Manual Glitch In The Machine

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Editorial Reviews. About the Author. Edgar Swamp's work has appeared in Death Head Grin, Glitch In The Machine - Kindle edition by Edgar Swamp.
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Verdancy by David Garland. A deep dive into a whirlpool of experimental styles.

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Tags experimental avant-garde free jazz sound art Boulder. If you like , you may also like:. Bandcamp Album of the Day Oct 4, go to album. Bandcamp Album of the Day Feb 23, go to album. The philosophers from which you launch will necessarily color the subsequent inquiry of your art theory and practice. In order to analyze the glitch, I've chosen Russian philosopher and literary theorist Mikhail Bakhtin.


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He adheres tightly when suitably applied, but he releases his grip quickly when it is time to decouple things and move on to new locales and configurations. Before I oversimplistically explicate Bakhtin's theory of the utterance , I will begin with some direct quotations:. Language enters life through concrete utterances which manifest language and life enters language through concrete utterances as well. The utterance is an exceptionally important node of problems. Only the contact between the language meaning and the concrete reality that takes place in the utterance can create the spark of expression.

It exists neither in the system of language nor in the objective reality surrounding us. Thus, emotion, evaluation, and expression are foreign to the word of language and are born only in the process of its live usage in a concrete utterance. Each text both oral and written includes a significant number of various kinds of natural aspects devoid of signification There are not nor can there be any pure texts. In each text, moreover, there are a number of aspects that can be called technical the technical side of graphics, pronunciation, and so forth. To Bakhtin, the lived and ongoing present is the locus where the abstract rules of linguistics and semiotics are injected into being.

Language never comes into the present generically. It is always colored by and contingent upon embodied, contextual affects of lived being.

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I can say "I'm hungry" at a certain place and time, and someone else can say "I'm hungry" at a later place in time. Both sentences are linguistically and semiotically the same, but they are completely different "utterances" due to the differing lived contexts into which they were uttered. Unlike Derrida, Bakhtin satisfactorily takes into account the importance of embodied affect on human language. Bakhtin is particularly useful for analyzing the glitch because he doesn't overtly fret over the differences between a "live" event and a "mediated, time-shifted" event.

When I read a book in real-time, that reading event constitutes a live utterance, because the author of the book is uttering to me in lived time now.

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The typography of the book, the way the cover feels in my hands, the way the light falls on the page of the book -- all of these are real-time, embodied affects that color the language of the book in the same way that the breeze through my wife's hair colored the language "welcome" she uttered when she met me in the yard. The language of a book on a shelf may be transcendental and out of time, but that language will never get "run" in real-time unless I open the book and read it.

When I do, embodied affect enters into the flow of language and colors it in an actual, "meaningful," non-incidental way. The first scene of Chris Marker's Sans Soleil celebrates the surplus of lived, embodied affect. A scene of three blond-haired girls walking on a road is shown briefly. The scene doesn't semiotically or linguistically "mean" anything, which may be why the film maker the fictitious sender of letters to the narrator is unable to successfully couple the scene with any other images. The film maker associates this surplus of affect with both memory and happiness.

In my own new media reinterpretation of Marker's scene , I associate this surplus of affect with the history of photography, the disturbing uncanniness of dreams, and the glitch. It is worth noting that the particular low-resolution video file that I have embedded in this essay is a much degraded and massaged version of a DVD quality version of Marker's original analog film.

Yet even the original analog film is not a record of the film maker's original lived experience on that day. Derrida becomes useful here briefly, but fundamentally : there is always a slippage, an original difference between something in itself the girls, the fence, the hills and our perception of it. All subsequent meaning in language derives from this original difference. According to this understanding of affect, glitch, utterance, and original difference, everything is "always already" mediated.

Debord wants to return to an original, real, unmediated experience. Baudrillard says we can no longer return to that original real experience, because we have moved beyond mimetic mediation and on into simulation and hyper-reality. The problem with both of these positions is that "media" are and always have been "real. Granted, it is a strange kind of second-order language, a quoted and remixed language what Bakhtin might call a "secondary genre" of utterance, like characters speaking in a novel , but it is no less a real-time, uttered language event.

A book, a video, a piece of software -- all contain potential utterances. Each piece of media awaits its next real-time run when it is uttered into a unique, singular, never repeatable, spatio-temporal, lived context. A glitch is like the wind blowing through a speaker's hair. A glitch injects lived affect into the live utterance. Glitches arises from the immanent "world. The static of the world gets trapped in our mouths.

Note, however, that glitched language is never merely pure affect, because it always retains a residue however violently glitched of semiotic meaning and linguistic structure. There is always a non-affective element of language riding the waves of glitched affect; or, conversely, there is always a non-affective element of language that glitched affect is able to surf. McLuhan was hyperbolic to say, "The medium is the message. The glitch event is not "unnatural. We are less used to seamlessly absorbing it as affect. Analog affect is more qualitatively gradual, whereas digital affect can dramatically spike.

This explains the difference between warm analog overdrive distortion 11 and the binary disconnect of digital overdrive distortion. The quality of analog distortion is related to the nature of its source signal, whereas digital distortion is simply a complete miss -- one second you are hearing the source signal, and the next you are hearing a monotone beep.

The digital visual glitch can have a similarly jarring effect. When I come home to the "welcome" of my wife, the breeze may increase slightly through her hair as she is speaking, and I subtly perceive and absorb this gradual affective modulation. Were she to somehow digitally glitch, it would be as if the wind increased to hurricane force in an instant, and then in the next instant it was back to a light breeze. Such is the thrilling violence of the digital glitch. It can be so jarring that we simply filter it out as so much noise and refuse to even perceive it. The Book of Durrow is a piece of analog "media" created around A.

Certain parts of it were colored with a pigment that has eaten away at its vellum substrate. This glitch actually follows the contours of the original ornamentation. It is a very slow glitch. An analog page may wrinkle or fade, but a computer screen constantly refreshes times per second. The computer is perpetually "doing;" it is always "performing" in real-time. So it throws off affective anomalies more frequently quantitatively and more extremely qualitatively. Digital glitches are thus more instantaneous and frequent, but they also follows specific formal contours of decay.

Different compression codexes glitch in different formal ways. Here is a digital glitch of the preceding Book of Durrow jpg achieved in an instant by intentionally corrupting the file's source code in a text editor:. A glitch is actually an affective event that happens in time.


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The results of such a glitch may be captured by taking a screen shot of the visuals produced during a glitch event. This captured glitch may be thought of as the trace of a glitch, the residue of a glitch, or the archive of a glitch. These glitch traces may be thought of as "wild glitches. Glitches can also be intentionally produced by artists trying to achieve a purposeful glitch effect. Thus far I have mostly been examining the phenomenon of "wild glitches," but my observations are equally applicable to "domesticated glitches," because both glitches ultimately and finally "run" not on computers, but on human wetware in real-time.

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