Glitch composition is a meta-discursive practice: rather than writing new music inspired by older recordings, it constructs new music inspired by the technological conditions and limitations in which those recordings emerged. For those listeners who aren’t particularly interested in technology theories, such music is particularly alienating—an in-joke that one doesn’t get. When glitch becomes pop, it loses its theoretical savvy, replacing the “synth pad” in a contemporary pop song. Glitch’s subversion of the bad value judgment placed on damaged media is (...) only a partial one—as scratched CDs (whether they be glitch ones or not) remain economically worthless commodities. (shrink)

Here, we focus on the underexplored fictional relevance of videogame glitches. For this purpose, we will make use philosophical theories on fiction, as well as standard suggestions about how best to deal with unintended errors within fiction. Focusing on glitches like that of Red Dead Redemption’s "manimals", we argue that glitches, more than any kinds of mistakes in traditional, non-interactive fictions, can actually have a significant influence on the fictional worlds of the work in which they appear. (...) In particular, we will show that some glitches generate new fictional content without this content being intended by a videogame’s creators, and will offer practical ways for dealing with the inconsistencies that inevitably accompany such glitch-generated fictions. (shrink)

A ‘glitch’, the parallax gap brokered by communication technologies, is a hiccough in smooth technological operation, one that is both undeniable and unresolvable. The glitch draws attention to the inherent contradictions of the technological proffer to seamlessly augment and enhance a life unaided by technology. There is no life unaided by technology, and the glitch is what introduces to life the gap between failure and fantasy, self and other, individual and community, inside and outside, representation and nature. Communication technologies attempt (...) to dub these glitches an error in their pretense of connection. But the glitch is unavoidable. As a multi-media installation, 'glitch' draws attention to this confusion over connection and, as a mode of resistance, proffer spaces of tension--between technologies and the environments they condition. (shrink)

This article proposes an analysis of a ritual glitch and resulting “misfire” from the standpoint of a phenomenologically informed anthropology of human interaction. Through articulating a synthesis of some of Husserl‘s insights on attention and affection with concepts and methods developed by anthropologists and other students of human interaction, a case is made for the importance of understanding the social organization of attention in ritual encounters. An analysis of a failed toast during President Obama’s 2011 State Visit to the United (...) Kingdom is used to illustrate how attention is directed toward certain participants, actions, and objects – as opposed to others. Affect-loaded empathic reactions are explained by the protracted temporal unfolding of an action whose successful conclusion – or “repair” - is ostensively and publicly delayed. (shrink)

Focusing on the paradoxes revealed in the multibillion dollar mistake of the Universal Camouflage Pattern and the expansive ambit of a leaked National Security Agency briefing on its approach to “identity intelligence,” this article analyzes security glitches arising from the state’s application of mechanized logics to security and visibility. Presuming that a digital-looking pattern would be more deceptive than designs inspired by natural forms, in 2004, the US Army adopted a pixelated “digital” camouflage pattern, a print that rendered soldiers (...) more, rather than less, visible in the field; it acknowledged this error in 2012. Two years later, “Identity Intelligence: Image Is Everything” visualized the episteme of National Security Agency surveillance with an illustration detailing hundreds of different types of data—biometric, biographic, and contextual—that the agency believes it could exploit to identify and monitor “targets of interest.” These glitches originate in technofetishistic convictions about the nature of digital images and information, limited ways of imagining bodies and lives, and reductive understandings of complex relationships between power and perception. Together, they expose the paradoxes that arise as the state tries to extend its power over the body and the contingency of that power on the smallest of things. (shrink)

More generally, within videogame studies, glitches are often described as an interesting part of the player experience, for example as possibilities to gain unfair advantages in games (Bainbridge & Bainbridge 2007; Newman 2008; Meades 2015), expressive tools to create humorous effects (Jaroslav Švelch 2014), jarring confrontations with forms of non-human agency (Janik 2017; Gualeni 2019), or as ways to create glitch-art (Menkman 2011). But when it comes to the specifically fictional experience of videogames, there seems to be a consensus (...) that glitches have no role to play except for breaking the players’ feeling of immersion and the reality effect of the game’s fictional environment (cf. Holmes 2010: 261; Kubiński 2014: 135; Janik 2017: 75). -/- Here, we focus on the underexplored fictional relevance of videogame glitches. For this purpose, we will make use philosophical theories on fiction, as well as standard suggestions about how best to deal with unintended errors within fiction. Focusing on glitches like that of Red Dead Redemption's so-called manimals, we argue that glitches, more than any kinds of mistakes in traditional, non-interactive fictions, can actually have a significant influence on the fictional worlds of the work in which they appear. In particular, we will show that some glitches generate new fictional content without this content being intended by a videogame’s creators, and will offer practical ways for dealing with the inconsistencies that inevitably accompany such glitch-generated fictions. (shrink)

Glitches pose expressive challenges for digital motion pictures. These problematics reveal a “material function” that determines their identification and prescribes their semantics on-screen. These issues of materiality are familiar from the ideological critiques of avant-garde film in the 1970s, but have not been explored in relation to the semiotics of digital cinema. Developing an understanding of these problematics shows the complex problematics of using glitches for critical and expressive purposes in motion pictures.

