グリッチ | 現代美術用語辞典ver.2.0

グリッチ
Glitch
デジタル装置のエラー、そのために生じるノイズ、またはそれらを利用して作品を制作する手法のこと。この手法は1990年代半ばの音楽に現われ、偶発的で小さな欠陥を意味する「グリッチ」という語で呼ばれ始める。2000年前後よりＫ・カスコーンらがこの手法の意義を歴史的に考察していった。カスコーンはグリッチをルッソロの騒音音楽を出発点とする、装置のエラーを利用する手法の歴史の先端に位置づける。刀根康尚が80年代半ばに初めて制作に利用したとされる、CDの音飛びが典型的なグリッチとして知られている。音楽から始まったこの手法は視覚装置のエラーや、装置ではなくデータのエラーの利用にも拡大していった。後者のツールとしてnatoなどのソフトウェアがよく使用された。グリッチの意義としてよく次の点が指摘される。デジタル制作ツールと制作される作品の関係がより密になる傾向に対して、ツールの正規の機能がもつ制限からある程度逸脱すること。そして、装置の通常は隠れた機能を部分的に明るみに出すこと。エラーは装置の完全停止ではなく、ひとつの機能を停止させると隠れていたほかの機能があらわになることがある。また、グリッチは日常に一種の警告として存在するため、人の注意を惹きやすい（BGMが音飛びしたときの緊張感がよく言及される）。ただし、この性質は手法が一般化すると失われてしまう。これらの意義はエラーを利用した手法一般にある程度共通するが、アナログよりデジタル装置のエラーにより顕著に認められる。
著者: 金子智太郎

参考文献
Computer Music Journal,24.4,"The aesthetics of failure: 'Post-Digital' Tendencies in Contemporary Computer Music",Kim Cascone,MIT Press,2000
Bad Music: The Music We Love to Hate,Christopher J. Washburne,　Maiken Derno eds.,Routledge,2004
Cracked Media: The Sound of Malfunction,Caleb Kelly,The MIT Press,2009
Glitch: Designing Imperfection,Iman Moradi,Ant Scott,Joe Gilmore and Christpher Murphy,Mark Batty Publisher,2009

アヒム・ゼパンスキー（Achim Szepanski）
キム・カスコーン（Kim Cascone）
ネトチカ・ネズヴァノヴァ（Netochka Nez-vanova）
マーカス・ポップ（Markus Popp）
ルイジ・ルッソロ（Luigi Russolo）
刀根康尚
針谷周作

http://artscape.jp/artword/index.php/%E3%82%B0%E3%83%AA%E3%83%83%E3%83%81

◇ Glitch (music) - Wikipedia, the free encyclopedia

Glitch is a genre of electronic music that emerged in the late 1990s. It has been described as a genre that adheres to an "aesthetic of failure," where the deliberate use of glitch-based audio media, and other sonic artifacts, is a central concern.[1]
Sources of glitch sound material are usually malfunctioning or abused audio recording devices or digital electronics, such as CD skipping, electric hum, digital or analog distortion, bit rate reduction, hardware noise, software bugs, crashes, vinyl record hiss or scratches and system errors.[2] In a Computer Music Journal article published in 2000, composer and writer Kim Cascone classifies glitch as a subgenre of electronica, and used the term post-digital to describe the glitch aesthetic.[1]

