User:Aliyah.Mm1/sandbox

Glitch Art (My contribution A: 500 Words)

The Glitch studies manifesto was founded by Rosa Menkman (born in 1983), who is an artist and theorist from the Netherlands. She works on visual noise artefacts caused by both analogue and digital media incidents and specialises in the field of glitch art and the resolution theory. (Glitch Conference 2015 - Rosa Menkman, 2015). She came up with the glitch studies manifesto to create a new way of thinking of art, in response to the occurrence of the industrial revolution in the 1760s. A period where there was a transition in the manufacturing processes (Onion, Sullivan and Mullen, 2009). which has led Menkman to attempt what the futurists were pursuing during the industrial revolution of art practices. They attempted to capture art in the dynamism and energy of the modern world (Futurism – Art Term | Tate, 2017). They were exploring, a different outlook on unique ways of creating art and a new way of seeing creativity. In response to the revolution and glitch studies manifesto, Menkman constructed a new form of art by producing a digitalised form of contemporary art, now known as glitch art.

Mankmens perception of glitch art is to create something ambiguous that breaks the cultural standard of digital photos through corrupting digital data by manipulation. Critical is a method used by everyone on a daily basis, but for artists, it is a form of expressing clear approval, disapproval or judgement of something (critical, 2021). One example of many of her glitch art is “The Collapse Of PAL”, published in 2011 that was originally a live performance eventually translated into a video. She created the live glitches using a NES gaming console, image bending, and a broken camera with many other elements to contribute, such as a live sound using a crackle box. In order to create a narrative about the transition from analogue to digital television (Butler, 2016).

Glitch art is a genre of art created digitally through “databending, datamoshing and circuitbending have come into existence to name and bracket varieties of glitch practices, but all in fact, refer to similar practices of breaking flows within different technologies or platforms.” (Menkman, 2017). Another example of a glitch artist other than Menkman is Nukeme, a fashion designer from Tokyo. His spring/summer 2014 glitch collection with Urusei Yatsura demonstrates his interpretation of glitch art. Which consists of combining fashion to venture out and hack embroidery software’s in order to create embroideries with glitches, (Nukeme, Fashion Designer - toco toco. 2016) . Michael Betancourt, a glitch studies scholar who wrote a book titled “Glitch Art in Theory and Practice”, published in 2016. In the book, he explores the concept of ‘glitch’, describes how a ‘glitch’ was viewed as an inconvenience to those experiencing computer malfunctions, but now it is considered as modern art (Betancourt, 2016).

Hyperreality (My contribution B: 500 Words)

The concept of Hyperreality was first brought to light in 1981 in a book titled ‘Simulacra and Simulation’. Formulated by the philosopher Jean Baudrillard, where he described the world as being engulfed by the replica of the digitally advanced world. Baudrillard’s Hyperreality theory was deemed controversial after his comments surrounding the gulf war in the 1990s, proclaiming it was more of a media event than an actual war (Cohen, 2007). He argued we live in a world of simulacra, where nothing goes unmediated therefore nothing, we see is the real or true form of reality. Hyperreality in, other words are the suggestion simulation is the replacement of the real world. The result or impact it has on people is that they are not able to distinguish reality from the simulation of reality (Baudrillard and Glaser, 1994).

There are many ways the theory of Hyperreality is reinforced in our daily lives. One prime example being through digital games such as ‘Grand Theft Auto’, a violent video game that glorifies crime violence (Poust, 2014). The detrimental impact it has on young children is concerning. Whereby the implemented idea that it is ok to harm others, influenced by the fictional characteristics and actions performed by their virtual character; punching, kicking and swearing. In a manner that is deemed immoral in society. The embedment of normalised violence in the digital video game replaces how we should be acting in the real world. The relation violent video games have done to the youth is it increases adolescence aggression. Proven in the article conducted by psychologists where they summarised, “The results showed that there was a significant positive correlation between exposure to violent video games and adolescent aggression; normative beliefs about aggression had a mediation effect on exposure to violent video games and adolescent aggression” (Shao and Wang, 2019).

Moreover, Hyperreality is also carried through simulacra, which Baudrillard termed as “The media represents world that is more real than the reality that we can experience". The imitation of reality is heavily reliant on imagery, as application software such as Photoshop, which was first published, in 1987 exists to change one's appearance in order to conform to social norms. It was initially a programme for editing and manipulating digital images, the practice is continued, till the present day. Another illustration to demonstrate how reality is being replaced by a digital copy is the belief that a slender, curvy body is a desirable body type for women. Due to the exposure we have to media platforms and hegemonically reinforced ideologies, viewers unknowingly enter a world of hyperreality “It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real” (Baudrillard and Glaser, 1981). This can lead to females not feeling feminine enough because they do not look similar to what is being presented in the media. Not knowing the image could have easily been manipulated and, they “lose the ability to distinguish between reality and fantasy” (Baudrillard and Glaser, 2014}.

Response to my peer’s Glitch Studies (Contribution A: 250 Words)

One theorist who studied the concept of glitch art is Michael Betancourt. He is a glitch studies researcher who published a book in 2016 called "Glitch Art in Theory and Practice." He discusses the idea of a 'glitch' throughout the novel, describing how a 'glitch' was once regarded as inconvenient for those suffering computer malfunctions, but is now regarded as a type of contemporary art. Due to the ever-evolving relationship between emerging technology and art forms. “The “post-digital” aesthetic was created in part as a result of the immersive experience of working in environments suffused with dig-ital technology: computer fans whirring, laser printers churning out,” according to the artist (Betancourt, 2016).

Theodor Adorno wrote a book called "Aesthetic Theory" in which he makes his case on how art subverts the demands of society's capitalists. The critical rapture of showing a direct type of expression clear approval, disapproval, or judgement of something (critical, 2021) , as defined by theories of ‘glitch art,' who argue that the ‘glitch' exposes both the material basis and processes of digital media, and that they only appear when audiences choose to perceive glitch to function critically (Adorno, 1970).

A very popular glitch artists is Rosa Menkman a Dutch art theorist who has created numerous exceptional glitch artworks. "Whiteout," published in 2020, one example of her work that she described in her book "Beyond Resolution," published in 2020. This book explained her motivations for undertaking those tasks. She identified the collection as material that had been lost in data as a result of digital technology errors.

Response to my peer’s Algorithmic Brand Culture (Contribution B: 250 Words)

The advertising industry wants us to believe that we can easily socialise and communicate with others because they want us to believe that we are in charge of what we gain or put out there, which is not actually valid. This is because social media can be viewed from two perspectives: as a forum solely for consumer enjoyment or as a marketing tool. Users also overlook the fact that social media is not just for their gratification.

Andrew Marshall has claimed that the primary aim of social media is to increase brand awareness and potentially increase customers, but there is a secret underlining purpose that relates solely to the marketing industry (Marshall, 2013) . This could indicate that we are part of a digital system that sells to us based on personal data obtained through our browsing history and cookie agreements on websites or apps. According to a new survey, Generation Z uses social media at a rate of 90.4 percent (Tjepkema, 2019) . They are the most digitally engaged audience, as a result they are most likely to be marketed to. Individual fail to recognise that "the technology that binds us often governs us," (The social dilemma, 2020). . The fact that social media coexists as a marketing tool devalues our online experiences not to mention, "The technology that connects us also controls us" (The social dilemma, 2020).