Download - Glitch Art Sample Catalogue
glitch tapestries
glitch collages 1
pixel pushing
vapourwave
80s aesthetic
the human element: glitch collages 2
the zine scene
webgl and 3-d rendering
glitch video content
link list
interview
!!
table of contents
H I G H T E C H , L O W L I F E
A catalogue of glitch art works produced from summer 2014 through spring 2015
by zoe ck meeDer (effluviah) university of westminster mivc501
full portfolio can be accessed at effluviah.tumblr.com
SELECT ILLUSTRATIONS:
SOFTWARE USED INCLUDES GOLDMOSH, AUDACITY,
PHOTOSHOP CS6, AFTER EFFECTS CS6, ATOM TEXT
EDITOR, PROCESSOR, AND VARIOUS FORKED GITHUB
RESOURCES, AS WELL AS MY OWN CODE DEVELOPED
THROUGH REFINING MY OWN TECHNIQUE FOR IMAGE
GENERATION, EXPERIMENTATION, AND FINALISATION.
process and progression are noted with each set.
!METHOD:
A SUMMARY OF MY DEVELOPMENT OF MY PERSONAL
AESTHETIC DIGITAL ART STYLE (HIGH TECH LOW LIFE)
PROVIDED FOR EACH GENERAL STYLE/THEME OF GLITCHING
THAT FEATURES IN MY WORK.
EXAMPLES OF VARIANTS AND PROCESS ARE ALSO
PROVIDED.
VIDEO/AUDIO:
VARIOUS VIDEO/AUDIO EXPERIMENTS BASED ON MY GLITCH ART AND
FURTHER EXPERIMENTATION/IDEA GENERATION BRANCHING FROM my
increasing experience with coding and software usage.
an example mixed media GLITCHED IMAGE.
A TEST OF AN EARLY VERSION OF ONE OF MY GLITCH METHODS
stillS from -virus 001-
GLITCH TAPESTRIES
initially experimental tests in geometric design and
basic image breaking; developed into textiles concept
as the digital shutter effect reminded me of rows of
incomplete threading on loom-made rugs and fabrics.
these were made by drawing geometric designs in
photoshop cs6 with a touchpad, then saving as a png and
opening the image raw text code to create random but
somewhat controlled glitches.
I then moved on to opening image files as raw data in
audio editing software (particularly audacity), where I
then edited the image code by layering effects to it in
audacity as though it were music in the wav form window
and then editing/looping wav form sections, then
exporting again as an image file, and seeing what
happened.
These are both techniques that persist throughout my
work, as results vary wildly and are both random and
able to be controlled.
Glitch Collages 1
This was the beginning of my mixed-media experimentation. I used photos and composed basic digital
collages in photoshop cs6, then by glitching both individual components of the collage and multiple
copies/editions of the entire composition, i would restructure and constantly update the collage
and re-glitch the whole image as it progressed to reach an image result that was based in both code
alteration and surface level aesthetic glitching.
PIXEL PUSHING
To get into more recent pieces (a more clear technique
and aesthetic progression is trackable on my full
portfolio, effluviah.tumblr.com) i began to experiment
wildly with different methods of glitching an image.
featured here is pixel pushing, where pixels are
clustered and manipulated in an image to produce
interesting drag-style effects.
i composed the pieces with custom brushes in photoshop
cs6, then using an html-based code manipulator with a
visual interface (surface level glitching as opposed to
raw code glitching) i created these two test pieces.
to the right: waterfall / below: dna
VAPOURWAVE
Vapourwave is a subset of glitch art where
surface level glitching (not entirely code based)
is designed to give the appearance of outdated or
broken interfacing or display.
this is more multi media collage experimentation,
as the image of the girl is a paper collage i
made from 80s fashion magazines (an idea i would
revisit later) then scanned in and compiled into
a digital collage using a screenshot of a
netscape browser (browser windows as frames being
a common element in vapourwaVe STYLE GLITCH ART
AS PART OF THE OLD TECH AESTHETIC) AND THEN
ADDING TEXT and outdated effects IN PHOTOSHOP CS6
ALONG MY PERSONAL COMMON THEMES OF CODE WORK
(HERE THE CODE IS AESTHETIC AS WELL TO PLAY ON
HOW MY USUAL PIECES ARE MADE) AND HIGH TECH LOW
LIFE STYLE.
i used a young girl as the feature of the image,
because while the style is based in an old and
outdated computer experience, none of these
things are particularly old by human timeline
standards, even if they are ancient in terms of
software and hardware development. i remember
using a desktop from birth, helping customise a
desktop at age three, so the young girl and
memory theme is a play on me and my life
alongside technology.
to the RIGHT: MEMORY
80s aesthetic
The interest in technology and cyberpunk subculture that was prevalent across media throughout the
1980s, particularly in the Usa and uk, is a huge part of my personal style in terms of influence and
inspiration. a large portion of my more recent works highlight this personal interest, and with these
pieces, i use outdated digital image production and editing techniques as well as old hardware and
software editions to produce works as faithful as possible to the tech of the time as well as the
aesthetic. I then decide whether or not to leave it as it is, or create glitch variants as well.
Common elements of early digital/80s/Memphis style art are geometric shapes, brush
strokes, shape depth and distance via drop shadow, outline, or outer glow, perspective
grids, airbrushing, superficial cathode monitor image display effect or glitching,
offset colours, and specific colour palettes- All of which compliment glitch style. The
use of older tech can be key in achieving certain looks: i made the above image in ms
paint on a computer booted with windows 95 with a mouse, then surface GLITCHED it.
