Data Luminescence

muñecas de la luz

muñecas de la luz

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╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒╭̮̼̬̑ͧͪ╮̥̹͇̼̦̙̪̐͛͗͌̏ͤ̾ͯ̍╰͖̲͂ͨ̊╯̠̩̹̖͍̎͑╭╮╰╯╭╮╰╯╭̭̲͍͕̝̤͚̹̫̔ͭ͑ͧ̉ͮ̿╮̞̫ͫ̅͋╰̪͍͉̘̳̖͔̌̒̆̾̍ͤ╯̭̤͈̭̱͒ͧ͗̊̒

EKANICMOSH from Katherine Sultan on Vimeo.

▄▀▀▀▀▀▀▀▀▀▄▀▀▀▀▀▀▀▀▀▄▀▀▀▀▀▀▀▀▀▄ ▄▀▀▀▀▀▀▀▄▄▄▀▀▀▀▀▀▀▄▄▄▀▀▀▀▀▀▀▄ ▄▄▀▀▀▀▀▄▄▄▄▄▀▀▀▀▀▄▄▄▄▄▀▀▀▀▀▄▄ ▄▄▄▀▀▀▄▄▄▄▄▄▄▀▀▀▄▄▄▄▄▄▄▀▀▀▄▄▄ ▄▄▄▄▀▄▄▄▄▄▄▄▄▄▀▄▄▄▄▄▄▄▄▄▀▄▄▄▄ ▄▄▄▀▀▀▄▄▄▄▄▄▄▀▀▀▄▄▄▄▄▄▄▀▀▀▄▄▄ ▄▄▀▀▀▀▀▄▄▄▄▄▀▀▀▀▀▄▄▄▄▄▀▀▀▀▀▄▄ ▄▀▀▀▀▀▀▀▄▄▄▀▀▀▀▀▀▀▄▄▄▀▀▀▀▀▀▀▄ ▀▀▀▀▀▀▀▀▀▄▀▀▀▀▀▀▀▀▀▄▀▀▀▀▀▀▀▀▀ ▄▀▀▀▀▀▀▀▄▄▄▀▀▀▀▀▀▀▄▄▄▀▀▀▀▀▀▀▄ ▄▄▀▀▀▀▀▄▄▄▄▄▀▀▀▀▀▄▄▄▄▄▀▀▀▀▀▄▄ ▄▄▄▀▀▀▄▄▄▄▄▄▄▀▀▀▄▄▄▄▄▄▄▀▀▀▄▄▄ ▄▄▄▄▀▄▄▄▄▄▄▄▄▄▀▄▄▄▄▄▄▄▄▄▀▄▄▄▄ ▄▄▄▀▀▀▄▄▄▄▄▄▄▀▀▀▄▄▄▄▄▄▄▀▀▀▄▄▄ ▄▄▀▀▀▀▀▄▄▄▄▄▀▀▀▀▀▄▄▄▄▄▀▀▀▀▀▄▄ ▄▀▀▀▀▀▀▀▄▄▄▀▀▀▀▀▀▀▄▄▄▀▀▀▀▀▀▀▄ ▄▀▀▀▀▀▀▀▀▀▄▀▀▀▀▀▀▀▀▀▄▀▀▀▀▀▀▀▀▀▄

gothicinthemorningccs from Katherine Sultan on Vimeo.

•◑△////┃ ⃝!͌͌͌͌͌͌͌͌͌͌͌͌͌͌͌͌!͌͌͌͌͌͌͌͌͌͌͌: •◑△////┃ ⃝!͌͌͌͌͌͌͌͌͌͌͌͌͌͌͌͌!͌͌͌͌͌͌͌͌͌͌͌ •̳̳̳̳̳̳̳̳̳͌͌͌͌͌͌͌͌͌͌͌͌͌!͌͌͌͌͌͌͌͌͌͌͌ •