History
The origins of the glitch aesthetic can be traced to the early 20th century, with Luigi Russolo's Futurist manifesto The Art of Noises, the basis of noise music. He also constructed noise generators, which he named intonarumori. Later musicians and composers made use of malfunctioning technology, such as Michael Pinder of The Moody Blues in 1968's "The Best Way to Travel," and Christian Marclay, who used mutilated vinyl records to create sound collages beginning in 1979. The title track of OMD's popular 1981 album Architecture & Morality makes use of invasive computer- and industrial noise snippets, and has been cited as an early incarnation of glitch.[3] Yasunao Tone used damaged CDs in his Techno Eden performance in 1985, while Nicolas Collins's 1992 album It Was a Dark and Stormy Night included a composition that featured a string quartet playing alongside the stuttering sound of skipping CDs.[4] Yuzo Koshiro's electronic soundtrack for 1994 video game Streets of Rage 3 used automatically randomized sequences to generate "unexpected and odd" experimental sounds.[5]
Glitch originated as a distinct movement in Germany with the musical work and labels (especially Mille Plateaux) of Achim Szepanski.[6][7] While the movement initially slowly gained members (including bands like Oval),[8] the techniques of Glitch later quickly spread around the world as many artists followed suit. Trumpeter Jon Hassell's 1994 album Dressing for Pleasure—a dense mesh of funky trip hop and jazz—features several songs with the sound of skipping CDs layered into the mix.[citation needed]
Oval's Wohnton, produced in 1993, helped define the genre by adding ambient aesthetics to it.[9]
The mid-nineties work of Warp Records artists Aphex Twin (Richard D. James Album, Windowlicker, Come to Daddy EP) chan-EL ) and Autechre (Tri Repetae, Chiastic Slide) were also influential in the development of the digital audio manipulation technique and aesthetic.[citation needed]

http://en.wikipedia.org/wiki/Glitch_%28music%29

◇ Street of Rage 3 Full Soundtrack OST - YouTube
http://youtu.be/t9fNkGMuwS4

◇ Kim Cascone - Null Drift - YouTube

from "CathodeFlower" [1999]
genres: lowercase, glitch, drone, electronic, experimental
label: Ritornell

http://youtu.be/3qe-VTUap7s

◇ Kim Cascone - Polychromatic-Cloud 1 - YouTube
http://youtu.be/qri2djXj3pQ

◇ Kim Cascone - rotational beacon - YouTube
http://youtu.be/tCdm1rKCJ70

◇ IMAfiction #02 06 Rebekah Wilson aka Netochka Nezvanova on Vimeo
https://vimeo.com/87394052

◇ Nato.0+55+3d - Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Nato.0%2B55%2B3d

◇ DURCH DEN TAG MIT ACHIM SZEPANSKI - 24 Stunden im Frankfurter Bahnhofsviertel - YouTube
http://youtu.be/u57UaNKXXxs

◇ Jodi (art collective) - Wikipedia, the free encyclopedia

Jodi, or jodi.org, is a collective of two internet artists: Joan Heemskerk (born 1968 in Kaatsheuvel, the Netherlands) and Dirk Paesmans (born 1965 in Brussels, Belgium). Their background is in photography and video art; since the mid-1990s they started to create original artworks for the World Wide Web. A few years later, they also turned to software art and artistic computer game modification.

Selected works
http://wwwwwwwww.jodi.org - the website that caused Jodi's uproar in popularity with contemporary art.
http://globalmove.us/ - another website using Google Maps, this time creating artistic patterns with the map signs.
http://geogeo.jodi.org/ - a site using Google Maps to show supposed 'Cityfonts'.
http://map.jodi.org/ - Jodi's personal map of the Web.
http://404.jodi.org/ - playing with the "404 - File not Found" premise.
http://sod.jodi.org/ - an art game modification of Wolfenstein 3D.
http://asdfg.jodi.org/ - an experimental website, using randomly generated ASCII art and Javascript.
http://yt-rtyuiop.org/ - an experimental website, very similar to asdfg.jodi.org, YouTube related.
http://text.jodi.org/ - a website similar to wwwwwwwww.jodi.org, containing jumbled graphics.
http://jetsetwilly.jodi.org/ - an edit of the game Jet Set Willy.
http://www.wrongbrowser.com/ - absurd artistic interpretation of a browser (Alt-F4 to exit on Windows, CMD-Q on Mac).
http://g33con.com/ - a web archive containing many websites, including the redirect experiment "you-talking-to-me-you-talking-to-me-you-talking-to-me.com".
http://www.untitled-game.org/ - also on CD-ROM, twelve modifications of Quake.
http://maxpaynecheatsonly.jodi.org/ - cheats on built-in functions of the video game Max Payne 2 - new work released in May 2006.
http://tatatataa.cn/ - an experimental website with a grey background, along with the voice of Duke Nukem saying the Textedit options.
http://zyx-app.com/ - an art project, experimenting with iPhones and human movement.
http://compositeclub.cc/ - a web archive, each containing various clips from Playstation 2 Eyetoy games like EyeToy: Monkey Mania, and Sega Superstars, being "played" by movies.
http://audioswap5.com/ - redirects to a YouTube channel showing videos of internet-themed songs recorded onto vinyl.
http://oss.jodi.org - another Javascript site, famous for containing malicious code.
http://x20xx.com/ - slightly related to zyx-app.com, contains various visual experiments.
http://folksomy.net/ - a web archive containing randomly selected clips from YouTube, all by tag.
http://mboxjodi.org/ - another web archive, this time containing lists of various files, ordered by file extension.
http://www.net-art.org/jodi - biographical entry on net-art.org digital "encyclopedia"

