hab
statement: Are avant-garde practices still important to you?
I’ve been engaged with poetic bricolages for many years. the alternative or improper use of the many different text or carrier materials, web tools, software etc. and its combination is a naturally part of creating allegorical text objects or aesthetics. of course, the tools used, and thus also its products, are often testimonials with a very short half-life. within the self-imposed poetic of don’t do it twice, however, they can act beyond as singular positions and remain relevant as reference for me or the work as a whole.
project: TALK revisions as dialogs // TALK revisionen als dialoge
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what is corrected
when we correct it
The artist Wolfgang Müller (Die tödliche Doris), whom I value, happened a small accident on June 14, 2019. Nothing bad, it has probably all happened to us.
The first version of his HTML newsletter contained small errors and he sent out another version a little later – with minimal changes. As a result, further three correction emails should follow. It remains to be seen whether this revision cascade was intended or just the mail program got a little bit out of hand.
As a curious reader, I naturally tried to peel out the individual differences, an interpretable revision process of this revision history. At first sight it was not very productive in poetic terms. But if you transfer the individual content e.g. into a WordPress editor and overwrite it chronologically, so a small, abstract narrative, a version dialog can be created that makes mute elements visible and creates a small poetic attitude: text correction or revision as visual-narrative poetry.
gallery TALK revisions as dialogs // gallery
gallery images
project: Semikone Metaglitch Derivatives of synthesized characters as visual poemes // Derivate synthetisierter Zeichen als visuelle Poeme
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project description: Text-picture glitching
semikone metaglitch is about text-image structure fusions that are generated in black boxes by online OCR software.
The image (reading) error as a (random) artifact has been a constant in media art in production contexts for a long time.
In television and video technology, a glitch is a brief incorrect output of image or sound content, similar to glitches in electronics. These errors often occur when winding inside a film or when reinserting the film after a winding process if the required data cannot be buffered and reproduced quickly enough. Glitches also arise when interpolating individual data components of the signal that have been falsified or left out during a copy or transfer process. This has an effect in the picture through increased artifact formation or even the formation of blocks of different colors. With the sound, there may be disturbing distortions of frequency or background noise. [1]
Glitch art is the practice of using digital or analog errors for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices. (…) What is called “glitch art” typically means visual glitches, either in a still or moving image. It is made by either “capturing” an image of a glitch as it randomly happens, or more often by artists/designers manipulating their digital files, software or hardware to produce these “errors.” Artists have posted a variety of tutorials online explaining how to make glitch art. There are many approaches to making these glitches happen on demand, ranging from physical changes to the hardware to direct alternations of the digital files themselves. [2]
A number of generators accessible online suggest that not only images, but also text can be glitched in a variety of ways and under more or less controlled conditions. [3] In doing so, the results often remain at the level of the purely ornamental – without the productive gain of a genuinely failed transformation or reading.
The process (and work of visual poetry) “Semikone Metaglitch” wants this approach to be formulated new and differently. Visual poetry, aesthetic structures of abstract languages or Language systems can be generated from language materials, but they can also come into connection with non-language characters and grammaticalize them or be grammaticalized through them. In terms of sign theory, diachronic and synchronous signs are amalgamated here.
First meta text material was synthesized. Postcards with landscape images were abstracted, “pixelated” with colored adhesive points – if you will – and rough structures derived from them and isolated. A text corpus with “metatexts” (magazine “Texte zur Kunst”) was evaluated or excerpted under algorithmic guidelines. These two text forms have now been stacked one inside the other and subjected to an OCR process, which naturally has to fail productively on the pre-manipulated material, but instead creates fresh derivatives.