The following paper considers the immanent principles of digital media evolution. The features of the evolutional route of digital objects are conditioned by glitches, errors and bugs, which appear in media functioning, what in its turn gives birth to the new forms, structures and configurations of digital reality. The glitches are considered not only as a kind of digital mutations, but also as a sign of activity of media. Decisions elaborated from the programs’ failures enlarge the resolution capacity (...) of new technologies. The paper provides an analysis of certain errors and glitches, which engineers, programmers, game designers faced with during their work with digital environment. The theoretical framework includes Henri Bergson’s theory of creative evolution, Gram Harman’s object-oriented philosophy, media philosophical approach to the problem of the activity of object proposed by Valery Savchuk and the theory of self-organisation and autopoiesis of the social systems worked out by Niklas Luhmann. The analysis of digital objects activity demonstrates two levels of functioning. The first one, fictional level, reveals mainly (but not only) in the computer games and concerns the content of media, when we gain a habit to interact with digital objects/characters as if they are real. The second level, operational, realises in the digital environment in general and concerns the form of media. On this level, glitches and bugs have crucial meaning, because they might evoke the changes in the digital world organisation, starting from the local decisions for the certain program (e.g. the elaboration of the new ways in solving locomotional tasks in simulations, which might be later use in other projects) and ending with the replacement of practices and representations typical for the human of digital era. The paper shows that it is possible to talk about digital evolution not in terms of the history of technological inventions, but in terms of the changes in digital objects caused by the inner logic of media, independently from the human will and expectations. (shrink)

AI-generated images of “cats” offer novel opportunities to consider the semic role of expectations in sign formation where they act as a constraints on semiosis through the potential identification of the AImage as “correct,” or as a “glitch.” Because the identification of “errors” depends on a range of technical and cultural expertise, they offer valuable insights into the interpretive process. The automated generation of media by AI separates the artist’s decision-making process from image production, continuing a trajectory that began with (...) the invention of photography in the nineteenth century that brings the sign formation process into consciousness by distinguishing “intentional” and “unintentional” encoding. The identification AI-produced images as-glitched provides a vehicle to consider how the sign formation process informs identifications of creative action as an intentional action: aesthetic appraisals are central to this process where cultural beliefs about creativity become ideological constraints on interpretation. The potential to understand AI “glitches” as expressive features of the image-object, rather than errors, proceeds via the aesthetics and affects of earlier art, such as the “painterly motion” shown in old master paintings by Peter Paul Rubens, or via the heritage of Surrealism. These affective constraints on sign formation reveal the central role of “glitches” in the distinction of creative and uncreative action. (shrink)

Rosa Menkman proposed that the concept of glitch should be considered a tipping point, a momentum, that can be seized, in which the power of subjectivity and the collaborative efforts of creators and the active spectators take centre stage. This article will discuss how in the last decades the glitch as noise and techne has shifted towards glitch as precarious aesthetics and how it has become associated with decolonial and feminist modes of critique. While the glitch is still seen as (...) a material, a techne, there is a resistant aesthetics of mutiny, a tactical revolt of the material that is confronting systemic standardization, bias and institutionalization. As presented in the exhibition VJ Um Amel, Beit Um Amel (2020), the technologically induced phenomena are analogous with the crises and states of emergency in various global infrastructures, systems and information channels. (shrink)

This article explores the properties of glitch within practices of in-game photography. It argues that capturing the breaking of game textures and graphics reveals the process of creation of photorealism and the remediation of traditional photography within digital and playable spaces. On the other hand, it proposes that screenshotting game glitches acts as an involuntary bug report and part of an economy of ever-optimizing networked images.

Within the last decade, a growing number of artists, media activists and theorists have been engaged with the potential of the glitch – with processes and aesthetics that arise from visual errors in digital technologies. But glitches also offer clues to understanding normative knowledge and power systems, and to challenge these. This is relevant in critical approaches to photography and its historical role in forming, controlling and colonizing systems as well as conventional understandings of the medium as a transparent (...) window onto the world/reality. In this introduction we outline our approach to the glitch in the artistic and curatorial research project ‘Photography and the Glitch’, to which the contributors to this issue have contributed in various ways. (shrink)

This article aims to analyse how a photographic interaction, complicated by technical and bodily disruption, entails a productive glitch in the form of systemic friction. The analysis is grounded in artist Lisa Tan’s exhibition Dodge and/or Burn in Stockholm (2023–24), with a focus on a central video work. The exhibition’s theme of crisis and transformation guides the analysis within a qualitative framework informed by an art historical methodology of semiotics and phenomenology combined with media and disability studies. This interdisciplinary perspective (...) organizes an account anchored in the artwork’s initial capture and exhibition display. As the glitch is redefined, from a technical error to an embodied experience of systemic friction, the article offers an innovative take on how both photography and glitch can be conceptualized and deployed. As a result, the glitch emerges as a tool to address today’s dominant sociotechnical systems and their visual underpinnings. (shrink)

In this article, I discuss the implications of generative AI in future of creative work in the music industries through an ethnographic study of music technologists in Melbourne, Australia. Drawing on visual ethnography methods, I explore how researchers, developers, as well as professional and aspiring artists, across sectors in Melbourne’s ecosystem, value the role of mistakes, glitches and uncertainty in the creative process with music technology. This stands in opposition to the controlled processes within generative AI models, based on (...) the management of uncertainty as an input value. Thus, I reframe the concept of creative uncertainty which emerges as a shaping force in the creative process, and in opposition to the controlled outputs of generative AI. Furthermore, this article shows the limitations and misalignment of dominant visions about the impact of generative AI, on creative workflows and practices, by highlighting the experiences, motivations and expectations of the research participants in this multi-sited ethnography. (shrink)

Chibber’s The Class Matrix and Confronting Capitalism aim to rescue class from the cultural turn. Rather than thinking that mass media mollified the working class, he suggests we re-investigate capitalism itself. We can then see how hard capitalism makes it to take risks for the collective. Chibber’s solution is to shift people from ‘individualistic to solidaristic’ ways of thinking through lived practices, rather than the arts. This review argues, however, that by excluding the culture industry from encouraging solidaristic ways of (...) thinking, Chibber removes a crucial tool in the socialist armory: the way in which artistic representations can help us see ourselves and the world differently. (shrink)

The simulation argument acquires increased popularity in scientific and intellectual circles. Usually, it is approached from a perspective that examines the validity of the argument from the perspective of whether it can or cannot be accepted. Here I will accept that the argument is valid and that indeed we live in a simulation, and then argue that on this basis the future of humanity is a rather pessimistic one. The concern and eventually realization that we live in a simulation coincides (...) with our cultural evolution as a species and with our intellectual advancement as humanity. Depending on how well-perfected this simulation that we live in is, it mirrors either a “game over” or a “frozen screen” stage, to borrow from the terminology of video games. In these cases, this calls for the intervention of the simulator that either needs to reset its simulation or to eliminate the factor that has caused the malfunction. (shrink)

