www.glitch.art.

br

Glitch Art Br 2020 Cleber Gazana (Org.)

(Org.)
Cleber Gazana
AT/1
Este livro faz parte da Glitch.art.br 2020
Glitch Art International Online Exhibition, o primeiro evento
de Glitch Art organizado no Brasil e um espaço projetado
para promover, exibir, interagir e discutir a arte Glitch.

Copyright © Cleber Gazana (White Area), 2021

1ª Edição / Edition. ISBN 978-65-00-23873-0

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Glitch Art Br 2020 / Cleber Gazana (org.) ;
[tradução Sabato Visconti, Cleber Gazana].
-- 1. ed. -- São Paulo : Ed. do Autor, 2021.

Vários autores.
Edição bilíngue: português/inglês.
ISBN 978-65-00-23873-0

1. Arte - Exposições 2. Arte digital 3. Glitch art

4. Mídia digital I. Gazana, Cleber.

21-67379 CDD-709.0501
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Índices para catálogo sistemático:

1. Glitch art : Artes 709.0501
Cibele Maria Dias - Bibliotecária - CRB-8/9427

All images, names and texts published here have been authorized by their copyright holders, in accordance with the
Terms and Conditions of the Glitch.Art.Br 2020, without incurring any responsibility for the Organizer, at no cost to
the Organizer or payment to participants, reserving the copyright of their respective authors. The participant will
be solely responsible for the authenticity of the information provided, for the authorship of the artwork and the
contents therein. The participant assumes responsibility for submitted content, responding to civil and criminal
penalties for plagiarism or any other act that may harm another person's copyright or intellectual property.
 2/3

Cleber Gazana
(Org.)
Capítulos / Chapters

What is glitch.art.br? p.07

Cleber Gazana

Our numbers [will] keep growing p.11

Cleber Gazana

Postdigital aesthetics: an art of

imperfection, disturbances and disintegration p.13
Andrzej Marzec

Sintomatologia da Glitch Art: arte pós-digital,

erro e a humanização da tecnologia p.23
Cleber Gazana

A potência da falha na arte p.33

Ludimilla Carvalho
Glitch.Art.Br 2020 / Index

Categorias / Categories

Audio p.43

Image p.55

Video p.93

Índice de Artistas / Artists Index p.122

Agradecimentos / Acknowledgment p.124

Créditos / Credits p.125

Glitch.Art.Br 2020 / Chapters 6/7

What is glitch.art.br?
Cleber Gazana

Glitch.art.br 2020 Glitch.art.br is an online platform

International Online Exhibition. designed to promote, exhibit, and
Post-pandemic First Edition. provide a dedicated space for
interacting with and discussing
Glitch Art.

The 2020 International Online

Website Exhibition is organized in Brazil, but
is intended for a global audience.

The exhibition is free and open to

everyone, as it allows for a wider
worldwide audience to access an
online program that brings together
artworks and texts by current
artists and researchers.
The idea was born out of the need
to research and promote this
important artistic genre that grows
every year. The exhibition format
was inspired by online new media
festivals like GLI.TC/H, Op3nr3po,
Year of the Glitch, and The Wrong.
The goal is to create a participatory
and community-oriented
initiative dedicated to showcasing
experimental and subversive arts
from old and new media that
are based on analog and digital
technologies, also to wide-ranging
creative new media-art practices.
The exhibition is particularly
interested in featuring artworks
that explore the critical, artistic,
and free use of technology.
In terms of artistic production, we
will focus on those artworks that
clearly represent or dialogue with
Glitch Art. These are works that
feature glitches, errors, failures,
noise, deformations, malfunctions,
defects, imperfections, strangeness,
randomness, accidents, chaos, (dis)
programming, deconstructions,
interventions, interference,
subjectivities and disruption of
appearances, power structures,
Glitch.Art.Br 2020 / Chapters
narratives, orders and functionality
of data, files, software, hardware,
and other technical devices. This
includes ways of creating (un)
automated, incorrect, incoherent,
collaborative constructions,
marginal knowledge production and
actions; in short, the possibilities
of creating artworks that do not
participate or rarely participate
in the “recognized” circuit of the
current international art market.
8/9
+
Who idealized and
organized all this?
The voice speaking on behalf of
glitch.art.br is Cleber Gazana, a
person who identifies with Glitch
Art and is concerned with its
promotion, exhibition, interaction
and discussion. If necessary,
other people will be invited to the
organization. This is an individual
initiative without financial or any
kind of assistance.
Glitch.Art.Br 2020 / Chapters 10/11

Our numbers [will] keep growing

Cleber Gazana

See the numbers of our event beside. Artists 64

We took the opportunity to thank the Countries 30

participation of all the artists who
were part of this edition and also Sound Art 12
to the artists who submitted their
artworks but who for some reason Image Art 45
were not selected for this edition.
Video Art 25

Online social media 06

Glitch.Art.Br 2020 / Chapters 12/13

Andrzej Marzec – Philosopher, film critic, editor of "Czasu

Kultury" journal. His research interests focus on: speculative
realism, object-oriented ontology, dark ecology and
contemporary alternative cinema. In his latest research he tries
to apply the notion of "weird realism" to the Anthropocene
epoch. The author of books: "Widmontologia - Teoria
filozoficzna i praktyka artystyczna ponowoczesności" (2015) and
"Antropocień – filozofia i estetyka po końcu świata" (2021).

Postdigital aesthetics: an art of imperfection,

disturbances and disintegration1
Andrzej Marzec

Various negations of art (anti-art and
destruction art) consisting in questioning its
classical vision and mission were first of all
supposed to object the representation and free
images from the compulsion of depiction. In my
considerations over the postdigital aesthetics,
I shall start from the rebellion of images which
free from the obligation to reflect, duplicate
the reality, and which become independent and
performative agents. From now on, their main
purpose shall be their actions: disturbance,
distortion and shifting the existing vision of the
world. It is those images which shall constitute
the postdigital landscape, create the splice,
the space of co-existence of the elements of
the analog and digital cultures. Apart from the
phenomenon of the return of analog devices,
i.e. the so-called neoanalog trend in the
effectively digitalized world, the most interesting
phenomenon within the new aesthetics turns
out to be glitch art, an art based on destructive
actions, fascination with defect, failure and
unsuccessful representation. Relying mainly on
Rosa Menkman’s research, I wish to characterize
the phenomenon of the postdigital aesthetics,
highlight its negative dimension and show the
inspirations which it draws from the fact of the
digital reality becoming obsolete.

1 Artigo publicado no livro Unframing Archives. Essays on cinema and visual arts. p. 31-43. Coordenação: Eugénia Vilela,
Filipe Martins, Né Barros. Coleção Estética, Política e Artes. Editora Faculdade de Letras do Porto, outubro 2018,
ISBN 978-989-54179-4-0. Publicado aqui com autorização de Né Barros (2021). + https://balleteatro.pt/edicoes_filmes/livros/
Rebellion of images
Throughout centuries, the traditional art has
made us familiar with its affirmative character,
and the creation process itself was connected
with the reality: if it was directly connected with
its creation, then with proving and confirming
its existence. While surrounded by pieces of
art, we can be sure that usually they represent,
convey a number of more or less colourful and
recognizable depictions or classical values, such
as beauty or truth. The image then constitutes
a strictly dependent, if not enslaved thing,
therefore, is always artificial and secondary, it
has to refer to something, it can be nothing else
than a copy of its original.
Meanwhile, in the 20th century starts the period
of rebellion, during which the more avant-garde
images become more and more independent, and
try to free themselves from their humble role, i.e.
the compulsion to depict. This is the reason why
they become abstract, non-figurative, and thus
independent. From now on the emancipated art
will not want to reflect anything, nor will it have
to exemplify, show, depict or make present. This
negative shift in the history of culture, which
consciously gives up bringing its participants
to the better, more true and beautiful worlds,
gets to be called a crisis of representation or a
problem of reference. The gradual separation from
images and what they represent, i.e. the process
of emancipation of copy from its original dictating
the conditions of its proper reproduction, has
been described by Jean Baudrillard, who presents
his theory of simulacra2. According to this French
philosopher, originally images were faithful
copies of its originals; one could say there were
2 See. BAUDRILLARD, J. 1994. Simulacra and simulation,
trans. Ann Arbor, The University of Michigan Press.
inseparable and complementary. Unspecialized
and enslaved representations did not replace
the unbeatable reality – they were only able
to refer and lead to it. The second stage of the
emancipation of images consisted in actions of
unfaithfulness, i.e. the gradual separation from
the original and the purposeful departure from the
truth. The even more attractive representations
begin to draw the attention which is exclusively
theirs, and they slowly become more interesting
than what they were supposed to depict: they
cover the reality to which they ought to lead in
the first place. In the third stage of creating of
simulacra, the depictions only pretend to be able
to lead us anywhere thus simulating the existence
of their original or source. Finally – according to
Baudrillard - simulacrum constitutes the ultimate
form of emancipation of images which exist
independently already, each for itself and without
referring its spectators to nothing but itself.
By screaming non serviam!, rebellious,
nonfigurative images renounce their service for
the benefit of the nonrepresentational reality,
which they were so far supposed to justify and
– through their existence – to maintain. Thus,
images stop to be reflections, representations
and copies, and finally freed from the duties
imposed by them, start to live independently,
like their own and authentic life, away from the
compulsion of depicting. Henceforth our interest
is diverted to the earlier hidden existence of
images, and our attention is drawn to their
specific desires, dilemmas, problems and hopes.
This is why, contemporarily, the question what
images want seems to be much more interesting
than the matter of what they depict, convey and
what reality they refer to3.
3 See. MITCHELL, W.J.T. 2004, What do pictures want? The lives
and loves of images, Chicago, University Of Chicago Press.
Glitch.Art.Br 2020 / Chapters 14/15

“
[...] discusses the recent phenomenon of postdigital aesthetics,
with a focus on postdigital artists’ preference for destructive
actions, and their use imperfection, distortion and errors.
[...] The art of glitch perhaps best epitomizes our postdigital
condition and shows a discontinuous experience of reality.

”
Postdigital reality
We have analysed the long but consistent
process of the aesthetic emancipation, i.e.
the liberation of the world of art from the
compulsion to represent, completed with an
effective instability of the opposition original -
copy. The postdigital reality requires a few words
of comment since it is this space where we can
find rebellious images which interfere with and
distort the traditional order of depiction. What
was characteristic of the postdigital epoch
was the unshakeable faith in the information
conveyed, which – free from any imperfections
and disturbances – was supposed to fight
the destructive force of time. The digital
culture based on the binary code seemed to
be absolutely immaterial and generated the
effect of immediate and unfettered availability.
Its lightness and sterility was additionally
increased by the minimization of medium and
wireless communication, making the impression
as if the flow of data were taking place with no
mediation whatsoever. The new, dynamic, mobile
and elusive digitality was clearly opposed to the
heavy analog tradition of many hundreds of years
of existence, which was not able to protect the
recorded images and information from being lost,
obsolete and disintegrated.
Meanwhile the digital technology, as well as the
vision of future it represents, has become old and
does not constitute a novelty. Therefore, in order
to describe it, I have been using the past tense.
Contemporarily, we live in the postdigital time,
which - against the digital prophets’ predictions
– means that we are very likely to combine the so
far juxtaposed worlds, the analog with the digital
one. In a nutshell, the postdigital reality means
that we gladly use the old-fashioned, analog, and
– one could think – forgotten – media, but we do
it in a way we got used to through the newest
achievements of technology, the digital media.
Florian Cramer gives a perfect example of such
hybrid, digital and analog proceeding where
he analyses a mem he came across in the net.
In the mem, there is a photograph of a man
sitting on a bench in a park, with a typewriter
on his lap. It is signed "You shall not be a real
hipster unless you take a typewriter to a park"4.
Cramer reveals that the photograph depicts the
American writer Christopher D. Hermelin, who by
profession writes short stories outside, which
then are bought by the passers-by. We are used
to the sight of people typing in parks and cafes
but using laptops: the sight of a typewriter might
cause surprise and disturbance in the users of
the digital culture. However, the analog choice
of the writer who uses the old technology in a
new way seems to be well-grounded, and perhaps
most practical. If Hermelin decided to sit on the
bench with a laptop and wireless printer, it would
be much more complicated, his writing would
lose its unique charm, and his efforts would be
limited by the capacity of the battery, access to
the Internet and the weather.
4 Cfr. CRAMER, F. 2015. What Is “Post-digital”? [in:] Postdigital
Aesthetics. Art, Computation and Design, edited by Berry T.D.,
Dieter, M., New York, Palgrave Macmillan, p. 12.
End of digitality: neoanalog
Another sign of the fact that we live in the
postdigital era is the amazing popularity of the
series Thirteen Reasons Why (Thirteen Reasons
Why, 2017), which tells the story about a teenage
girl who committed suicide (Hannah Baker).
She decides to record her memories on tapes.
Everyone who has contributed to her death even
in the least degree, receives a set of the tapes
prepared by her, and having read them they find
out about the thirteen reasons which makes
this secondary school girl commit suicide. The
fact that she chooses the old-fashioned data
carrier, her being born in the 20th century and
having access to Facebook, Snapchat, all kinds of
video blogs, YouTube and many other channels of
contemporary communication, makes you think
and ponder why.
From the digital point of view, her entrance
into the analog world is directly connected with
a concrete vision of death necessary in the
virtual reality. The shift into the offline state,
disconnection from the Internet turns out to
be equal with catastrophe, apocalypse, it is a
nightmare of most teenagers. Hannah, recording
herself on the tapes, on one hand stresses
her exceptional quality and difference so that
there is no place for her in the secondary school
environment, on the other she repeats the
gesture of suicide as most people do not have
the cassette players anymore. If we look at her
decision from the postdigital point of view, it
Glitch.Art.Br 2020 / Chapters
turns out that the secondary school student is
an aware participant of the non-contemporary
aspects of the contemporary times, and her
choice perfectly shows the way people function
in the hybrid, neoanalog times.
By forcing her friends to listen to the tapes and
using the paper maps with spots marked by her,
Hannah introduces havoc to the orderly world
so far distinguishing between the analog and
digital reality. What is mingled in the series is the
chronological order, the past is intertwined with
the present making them difficult to separate
one from another. The sequence of tenses may
be discerned only when we carefully follow the
aesthetics with which the film was created. The
events from the past are bright and colourful
which is typical of the analog culture, the
present ones however have cold, blueish hues
characteristic of the digital way of perception.
Hanna’s usage of cassette tapes is aimed at
the selective access to information, creation of
intimacy, closeness and relation between the
sender and the receiver she chooses. The girl
thus opposes the virus-like model of spreading
information, their uncontrolled multiplication,
the sender’s anonymity and the immediate
availability of the whole content 5. She herself
falls prey to this way of passing on data
when one of her intimate pictures gets in the
Internet, and she is not able to control how it is
increasingly passed. That is why she chooses an
5 See. SAMPSON, T.D. 2012. Virality. Contagion Theory in the
Age of Networks, Minneapolis, University of Minnesota Press.
16/17
old-fashioned data carrier, which offers neither
immediate nor entire availability of the content.
In order to listen to the recorded story, one
needs a great deal of time and if they want to
get familiar with it, they ought to learn to live
with it, i.e. its slow assimilation, from the very
beginning to the very end. Also, the recording
itself, with the usage of the analog technology
is different, deprived of the possibility to cut,
do the retouching, change and interfere with, all
of which result from the subsequent processing
of sound. The teenager’s narration leading
us throughout the whole series creates the
impression of security, stability and continuity
in the instant culture, in the world used to
fragmentariness, citations, extracts and skipping
of boring, uninteresting information.
Analog-digital splice
The co-existence of the analog (sound waves,
magnetic field) and digital (fragments of bites,
pixels) cultures, their intertwining, constitutes
the postdigital landscape of the contemporary,
visual culture. We can notice the increasing
fascination by the analog devices, we can observe
their second life, as if contemporarily they
would like to be used once again, in completely
new conditions and circumstances (cassette-
recorder tapes, VHS, vinyls, postcards, analog
photographs, even money). Not only is their
usage becoming popular but also equal with the
so-far favouring and overrating of digital ones.
The ideal of the digital vision of the world
consisted in the consistent striving for
perfection, maximal speed of transmission,
immediate availability, high quality of data,
durability of information and cleanness of the
transfer, i.e. eliminating of any interferences and
creation of perfect communication. Today, we
know that this utopic dream cannot be fulfilled.
The exchange of information never takes place
directly. This is why we are constantly doomed to
face the distortions generated by the application
of media. Information is not something existing
beyond time and space, but is always connected
with transformation and deformation when it
is being passed6. The comeback of the analog
culture could be perceived as the revival of the
materiality so hated in the digital era, of the DIY
culture, and last but not least, the conscious
resignation of perfection.
The new, hybrid aesthetics stemming from the
experience of mingling or the splice of the analog
and digital traditions, is interested first of all
in the defeat, defect, damage and the failure
of the project of digitalization, it is born from
their ashes and its them where it generates
its inspiration from7. The digital era offered a
quick and easy access to information, but it
was permeated with the danger of radical and
immediate loss of data – everyone is aware of
the difference between a book flooded with the
morning coffee and a laptop or smartphone.
The postdigital aesthetics shall feed itself in
different ways on the atmosphere of danger
and accident so typical of the digital times, on
6 Cfr. LATOUR, B., A prologue in form of a dialog between a
Student and his (somewhat) Socratic Professor.
Edited by: C. Avgerou, C. Ciborra, F. F. Land. [in:] The Social Study
of Information and Communication Study (2004), pp. 62-76.
the destruction lurking in hidden place, which is
able to digest and devour the digitalized archive
in one go8. Not without a reason, the main
axis of the Thirteen reasons why is a personal
catastrophe, the heroine’s suicide. With bated
breath, the spectators of the series watch a
number of unlucky events from her life, private
defeats and failures, which led her to death, while
from the very beginning nobody has illusions as
to a different end of the story.
Failures and death in the digital world
The postdigital aesthetics fetishizes visual
errors, defects and imperfections from which the
digital culture wanted to free us at any price. One
of the most important artistic trends realized
therein is glitch art, i.e. art which highlights
disturbances, uses digital errors, prefers a
bad quality of image and its disintegration,
the so-called pixelization. The creators using
the phenomenon of glitch are happy about the
defects instead of crying and grieving over their
subsequent results, actually they cause them
to exist in order to make happen the creative
potential connected with the destructive
actions9. The negativity of the postdigital art
consist first of all in highlighting the creative
role of destruction and disintegration, and on
generating distortions, which have no sense
whatsoever but influence the recipients in a
special way, for instance causing them to feel
uneasy. The images created by disturbance shall
be significant to their interpreters more due to
their interaction and the achieved effect, rather
than to its content, sense or representation.
7 See. JOHNSON, C.B. 2014. Modernity without project. Essay on
the Void Called Contemporary, New York, Punctum Books.
8 See. Virilio, P. and Lotringer, S. 2005. The Accident of Art,
trans. M. Taormina, New York, Semiotext[e].
Glitch.Art.Br 2020 / Chapters 18/19

“
The postdigital aesthetics fetishizes visual errors, defects and
imperfections from which the digital culture wanted to free us at
any price. One of the most important artistic trends realized therein
is glitch art, i.e. art which highlights disturbances, uses digital
errors, prefers a bad quality of image and its disintegration [...]

