DNMw3rkstati0n:: D1RTY N3W M3DI∆ thread at GLI.TC/H – Saturday 8th December

I’ll be taking part in the DNMw3rkstati0n:: as part of GLI.TC/H on Saturday 8th December from 10-12pm at High Concept Labs

Dirty New Media

GET: dowwwn && durty IRL && online wit teh DNMw3rkstati0n:: crewww @ GLI.TC/H 2112 in Chicago! The DNMw3rkstati0n:: is an open safe space/place/work{station|shop} set aside @ GLI.TC/H for enagaging eXXXperimentz in the arts of D1RTY N3W M3DI∆!

NEXT: BYOC (Bring Your Own Computers) TO: HIGH CONCEPT LABS (1401 W. Wabansia Chicago IL, 60642) && receive tutorials on D1RTY N3W M3DI∆ aestheticonceptechniques such as:

!!! Eric Fleischauer eXXXplains HOW TO: MAKE ANIMATED GIFs in the D1RTY N3W M3DI∆ (lyfe_)STYLES !!!
!!! Rick Silva + co-collaborators / co-conspirators eXXXplore EXPERIMENTAL 3D wit UNITY !!!
!!! Antonio Roberts (AKA hellocatfood) eXXXposes PURELY DIRTY SIDE OF PURE DATA !!!

THEN: wwwerkz created in / on / @ the DNMw3rkstati0n:: will be collected && displayed in via our tumblr: http://dirtynewmedia.tumblr.com + in our ☆ DNMw3rkstati0n OPENING + THREAD OUTPUT @ TRITRIANGLE (1550 N Milwaukee Ave Fl 3 Chicago, IL 60622) ON: ☽ SAT DEC 8 – 10 PM!

The ☆ DNMw3rkstati0n OPENING + THREAD OUTPUT @ TRITRIANGLE will also feature:
★ Arcangel Constantini’s Bondage/Bending/ project + jonCates’ DVD-RɔH!\/3, a bitcrushed archive of mini moments of D1RTY N3W M3DI∆ over the last 1337 years!

I’ll be doing a showing y’all how to use Pure Data for pure glitchyness and randomness. It’ll be happening alongside a workshop from stAllio.

Full Schedule can be found on the GLI.TC/H website or Dirty New Media Toolkit blog/FB.

AlphabeNt at GLI.TC/H – Friday 7th December

On Friday 7th December between 9-10pm at High Concept Labs I’ll be at GLI.TC/H in Chicago to give a short lecture on my explorations with glitch and language:


Antonio Roberts’ journey into glitches and their relationship to language started with the Dataface font-hacking project in 2010, the result of which is downloadable as a font from the Open Font Library. Using Daniel Purvis and Drew Taylor’s project AlphabeNt project as a launching point, Antonio Roberts will be discussing the relationship between computer language and human language, and how this relationship can be strengthened through mutation and curation, instead of deletion.

I’ll (hopefully) be joined by Daniel Purvis and/or Drew Taylor from Australia (!!!), where we’ll be talking briefly about the soon to be released book, AlphabeNt, which I wrote the foreword for.

See y’all there!

▌▀▐▐GLI.TC/H 2112!?▐▐▀▌▌▐▀▀▄▄▀DIT.a▀▀▀Do▄it2gatherAGAI▀NN▀▀▀

GLI.TC/H is back for 2112 in Chicago and needs your halp! Spendy spendy spendy!

I’m not personally involved in the organisation of the festival this year, but I’ll be physically present in Chicago for the duration of the festival! More on that later

▀─█┐GLI.TC/H 2112; a new kind of monster

Education has always played a role in GLI.TC/H: from organized workshops, to performers informally sharing their hacked and homebrewed gear with attendees, to theory sessions over pizza.

As learning, sharing and growing have become central thematic nodes, the GLI.TC/H events are organized into “threads.” So, this year, we’re launching a new model. It’s framework is built upon participatory ‘threads’ (or classes) with different focuses, complimented by panels/presentations throughout the day and installations and performative share fests in the evenings.

