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Das Glitschig

We live our lives with a sense of order. We expect the plethrea of our daily lives: trafic will be as it has been, our music will sound as it does, our family's will progress as they do ( this being perhaps the most stable of them all because they are based on defection)/ Those moments though when things do not go as expected, when trafic is lighter, is heavier: we take a certain pleasure in it, even if that pleasure is a hatered, or when it is smooth and we can gain one of those spiritual moments when 'all is calm.' The chorus is about to appear, satisfy our participatory yearning, but the radio dismatles for a moment for who very few knows why. SATISFACTION DENIED. For a moment, then it comes back and we are content as if nothing happens (unless we must dwell for whatever existential reason).
What tho, when it is this disruption which brings us jouisance. Perhaps it is that moment of disjuction which brings somethings out of the ordinary, rather it is the out of the ordinary, which brings us a moment of realization, of commig to know what it is which brings us joy. Of course the order is nice because is conforts us in the stream of life, but those moments of disruption, of imperfection which bring us a knowledge, qua knowledge, not an accompaniment of the order.
Those disruptions suck, they are not fun, they are not what we expected. They let us down, they reject us, they make us hurt. But... they are. They are real and as such will not leave us alone, but will rather be like an insistence, an in-itch-ence, which will not leave us alone, for whatever irrational, or arational reason... they will. Thus, why not reveal in the destruction in all that you are, was, and will be. Sit in the non-space of what will have been.

"What you want and what you need,
Don't mean a shit to me"
So you want to feel loved, one of the gang, you want connnection.
You need to feel loved, you need to be one of the gang, it is our humanity to be in connection.
 You fucked up... and I followed along,
You are guilty.
I fucked up and I followed along,
I am guilty.
No one is innocent.
It was all a mascared in a place which I never belonged.
I can see you back turning,
away from me, but in the same exact direction.
If I could, I'd stick a nice in!

Glitch as gurrelia semiology qua, functioning off the pure asesthetic jousance of 'the glitch' one can then hack into any program of any user (to one's abilities) of one's taste then hack in glitches. An emerging poiner of this or something like it is Antonio Roberts (www.hellocatfood.com/profile/)
"More importantly, what can be discovered by doing all of this? New, hidden abilities that we didn’t know our computers had, improved performance, increased knowledge of how things work, a new form of art, or something else? That is what I want to find out."
Another lovely traveler is Rosa Menkman
who wrote
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. analogue. 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 a metaphor 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 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
shrouds the 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 or function without glitching. This is why
glitch studies is necessary."

http://illformed.org/plugins/glitch/
http://processing.org/discourse/yabb2/YaBB.pl?board=Video%3Baction=display%3Bnum=1192634986
http://amnonp5.wordpress.com/2010/09/05/glitch-art/
http://www.stanford.edu/dept/HPS/Haraway/CyborgManifesto.html

Threads begen intertwining, in a blurring state of synesthesia.
Information visualization, archetecture, glitch aesthetic, gurreila semiology.
All founded on the plethera of new languages rooting in the noosphere,
now, now is a frontier time in an open space compeling development.
Where do you go, where I go,
and where do I do, where you go.

Introduce to you.... Woulg

In the Hinchliffe Shuffle

http://enigmatiksounds.bandcamp.com/album/hinchliffe-shuffle

VirtualRoots

From time till now roots were of the earth, sprouting forth trees to reach for the sky. As of time after now roots are of the sky, of the ether, sinking deep and interwining en mass in the nossphere, bursting down to earth nodes where lived connections are forged. It is no surprise that now there exists a seething new planetary layer atop earth, it is not only a matter of syncronizing this information so that it can in-form the materiality of the planet. For this act we must design jam, gamify, and mind-jazz wessenkunst

Philosophy as Mind Jazz

The massive expansion of both computer processing and specialties-sub-specialties is acting link caustic acid on collective modes of thought, deteriorating both our need to think in terms of 3rd grade algebra or in terms of being confined to one domain. Although at surface value the proliferation of disciplinary specialties appears to restrict us to confined domains it in fact opens up a massive plurality of domains and why do text book work or long division when the internet is available to do all of that in a matter of seconds. In light of these changed circumstances, we must be begin to take seriously William Irwin Thompson's notion of Wissenkunstler (knowledge-artist), and Roland Barthes notion of structural semiologist as artist because most of what was once considered knowledge and 'science' is now being overtaken by computational powers and an analytic sword as fine as Boddhisatwa Manjushri sword of discrimination. Now it is up to us not to think like computers or inside of as restrictive of domains but rather, to take knowledge, in all of its forms, scientific, cultural, fashion, code etc etc (etc to your perverse desires) with others who are versed where you are not. I know philosophy (bass) you know cognitive science (guitar) she knows biology (drums) and he knows computer science (saxophone), and together one of us can drop a beat, a rhythm, a topic of interest of practical necessity and someone must jump in to build on this, to which in the end what we have is a chamber music ensemble of knowledge-disciplines. This, is where we must move with intellectual activity, otherwise extinction is what will occur under the 'machine' in a biomech meaning. Where Barthes comes in, is in the fact that this mind-jazz should not only be for dilettante bullshit mental masturbation but rather should have a subversive political flavor to it.

Some things to share:

http://opencommon.wordpress.com/

http://eyestimesthree.blogspot.com/
http://soundcloud.com/wissenkunstler

In contrast to the systematic horrors of biomech art we have these imaginative depictions of systematic celestial spaces by Tatiana Plakhova in her Noosphere series.

SoTMFT

 Dan Verkys' "Goddess of War"

 H.R. Giger's

Kris Kuski "The Guardian"

        In  Dan Verkys' "Goddess of War" we have a depiction of a beautiful women as the focal piece. In each hand is a skull facing inward and all around are demon beasts connection with wires. The impression is of the femmine enclosed in a mechanized world of death. She is the center, and through her focal point she is the life of the painting. Encompasing her is a death machine, singifing that she as a the feminine life giving force is the epicenter of a systematic and structured death machine.
      In Giger's painting we have almost exatly the same painting. A femmine form is the focal life giving moment and all surounding is a machanized horror scene. What distinguishes this is the cross centered in the painting, immediatly comes to mind is Jesus, the hanged man of sacrifice, except now feminine and faceless. The mechanized death machine in the background has the feeling of both a cathedral and a urban jungle scene.
    Finally in Kuski's paining we have a more complex three deminsinoal representation, variant on the theme. A skeletal figure encompssing the entire center of the piece with a headress symbolizing honor and respect.
     What unites these three peices of art is how they represent a capitalist world system. For in a capitlaistic world system there is an appeal to the lives of citizen enjoying the luxary of the 'first world' whose existence is built on the backs of third world citizens.