I totally agree about the creative use of error. I *was* deliberately seeking out a kind of lo-fi quality - hence the fairly small base of clips and the rather random cutting, but the effect itself came as a pleasant surprise. I think what happened was I was messing around with the compression and some totally unrelated colours appeared ( this seems to happen at the lowest end of Sorenson 3), which I then ran with - I remember lots of cutting and pasting. Some people worry that digital processes eliminate the possibility for serendipitous errors (these are the people who have the silly idea that computers are error free) but I find that there is so much that can go wrong with computers that digital work gives even more opportunity to profit from things going wrong.
DATAMOSH IMAGE FREE
The worst possible design brief is "feel free to do anything you like"…) (In the way constraints make it easier not harder to come up with new ideas, a la oulipo or more mundanely where designers prefer very specific picky design briefs because the constraints make it easier to find an idea. In general, accidents are a great source of inspiration in art (one hears this all the time in the context of watercolors, oils, carved sculptures, etc.) where one gets an idea from an accident or mistake or else having to fix something unexpected generates new ideas. Were all the color effects in the piece caused by the glitch or just the pixellation which appears in the middle? The works by artists like Takeshi Murata, Evan Meaney, Karl Klomp, Corey Arcangel, Ant Scott, Jon Satrom, JODI, LoVid, and many more (including myself) is on a very different plane from the Kanye video. It is an exploitation of style without considering the role Glitch plays in the relationship between society and digital media as well as ignoring any call to real experimentation and exploration into the nature of the medium. The glitches in Kanye’s video is an “effect,” a digital gimmick used in an attempt to add innovative visuals to his otherwise mediocre hip-hop. At very least, glitch-art functions as a reminder that the technology of digital production and information theory remains as an inexorable collaborator in all works of digital propagation and therefore should be treated as significant.” - Evan Meaney (on glitching, 2008) It is an attempt to integrate the nebula of video with a concrete process of interpretation and injunction, thereby incorporating the properties of a medium into the narrative of its content.
“Glitching is a process of creating work that raises awareness of the means by which weĬommunicate and ultimately exteriorize thought. The Datamoshing technique is a sort of subset to Glitch Art (see Iman Moradi’s dissertation (Glitch Aesthetics, 2004) \_dissertation\_print\_with\_pics.pdf ) which has been around sense the turn of the century and is a lot more than just an “effect.” It’s hard to ignore the way the internet and new media affect the speed of any given artistic movements course, things jump from the underground to the mainstream with out ever having really integrating itself into popular culture.Īs for this being an “effect” I will also have to disagree. I don’t think the small time gap between the “early” work and the Kanye West video is a result of “basing one's art on an effect” but rather more a product of digital art’s modus operandi.
Once the wow factor is past it's just old movies (or whatever) set to spooky festival music. Of the two examples you've given, the Murata is the weaker for that reason. That you are calling the Davis/Rad and Murata "two early examples" when they preceded the West vid by a year or two shows the futility of basing one's art on an effect. He talks about the *content* of the datamosh (although he doesn't use the word datamosh) and questions the role (and sufficiency) of the artist-as-editor.
DATAMOSH IMAGE PDF
Davis/Paper Rad piece: on YouTube it says "Umbrella Zombie Mistake" but here you are calling it "Umbrella Zombie Datamosh Mistake." Where did you find the revised title?ĭavis posted some of his code (with amusing comments) in a PDF for an exhibition called "Structures Found/Structures Lost." He also has some commentary about recycling pop culture.
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