• 0001 – Mazin [Turkey] – Celestica Dual Core [2023]
• 0002 – Geist [United Kingdom] – Free Limit Reached [2024]
• 0003 – Apofenica [Brazil] – Corrupted feelings [2024]
• 0004 – MMIX (Rust MacCarthy + L Faunt) [USA] – Sexy Robot Noises 2.0 [2021]
• 0005 – Milo Masoničić [Montenegro] – Kid Forever [2024]
• 0006 – Milica Denkovic (Mila Glitch) [Serbia] – Glitched Letters [2022]
• 0007 – scwfilms [United States] – Feels Glitched Man [2024]
• 0008 – entroplay [USA] – Oscillonet [2023]
• 0009 – Henrique Cartaxo [Brazil] – How to walk around and be perceived as normal [2024]
• 0010 – Bppchourmo [Italia] – From the darkness [2024]
• 0011 – Michael Betancourt [US] – Mnemonic Fields [2024]
• 0012 – Tianmin [United Kingdom] – Brain Fryer [2024]
• 0013 – tokyo_nomad_ [Japan] – A Lifetime Compressed (Failure in Real-time) [2024]
• 0016 – Zsolt Gyenes [Hungary] – Lux Or [2024]
• 0017 – Daria Gnatchenko [France] – Muscae volitantes [2024]
• 0018 – joana.art [UK] – web choreographies & other stories [2021-2023]
• 0019 – no one [Italy] – Mind Overload – Body Disconnected III [2024]
• 0020 – Toxic Motel x Pemuda Sinarmas [Indonesia] – Hayalan dan Luka – Toxic Motel and Pemuda Sinarmas (Music Video) [2023]
• 0021 – Wes Modes [United States] – DriftConditions [2024]
• 0022 – Ashkan [Iran] – Unclear Sideway [2024]
• 0023 – Nick Briz [United States] – the Tactical Misuse Manifesto [2024]
• 0025 – Lucas Wilm [Brazil] – Musiquinha de cunete [2024]
• 0026 – vnc.ptk [United Kingdom] – Entfremdung [2019-2020]
• 0027 – Datura [france] – Formation. 0918 [2024]
• 0028 – APIACOAB [France] – [LOST CONTROL] [2024]
• 0029 – CERULEAN STOICISM [Germany] – Notre Dame Demon, 2019 [2024]
• 0030 – Bob Georgeson [Australia] – Poem for the Dead [2024]
• 0031 – mathr [United Kingdom] – Self-portrait with a broken PowerShot A80 [2024]
• 0033 – Kristina Pong [Croatia] – Screensaver Digiscapes [2020]
• 0034 – mother_woolf [Ireland] – rebis-in-situ [2024]
• 0035 – Luis Angel Lacombe [Spain] – I’m bugged my computer exploded [2 weeks]
• 0036 – 0xDEFACEDD [Australia] – untitled [2024]
• 0037 – StylelessKnave [United States] – Trevi [2024]
• 0038 – Desmond Clarke [United Kingdom] – landscape4frame_broken.but.good.py [2022]
• 0039 – Petra [México] – Step by Step [2024]
• 0040 – Zoen Calega [Argentina] – GEN IV [1 month]
• 0041 – Giuseppe Torre [Ireland] – The “No” core-(f)utility [2021]
• 0042 – joisujoisu [Netherlands] – glitch.walks.04.18 [2024]
• 0043 – Paul Beaudoin [Estonia] – afterglow [2023]
• 0044 – visual.baker [United States] – Machine Payback [2020]
• 0046 – 409 [Mexico City] – Bees r dying [2024]
• 0047 – Daeinc [USA] – Loop [2022]
• 0048 – crash-stop [Ireland] – Words words words [2024]
• 0049 – Kurtinecz [United States] – Uncalibrated [2024]
• 0050 – Ivan Netkachev [Georgia] – Theses on a Procedural Essay [2024]
• 0052 – Allison Tanenhaus + André Obin [US] – Refuse to Surrender [2024]
• 0053 – ESTELLE FLORES [Brasil] – Explaining-Showing-Doing Series [2024]
• 0054 – Francesco Seren Rosso [Italy] – Lighthouse [2024]
• 0055 – Shane Mecklenburger [USA] – Soul Sacrifice [2024]
• 0056 – szamøca [Hungary] – 1991 []erroneous prints //rescan [2023-2024]
• 0057 – eva.Z! [Taiwan] – a pristine and clean world [2024]
• 0058 – elle thorkveld [USA] – We Are Dancing [2024]
• 0059 – IVAN HUGO DE CARVALHO CERQUEIRA [Brasil] – glitch soul for virtual body.GLB [august 2024]
• 0060 – Josh Brown [Ireland] – Memento Mori [2024]
• 0061 – Des Pirinsesa [Philippines] – Static Interface in the Estrangements of Origins [1]
• 0062 – Glitchy Pixels [Cyprus] – Procrastination [2023]
• 0063 – Toastfang [Taiwan] – Freedom of conscience [2024]