Résumé Dans cet article, il s’agit de montrer que si la machine (co)crée, elle ne (co)énonce pas, si l’on entend par « énonciation » l’acte métadiscursif de définir les conditions de possibilité de la production d’un texte verbal ou visuel, la gestion des modalités qui conduisent des virtualités et potentialités au stade de la réalisation ainsi que l’évaluation du processus a posteriori. D’une part, nous attardant sur la génération texte-image par DALL•E 3, mais aussi analysant des glitches, nous cherchons (...) à montrer que, grâce à l’indétermination inhérente au code, grâce à une dose d’aléatoire, voire grâce à une certaine « organicité » qui n’exclut pas le vague et le flou, la créativité n’est pas seulement humaine: au-delà de l’accident, la machine peut produire du nouveau en « faisant ce qu’elle a à faire ». D’autre part, en ce qui concerne la « (co)énonciation machinique », nous dégageons une séquence énonciative qui atteste la responsabilité de l’humain dans les phases initiale et finale, la phase médiane voyant se multiplier des instances machiniques sous-tendues par des forces anonymes et impersonnelles. (shrink)

A Glitch -- What Mutant Eyes Could See -- Bloody Fingers and Black Rock -- Monkey Maggot -- Return to the Shadows -- A Swarm of Shiny Flies -- No Time to be Messing About -- The Goat Kid -- Dangerous Friends -- A Strange Task -- A New Sound -- Return to the Arcade -- Game Over -- A Wistful Oliver -- Mika Offers Gorman a Biscuit -- Helen's Hat Falls Off -- The Wrong Place -- A Sad Supper (...) -- Bolt Borgs -- Tank Meat Surprise -- Someone is Missing -- The Second Awakening -- Doing it for Real -- Regards from the Army of Children -- Shut Up and Do What You're Told -- The Eyes in the Trees -- Building the Bomb -- The Meeting of Murderers -- I'll Be Back in a Minute -- War -- Poison -- A Birthday Present for Grace -- We Are the Future. (shrink)

In the international bestseller, Thinking, Fast and Slow, Daniel Kahneman, the renowned psychologist and winner of the Nobel Prize in Economics, takes us on a groundbreaking tour of the mind and explains the two systems that drive the way we think. System 1 is fast, intuitive, and emotional; System 2 is slower, more deliberative, and more logical. The impact of overconfidence on corporate strategies, the difficulties of predicting what will make us happy in the future, the profound effect of cognitive (...) biases on everything from playing the stock market to planning our next vacation—each of these can be understood only by knowing how the two systems shape our judgments and decisions. -/- Engaging the reader in a lively conversation about how we think, Kahneman reveals where we can and cannot trust our intuitions and how we can tap into the benefits of slow thinking. He offers practical and enlightening insights into how choices are made in both our business and our personal lives—and how we can use different techniques to guard against the mental glitches that often get us into trouble. Winner of the National Academy of Sciences Best Book Award and the Los Angeles Times Book Prize and selected by The New York Times Book Review as one of the ten best books of 2011, Thinking, Fast and Slow is destined to be a classic. (shrink)

A classification of the global catastrophic risks of AI is presented, along with a comprehensive list of previously identified risks. This classification allows the identification of several new risks. We show that at each level of AI’s intelligence power, separate types of possible catastrophes dominate. Our classification demonstrates that the field of AI risks is diverse, and includes many scenarios beyond the commonly discussed cases of a paperclip maximizer or robot-caused unemployment. Global catastrophic failure could happen at various levels of (...) AI development, namely, before it starts self-improvement, during its takeoff, when it uses various instruments to escape its initial confinement, or after it successfully takes over the world and starts to implement its goal system, which could be plainly unaligned, or feature-flawed friendliness. AI could also halt at later stages of its development either due to technical glitches or ontological problems. Overall, we identified around several dozen scenarios of AI-driven global catastrophe. The extent of this list illustrates that there is no one simple solution to the problem of AI safety, and that AI safety theory is complex and must be customized for each AI development level. (shrink)

This paper is about The Truthmaker Problem for Presentism. I spell out a solution to the problem that involves appealing to indeterministic laws of nature and branching semantics for past- and future-tensed sentences. Then I discuss a potential glitch for this solution, and propose a way to get around that glitch. Finally, I consider some likely objections to the view offered here, as well as replies to those objections.

After 1989, capitalism has successfully presented itself as the only realistic political-economic system - a situation that the bank crisis of 2008, far from ending, actually compounded. The book analyses the development and principal features of this capitalist realism as a lived ideological framework. Using examples from politics, films, fiction, work and education, it argues that capitalist realism colours all areas of contemporary experience. But it will also show that, because of a number of inconsistencies and glitches internal to (...) the capitalist reality program capitalism in fact is anything but realistic. (shrink)

