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Recommended: Analysis of art works
Where the digital represents exact order and precise control of virtual realities through mathematical dualities as symbolized in binary code or machine language, the "glitch" in digital art is an example of chaos in order, or the moment of singularity as expressed by space, time, & mind in the image. Olga Goriunova and Alexei Shulgin define the glitch as being symbolic of the first generation of web art or net art, the artistic expression of the global underground community in the dot.com era of the early internet’s birth and expansion. "Glitch: This term is usually identified as jargon, used in electronic industries and services, circuit-bending practitioners, gamers, media artists, and designers. In electrical systems, a glitch is a short-lived error in a system or machine. A glitch appears as a defect..." (Goriunova & Shulgin, 2008) It is the breakdown and error of systems that produces the opportunity for genuine individuality or subjectivity of the post-modern digital artist. The individual self-expression is reduced to an ironic defect within the greater matrix of social programming and control, but is experienced heroically as overcoming by the person through creative self-identity. The glitch is the spontaneous ecstasy and spark of life referenced by the mythology and fairy tales of Artificial Intelligence in science fiction: the ghost-soul in the machine vs. man as god. The artist is seeking the reflection of singularity through artistic expression, yet to go beyond limits, the software imposed tautology must be transcended by the chaos of the glitch.
The glitch is the software expression of the human in software through the most fundamental characteristic of modern humanity, human error. This is experienced as the ir...
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...sted by Feisal Ahmad, available on Rhizome by permission of Geert Lovink, 2003. Web, viewed 28 December 2010, .
Munster, Anna 2001, Digitality: Approximate Aesthetics, CTHEORY, Arthur and Marilouise Kroker, Editors, 2001. Web, viewed 28 December 2010, < http://www.ctheory.net/articles.aspx?id=290 >.
Nettime 1999, ReadMe! ASCII Culture and the Revenge of Knowledge, New York: Autonomedia, 1999.
2006, The Last Avant-garde: Interview with Mark Tribe & Reena Jana, nettime-l, Web, 30 Oct 2006, viewed 28 December 2010, .
Shelley, Mary Wollstonecraft 1869, Frankenstein, or, The modern Prometheus, Boston: Sever, Francis, & Co., 1869.
Tribe, Mark & Jana, Reena & Grosenick, Uta 2010, New Media Art, Taschen Basic Art Series, Köln: Taschen GmBH, 2010.
Works Cited Shelley, Mary. Frankenstein. 1818. Ed. J. Paul Hunter. Norton Critical Edition. New York: Norton, 1996.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Works Cited Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996.
Shelley, Mary Wollstonecraft, and Maurice Hindle. Frankenstein, Or, The Modern Prometheus. London: Penguin, 2003. Print.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited by: D.L. Macdonald & Kathleen Scherf. Broadview Editions. 3rd Edition. June 20, 2012
Shelley, Mary. Frankenstein or the Modern Prometheus. The 1818 Text. New York: Oxford UP, 1998.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
New York: The Berkley Publishing Group, 2001. 212-217. Shelley, Mary. “Frankenstein” New York: Bantam Dell, 1981.
Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996.
Shelley, Mary. Frankenstein. Ed. D.L. Macdonald and Kathleen Scherf. Orchard Park, NY: Broadview Press, 1999.
Shelley, Percy Bysshe. "On Frankenstein." The Athenaeum 263 (10 Nov. 1832): 730. Rpt. in Nineteenth-
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
In Conclusion William Gibson created a cyberpunk/ postmodernism tale that has blurred not only the physical state between mechanics and human anatomy, but has as well blurred the line between the natural and virtual world. He is making the reader contemplate how both software and hardware have influenced the natural world. Gibson’s fictional world would have not been possible without the existence of software and hardware, that is why the distinction between them is very crucial and play a different part within the text. Without these two things, the reader would not be able to comprehend and relate to Gibson’s view on how our society is interlocking with the advances of technology and the normality of today will no longer exist in the future.
In Hamlet on the Holodeck, Janet Murray argues that we live in an age of electronic incubabula. Noting that it took fifty years after the invention of the printing press to establish the conventions of the printed book, she writes, "The garish videogames and tangled Web sites of the current digital environment are part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication" (28). Although I disagree in various ways with her vision of where electronic narrative is going, it does seem likely that in twenty years, or fifty, certain things will be obvious about electronic narrative that those of us who are working in the field today simply do not see. Alongside the obvious drawbacks--forget marble and gilded monuments, it would be nice for a work to outlast the average Yugo--are some advantages, not the least of which is what Michael Joyce calls "the momentary advantage of our awkwardness": we have an opportunity to see our interactions with electronic media before they become as transparent as our interactions with print media have become. The particular interaction I want to look at today is the interaction of technology and imagination. If computer media do nothing else, they surely offer the imagination new opportunities; indeed, the past ten years of electronic writing has been an era of extraordinary technical innovation. Yet this is also, again, an age of incubabula, of awkwardness. My question today is, what can we say about this awkwardness, insofar as it pertains to the interaction of technology and the imagination?