Computer glitches are the completely random, unpredictable and unexpected failures of digital systems. They are the result of approximated values and computational compensations for inaccessible information. Unlike bugs or faulty programming which can be tracked back to errors in code, glitches are fleeting and are often the result of untraceable truncated data streams or rounded values. They interfere with the notion of perfect digital reproduction, and remind us of the constructed and transient nature of information.
Glitching is an expanding genre in visual arts/cultural theory, electronic music and gaming to refer to the practice of exploiting glitches. These short-lived faults are part of our contemporary experience – they are inextricably linked to our engagement with digital technology and information transfer. As contemporary cultural indicators, glitches have the potential to be employed as an entry point into the critique of post-digital culture.
Artifacts in digital media refer to an undesired alteration in data introduced through a digital process of representation. Within broader culture, artifacts are precious objects made or given shape by human beings. Glitch Objects explore this semantic relationship through a series of rapid prototype sculptures. Using source glitches as found objects of digital culture, I collaborated with Dr. Tracy Cornish to generate Glitch Objects by mapping 2-dimensional malfunctions into 3-dimensional forms. These artifacts shift digital information into the physical realm - turning digital rubbish into delicate art objects.