What experimental game theorists may have demonstrated is not that people are systematically irrational but that human rationality is heavily scaffolded. Remove the scaffolding, and we do not do very well. People are able to get on because they “offload” an enormous amount of practical reasoning onto their environment. As a result, when they are put in novel or unfamiliar environments, they perform very poorly, even on apparently simple tasks. -/- This observation is supported by recent empirically informed shifts in (...) philosophy of mind toward a view of cognition as (to cite the current slogan) “embodied, embedded, enactive, extended.” Andy Clark and others have made a very plausible case for the idea that a proper assessment of human cognitive competence must include environmental components. To limit our attention to what lies within the skin-skull boundary is, in effect, to miss the big story on human rationality. Insofar as we are rational, it is often because of our ingenuity at developing “work-arounds” to the glitches in the fast-and-frugal heuristic problem-solving capabilities that natural selection has equipped us with. And these work-arounds often involve a detour through the environment (so-called offloading of cognitive burdens). -/- When it comes to practical rationality, things are no different. Yet in many discussions of “the will,” there is still a tendency to put too much emphasis on what goes on inside the agent’s head. Our objective in this chapter is to articulate this conception of “the extended will” more clearly, using the strategies that people employ to overcome procrastination for the central set of examples. Procrastination, in our view, constitutes a particular type of self-control problem, one that is particularly amenable to philosophical reflection, not only because of the high volume of psychological research on the subject but also because of the large quantity of “self-help” literature in circulationa literature that provides an invaluable perspective on the everyday strategies that people use in order to defeat (or, better yet, circumvent) this type of self-defeating behavior pattern. In general, what we find is that the internalist bias that permeates discussions of the will gives rise to a set of practical recommendations that overemphasize changing the way one thinks about a task, while ignoring the much richer set of strategies that are available in the realm of environmental scaffolding. In the concluding section, we highlight some of the policy implications of this, particularly regarding social trends involving the dismantling of support structures. (shrink)

Focusing on the logistics of perception, this title introduces the author's understanding of 'picnolepsy' - the epileptic state of consciousness produced by speed, or rather, the consciousness invented by the subject through its very absence: the gaps, glitches, and speed bumps lacing through and defining it.

Speedrunning is a kind of ‘metagame’ involving video games. Though it does not yet have the kind of profile of multiplayer e-sports, speedrunning is fast approaching e-sports in popularity. Aside from audience numbers, however, from the perspective of the philosophy of sport and games, speedrunning is particularly interesting. To the casual player or viewer, speedrunning appears to be a highly irreverent, even pointless, way of playing games, particularly due to the incorporation of “glitches”. For many outside the speedrunning community, (...) the use of glitches appears to be cheating. For speedrunners, however, glitches are entirely within the bounds of acceptability. Because of this, however, speedrunning frequently involves sidestepping what are typically taken to be the core challenges of the game. By examining the distinction between the use of glitches and cheating in speedrunning, we can gain a greater understanding of the unique ethos of this activity; that is, we can make sense of what fundamentally constitutes speedrunning as a metagame. I argue that by understanding the code of the game not as rules but as physics, and by examining what actions are deemed impermissible by the speedrunning community – such as hardware modification and hacking – we can see that the ethos of speedrunning has three components: constitutive skills (including dexterity, memorisation and mental fortitude); a collective, fine-grained knowledge of the game and the desire to subvert the intentions of the programmers. Each of these components limits and structures the earlier ones: collective knowledge takes priority over constitutive skills, and subversion takes priority over both. These three components form the ethos that structures speedrunning as a metagame, expressing what speedrunners take to be its central aim. (shrink)

While the demise of Enron has raised a number of interesting issues, such as proper governance of large corporations, and the effectiveness and efficiency of statutory direction and regulatory mechanisms, the lack of meaningful vocal stakeholder stewardship has not been one of them. While the relative “silence” of Enron’s stakeholders (watchdogs) could simply have been a communication glitch, or a temporary lapse in social morality, an understanding of hat was not said and why, could well be a significant requisite in (...) formulating meaningful measures to preclude future Enrons. Why weren’t the watchdogs barking? Why had the stakeholder alert system shut down? Further, what are the implications for then and now of this quiescence? Since Enron’s demise many questions have been asked and answered about what went wrong. But little has been said about why the stakeholders failed to speak out by exercising their fiduciary responsibilities. This paper takes a closer look at the behavior of some key Enron stakeholders. (shrink)

Having, as it is generally agreed, failed to destroy the computational conception of mind with the G\"{o}delian attack he articulated in his {\em The Emperor's New Mind}, Penrose has returned, armed with a more elaborate and more fastidious G\"{o}delian case, expressed in and 3 of his {\em Shadows of the Mind}. The core argument in these chapters is enthymematic, and when formalized, a remarkable number of technical glitches come to light. Over and above these defects, the argument, at best, (...) is an instance of either the fallacy of denying the antecedent, the fallacy of {\em petitio principii}, or the fallacy of equivocation. More recently, writing in response to his critics in the electronic journal {\em Psyche}, Penrose has offered a G\"{o}delian case designed to improve on the version presented in {\em SOTM}. But this version is yet again another failure. In falling prey to the errors we uncover, Penrose's new G\"{o}delian case is unmasked as the same confused refrain J.R. Lucas initiated 35 years ago. (shrink)

Context: The idea for this article sprang from a desire to revive a conversation with the late Ernst von Glasersfeld on the heuristic function - and epistemological status - of forms of ideations that resist linguistic or empirical scrutiny. A close look into the uses of humor seemed a thread worth pursuing, albeit tenuous, to further explore some of the controversies surrounding the evocative power of the imaginal and other oblique forms of knowing characteristic of creative individuals. Problem: People generally (...) respond to humor, i.e., they are inclined to smile at things they find funny. People like to crack jokes, make puns, and, starting at age two, human infants engage in pretense or fantasy play. Research on creativity, on the other hand, has mostly scorned the trickster within. Cognitivists in particular are quick to relegate wit, whimsy, and even playfulness to the ranks of artful or poetic frivolities. Method: We use the emblems of the craftsman, the trickster, and the poet to highlight some of the oblique ways of knowing by which creative thinkers bring forth new insights. Each epitomizes dimensions intrinsic to the art of “possibilizing.” Taken together, they help us better understand what it means to be playful beyond curious, rigorous beyond reasonable, and why this should matter, even to constructivists! Results: The musings characteristic of creative individuals speak to intelligent beings’ ability to use glitches intentionally or serendipitously as a means to open up possibilities; to hold on to a thought before spelling it out; and to resist treating words or images as conventional and arbitrary signs regardless of their evocative power. To fall into nominalism, Bachelard insisted, is a poet’s nightmare! Implications: Psyche is image, said Jung, and when we feel alive we rely on the imaginal to guide our reason. Note that image is not here to be understood as a picture in the head or a photographic snapshot of the world. The imaginal does not represent, it brings forth what we understand beyond words. It does not lock us into a single mode. Instead, it is a call to be mindful, in Ellen Langer’s sense: in the present, mentally alert, and on the outlook for our psyche’s own surprising wisdom (sagacity. Constructivist content: Debates on the heuristic function and epistemological status of oblique ways of knowing have long occupied constructivist scholars. I can only guess whether my uses of Jung’s imaginal or Bachelard’s anti-nominalism would have amused or exasperated Ernst! I do know that, on occasion, Ernst the connoisseur, bricoleur, and translator allowed the rationalist-within to include the poet’s power to evoke as a legitimate form of rationality. He himself has written about oblique knowing as legit! (shrink)

