Iman Moradi – Glitch Aesthetics

Glitch Aesthetics
Iman Moradi
Linearity:
In the majority of cases, whenever visual information is being recorded or is
transferred from one medium onto another, it is broken down to its individual
components. Without going into any level of technical detail Those individual
components can be pixels, colour separation layers, or graphite granules on paper.
In some glitches, these elements (pixels) have a tendency to merge with each
other in rows to form lines.
This interlacing effect seen above, which has come about partly as a result of how
image-displaying technology works, accompanies the work of many glitch artists
and it is sometimes seen as the hallmark of visual glitch aesthetics.
On a similar note, Tony Scott (Scott, 2003) identifies his liking of glitches with ‘op
art’, he is a fan of Bridget Riley’s work and indeed several of his collected and
created artworks incorporate glitches with distinctly linear visual form.
Undisputedly, there is visual similarity between some glitch imagery and the
rectilinear or very distinct line forms of ‘op art’. As such, in a way similar to how
‘op art’ reveals ‘how our visual perception can be manipulated’, Glitches
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