"Stage one Graphic Design Communication students have been developing a new ornamental display font with highly Individual characters inspired by drawing digitally and laser cut manufactured to the exacting standards reminiscent of a traditional font foundry.
Level tutor Nigel Bents and Associate Lecturer Paul Oakley will further support students by printing typographic posters at the New North Press."
(Graphic Design Communication at Chelsea College of Art and Design, 16 October 2011)
"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".
"Dziga Vertov's Man With A Movie Camera is considered one of the most innovative and influential films of the silent era. Startlingly modern, this film utilizes a groundbreaking style of rapid editing and incorporates innumerable other cinematic effects to create a work of amazing power and energy. Film pioneer Dziga Vertov uses all the cinematic techniques available at the time - dissolves, split screen, slow motion and freeze frames."
(Moving Image Archive)
Fig.1 Dziga Vertov (1929). 'Man With A Movie Camera', VUFKU (The Ukrainian Photo and Cinema Administration).
"To McCullough, computer animation, geometric modeling, spatial databases – in general, all forms of media production or design – can be said to be 'crafted' when creators 'use limited software capacities resourcefully, imaginatively, and in compensation for the inadequacies of prepackaged, hard-coded operations' (21).... Again, as Sennett suggests, we 'assert our own individuality' against the prepackaged, predetermined processes and limitations of the tools we're using. Craftsmanship, says aesthetic historian David Pye, is 'workmanship using any kind of technique or apparatus, in which the quality of the result is not predetermined, but depends on the judgment [sic], dexterity and care which the maker exercises as he works' (45).
'Workmanship engages us with both functional and aesthetic qualities. It conveys a specific relation between form and content, such that the form realizes the content, in a manner that is enriched by the idiosyncrasies of the medium' (McCullough p.203). '[E]ach medium,' McCullough says, 'is distinguished by particular vocabulary, constructions, and modifiers, and these together establish within it a limited but rich set of possibilities' (McCullough p.230). Similarly, each methodology, or each research resource, has its own particular vocabulary, constructions, modifiers, obligations, and limitations. We need to choose our tools with these potentially enriching, and just as potentially debilitating, idiosyncrasies in mind. Do we need advanced software, or will iMovie suffice? Do we need to record an focus group in video – or will the presence of the camera compromise my rapport with my interviewee? Will an audio recording be more appropriate? Do we need to conduct primary interviews if others have already documented extensive interviews with these same subjects? Do we need to conduct extensive, long-term field-work – or can we accomplish everything in a short, well-planned research trip? How do I match my problem or project to the most appropriate tool?"
(Shannon Mattern, Words in Space)
Malcolm McCullough, Abstracting Craft: The Practiced Digital Hand (Cambridge, MA: MIT Press, 1996).
"this blog is nina wenhart's collection of resources on the various histories of new media art. it consists mainly of non or very little edited material i found flaneuring on the net, sometimes with my own annotations and comments, sometimes it's also textparts i retyped from books that are out of print.
it is also meant to be an additional resource of information and recommended reading for my students of the prehystories of new media class that i teach at the school of the art institute of chicago in fall 2008.
the focus is on the time period from the beginning of the 20th century up to today."
(Nina Wenhart, 26/06/2008)