http://en.wikipedia.org/wiki/Jodi_%28art_collective%29

◇ Christian Marclay mini documentary - YouTube
http://youtu.be/4yqM3dAqTzs

◇ RYRAL (1976) on Vimeo

RYRAL is a realtime audio video performance by Tom DeFanti (creating computer animation with the GRaphics Symbiosis System or GRASS), Phil Morton ("up in the kitchen keepin' track"), Dan Sandin (processing video with a Sandin Image Processor), Bob Snyder (performing experimental electronic music on an analog EMU synthesizer) and an uncredited dancer. This Media Art project was created and performed in April 1976 at the second Electronic Visualization Event (EVE II) in Chicago. EVE II took place at The University of Illinois Chicago.
Documentation of the performance was later exhibited by Diane Kirkpatrick in her exhibition Chicago: The City and Its Artists 1945-1978 at The University of Michigan Museum of Art March 17 - April 23 1978.

https://vimeo.com/22128748

◇ Sandin Image Processor Experiments, September 2014 on Vimeo
https://vimeo.com/106705564

◇ Dan Sandin interview - criticalartware (2003) on Vimeo
https://vimeo.com/62921513

◇ Dresden Dynamo by Lis Rhodes (1971) - YouTube
http://youtu.be/we4-xvuaoCI

◇ Lis Rhodes: Light Music | Tate

Light Music is an innovative work presented originally as a performance that experiments with celluloid and sound to push the formal, spatial and performative boundaries of cinema. An iconic work of expanded cinema, it creates a more central and participatory role for the viewer within a dynamic, immersive environment.
Formed from two projections facing one another on opposite screens, Light Music is Rhodes’s response to what she perceived as the lack of attention paid to women composers in European music. She composed a ‘score’ comprised of drawings that form abstract patterns of black and white lines onscreen. The drawings are printed onto the optical edge of the filmstrip. As the bands of light and dark pass through the projector they are ‘read’ as audio, creating an intense soundtrack, forming a direct, indexical relationship between the sonic and the visual. What one hears is the aural equivalent to the flickering patterns on the screens.
Light Music is projected into a hazy room – the beams that traverse one another in the space between the two projections become ethereal sculptural forms comprised of light, shadow and theatrical smoke. This format is designed to encourage viewers to move between the screens, directly engaging with the projection beams, forming a set of social relations in which cinema is transformed into a collective event without a single point of focus. Light Music occupies an important threshold in film history, drawing on early experiments in ‘visual music’ from the 1920s by pioneers including Oskar Fischinger, Hans Richter and Walther Ruttmann, and subsequently opening cinematic practice up to a host of concerns from gender politics to phenomenological experience.

http://www.tate.org.uk/whats-on/tate-modern-tanks/display/lis-rhodes-light-music

◇ Anni Albers - Google 検索
https://www.google.com/search?q=Anni+Albers&es_sm=91&source=lnms&tbm=isch&sa=X&ei=Wx_iVIqcC4jo8gWB1IFo&ved=0CAgQ_AUoAQ&biw=1436&bih=806

◇ Hiroshi Kawano Der Philosoph am Computer Selected works - ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe
http://www03.zkm.de/kawano/index.php/en/works

