Iman Moradi – Glitch Aesthetics
Iman Moradi – Glitch Aesthetics
Iman Moradi – Glitch Aesthetics
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<strong>Glitch</strong> <strong>Aesthetics</strong><br />
<strong>Iman</strong> <strong>Moradi</strong><br />
Other aspects of <strong>Glitch</strong> appreciation may actually lie in culturally significant<br />
factors such as media reach within society, attitudes towards communications<br />
technology or more fundamentally have something to do with the its visual<br />
aesthetic appeal.<br />
2.1.5. Anecdotal Origins<br />
According to a nettime post dating back to 1997, Alexei Shulgin claims net art is<br />
a ready-made, and it came about as a result of a glitch.<br />
“In December 1995 ‘Vuk Cosic’ got a message, sent via anonymous mailer.<br />
Because of incompatibility of software, the opened text appeared to be practically<br />
unreadable ASCII abracadabra. The only fragment of it that made any sense<br />
looked something like: [...] J8~g#|\;Net. Art{-^s1 [...]”<br />
<strong>Glitch</strong> art as a genre encompasses premeditated <strong>Glitch</strong>-alikes, it uses a facet of<br />
technology that deals with incorrect transmission, computation and deliberate<br />
corruption. Its multiplicity is enough to warrant distinctness from the often<br />
narrowed down field of net art, which strives on immediacy, and its existence on<br />
a wide reaching network.<br />
The network itself is one of many mediums or environments in which glitches<br />
appear, but a <strong>Glitch</strong>-alike can be designed and localised to a physical artefact.<br />
Whereas the rise of net art came about as result of the proliferation of computer<br />
networks and their expansion, glitches have seemingly been around for far longer<br />
as we will find in the next section.<br />
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