Virilio himself referred to his 1980 work The Aesthetics of Disappearance as a "juncture" in his thinking, one at which he brought his focus onto the logistics of perception -- a logistics he would soon come to refer to as the "vision machine." If Speed and Politics established Virilio as the inaugural -- and still consummate -- theorist of "dromology", The Aesthetics of Disappearance introduced his understanding of "picnolepsy" -- the epileptic state of consciousness produced by speed, or rather, the (...) consciousness invented by the subject through its very absence: the gaps, glitches, and speed bumps lacing through and defining it. Speed and Politics defined the society of speed; The Aesthetics of Disappearance defines what it feels like to live in the society of speed."I always write with images," Virilio has claimed, and this statement is nowhere better illustrated than with The Aesthetics of Disappearance. Moving from the movie theater to the freeway, and from Craig Breedlove's attainment of terrifying speed in a rocket-power car to the immobility of Howard Hughes in his dark room atop the Desert Inn, Virilio himself jump cuts from such disparate reference points as Fred Astaire, Franz Liszt, and Adolf Loos to Dostoyevsky, Paul Morand, and Aldous Huxley. In its extension of the "aesthetics of disappearance" to war, film, and politics, this book paved the way to Virilio's follow-up: the celebrated study, War and Cinema.This edition features a new introduction by Jonathan Crary, one of the leading theorists of modern visual culture.Foreign Agents seriesDistributed for Semiotext. (shrink)

Our article is based on a study of our integration of social foundations coursework with filmmaking and participatory action research, bringing teacher candidates and middle and high school students together. The project was carried out in partnership between an urban university and two nearby public schools within a Midwestern city known for high child poverty rates and weak academic outcomes. The project sought to stretch the imagination of teacher candidates in areas related to school reform and to provide opportunities for (...) the youth in terms of inquiry and activism concerning their schools and neighborhoods. The article discusses the direction of the project over the semester and the challenges encountered in carrying out this work. Study findings suggest that the students valued the use of film and learning of research skills, as well as the coming together each week. Technology glitches precluded a final film product, compromising the extent to which project goals concerning activism in the area of educational and public policy were achieved. The study serves as careful reminder of the challenges in carrying out PAR and the need to frequently revisit questions about project intentions and direction. (shrink)

In recent years, the trend to present the notion of imperfection as a plus rather than a problem has resonated across a range of social and creative disciplines and a wealth of world localities. As digital tools allow media users to share ever more suave selfies and success stories, psychologists promote 'the gifts of imperfections' and point to perfectionism as a catalyst for rising depression and burnout complaints and suicide rates among millennials. As sound technologies increasingly permit musicians to 'smoothen' (...) their work, composers increasingly praise glitches, noise, and cracks. As genetic engineering upgrades with swift speed, philosophers, marketeers, and physicians plea 'against perfection' and supermarkets successfully advertize 'perfectly imperfect' vegetables. Meanwhile, cultural analysts point at skewed perspectives, blurry images, and other 'deliberate imperfections' in new and historical cinema, painting, photography, music, and literature. In less positive terms, scholars in fields ranging from disability studies to tourism critically interrogate a trend to fetishize imperfection and poverty. They rightfully warn against projecting privileged (and, often, emphatically western-biased) feel-good stories onto the less privileged, the distorted, or the frail. Imperfections synthesizes the swiftly growing but fragmented critical scholarship on mistakes, glitches, and other aesthetics and logics of imperfection into the first transdisciplinary, transnational framework of imperfection studies. With this framework, the editors offer scholars and students across various disciplines tools to craft more historically grounded and critically informed conceptualizations of the imperfect. (shrink)