•◑△////┃ ⃝!͌͌͌͌͌͌͌͌͌͌͌͌͌͌͌͌!͌͌͌͌͌͌͌͌͌͌͌: •◑△////┃ ⃝!͌͌͌͌͌͌͌͌͌͌͌͌͌͌͌͌!͌͌͌͌͌͌͌͌͌͌͌ •̳̳̳̳̳̳̳̳̳͌͌͌͌͌͌͌͌͌͌͌͌͌!͌͌͌͌͌͌͌͌͌͌͌ •

The TRANSFORMATO research

TRANSFORMATO

̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿ ̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿ ̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿ ̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿ ̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿̿K∆th.Set░ K4therine Sultan Erminy

(Visual Artist/Video Artista/ Musical noise)

Caracas, Venezuela (1983)

Master in Fine Art especialice in mix media (UNEARTE 2014)

http://vimeo.com/k4thset/videos

http://www.flickr.com/photos/glitchk4thset/

http://k4thset.blogspot.com

http://www.espaciomad.com/katherine-sultan.html

The TRANSFORMATO research is an approximation to the multiple manifestations of Glitch Art, disciplines and platforms, as well as its impact on society (Social Network), based on the art of computers and digital error, not only to stay in them, but to transcend them and take them to another level of understanding or appreciation of aesthetic values​​. TRANSFORMATO, besides from playing with limitation in glitch aesthetic, ventures into the breakdown and identification of concepts about Databending (Corruption of Data) within the digital context or level; to interpret, modify and ultimately move them as a metaphor to the plastic area. This research is an approach that breaks with traditional patterns around the ideals of beauty and perfection.

INTRODUCTION

 TRANSFORMATO is the expanded concept of contemporary digital photography. Where an audio file after being subjected to digital processes , becomes a picture or sculpture ; this approach reaches the limiting of  glitch aesthetics or possible the death to this genere.

It is a manifesto against the distance that has been generated from the use of software design that have default filters , and with its simple use will block the user's creativity to give result to images of mold or products of these same filters . It breaks with this creative process to become slaves to the filters or default templates programs in general.

Using default filters for creating digital art is a very conformist action , which is reflected in today's society where all objects possess are a product of that conformity.

Playing with a digital file, shape the data , stripping a memory play a specific moment in time , transform an image are some of the things that attract me from the glitch practice.
        
         It can be compared with what the conscience does when it creates our dreams ; it choose data randomly that would represent our memories, experiences thothgths.

TRANSFORMATO, is the name of the transit State, format and reading.

Mean that a single file,  can change its behavior, shape and appearance infinitely. This problem partakes of the contemporary trend, aesthetic glitch.

The glitch Arts as a relatively new means of expression, is projected into both social networks and the internet, looking to highlight artists from around the world who agree on the same ideals, creating a loud and wrong movement, inspired by the aesthetics of badfunctioning of machines.

The first approaches to the author of this work with the data bending or technical glitch was generate inspired through the book “Glitch Designing Imperfection “cured by Iman Morandi, Ant Scott, Joe Gilmore and Christopher Murphy in 2009.

             Visual experiments inspired by the music from the collective “musicaculpable.org” an lot of experiment with software and predefined filters, doubling in parallel planes and distortion, editing light exposure, use of analog filters distortion, destruction and self-portrait video, skype conversations recorded and destroyed to create a sequence of musical noise... are just some of the resources and techniques that have given rise to this investigation concerning the data bending.

This was achieved with all the possibilities offered by the software, and certainly formed the starting point for this work and its significance; lies in a constant search to generate the error and all that it symbolizes a kind of iconoclasm or rebelliousness of art on the one hand, and on the other, the process and life of the artist.

          That same year the first contact via web with Rosa Menkman a Dutch artist and glitch theorist, one of the most important and beautiful so called mother of glitch, she wrote an amazing guide, in Amsterdam for 2009, called A vernacular-of-file-formats. With this guide and the book above, plus a lot of data bending practices, ended up being long nights awake playing with the computer finding out how to created infinity of digital errors.

