“One doesn’t have to be “absolutely modern” as Rimbaud once dreamed, but off-modern. A lateral move of the knight in game of chess. A detour into some unexplored potentialities of the modern project.”
Galloway’s statement about the “contents” of web-related art -the process of “necessity” of emancipation of the old medium as content of the novel medium (this is due to the restrictive, therefore reactionary, form of the early encoding of the Net Art as self-referential by autonomous)- can be contrasted with that of Benjamin Weil: “The main object of net.art is the Internet”. But if there is a quality that defines the Internet, it is the blur of its borders, the permeability of its borders, the vortex of its limits, in a single sentence: the construction of the anti-frontier.
Glitch art is the practice of using digital or analog errors for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices. -(a rumor without a name)-. The attention to this operative principle, rather than the politics of form, is the basis of the present research. The results are not those from a lab, they are expressly subjective, necessarily subjective – is to lend subjectivity to a platform of communication, play with the nightmare of the self-conscious data (see James Gleick). And neither it is Glitch Art, for this is nothing more than another premature step of the signifier