”
Rosa Menkman claims that within glitch art we
can distinguish between two kinds of artistic
actions. The first one consists in evoking the real
defect (pure glitch), creating the real danger for
the proper work and subsequent life of a digital
device, which in extreme circumstances leads to
death10. The other way to introduce a defect into
the space of art is its simulation and emulation
(glitch-alike), which brings no real danger. In this
case it is only about the aesthetic processing
of an image which makes the spectators have
the impression that something went wrong,
something failed while everything is all right and
nobody is jeopardized.
In the first case, the artists confront us with the
real defect, painful failure, drawing our attention
to the materiality and mortality of the digital
medium, about which one could think only in the
postdigital era. They refer to the natural cycle of
life of machines, which – like life creatures – have
their beginning and ending, and are born in order
to die11 . Stanley Kubrick’s 2001: Space Odyssey
(1968) is perhaps one of the first but definitely
the most dramatic vision of death of a computer,
which starts a serious discussion over the
problem of infallibility of calculation machines.
When the astronauts realize that the perfect
super computer HAL 9000 on the spaceship stops
working properly, they decide to deacitvate it.
Once the machine finds it out, it proves to have a
strong instinct for self-preservation and tries at
any price to avoid the death penalty. In order to
protect itself, it is able to devote even the lives
of the passengers of the spaceship.

9 Cfr. BETANCOURT, M. 2017. Glitch art in theory and practice, New York, Focal Press, p. 7.
10 Cfr. MENKMAN, R 2011. Network Notebooks 4: The Glitch Moment(um), Amsterdam, Institute of Network Cultures, p. 35.
11 A very interesting exhibition Une archeologie des media in the context of mortality of computers and the dawn of the digital
world took place in the Second Nature w Aix-en-Provence (19.05‒28.06.2015) http://www.secondenature.org/-Archeologiedes-
Media-.html (access: 19.04.2017). One of the rooms reminded of hospital or operation theatre, where there were dying computers:
some of them passed away during the exhibition.
After the struggle with the desperately fighting
HAL, Doctor David Bowman decides to disconnect
it from power. The computer gets to understand
that it is doomed to be destructed and goes on
to beg its assassin for mercy: "Dave, please stop.
Stop. Dave stop. Dave, please stop. Stop it Dave".
The pleas are all in vain, so the cornered HAL
decides to talk about its fears and emotional
states: "I’m scared. I’m scared, Dave. Dave, my
brain disappears. I can feel it. It’s for sure. I can
feel it. I can feel it. I can feel it. I’m scared….". HAL
is about to die and his memory to be deleted,
so it protects itself with its last strength: it
recalls its first memory, its own birth on January
12, 1992 in Urbana, Illinois. Trying to manage
its growing fear of death approaching, it starts
to sing a song about love taught to it by the
programmer. The voice of the singing HAL gets
gradually distorted and stratified, becomes
and undergoes a number of deformations till it
finally becomes silent and the computer dies.
The spectators are aware that they are being
witnesses of the first glitches in the history of
the cinema.
The postdigital art shows us the human face
of computers, it introduces us to the world of
machines, which fail, get old and die before our
eyes. Obviously, this process can take place
slowly and naturally, but most often is speeded
up by the defect-hungry artistic creators. It
12 Cfr. MENKMAN, R. 2011. Network Notebooks 4: The Glitch
Moment(um), op.cit., p. 37.
13 See. RANCIÈRE, J. 2006. The Politics Of Aesthetics: The
Distribution of the Sensible, trans. and introd. G. Rockhill,
London and New York, Continuum.
is worth mentioning about the artistic and
aggressive actions of group 5VOLTCORE, who
use technique circuitbending 12. By manipulating
with voltage, the artists evoke a number of
short circuits within the body of a computer
(hardware), which – during such tortures -
generates various unpredictable and unexpected
images. Glitch art would consist in sharing with
the viewers the images of digital machines just
before they die, the images brought out shortly
before its death13. Being treated inhumanly by
the artists, the tormented computers generate
non-human visions of the digital world falling
apart in the inevitable catastrophe.
Glitch art: Spoil! Destroy! Distort!
The first and more conservative type of glitch
art described by Menkman concerns rather the
artistic interventions into space hardware. Some
of Cory Arcangel’s works could be also included
in this movement. For instance HITACHI P42H01U
Plasma Burn of 2007 depicts an inscription
presented for too long on a plasma TV screen
which leads to a permanent, irremovable burnt
out of the message in it. The creators of glitch
art are aware that they are able to avoid neither
accident nor defect nor catastrophe in their lives,
but they can safely survive only in the world of
art, were errors and making mistakes constitute
artistic value or device. Not only do the
Glitch.Art.Br 2020 / Chapters
postdigital artists perform deadly actions inside
computers. They are also interested in activities
in space software, like killing websites, creating
frustrating computer games which cannot be
completed or blogs, where the human language
gets mingled with non-human ones used for
programming, for example with code ASCII14.
According to the previously set principles,
the characteristic feature of the postdigital
aesthetics is its hybrid-like nature, for instance
the conscious usage of analog culture in a way
as if the latter belonged to the digital order. Two
more artists are worth mentioning since, in their
works, they definitely put this postulate into
effect and in the division proposed by Menkman
are included in the other type of glitch art. One of
them is Andy Denzler. Thanks to his characteristic
strokes of brush, his paintings lead to blur of
images. The artist creates the effect of fast
forward perfectly known from the VHS tapes.
By means of applied disruptions, Denzler’s art
displays first of all the anachronic medium with
its subordinated content of the painting. Another
interesting creator exhibiting the aesthetics of
defect in the applied art is the Italian architect
and designer Ferruccio Laviani. In 2013, he created
a collection of furniture called Good vibrations15,
14 In this kind of actions, the leader is a Dutch and Belgian
duet called Jodi, made up by Joan Heemskerk and Dirk
Paesmans.
15 http://www.laviani.com/good-vibrations (access:19.04.2017).
16 https://www.theverge.com/2017/4/18/15328968/samsung-
galaxy-s8-review-s8-plus (access: 19.04.2017).
20/21
achieving an amazing, and at the same time
disturbing effect. The fronts of the wardrobes
designed by Laviani look in reality exactly as
if they were digitally distorted (databending),
deformed by a strong tremor or rocking.
The phenomenon of databending has become
so inspiring, if not fashionable, that it is hard to
imagine contemporary culture which would prefer
a clear message and would consciously avoid
disturbances drawing our attention. Thus glitch
becomes a common aesthetic choice, overused
style or a popular visual effect, more and more
appropriated also by the capitalist economy. The
aesthetics simulating defect (glitch-alike) suspends
the division into the old and the new since every
novelty shows evidence of imperfection, pixelation.
The way new products are advertised for is
changing too. For instance, a video promoting the
newest smartphone in the market, i.e. the token
of the contemporary available technology, on
purpose applies a bad quality font, which after
appearing on the screen, instantly falls apart and
disappears16. Only a few years ago, the producers
of new technologies would have avoided the
combination of a product being introduced onto
the market with disintegration and imperfection.
Today, defect has become an inseparable and
commonly approved – if not desired - component
of the postdigital reality.
Glitch.Art.Br 2020 / Chapters 22/23

Cleber Gazana - Designer, professor (at FAAP,

USJT, Belas Artes, FAPCOM), visual and sound
artist and researcher member of the group
c/A/t – [s]cience/Art/technology - CNPQ-
UNESP. His research focuses on art and
technology, Glitch Art and design.

Sintomatologia da Glitch Art: arte pós-digital,

erro e a humanização da tecnologia
Cleber Gazana

Contexto digital e pós-digital

Sabemos que o impacto da tecnologia digital na arte foi
enorme. Vemos isto nas formas de expressões artísticas
que surgiram deste contato entre arte e tecnologia, como a
Arte Digital, (New) Media Art, Net Art, Web Art, instalações
interativas, entre outras.

Desde o início deste século, surgiram diversos discursos

sobre uma era e arte pós-digital, presentes em artigos, livros,
eventos científicos e exposições de arte.

Kim Cascone, compositor de música eletrônica, professor e

escritor, em seu importante artigo chamado A Estética da
Falha: Tendências do Pós-Digital na Música Computacional
Contemporânea, publicado em 2000 na Computer Music
Journal/MIT, discutiu o uso de erros de softwares, falhas
da tecnologia, ruídos, entre outros, descrevendo o que ele
chamou de fase e estética pós-digital da música eletrônica.
 “
O pós-digital pode ser compreendido pelo seu prefixo “pós” como
“depois de”, ou seja, tudo que veio depois da incorporação do digital
em todas as nossas atividades cotidianas. Entende-se como uma
fase pós-revolução digital.

”
Cascone descreve:
A estética “pós-digital” foi desenvolvida
em parte como resultado da experiência
imersiva de trabalhar em ambientes
impregnados de tecnologia digital:
ventoinhas de computador zumbindo,
impressoras a laser cuspindo documentos,
a sonificação de interfaces de usuário, e
o ruído abafado dos discos rígidos. Mas
mais especificamente, é da “falha” da
tecnologia digital que esse novo trabalho
surgiu: glitches, bugs, erros de aplicativos,
travamentos de sistemas, clipping, aliasing,
distorção, quantização de ruído, até mesmo
o ruído das placas de som, são a matéria-
prima que compositores buscam incorporar
nas músicas deles. (CASCONE, 2000, p.12-13)1.
O pós-digital pode ser compreendido pelo seu
prefixo “pós” como “depois de”, ou seja, tudo que
veio depois da incorporação do digital em todas
as nossas atividades cotidianas. Entende-se
como uma fase pós-revolução digital, “[...] onde
a tecnologia digital já está incorporada no nosso
cotidiano, de forma invisível, tal como aconteceu
com a energia elétrica." (SOGABE, 2016, p.158)2.
Isso “[...] nos permite depreender que essa noção
remete ao momento em que o digital já não se
apresenta como uma novidade na sociedade. [...]
e passa a alcançar a realidade de modo ‘natural’”.
(SOGABE, 2016, p.206)3.

1 CASCONE, Kim. The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music. In: Computer Music Journal,
24:4, p.12–18, MIT. 2000. Disponível em: <http://mitpress.mit.edu/journals/COMJ/CMJ24_4Cascone.pdf>. Acesso em: 15 jul. 2012.
2 SOGABE, Milton. Arte pós-digital. In: VENTURELLI, Suzete; ROCHA, Cleomar. Mutações, confluências e experimentações na
Arte e Tecnologia. 1ª. Ed. Brasília: Editora PPG-ARTE/UNB, 2016.
3 SOGABE, Milton. Arte pós-digital. In: VENTURELLI, Suzete; ROCHA, Cleomar. Anais do 15° Encontro Internacional de Arte
e Tecnologia. Brasília: UNB, 2016. Disponível em: <https://files.cercomp.ufg.br/weby/up/779/o/milton_sogabe.pdf>. Acesso
em: 25 nov. 2020.
Glitch.Art.Br 2020 / Chapters
De acordo com Santaella
[...] a expressão “pós-digital” começou
a se insinuar nos ensaios críticos de
teóricos, nos trabalhos de artistas e nas
ações dos militantes das redes digitais,
todos eles relativamente convergindo para
as questões relativas às ambivalências
do momento que atravessamos em que
muitos dos prometidos tesouros da era
digital rapidamente se transformam em
lixo. (SANTAELLA, 2017, p.13) 4
Portanto, o pós-digital se impõe no agora, pois,
o revolucionário período da era da informação
e tecnologia digital já passou, já se foi o tempo
dos deslumbramentos e descontentamentos
com as tecnologias e o digital. “[...] Agora é hora
de enfrentar suas ambivalências, paradoxos e
contradições. É justamente isso que tem sido
chamado de “pós-digital”. (SANTAELLA, 2017, p.13).
Essa é exatamente a realidade em que vivemos
atualmente, onde o digital e a tecnologia são
ubíquas, tão presentes em nossas atividades,
que quase não percebemos que elas existem.
Nós a percebemos apenas quando elas faltam e,
principalmente, quando elas falham!
4 SANTAELLA, Lucia. Prefácio - um panorama caleidoscópico
da arte em suas feições digitais. In: GOBIRA, Pablo; MUCELLI,
Tadeus. Configurações do pós-digital: Arte e cultura
tecnológicas. Belo Horizonte: EdUEMG, 2017.
24/25
Quanto a Glitch Art e a Glitch Music neste
contexto, segundo Cascone, o que ele mesmo
denominava de pós-digital, passa a dizer que “[...]
irei me referir a ele a partir de agora como glitch.
[...]” (CASCONE, 2000, p.15).
Está creditada ao artista Ant Scott, a primeira
vez que a palavra glitch apareceu para referir-
se a obras artísticas. Foi Scott que criou a
expressão Glitch Art, no início do Século XXI, mais
precisamente no ano de 2001. Esta arte trabalha
com “falhas de comunicação e de tradução de
dados digitais” (GAZANA, 2013, p.83)5 “facilitados
pela manipulação, destruição e modificação de
equipamentos eletrônicos como TVs, tablets,
computadores, videogames, entre outros”.
(GAZANA, 2014, p.22)6.
Glitch Art
A Glitch Art não possui um conjunto de regras
ou meios pelos quais os trabalhos são criados.
Alguns são construídos utilizando falhas
de computadores, softwares defeituosos e
obsoletos, (re)interpretação e edição incorreta
de arquivos digitais, videogames antiquados
modificados, câmeras fotográficas e teclados
5 GAZANA, Cleber; et al. Glitch: Estética Contemporânea Visual
e Sonora do Erro. In: Cultura Visual, n.19, julho/2013, Salvador:
EDUFBA, p.81-99.
6 GAZANA, Cleber; et al. Glitch Art: A Arte Visual do Erro Digital.
In: Poéticas Visuais, v.5, n.1, 2014, Bauru: UNESP, p.67-82.
7 Sobre este tema recomendamos a leitura da dissertação
de mestrado em Artes Visuais, de Cleber Gazana, chamada
Glitch Art: Uso do erro digital como procedimento artístico
e possibilidade estética, Instituto de Arte - Universidade
Estadual Paulista (IA-UNESP), 2016.
musicais em curto-circuito, enfim, em uma
infinidade de práticas. Deste modo, seus
artistas criam novas combinações de incerteza,
que são condições ideais para fazer o “erro”
surgir. Essas experiências de erro inesperado,
simulado ou induzido7 se transformam em novas
compreensões que se convencionou chamar
de Glitch Art. Ela é um tipo de arte que tem
necessidade de manter um diálogo direto com a
tecnologia e o digital e compreende a “[...] relação
entre pessoas e a tecnologia, porém, a tecnologia
alterada, manipulada, quebrada, que é pensada
para ser utilizada de outra maneira, não aquela
que foi projetada [...]”. (GAZANA, 2015)8.
O que os artistas Glitch chamam de erro é
explorado prática e conceitualmente e, muitas
vezes, precisa-se pensar nesta arte mais como
um processo. Barker (2011, p.50, 53)9 diz que o
processo é que dá a forma à estética do erro, é
na interação homem-máquina que está o erro,
aguardando para ser descoberto.
[...] O emergente artista glitch é seduzido
por um encontro casual: [...] da falha
momentânea [...]. O erro é percebido como
provocador, estranho e bonito. Contudo,
imediatamente se pensa: o que aconteceu
para provocar esse erro encantador e como
eu poderia criar tal imagem de propósito?
[...]. (MANON; TEMKIN, 2011)10
8 GAZANA, Cleber. Glitch Art: Uso do erro digital como
procedimento artístico e possibilidade estética. 2016. 220
f. Dissertação (Mestrado em Artes Visuais) – Universidade
Estadual Paulista, São Paulo, São Paulo, 2016.
9 BARKER, Tim. Aesthetics of the Error: Media Art, the
Machine, the Unforeseen, and the Errant. In: NUNES, Mark.
(Ed.). Error: Glitch, Noise, and Jam in New Media Cultures. New
York: Bloomsbury Academic, 2011.
Em suas criações, o hardware, software e
os dados digitais são os elementos que os
artistas tentam colocar em estados de erro.
Estes erros bagunçam, corrompem, perturbam
os dados digitais, onde eles podem “quebrar”
definitivamente ou nos apresentar seus
artefatos11 na superfície de uma imagem, vídeo
ou mesmo na criação e textura de um som.
Assim, cada peça de hardware e software implica
em modos de produção e resultados específicos
de erro12 que estão diretamente ligados a eles
e aos processos utilizados, isto é, de como
foram montados, quebrados, manipulados, em
uma variedade de maneiras de como subverter
a tecnologia, os processos e procedimentos
projetados e as expectativas esperadas.
No caso de um artista trabalhando com código
de software, podemos pensar que se ele comete
um engano neste código de programação, o erro
só existe do nosso ponto de vista pensando
como linguagem (falta de acerto = erro). Seu
engano gerará um sintoma, um indicio, para
o usuário e que será percebido não como um
erro de código, por desconhecê-lo, mas como
10 MANON, Hugh S.; TEMKIN, Daniel. Notes on Glitch. Disponível
em: <http://www.worldpicturejournal.com/WP_6/Manon.html>.
Acesso em: 23 nov. 2020.
11 Artefato glitch é algo observado em uma investigação
ou experiência que não está naturalmente presente, mas
ocorre como um resultado do procedimento investigativo ou
preparativo.
12 Sobre este tema recomendamos a leitura do artigo chamado
Instrumentalizando o erro: Procedimentos de criação na Glitch
Art, de Cleber Gazana, publicado nos Anais da Jornada de
Pesquisa PPG IA-UNESP 2015 – Edição Internacional.
 Glitch.Art.Br 2020 / Chapters
Hardware,
Artista + Software, + Glitch + Contexto
Dados
um defeito, um mau funcionamento, uma falha
no comportamento desejado de seu correto
funcionamento. Assim, houve um defeito no
software (meio) que gerou uma falha (glitch) no
comportamento esperado por ele. Este defeito de
software é conhecido como bug, e o bug não é um
glitch. Bug é a causa e o glitch é a consequência,
a falha, o sintoma deste defeito.
Irion Neto diz
[...] se estou baixando um arquivo jpg e a
conexão falha por um instante, mais tarde
abro este arquivo baixado e constato que ele
está corrompido [...] manifestando aqueles
artefatos característicos do jpg quebrado
este é o nosso 'glitch artifact' que não é o
erro, mas a representação perceptível dele, é
aquilo que evidencia que houve um erro em
um processo. (IRION NETO, 2015)13
13 IRION NETO, José. Entrevista Glitch Art Irion. 01 fev. 2015.
Entrevistador: Cleber Gazana. São Paulo. E-mail.
14 FERNANDES, José C. S. A Estética do Erro Digital. 2010. 142 f.
Dissertação (Mestrado em Tecnologias da Inteligência e Design
Digital) – Pontifícia Universidade Católica de São Paulo, São
Paulo, 2010.
26/27
+ Público = Glitch Art
Ainda em relação ao erro, é preciso entende-
lo como a percepção de rupturas das
funcionalidades esperadas em um processo
de previsão e de devolução de determinado
resultado dentro de padrões programados
(cultural, social, econômico, político, tecnológico,
artístico). Em outras palavras, o erro existe pelo
seu contexto e significado cultural. Só é possível
falar em erros a partir de uma intenção e uma
expectativa e na interação dos atores como
apresentados na figura acima. Para Fernandes
(2010, p.109)14 “[...] só se torna um erro quando
consideramos o propósito do programador
humano e a experiência do usuário humano
na outra ponta, e das expectativas dos dois
lados sobre o funcionamento do programa. [...]”.
Menkman (2011, p.4)15 traz Foucault ao dizer que
a razão não pode ser entendida sem a loucura,
o fluxo sem a interrupção, o ruído sem a ordem,
transparência sem os artefatos e glitch sem uma
função presumida.
15 MENKMAN, Rosa. The glitch moment(um). Amsterdã:
Institute of Network Cultures, 2011.
Falhas tecnológicas
Vivemos em ambientes e em um mundo saturado
de dispositivos e interfaces onde reina a ideia
de avanço e inovação tecnológica. Nossa relação
com o mundo é, portanto, afetada por esses
fatores e pela dinâmica dos fluxos que eles criam
ou nos forçam a seguir.
Nestas dinâmicas estão engendradas diversas
concepções econômicas, sociais, políticas,
culturais, tecnológicas e estéticas que refletem
e influenciam o período em que vivemos. Assim,
podemos dizer que vivemos em uma sociedade
em rede, onde as relações sociais físicas dão
lugar ao convívio em meio virtual, através de
redes sociais com alcance mundial, onde negócios
são feitos online, a música se tornou digital, a
rebeldia viraliza virtualmente, entre outros.
Como disse Lyotard (1991, p.XVII)16 há mais de 30
anos atrás, vivemos a condição pós-moderna da
“lógica do melhor desempenho”, e, conforme Nunes
(2011, p.4)17, “[...] nossa utopia da era da informação
é um mundo eficiente livre de erros [...]”.
Porém, frequentemente em nosso cotidiano, repleto
destes dispositivos e interfaces tecnológicas e
digitais, nos deparamos com mensagens de erros
já familiares, softwares e aplicativos repletos de
16 LYOTARD, Jean-François. O pós-moderno. 3. Ed. Rio de Janeiro: José Olimpio Editora, 1991.
17 NUNES, Mark. Error, noise, and Potential: The outside of Purpose. In: NUNES, Mark. (Ed.). Error: Glitch, Noise, and Jam in New
Media Cultures. New York: Bloomsbury Academic, 2011.
18 STERLING, Bruce. Media paleontology. In: KLUITENBERG, Eric. Book of Imaginary Media: Excavating the Dream of the Ultimate
Communication Medium. Roterdã: De Balie NAi Publishers, 2006.
códigos defeituosos, dispositivos que geralmente
falham, além de outros inúmeros problemas.
Junto a isto, a obsolescência programada destes
hardwares e softwares estão acontecendo cada
vez mais rápidas.
Dead Media e Zombie Media
No início de seu texto Media Paleontology, Bruce
Sterling (2006, p.57)18 diz que a “Tecnologia afeta
a sociedade de duas maneiras: pela sua presença
e pela sua ausência. [...] As pessoas raramente
prestam atenção às ausências tecnológicas. [...]”.
O termo Dead Media foi criado por Sterling
em 1995. Ele trata das tecnologias que caíram
fora dos critérios de eficiência, que ficaram
ultrapassadas e as quais ninguém quer “levantar
o defunto”. Podemos citar como exemplo a fita
cassete, o FloppyDisk, o disquete, o videogame
Atari, a fita VHS e o próprio aparelho de leitura
destas fitas, o Windows 3.11, o iPhone OS 1,
entre os mais recentes. Os produtos da Dead
Media são aqueles que a cultura contemporânea
considera inúteis, ruins, obsoletos, sempre
com uma conotação pejorativa, sofrendo ação
discriminatória, usada para determinar os limites
entre o que é bom e o que é ruim.
Glitch.Art.Br 2020 / Chapters 28/29

