files for purely aesthetic effects, could also be used to embed texts that could be read by humans inside digital photos. I excavated photos and self-portraits of individual bloggers whose old content has since been erased from their original domains as of 2018. Then, I overrode pieces of each image file with the respective bloggers’ journal entries extracted from https://web.archive.org. The result is a picture irreversibly corroded by the loss of its original data, akin to the state of their bloggers' archived websites. It still functions like any image file in that the picture can be copied, shared, and viewed on another computer. However, unlike a typical image file, it also hides a patchwork of legible English text; one can “dig” into the image’s encoding and uncover nuggets of letters from a past Internet presence--specifically, that of a millennial girl's thoughts on identity, life, and the joys and struggles of coding and managing her own website.

Cette thèse réalise une étude ludo-politique du glitche vidéoludique (bogue, erreur logicielle, faille de design, échec du système, etc.). Elle problématise l’expérience du glitche comme un point d’inflexion entre deux postures d’engagement. Premièrement, une contrejouabilité paralogique désignant une attitude anarcho-communiste qui s’approprie le glitche comme artefact pour explorer, rediriger et (re)façonner la matérialité vidéoludique dans une optique subversive, critique et commune. Deuxièmement, une contre-jouabilité innovante consolidant un programme néolibéral qui exploite le glitche comme une marchandise pour renégocier, dominer et recoder le jeu dans le but de sécuriser un gain en capital. La méthodologie de l’archéologie des médias est mobilisée pour décortiquer les tenants et aboutissants de ces deux modes de contre-jouabilité. Une chasse aux glitches effectuée à travers les discours, l’imaginaire collectif, les arts d’avant-garde et différentes sphères techniques retrace les rapports de continuité entre l’objet d’étude et une matrice de concepts, de formes esthétiques, de méthodes créatives et d’articulations rhétoriques. Un cadre théorique pluridisciplinaire focalisé sur les sciences du jeu, l’étude des médias, les sciences de la communication, la théorie de l'art et les études de fans est employé pour discerner la place singulière qu’occupe la poésie bruyante du glitche vidéoludique à l’intérieur de son vaste réseau d’héritages transhistoriques et transmédiatiques. L’aménagement d’un espace théorique de réflexion nommé la Carte ludo-politique du glitche structure l’analyse des implications idéologiques d’un corpus de glitches issu de la culture du jeu de tir à la première personne comprise comme champ culturel frontalement tiraillée entre la paralogie anarcho-communiste et l’innovation néolibérale. Ce tiraillement est exploré à l’aide d’un second modèle nommé le Circuit de l'économie socio-technique du glitche. Cet outil assiste l’exposition d’un tissu économique de pertes et de profits croisés entre les glitcheurs et l’industrie. Deux tendances prédominantes sont étudiées. D’une part, une culture de la marchandise basée sur des logiques compétitives de détournement et d’hameçonnage où la valeur d’échange du glitche est exploitée pour optimiser un rendement économique. D’autre part, une économie du don découlant d’un esprit de coopération et de partage où la valeur d’usage du glitche est cultivée et abritée au service du bien commun et de la diversité des pratiques. La démystification de ces dynamiques révèle des rapports d’exploitation économique ii et d’assujettissement politique reliant le glitche 1) à la transformation matérielle des jeux vidéo, 2) à la force de travail des développeurs de jeux, 3) à la force de jouavail des glitcheurs et 4) à la philosophie socio-économique du néolibéralisme qui règne dans la culture et l’industrie vidéoludique. Les dimensions matérielles, laborieuses et économiques du glitche sont discutées en fonction de leurs effets de politisation ambivalents. Sur le plan de la contre-jouabilité innovante, la notion de glitches de l’Empire est théorisée comme vecteur d’une subjectivité politique conformée aux préceptes du néolibéralisme. Cette attitude s’harmonise avec la privatisation des moyens de production, la propriété privée et intellectuelle, le libre marché, la recherche du profit, la liberté entrepreneuriale de soi, la compétition marchande et la quantification du vivant. Sur le plan de la contre-jouabilité paralogique, le concept de glitches de la multitude est présenté comme cristallisant une sensibilité anarcho-communiste. Cette dernière encourage un éthos de désobéissance qui défend la liberté d’expression et d’association, l’autonomisation des individus et des communautés, la socialisation des moyens de production, la collectivisation des ressources, l’autogestion et de la démocratie/action directe au sein de groupes affinitaires ainsi que la préservation du commun. / This thesis conduct a ludo-political study of videogame glitches (bugs, software errors, design flaws, system failures, etc.). The glitch experience is analyzed as an inflection point between two modes of engagement. First, a paralogical counterplay related to an anarchocommunist ethos that appropriates glitches as artifacts to explore, redirect and (re)shape videogame materiality in a subversive, critical, and communal manner. Second, an innovative counterplay consolidating a neoliberal agenda that exploits glitches as commodities to renegotiate, dominate and recode the game to secure capital gains. Media archeology is mobilized as a methodology to dissect the ins and outs of these two modes of counterplay. An academic form of glitch hunting through discourse, collective imaginary, avant-garde arts and various technical fields has been carried out to retrace the continuity between the object of study and a shared matrix of concepts, aesthetic forms, creative techniques and rhetorical articulations. A multidisciplinary theoretical framework built from game studies, media studies, communication studies, art theory and fan studies is used to determine the unique place of videogame glitches’ noisy poetry within its vast network of transhistoric and transmedia heritages. The development of a theoretical model named the Glitch Ludo-Political Map frames the analysis of the ideological implications of a body of glitches from the first-person shooter gaming culture understood as a cultural field in tension between the anarcho-communist paralogy and neoliberal innovation. This polarization is explored using a second model called the Circuit of the Glitch Socio-Technical Economy. This tool is used to expose a complex interplay of economic losses and gains between glitchers and the industry. Two predominant trends are studied. On the one hand, a culture of commodity based on a hijacking and harnessing competitive logic where the exchange value of glitches is exploited to optimize economic incomes. On the other hand, a gift economy resulting from a spirit of cooperation, sharing, and gratuitousness in which the use value of glitches is harvested and harboured in the service of the common good and the diversity of practices. The investigation of these dynamics reveals relationships of economic exploitation and political subjugation that link glitches to 1) the material transformation of videogames, 2) the labour force of game developers, 3) the playbour iv force of glitchers, and 4) the neoliberal socio-economic philosophy that shapes gaming culture and industry. The material, labour, and economic dimensions of glitches are discussed according to their ambivalent political effects. In terms of innovative counterplay, the notion of glitches of Empire is theorized as a vector of a political subjectivity consistent with the precepts of neoliberalism. This attitude is aligned with the privatization of the means of production, private and intellectual property, free market, search for profit, entrepreneurial freedom of the self, aggressive competition and quantification of life itself. In terms of paralogical counterplay, the concept of glitches of multitude is presented as crystallizing an anarcho-communist political sensibility. This political stance catalyzes an ethos of disobedience fostering freedom of speech and association, empowerment of individuals and communities, socialization of the means of production, collectivization of wealth, self-management and direct democracy/action within affinity groups, and the protection of the common good.