In parallel, the artist continued with photography.

In a series of research questions around digital art, digital formats,compresions, glitch art movement and its development in social networks, the glitch seen as something more than just a digital error and the approach of the present investigation was triggered "decontextualize the digital format as a metaphor" is a contemporary problem of virtuality and NetArt, depending on their main task force to keep, merge the virtual world in the context of material reality, space is subject to experimentation with digital artifacts.

Digital technology has the distinction of working with corruptible codes; hence one of the protagonists is NetArt would be the error. This intentionally generated an spontaneous error, stars and guide the research of theorists glitch aesthetic. The error may be the answer to the need to transform or build the digital plane.

The glitch movement is in a constant research that questions the ideals established, those for which the codes and formulas were designed. It reveal new tools and techniques to transgress the institutional and regent, and could be an important background to the ideal of perfection.

The process to create a glitch can make all plastic problematic both as intellectuals accompanying arise: photography as its visual essence and musical influence; Design vs glitch. real glitch, the digital garbage, global cultural exchange, the natural in contrast to virtual, deconstruction and construction, among many other concerns of the artist.

Getting closer to this genre as a hybrid of specialties such as graphics, photography and contemporary sculpture, we see the possible techniques are mixed to generate a work that highlights a current reality, up to decode.

CHAPTER 1 Glitch Art / Error aesthetics

"The experience of a glitch is unattainable, goes against reason and has no solid form or state over time; is ephemeral. A glitch is a wonderful interruption that shifts an object away from its ordinary form and discourse. "(Menkman, 2004)

Glitch art is the aestheticization of digital or analog errors, such as artifacts and other "bugs", by either corrupting digital code/data or by physically manipulating electronic devices.

Rosa Menkman in her book “The use of artifacts as critical media aesthetics” explains us the difficulty to define a glitch? And it similarity with noise.

According to The American Heritage® Dictionary of the English Language, the term glitch stems from a writing of NASA astronaut John Glenn, dated from 1962, and since then evolved into wider usage: “"Literally, a glitch is a spike or change in voltage in an electrical current." [...][1]

                         

                                A glitch is the most enchanting and puzzling artifact of all that reveals itself as a perceived accident, chaos, or a laceration that gives us a glimpse of a normally obfuscated machine language. Rather than creating the illusion of a transparent interface to information, the machine reveals itself. (Menkman, paragraph 17)

                                The term glitch became associated with the music in the mid-nineties to describe a genre of experimental music, noise, electronics (glitch music). Soon after, VJs and other visual artists began to accept the error as an aesthetic of the digital age. The glitch art refers to all visual arts have in common the error, either through design software programmed to generate it or true random errors created by the bad used of the computer.

                                A glitch is often used as a synonym for bug, but there is an essential difference between the two. Whereas bugs can be described in detail, through bug or problem reports, a glitch is that which is unknown and cannot be explained. The term glitch is generally used to describe a short-lived fault in a system, or a break from a flow within a system, which was designed to work as a coherent entity and to follow its set of objectives. This means that when a certain occurrence is described as a glitch, there is also a claim about the expectations of this system, most importantly its purpose, or set of objectives. (Menkman, paragraph 18)

                                Glitch art is a new relatively movement that is still under investigation; has very specific reference in other movements of art history, deeply rooted personal references that have given rise to the present investigation, for example Cinetic art. The glitch patterns are very similar to the Cinetic patterns, as seen in the repetition of the lines and the use of colors.

The glitch practice covers every day a little more in the context of ​​photography, video and graphic design. Next I describe the diverse ways that have taken this research about error aesthetics (Altered photo sound editors, music edited in Photoshop are described, modified video files in text editors and audio, Nintendo’s modified cameras shorted, broken laptops). Each of these experiments generates new and unexpected behavior, the scanning of which extends glitch aesthetics.

The error is perceived as provocative, strange and beautiful. However, immediately we think, what happened to the data? What does generate this error? And how would I create an image like this at purpose?

