Not Signed-In
Which clippings match 'Corruption' keyword pg.1 of 1
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".




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


Simon Perkins
02 AUGUST 2010

Sister Midnight: metamorphosis, alienation and collapse played out in the border town of Ciudad Juárez, Mexico

The ongoing femicides in the border town of Ciudad Juarez, a real and socially relevant and current, ongoing news story is something that I will attempt to present using comic art, adapting Kafka's story to use as a foundation for visual treatments of real horror. The themes of metamorphosis, alienation and the collapse of a family unit are shared in Kafka's text and the news coverage of Ciudad Juarez, Mexico. The comics medium will be used to communicate with the audience and have them interact with the issue.

I first heard of the situation in Juarez from my Spanish teacher while in Guadalajara, Mexico and the story stayed with me. A very different Mexico was depicted closer to the border than what I had seen in my experiences of travelling around the country. The ugliness of the murders is heightened by the ongoing corruption that surrounds them. I feel confident that I can now give the story a worthy visual treatment, something that has been lacking in recent film treatments of the situation. For years, young women have been preyed on by rapists and murderers while commuting to factories on the outskirts of the city. The killings continue and, to use imagery from Kafka, the men who commit these crimes are like vermin or cockroaches.

['Sister Midnight' is a comic book created by David Valente as part of his MA in Illustration at Nottingham Trent University (UK) in 2010. The comic book was developed through a process of experimentation and discovery where Franz Kafka's 'Metamorphosis' was used as a study for exposing contemporary social issues in Ciudad Juárez, Mexico.]



2010adaptationalienationartistic practice • Ciudad Juarez • cockroach • comic artistscomic book artcomic stripcomicscorruption • David Valente • drawingexploitation • femicide • Franz Kafkagraphic novel • Guadalajara • horrorillustrationillustrative styleinterpretationIssuu (publishing)MAMA project • maquiladora • MexicomurderNTU • Sister Midnight • The Metamorphosis • ugliness • UK • vermin • vulnerability


David Valente
09 AUGUST 2009

Prisoners of a White God: Akha culture under attack

"This documentary explicitly reveals under cover work of missionary agencies and individuals in the destruction of an ethnic group, the Akha people of South East Asia. It is a picture of evil cloaked in righteousness. Evangelical missionaries come with the Good News of the Gospel, and aid for the poverty stricken mountain people. The reality is division, destruction of family core groups, human rights violations, displacement, forced relocation, theft of land, cultural genocide, racism and power of a majority people group over the indigenous group.
[Tomáš] Ryška does an excellent job presenting the contrast of hypocrisy and wealth of the missionary, aid, food and clothing, the underworld of child trafficking versus the appearance of cleanliness and holiness, worship done the 'right' way, versus the 'pagan way.' He contrasts land theft, greed for the rich mountain resources, good business versus God's service. He uncovers the fear of eternal punishment versus the joys of heaven, fear of death threats for those who dare expose evil that dwells in the fundamentalist Christian missionary centres, corruption versus holiness, forced relocation, illness, depression, malaria, and prison camps in the lowlands for the unfortunate mountain people. It is colonization all over again."
(Akha Heritage Foundation)


2008aid • Akha • autonomyChristiancommunitycorruptioncultural heritage • disempowerment • documentaryethicsethnicity • ethnocide • exploitationfaithFirst NationsfundamentalismglobalisationimperialismIndigenousIndigenous communitiesLaos • missionaries • missionarypagan • Prisoners of a White God • religionsocial changeSouth-East AsiaspiritualityThailand • Tomas Ryska • traditiontraffickingtransformationvillager


Simon Perkins

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