continent. 2.1 (2012): 2–5 To begin with, as we understand from a remote place like Seoul, there have been two different conceptions of materiality in the Western experimental ?lm history: materiality of cinema and of ?lm. The former has been represented by the practitioners of the so-called the “Expanded Cinema” and the latter by the tradition of the “Hand-made” ?lm. Whereas for the Expanded Cinema, the materiality or the “medium-speci?city” includes not only the ?lm material but also the entire condition (...) and environment in which the cinematic experience is situated (i.e.: screen, projector, audience and theatre); for the Hand-made ?lm, it is the whole ?lmic process prior to the screening in front of the audience (i.e.: hand-processing and optical-printing). The two practices share in the materialist turn that opens up the radical possibilities of aesthetic (and even political) interventions into a process previously considered seamless and transparent. What can be called to attention through the materialist turn includes the aesthetic-institutional process in the projection-spectator relation and the (non-) representational process in ?lm-making. Moreover, these interventions bring their own temporalities back to those processes, and this returning emancipates the temporalities from their subordination to the cinema-as-commodity. Hangjun Lee is a ?lm-based artist whose practice is concerned with Hand-made Film and Experimental Cinema. Given these interests, Lee questions the linkage between materiality and temporality. This was his preoccupation around 2006, the time at which he started to collaborate with Chulki Hong, the noise improviser. The improvisational nature of their audio-visual performances opened means of detouring from the conventional editing techniques. Their collaboration also afforded critical investigations into the performativity of the practices in both the darkroom and the screening room, as well as in the private recording/practicing studio, and public performance spaces for the improvising musician. In fact, it was a kind of common interest shared by both us from the outset. In our collaboration, we avoid sacri?cing/concealing/minimizing one form of performativity (the performative nature and temporality of compositional process) for the sake of the other (i.e. those in improvisational and executional process). In the ?eld of experimental music and sound, this kind of approach has been comprehensively called “cracking” or “hacking”. The concepts are ?nely formulated in the coinage of “Cracked Everyday Electronics” (by Voice Crack) or more generally “Handmade Electronic Music” (by Nicolas Collins). 1 And this was a pure but perhaps necessary coincidence. the original title of the work of our collaboration and, retrospectively, of the set of our working principles at the same time, “The Cracked Share” was named by Lee after Georges Bataille’s masterwork, The Accursed Share , with the substitution of the adjective with “Cracked” as a synonym for ‘reticulated’ in the photographic image. We think the ascetic and subtractive aesthetic turn of the contemporary non-idiomatic improvised (and even somewhat non-improvised) music 2 pushed us further towards more radical dissociation with the empty temporality of commodi?ed audio-visual experience. It can be called the aesthetics of “without,” and exemplars include Yoshihide Otomo’s Turntable Without Records , Sachiko M’s Sampler without Samples . There are also other radical experiments even with the (non-)improvised music without noise and sounds that neatly meet the rules and idioms of the existing/established experimental music. For us, this thread among the experimental music currents weighs in its emphasis on subtractive and dissociational power unique to improvisational action. Surely, the tradition of the Cracked and Handmade improvised music teaches us the crucial lesson that “[m]edia and mediation are never transparent” and that “[m]ediation actively transforms data from one form to another and is never passive.” 3 We couldn’t agree to this statement more. However, without the removal and withdrawal power of improvisation that poses and keeps both subjects (performer and audience) and objects (projector and instrument) in “inferiority,” 4 generalized cracking and hacking practices—or simply “glitch”—in music and visuals would be either sublimated into the mystical and ritualistic forms of “Film Alchemy” and “Noise Music” (to which both of us still strongly feel a belonging but also, more or less, ambivalent sentiments), or else assimilated into the logic of the commodi?ed audio-visual communication. Today in music, this principle of improvisational performativity should be formulated as the dis-organization of sound against the associational de?nition of (electronic) music and it needs to be translated into audio-visual experiences. In other words, cracking practices of free improvisation need not be limited in artistic creativity, in a darkroom, in a studio, or on the stage; the principle of the dis-organization of sound should be the principle of dis-organization (or cracked organization) of audio-visual performance space itself. NOTES 1) Norbert Möslang, “How Does a Bicycle Light Sound?: Cracked Everyday Electronics,” Leonardo Music Journal 14 (2004): 83; Nicolas Collins, Handmade Electronic Music: The Art of Hardware Hacking (New York: Rutledge, 2006). 2) We refer this not to the historical style or genre but rather the idea and practice that ?free improvisation? stands for. On the distinction between idiomatic and non-idiomatic improvisation, see Derek Bailey, Improvisation: Its Nature and Practice in Music (Cambridge, MA: Da Capo, 1993). On radically politico-histrorical interpretations of free improvisation and noise music from various present viewpoints, see Noise and Capitalism , (eds.) Mattin & Anthony Iles (Arteleku Audiolab, 2009). 3) Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge: MIT Press, 2009), p. 29. 4) I borrow the term from my long-time collaborator, Choi Joonyong. See Ryu Hankil, Hong Chulki & Choi Joonyong, Inferior Sounds (Balloon and Needle, CD, 2011). (shrink)

continent. 1.2 (2011): 92-93. A collection of Images produced by intentionally corrupting the circuitry of a Kodak DC280 2 MP digitalcamera. By rewiring the electronics of a digital camera, glitched images are produced in a manner that parallels chemically processing unexposed film or photographic paper to produce photographic images without exposure to light. The DCP Series of Digital Images are direct visualizations of data generated by a digital camera as it takes a picture. Electronic processes associated with the normal operations (...) of the camera, which are usually taken for granted, are revealed through an act of intervention. The camera is turned inside­out through complexes of short­circuits, selected by the artist, transforming the camera from a picture taking device to a data capturing device that renders raw data (electronic signals) as images. In essence, these images are snap­shots of electronic signals dancing through the camera's circuits, manually rerouted, written directly to the on­board memory device. Rather than seeing images of the world through a lens, we catch a glimpse of what the camera sees when it is forced to peer inside its own mind. With the digital photo, this light, from out of the night, no longer comes entirely from the day, it doesn't come from a past day that would simply have become night (like the photons emenating from Baudelaire's face.) It comes from Hades, from the realm of the dead, from underground: it is an electric light, set free by materials from deep within the belly of the earth. And electronic, that is to say, a decomposed light. Digitization breaks the chain, it introduces manipulation even into the spectrum, and by the same token, it makes phantoms and phantasms indistinct. Photons become pixels that are in turn reduced zeroes and ones on which discrete calculations can be performed. Essentially indubitable when it was analog (whatever its accidental manipulability), the this was has become essentially doubtful when it is digital (it is nonmanipulation that becomes accidental). —Bernard Steigler, The Discrete Image There are so many ways to take something apart. Deconstruction, differentiation, dissection, dissolution. A whole slew of concepts and processes towards atomization which aim, eventually, to evoke or locate an essence of some kind, in material science as in philosophy. In picking things apart, what is it we attempt to do? To simplify? To comprehend? To confront? To disprove? With Stearns’ DCP Series we see that destructive scrutiny can sometimes bring about new forms. To create this series of images, Stearns applies circuit bending techniques to modern photography—his fingers and stray wires cutting across the camera’s circuitry at the moment of registration. As with Moholy­Nagy’s vinyl records and Nam June Paik’s cathode ray TVs, Stearns deconstructs the technological inscription of his era. In so doing, the function of the digital camera is revealed, but its transduction inverted: A recorder becomes a synthesizer, the scientist an artist. In a single, simple gesture, these works example a media archeology of the present. We resist the urge to call these photographs. —Jamie Allen. (shrink)

In the first Russian Roulette scene in the Deer Hunter, do the circumstances giving rise to Mike's and Nick's "rebellion" merely document Kahneman-Tversky-type glitches in the reasoning of their Vietcong captors, or does the scene also reveal a genuine inadequacy in our current understanding of interactive rationality--the resolution of which would have profound implications for rational choice theory and its myriad applications? I argue the latter.