GLI.TC/H 20111. Photo by Rosa Menkman

Threads were chosen through an open call for ideas earlier this year and are provide pathways for folks to dig deeper into the many realms of glitches. You can hop over to the working groups to join in on the conversations and help shape GLI.TC/H 2112.

Let’s make this gathering happen together again!

Executing GLI.TC/H takes considerable resources. [The GLI.TC/H bots are] reaching out to you (and your networks) in an effort to help amplify these efforts and make GLI.TC/H 2112 a reality.

GLI.TC/H 20111. Photo by Pete Ashton

Your donation will be use for the decimation of festival data, workshop materials, and resources for this year’s threads. Of course, the biggest incentive we can offer is you supporting GLI.TC/H 2112 in growing and developing the glitch art community.


█┐██ …

Pledge your support!

GLI.TC/H 2112 Bumper

GLI.TC/H 2112
[ DEC 6, 2112 – DEC 9, 2112 ]


as part of the Kickstarter we launched last year for GLI.TC/H 20111 we offered various physical media from different artists as incentives, these ranged from DVDs to VHS tapes to NES cartridges. One such incentive was conceived by Morgan Higby-Flowers and Jeff Donaldson (aka noteNdo) and curated/produced by Jeff Donaldson and myself (Nick Briz). This was a 20GB Engraved HDD with worx (and often source files) from an array of glitch artists. Because only 9 (for kickstarter supporters) of these were produced, no one (including the artists who donated their files) really got a chance to see these.

The list: Kim Asendorf Nick Briz Curt Cloninger Arcangel Constantini Cracked Ray Tube Theo Darst Jeff Donaldson Jake Elliot Jimmy Joe Roche Ronan Letoqueux Rosa Menkman and Johan Larsby Iman Moradi Takeshi Murata Antonio Roberts Jon Satrom Sherpa Phillip Stearns Daniel Temkin UCNV Vaudeo Signal

I almost forgot about these being made, so thanks to Nick Briz/GLI.TC/H for taking photos and a video.

It’s been so long that I can’t fully remember what I contributed to the HDD, but whatever it was I hope the nine people with one of these enjoy it!


GLI.TC/H happened in Chicago, Amsterdam and Birmingham last year but I’ve only just gotten around to making this short video of the event in Birmignham, using footage captured by Pete Ashton


(I had previously made an overview video for GLI.TC/H 2010)

Teaching Glitch Art for GLI.TC/H

Part of Birmingham City University‘s involvement in GLI.TC/H 2011 involved me teaching Kate Pushkin, a student on the MA Digital Arts in Performance course, how to “do” glitch art, with the aim of devising a ~15 minute piece to be performed at GLI.TC/H. Given the number of tutorials and tools that are available online one would imagine this to be an easy challenge, right? Well, I only had the week prior to GLI.TC/H to do all of this. Yikes!

It’s true that taking leaps instead of baby steps and working under pressure helps us to learn, and so Gregory Sporton, the course leader, explicitly only gave Pushkin a week to devise this piece, with only a one-day tutorial with myself.

After GLI.TC/H had ended I caught up with Pushkin to see how she approached this task. The first step in teaching her was to find out exactly what she knew about glitch art:

I didn’t know what [glitch art] was. I did know what a glitch was.

I’ve got the impression that the coding side of things and the software side of it, in that respect, is considered key [in glitch art].

Pushkin had done some experimenting with video editing in the past and had, although unintentionally, come into contact with glitch aesthetics through feedback loops. Due to the short time allocated there really wasn’t much of a chance to explore the somewhat hazy history of glitch art.

I went on a couple of glitch artists’ websites and they didn’t work on my computer and I couldn’t tell if that was a big joke or if actually my computer just couldn’t handle what it was doing.

In trying to understand and describe what she had found, Pushkin says:

What I thought glitch was was very much the kind of very modern looking bright colours […] Moving visuals that have abstract content and are quite lurid.

Although the debate still rages on about what glitch art is or isn’t I feel this description is really quite accurate. Although she has described glitch art and the processes as very digital-looking and relying on computers the content she chose to use somewhat surprised me.