I formerly studied fashion, and my interest in fashion
is rooted in an interest in people and the dissonance
between what a human is and how it chooses to present
itself and why. So in the majority of my art where
humans are depicted, it is usually recognisably derived
from those core concepts, regardless of what other
influences there may be in a certain work or project.
my fashion illustration is collage based or mixed
media, and i apply the same concepts here. i scan my
traditional collages and then alter them/pastiche them
in photoshop cs6 or ms paint (or whatever other
software is suitable) and then glitch the image and
repeat, with minor alterations in technique depending
on whether the image/idea in question is experimental
or suitable for certain methods or not.
when people are depicted in my glitch work, they are
fragmented, visually broken, altered, or warped in some
way. this can be as simple as cathode monitor display
lines over a face, an extreme zoom in of an eye or hand
(two body parts i tend to focus on when not depicting a
face or full body) or as shown here to the right, where
the human is stripped almost entirely bare to a
transparent degree, with the human body itself being
mostly only present in an almost negative image form.
the clothes are layered and glitched, giving the
feeling of a holographic presence. the identity is not
real, and the digital background is more solid than the
human presence in the image.
the human element:
glitch collages 2
THE ZINE SCENEAS ANOTHER CALLBACK TO OTHER ARTISTIC ENDEAVOURS AND INTERESTS, i have a glitch art zine called
high tech low life that is designed around 80s/90s zine culture and cyberpunk/tech culture of the
80s/90s in general. a photocopier style zine, it is available at issuu.com/effluviah for download.
WEBGL AND 3-D RENDERING
Using the three.js library and my own experimental
webgl coding, as well as textures made by generating
base images and altering them at the code or surface
level, I created 3-d objects in in-browser code based
rendering software with the intent to eventually make a
fully animated video.
however, as certain limitations applied, the video is
still a work in progress, but i believe the progress
itself is art, as it shows the creation of art through
mathematics and code development as well as somewhat
more traditional image creation methods in the form of
glitch art being used as textures for the webgl
objects.
this kind of animation is only one of many applications
for glitch art in general, so it also serves to show
the potential in what i do. nothing is simple or
isolated; there is no direction, only organic
evolution, perhaps ironically.
Multiple forms of media are crucial to
both original conceptual use of
computers and to modern in-practice
applications of computers and most
technology. Visualisations and
fictional depictions of interfacing
with the web, and the idea of
developing technology to the degree
that humanity becomes mechanical or
machines obtain humanity, in any number
of ways (many of which are in real life
still theoretically plausible)
encouraged me to explore the human
element of visual engagement with other
people through the medium of a monitor.
Like with my images, we are seeing not
with our eyes, but with the eyes of the
computer as it reviews raw media data,
and that reality is emphasised as being
both virtual and human based.
the new core of all media, hub of human memory,
the eyes of the world, the soul of potential.
G L I T C H V I D E O C O N T E N T
A synopsis of each video, with stills/audio cover image.
each video is Viewable in full at www.effluviah.tk or via bitly links below.
Videos are listed in order of release.
VAST AND INFINITE: HTTP://BIT.LY/VASTANDINFINITE
Audio recorded on a vintage sony dictaphone, THEN ALTERED IN
AUDACITY. THE VISUALS ARE FROM A HACKED WEBCAM, WITH IN-
BROWSER FLASH ALTERATIONS AND RECORDED ON SCREEN VIA OBS
SOFTWARE. THE TITLE QUOTE (TEST DIALOGUE) COMES FROM GHOST IN
THE SHELL BY SHIROW MASAMUNE, A MANGA AND ANIME SERIES AS
WELL AS FILMS WHICH ARE CONSIDERED CYBERPUNK CLASSICS.
GLITCH AUDIO TEST: HTTP://BIT.LY/AUDIOTEST1
TESTING VOCAL EFFECTS INSPIRED BY 2001: A SPACE ODESSY AND
DAVID LYNCH’S TWIN PEAKS. ALTERNATE AUDIO FILES FOR MULTIPLE
TAKES AND TESTS ARE AVAILABLE UPON REQUEST, BUT MULTIPLE
VIDEOS/TAKES COULD NOT BE UPLOADED DUE TO TIME CONSTRAINTS.
VIRUS OO1: HTTP://BIT.LY/VIRUS001
DESCRIPTION IN THE VIDEO ALLUDES TO HARLAN ELLISON’S I HAVE
NO MOUTH AND I MUST SCREAM, WHICH IS ANOTHER CYBERPUNK/
DYSTOPIAN CLASSIC. DONE WITH IPHONE 4S, SONY DICTAPHONE, AND
AFTER EFFECTS CS6.THIS IS A FRONT-END DATAMOSH VIDEO, DUE TO
TIME CONSTRAINTS. THE THEME OF THE VIDEO IS THAT A SENTIENT
CONSCIOUSNESS HAS FORMED IN A LAPTOP, AND THE WEBCAM SELF-
ACTIVATES AND BEGINS TO OBSERVE THINGS AND PEOPLE AROUND IT.
best viewed with lights off and headphones on while alone.
the ether of the net. a face emerges!
the image for the audio test is a surface GLITCHED
IMAGE OF MY WORKSPACE.
HELLO. GOOD MORNING. the bug
LINK LISTINGGlitch art portfolio: effluviah.tumblr.com youtube channel: www.effluviah.tk
twitter: @effluviah email: [email protected] issuu: issuu.com/effluviah
!
!interview
I was interviewed regarding my glitch art by asexualartists.tumblr.com; The direct link to my
interview is here: http://asexualartists.tumblr.com/post/116490332857/interview-ck
Zoe CK Meeder 2014-2015