The glitch practiced is base on a constant quest to catch the moment, "the surprise moment" when the image is presented as a collection of pixels randomly disorganized that is being achieved by a fragmentation of the image, a result of the intervention from the human touch.

                                         Although the glitch can take place strictly within the computational system, the majority of artifacts that are referred to as ‘glitch art’, are not purely computational, but spawned by a synthesis of different actors. These actors include the protocols built into the machines’ hard and software, the input that makes these protocols behave in a particular way, and finally the system of reception, governed by the beliefs and expectations of the user, who cannot make sense of the outcome. This is where we can diverse between glitch art that emphasizes the procedural and glitch art that finds a point of gravitation in outcome or design. (Menkman paragraph 20)

The artist's process is not precise, some "glitchers" are more intuitive and other more scientists; in the case of the alteration of data with audio filters is important to have knowledge of sound design.

The glitch was born from the research of the error visual manifestation, the lack of internal communication between programs inevitably projected visual break in the object generative. Hugh S. Manon and Daniel Temkin, in his Notes on Glitch (2011) also suggest that it is not prevailing fill the gallery walls with screens projecting glitches, and that "the goal" of this aesthetic concern is not about taking the museums.

Glitch Individual artworks may be the remains of the "form", a kind of product, which demonstrates the error practice: change formats, save, view and delete, change the format again, save, view and clear. In such an arrangement, the image displayed is strictly secondary to the process; this image becomes a kind of change in notation regarding the functionality of the technique. (Paragraph.10)

                                The so call glitch aesthetic is much more than a product. Differs with kitsch aesthetics and even cinetic art, as it has basis in the process, the image goes to another layer. The glitch art comes from the net art and thus has spread, which is why many artists working with glitch aesthetics arise not print a picture of a corrupt file or assembly of an exhibition hall or a museum. Everything depends on the artist's approach, which can range from a poetic, romantic action, involving the transfer of a digital file clearly to the context of ​​plastic arts to oppose it. In the case of making such a transfer, not just about printing a glitch but to make a sculpture base on corrupts characters used to create constructivist works.

The use of (non-mobile, wearable) laptops, the increased surveillance and generation of satellite imagery, thermal, ultraviolet, x-ray other, virtual reality and augmented reality, each with a tendency to become or amalgamate to a ecosystem, clearly suggest that art, creative expression and communication of our personal lives are increasingly generated through the advent of digital technology on organic screen reality. (Pourtales, paragraph 5.)

In contemporary world the possibilities are numerous; we can say that in cyberspace there is no distance or time, is the soul of the virtual world where the sublime, the unstructured, is expressed from the sensory and subjective sphere, as if it were a fragmentation of the digital material and intellectual; data that is in its entirety, information represented in the bit-plane in a accumulation of zeros and ones.

                                        The glitch art was not born in a specific place or time, it was discovered (and is still in full research) in many parts of the world simultaneously. The glitch artist is seduced by a chance encounter: momentary failure of a text, a corrupt digital image, a broken JPEG, for example, or a video file destroyed. (Manon, S. and H. Temkin, D., 2011, paragraph. 8)...

In La Escritura del Desastre (1990), Maurice Blanchot emphasizes the issue of error breaking, destruction and fragmentation from the context of the letters, the destruction of language:

The disaster is a flash of darkness. The disaster is the dark carrying the light. [Fragmentary] The fragmentary rather than instability (non-binding) promises the confusion, the inadequacies.
[Silence script] (...) There is another silence that the letter, torn book, cut it impossible to detail.
One who criticizes or rejects the game is already in the game. (Pp. 14-16)

When technical problems are manifested, occurs suddenly phenomenological interruption, in this case, a break in the order of the binary logic.

Some glitch theorists  believe that the images produced from digital errors not belong to you, with this I refer to the artwork of Alexander Acevedo where the appreciation of digital art arises from the recycling of an image .


