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The Point of Collapse, or How to Err is Non-human in Post-Digitality

100%
Wójtowicz E.
Sztuka i Dokumentacja
|
2020
|
issue 22
37-46
EN
The aim of this text is to analyse various aspects of an error, understood as a collapse of form and content both in the 20th century and contemporary art, the latter influenced by post-digital (un)awareness. Art history teaches us that the avoidance of formal errors, crucial in the process of academic art education became irrelevant with the arrival of the first avant-gardes. This opened the way for artists to deal freely with the medium, or even act against the medium, not avoiding an error but rather embracing its surprising consequences. Therefore, a dilettante attitude disseminated rapidly across culture, allowing artists to make inspiring mistakes and find unexpected beauty in roughness and freedom in disorder. From the perspective of computing history, an error has always been a problem for coders and an annoyance for software users. The idea of making the most of technical limitations was discovered by net.art pioneers; later those mistakes were so appealing that a new genre was formed: glitch art. Nowadays artists produce so-called glitch art in their online and offline practice, using distortions resulting from errors in programming or the digital origin of images. Error-based artworks can be judged on criteria other than traditional, helping us find aesthetic joy in the collapse of forms. An intentional language mistake, just like the one made by Dada poets, reminds us that an imperfect message may reveal the hidden, conceptual framework of an apparently seamless structure. Post-digital error is, on the other hand, a paradox; being the creation from scratch of a seemingly erroneous object whose idea comes from digital vocabulary that is treated as a starting point to the planned collapse.
2

Rheo: Japanese sound art interrogating digital mediality

100%
Vandsø A.
Acta Universitatis Sapientiae, Film and Media Studies
|
2014
|
vol. 9
|
issue 1
141-154
EN
The article asks in what way the Japanese sound artist, Ryoichi Kurokawa’s audiovisual installation, Rheo: 5 Horisonz (2010), is “digital.” Using professor Lars Elleström’s concept of “mediality,” the main claim in this article is that Rheo not only uses digital technology but also interrogates digital mediality as such. This argument is pursued in an analysis of Rheo that draws in various descriptions of digital media by N. Catherine Hayles, Lev Manovic, Bolter, and Grusin among other. The article will show how the critical potential in Rheo is directed both towards digital media as a language (Meyrowitz) (or a place for representation) and towards the digital as a milieu (Meyrowitz) or as our culture (Gere). The overall goal of the article is not just analyse this singular art work, but also to show how such a sound art work can contribute to our understanding of our own contemporary culture as a digital culture.
3
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Obrazki porażki [Images of Failure]

86%
Stańczyk X.
Studia Litteraria et Historica
|
2020
|
issue 9
EN
Images of FailureOn the one hand, the sphere of art offers the possibility to imagine a different, less oppressive and normative world, where just as in the case of cartoons even the greatest gawks, misfits, and outcasts would build friendships and alliances helping them to reach a happy ending. On the other hand, there is something of an artistic performance, at least of an illusionist show, to an intentional act of failure. To perform failure, one has to improvise, to operate randomly, blunderingly, and ostentatiously, as well as to resist the social norms and rules. The artworks that are presented here pertain to all of these meanings of the “art of failure”. Obrazki porażkiSztuka jest z jednej strony sferą, w której można wyobrazić sobie inny, mniej opresyjny i normatywny świat; w nim – jak w kreskówkach – międzygatunkowe przyjaźnie i sojusze nawet największych gamoni, odmieńców i wyrzutków prowadzą do szczęśliwego zakończenia. Z drugiej strony w intencjonalnym uprawianiu porażki jest coś ze sztuki, a przynajmniej sztuczki prestidigitatora. Performowanie porażki wymaga zdolności improwizacji, podążania po omacku, dyletanctwa, fanfaronady oraz przeciwstawiania się społecznym normom i regułom. Prezentowane tu prace nawiązują do tych sensów „sztuki porażki”.
4
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Images of Failure

81%
Stańczyk X.
Studia Litteraria et Historica
|
2020
|
issue 9
PL
Sztuka jest z jednej strony sferą, w której można wyobrazić sobie inny, mniej opresyjny i normatywny świat; w nim – jak w kreskówkach – międzygatunkowe przyjaźnie i sojusze nawet największych gamoni, odmieńców i wyrzutków prowadzą do szczęśliwego zakończenia. Z drugiej strony w intencjonalnym uprawianiu porażki jest coś ze sztuki, a przynajmniej sztuczki prestidigitatora. Performowanie porażki wymaga zdolności improwizacji, podążania po omacku, dyletanctwa, fanfaronady oraz przeciwstawiania się społecznym normom i regułom. Prezentowane tu prace nawiązują do tych sensów „sztuki porażki”.
EN
On the one hand, the sphere of art offers the possibility to imagine a different, less oppressive and normative world, where just as in the case of cartoons even the greatest gawks, misfits, and outcasts would build friendships and alliances helping them to reach a happy ending. On the other hand, there is something of an artistic performance, at least of an illusionist show, to an intentional act of failure. To perform failure, one has to improvise, to operate randomly, blunderingly, and ostentatiously, as well as to resist the social norms and rules. The artworks that are presented here pertain to all of these meanings of the “art of failure”.
5
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Glitch as the Representation of the Uncanny in Oxenfree (2016)

72%
Waszkiewicz A.
Homo Ludens
|
2019
|
issue 1(12)
213-225
EN
The Gothic engages its audiences in the constant play by evoking the same anxieties in its audience and its protagonists. Furthermore, it could be argued that transgressions are its immanent feature. The supernatural elements, with the strong emphasis on the ghosts, often create the feeling of the uncanny, which, defined by the mixing of the familiar with unfamiliar, is not unknown to the video game genre. In the paper I offer a close reading of Oxenfree (2016), demonstrating the Gothic elements featured in the game, concentrating on how the uncanny manifests through the use of the audiovisual glitch.
PL
Gotyk, jako gatunek literacki, wciąga swoich graczy w grę, wywołując w nich ten sam niepokój, który często odczuwają jego bohaterowie. Ponadto nierzadko ważny jego element stanowi transgresywność, przejawiająca się chociażby w elementach nadprzyrodzonych. Na szczególną uwagę zasługują tutaj duchy, wywołujące uczucie niesamowitości spowodowane przez spotkanie znanego z tym, co obce. Na element ten często trafić można w grach wideo. W artykule przyjrzę się grze Oxenfree (2016), wskazując na jej gotyckie elementy oraz ukazując, w jaki sposób niesamowitość przejawia się poprzez audiowizualny glitch.
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