Of all the buzzy 21st-century tech phrases, “machine learning” threatens to be the most important. Programming computers is slow, but we’re nearing the point where humans give the bots parameters and let them teach themselves.

“If you look at Google Earth, it’s springtime everywhere,” explains Gopal Shah, Google Earth’s product manager, in a YouTube interview. In a TED talk he boasts that Google Earth is “cloud-free,” since the clouds and their shadows are edited out.

While technology critics drag technological solutionism in five thousand words or 280 characters, artist and environmental engineer Tega Brain wields solutions against themselves, in the form of objects and installations.

examples of artists using sPaM as part of their artistic practice. (thinking: jodi, constant dullaarts army of bots, horse ebooks, bestiary of Spam),,,

Carolyn L. Kane In a world that esteems technological efficiency, immediacy, and control, the advent of technical noise, glitch, and failure—no matter how colorful or disturbingly beautiful—are avoided at great costs.

Of all the buzzy 21st-century tech phrases, “machine learning” threatens to be the most important. Programming computers is slow, but we’re nearing the point where humans give the bots parameters and let them teach themselves.

Legacy Russell is a writer, artist and cultural producer. Her first book Glitch Feminism is forthcoming from Verso. A version of this interview first appeared in the chapter “Distracted to Attention: On Digital Reading” in The Digital Critic: Literary Culture Online (OR Books, 2017).

In a recently posted video, Patrick LeMieux(Assistant Professor of Cinema and Digital Media at UC Davis) describes his own material exploration and investigation of Cory Arcangel’s seminal artwork, Super Mario Clouds (2002). LeMieux’s research is spectacular in many ways.

Glitch art resonates with the increasingly complex love-hate relationship humans have with technology. Errors, and by extension the changes, that can occur within software source code and data can provide a fertile foundation for the imagination.

21.10.2016 We are living in the digital era, no doubt. Everything is going digital lately, so it’s no surprise to also see the growth of the digital art sphere. Today let’s focus on glitch art.

In our second installment on Glitch Art we’re going to look at a type of glitch that is made using the compression artifacts from digital video called datamoshing. Datamoshing visual effects usually appear like small colorful squares sprinkled across a screen like confetti.

Versions is the essential guide to virtual reality and beyond. It investigates the rapidly deteriorating boundary between the real world and the one behind the screen. Versions launched in 2016 at the eponymous conference dedicated to creativity and VR with the New Museum’s incubator NEW INC.

New Media Artist and Educator Nick Briz has a perspective on copying, stealing and sharing on the web that all artists and creatives need to hear.

I really like painters that adopt compression artifacts...

Grand Wizard Theodore Scratching Bodies and machines are defined by function: as long as they operate correctly, they remain imperceptible; they become a part of the process of perception, as the extension of the action that engages the Self with the world.

This sims mod lets you wear a bathtub as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub……. >>>>>>>>> ‪#‎BATHCEPTION‬

In an experimental collision of chaos and purpose, glitch art exists as a low-key but important form of new media that broadly encompasses works of photography, video stills, moving pictures, and other image data that has been corrupted.

Resolution Disputes: A Conversation Between Rosa Menkman and Daniel Rourke: In the lead-up to her solo show, institutions of Resolution Disputes [iRD], at Transfer Gallery, Brooklyn, Daniel Rourke caught up with Rosa Menkman over two gallons of home-brewed coffee. They talked about what the show might become, discussing a series of alternate resolutions and realities that exist parallel to our daily modes of perception.iRD was exhibited at Transfer Gallery in March & April 2015, and also functioned as host to Daniel Rourke and Morehshin Allahyari’s 3D Additivist Manifesto, on April 16th.Rosa Menkman: If I remember correctly you and Morehshin wrote an open invitation to digital artists to send in their left over 3D objects. So every object in that dark gooey ocean in The 3D Additivist Manifesto actually represents a piece of artistic digital garbage. It’s like a digital emulation of the North Pacific Gyre, which you also talked about in your lecture at Goldsmiths, but then solely consisting of Ready-Made art trash.The actual scale and form of the Gyre is hard to catch, it seems to be unimaginable even to the people devoting their research to it; it’s beyond resolution. Which is why it is still such an under acknowledged topic. We don’t really want to know what the Gyre looks or feels like; it’s just like the clutter inside my desktop folder inside my desktop folder, inside the desktop folder. It represents an amalgamation of histories that moved further away from us over time and we don’t necessarily like to revisit, or realise that we are responsible for. I think The 3D Additivist Manifesto captures that resemblance between the way we handle our digital detritus and our physical garbage in a wonderfully grimm manner.Daniel Rourke: I’m glad you sense the grimness of that image. And yes, as well as sourcing objects from friends and collaborators we also scraped a lot from online 3D object repositories. So the gyre is full of Ready-Mades divorced from their conditions of creation, use, or meaning. Like any discarded plastic bottle floating out in the middle of the pacific ocean.Eventually Additivist technologies could interface all aspects of material reality, from nanoparticles, to proprietary components, all the way through to DNA, bespoke drugs, and forms of life somewhere between the biological and the synthetic. We hope that our call to submit to The 3D Additivist Cookbook will provoke what you term ‘disputes’. Objects, software, texts and blueprints that gesture to the possibility of new political and ontological realities. It sounds far-fetched, but we need that kind of thinking.Alternate possibilities often get lost in a particular moment of resolution. A single moment of reception. But your exhibition points to the things beyond our recognition. Or perhaps more importantly, it points to the things we have refused to recognise. So, from inside the iRD technical ‘literacy’ might be considered as a limit, not a strength.