"Anyone can make a glitch if it master the tecnics, but not anyone can make a glitch that alters the viewer's consciousness."

The Random creation of images sheds the sense of belonging, makes us reflect on the digital recycling. Benjamin Gaulon in his Recyclism project describe the issue of digital garbage:

 
Garbage is what you missed after the use of a material. This is also a product of no value, expecting a job or can not be used due to a technological gap. Trash is attached to the idea of ​​ownership, when something is dropped becomes public property. (Gaulon, paragraph 5.)

A digital dustbin is full of material: the data information can be used or adapted in a certain way. One of the biggest problems of the glitch practice is the countless junk files and images, which have stayed on the hard drives and generate continuous malfunctions in computers. Moreover, the glitch practice has used the digital recycling to generate rich images in aesthetic values, lack of ownership and work with garbage, the images are thrown away literally anywhere or shared with the world of the internet for reuse by users.

Countless people make the glitch practiced a reason to download pictures on Facebook, to get a like or likes, and then delete your hard drive image. So we must consider that the true glitch practice works in parallel, since the "intention to transform" the transformation of an image into an audio or video; is a process where the viewer's vision is surprise and also altered. From all this it is concluded in this research, the theory that a glitch generates a "glitch atmosphere" in space, or the possible alteration of the consciousness of the viewer. The glitch in its various manifestations (picture, painting, photography, video, audio) is not separated from the moment of aesthetic appreciation; glitching is unexpected, a confusing moment in time, is also the ability to bring something of the past and merge it with current technology.

The first glitch that determined this Work, was a frame from a video that was corrupted, it had an error: at the time of discharge there was a rupture in the data transfer, from the internet to the hard drive, and for this reason the pixel video are mixed together, generating a visual abstraction. A frame of this video was chosen and subsequently worked a little contrast, brightness, colors, etc. After printing on fabric, and work it with acrylic paint. The end result was interesting because it was possible to refer primarily to process per se, and the transformation of digital formats to return to the format of the painting.

Such experiences bring in manifest the limitations of glitch art around the possibilities of altered formats and data. Separation that was generated between the digital format and plastic in its strictest sense is also dissolved. The glitch art becomes a purely digital practice (ethereal or ephemeral) to a concrete possibility, enduring expression in time, marking a moment in the history of digital art.

DATABENDING

Data bending is the alteration of raw data to influence the data's interpretation, is commonly used to create in sound and image files effects that are exclusively digital in nature. The methods employed in data bending are as varied as the results achieved.

Data bending audio files

There are many varied and undefined methods of data bending audio files, some more involved than others. While there are programs available that will perform certain data bending processes on audio files (such as granular synths), some of the simplest methods require nothing more than typical computer programs.

CHAPTER 2 Development of Glitch Arts in the social network and net art.

The glitch art interact in social networks appropriating the medium as a kind of digital virus. Its purpose is to destroy traditional communication systems, creating Facebook groups, making them under the name calling Unicode characters for example:

▄Lך█▒▓▲▼Lך▒▼▲Lך▓▒▓Lך█▄▄█Lך▒▓▲▼Lך▒▼▲▓▒Lך▓█▄Lך██Lך█████Lך████Lך████Lך████Lך

Here , only the use of these media characters are allowed , This group is comprised of more than 4,200 people , most artists and writers from around the

world. There are also an infinite number of groups that are involved randomly as an open blog, where each artist releases its graphical glitch or to share information and knowledge of the art. The facebook group called GLITCH comprised approximately 2,500 people , artists from around the world , graphic designers , photographers , musicians, is the virtual space where you can see more of glitch art movement on the web and a portal to move the user to the personal pages of these artists.

These groups have somehow become our true virtual gallery spaces where a technological dialogue on the new aesthetic is opened, the glitch movement expands and evolves from the hand of these tools.