De qualquer maneira, a Dead Media nos dá
ferramentas, possibilidades e respostas contra a
hegemonia da alta tecnologia, da alta-definição,
inserindo-se na arte, em nosso caso específico,
por meio da Glitch Art.
Vasculhando o “lixo” digital, arquivos quaisquer
em HD antigos, disquetes e CDs de back-up,
encontra-se inúmeros arquivos que, devido
às atualizações de sistemas e de versões de
softwares, “morrem”, pois não é mais possível sua
leitura ou funcionamento e aquelas informações
ou aplicações estão “perdidas”.
Aliás, este parágrafo anterior descreve
exatamente o processo utilizado para criar a obra
Decode 19, de autoria de Cleber Gazana, praticando
uma obsolescência prorrogada, ao utilizar o lixo
digital, arquivos e softwares obsoletos. Esse agir
arqueológico e de preocupações da Dead Media,
dialogam com as colocações mais recentes de
Hertz e Parikka (2011)20 que definem a Zombie
Media como “[...] os mortos-vivos da cultura
da mídia [...]”. Nessa concepção está incluída a
destruição e contaminação do meio-ambiente
por substâncias tóxicas descartadas na natureza.
(HERTZ; PARIKKA, 2011). Pelos pensamentos deles,
a Dead Media se converte em Zombie Media!
Embora a morte da mídia possa ser útil
como uma tática para se opor ao diálogo
que só foca sobre a novidade da mídia,
acreditamos que a mídia nunca morre. [...]
ela deteriora, apodrece, reforma, remixa,
e fica historicizada, reinterpretada e
colecionada. Ela quer queira quer não
permanece como um resíduo no solo e no ar
como dead media concreta ou reapropriada
através de metodologias artísticas de
ajustes. (HERTZ; PARIKKA, 2011)
Assim, a Glitch Art trabalha em um in between,
pois não se apresenta usando um hardware ou
arquivo “morto”, isto é, que não se pode executar
mais, mas também não é um hardware ou arquivo
normatizado, nem mesmo usado e compatível
com os padrões originais projetados. Isto dá
a oportunidade de dizer que é um hardware
ou arquivo em estado de erro por não atender
as expectativas tidas como corretas por seus
usuários e do ponto de vista de seus usos
projetados por seus idealizadores.

19 A obra Decode (2015) consiste em um vídeo com duração de 2:10 min., 720x480px, som estéreo, colorido. Foi resultado
de parte de sua dissertação de mestrado e apresentado no simpósio internacional Refrag: Glitch , ocorrido na universidade
Parsons Paris (França), juntamente com o artigo Revealing Glitch Art (Revelando a Glitch Art). O evento foi organizado por
Benjamin Gaulon, diretor do Programa do MFA Design + Technology e do BFA Art, Media and Technology, da Parsons Paris,
em parceria com a School of the Art Institute of Chicago (SAIC), por meio de Jon Cates (Professor Associado) e Jon Satrom
(Instrutor). Mais informações em: http://recyclism.com/refrag/refrag15.html
20 HERTZ, Garnet; PARIKKA, Jussi. Five Principles of Zombie Media. In: RUA Red. Defunct/Refunct. Dublin: Rua Red, 2011. Não paginado.
 “
Os artistas glitch acessam e utilizam a incompletude e as
imperfeições humanas nos dispositivos, tecnologias e mídias
atuais, indo em direção oposta a um sistema que busca sempre
a perfeição e os ideais dominantes de transparência, da máxima
performance e do mínimo erro.

”
Além dos itens já expostos, considera-se que
a Glitch Art expõe parte do funcionamento dos
equipamentos e dos dados, que ela revela a
essência do meio. Nunes (2011, p.5, 7) diz que o
erro serve para “[...] nos lembrar da necessidade
de maior controle [...] [e que ele] marca um desvio
de um resultado predeterminado”, se tornando
um estratagema para intervenções estéticas.
Tecnologia humanizada
Ao entrar em contato com as ideias de Gilbert
Simondon, em seu livro El Modo de Existencia
de los Objetos Técnicos, novas perspectivas de
análise se abrem. Em sua filosofia da invenção
criadora, Simondon permite compreender o modo
de existência dos objetos técnicos a partir de
uma visão positiva da tecnologia. Nesta filosofia,
existir como invenção é o modo de ser do objeto
técnico. O autor traz uma consciência da natureza
das máquinas e de suas relações com o homem.
Ele vê a tecnologia como uma coisa mais humana,
atentando-nos para as questões implicadas
nessas relações. Assim, o glitch pode afigurar-se
como uma “revelação da operação da máquina,
mas uma que a humaniza em sua capacidade de
errar”. (FERNANDES, 2010, p.23)
Para Simondon todo objeto técnico possui
“superabundância”, isto é, todo objeto técnico
é inventado ao se deparar com um problema,
porém, sua invenção ultrapassa a função inicial,
à resolução do problema inicial, e assume outras
para além daquelas as quais foi projetado.
[...] fato de que o funcionamento de
uma máquina contém certa margem de
indeterminação. É esta margem que permite
à máquina ser sensível a uma informação
exterior. Através desta sensibilidade
das máquinas à informação que se pode
consumar um conjunto técnico, e não por um
aumento do automatismo. [...]. (SIMONDON,
2007, p.33)21
21 SIMONDON, Gilbert. El modo de existencia de los objetos
técnicos. Buenos Aires: Prometeo Libros, 2007.
Glitch.Art.Br 2020 / Chapters
Isso nos faz lembrar de Flusser e sua Filosofia
da Caixa-Preta. Os automatismos simondonianos
podem ter relação direta com o programa de
Flusser, isto é, um certo número de possibilidades
impostas pelo aparato técnico.
[...] O que faz um verdadeiro criador, [...] é
subverter continuamente a função da máquina
de que ele se utiliza, é manejá-la no sentido
contrário de sua produtividade programada. [...]
(MACHADO, 1997)22. Assim, o artista glitch não
trabalha com o default do dispositivo técnico,
seu automatismo e seu programa, como também
não trabalha com as expectativas tidas como
esperadas diante de determinadas situações,
sejam tecnológicas, econômicas, políticas, sociais,
culturais ou artistícas. Portanto, de acordo
com a indeterminação do dispositivo técnico de
Simondon, percebe-se a Glitch Art como uma
oportunidade de criação realmente para além dos
propósitos iniciais projetados.
22 MACHADO, Arlindo. Repensando Flusser e as Imagens Técnicas. Disponível em < https://edisciplinas.usp.br/pluginfile.
php/85564/mod_resource/content/1/repensando%20flusser%20e%20as%20imagens%20t%C3%A9cnicas%20completo.pdf>.
Acesso em: 29 nov. 2020.
23 GAZANA, Cleber. Revealing Glitch Art. Paris, França. 22 mar. 2015. Palestra ministrada na Parsons Paris durante o simpósio
internacional Refrag: Glitch, Paris, 2015.
30/31
Deste modo, a Glitch Art, por meio da tecnologia
e do digital, acessa as limitações dos humanos
nas imperfeições inerentes dos dispositivos
técnicos. Suas falhas são apropriadas e (re)
significadas, onde ordem e desordem, controle
e imprevistos, processos indeterminados e
automatismos são os extremos que forma o in
between de onde nascem as narrativas dos erros.
O que estes artistas mostram é que as tecnologias
são facilmente destrutíveis, pois sua prática
artística trata sobre o fazer as coisas da maneira
errada, de rejeitar as regras e maneiras corretas
de fazê-las em nome da experimentação (GAZANA,
2015)23 numa típica desobediência tecnológica.
A Glitch Art mostra que tudo nas tecnologias
são falíveis e que ela carrega importantes
aspectos dos humanos que a criaram, seja
em sua imperfeição, incompletude ou em sua
indeterminação. Pode-se pensar também que
ao trabalhar com o dispositivo técnico como um
colaborador e testar sua funcionalidade induzindo
a erros, a Glitch Art usa a tecnologia de maneira
humanizada, aceitando suas falhas e incorreções,
fazendo destas, uma escolha estética.
Glitch.Art.Br 2020 / Chapters 32/33

Ludimilla Carvalho - Produtora cultural,

pesquisadora, professora e fotógrafa amadora.
Doutora em Comunicação (UFPE), publicou
recentemente o livro Desarranjos Maquínicos:
ruído, tecnologia, imagem (2021).

A potência da falha na arte

Ludimilla Carvalho

O glitch é uma maravilhosa experiência

de uma interrupção que remove um
objeto de sua forma e discurso usual.
Rosa Menkman

O termo “glitch” na esfera da arte está

ligado ao aparecimento e à consolidação dos
computadores como ferramentas criativas,
ao ambiente e à cultura da internet, e à troca
dinâmica de informações entre usuários que
a rede proporciona. Dessa forma, o glitch é
um fenômeno artístico essencialmente ligado
à cultura digital. O uso da palavra “glitch”
como estratégia artística particular, tem um
momento pioneiro no campo da produção
musical: quando o compositor Kim Cascone
observa a utilização de erros das tecnologias
 “
[...] a Glitch Art está muito próxima dos estudos que interligam
tecnologia, arte e cultura digital, através de conceitos como
“ruído” e “erro”, como evidenciam referências mais recentes.

”
digitais como exploração de novos territórios
e experiências na música eletrônica, no início
da década de 1990. Cascone1 também pontua
a importância da falha como tendência
estética no final do século XX, acentuando
justamente o caráter falível de quaisquer
tecnologias - inclusive as computadorizadas,
quase sempre revestidas de certa aura de
perfeição.
Já no campo visual, a expressão Glitch Art
aparece mais tarde, e teria sido utilizada
pelo artista Ant Scott. Posteriormente,
artistas e pesquisadores se dedicaram a
estudar o glitch nas artes visuais, definindo
também algumas características recorrentes
nas obras. Contudo, embora seja um
fenômeno cujo nascimento está localizado
nos anos 1990, diversos artistas seguem
renovando as proposições da Glitch Art.
A partir das ideias de crítica e sabotagem
da tecnologia, da verve investigativa de
potências estéticas da falha e do mau
funcionamento, e da conotação política de
seus métodos e resultados, a Glitch Art está
muito próxima dos estudos que interligam
tecnologia, arte e cultura digital, através
de conceitos como “ruído” e “erro”, como
evidenciam referências mais recentes.

