The Glitch Art Genre (From Artifact to Filter)

[This text is a paragraph from my upcoming notebook: "The Glitch Moment(um)" to be released by the Institute of Network Cultures on the 11th of November 2011.]

Abstract: As the popularization and cultivation of glitch artifacts is now spreading more widely, it is interesting to track the development of these processes and their consequences. One of these consequences is that we can consider glitch as an artistic genre. But what does saying ‘glitch is a genre’ actually say? Continue reading

Queer Viralities: On Technologies and Weapons of Queerness

Abstract
I will articulate what a queer viral politics could be by examining the overlappings,
differences, and irreducibilities of the virus (biological entity) and the viral (characteristics of the virus applied to other things). I will consider the virus/viral relation along two axes: 1) the dominant axis, from virus to viral based on replication and cryptography, 2) the imperceptible axis, based on thinking the virus as a diagram for an unrecognizable never-being-the-sameness. I will explore these axises in relation to the the art collective I founded, Queer Technologies. Continue reading

The Good, the Bad and the Ugly: the epic tale of copyright in network culture

With the rise of free culture and the reinforcement of intellectual property in the last decade, it is becoming a common practice for artists building upon or sampling existing sources, to check the legal validity of appropriating and merging external material. Using Sergio Leone’s ‘The Good, the Bad and the Ugly, I am speculating on the risks of underlying copyright laws that solely reward diligent and respectful legal artistic practices.
Continue reading