&nbrs;Beyond Resolution


“Habit isn’t the same as instinct; habit is a learned action that becomes automatic. Crucially, habit is always something you learn from others, or in response to the environment. […] I understand habit as the scar of others within the self.”
- Chun, Wendy. Characters in a Drama called Big Data, in: Sonic Acts. Noise of Being Reader, 2017. p 114.
[ 0000 ]
Resolution Dispute 0000 : Habit Following the ideal logic of transparent immediacy, technology is designed in such a way that the user will forget about the presence of the medium. Generally, technology aims to offer an uninterrupted flow of functionality and information. This concept of flow is not just a trait of the machine, but also a feature of society as a whole, writes DeLanda.1 DeLanda distinguishes between chaotic disconnected flows and stable flows of matter, that move in continuous variations, conveying singularities. DeLanda also references Deleuze and Guattari, who describe flow in terms of the beliefs and desires that both stimulate and maintain society.2 Deleuze and Guattari write that a flow is something that comes into existence over long periods of time. Within these periods, conventions, customs and individual habits are established, while deviations tend to become rare occurrences and are often (mis)understood as accidents (or in computation: glitches). Although the meaningfulness of every day life might in fact be disclosed within these rare occurances, their impact or relevance is often ruled out, because of social tendencies to emphasize the norm.

To move beyond resolution also means to move beyond the habitual. One way to do this is by creating noise, for instance in the form of glitch: a short lived fault or break from an expected flow of operation within a (digital) system. The glitch is a puzzling, difficult to define and enchanting noise artifact; it reveals itself as accident, chaos or laceration and gives a glimpse into normally obfuscated machine language. Rather than creating the illusion of a transparent, well-working interface to information, the glitch can impose both technological and perceptual challenges to habitual and ideological conventions. It shows the machine revealing itself. Suddenly, the computer appears unconventionally deep, in contrast to the more banal, predictable, surface-level behaviors of ‘normal’ machines and systems.

To really understand the complexity of the user’s perceptual experience it is important to focus on these rare occurances - to create an awareness of the users habits by use of the accident.


1. Manuel DeLanda, War in the Age of Intelligent Machines, New York: Zone Books, 1991. p. 20.
2. Gilles Deleuze and Pierre-Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, Trans. B. Massumi, Londen: The Athlone Press, 1988. p. 219.

  [ manifesto ]
Filtering failure home brew by EuroTrash Brewery
Technological definition of glitch:
A short lived fault or break from an expected flow of operation within a digital system.
Glitch Art: The metaphorical, conceptual or Aesthetic use of technological glitches and other resolutions within the realm of art.
Glitch Studies Manifesto
1. The dominant, continuing search for a noiseless channel has been – and will always be – no more than a regrettable, ill-fated dogma.
Acknowledge that although the constant search for complete transparency brings newer, ‘better’ media, every one of these improved techniques will always possess their own inherent fingerprints of imperfection.

2. Dispute the operating templates of creative practice; fight genres, interfaces and expectations!
Refuse to stay locked into one medium or between contradictions like real vs. virtual, obsolete vs. up-to-date, open vs. proprietary or digital vs. analog. Surf the vortex of technology, the in-between, the art of artifacts!

3. Get away from the established action scripts and join the avant-garde of the unknown. Become a nomad of noise artifacts!
The static, linear notion of information-transmission can be interrupted on three occasions: during encoding-decoding (compression), feedback or when a glitch (an unexpected break within the flow of technology) occurs. Noise artists must exploit these noise artifacts and explore the new opportunities they provide.

4. Employ bends and breaks as metaphors for différance. Use the glitch as an exoskeleton for progress.
Find catharsis in disintegration, ruptures and cracks; manipulate, bend and break any medium towards the point where it becomes something new; create glitch art.

5. Realize that the gospel of glitch art also reveals new standards implemented by corruption. Not all glitch art is progressive or something new.
The popularization and cultivation of the avant-garde of mishaps has become predestined and unavoidable. Be aware of easily reproducible glitch effects automated by softwares and plug-ins. What is now a glitch will become a fashion.

6. Force the audience to voyage through the Acousmatic Videoscape.
Create conceptually synaesthetic artworks, that exploit both visual and aural glitch (or other noise) artifacts at the same time. Employ these noise artifacts as a nebula that shroudsthe technology and its inner workings and that will compel an audience to listen and watch more exhaustively.

7. Rejoice in the critical trans-media aesthetics of glitch artifacts.
Utilize glitches to bring any medium in a critical state of hypertrophy, to (subsequently) criticize its inherent politics.

8. Employ Glitchspeak (as opposed to Newspeak) and study what is outside of knowledge. Glitch theory is what you can just get away with!
Flow cannot be understood without interruption, nor can function without (the possibility of) glitching. This is why glitch studies is necessary.

︎old || ︎ new

︎Polish translation by Bogumiła Piotrowska, Piotr Puldzian Płucienniczak, Aleksandra Pieńkosz 

︎ Portuguese translation by Italo Dantas
[ book ]
Glitch Moment/um
Published by the Institute of Network Cultures, December, 2011.
The concept of the glitch moment/um is twofold: first there is the moment, which is experienced as the uncanny, threatening loss of control, throwing the spectator into a void (of meaning).

This threatening loss of control then becomes a catalyst with a certain momentum, from which the glitch can pass a tipping point: either it tips away into failure, or the glitch will force new knowledge about the glitch’s techné, and actual and presumed media flows onto the viewer. In case of the latter, the glitch will force the viewer or user to reconsider their habitual use of the technology.

Even though at first, the viewer reacts with shock and perceives the experience of glitch as a loss (of control), the glitch cannot be subdued as a solid state of perception. Just as the understanding of a glitch changes once its named, so does the notion of transparency or systemic equilibrium, supposedly damaged by the glitch itself.

The ‘original’ experience of rupture has moved beyond its sublime moment/um and vanished into a realm of new conditions. The glitch has become a new mode; and its previous uncanny encounter is now read as an ephemeral, personal experience of a machine.

︎ From the INC Website

“Glitch culture organizes itself around the investigation and aestheticization of breaks in the conventional flow of information, or meaning within (digital) communication systems.

In this book, Rosa Menkman brings in early information theorists not usually encountered in glitch’s theoretical foundations to refine a signal and informational vocabulary appropriate to glitch’s technological moment/ums and orientations.”