Reproducing pixelation using a disco ball

Reproducing pixelation using a disco ball


Pushkin had chosen a lot of content that had a very analogue feel to it. The glitches present represented the types found on VHS tapes and old records rather than compression artifacts or digital errors. She utilised her own Super 8 film footage together with attempting to replicate compression artifacts using analogue techniques.

I tried to replicated [the pixelation effect] using a disco ball and my webcam.

Putting the pixelation effect on the organic pixelation of the disco ball. That’s the sort of thing that, if I was going to take [glitch art] further, that’s the sort of thing I’d be into.

Considering that I had mostly shown her glitch art that had a very digital feel to it (databending, datamoshing etc) I was somewhat surprised by her choice of content. Nonetheless, I’m very pleased that she was able to find a style that she was comfortable working with.

On producing her content Pushkin faced several challenges. As we’ve seen she used analogue methods to produce her footage but she still wanted to make something that could integrate well with the festival and have a digital feel to it.

The first thing that Pushkin did, in order to try and glitch her videos was to “Download stuff wrong”:

The very first thing that I did was downloading stuff wrong. Downloading things […] But then saving it before it was finished in order to see what the results would be

Kate Pushkin at GLI.TC/H

What Pushkin had unknowingly come across was what happens when you remove I-frames from videos, or what is more commonly known as Datamoshing. For Pushkin this was a very much a hit-and-miss operation, with most of her clips being unplayable. To assist her I took some of her content and ran it through the What Glitch? scripts, but it was clear that she was after a more analogue feel.

Below is a sample of some of the content that she produced, together with the audio from her performance:

The other challenge came from the software. Pushkin was more akin to using software such as Final Cut Pro to produce videos, but for GLI.TC/H she would be faced with the task of performing live. As a user of Pure Data for nearly all of my performance work I attempted to teach her the basics of this. Although it is a somewhat complicated program, under the right supervision it is very easy to get a video player that has a few basic effects. I gave Pushkin a short tutorial and then later provided her with some abstractions that I use in my video mixer. The resultant patch looked like this:

Kate Pushkin Pure Data Patch

Click to embiggen


As a tool for manipulating videos Pushkin found Pure Data inspiring, but time constraints prevented her from delving further into the software:

I really wanted to be able to make my own patch for my own effect, and I found it quiet frustrating, but at the same time I did give up relatively quickly because it became obvious what is going to possible in the time, given that I’d have to do something other than just make an effect for 20 minutes of entertainment.

Also technical problems sometimes arose that threatened her performance:

I had a lot of trouble with crossfading and my computer. And every time I’ve ever done it except the actual performance my computer crashed when I first faded too much. But I learnt how to get it running again in 35 seconds, so that’s a good lesson for life!

Despite all of this, it all came together on the day of GLI.TC/H. You can watch her whole performance below:

(The other videos from the event are also available online)

I’m really very pleased with her performance. Pushkin is by no means a novice in producing artwork, but to tackle a whole new style of art in a few days and then perform in front of nearly 70 people is quite an achievement.

I wonder, is glitch art (and circuit bending) something that could/should be taught at art institutions?

Interview with the Redbrick – GLI.TC/H BIRM

Shortly after GLI.TC/H hit Birmingham I did a short interview with Jonathan Melhuish for the Redbrick, Birmingham University’s newspaper.

GLI.TC/H Birm in Redbrick Newspaper

Original Photo by Jonathan Melhuish. Click to read article

Jonathan Melhuish: So, what is “glitch art”?

Antonio: Glitch art is making art out of analogue or digital errors. It can bemade using computers using techniques like attempting to open animage in a text editor or with physical objects, like opening up electronic toys andpoking around at its circuitry until you achieve odd and unexpectedresults.

It sounds like you’re celebrating technical failure.

Indeed we are. We don’t discard mistakes, we actively seek them out!

Is glitching something that only geeks can truly appreciate?