While FPGAs provide flexibility for performing high performance DSP functions, they consume a significant amount of power. Often, a large portion of the dynamic power is wasted on unproductive signal glitches. Reducing glitching reduces dynamic energy consumption. In this study, retiming is used to reduce the unproductive energy wasted in signal glitches. Retiming can reduce energy by up to 92%. Evaluating energy consumption is an important part of energy reduction. In this work, an activity rate-based power estimation tool is introduced to provide FPGA architecture independent energy estimations at the gate level. This tool can accurately estimate power consumption to within 13% on average. This activation rate-based tool and retiming are combined in a single algorithm to reduce energy consumption of FPGA designs at the gate level. In this work, an energy evaluation metric called energy area delay is used to weigh the energy reduction and clock rate improvements gained from retiming against the area and latency costs. For a set of benchmark designs, the algorithm that combines retiming and the activation rate-based power estimator reduces power on average by 40% and improves clock rate by 54% for an average 1.1x area cost and a 1.5x latency increase.

This essay examines the body in post-cyberfeminist art to study possible changes in how the body is perceived in the shift from cyberfeminist to post-cyberfeminist art. I have studied the body by examining power and identity in four cases of post-cyberfeminist art, using postmodern feminist theories and concepts such as gender, gender performativity, heterosexual matrix and intersectionality. The essay consists of image, moving image and textual analysis and two shorter comparative analyses. In the first comparative analysis, I have compared the four cases of post-cyberfeminist art with each other. In the second analysis, I focus on a comparative analysis between the four cases of post-cyberfeminist art and earlier cyberfeminist projects. In the discussion, I present my results and elaborate on a possible shift in how the body's materiality is viewed within digital landscapes of post-cyberfeminist art. I argue that the cyborg, central to the earlier cyberfeminist project, might have been replaced by transformable avatars.