High-tech inventions such as the artist Antonie Antonelis demonstrate new ways that technology has taken the art as a whole need for digital projection. RFID chip tattoo (2013) is his most recent work , where a chip inside the skin , encased in a glass container located inside his hand in tattoo or implant is inserted and has a small antenna ; functions as a kind of hologram and can be seen only via smartphone or tablet. Another current invention within the context of glitch art is the software created by Kim ExtraFile Asendorf to develop glitch images , named above mind.

The net art out of its usual context to move to the VIII Meeting of Photography FOTOFIA 2013 , entitled Save As ... , demonstrating the endless possibilities of digital photography . This research curator Lisa Blackmore, is an exploration of contemporary digital photographic image and its manifestation. In a format projections from plasma devices (instead of printed works ) that questions the virtuality of photography in this era. This event records a series of questions about the statutes and interactions of the photographic image or photo in the post- digital era, from fields of action that demonstrate its various uses and alterations.

Facebook as a virtual platform , " space where artists and curators interpenetrate regardless of their place of origin " is used today as a kind of telematic center , where ideas are cooked , processed, summarized , in order to make the facebook a workspace dedicated to the exploration of digital art and its development in the network, the curator of digital Helena Acosta as part of the collection of digital art space MAD I select eight Venezuelan artists in which I have the honor of participating in order to generate an open dialogue in the contemporary context of the web as a scan plane for emerging artists investigating digital artifacts in the context of the internet .

In the last decade the internet has become a testing ground for the arts, taking shape in the creative space of the connected multitude . The social assimilation of the Web and its growth in participatory possibilities has led to new circuits of value and meaning in which autonomy for the creation and consumption of the work predominates. Migrate to new artists to work virtuality immateriality of creation , strengthening the Internet as a dynamic whole , power exchanges and collaborative research and direct communication with the public. (Acosta , 2013 , paragraph. 1)


The platform of Facebook and the internet have provided space for an extensive cultural integration in the field of digital art ; artists who communicate in these groups transcend gender or method that identifies them as contemporary movement , to fend the concept of integration as a fundamental means to express ideas . The glitch artists are not identified only by the technique used to create its images, but because collectively hold an experimentation with different digital media and its transposition to an aesthetic level to formulate new proposals and generate a visual sort of projection in time the digital art is in a space where it travels through the information bytes and pixels refracting colors , loud , chaotic and aesthetically collapsed ideals that are contained or connected by the Internet and social networks.

Currently the glitch art is a proposal that overlaps the spaces of new media and digital technology to everyday interaction spaces , such as the work Pixel Water (2008-2011) Benjamin Norman, where from acrylic cubes illusion of raindrops generated pixelated out of a pipe. These manifestations of digital art in terms of physical space and traditional art techniques are not merging the virtual reality and physical reality, but an approximation of the virtual into the plane of the plastic ; perhaps the manifestation of the soul of the machines, digital or virtual projection taking the physical plane.

The art is manifested in our lives as a digital technological interference in our screen that projected reality.

CHAPTER 3
a) THE METAPHOR OF TRANSFER FORMATS AND CORRUPT PATTERNS TO THE CONTEXT OF FINE ARTS..

TRANSFORMATO is essentially "photograph" , which after being altered becomes a hybrid of graphics and contemporary sculpture , fusing techniques like audio post production and video , digital processing of analog photographic image to a more advanced level of corruption formats as it is from film negatives , mini DV tapes , VHS tapes up .

The phenomenological problems of work lay in the need to express two opposing planes at once ( subject-object , space-time, matter-spirit , chaos - order noise - silence, light-dark , digital - analog) to give emphasis to technological process as a means of analysis and discussion, which is the plastic material work.

The visual glitch is a manifestation of the failure, in most cases means the interruption of data tranfer from one source to another , that is, from lack of communication between binary systems. Aesthetically, the glitch art are evident features of visual composition as repetition , fragmentation - by - pixel , the linearity and noise.

The contemporary context is a factor that makes the glitch aesthetics; live in an age where everything is based on ideals of perfection and somehow , the glitch art breaks all these paradigms to generate a new perception of the world around us . Technological errors resulting from malfunctioning machines , manifest in imperfect images that were rubbish at some point, and now object of our appreciation.

