The past is a statement; the future a question. Henri Cartier-Bresson provides us with an interpretation of the “now” with the decisive moment and it is through this lens that I examine the glitch. Like the street photography style that Cartier-Bresson pioneered, the glitch artist role is not to simply create, but lies in inviting and reacting to conditions that will permit art to happen. Similar to the camera’s shutter being triggered, the glitch is initialized in a moment of uncertainty by our analog selves and is revealed to be dissident code that is set free from the pristine constructs of the digital format. As the glitch is an affective event that happens in real time, or in a moment, it can be recorded, captured and documented as a breakthrough of noise separated from the signal. As a culture, we tend to filter out and defend against the noise of the glitch while keeping the myth of perfect signal alive. I would suggest that we welcome the noise as a type of natural wilderness in the machine that reveals the illusion of the digital era and blurs the lines between transcription and transcoding.
| Identifer | oai:union.ndltd.org:siu.edu/oai:opensiuc.lib.siu.edu:theses-2751 |
| Date | 01 August 2015 |
| Creators | Birdsong, Todd Todd |
| Publisher | OpenSIUC |
| Source Sets | Southern Illinois University Carbondale |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | Theses |
Page generated in 0.0133 seconds