• 0064 – Matteo Campulla [Italia] – THAT FEELING [2024]
• 0065 – Sue Su Su [Taiwan] – ID [2024]
• 0066 – José Irion Neto [Brasil] – PGF Glitch Portraits [2024]
• 0067 – ageFreezer [Taiwan] – Future World [2024]
• 0068 – Jelena Bokić [Serbia] – vital spark [2019.]
• 0070 – AK Ocol [Philippines] – ghost no.7_(linger) [2023]
• 0071 – Reptyle [France] – compliant_identity [2024]
• 0072 – jphm4900 [Colombia] – 𝙞𝙣 𝙢𝙮 𝙛𝙡𝙤𝙥 𝙚𝙧𝙖 [2024]
• 0073 – paranthre [Slovakia] – A Path They Didn’t Choose [2024]
• 0074 – VAL1S [Croatia] – 空っぽの夢 [Empty Dreams] [2023-2024]
• 0075 – Sabato Visconti [USA] – Deluxe Paint IV Glitches [2023-2024]
• 0076 – Mila Gvardiol [Serbia] – Pebbles [2024.]
• 0077 – g1ft3d [Guatemala] – Glitch Paca [2024]
• 0079 – Ana Sesto [Croatia] – CLASH [2024]
• 0080 – Chanel Pepino [Philippines] – Time Loop [0.5]
• 0081 – Andreia Matos [Portugal] – on Outputs, fragments, reflections: interrupted [2024]
• 0082 – Jessica Tucker [USA/Netherlands] – cycles (I) [2024]
• 0083 – jonCates [USA] – RGBMTLRMX [2024]
• 0084 – Roopesh Sitharan [Malaysia] – Melatah [2024]
• 0085 – Anna Christine Sands [USA] – There Never Was [2024]
• 0087 – Daria Ivans [Russia] – unfully_recovered [2024]
• 0088 – John Bumstead [United States] – Untitled 1-3 [2024]
• 0089 – Anatoly Grashchenko [Russia/Germany] – Inter Sections [2024]
• 0090 – WomanNFT [USA] – Sacred Transcendence [2024]
• 0091 – Charlotte Lengersdorf [Germany] – Ephemeral Typing [2024]
• 0092 – toastfang [Taiwan] – Dancing a-ma [2024]
• 0093 – Liminalmadness [Russia] – CShading_Alpha[0001-0300] [2024]
• 0094 – xkprx [Polska] – Robot Fairy Tales [2023-2024]
• 0095 – Tristan Calvo-Studdy [United States] – TEXT DEGRADATION [2024]
• 0096 – Javier Galán [Spain] – Lost Files [2024]
• 0097 – #FFFF00 [Taiwan] – Golden Days [2024]
• 0098 – Chris Combs [USA] – Unmoored [2022]
• 0099 – Mursigner [Russia] – Chaotic Constructs [2024]
• 0100 – Alice Falco [Italy] – The Sound of a Tree [2023]
• 0102 – Polinsiaga [Russia] – mental kink [2024]
• 0103 – Micah Alhadeff [United States] – Thorns [2024]
• 0104 – LI{A}ON [Thailand] – HURT | HOPE | HEAL [2021 Till Now]
• 0105 – Eyal Gruss [Israel] – LordTubeMaster [2024]
• 0106 – nemesis_fortuna [Germany] – RAW_DATAROT.bg [2023-2024]
• 0107 – Fangs [Mexico] – BERRAZANO THOUGHTS [2024]
• 0108 – Iqra Iqbal [Pakistan] – Cosine Circuit [2024]
• 0109 – inv4r3d [Russia] – Harmony of Change [2024]
• 0110 – Dan Hutchinson [United States] – in/content [2024]
• 0111 – yShin [Taiwan] – yShin_PD [2022-2024]
• 0112 – Rachel Efruss [USA] – Noise Study 02 [2024]
• 0113 – Hecate [Croatia] – Strawberry Saudade [2023-2024]
• 0114 – Ѧ [Hungary] – VUVU [2022-24]
• 0115 – Mark Klink [USA] – Heads-Wireframe [2024]
• 0116 – Robin Moedder [Germany] – YELLOW MISTAKEN [2024]
• 0117 – Agens111 [Germany] – Amazed as F111 [2024]
• 0118 – Medi S. (Spiegelberg) [Switzerland] – xerox message 202409 [2024]
• 0119 – Patrick Lichty [United States] – Personal Taxonomy [2019-]
• 0120 – Aaron J Juarez [USA] – Let the Tears Fall Again [2016, 2024]
• 0121 – Anna Alexanina [France] – our aim is wakefullness our enemy is dreamless sleep [2024]
• 0122 – terrafold_ [Budapest, Hungary] – Chromatic Shatter 01 & 02 [2024]
• 0123 – niky [USA] – outSide [2024]
• 0124 – Gahon C. [台灣] – 「山水・樹的Ｘ光片」 X-ray Captures on ‘THE threes’ [2024]
• 0125 – FLAG [HR] – TTK2023 [2023]
• 0126 – Sunčica Škornjak [HR] – Računalo (ne)čuva moja sjećanja [2024]
• 0127 – Mak Ratković Rajhvajn [HR] – Trip [2024]
• 0128 – Katarina Jelčić [HR] – Kvartovska kugla [2024]
• 0129 – Viktor Rasol [HR] – nasumi;no [2024]
• 0130 – Lovro Ivanišević [HR] – Error 1998 [2024]