1 CASCONE, Kim. The Aesthetics of Failure: "Post-Digital" Tendencies in Contemporary Computer Music [2002]. Disponível em:
http://www.bussigel.com/systemsforplay/wp-content/uploads/2014/05/Cascone_Aesthetics.pdf. Acesso em: 07 jan. 2021.
Glitch.Art.Br 2020 / Chapters
O pesquisador Mark Nunes 2, por exemplo,
organizou um livro sobre erros e ruídos na
cultura digital no qual propõe uma rápida
genealogia do termo “erro”. Ele identifica que
nos séculos XVI, XVII e XVIII, a interpretação
deste termo é predominantemente
negativa. Seu estudo fala de uma “poética
do ruído”, bastante presente na arte
contemporânea, e que abrange um conjunto
de procedimentos e obras que se valem do
ruído como efeito revelador de visualidades
estranhas, diferenciais, e capazes de mexer
com expectativas e paradigmas da esfera
artística. Essa poética indica o desejo de
tensionar parâmetros estéticos, introduzindo
como valor formal aquilo que antes fora
negligenciado, ou seja, o erro, a falha.
Ela também é decorrente de estratégias
de combinação dos meios, desenvolvidas
por artistas que fazem as tecnologias se
voltarem contra si mesmas.
2 NUNES, Mark. Introdution: Error, Noise, and Potential:
The Outside of Purpose. In: Nunes, Mark (Org.) Errors,
Glitch, Noise and Jam in New Media Cultures. London,
Continuum Press, 2011, p. 3-23.
34/35
Investigações sobre o papel do erro, do
ruído ou da falha são encontradas na
música, na cibercultura e na comunicação.
Chéroux (2009) 3 defende o erro como
núcleo a partir do qual artistas da
fotografia desenvolvem suas obras, levando
a mídia fotográfica a zonas limítrofes.
Ele concebe o erro em comparação a
parâmetros de qualidade instituídos pela
indústria fotográfica, disseminados em
manuais, sustentados pela indústria e
consolidados no imaginário dos usuários
(equilíbrio entre luz e sombra, centralidade
da composição, regra dos terços, etc).
Quando incorporados na arte, os erros
desencadeiam inovações fotográficas. Por
exemplo, a presença da sombra de quem
opera a câmera, que era considerada um
erro muito frequente na prática amadora,
virou uma inscrição de autoria (a afirmação
da presença de um sujeito ativo no
processo fotográfico), especialmente nas
chamadas vanguardas artísticas europeias
3 CHÉROUX, Clément. Breve historia del error fotográfico.
Edições Ve, 2009.
de 1920. Assim, a sombra que era apenas
um defeito, foi utilizada como estratégia
visual de questionamento de uma suposta
objetividade fotográfica, e representava
ao mesmo tempo uma manifestação da
própria técnica.
Se o erro permanece associado à ideia
de falha e de mau funcionamento de
um sistema, e o ruído é parte inerente
de qualquer organismo vivo, máquina
ou mesmo das formas expressivas (o
que aparentemente faz do primeiro um
“defeito” e do segundo um “efeito”),
esses dois conceitos estão próximos,
porque a ocorrência do erro pode ser
considerada uma presença “virtual” que se
“atualiza” (DELEUZE, 1999) 4 sob condições
específicas, e sua configuração decorre
das combinações entre o input de um
sujeito e as características intrínsecas a
um dado sistema. O ruído, por sua vez, é
uma presença quase sempre inaudita, mas
também se origina das condições materiais
da estrutura na qual se manifesta. Além
disso, ambos compartilham a ideia original
de perturbação, desarranjo, e interferência.
4 DELEUZE, Gilles. Bergsonismo. São Paulo:
Editora 34, 1999.
Piper-Wright (2018) 5 , também pesquisadora
da fotografia, desenvolve o projeto In
Pursuit of Error, que investiga o acolhimento
do erro na prática de não-profissionais.
Segundo ela,
O erro abre um espaço paradoxal entre
a máquina e o humano e apresenta
esse espaço como lacuna, uma aporia
nas convenções da prática fotográfica
tecnológica e culturalmente. Essa
aporia é uma zona rica em imaginação,
surpresa e desconhecimento que tem
sido explorada em si mesma por artistas
ao longo dos anos. (...) O erro deliberado
usa a câmera contra ela mesma,
perturbando os parâmetros para que
se produza o erro na imagem. Enquanto
há determinadas ações que podem ser
previstas, também há situações em
que o conhecimento de determinado
resultado é parcial. Eu sei que reduzindo
a velocidade do obturador obtenho
um borrão, mas não posso prever o
5 PIPER-WRIGHT, Tracy. Neither the one nor the other:
photographic errors - subjectivity, subverison and the
in-between. MAI: Feminism and visual culture, n.1, 2018.
Disponível em: https://maifeminism.com/neither-the-one-nor-
the-other-photographic-errors-subjectivity-subversion-and-
the-in-between/. Acesso em: 18 dez. 2019.
Glitch.Art.Br 2020 / Chapters
“
[...] Ao se instituírem como experiências com as possibilidades
visuais das tecnologias, as obras que se utilizam do erro, do ruído
ou da falha são também empreendimentos políticos que visam
denunciar a formatação do nosso olhar pelas mídias [...].
”
resultado da imagem apenas com base
nessa intervenção. A situação que está
sendo fotografada, bem como a luz e
o tempo contribuem com elementos
adicionais e imprevisíveis para o
resultado. (PIPER-WRIGHT, 2018, p. 1-5)
A zona de fricção entre o controle e a
imprevisibilidade estão no centro das
discussões recentes sobre o valor estético e
a conotação política de processos artísticos
conectados às noções de erro, ruído ou
falha. No que se refere às tecnoimagens,
esses conceitos dão conta de obras
variadas que revelam linhas, pontos,
pixels, como elementos formadores das
imagens, enfatizando a própria presença
da tecnologia. Ao se instituírem como
6 FELINTO, Erick. Cultura Digital, Redes e suas Perturbações Sistêmicas. Intersemiose, ano II, nº 4, jul-dez, 2013, p. 54-65.
7 STEYERL, Hito. In Defense of the Poor Image. Disponível em: https://www.e-flux.com/journal/10/61362/in-defense-of-
the-poor-image/. Acesso em: 15 abr. 2019.
36/37
experiências com as possibilidades visuais
das tecnologias, as obras que se utilizam
do erro, do ruído ou da falha são também
empreendimentos políticos que visam
denunciar a formatação do nosso olhar pelas
mídias (por meio da valorização de estéticas
ordenadas, limpas, regulares, miméticas).
Em oposição a tais modelos, os artistas vêm
conduzindo suas pesquisas e desenvolvendo
trabalhos afeitos ao descontínuo, ao
imprevisível, ao “feio” (FLUSSER apud
FELINTO, 2013) 6 ao “pobre” (STEYERL, 2009)7.
Mas aqui cabe um alerta: não se trata de
demarcar uma oposição, de fincar os pés
no binarismo, mas de extrair de condições
adversas de funcionamento das tecnologias,
estéticas únicas que problematizam
metodologias convencionais, modelos
formais canônicos e a própria infalibilidade
das mídias.
No contexto do uso de computadores para a
elaboração de muitas obras de arte, o poder
da falha, do erro, ou do ruído ocupa um
lugar central nas discussões no campo da
artemídia. Erick Felinto, por exemplo, reflete
sobre o papel criativo que as paradas ou
bugs representam no ambiente informático:
Mas por que motivo, então, dever-se-ia
valorizar o ruído? Ora, o ruído é aquilo que
escapa ao controle, que perturba a ordem,
que questiona o sistema. Paradoxalmente,
ele é aquilo que obstaculariza o
funcionamento do sistema, mas que
ao mesmo tempo também o torna
possível. De fato, a ordem se constitui
através de sua oposição à desordem.
O erro, o ruído são responsáveis por
aquele aspecto de imprevisibilidade
sem o qual não poderia existir diferença
e, portanto, a dimensão produtiva do
sistema. Um sistema é produtivo ao
estabelecer diferença em relação ao
seu exterior. Fosse ele inteiramente
fechado, sem brechas, autocontido,
suas possibilidades produtivas seriam
extremamente limitadas. (...) No complexo
mundo tecnocultural em que vivemos, os
acidentes e vírus possuem uma dimensão
produtiva. Acidentes não são, como
numa concepção aristotélica, externos
em relação aos dispositivos técnicos que
afetam, mas sim constitutivos desses
mesmos aparatos. (FELINTO, 2013, p.58)
É curioso que os artefatos da cultura digital,
projetados para uma performance eficiente,
possuem diversos mecanismos para
reduzir a ocorrência de falhas, mas dada a
impossibilidade desse controle absoluto,
como lembrou Felinto, e a necessidade
de lidar com elas, aparecem tendências
artísticas que utilizam justamente a falha
como estética. É aí que reencontramos
a Glitch Art: como crítica a essa retórica
de controle e precisão, as suas obras são
desenvolvidas através de estratégias de
sabotagem, hackeamento, ou pelo desvio dos
propósitos e regras de funcionamento dos
softwares, hardwares e formatos das mídias,
atestando que “embora pareçam fechadas
e transparentes, as mídias guardam um
paradoxo interno que contém a falha.”
(HAINGE, 2007, p. 26-27) 8
8 HAINGE, Greg. Of Glitch and Men: The Place of the Human in
the Successful Integration ofFailure and Noise in the Digital
Realm. Communication Theory, v. 17, 2007, p. 26–42.
Glitch.Art.Br 2020 / Chapters
A proposta não é uma simples recusa
ao funcionamento convencional de
equipamentos e materiais que são
apropriados para o campo da arte. Também
não representa uma atitude iconoclasta
frente às tecnologias. O glitch conserva
uma intenção política de estímulo à
reflexão sobre o discurso evolucionista das
tecnologias que é muitas vezes propagado
pela indústria, e faz isso, utilizando a
falha dos dispositivos para criar novas
formas artísticas. Em seus processos, vale
também revisitar aparelhos obsoletos, com
defeito, ou mesmo descartados. Ao explorar
situações limítrofes do funcionamento das
mídias, a Glitch Art se confronta “com a
aparente ideia de uma tecnologia digital
infalível através de um ato estético positivo
que enxerga beleza onde parece só existir
horror.” (HAINGE, Ibidem, p.32)
Abraão Filho (2018) 9 é autor de um
consistente estudo sobre a Glitch Art, e
traça um paralelo entre as proposições
desses artistas e a ideia de “profanação
do dispositivo”, do filósofo italiano Giorgio
Agamben (2007)10, ressaltando a apropriação
política dos meios expressivos.
9 ABRAÃO FILHO, Claudio. O avesso da comunicação: Estética e política do ruído na cultura digital. 2018. Tese (Doutorado
em Comunicação e Semiótica) - Pontifícia Universidade Católicade São Paulo, São Paulo, 2018.
10 AGAMBEN, Giorgio. Profanações. São Paulo: Boitempo, 2007.
11 MENKMAN, Rosa. Manifesto de estudos em glitch [2010]. Disponível em: https://issuu.com/rosamenkman/docs/
manifesto_de_estudos_em_glitch__ros. Acesso em: 18 mai. 2021.
38/39
Rosa Menkman11 , artista, curadora e teórica
holandesa, é autora do Manifesto de estudos
em glitch, de onde retirei o trecho que serve
de epígrafe a este texto. Nele, ela reúne
algumas premissas do glitch, tais como:
o questionamento de modelos, práticas e
também da obsolescência programada, a
instabilidade e a renovação como princípios
da arte, a crítica da perfeição e do
automatismo no uso das mídias. Seu texto,
que tem um forte tom de combate e também
de ironia, celebra o lugar da imperfeição e
o aspecto de liberdade que permitem aos
artistas experimentarem novas formas e
sensibilidades, zombando das amarras da
tecnologia. Para ela,
Os vazios gerados por uma ruptura
não existem apenas como falta de
sentido, eles apresentam forças que
empurram o espectador para fora do
discurso tradicional sobre a tecnologia,
consequentemente expandindo-o.
 “
A proposta conceitual do glitch inclui desconstruir a ideia
de fechamento e inacessibilidade das mídias. É abrir, revirar
e desorganizar a 'caixa preta' da cibertecnologia, quebrando
seus códigos. Por seu espírito investigativo, essas obras são
processuais, no sentido de que suas estéticas acusam os
procedimentos de manipulação.

”
Através desses vazios, artistas e
espectadores podem entender a ideologia
por trás do código e da voz como uma
crítica à mídia digital. Esse entendimento
pode servir de fonte a novos padrões,
antipadrões ou novas possibilidades
que estão situadas em uma fronteira,
ou camada específica da linguagem.
(MENKMAN, 2010, p. 16-17)
A proposta conceitual do glitch inclui
desconstruir a ideia de fechamento e
inacessibilidade das mídias. É abrir, revirar
e desorganizar a “caixa preta” (FLUSSER,
2011)12 da cibertecnologia, quebrando seus
códigos. Por seu espírito investigativo, essas
obras são processuais, no sentido de que
suas estéticas acusam os procedimentos
de manipulação. Compostos de imagens de
aspecto repetitivo, fragmentado ou linear
(GAZANA, 2014)13 , diversos trabalhos colocam
em segundo plano a necessidade de apontar
significados específicos, em benefício da
potência da forma. O glitch não tem medo
do feio, do disforme, nem do descontínuo,
pois trabalha justamente com a ideia de
desagregação de um sistema, considerando
o viés produtivo desse processo. Em projetos
recentes, os e as artistas se valem de fontes
variadas, a exemplo de bancos de dados
de empresas do capitalismo informático
ou de conteúdo registrado por câmeras de
vigilância, corrompendo todo um universo
imagético capturado diariamente a despeito
de nossa atenção. Em seu exercício poético,

12 FLUSSER, Vilém. Filosofia da caixa preta: ensaios

para uma futura filosofia da fotografia. São Paulo: 13 GAZANA, Cleber. Glitch: a arte visual do erro digital.
Annablume, 2011. Poéticas visuais, v.5, nº1, 2014, p. 55-66.
Glitch.Art.Br 2020 / Chapters
o glitch põe em xeque os aspectos de
vigilância e controle do sistema midiático
que lhe permite existir e criar. Procurando
suas falhas, suas brechas, vira esse sistema
contra ele mesmo.
Na opinião do artista brasileiro Sabato
Visconti,
A glitch photography considera este
aparelho expansivo, com todas as suas
facetas não mencionadas e transversais,
bem como a forma como encarnamos o
aparelho e reificamos as suas exigências,
como locais de manipulação, perturbação
e perversão, ou seja, como locais de
falhas. A glitch photography é por um
lado, a prática que interpola o glitch
na criação da fotografia, e por outro, a
prática de capturar as manifestações
visuais de uma falha dentro do aparelho,
muito parecida com a forma como se
captura um momento espontâneo ou um
gesto fugaz.14
14 VISCONTI, Sabato. Glitch Photography as a Practice in the Age of Postphotography. Disponível em:
http://www.sabatobox.com/the-new-praxis/glitch-photography-in-the-age-of-postphotography. Acesso em: 19 fev. 2020.
40/41
Ao longo dos anos, a Glitch Art segue
criando ruído no cenário da imagem
contemporânea. Ligada a uma atitude Do
It Yourself (DIY) frente aos dispositivos,
explora criativamente erros e desvios para
gerar estéticas próprias. É uma vertente
artística que opera através de reciclagens,
recombinações, arranjos poéticos inusitados,
descaracterização de mídias. Utiliza não
apenas formatos e recursos do computador,
mas incorpora também elementos do design
gráfico, da linguagem de programação,
imagens de sistemas autônomos (circuitos
fechados, drones), cenas de filmes,
caracteres..., fazendo dialogar com o
computador, territórios da imagem como a
fotografia, o cinema, e o vídeo.
Se comecei esta modesta reflexão com
palavras de Rosa Menkman, deixo a ela uma
breve e provocativa definição sobre a Glitch
Art, como tentativa de encerramento:
Eu manipulo, torço e quebro um meio até
que ele se torne algo novo. Isso é o que
chamo de Glitch Art.
Glitch.Art.Br 2020 / Audio 42/43

Category

Audio
Is understood as any sound and
auditory experiences in the broad
sense of the term, as in having a
broader understanding than just
the field of music.

Listen
Artist
Louis Montiel
Title
Intégration Focal
Country
France
Description
From Album Journaux Intimes (Experimental
Soundwaves & Programing Data Instruments) ™
®© Louis M o n t i e l is a Visual Artist, Composer
& Musician of MUSIK experimental working at
the intersection of Avant-Garde and noise of
traditional instruments & digital platforms
contemporary electronic music. (strongfocus).
Artist(s) Biography
In 1997-2000 (Bachelor of Visual Arts in
the Faculty of Arts and Design / National
Autonomous University of Mexico). In 1999-
2000 he has been awarded a scholarship by
taking various Workshops and Diplomas in
History of Art, Drawing and Graphic Media,
Engraving, Sculpture, Performance, Video Art
and Graphics by Multimedia and New Digital
Media. In the School of Painting and Engraving
“La Esmeralda” / National Institute of Fine
Arts. In 2001-2004 (Degree of Philosophy in the
Faculty of Philosophy and Letters with specialty
in Aesthetics of Art / National Autonomous
University of Mexico). In 2011-2014 (Fellow and
Researcher / Master’s Degree in Visual Arts in
the Postgraduate Unit of the Faculty of Arts
& Design / National Autonomous University of
Mexico). In 2018, he is currently a PhD Researcher
in Arts & Design in Digital Art and New Digital
Media in Technologies Applied to Digital Artistic
Production in the Postgraduate Unit of the
Faculty of Arts & Design / National Autonomous
University of Mexico. / 2019, Beaux Arts de
París. France.
Glitch.Art.Br 2020 / Audio
Artist
Gridblock Michael Hurtado Enríquez
Title
Variable Frequency Oscillator
Country
Brazil
Description
Variable frequency oscillator was a recording
of radio wave propagation in a bad online
transmission through the Software
Defined Radio system.
Artist(s) Biography
Cleber Gazana is a designer, master in Visual
Arts, postgraduate in Visual Creation and
Multimedia, and in Communication and Media,
as well as visual and sound artist. Professor
(at FAAP, USJT, Belas Artes, FAPCOM) in art,
design, radio and TV, cinema and advertising
courses. Researcher member of the group
c/A/t – [s]cience/Art/technology - CNPQ-UNESP.
His research focuses on art and technology,
Glitch Art and design. Acts in the sound arts
mainly under the name Simple.Normal, but too
Gridblock, Danza en Polonia and Cleber Gazana.
44/45
Artist
Title
Eraro
Country
Peru
Description
Eraro es una pieza construida a partir de
archivos encontrados en internet, en una
referencia al objeto encontrado o ready-
made. El resultado final muestra fallas
propias del proceso digital que han sido
moduladas a partir de síntesis granular.
Artist(s) Biography
Es matemático por la UNI, con estudios de
postgrado en matemáticas aplicadas por la
PUCP, graduado del programa FabAcademy del
CBA/MIT en tecnologias de fabricación digital.
Además, es miembro del Electronic Literature
Organization (ELO) e Institute of Electrical and
Electronics Engineers (IEEE). Como artista ha
participado en diversas exposiciones en Suecia,
Italia, USA y Perú, siendo ganador del premio
VIDA16 de Fundación Telefónica en la categoría
incentivo a la producción para proyectos
de arte y vida artificial en España. El 2018
brindó una charla en TEDxUNI sobre cómo se
relacionan el arte, la ciencia y la tecnología.
Artist
Gadirom
Title
Other Voices
Country
Russia
Description
The track is a sound art study that was made as
a part of my personal art project “Coronavirus vs
Encephalitis” (2020) aiming to grasp my mental
response to this extraordinary situation of self-
isolation - a kind of strange inner “saudage” that
I often felt as my mind was striving to achieve a
balance between dark beauty of the loneliness
and the fear of the two natural dangers infused
in the realities of social world and the wild...
Artist(s) Biography
Roman Gaditskiy was born in Alma-Ata,
Kazakhstan and currently lives in Moscow,
Russia. He studied music in Novosibirsk State
Music College and Moscow College of Improvised
Music. He has a PhD in Art History from the
Research Institute of Russian Academy of Arts.
He worked as a professional photographer,
designer and music producer. The themes that
Roman explores in his art: movement and its
expression in different mediums, reimagining of
folklore culture, concepts of self. His work has
been presented in galleries and participated
in art festivals in Russia and abroad.
 Glitch.Art.Br 2020 / Audio 46/47