◇ François Rouan - Google 検索
https://www.google.com/search?q=Fran%C3%A7ois+Rouan&espv=2&biw=1436&bih=806&tbm=isch&tbo=u&source=univ&sa=X&ei=mibiVJ6EAsL98AXG1oJw&ved=0CBsQsAQ&dpr=2

◇ Tom Tom the Piper's Son (Ken Jacobs) (fragmentos) - YouTube
http://youtu.be/wO0zVHy0OFA

◇ Tom, Tom, the Piper's Son (film) - Wikipedia, the free encyclopedia

Tom, Tom, the Piper's Son is a 1969 experimental film made by Ken Jacobs. The film is considered a landmark in avant-garde and structural filmmaking, and remains Jacobs' best-known work.[1] It was admitted to the National Film Registry in 2007, and is part of Anthology Film Archives' "Essential Cinema" repertory.[2][3]
In a meticulous experiment in rephotography, Jacobs deconstructs, manipulates, and recontextualizes a small fragment of found footage: a 1905 film showing a group of people chasing a thief through a barn, "shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress," according to Jacobs.[4] Jacobs' refashioning of the footage is an essayistic meditation on the nature of cinematic representation; in the words of Chicago Reader critic Fred Camper, it is "a film about watching movies."[5]

http://en.wikipedia.org/wiki/Tom,_Tom,_the_Piper%27s_Son_(film)

◇ Electronic Arts Intermix : Global Groove, Nam June Paik

Global Groove
Nam June Paik and John Godfrey
1973, 28:30 min, color, sound
"This is a glimpse of the video landscape of tomorrow, when you will be able to switch to any TV station on the earth, and TV Guide will be as fat as the Manhattan telephone book." So begins Global Groove, a seminal work in the history of video art. This radical manifesto on global communications in a media-saturated world is rendered as an electronic collage, a sound and image pastiche that subverts the language of television. With surreal visual wit and an antic neo-Dada sensibility, Paik brings together cross-cultural elements, artworld figures and Pop iconography.
Pepsi commercials appropriated from Japanese television are juxtaposed with performances by avant-garde artists John Cage, Merce Cunningham, Allen Ginsberg and the Living Theatre; dancers moving in a synthesized, colorized space to Mitch Ryder's Devil with a Blue Dress On are intercut with traditional Korean dancers. Charlotte Moorman, her image wildly synthesized, plays the TV Cello; Paik and Moorman play the TV Bra for Living Sculpture; Richard Nixon's face is distorted by a magnetically altered television. In an ironic form of interactive television, Paik presents "Participation TV," in which he instructs viewers to open or close their eyes. Paik subjects this transcultural, intertextual content to an exuberant, stream-of-consciousness onslaught of disruptive editing and technological devices, including audio and video synthesis, colorization, ironic juxtapositions, temporal shifts and layering — a controlled chaos that suggests a hallucinatory romp through the channels of a global TV. With its postmodern content, form and conceptual strategies, Global Groove stands as a seminal statement on video, television and contemporary art.
Director: Merrily Mossman. Narrator: Russell Connor. Film Footage: Jud Yalkut, Robert Breer. Produced by the TV Lab at WNET/Thirteen.

http://www.eai.org/title.htm?id=3287

◇ Amazon.co.jp： Glitch: Designing Imperfection: Iman Moradi, Ant Scott, Joe Gilmore, Christopher Murphy: 洋書

A "glitch" usually fixes itself in the amount of time it takes for it to be noticed in the first place, whether as a scrambled cable television delay, a page-loading error on an internet browser or a jumble of pixels on an ATM interface. Glitch: Designing Imperfection consists of over 200 glitch images grabbed, composed and provoked by artists who present these complex fragments of color and lines as thought-provoking mistakes that merit being considered in an aesthetic sense, no matter if as art or as advertising. Artists like Angela Lorenz, O.K. Parking and Karl Klomp muse about what glitches mean to them. The images and text in Glitch capture the fact that no one can deliberately make a mistake, although mistakes are often the greatest sources of inspiration.

http://www.amazon.co.jp/Glitch-Designing-Imperfection-Iman-Moradi/dp/0979966663

◇ notes-on-glitch.md - Gists - GitHub