Response to Nick Briz' Video Essays
In Nick Briz' glitch art series, he says "computer's don't make mistakes, people do." This statement made me stop and think a lot about how unique glitch art actually is because we are using our knowledge of human error to make something great. Like Briz also says, glitch art is when an artist intentionally provokes glitches. In other words, it is when an artist makes mistakes on purpose. I have experience with both traditional and digital art and I am a bit of a perfectionist. Just the overall idea of glitch art is fascinating to me because it comes from taking a mistake, that would typically drive me crazy, and using it to create a new style of art. Briz also mentions in that glitch art is a way of reclaiming some power in your digital space. I think this idea that "there is nothing wrong with something wrong," could apply to traditional art as well and even other aspects of life. I also agree that definitely does help you reclaim power in a sense. It is important to own your mistakes because as I've learned from this series, mistakes or errors can lead to something amazing.
Great to hear a traditional art perspective on these issues, as glitch is often debated as an artform, as opposed to a practice—a bit like resolving a painting versus sketching. There are many useful analogies between Briz's ideas and traditional art, especially if we extend his points to include ALL technological advancements throughout history. In this case, an artist turning her brush in a slightly new direction centuries ago could, perhaps, be categorized as a type of glitch investigation. Picasso's break with visual representation in order to explore a subject over time, from a multitude of perspectives (Cubism!) could be considered this same kind of technological exploration—always asking, "what else could this tool do; how could I misuse this rule?" It would be good to get a little deeper into the political and capitalistic implications of glitch, Georgia, but it's a very compelling take-away to consider the implications of Briz's arguments as a visual artist.
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