By the end of the 18th century a sense of anxiety and crisis began to preoccupy European writers and artists in theor relationship to the past, from antiquity on, which constituted the European intellectual tradition. The grandness of that past could no longer fit into the frame of the present. Artists felt overwhelmed by the magnitude of past heroic accomplishment, its domineering influence, even of their own past accomplishment. Beginning with artists such as Fuseli, this was soon reflected in artistic representation. The partial image, the “crop”, fragmentation, the ruin and mutilation – all expressed nostalgia and grief for the loss of a vanished and unreclaimed totality, a utopian wholeness. Often, as a form of compensation, such feelings were expressed in deliberate destructiveness and this became the new way of seeing: the notion of the modern. The “crop” constituted a distinctively modern view of the world, the essence of modernity itself. This work, which is taken from the Walter Neurath Memorial Lecture, traces these developments as they have been expressed in representations of the human figure fragmented, mutilated and fetishized, by looking at work produced by artists from Neo-classicism to Romanticism and modern art, from Fuseli to the Impressionists, the Post-Impressionists, and beyond.
2016 promete ser probablemente uno de los momentos tecnológicamente más excitantes de las últimas dos décadas, en el que nuevas tecnologías de aceleración digital van a tener un especial impacto en el sector cultural. Las expectativas están altas; los disruptores digitales bien despiertos, con sus armas digitales bien afiladas, y dispuestos a llevarse parte del mercado, en todos los sectores, incluido el cultural. La nueva tecnología digital excita nuestro sueño de alcanzar un objetivo compartido o proyecto de cultura inteligente que marca la temática de esta edición y que hoy nos parece estar rozando ya con la punta de los dedos: nuevas interacciones digitales basadas en la ciencia de los datos y el uso de dispositivos smart que «hackean» nuestros sentidos; deconstrucciones de la obra artística a nuestro gusto y medida; y experiencias culturales amplificadas han dejado de ser expectativa y fantasía para formar parte de una nueva realidad cultural digital, híbrida, interactiva, compartida y proactiva.
About the publication: In this book, Rosa Menkman brings in early information theorists not usually encountered in glitch’s theoretical foundations to refine a signal and informational vocabulary appropriate to glitch’s technological moment(um) and orientations. The book makes sense of recent glitch art and culture: technically, culturally, critically, aesthetically and finally as a genre.
The glitch takes on a different form in relation to noise, failure or the accident. It transitions between artifact and filter; between radical breakages and commodification processes. Menkman shows how we need to be clearer about the relationship between the technical and cultural dimensions of glitch culture. Honing in on the specificities of glitch artifacts within this broader perspective makes it possible to think through some of the more interesting implications of glitched media experience. Using a critical media aesthetic orientation, Menkman addresses the ongoing definitional tensions, paradoxes, and debates that any notion of glitch art as a genre must negotiate, rather than elude.
About the author: Rosa Menkman is a Dutch visualist, theorist and curator, working with glitches, compressions, feedback and other forms of noise artifacts, aiming to contribute to the development of a discourse for glitch art and culture.