Glitch art
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Glitch art is the aestheticization of digital or analog errors, such as artifacts and other “bugs”, by either corrupting digital code/data or by physically manipulating electronic devices (for example by circuit bending). Glitch
In a technical sense a glitch is the unexpected result of a malfunction. The term is thought to derive from the German glitschig, meaning 'slippery.’ It was first recorded in English in 1962 during the American space program by John Glenn when describing problems they were having, Glenn explained, “Literally, a glitch is a spike or change in voltage in an electrical current.”
Glitch is used to describe these kinds of bugs as they occur in software, video games, images, videos, audio, and other forms of data. The term glitch came to be associated with music in the mid 90s to describe a genre of experimental/noise/electronica (see Glitch (music). Shortly after, as VJs and other visual artist like Tony (Ant) Scott began to embrace the glitch as an aesthetic of the digital age, glitch art came to refer to a whole assembly of visual arts.
In January 2002, Motherboard, a tech-art collective held a glitch symposium in Oslo, Norway, to “bring together international artists, academics and other Glitch practitioners for a short space of time to share their work and ideas with the public and with each other.”
Iman Moradi, perhaps the first official glitch theorist, has written extensively on the subject of glitch art and released the book Glitch: Designing Imperfections in September 2009. Glitch as art
Glitches are mostly a result of miscommunication or mistranslation when transferring data from one environment to another. They occur in computers due to bugs in software or hardware. In Iman Moradi’s dissertation, Glitch Aesthetics, he divides the glitch into two categories. The first is the pure glitch which is the result of a Malfunction or Error, an unpremeditated digital artifact, which may or may not have its own aesthetic merits. The second is the glitch-alike which is the result of an intentional decision on the user side. Glitch artists either synthesize glitches in non-digital mediums, or produce and create the environment that is required to invoke a glitch and anticipate one. A glitch-alike then is a collection of digital artifacts that resemble visual aspects of real glitches found in their original habitat.