Artist Artist
Rachelmauricio Castro Hyash Tanmoy
Title Title
Distaudgen Since 2018 Until My Death

Country Country
Brazil India

Description
Distorção genérica sonora codificada.
Artist(s) Biography
Artistas visuais, com arquitetura, desenho
industrial como embasamento para trabalhos
de net arte, áudio, vídeo e imagens gráficas.
Description
Recording my life through the sounds of the
places, the people and their connections and
interactions with me and how the relationships
and belongings changing with time and seasons.
Artist(s) Biography
Hyash Tanmoy identifies himself as a filmmaker,
trans-disciplinary researcher. His works have
been exhibited, critically acclaimed, and honored
in more than 70 festivals around the world.
He is working on the process of improvement
in artistic movement, forms, and independent
artist empowerment through his research-
oriented art and multidisciplinary institutions.
Artist
Letsglitchit
Title
Reverse Sonification
Country
USA
Description
Generative music edited as
raw data in Photoshop.
Artist(s) Biography
Dawnia Darkstone, aka Letsglitchit, has been at
the forefront of non-coding based new media
art for the past 10 years. She is co-administrator
of Glitch Artists Collective and affiliated
groups on Facebook where she has contributed
to the general knowledge surrounding this
emerging medium. She has been exhibited
in London, Paris, Zagreb, Minneapolis, San
Francisco, and her novel work with sonification
has been written about in Vice Magazine.
Artist
Luiz Henrique A. L. Passos
Title
Dentro de Casa
Country
Brazil
Description
A obra propõe uma escuta ativa aos
sons do meio doméstico, através da
modulação e ampliação dos mesmos.
Artist(s) Biography
Luiz Henrique, nascida em Rio de Janeiro – RJ
(1998). Cursou Montagem e edição de imagem e
som na Escola de Cinema Darcy Ribeiro; fundou o
coletivo Kinofagia filmes. Atualmente desenvolve
pesquisa com vídeo e imagens digitais visando
ampliar as discussões sobre marginalização,
imperialismo cultural e descolonização.
Trabalha com o vídeo, a imagem digital,
intervenções urbanas e pesquisas sonoras.
Glitch.Art.Br 2020 / Audio
Artist
Simple.Normal
Title
Thin
Country
Brazil
Description
Todos os sons foram gerados por meio de
operações aleatórias de VSTs obsoletos e
defeituosos para depois ser feita a construção
sonora que resultou na peça sonora. Thin
faz parte do álbum Feine Linien (2012) de
Simple.Normal. Este álbum foi reproduzido
na integra na Patapoe Radio 88.3 FM no
Ano Novo de 2017 - Amsterdã – Holanda.
Artist(s) Biography
Cleber Gazana is a designer, master in Visual
Arts, postgraduate in Visual Creation and
Multimedia, and in Communication and Media,
as well as visual and sound artist. Professor
(at FAAP, USJT, Belas Artes, FAPCOM) in art,
design, radio and TV, cinema and advertising
courses. Researcher member of the group
c/A/t – [s]cience/Art/technology - CNPQ-UNESP.
His research focuses on art and technology,
Glitch Art and design. Acts in the sound arts
mainly under the name Simple.Normal, but too
Gridblock, Danza en Polonia and Cleber Gazana.
48/49
Artist
André Perim
Title
Electronic Possession
Country
Brazil
Description
Inspired by the Sci-fi and terror movies from the
50’s the project is a simulation of an electronic
recording being possessed by an evil or alien
spirit. A white noise signal was processed,
distorted and manipulated in several ways.
Artist(s) Biography
André Perim is a musician, composer, and
multimedia artist from Brazil. His work is based
on the unique mixture of the sacred tradition
of the Afro-Brazilian Rhythms with electronic
elements inspired by ambient and psychedelia. In
2020 produces the video artwork “Infotoxication”,
that was presented in several festivals around
the world in countries such as Portugal, Bulgaria,
India, Saudi-Arabia, South Korea and Netherlands.
Artist
LLE
Title
Miss Georgette

Country
Mexico

Description Artist(s) Biography

When i was child, my mom and grandmother
were selling female clothing very often they
visited a large warehouse, as I was very young
and could not stay alone in home i had to go
with they, for a little child this place was a giant,
tons of mannequins, the smell of new fabric
and plastic bags, a cacophonic sound mixture
of ambiental music and frenetic ladies talking
like parakeets, mountains of female clothes i
used as a hiding, feel the texture of this around
my body, a mysterious ritual of farce and hope.
The owner of this warehouse in his free time
played the guitar, one day thought it would be
good to give some of their horrid music to their
customers and recorded an LP. I use for record
this piece this LP, I make some cuts in the vinyl
and rearmed this (analog sampling), for make
the drum beat i used a piezoelectric to scratch
and touch specific zones with holes and artificial
protrusions in the modified vinyl. The cover its
the original intervened with child crayons.
Pablo Benjamín Nieto Mercado (Mexico, 1979).
Multimedia Engineer / Artist. His proposals
are presented in various formats integrating
improvisation, clown, sound performance and
collaborative works. His work reflects on the
role of technology in human communication and
the transformation of the territory. In 2008 he
founded the Melvin Records label dedicated to
experimental production, his work encompasses
sound, net art, experimental video, documentary
and installation. He disseminates and exhibits
his work in Mexico, Guatemala, Bolivia, Colombia,
Uruguay, Brazil, Italy, France, Russia, Germany,
the United States, England, Japan, Saudi
Arabia and Iran.
Glitch.Art.Br 2020 / Audio 50/51

Artist
Paul Beaudoin
Title
Isolation (Deep Anxiety)

Country
Estonia

Description
Isolation (Deep Anxiety) is a sonic exploration of
fear and anxiety. Using electronically generated
materials, Paul Beaudoin has created a tapestry
that reflects the anxiety held during this global
pandemic. It is from a series of pieces that
address different emotional and psychical states.

Artist(s) Biography
Paul Beaudoin is an interdisciplinary artist
working fluidly between the visual and aural
worlds without losing his balance. Every aspect
of Paul’s work is generated by his own processes
and then further manipulated using a variety of
digital techniques. They are often painstakingly
reassembled to form a fabric of aesthetics,
philosophy, and engaging thought. Originally
from the United States, Paul now resides
in Tallinn, Estonia where he is actively
pursuing his creative activity.
More infos
Glitch.Art.Br 2020 / Audio 52/53

Track Artist Títle Duration Country

01 Hyash Tanmoy Since 2018 Until My Death 2:57 India

02 Gridblock Variable Frequency Oscillator 8:10 Brazil

03 Louis Montiel Intégration Focal 8:59 France

04 Simple.Normal Thin 2:52 Brazil

05 Gadirom Other Voices 2:39 Russia

06 Rachelmauricio Castro Distaudgen 0:57 Brazil

07 Michael Hurtado Enríquez Eraro 5:25 Peru

08 Letsglitchit Reverse Sonification 0:35 USA

09 Luiz Henrique A. L. Passos Dentro de Casa 6:02 Brazil

10 Andre Perim Electronic Possession 5:36 Brazil

11 LLE Miss Georgette 4:33 Mexico

12 Paul Beaudoin Isolation (Deep Anxiety) 3:53 Estonia

Glitch.Art.Br 2020 / Image 54/55

Category

Image
is understood as any form
of static imagery, it is not
limited to photographs.

Look
Artist
Alejandro Bombín
Marrodán
Title
Vals Disney (Waltz Disney)

Country
Spain
Glitch.Art.Br 2020 / Image 56/57

Description Artist(s) Biography

Art media are often seen as something
vampiric. Ricardo González would say media
relationship is rather an interference between
waves, which allows mutual amplification. The
very origin of Art history implies multimedia.
When Neanderthals started to paint, they
took advantage of the volumes on the rock
to multiply the sensory impact, generating
sculptural and polychromal hybryds.
Today we live in a mechanized landscape
under constant digital stimulation. In a self-
referential fiction constructed in our image
and likeness. Where progress is the substitute
for questioning: a kind of prior acceptance
of ends and consequences that are not
known or mentioned. Mediation is stronger
than the subject, intimacy is extimacy.
Alejandro Bombín graduated in Fine Arts in
Madrid in 2008. Since then he has been dedicated
exclusively to artistic production. His works have
been exhibited in Asia, America, and Europe.
“To speak of Alejandro Bombín is to trace his
career as a pioneer of Glitch art; considered
almost unanimously as one of the young painters
with the greatest projection on the Spanish
art circuit. His work requires pedagogical
algorithms as an initiation exercise, all of them
in an act of approach, that forces the viewer
to move between the inscrutable and the
neo-pictorial discovery.” (Omar Jerez, 2019).

In a world where technological determinism is

quite real, glitch is a parenthesis of unquestioned
heritage reproduction. A singularity in the
system that allows us to see the real code.
A cathartic opportunity to shake off the
anthropocentric daze. Aesthetically, it embodies
the ultimate freedom of presentation of new
media, but also insufficiency, the error and
corruption that codification of “reality” implies.
Artist
Jean-Baptiste Friquet
Title Artist(s) Biography
A Study In Pixel Var 554 Jean-Baptiste Friquet, @JBFRIQUET, is a visual
artist working on different media, photo
Country manipulation as well as video or 3D. Born in
Belgium 1983 in Mulhouse, France, he studied film and
art editing at the Institute of Broadcast Arts
Description in Louvain-La-Neuve, Belgium. He officiates on
An abstract landscape of a Belgian television as editor and director. Now
digital wasted territory. he works as a freelancer for various audiovisual
production companies. In 2014, he discovered
glitch art, which launched him in a new way and
many experiments. He wonders through his art
through the famous paradigm “it was better
before?”. Child of analog, its present is digital.
Glitch.Art.Br 2020 / Image
Artist
Cleber Gazana
Title
Text
Country
Brazil
Description
The appearance of the work Text was
generated by incorrectly editing an image’s
data. The original image was a random piece
of text, written only in black, found on old
HD of the artist’s backups. This work is part
of a series of the same aesthetic, process
and results of reframing obsolete data.
58/59
Artist(s) Biography
Cleber Gazana is a designer, master in Visual
Arts, postgraduate in Visual Creation and
Multimedia, and in Communication and Media,
as well as visual and sound artist. Professor
(at FAAP, USJT, Belas Artes, FAPCOM) in art,
design, radio and TV, cinema and advertising
courses. Researcher member of the group
c/A/t – [s]cience/Art/technology - CNPQ-UNESP.
His research focuses on art and technology,
Glitch Art and design. Acts in the sound arts
mainly under the name Simple.Normal, but too
Gridblock, Danza en Polonia and Cleber Gazana.
Description Artist(s) Biography
Este trabalho é resultado de experiências com o José Irion Neto nasceu em 1965 na cidade
formato de arquivo de imagem PGF (Progressive de Santa Maria, RS e atualmente reside em
Graphics File). O processo inicia com a conversão Florianópolis. Seu primeiro contato com
de uma imagem em espaço de cor RGB em uma computadores foi em 1982 usando uma
imagem reticulada monocromática de 1 bit/ máquina equivalente ao Sinclair ZX Spectrum.
pixel. Posteriormente esta imagem 1 bit/pixel Tem formação acadêmica em Publicidade e
é convertida para cores indexadas e então Propaganda pela Universidade do Vale do Rio Dos
comprimida em formato PGF. Ao comprimir Sinos e trabalhou alguns anos como designer
imagens reticuladas de cores indexadas em gráfico. Hoje trabalha nesta área apenas
formato PGF as retículas são distorcidas de ocasionalmente com foco na criação de pôsteres,
tal forma a fazer emergir os artefatos de reservando a maior parte de seu tempo no
compressão inerentes ao formato PGF, que é desenvolvimento de seu trabalho com Arte Glitch.
baseado em compressão wavelet. A conclusão Irion se dedica à pesquisa e experimentação
é que o formato PGF não consegue comprimir com Glitch desde 2008, tendo neste período
corretamente imagens reticuladas de cores participado de diversos eventos e exposições.
indexadas. Na segunda etapa do processo o
arquivo PGF é editado/corrompido utilizando
o Notepad++. Esta edição é feita em duas
partes do arquivo, tanto no código-fonte da
imagem quanto no seu cabeçalho (header).
A edição que é feita no cabeçalho do arquivo
tem o objetivo de rotacionar a paleta de
cores da imagem, o que permite salientar de
diferentes formas os artefatos de compressão
obtidos inicialmente. A parte da edição
(corrompimento) do arquivo que é feita em
outras partes do código gera mais distorções e
outros artefatos na imagem, ou seja, o glitch.
Glitch.Art.Br 2020 / Image 60/61

Artist
José Irion Neto
Title
PGF Glitch Portrait

Country
Brazil
Artist Artist
Francesco Seren Rosso Eddy
Title Title
Falcon Neon Lights

Country Country
Italy Guatemala

Description
Unfortunately, the artist did not send the
theoretical description of the artwork.
Artist(s) Biography
I was born in Torino in 1979 where I actually
live. I’m a self-taught artist started with
glitch art in 2018. I’m inspired in what I
see around my city and on the internet
using various glitch techniques.
Description
On my first international trip I took
pictures of many neon lights. I’ve always
liked them. In this image I made a creation
that stretched the pixels of a part of one
of these photos as much as I could.
Artist(s) Biography
Eddy works with illustration and is a graphic
artist. He studied design in Guatemala and Chile,
where he also worked as a designer for the past
4 years. He currently lives in Guatemala again.
Glitch.Art.Br 2020 / Image
Artist
Sarah Paradise
Title
System Error
Country
Canada
Description
A still image taken from the video: System Error.
Artist(s) Biography
Sarah Paradise is an interactive digital media
artist who transforms two dimensional surfaces
into three dimensional landscapes using video
projection mapping techniques that illuminate
the night with vibrant visuals. Her digital
media aesthetic conveys elements of glitch,
surrealism, abstraction, geometric patterns,
space, nature, and technology. Paradise also
strives to create immersive visual experiences
for a wide range of audiences. Her interactive
digital media artwork has been projected
62/63
throughout Winnipeg at venues including the
Winnipeg Art Gallery, the Planetarium, the Plug
Inn Institute of Contemporary Art, Cinematheque,
the Rachel Browne Theatre, VideoPool, Ace Art,
the Park Theatre, the Metropolitan, as well as
the Edge Gallery and Urban Arts Centre. She
has also performed live visuals at different
Nuit Blanche events in collaboration with the
Winnipeg Design Festival and the Winnipeg
Art Gallery. Paradise has also been involved
with live visual performances at a variety of
outdoor electronic music festivals throughout
Canada including the Manitoba Electronic
Music Exhibition (Winnipeg, MB), Connect 22:
Terminus (Moose Jaw, SK), and Motion Notion
(Golden, BC). She has also performed in the
United States at an outdoor electronic music
festival called Bloom Town (Waubun, Minnesota).
When Paradise is not illuminating the night with
her digital artwork, she teaches grades 7-12
Computer Science, Graphics, and ICT at St. John’s
High School in Winnipeg, Manitoba. Paradise is
also working on her Masters at the University
of Manitoba in the Faculty of Education.
Artist
Glitchkitty404
Title
Life Force
Country
New Zealand
Description
‘Life Force’ explores the idea of using
manipulation and dissection with glitch, to
capture possible life forms and microorganisms
that are revealed within an unseen place.
Through experimentation, a fleeting instant is
captured exposing what appear to be mysterious
existences from within the image. It manifests
on its own, creating something that is
unexpected seemingly out of nothing and
now where. Revealing the hidden dynamisms
that lie within electrical sources, it forces the
viewer to consider the visual interruption,
as it acts as a direct point of connection to
a different world and the idea that life will
always find a way, everything is connected and
highlights a connection to energy by default.
Artist(s) Biography
As an aesthetic documentarian, I collect and
document the ‘glitch’ in order to expose and
display the spilt-second unplanned phenomena.
My work captures, pushes and heightens
the aesthetic potential of these errors and
fragments that materialize by turning them
into actual static matter for us to notice
and contemplate. As a digital media artist
who works in various mediums across digital
media, my work is a hybrid of digital imaging,
photo manipulation, coding and glitch art.
Glitch.Art.Br 2020 / Image
Artist
Sabato Visconti
w/ Henry Amistadi
Title
Gold Cream Toile De Jouy (04)
Country
USA
Description
Collaboration with Henry Amistadi, a
photographer and media artist based in
Western Massachusetts. Work is a databent
photograph of a Henry Amistadi wallpaper-
based work. Amistadi collected sample
wallpapers from Thibaut and used scanner-
based distortions and Photoshop to create
new wallpaper concepts that he then printed
and installed on wood panels. Photograph of
a printed wall-paper study was captured with
a Canon 5D IV. The RAW .cr2 image was then
databent with a hexadecimal editor. Resulting
work fuses the intricate textures of a databent
64/65
dual-pixel RAW image format with the more
organic lines of the Henry Amistadi work.
Artist(s) Biography
Sabato Visconti is a Brazilian-born new media
artist and photographer based in Western
Massachusetts. He obtained a Bachelor of Arts
in Political Science from Amherst College in 2009.
Sabato began experimenting with glitch and
digital media in 2011 with the help of a defective
memory card that randomly wrote zeroes on
JPEG files. Since 2011, Sabato’s work has sought
to reconfigure traditional understandings
of photography for the postinternet era. His
work with glitch and postphotography has
been exhibited at the Tate Britain, ICA Boston,
LACDA, the FILE Festival in São Paulo, as well
as in galleries around the world. His images
have appeared in Vogue, TIME Magazine,
WIRED, The New York Times, and in AI-AP's
"Latin American Fotografia 4" Anthology.
Artist
LLE
Title
Guerras Por Plastilina / Clay Wars
Country
Mexico
Description
The old men invented the beast that moves
with the blood of the past, blood composed
of hydrogens and carbons, a consommé of
beings crushed by tons of earth. The crude
oil burns and leaves black clouds of charcoal
outside. Why seek the elixir for evolution
within the deep layers of the earth? This piece
was developed with plasticine melted by the
sun, then scanned with a hacked scanner
lamp removed from the original apparatus.
Artist(s) Biography
Pablo Benjamín Nieto Mercado (Mexico, 1979).
Multimedia Engineer / Artist. His proposals
are presented in various formats integrating
improvisation, clown, sound performance and
collaborative works. His work reflects on the
role of technology in human communication
and the transformation of the territory. In
2008 he founded the Melvin Records label
dedicated to experimental production, his work
encompasses sound, net art, experimental
video, documentary and installation. He
disseminates and exhibits his work in Mexico,
Guatemala, Bolivia, Colombia, Uruguay, Brazil,
Italy, France, Russia, Germany, the United
States, England, Japan, Saudi Arabia and Iran.
Glitch.Art.Br 2020 / Image 66/67

Artist Artist
Danka Emler Ejtna Kroshilova Diana
Title Title
Lines Awareness 8

Country Country
Czech Republic Russia

Description
Error, failure and glitch. Is there anything
more beautiful than that? The work is
an experiment with glitch techniques
and the use of the computer.
Description
Awareness is a series of gifs and jpegs
which were randomly generated to
introduce the relationship between
multimedia and everyday experiences.

