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Which clippings match 'Digital Detritus' keyword pg.1 of 1
24 NOVEMBER 2016

Download Finished (2006): a procedural video machine

"Download Finished was an online ressource which transformed and re-published films from P2P networks and online archives. Found footage became the rough material for the transformation machine, which translated the underlying data structure of the films onto the surface of the screen. The original images dissolved into pixels, thus making the hidden data structure visible. Through Download Finished, file sharers became authors by re-interpreting their most beloved films. ...

Download Finished questions the relationship between the original and its copy in a digital environment. It deals with questions arising from the cultural practice of file sharing (and the breakages and voids it makes evident within the copyright system)."

(!Mediengruppe Bitnik)

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!Mediengruppe Bitnik (arts collective) • 2006 • Adnan Hadzi • aesthetics • algorithmic reconfiguration • algorithmic remixing • algorithmic transformation • art projectartefactingauthorship • automatic composition • Carmen Weisskopf • chance artcorrupting digital datacut-up • Daniel Ryser • data glitches • data remixing • databendingdigital aestheticsdigital detritusdigital errorsdigital materialismdistortion • Domagoj Smoljo • Download Finished (2006) • found footage • generative works • glitch aestheticsglitch practitionersglitched out video • online ressource • P2P • procedural remixing • procedural transformation • procedural video machine • re-publishreinterpretation • reinterpreting • remixedrepurposingsynthesis machines • system-based synthesise • systems arttech-art • transformation machine • transformed by technology

CONTRIBUTOR

Simon Perkins
21 MARCH 2014

Bruce Sterling: afterglow effects and digital detritus

"Cypherpunk writer, journalist and critic Bruce Sterling gives a talk on the future of digital culture and its seedy (geo)politics at the opening ceremony of transmediale 2014 afterglow, January 29,2014. Introduction by Kristoffer Gansing."

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2014 • afterglow • afterglow effects • afterlife of objects • Andy Cameron • Arduinoart production • atemporality • Bruce Sterlingcomputational artscyberpunkcypherpunkdebrisdigital anthropologydigital culturedigital detritusdigital graveyarddigital materialismDIYDragan Espenschiede-waste • electronic frontier • entropyGeocitiesgeopolitical landscapegeopolitics • gold rush • Grateful Deadhackinginternet of things • John Perry Barlow • Kristoffer Gansing • lived condition • means of production • mulch • net artnet.artnetartobsolescenceobsolete ecologiesobsolete technologyOlia Lialinapunch cardsRaspberry Piredundant technology • Richard Barbrook • surveillance • techart • the futureTransmediale festival • Walt Whitman

CONTRIBUTOR

Liam Birtles
06 FEBRUARY 2013

jodi.org

"JODI has over the years built quite a reputation, especially with their notorious CD–rom OSS/**** (Mediamatic, Amsterdam 1998) which, immediately after installation, executes a takeover of the computer. In 1999 their work was part of exhibitions like Netconditions at the ZKM at Karlsruhe, The Allure of the Digitalat the Tate Gallery in London and the SONAR festival in Barcelona. They were awarded a number of international prizes, amongst which the Webby Awards in San Francisco. JODI disposed of this prize immediately, calling the DotCom–audience 'ugly %commercial sons–of–bitches'. In the year 2000 JODI was present at several international group–exhibitions and festivals, such as the Transmediale in Berlin and Deathmatch at Hangar in Barcelona Even an apparently obsolete medium like teletext did not escape JODI's interference. In 2000 they released their unusual way of thinking on 'Page 379' on the occasion of the 25th anniversary of this medium."

(v2.nl)

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artart installationartist collectivecodecomputercreative practice • Deathmatch • digital detritusDirk Paesmans • DotCom-audience • hypertext • interference • InternetJoan HeemskerkJODI (art collective)Mediamaticnet artnet.art • Netconditions (exhibition) • obsolete medium • Page 379 • SONAR festival • takeover • Tate Modern • teletext • The Allure of the Digitalat • Transmediale festivalV2_ • Webby Awards • ZKM

CONTRIBUTOR

Simon Perkins
18 JANUARY 2012

Glitch art: created purposefully through databending and corruption

"Data glitches are unavoidable. As technology gets more complex, it's easier and easier for a small bug to creep in and ruin your perfect data. But a growing number of artists in different fields are coming to value these glitches, and have begun attempting to insert them purposefully into their work using a technique called 'databending'.

'Glitch art' is a term that there's some debate over: Many argue that it can only apply when a glitch is unintentional –– when it occurs naturally due to an error in hardware or software that leads to the corruption of whatever it is the artist was trying to create.

But there are ways of intentionally inducing some of these glitches, a process called 'databending'. Databending draws its name from the practice of circuit bending –– a practice where childrens' toys, cheap keyboards and effects pedals are deliberately short–circuited by bending the circuit board to generate spontaneous and unpredictable sounds."

(Duncan Geere, 17 August 2010, Wired UK)

Fig.1 Don Relyea, "glitched out video".

Fig.2 David Szauder, "supra glitch".

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aestheticisationaestheticsanalogue errorsartartefactingartefacts • bug • bugs • circuit bending • corrupting digital code • corrupting digital datacorruptioncraft as conceptdatadata glitchesdatabendingdegradationdesign formalismdigitaldigital culturedigital detritusdigital errorsdigital materialismdistortionerrorexperimentationgenerativeglitchglitch aestheticsglitch artglitch practitionersglitched out videoglitches • glitschig • inducing glitches • malfunction • perfect data • purposeful glitching • randomnessreadymade • short-circuit • supra glitch • tech-arttechniquetechnologyunintentionallyunpredictability

CONTRIBUTOR

Simon Perkins
09 NOVEMBER 2004

Digital Detritus

Oliver Wolf, Lea Filadoro, Josef Renner (Studienbereich Neue Medien Hgkzürich)
Ein User oder eine Gruppe kann sich die Müllabfuhr ins 'Haus' holen (abonnieren für einen best. Zeitraum ). Dabei wird sämtlicher von den einzelnen Personen 'angefertigter' Datenmüll in einem kollektiven Mülleimer eingesammelt (Sammeln) und grob gesiebt/gescannt(Trennung). Dieser kollektive Müll (Mülleimer als Repräsentant der Information) kann dann wiederrum durchforstet werden (Recycling) und für den Einzelnen/ die Gruppe sichtbar gemacht werden (Aufbereitung).

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