Sara Ahmed’s enquiry on what it means for sexuality to be lived as oriented from the work Queer Phenomenology inspired the art series ‘A Sexual Series’, based on post-humanist theory and asexual experience. Shapes of performative alter egos materialized from a queer cyborg position of technologically enhanced crip experiences (the strong symbolical constructing process of straightening scoliosis surgery). From being a glitch of the past towards a post-individualist future, the artificial intelligence sexbot is a metaphoric, elevated cyborg drag version of (...) the artist to embody asexuality and queer Otherness. Based on multitudes of CUNTraDICKtions to encourage self-reflection, the series explores the complexities of ob/scene and on/scene performances; the position of a sex positive asexual as well as questions of belonging as a naturally artificial rebel. (shrink)

David Berry and Michael Dieter: Introduction -- Florian Cramer: What is post-digital? -- Malcolm Levy and Christine Paul: Genealogies of the new aesthetic -- David Berry: The post-digital constellation -- Lukacs Mirocha: Communication models, aesthetics and ontology of the computational age revealed -- Katja Kwastek: How to be theorized: a f*** academic essay on the new aesthetic -- Daniel Pinkas: A hyperbolic new aesthetic -- Stamatia Portanova: The genius and the algorithm: reflections on the new aesthetic as a computer's vision (...) -- Lev Manovich and Alise Tifentale: Selfiecity: exploring photography and self-fashioning in social media -- David Golumbia: Judging like a machine -- Caroline bassett: Not now? : feminism, technology, postdigital -- Geoff Cox: Postscript on the problem of temporality in the post-digital -- Michael Dieterdark: Patterns: interface design, augmentation and crisis -- Sean Cubitt: Data visualisation and the subject of political aesthetics -- Mercedes Bunz: School will never end: on infantilization in digital environments: amplifying empowerment or propagating stupidity? -- Jussi Parikkathe : City and the city: London 2012 visual (un)commons -- Shintaro Miyazaki: Going beyond the visible: new aesthetic as an aesthetic of blindness? -- Thomas Apperley: Glitch sorting: minecraft, curation and the postdigital -- Marc Tuters: Through glass darkly: Google's gnostic governance -- Vito Campanelli: New aesthetic in the perspective of social photography -- Søren Bro Pold and Christian Ulrik Andersen: Aesthetics of the banal: "new aesthetics" in an era of diverted digital revolutions -- Wendy Chunnet: Works now: belated too early. (shrink)

The mixed-method study investigates the effectiveness of the ARSC model. The objective of this investigation is to measure the impact of the ARCS model on the engagement levels of students in vocational college settings within a blended learning framework. It includes a pre-intervention and a post-intervention survey (n=255) along with a semi-structured interview (n=10). Students of Jiangsu Vocational College of Medicine have been involved in pre-intervention surveys, followed by a month of training implementing the ARCS model in blended media. Post-intervention (...) surveys have also been conducted. Furthermore, ten students have been interviewed in-depth, individually. The quantitative analysis using paired t-test and regression analysis indicates that the engagement levels of the vocational students significantly increase after implementation of the ARCS model in blended mode, and all the elements of the model collectively significantly predict the change in the student engagement. The interview reveals certain challenges faced by the students, of which some significant ones are technical glitches, time management, confusing and unclear assignments, and so on. The findings of the study will guide the vocational teachers to tailor their blended instruction by incorporating ARCS elements to improve overall student engagement, leading to a better learning outcome. (shrink)

Introduction : digital technology and popular music sound -- Making sense of digital spatiality : Kate Bush's eerie collage -- The instrument formerly known as the machine : hyper-accuracy and sonic richness in Prince's Kiss -- The rebirth of silence in the company of noise : Portishead going retro -- Cut-ups and glitches : Los Sampler's and Squarepusher's freeze and flow -- Seasick computers : microrhythmic manipulation in the era of endless undo -- Autotuned voices : alienation and brokenhearted (...) androids -- Popular music in the digital era. (shrink)

Inferentialists about scientific representation hold that an apparatus’s representing a target system consists in the apparatus allowing “surrogative inferences” about the target. I argue that a serious problem for inferentialism arises from the fact that many scientific theories and models contain internal inconsistencies. Inferentialism, left unamended, implies that inconsistent scientific models have unlimited representational power, since an inconsistency permits any conclusion to be inferred. I consider a number of ways that inferentialists can respond to this challenge before suggesting my own (...) solution. I develop an analogy to exploitable glitches in a game. Even though inconsistent representational apparatuses may in some sense allow for contradictions to be generated within them, doing so violates the intended function of the apparatus’s parts and hence violates representational “gameplay.”. (shrink)

This volume weaves together a variety of perspectives aimed at confronting a spectrum of ethico-political global challenges arising in the Anthropocene which affect the future of life on planet earth. In this book, the authors offer a multi-faceted approach to address the consequences of its imaginary and projective directions. The chapters span the disciplines of political economy, cybernetics, environmentalism, bio-science, psychoanalysis, bioacoustics, documentary film, installation art, geoperformativity, and glitch aesthetics. The first section attempts to flesh out new aspects of current (...) debates. Questions over the Capitaloscene are explored via conflations of class and climate, revisiting the eco-Marxist analysis of capitalism, and the financial system that thrives on debt. The second section explores the imaginary narratives that raise questions regarding non-human involvement. The third section addresses ’geoartisty,’ the counter artistic responses to the speculariztion of climate disasters, questioning eco-documentaries, and what a post-anthropocentric art might look like. The last section addresses the pedagogical response to the Anthropocene. (shrink)