Artist(s) Biography Artist(s) Biography

Unfortunately, the artist did Diana Kroshilova is an abstract artist based in
not send the biography. Moscow, Russia, who works in mixed media.
Artist Artist
Marllus Bisceglia Hernán Raggi
Title Title
Oh My Gosh Edición Incorrecta

Country Country
Brazil Chile

Description
Obra vetorial AI exportada como imagem
passando pela sonificação no software Audacity.
Artist(s) Biography
Self-taught designer and digital urban artist.
It uses experience as a motivational language
for random multimedia actions under the
influence of being who you are these days.
Description
“Edición incorrecta” es una obra creada a
partir de una imagen en formato JPEG y su
edición mediante software hexadecimal.
Artist(s) Biography
Mi formación profesional no está relacionada
con el área del arte, sin embargo, las obras de
Glitch Art siempre me llamaron la atención, por
lo que comencé a experimentar con sus métodos
de creación. Esta es mi primera exposición.
Glitch.Art.Br 2020 / Image 68/69

Artist Artist(s) Biography

Allison Tanenhaus Allison Tanenhaus is a digital glitch artist who
specializes in abstract geometrics, vibrant
Title color fields, optical perspectives, mind-bending
Shimmeria motion, and unexpected dimensional qualities.
Her source material consists of original photos,
Country previous glitch art, and vintage artifacts that she
USA alters via smartphone. Created with deliberation
and experimentation, the results are fantastical
Description compositions that take on psychedelic lives
An ooey, gooey other-worldly radiant of their own. Recent projects include Harvard
mountain range of space-age proportions, Graduate School of Design, Boston Convention
created by manipulating my previous & Exhibition Center, and “GlitchKraft: Allison
glitch art, using just my smartphone. Tanenhaus + Friends” at Emerson Contemporary.
She creates music videos and album art for
electronic musicians The Square Root of Negative
Two, Maria Finkelmeier, and Doug Bielmeier.
Artist Artist
Mathieu Petot Glitch Matrix
Title Title
Self_Portrait Buildings

Country Country
France China

Description Description
Glitch art allows me to express feelings YӨЦ cAП’TƬ ЯeaD AПYtHIПG
and emotions about the world that
surround me and the way I perceive it. Artist(s) Biography
Unfortunately, the artist did
Artist(s) Biography not send the biography.
I am a French student of 21 years old, currently
in 4th year of transportation design. I do art
on my free time. Graphic design (and so glitch
art) is for me a way of self-expression. It’s
an outlet through which I explore different
aesthetics and subjects that I care about.
Glitch.Art.Br 2020 / Image
Artist
Naomi Oliver
Title
Fire Crystal Cave
Country
Australia
Description
This fantasy landscape of sliding pixels
was created using a number of digital
manipulations, including ‘data bending’
(image files are manipulated using software
designed to edit files of a different format).
The corruption of the original imagery has
solidified and simplified the main color
elements in an almost 8-bit fashion, rendering
the source material almost indecipherable.
70/71
Artist(s) Biography
I have an art practice based in digital video
and animation, coding, sound, and performance
art. My current work investigates defects in
technology, such as corrupted digital imagery,
as well as flaws in psychology, the body and our
environment. This includes the memorialization
and exposure of digital and analog errors I
observe, as well as the intentional creation
of glitches and distortions through various
means, such as data-bending programs
(where image files are manipulated using
software designed to edit files of a different
format) and coding JavaScript animations.
Artist Artist
Paul Beaudoin Pix
Title Title
Portrait Of A Glitch Artist Ground

Country Country
Estonia Greece

Description Description
It seemed to make sense to me that my image There is nothing to say. Just an
be a reflection of my digital interests. edited photo of the asphalt.

Artist(s) Biography Artist(s) Biography

Paul Beaudoin is an interdisciplinary artist working I am not an artist. I am not an artist. I
fluidly between the visual and aural worlds without am not an artist. I am not an artist.
losing his balance. Every aspect of Paul’s work is
generated by his own processes and then further
manipulated using a variety of digital techniques.
They are often painstakingly reassembled to
form a fabric of aesthetics, philosophy, and
engaging thought. Originally from the United
States, Paul now resides in Tallinn, Estonia where
he is actively pursuing his creative activity.
Glitch.Art.Br 2020 / Image
Artist
Doctor Bagre & Lewis_33
Title
Algol
Country
Mexico
Description
Algol es una estrella parte de la constelación
de Perseo, forma parte de la cabeza de Medusa.
Lo que la hace tan especial es que fue señalada
por varias culturas antiguas como “maléfica
y endemoniada” a causa de su peculiar brillo
intermitente causado por ser una estrella
binaria. Algol es la constelación de la falla.
Donde dos estrellas se comen una a otra
constantemente para poder renacer y seguir con
el ciclo. Irónicamente, esta estrella demoníaca
es la que más se asemeja a nuestra vida.
72/73
Artist(s) Biography
Integrado por Doctor Bagre (Visuales) +
Lewis 33 (Música). México. El grupo considera
relevante proponer libertad de forma genuina
y espontánea dentro de la representación en
directo. Existe un manifiesto con el cual detonan
un nuevo driver hacia la escena mexicana, este
accionable lleva como nombre “NewrOn” (Neuron
- Neurona en inglés). Esta apuesta define un
producto neuronal, monótono y taladrante que
caracteriza el concepto del grupo, ya que las
secuencias de origen se generan con largas
repeticiones que enriquecen el clúster visual
en proyección sometido al error una y otra vez
para generar en el usuario final la sensación de
desconocimiento total por lo que puede venir
segundos adelante. Su inspiración está en la
naturaleza, la vida y la esencia del ser humano.
Artist
Elena Romenkova
& Christian Munk
Title
Abandoned Souls
Country
Austria
Description
The 3d sculptures are glitched by data
manipulation, placed in an abandoned place.
Artist(s) Biography
Elena Romenkova (1986) was born in Russia,
St. Petersburg. Graduated University of A.
Herzen, fine art faculty Master degree. Since
2017 lives and works in Austria in the field of
3D art and glitch art. She participates in digital
art-exhibitions since 2013. I see my artworks
as a kind of Post Surrealistic compositions.
Most of my images represent my thoughts
and feelings. I experiment with different 3d
techniques, create digital human bodies and
then transform them with different 3D modeling
methods - or modify it by data manipulation
(glitching). Glitch brings unpredictable results.
Christian Munk (1982) Austria. After his technical
education at the HTL St. Pölten for Automation
technology and almost 4 years of experience
at Voith Paper Industrie, he decided to expand
his skills in the creative and generative area
and began studying experimental media art
at the University of Applied Sciences in St.
Pölten. The combination of creative influences
with the background from technology creates
projects in an artistic, technological context.
Glitch.Art.Br 2020 / Image
Artist
Boris Reichle
Title
Maillot À Pois
Country
Germany
Description
Whereas technology has transformed the
world around us, humans have struggled to
keep up with the exponential evolution of
digital technologies and processes such as
data abundance, data exchange artificial
intelligences. In this work artist explores this
area fraught with tensions through demarcating
and superimposing outlines, boundaries onto
open spaces and representations of the physical
world in order to give shape to, as well as reveal
patterns and possible underlying truths: from
an abstract as well as emotional point of view.
74/75
Artist(s) Biography
Boris works across multiple disciplines,
connecting the corporeal and digital worlds
through mixed media artworks, photos and
paintings. Primarily working with digital drawing
tools and algorithms in combination with his own
photographic impressions, he investigates the
process of dematerialization which kicked off by
the advances in digital transformation. Drawing
from his background in engineering the artist
works with systems, IO (input/output, filter)
interactions and designs that shape our thoughts
and lives. Often these are framed instances that
would go unnoticed in their original context.
Boris currently lives and works in München.
Artist Artist
ApathyFire Elton E. H. Turner
Title Title
Forced Serialism Analog TV

Country Country
USA UK

Description
Surrounding yourself with order
can create unbounded chaos.
Artist(s) Biography
I’m just some guy who makes
broken art on the internet.
Description
My images are created using the digital
photo camera without adjustments. Each
click results in an unpredictable image.
Artist(s) Biography
I’m an amateur photographer. Currently studying
photography. My artistic skills began to emerge
while working at an architect friend’s office.
I haven’t started commercial photography
yet, but soon I want to open my studio.
Glitch.Art.Br 2020 / Image
Artist
Ibuki Kuramochi
Title
Heautoscopy
Country
USA
Description
Under this circumstance, all human relationships
are now concentrated in the virtual world
through the Internet. People’s thoughts, remarks
and lives appear in our vision which form into
photographs, movies, letters, and become a huge
timeline. Occasionally, I have the illusion that
my body and consciousness are being absorbed
into the world of the Internet. What this work
speaks of is an out-of-body experience on the
Internet, which stabilizes our minds through
relationships and networks via the Internet.
76/77
Artist(s) Biography
Born in Japan, Multi-media Artist IBUKI
KURAMOCHI specializes in artworks for exhibition
(paintings, movies and digital works), and also
specializes in live performances combining her
live painting with her Japanese Butoh dance.
She studied Butoh dance at the world renown
Kazuo Ohno Butoh Dance Studio in Yokohama
in 2016. Through her work, she pursues the
physicality of Butoh’s poetic choreography and
the pursuit of the human body in anatomy.
She visualizes her performance and body
movements as two-dimensional works and
video works. Ibuki explores concepts of
the body, thought and physical resonance,
metamorphosis, the ideal of the Sci-Fi animation
character’s body, and the uterus and fetishism.
She currently resides in Los Angeles.
Artist
Fun.a t
Title
Sputnik
Country
Brazil
Description
Experimentação de glitch com sobreposição por
subexposição linear, saturação e contraste.
Artist(s) Biography
Artista audiovisual graduando em pintura pela
Escola de Belas Artes - UFRJ e técnico em
produção audiovisual pela FAETEC Adolpho Bloch.
Buscando realizar experimentos e descobertas
no meio artístico visual e sonoro tanto de forma
digital ou analógica, com o objetivo de expandir
e explorar o âmbito de possibilidades da glitch
art e outros meios ou movimentos artísticos.
Artist
Miguel Ferreira
Title
Céu vermelho-escuro
Country
Portugal
Description
This work was created using the pixel sorting
technique created by Kim Asendorf, I imagine.
The lines of the image are divided into
“intervals” and the pixels in each interval
are rearranged in order to classify them in
relation to the brightness property. The code
simply applies this technique vertically.
Artist(s) Biography
Miguel Ferreira is a geek. He loves technology
and computers. That is why he started his
creation by manipulating images. Practically
his creation is based on the techniques
of Glitch Art and digital collage.
Glitch.Art.Br 2020 / Image
Artist
Gadirom
Title
Glitch In Space
Country
Russia
Description
This is the image from a time-lapse that
I was shooting in the park near my home
when I accidentally touched the camera and
caused an unintended glitch in the image
as several frames was slightly shifted. The
resulting image with its long traces of stars
distorted by the glitch reminded me of an
electrocardiogram with a registered heartbeat.
This can be viewed as a metaphor for life itself,
which is actually a glitch - an unexpected
random event in the otherwise lifeless and
ideal movement of physical matter in Space.
78/79
Artist(s) Biography
Roman Gaditskiy was born in Alma-Ata,
Kazakhstan and currently lives in Moscow,
Russia. He studied music in Novosibirsk State
Music College and Moscow College of Improvised
Music. He has a PhD in Art History from the
Research Institute of Russian Academy of Arts.
He worked as a professional photographer,
designer and music producer. The themes that
Roman explores in his art: movement and its
expression in different mediums, reimagining of
folklore culture, concepts of self. His work has
been presented in galleries and participated
in art festivals in Russia and abroad.
Artist
sieSeis
Title
Infection

Country
Mexico

Description Artist(s) Biography

La pandemia del Covid-19 ha resultado una Collagista y diseñador industrial radicado en
oportunidad para experimentar con la soledad la Ciudad de México. Mi trabajo utiliza como
que llevamos dentro todas las personas, al soporte el collage análogo y digital combinando
enfrentarnos a un confinamiento obligado técnicas de arte urbano. He expuesto en México,
y preventivo, lo que nos ha obligado a mirar Brasil, España, Alemania, Australia, USA y Serbia.
hacia adentro de cada uno. Esta infección no
se trata solo de un virus, sino de volvernos
conscientes de nuestra actitud ante la vida y
modificar nuestras costumbres en alimentación,
educación, además de la salud física y mental.
Glitch.Art.Br 2020 / Image
Artist
Cairo Lima
Title
Ta Tudo De Cabeça Pra Baixo Irmão
Country
Brazil
Description
Brazil is facing one of its toughest times in
recent history. Corruption, Natural disasters
caused by large corporate companies, Violence,
Poverty, Unemployment and Criminality. But the
Minister of Woman, Family and Human Rights
was not focused on that. But rather an agenda
to bring the ‘’good values’’ back to Brazil. As for
instance when she pronounced that ‘’Boys wear
blue and girls wear pink’’. From that I started to
react, and respond with my art. Creating a piece
that demonstrates what the country is now
really like. Chaos. Sampling from Photographs of
buildings that represent the rigid, old mentality.
80/81
Unified with several techniques of photo editing.
Creating then the flag of Brasil. Blue and pink,
chaotic, rigid and outdated. But still, thought
this intervention, showing hope of a brighter
future. Of a new generation that will see these
old values as something to be surpassed.
And not a obstacle to our development.
Artist(s) Biography
Cairo Lima is a Brazilian-American Artist and
Designer. Born in California and raised in Brazil,
the contrast in those two different realities
made him explore and want to express the
world he saw. Always adept to his Brazilian
roots, he incorporates and explores the limit
of what can be done with Photography, Photo
Editing and Generative Art. Expressing the
chaotic, yet beautiful world that surrounds
him. His work is full of contrast, geometric
shapes, saturation and repetitive forms. He is
an artist of transformation. Creating new worlds
out of already existing ones. An outlet where
the sentiment of his city can be expressed.
Artist Artist
Igor Gržetić Luli
Title Title
Master Of Light Skip

Country Country
Croatia Argentina

Description
Computer graphics Master of Light is part of the
cycle Master of Light and Its Projection(s), as
well as the C.O.S.M.O.G.O.N.Y. exhibition project.
It was created by the technique of digital
materials recycling, creating an e-collage.
Artist(s) Biography
Igor Gržetić was born in Rijeka in 1981. He
finished School of Applied Arts (Statuary Design)
and Academy of Applied Arts (Graphic Art and Art
History), both in Rijeka, Croatia. His art practice
includes computer graphic, graphic design
and video experiments – in all tree discourses
exploring principles of Creative Commons.
Description
Skip was created using a high-resolution
image and edited using various software,
and then finalized in Photoshop.
Artist(s) Biography
Luli is a student of Visual Arts and works with
editing and image processing in advertising
agencies in his native country, Argentina.
Has experience in image editing for ads.
Glitch.Art.Br 2020 / Image
Artist
Ultraglitx
Title
Ruídos
Country
Brazil
Description
A ruína civilizatória e a virtualização do Brasil
nativo O novo mundo trouxe o corte de nossas
raízes e consequentemente a perpetuação das
vidas nativas em extensões virtuais. Graças
a uma guerra travada pelo industrialismo
contra ambientes saudáveis, esses povos,
matas e animais não serão feitos de carne e
ossos, serão apenas vestígios do que um dia
82/83
nesse país foi natural. Logo observaremos
uma civilização intangível: imagens, som,
ruídos. A intervenção artística/digital ‘’Ruídos’’,
com o auxílio da estética disruptiva que é
gerada com a sonificação, tem o objetivo de
provocar a reflexão sobre a destruição do
Brasil, o nativo, através da arte glitch.
Artist(s) Biography
Ultraglitx, Jeane Vitória, 22, é uma artista
visual de Ribeirão Preto, interior de São
Paulo, Brasil, envolvida com o movimento
artístico Glitch e colagem digital. Selecionada
em algumas exposições de arte no estado
de São Paulo como a 27ª Mostra de Arte da
Juventude e na Bienal de Arte Digital – THE
WRONG com o pavilhão Homeostase.
Artist
Louis Montiel
Title
Defixions Corporis

Country
France
 Glitch.Art.Br 2020 / Image
Description
This art piece created for my PhD and Research
about “Artistic Practices, Digital Art in Social
Networks & Net Art” used techniques diversity
artistic, re-mixed appropriation of video or
image and original work from called data-
moshing, generative art and glitch art, artwork
which remove image’s & video i-frames (also
known as key frames and altered binary
code) causing it to look extremely senses and
distorted; created for virtual gallery on-line.
Artist(s) Biography
In 1997-2000 (Bachelor of Visual Arts in
the Faculty of Arts and Design / National
Autonomous University of Mexico). In 1999-2000
he has been awarded a scholarship by taking
various Workshops and Diplomas in History
of Art, Drawing and Graphic Media, Engraving,
Sculpture, Performance, Video Art and Graphics
by Multimedia and New Digital Media. In the
School of Painting and Engraving “La Esmeralda”
84/85
/ National Institute of Fine Arts. In 2001-2004
(Degree of Philosophy in the Faculty of Philosophy
and Letters with specialty in Aesthetics of Art
/ National Autonomous University of Mexico).
In 2011-2014 (Fellow and Researcher / Master’s
Degree in Visual Arts in the Postgraduate
Unit of the Faculty of Arts & Design / National
Autonomous University of Mexico). In 2018, he is
currently a PhD Researcher in Arts & Design in
Digital Art and New Digital Media in Technologies
Applied to Digital Artistic Production in the
Postgraduate Unit of the Faculty of Arts &
Design / National Autonomous University of
Mexico. / 2019, Beaux Arts de París. France.

