"Most camouflage is based on the idea of concealment and blending in with its surroundings. However another school of thought has argued for making the item in question appear to be a mashup of unrelated components. Naval camoufleurs found this theory particularly appealing. Blending didnít work because ships operated in two different and constantly changing color environments - sea and sky. Any camo that concealed in one environment was usually spectacularly conspicuous in others.
Norman Wilkinson, a British naval officer and painter, suggested a scheme that came to be known as Dazzle or Razzle Dazzle painting. Wilkinson believed that breaking up a shipís silhouette with brightly contrasting geometric designs would make it harder for U-boat captains to determine the shipís course."
(FoundNYC Inc, 4 April 2009)
"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".
"In spaces voided by destruction, new structures can be injected. Complete in themselves, they do not fit exactly into voids, but exist as spaces within spaces, making no attempt to reconcile the gaps between what is new and old, between two radically different systems of spatial order and of thought a webbing of cycles intersecting in space and time."
(Lebbeus Woods Woods, 1997, p.16)
Woods, Lebbeus. 1997 'Radical Reconstruction, New York, U.S.A: Princeton Architectural Press.