When it comes to glitch art, all you need is curiosity. When you startto do it, you may find it’s lots of fun and will achieve vivid imagery that would be difficult, or nearly impossible, to achieve using conventional methods and programs such as Photoshop. If you lookat popular culture, you’ll find artists such as Dizzee Rascal, KanyeWest and Everything Everything using these techniques in their music videos.

Read the full article on their website.

GLI.TC/H Birmingham

GLI.TC/H Birmingham happened on 19th November at VIVID and I’ve only just had time to recover from it.

As the curator of GLI.TC/H Birmingham I’d like to give my own set of thanks:

  • Arts Council England for supporting GLI.TC/H Birmingham.
  • Birmingham City University, in particular two staff members:
    • Gregory Sporton, for supporting the event, even if he doesn’t quite get what it all is!
    • Lorna Hards, whose course, Methods and Models of Curatorial Practice, gave me the confidence to curate GLI.TC/H Birmingham
  • VIVID, for accepting the proposal for GLI.TC/H Birmingham to be part of their “The Garage Presents…” programme and for providing an amazing space to hold this event in as well as technical and programming assistance
  • The GLI.TC/H Bots (Rosa, Nick and Jon) for being great friends and for allowing me to curate GLI.TC/H Birmingham. Moar thanks to Jon Satrom and Nick Briz for traveling to all three GLI.TC/H events (Chicago, Amsterdam and Birmingham)
  • Flip Festival, for hosting a great night of GLI.TC/H video previews. Photos/programme available here
  • Leon (Chromatouch), Pete and James and Sarah, for being great assistants and filling in gaps that I overlooked.
  • fizzPOP, for being a great hackerspace and providing assistance in the workshops
  • All of the artists that gave workshops, delivered lectures, performed or had videos/bumpers screened at GLI.TC/H Birmingham.
  • All of my friends that attended GLI.TC/H Birmingham or supported it in another way. I know that a lot my friends don’t quite understand glitch art, so it was great to see them at it!
  • And last, but not least, thanks to you, the audience, for traveling from the far reaches of England (and in some cases the world) to attend GLI.TC/H Birmingham. I hope that the day gave you a better insight into the world of technological failure!

    I was personally pleasantly surprised by the turnout throughout the whole day, to the point that we ran out of seats! So, thanks for making it a great success 🙂

Videos of all of the performances and lectures are available, thanks to Pete Ashton, on this YouTube playlist. Here’s the video of Jon Satrom’s prepared desktop:

Pete also took photos for the event and many more are available in the GLI.TC/H Flickr group. If you have any photos please add them to this group! Here’s one of my favourite photos, featuring Nicolas Maigret from Art of Failure:

Glitch Birmingham 34

I can’t personally comment on what is next in store for GLI.TC/H (GLI.TC/H 2012???), but I’m already planning future, much smaller, glitch art events to take place locally. I’m always up for collaborating on this, just get in touch.

Now time for sleep.

GLI.TC/H BIRM preview: Jon Satrom

GLI.TC/H has started and on Saturday November 19th it’ll be making its way to VIVID in Birmingham, UK! The full programme is available here, and as a PDF. Over the week I’ll be providing a bitesized overview of the upcoming events.

Realtime A/V: Jon Satrom

Jon Satrom presents a prepared desktop performance, where he uses the operating system itself as an instrument:


Satrom spends his days fixing things and making things work. He spends his evenings breaking things and searching for unique blips inherent to the systems he explores and exploits. Satrom teaches a course on Glitch Art at the School of the Art Institute of Chicago, runs a creative web and video studio called Studio Thread, performs real-time audio/video, creates colorful glitch-ware, and is involved in various collective online and offline new-media efforts.


GLI.TC/H 20111 will include works from over 100 participants from more than a dozen countries and will be taking place in virtual-space at http://gli.tc/h and in real-space

For more details visit: http://gli.tc/h | http://glidottcslashh.tumblr.com/ | https://www.facebook.com/glidottcslashh | @GLIDOTTCSLASHH

GLI.TC/H BIRM is part of The Garage presents… programme from VIVID and is supported by the National Lottery through Arts Council England and Birmingham City University