Artist
Ra Lom
Title
Untitled
Country
USA
Description
The work I create is an ongoing exploration of
my Mexican identity and the societal condition
of feeling incomplete or existing in-between.
Calligraphic brush strokes obliquely refer to
my cultural heritage, acting as a yearning for
permanence and a search for wholeness. We exist
in between identities, in between states both
physical and unseen…blooming, falling apart, and
starting the cycle over again. The work I create
is a study of conscious and unconscious impulses
and how they reflect a state of identity that is
fluid and impossible to hold onto. I mainly use
acrylic paint – pouring, mixing, and washing – as
I alternate between stages of steady meditation
and frenetic mark-making. In the past, I used
self-portraits as a starting point to later
abstract into tense oblivion. Now, I start with the
oblivion and see what forms reveal themselves
afterwards. Mexican heritage permeates through
my work, through the calligraphic strokes
and references to natural landscapes. This
influence was never a conscious decision. On the
contrary, I was raised to prioritize my identity
as a pathway to success and financial stability
or the “American Dream.” I find myself being
more drawn to the aesthetic sensibilities of my
ancestors, even though their legacies remain
a mystery to me. My mark holds the energy of
their lineage and the unnerving feeling that a
filial connection is possibly forever lost. Each
piece is a part of my psychological journey, an
effort to map out a fully realized sense of self.
Artist(s) Biography
I am Rafael. Tijuana is the city that saw me
born, known to some as the corner of the
world. It is rumored that you are born there
so far from God and so close to the United
States. I am what is not. I am fiction, nostalgia,
idiotic hope. I am the mask that says more
than the face. I am everything I long for and
the impossible ones I chase, like dog’s chase
cars. I am a typo in a poem, a miscalculation
that leads to the correct solution.
Glitch.Art.Br 2020 / Image 86/87

Artist Artist
Pylyp Letsglitchit
Title Title
Broadcast Pseudoconvergence

Country Country
Ukraine USA

Description
Created from a smartphone camera. I
focused on the old TV and clicked. Then I
manipulated the image through an app.
Artist(s) Biography
Unfortunately, the artist did
not send the biography.
Description
SVG Vector files combined in a hex editor.
Source material was generated by AI.
Artist(s) Biography
Dawnia Darkstone, aka Letsglitchit, has been at
the forefront of non-coding based new media
art for the past 10 years. She is co-administrator
of Glitch Artists Collective and affiliated
groups on Facebook where she has contributed
to the general knowledge surrounding this
emerging medium. She has been exhibited
in London, Paris, Zagreb, Minneapolis, San
Francisco, and her novel work with sonification
has been written about in Vice Magazine.
Artist Artist
Brittonius David B. Egner
Title Title
Siccboi_Britt Burning In The HellFire

Country Country
USA Norway

Description
“Siccboi” is a glitch series that began at
the beginning of the pandemic. It was a
way to process the sudden need for face
masks and how it has now become apart of
our everyday lives as a means of protection
and expression. This was the first piece
created with the first mask bought for the
pandemic. Overwhelming anxiety channeling
into art was the focal point of this piece.
Description
He proposes to elaborate a perceptive
narrative about fire. This work was created
a month ago. I intend to make a series
based on fire, air, water and earth.
Artist(s) Biography
Student at Cardiff School of Art &
Design. Currently disgusted and
discouraged because of COVID-19.

Artist(s) Biography
Brittonius is a motion designer and glitch
artist living in Atlanta, Georgia, USA, exploring
digital forms of art as a visual sadist.
Glitch.Art.Br 2020 / Image
Artist
Ras Ahague
Title
Guys, I Finally Made It
Country
Poland
Description
The artwork is a tongue-in-cheek commentary
on the general lack of recognition for glitch
artists. Despite glitches successfully making
it into the mainstream media many years ago
and being present in our everyday lives (in
video games, movie trailers, music videos, TV
commercials, online ads, and more), glitch art
as an artistic genre is still considered niche
and generally unheard of. Realizing they will
probably never make it to Wikipedia’s list of
glitch artists, the author took it upon themselves
to update it in a rather unconventional manner.
88/89
Artist(s) Biography
Ras Alhague’s art mainly focuses on the
exploration of artistic nudity, eroticism,
gender identity and sexuality through glitch
aesthetic. Their first encounter with glitch
art took place in August 2014. They started
developing their artistic skills in various glitch
groups on Facebook, the most important
being Glitch Artists Collective. They quickly
became a vital part of it and are now the main
curator for GAC, which strives to feature some
of the most prominent glitch artists in the
community. Their works have been shown on
various exhibitions, including The Glitch Shop,
Glitch Art Is Dead, fu:bar/expo, and Blue \x80.
Artist
Sue Beyer
Title
Xanadu_12a_V2

Country
Australia
Glitch.Art.Br 2020 / Image
Description
Using a multidisciplinary approach, my
visual art practice primarily examines place
and space. My current work is part of an
ongoing investigation into the concept of
liminal space (transformation and the in-
between) through the lens of personal
mythologies, post digital concerns, and
Instruction Based art. This work was created
in 2018 while investigating ideas relating to
liminal space through the transformation of
screenshots taken from the roller-skating,
romance, musical, known as Xanadu (1980).
Using the process of datamoshing, the
materiality of the digital file is revealed. This
moment, where the glitch happens, is an in-
between space. During the Covid lockdown
in Melbourne I am working on a series of
paintings and digital works, that investigate
ideas relating to liminal space through the
transformation of well-known Australian
landscape paintings. Post digital strategies
are used as a metaphor for the permanent
alteration and ultimate transformation of the
landscape and our society as we know it.
90/91
Artist(s) Biography
Melbourne based Sue Beyer recently completed
an MFA (research) at the Victorian College of
the Arts in Melbourne, supported through
an Australian Government Research Training
Program Scholarship. In 2018 Sue was awarded
the National Gallery of Victoria Women’s
Association Award for the work created as
part of her candidature. Beyer has held solo
exhibitions in Brisbane and Melbourne, as well
as participating in group shows in Australia,
Singapore and the United States. Sue was
awarded an Australia Council ArtStart Grant
in 2010, been a finalist in numerous prizes,
and was the winner of the Emerging artist
category in the Stanthorpe Art Prize in 2014.
Her work is part of numerous corporate
and public collections including Artbank,
an Australian Government art collection.
Beyer is the director of Sandbox Studios
Melbourne, a set of professional art studios
and independent artist run gallery. Sue is
represented by Studio Gallery Group.
Glitch.Art.Br 2020 / Video 92/93

Category

Video
is understood as any form of
moving visual, including constructed
narratives with or without audio.

Watch
 Glitch.Art.Br 2020 / Video
Artist
Doctor Bagre & Lewis_33
Title
A1
Country
Mexico
Description
A1 fue creado a partir de máquinas análogas, este
es un momento melancólico, único e irrepetible
en donde la belleza se origina a partir de uno
de los más grandes temores del ser humano: La
imperfección y el error. Esta es una paradoja en
un espacio en el tiempo en donde representa la
obsesión del humano por encontrar soluciones
para satisfacer nuestra necesidad de dar sentido
a nuestra existencia. Nos rebasan los límites
impuestos por el conocimiento, donde apostamos
por la creación de máquinas y tecnología
aspirando a encontrar ahí la perfección, siendo
que nuestro cuerpo. Es una máquina calibrada
perfectamente. A1 humaniza a las máquinas
por medio del error. Deseamos imitar la lógica
humana en las computadoras y tecnología en
general, aunque en el fondo sabemos que nunca
llegaremos a tener la vida perfecta. Estamos
formados de células, energía e imperfecciones.
94/95
Artist(s) Biography
Integrado por Doctor Bagre (Visuales) +
Lewis 33 (Música). México. El grupo considera
relevante proponer libertad de forma genuina
y espontánea dentro de la representación en
directo. Existe un manifiesto con el cual detonan
un nuevo driver hacia la escena mexicana, este
accionable lleva como nombre “NewrOn” (Neuron
- Neurona en inglés). Esta apuesta define un
producto neuronal, monótono y taladrante que
caracteriza el concepto del grupo, ya que las
secuencias de origen se generan con largas
repeticiones que enriquecen el clúster visual
en proyección sometido al error una y otra vez
para generar en el usuario final la sensación de
desconocimiento total por lo que puede venir
segundos adelante. Su inspiración está en la
naturaleza, la vida y la esencia del ser humano.
Artist
Misael Sámano-Vargas
Title
Aviones Suspendidos En El Aire
Country
Mexico
Description
Un bosque de raíces de carne al aire,
tocándome. Tenía que asegurarme de que
seguía respirando, bostezando para inflarme.
Con la boca abierta y los dientes cerrados,
avancé. Sus gritos de caverna vacía, rozándome.
Así se debe sentir un barco de papel en
la delta de un río, indeciso. Colisiones.
Artist(s) Biography
Master en Artes Visuales y Multimedia por
la Universidad Politécnica de Valencia (UPV).
Diseñador gráfico, artista visual, fotógrafo
y educador con 17 años de experiencia en
fotografía autoral y comercial, así como 12
años de experiencia docente. Ha participado en
más de 65 exposiciones colectivas en México y
España, así como 4 exposiciones individuales,
incluyendo 11 publicaciones y 7 catálogos. Ha
asistido a más de 40 talleres y cursos. Además,
es promotor y educador de la fotografía
autoral, con 7 programas/temarios docentes
diseñados y otros en proceso, incluyendo
más de 15 pláticas dictadas. Ganador del
primer premio en videoarte en la Bienal BACOS
2018 (San Miguel, Islas Canarias, España).
Glitch.Art.Br 2020 / Video
Artist
Cleber Gazana
Title
Digitalize-se (vídeo)
Country
Brazil
Description
In 2017, there was an online and offline event
called The Wrong Biennale, created to promote
culture and digital art. As an artist selected for
the event, in one of the virtual galleries called
Homeostasislab, I created the interactive online
artwork called Digitalize-se, which was available
to the public for real-time interaction using the
web browser and a webcam. Those thirty seconds
shown here are the result of the interaction
96/97
and capturing the audience in this web artwork.
When filming the user, the JavaScript codes
created a digitized and completely noisy image
of the user, an image full of distortions.
Artist(s) Biography
Cleber Gazana is a designer, master in Visual
Arts, postgraduate in Visual Creation and
Multimedia, and in Communication and Media,
as well as visual and sound artist. Professor
(at FAAP, USJT, Belas Artes, FAPCOM) in art,
design, radio and TV, cinema and advertising
courses. Researcher member of the group
c/A/t – [s]cience/Art/technology - CNPQ-UNESP.
His research focuses on art and technology,
Glitch Art and design. Acts in the sound arts
mainly under the name Simple.Normal, but too
Gridblock, Danza en Polonia and Cleber Gazana.
Artist
Jean-Michel Rolland
Title
Entropy:Sky
Country
France
Description
"Entropy: Sky" is a photovideography, a
photograph that changes over time to change
status and become a video artwork. The pixels
of the image are drawn, depending on their
brightness, in opposite directions. From these
torn skies will remain only traces, vestiges of
a time when the great balances on Earth were
respected. Made with free software Processing.
Artist(s) Biography
Jean-Michel Rolland is a French artist born in
1972. A long time a musician and a painter, he
brings together his two passions - the sound and
the image - in digital arts since 2010. Through
video artworks, generative art, audiovisual
performances and interactive installations, he
questions the temporality, a genuine fourth
dimension inherent to moving image, as well as
the duality between his two favorite mediums,
the sound and the visual. His formal research is
guided by the desire to reveal the intrinsic nature
of our perceptual environment and to twist it to
better give new realities to the world around us.
Glitch.Art.Br 2020 / Video
Artist
André Perim
Title
Broken Rainbow
Country
Brazil
Description
The idea of a rainbow is always related to
harmony and a happy end. The idea of a broken
rainbow leads to the distopia. The arc format
is transposed to a bidimensional screen, with
the colored stripes deconstructed through
databending and digital deconstruction. The
sound, also made through digital deconstruction
98/99
alludes to the materiality characteristic
of cracks opposed to the ethereal original
configuration of the rainbow. Produced in 2020.
Artist(s) Biography
André Perim is a musician, composer, and
multimedia artist from Brazil. His work is based
on the unique mixture of the sacred tradition
of the Afro-Brazilian Rhythms with electronic
elements inspired by ambient and psychedelia. In
2020 produces the video artwork “Infotoxication”,
that was presented in several festivals around
the world in countries such as Portugal, Bulgaria,
India, Saudi-Arabia, South Korea and Netherlands.
Artist
Naomi Oliver
Title
Artifacting
Country
Australia
Description
In this work I’ve combined a number of longterm
explorations of mine - stop-motion animation,
digital glitches, green screen, video synthesizer,
and the Australian bushland. In creating the
photographic imagery, I used time-lapse and
purposely-defective panorama shots in order
to utilize these in a stop-motion, manually
glitched animation. I wanted to emphasize
the humanity of errors and glitches by using
the method of stilted stop-motion animation,
leaving behind a trail of my mind and hand.
Artist(s) Biography
I have an art practice based in digital video
and animation, coding, sound, and performance
art. My current work investigates defects in
technology, such as corrupted digital imagery,
as well as flaws in psychology, the body and our
environment. This includes the memorialization
and exposure of digital and analog errors I
observe, as well as the intentional creation
of glitches and distortions through various
means, such as data-bending programs
(where image files are manipulated using
software designed to edit files of a different
format) and coding JavaScript animations.
Glitch.Art.Br 2020 / Video
Artist
Milos Peskir
Title
Digital Fossil_lathe Mantis
Country
Serbia
Description
The reality of displaced existence in the field
of the intangible - the fragile universe of
the digital. The evolutionary closeness of
humans and digital artefacts is the aesthetic/
ontological base for the concept of Digital
Fossil. In spite of its calmness, as a wiry profiler,
“lathe Mantis” is shaping a quasi-linear perfect
focus on the reconnection of broken pattern.
100/101
Artist(s) Biography
Milos Peskir, born (1976) in Belgrade, Serbia.
Educated in Visual Art (Intermedia), Serbia
and the Netherlands. Active in the field of,
time-based and non time-based, 2D Visual
Art. Participated in numerous, local and
international, events/festivals/exhibitions/art
projects as an artist, author/co-author/curator/
art director. Currently lives in Belgrade, Serbia.
Glitch.Art.Br 2020 / Video
Artist
Sina Kia Daliri / Platform 101
Title
Day One
Country
Iran
Description
In the beginning, when God created the heavens
and the earth, the earth was empty and formless,
and the Spirit of God moved on the dark masses
of steam. God said, "Let there be light." And it
became light. God favored light and separated it
from darkness. He called light "day" and darkness
"night." It was late at night and in the morning.
This was the first day. From the first chapter of
Genesis (New Testament) This forty-second work
is called "Day One". At the beginning of the video,
we see white and wavy lines on a dark surface, or
in other words, night. These lines are reminiscent
of quarks, which are the smallest known element
in matter. When we zoom in on these wavy
parallel lines, it goes out of parallel mode and
intersects Are. By changing the angle with
respect to these lines during the video process,
we notice the regular structure and geometry
in this disorder and discontinuity, which the
artist eventually turns this geometry into a
pentagon which are the five ethereal elements of
102/103
fire, water, Air and soil as the basic elements of
creation They lead. These quarks, which emerge
from the black at the beginning of the video,
reach a white matter at the end of the video at
the end of their path, after being bonded. last
sequence of the video and from the point of
view of being pentagonal, the design is formed.
Artist(s) Biography
He is a graduate of architecture. From the
beginning, Kia Daliri has been interested
in how to arrange the frames and achieve
a new arrangement of them. He started
learning and working in the field of editing
software (Premiere Pro), special effects and
motion graphics (After Effects) from five
years ago. Since 2016, he has been in charge
of Famouri Studio advertising teasers, and
has been working as the artistic director of
the media and in charge of social networks
on the 101st platform. Born in 1995.
Artist
Toni de Paula
Title
EnTro
Country
Brazil
Description
O vídeo é um resultado final de uma pesquisa,
em que se propôs criar uma instalação
audiovisual. Mesmo sem o suporte instalativo,
configura-se uma relação com a imagem
de distanciamento e ao mesmo tempo,
identificação, ao representar uma situação
corriqueira com intervenções de glitch que
decupam a cena e promovem um novo tipo
de leitura da situação, fugindo do controle
do espectador e da obra uma lógica inicial.
Artist(s) Biography
Caio Antônio é artista em novas mídias,
colorista e finalizador. Formado em Audiovisual
pela USP, dirigiu fotografia de “Ronda” (2019)
e realizou uma videoinstalação “enTro”
(2019), como trabalho de conclusão de curso.
Trabalhando em produtoras de grande porte
como Gullane e Pródigo teve contato com os
processos de produção e finalização de obras
como “Bingo” (2017), além de produções para
a Netflix como “Coisa Mais Linda” (2018).
Faz color grading para peças publicitárias
como “Netflix Pride 2020” e “Vivo Joga Junto”
(2018). Com um interesse em tecnologia e
dispositivos de áudio e vídeo, realiza diversas
parcerias e colaborações com artistas visuais.
Glitch.Art.Br 2020 / Video
Artist
Allison Tanenhaus
Title
Dustria
Country
USA
Description
Dustria is a candy-colored, slightly sinister,
otherworldly meditation on industrial waste
and atmospheric decay by glitch video artist.
Presented in the form of a hypnotic music
video for the song "Flavros" [sic] by Robin Amos
and Blaik Ripton aka the Boston electronic
synth duo The Square Root of Negative Two.
104/105
Artist(s) Biography
Allison Tanenhaus is a digital glitch artist who
specializes in abstract geometrics, vibrant
color fields, optical perspectives, mind-bending
motion, and unexpected dimensional qualities.
Her source material consists of original photos,
previous glitch art, and vintage artifacts that she
alters via smartphone. Created with deliberation
and experimentation, the results are fantastical
compositions that take on psychedelic lives
of their own. Recent projects include Harvard
Graduate School of Design, Boston Convention
& Exhibition Center, and “GlitchKraft: Allison
Tanenhaus + Friends” at Emerson Contemporary.
She creates music videos and album art for
electronic musicians The Square Root of Negative
Two, Maria Finkelmeier, and Doug Bielmeier.
Artist
Fun.a t
Title Artist(s) Biography
33live4 Artista audiovisual graduando em pintura pela
Escola de Belas Artes - UFRJ e técnico em
Country produção audiovisual pela FAETEC Adolpho Bloch.
Brazil Buscando realizar experimentos e descobertas
no meio artístico visual e sonoro tanto de forma
Description digital ou analógica, com o objetivo de expandir
Experimentações visuais com sobreposições e explorar o âmbito de possibilidades da glitch
e efeitos de mapas de cores e shaders. art e outros meios ou movimentos artísticos.
Glitch.Art.Br 2020 / Video
Artist
Caique Poi
Title
Reciclagem
Country
Brazil
Description
Dezenas de arquivos da lixeira do computador
como; imagens, textos, instaladores e arquivos
de todos os tipos, sofrem uma transformação
forçada. Todo este "lixo", através da subversão
de softwares, é transformado em sons, imagens
e vídeos abstratos, simulando uma espécie de
reciclagem no meio virtual. Este processo, que
106/107
se aproveita das disfunções dos softwares,
obriga a máquina a gerar resultados aleatórios.
E com uma certa autonomia, a máquina
ressignifica os dados arbitrariamente.
Artist(s) Biography
Paulistano, formado em Produção Audiovisual.
Iniciou sua trajetória com edições de
vídeos abstratos, em 2013. Neste mesmo
período conheceu a Glitch Art e começou a
produzir diversos trabalhos. Desde então,
vem produzindo e catalogando resultados e
possibilidades nesta estética. Esta pesquisa
se transformou em um projeto de oficinas de
Glitch Art, que tem como objetivo principal,
levar arte digital para as periferias.
Artist
Javier Galán Rico
Title Artist(s) Biography
Sigilvm Incordivm In my work you’ll find pictoric inquietudes, I get
deeper in my projects from the experimental
Country perspective within a panoptic eclectic of tools
Spain which going from digital, 3d, databending
to electronic devices until painting with
Description recycled support. My beginnings in the art
21 centuries as an abstract cut-up of references. arises from the 90’s digitalism, where I
Shining distortions, weird warps and floating started to use 3d tools. The hiperrealistic
creatures gathered on Sigilvm Incordivm, an current established in the digital art scene
exegetical futuristic and experimental microfilm. from this time created refusal feelings which
became the activator and beginnings for
a more conceptual and less conventional
approaching in use of the digital tools.
Glitch.Art.Br 2020 / Video
Artist
Jack Elliot Barton
Title
Burnt Norton
Country
UK
Description
‘Burnt Norton’ forms the closing passage of
the extended audiovisual installation work
‘Calder, Burnt Norton’, a generative cyclical
composition exploring audiovisual granulation
processes as a means of informing large-
scale structure in visual music. Audio material
was generated from processes applied to a
108/109
recorded reading of the Eliot poem of the same
name. This material was subsequently used
to generate visual material, largely generated
using manipulations of video feedback processes
in Kevin Kripper’s Vsynth interface for Max.
Artist(s) Biography
Jack Elliot Barton is a composer and multi-
instrumentalist navigating a plethora of
sonic expeditions between the realms of
experimental sound art practice, audiovisual
composition, improvised music and jazz. Recent
performances and exhibitions include Sadler’s
Wells Main Stage, The ICA, Moscow International
Film Festival and Abbey Road Studios.
Artist Artist(s) Biography
Gabriel Koi Young audio-visual artist, moved by his spiritual
personal search and will to materialize the
Title ideas that go through his restless creative
Two Fragments From The Unknow mind. Started producing videos at 13 using
experimentation and self knowledge during
Country the process, developed an authentic aesthetic
Brazil that fits as a signature, and so his field
expanded to Live Visuals, Videoart, Music
Description Production, and Freelancer for brands. Inserted
Dois fragmentos-irmão do grande as a filter on this physical plane, his young
desconhecido. Materializados via mind is surrounded by passionate utopians
Processing e Artbreeder. Montado no like him, who believe that the creative stage
Adobe Premiere. Filtrado por Gabriel Koi. is like an oasis inside the chaos we live in.
Glitch.Art.Br 2020 / Video 110/111