            TRANSFORMATO is the result of a thorough investigation into digital formats and their reaction to the different methods of data corruption or databending term that refers to the alteration of data containing a digital image. For example , if an image is opened in a text editor ( Wordpad, TextEdit, gedit , etc. . ), The image is shown as a composition of characters; these characters make up the image information regarding their color, size, organization and pixel shapes in general. This construction process of artistic approaches to the reality of the digital image .

Contextualize the digital format as a metaphor, is a current research that take place under the glitch aesthetics and her limits, the problems of virtuality in terms of physical spaces to leave the galerys and remain in the web ; the error generated guide,a reserch aesthetic that questions the ideals that have been raised theoretical around digital artifacts .

Getting closer to glitch as a hybrid of specialties such as graphics, photography and contemporary sculpture , we see the possible techniques are mixed to generate a work that highlights a current reality.

        The glitch arts as a relatively new means of expression , is projected into both social networks and the internet, looking to highlight artists from around the world who agree on the same ideals , creating a loud and wrong movement , inspired by the aesthetics of malfunctioning machines.

The hand of the artist intervenes the data and leaves its mark on the visual essence of the image ...

   TRANSFORMATO is the expanded concept of contemporary digital photography. Where an audio file after being subjected to digital processes , becomes a picture or sculpture ; this approach reaches the limiting of  glitch aesthetics or possible the death to this genere.

It is a manifesto against the distance that has been generated from the use of software design that have default filters , and with its simple use will block the user's creativity to give result to images of mold or products of these same filters . It breaks with this creative process to become slaves to the filters or default templates programs in general.

Using default filters for creating digital art is a very conformist action , which is reflected in today's society where all objects possess are a product of that conformity.

Playing with a digital file, shape the data , stripping a memory play a specific moment in time , transform an image are some of the things that attract from the glitch practice.

        
         It can be compared with what the conscience when building a dream ; data randomly in the latter case would be our memory, memories, experiences and gradually gives you a way is chosen.
      

        Works of art glitch revealed a penchant for art of error and distortion of data, with a search request a change in matter , and in this case not virtual but real.

            The glitch art destroys all traditional metaphors of the digital industry : no windows, no mouse , no scroll bars , by contrast , suggests digital art in a different way . The characteristic error glitch makes us reflect on the vulnerability of the controller information society . . Below operating systems like google , social networks, etc. , no programming codes ; they are a constant source of errors and curiosities, like the fact that the browser window is not really a window but a set of zeros and ones.

             Factors such as interest in new technology , constant research of artists on the web, live in a city that projects contamination in all aspects ( visual, aural, the aggressiveness of the people on the streets ) , the constant sense of political instability and insecurity , gradually leading to the author Hoc Grade to narrow your artistic research through the glitch aesthetic. A kind of alchemical practice that transforms everything chaotic visually perceived images ( glitches ) , harmonics and sound ; this practice is the means to sensitize the viewer around the digital plane.

In the data , it is easy to see the malfunctioning of computers, the endless possibilities that come with software to generate errors , which seems to correspond with the chaos and graphically explained.

The glitch art is a revelation of the digital era, probably against control information system in general, to remind us that we are human and not machines, that the presence of error is inevitable. It is possible to observe in

everyday of our lives. The error , in most cases manifest with intent to convey a message , which leads to the need to generate and spread down to the essence of the picture, sound , words, and other events that destroy our routine . Everything in life has its moment of rupture, break , transformation . The glitch is not only a digital error ; at many stages of history , the error has appeared in various expressions in the plastic and music, for example. Today we appropriate it to consciously change our context.

TRANSFORMATO is a manifestation of binary character may represent a genuine fondness for computers and dissatisfaction with the aesthetics of perfection; a new language that is discovered as a communication medium , the appropriation of the error as a compositional principle .