Why does someone, S, deserve blame or reproach for an action or event? One part of a standard answer since Aristotle: the event was caused, at least in part, by S’s bad will. But recently there’s been some insightful discussion of cases where the event’s causes do not include any bad will from S and yet it seems that S is not off the hook for the event. Cheshire Calhoun, Miranda Fricker, Elinor Mason, David Enoch, Randolph Clarke, and others include (...) in this category some cases of glitches, forgetfulness, inattentiveness, the actions of one’s children or one’s country, and certain instances of explicit bias and implicit bias. Enoch and Mason argue that in these cases S should extend the realm of S’s responsibility. Drawing on Aristotle’s emphases on retrospective attitudes and the non-voluntary, this paper attempts to clarify the relation between quality of will and blameworthiness. I analyze cases where (1) S is clearly not morally responsible for an action or event, E, yet (2) S deserves reproach for E unless S has the appropriate retrospective attitudes (such as regret) or the absence of inappropriate attitudes toward E. (shrink)

Abstract:How might reading fiction allow a victim of the deadly sin of pride to escape? Your fictive imagination uses the transworld exemplification of performance props playing the somaesthetic role of your avatar, a character whom you are not simply acting or identifying with but "being." You avoid the epistemic glitch of a point of view from nowhere. You play the fictive role of your avatar either in the make-believe world of sport and art without time past or in the rhetorical (...) activity of communication learning about history in that fictional world complete with moral judgment and the judgment of taste. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Juggling ActSamantha René MerriwetherDepressed. Anxious. Insomniac. Learning Disabled. Physically impaired. Sufferer of Post–Traumatic Stress Disorder. Would you choose any of these labels? How about taking two or three? Sound manageable? Probably not. But why? All across our society are plastered expectations of perfection, normalcy and “acceptable” images.I am 27–years–old and, despite the years of education I have received, the communication skills I have gained in English and American (...) Sign Language (ASL), the countless hours spent with doctors consulting about how to “get better,” I have lost my sense of identity. And, the more I think about it, the more I realize that my “authentic voice” has not yet been born. This is the reality for me and, I suspect, for anyone else who has been labeled disabled.When I sat down to write this, I did not struggle coming up with a story to share nor the words to intrigue readers. Instead, I grappled over using my real name and not using a “pen name.” Despite my long and varied history with disability, it took me a long time to advocate my issues enough to receive services. Because labels are embarrassing. Because disability is embarrassing. And, so, now I have labels... many labels. However, it is still accepting them that I am left with. Unfortunately, I am just one of millions who are also fighting to find some sense of balance between honesty with myself and the societal labels that are at the forefront of our communities.It has been a year since I took Disability Studies, a cultural pluralism course requirement for my Liberal Studies Degree at California State University. On the surface choosing this sub topic could have been perceived as an easy A, given that I am disabled. Yes, having a disability enabled the language used to be less of a shock in my overall comprehension. In reality, however, the struggle to achieve success academically is continuously challenged by my own disabilities. However, despite succeeding in the course, “easy” is not an adjective that appropriately represents my experience. The knowledge I grasped in the classroom helps me to understand what happens when I walk outside on any given day; but therein lies the glitch... the class is over, but my disabilities never will be.Did I enjoy the topic of Disability Studies? Yes, immensely. Because it was something I could relate to. Did enjoying the subject matter take the struggle for comprehension away? No. Did my dyslexia absolve into thin air? No. Being disabled does not admit me, nor anyone else for that matter, into the disabled world with a “free pass from suffering” as if we are all in a club. Having a diagnosis helps to identify why I may not be able to do things in the way others may perceive as “normal.” But, it is the label of being “normal” that is detrimental to achieving success. It represents why our society has a stilted perspective towards those who wear glasses, use walking aides, or need assistance to get [End Page 205] something from a grocery store shelf. Additionally, implying that any one way of completing a task is “normal” is wrong and further accents those differences, which are just that... differences.One component of this course was a Panel Discussion with those living in the TAB (temporarily–able bodied) community. Approaching this event, I was possibly more nervous to ask questions than for the four members having to answer questions. The paradox of wanting to gain more understanding from those most qualified individuals who live with these struggles everyday and intellectually knowing that respect needed to come first was immense. Oddly, once the panel opened up, asking questions was not hard. Within the first ten minutes my fears subsided; the entire experience was like speaking to old friends, only I had just met them. These individuals were, yes, dealing with impairments, but were just as relatable to me as I was to them. And, to my surprise, they were inquisitive and curious towards each other as well. This reinforced that fact that when information is lacking our society we still rely on stereotypes about topics we are... (shrink)

While COVID-19 has taken a toll on many professions and livelihood of all walks of lives, technology has amplified its intrusion to ease the necessities. Innovative technology, therefore, has improved the glitches and provided the software to adhere to these new normal. However, individuals' awareness and attitude toward the advancements of these technological trends need to be addressed. Although the government has taken measures to prevent and curb the growing cases for COVID-19 with the help of technology, the support (...) from the individuals would depend mostly on their level of awareness and the attitude toward those measures. The present qualitative study explored the techno trend awareness, perception and attitudes of techno experts and technical professionals toward social connectedness and mitigating factors of COVID-19. Besides, it also explained individuals' shift toward virtual interaction to maintain social connections during the pandemic. The thematic analysis generated four prominent themes. Social Connectedness, emphasized on the emotional connections that created a positive feeling of belongingness. Technological Advancement provided three sub-themes highlighting perception, techno trend awareness and desirable attitudes toward the mitigation of COVID-19. The categories under Treatment and Preventive Measures indicated the enhanced self-care of individuals and also the tendencies to minimize the spread of diseases. The emergence of the theme Inclination toward Indigenous Knowledge, which is an important finding, indicated the techno-experts inclination toward the indigenous knowledge amid vague scientific shreds of evidence. (shrink)