Artist
Robin Moedder
Title
Super Laser Acid Crab

Country
Germany

Description Artist(s) Biography

This video work named “Super Laser Acid Robin Moedder, born 1980 in Hamm, is an
Crab" shows an underwater reptile which interdisciplinary media artist who lives and
is arrested in a dimension full of errors, works in Mülheim an der Ruhr, Germany.
glitches and abstract moving pictures.
Glitch.Art.Br 2020 / Video
Artist
Sarah Paradise
Title
System Error
Country
Canada
Description
System Error is part of a larger video series that
has been designed to convey the ways in which
physical and social distancing have impacted
society as a result of the covid-19 pandemic.
At the end of the video the characters unite
together and rise up, which is a metaphor for
perseverance and resilience, suggesting that we
will survive this challenging time despite this
System Error that is the covid-19 pandemic.
Artist(s) Biography
Sarah Paradise is an interactive digital media
artist who transforms two dimensional surfaces
into three dimensional landscapes using video
projection mapping techniques that illuminate
the night with vibrant visuals. Her digital
media aesthetic conveys elements of glitch,
surrealism, abstraction, geometric patterns,
space, nature, and technology. Paradise also
strives to create immersive visual experiences
for a wide range of audiences. Her interactive
digital media artwork has been projected
throughout Winnipeg at venues including the
112/113
Winnipeg Art Gallery, the Planetarium, the Plug
Inn Institute of Contemporary Art, Cinematheque,
the Rachel Browne Theatre, VideoPool, Ace Art,
the Park Theatre, the Metropolitan, as well as
the Edge Gallery and Urban Arts Centre. She
has also performed live visuals at different
Nuit Blanche events in collaboration with the
Winnipeg Design Festival and the Winnipeg
Art Gallery. Paradise has also been involved
with live visual performances at a variety of
outdoor electronic music festivals throughout
Canada including the Manitoba Electronic
Music Exhibition (Winnipeg, MB), Connect 22:
Terminus (Moose Jaw, SK), and Motion Notion
(Golden, BC). She has also performed in the
United States at an outdoor electronic music
festival called Bloom Town (Waubun, Minnesota).
When Paradise is not illuminating the night with
her digital artwork, she teaches grades 7-12
Computer Science, Graphics, and ICT at St. John’s
High School in Winnipeg, Manitoba. Paradise is
also working on her Masters at the University
of Manitoba in the Faculty of Education.
 Description
Glitch video represents the state of
consciousness in a moment of falling asleep.

Artist(s) Biography
Elena Romenkova (1986) was born in Russia,
St. Petersburg. Graduated University of A.
Herzen, fine art faculty Master degree. Since
2017 lives and works in Austria in the field of
Artist 3D art and glitch art. She participates in digital
Elena Romenkova art-exhibitions since 2013. I see my artworks
& Christian Munk as a kind of Post Surrealistic compositions.
Most of my images represent my thoughts
Title and feelings. I experiment with different 3d
Sleeping techniques, create digital human bodies and
then transform them with different 3D modeling
Country methods - or modify it by data manipulation
Austria (glitching). Glitch brings unpredictable results.

Christian Munk (1982) Austria. After his technical

education at the HTL St. Pölten for Automation
technology and almost 4 years of experience
at Voith Paper Industrie, he decided to expand
his skills in the creative and generative area
and began studying experimental media art
at the University of Applied Sciences in St.
Pölten. The combination of creative influences
with the background from technology creates
projects in an artistic, technological context.
Glitch.Art.Br 2020 / Video 114/115

Artist
Jean-Baptiste Friquet
Title Description
Not Everything Not everything is about you.

Country Artist(s) Biography

Belgium Jean-Baptiste Friquet, @JBFRIQUET, is a visual
artist working on different media, photo
manipulation as well as video or 3D. Born in
1983 in Mulhouse, France, he studied film and
art editing at the Institute of Broadcast Arts
in Louvain-La-Neuve, Belgium. He officiates on
Belgian television as editor and director. Now
he works as a freelancer for various audiovisual
production companies. In 2014, he discovered
glitch art, which launched him in a new way and
many experiments. He wonders through his art
through the famous paradigm "it was better
before?". Child of analog, its present is digital.
Artist Artist(s) Biography
Mr. Matson Art I am an Artist and Art teacher who has been
separated from my traditional classroom job
Title due to the circumstances of the COVID-19
Seagate Toolkit Exe To Raw Animation pandemic. I had been teaching in China but was
outside of the country when the travel ban
Country was instituted, which has prevented me from
USA returning to my home and place of work. I am
hopeful, though, that during this time I can still
Description continue to inspire a bit of creative and critical
Unfortunately, the artist did not send the thinking, and maybe even contribute to the Art/
theoretical description of the artwork. learning community in new ways. Perhaps my
circumstance and the current heightened focus in
both online education and virtual Art exhibitions
will actually prove to be an opportunity to
connect with an even greater audience of
hungry minds eager for creative discovery.
Glitch.Art.Br 2020 / Video
Artist
Sabato Visconti
Title
Ecco The Dolphin: Extinction
Country
USA
Description
In the cult classic Sega Genesis game, Ecco:
The Tides of Time, Ecco the Dolphin lives in
a world where the only traces of humanity
survive through ancient ruins. My video art
series reimagines Ecco in the anthropocene.
Humanity may be extinct, but the devastation
wrecked on the oceans still linger, and Ecco
wanders through an unstable ecosystem in
permanent collapse. Series consists of video
and GIF files capturing game performances
of corrupted Sega Genesis ROMs.
116/117
Artist(s) Biography
Sabato Visconti is a Brazilian-born new media
artist and photographer based in Western
Massachusetts. He obtained a Bachelor of Arts
in Political Science from Amherst College in 2009.
Sabato began experimenting with glitch and
digital media in 2011 with the help of a defective
memory card that randomly wrote zeroes on
JPEG files. Since 2011, Sabato’s work has sought
to reconfigure traditional understandings
of photography for the postinternet era. His
work with glitch and postphotography has
been exhibited at the Tate Britain, ICA Boston,
LACDA, the FILE Festival in São Paulo, as well
as in galleries around the world. His images
have appeared in Vogue, TIME Magazine,
WIRED, The New York Times, and in AI-AP's
"Latin American Fotografia 4" Anthology.
Glitch.Art.Br 2020 / Video 118/119

Artist
Diego Ramos
Title
Atrás Da Máscara

Country
Brazil

Description
Muitos dos filtros no Instagram são utilizados
como uma forma de 'embelezar', divertir, os já
consolidados selfies. Por meio de um celular
Alcatel, que tinha baixo processamento de
renderização, percebi que ao mudar de um filtro
para o outro do Instagram, ocorria uma 'nova
máscara' gerado pela falha. Eram imagens em
preto e branco, como uma espécie de pulsação
em ondas claras e escuras, ao mesmo tempo em
que figuras quadriculadas pareciam vaguear pelo
espaço da tela. Nenhum dos vídeos capturados
tinham um padrão, o que tornava a paisagem
ainda mais interessante para ser trabalhada na
sobreposição. Tendo isso em mente, construí um
vídeo em que essas diversas formas de glitch
aparecem, tendo ao final, a minha selfie, criada
a partir desse filtro inesperado e temporário.
Artist(s) Biography
Diego Ramos é artista visual e historiador,
radicado em São Paulo / Brasil. Sua pesquisa
em audiovisual concentra-se em cinema
experimental, videoarte e patrimônio cultural.
Seus curtas-metragens foram exibidos no ASIFF
- African Smartphone International Film Festival
(Abuja, 2018); DOBRA - Festival Internacional
de Cinema Experimental (Rio de Janeiro, 2018);
V Exposição de Projeção Fotoativa (Pará,
2019); Rencontres Internationales 2020 (Paris
/ Berlim - Videoteca), entre outros festivais.
Artist
Rachelmauricio Castro
Title
Genvid
Country
Brazil
Description
Generatividade transferida
para vídeo codificado.
Artist(s) Biography
Artistas visuais, com arquitetura,
desenho industrial como embasamento
para trabalhos de net arte, áudio,
vídeo e imagens gráficas.
Artist
Tchidu
Title
Pessoa É O Erro Da Cidade
Country
Brazil
Description
O sistema só anda sem pessoa no meio.
Tem que correr porque o sistema não para.
Reduz, mas não para. As luzes e vozes
da cidade que não dorme, São Paulo.
Artist(s) Biography
Artista experimental de imagem e sons,
digitais e analógicos. Caçador de glitches
selvagens na natureza sistêmica.
 Glitch.Art.Br 2020 / Video 120/121

Artist
Letsglitchit
Title Artist(s) Biography
The Gods Next Door Dawnia Darkstone, aka Letsglitchit, has been at
the forefront of non-coding based new media
Country art for the past 10 years. She is co-administrator
USA of Glitch Artists Collective and affiliated
groups on Facebook where she has contributed
Description to the general knowledge surrounding this
AI generated video glitched with my own glitched emerging medium. She has been exhibited
LUT/CUB color profiles and datamoshing. in London, Paris, Zagreb, Minneapolis, San
Francisco, and her novel work with sonification
has been written about in Vice Magazine.
A F
Alejandro Bombín Marrodán 40 Francesco Seren Rosso 46
Allison Tanenhaus 53 Fun.a t 62
Allison Tanenhaus 89 Fun.a t 90
André Perim 83
André Perim 33 G
ApathyFire 60 Gabriel Koi 94
Gadirom 30
B Gadirom 63
Boris Reichle 59 Glitchkitty404 48
Brittonius 72 Glitch Matrix 54
Gridblock 29
C
Caique Poi 91 H
Cairo Lima 65 Hernán Raggi 52
Cleber Gazana 43 Hyash Tanmoy 31
Cleber Gazana 81
I
D Ibuki Kuramochi 61
Danka Emler Ejtna 51 Igor Gržetić 66
David B. Egner 72
Diego Ramos 103 J
Doctor Bagre & Lewis_33 57 Jack Elliot Barton 93
Doctor Bagre & Lewis_33 79 Javier Galán Rico 92
Jean-Baptiste Friquet 42
E Jean-Baptiste Friquet 99
Eddy 46 Jean-Michel Rolland 82
Elena Romenkova José Irion Neto 45
& Christian Munk 58
Elena Romenkova K
& Christian Munk 98 Kroshilova Diana 51
Elton E. H. Turner 60
Glitch.Art.Br 2020 / Artists Index 122/123

L R
Letsglitchit 32 Rachelmauricio Castro 104
Letsglitchit 71 Rachelmauricio Castro 31
Letsglitchit 105 Ra Lom 70
LLE 34 Ras Ahague 73
LLE 50 Robin Moedder 95
Louis Montiel 28
Louis Montiel 68 S
Luiz Henrique A. L. Passos 32 Sabato Visconti 101
Luli 66 Sabato Visconti
w/ Henry Amistadi 49
M Sarah Paradise 47
Marllus Bisceglia 52 Sarah Paradise 97
Mathieu Petot 54 sieSeis 64
Michael Hurtado Enríquez 29 Simple.Normal 33
Miguel Ferreira 62 Sina Kia Daliri / Platform 101 87
Milos Peskir 85 Sue Beyer 74
Misael Sámano-Vargas 80
Mr. Matson Art 100 U
Tchidu 104
N Toni de Paula 88
Naomi Oliver 55
Naomi Oliver 84 U
Ultraglitx 67
P
Paul Beaudoin 35
Paul Beaudoin 56
Pix 56
Pylyp 71
Glitch.Art.Br 2020 / Acknowledgment

Alejandro Bombín Marrodán José Irion Neto

Allison Tanenhaus Kroshilova Diana (Diana Kroshilova)
André Perim Letsglitchit (Dawnia Darkstone)
Andrzej Marzec LLE (Pablo Benjamín Nieto Mercado)
ApathyFire Louis Montiel
Boris Reichle Ludimilla Carvalho
Brittonius Luiz Henrique A. L. Passos
Caique Poi Luli
Cairo Lima Marllus Bisceglia
Christian Munk Mathieu Petot
Cleber Gazana Michael Hurtado Enríquez
Danka Emler Ejtna Miguel Ferreira
David B. Egner Milos Peskir
Diego Ramos Misael Sámano-Vargas
Doctor Bagre & Lewis_33 Mr. Matson Art
Eddy Naomi Oliver
Elena Romenkova Paul Beaudoin
Elton E. H. Turner Pix
Francesco Seren Rosso Pylyp
Fun.a t Rachelmauricio Castro
Gabriel Koi Ra Lom (Rafael)
Gadirom (Roman Gaditskiy) Ras Ahague
Glitchkitty404 Robin Moedder
Glitch Matrix Rosângela Macedo da Silva
Gridblock (Cleber Gazana) Sabato Visconti
Henry Amistadi Sarah Paradise
Hernán Raggi sieSeis
Hyash Tanmoy Simple.Normal (Cleber Gazana)
Ibuki Kuramochi Sina Kia Daliri / Platform 101
Igor Gržetić Sue Beyer
Jack Elliot Barton Tchidu
Javier Galán Rico Toni de Paula (Caio Antônio)
Jean-Baptiste Friquet Ultraglitx (Jeane Vitória)
Jean-Michel Rolland
Glitch.Art.Br 2020 / Credits 124/125

Idealização e Organização
Cleber Gazana

Criação e Coordenação de Conteúdo

Cleber Gazana

Edição de Conteúdo
Rosângela Macedo da Silva

Suporte e Produção
Rosângela Macedo da Silva

Curadoria
Cleber Gazana
Sabato Visconti

Tradução
Cleber Gazana
Sabato Visconti

Foto/Arte de Capa e Separadores de Seções

Cleber Gazana

Projeto Gráfico / Site e Redes Sociais

Cleber Gazana
 www.glitch.art.br

Glitch Art Br 2020 Cleber Gazana (Org.)

(Org.)
Cleber Gazana