Through this artistic practice , a plastic piece that holds in reality with your digital essence is obtained , it aims to become a tangible and enduring part in time, within the context of ephemeral virtuality.

 The history of photography can be seen as a dialogue between the desire to be closer to reality and the difficulties in doing so. So , despite appearances, the domain of photography lies more properly in the field of ontology than for aesthetics. ( Foncuberta , 1997 )

  TRANSFORMATO is the expanded concept of contemporary digital photography. Where an audio file after undergoing bending low data processes ,

becomes a generative glitch taking an indefinite way in the virtual space.

Move the corrupted digital format, plastic context involves a series of questions and approaches concerning the museological space, time , materials, lighting , weight, volume involve such transfer would also have to consider the political, social context, where we live at present to undertake such action.
                   
Initially I wanted to develop a series of cubic modular sculptures that represented the corrupt digital formats (at pixels ) of an image . Jpg randomly altered text edit  , hence the crominancias born .

The idea of moving a digital corrupt file to the context of plastic and sculptural formalism, comes from the need to generated a particular glitch in the physical space, a modular cubic projection that could represent corrups patterns of digital formats processed through various methods of data corruption or databending.

Advancing research TRANSFORMATO, approaches the spatial glitch, as a unification of technical experienced and the collapse of digital systems.

CONCLUSION

" Our selfts are involved in the spiral of the outside-in , drawn by another revolving door of the unconscious ."
Derrida

The Glitch Art evolves hand of technology, like a virus that spreads inside the virtual space and then projected into physical space . These two spaces in constant communication ( museums , galleries , streets, nature, ) corresponding to the virtual spaces ; misunderstood and not as a mistake but as a new aesthetic defined by the misuse of the machines.

This artistic practice reflects a particular way of interacting with computers and a way of perceiving the world from another context; the error generated triggers a series of changes within the data , such as a memory that is distorted by contact with matter , creating an inevitable poetic context .

The glitch is an alchemical practice experience for the total transformation of the digital - to matter at some point was a foreign - stimulus to be processed by one or more machines to return to the physical space as a virtual appliance , sound , sculpture , plastic .

           From the practical glitch amending our context and somehow we get lost in the abyss of virtuality and the infinite possibilities of error.

But what message we want to convey the beauty of digital error? It is a reflection of ourselves through the machine, the need to transform reality, and keep the unexpected emergency , the constant awareness of the binary operation.

 " To think about how to generate an error , is to think the error in a  different way ." Not have control of the results is a research within the invisible essence of the image .

The glitch art is a genere that takes resources from film , music, sound , art, to make a remix or collage on the registration of virtuality in terms of creating a saturated whole aesthetic , criticizing perfection and the desire for it . The glitch is an experience that is deeply linked to scientific knowledge , technological vanguard , always changing . And so, the future of the glitch is subject to technological developments , no glitch without technology , because it will determine the technological tool to be used by the creator .

The break is another consequence of working with an aesthetic that manifests itself as an independent entity in response , a tear in art and already obsolete canons. Today, it has become a pop aesthetic , because it has been crowded , but not without its origin in the transgression of perfectionism that would go hand in hand with technology.

           The digital error studies have led to the author of this degree thesis on a long journey into the endless possibilities of aesthetic appreciation digital format , a process that involves a series of moral , philosophical and spiritual , similar questions about the relationship between the virtual world and reality, " the retro projection that exists in man , seeing himself reflected in the machine, " not as a binary entity perfection, but as a source of errors , something much more human and sensitive, the "glitch " is now perceived not as a challenge to the digital level, but as a possibility within the spectrum of everyday life, appreciating reality , transform , distort it , to build it , make use of natural patterns to break and flow in its randomness .

          From this it is evident once again , the true source of all artifice : the human, the flawed nature.

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[1] "glitch." The American Heritage® Dictionary of the English Language, Fourth Edition. Houghton Mifflin Company, 2004.

<http://dictionary.reference.com/browse/glitch>