↑ 0001 – Mazin [Turkey] – Celestica Dual Core [2023]

Abstract artwork made by databending. Compressed digital file databended with script and corrupted image post-processed with another glitch script. Final form randomly reordered using Processing // 2350 x 3200 Pixels (59.7 x 81.3 cm)// 5.04 MB (5,281,476 Bytes) // PNG //

Mazin [Turkey]

Mazin is an experimental glitch artist and databender. He explores new forms of glitch art and combining with new technologies. Mazin worked on various digital art and glitch techniques during his art journey. His majors include databending, ROM corruption, creative coding, analog glitch, generative art, 3D design, art design with vintage softwares, style transfer and AI art.

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↑ 0002 – Geist [United Kingdom] – Free Limit Reached [2024]

This piece reflects upon how information is being increasingly paywalled and how much this could become invasive in the future where our own minds are paywalled. Several abstract assets were produced with generative AI (which had already added errors and corruptions due to the unreliability of genAI) before being inserted into GIMP. They were then strategically layered with sections being erased to add to the jaggedness of it. This was then further corrupted using G’MIC-Qt, a plugin for GIMP with many glitch art techniques. A dialog box was added using several text and shape layers.

Geist [United Kingdom]

Geist is a self-taught graphic designer of 20 years who has recently turned to the realms of new media. He has delved in generative AI and glitch art for numerous months now. Geist’s work has been described as “chaos and confusion”, “a love letter to glitchy nightmares” and “being in someone’s brain and refusing to leave”. Geist also runs a bimonthly zine, ALT:VISION, to help promote new media artists and provide useful techniques.

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↑ 0003 – Apofenica [Brazil] – Corrupted feelings [2024]

The series “Flores Feia” explores artist Apofenica’s research into her poetics with Glitch art. The first piece, titled “Essas Flores Bugou D++”, exemplifies the corruption of data in an image unintentionally, resulting from a malfunction in Photoshop software. Researcher Iman Morandi describes this type of result as “a non-premeditated digital artifact that may or may not have its own aesthetic merits” (Moradi, 2004, p. 9-10).

The second work, “Corrupted Feeling”, consists of a glitch intervention in poorly executed image cutouts. It is possible to observe that the image is overlaid on a white background and has various smudges around the flowers, giving the impression that the object was poorly made.

Apofenica [Brazil]

Jeane Vitória (1998) is a Visual Artist from Ribeirão Preto (SP), Brazil, and presents herself through her persona, Apofenica. An enthusiast of dystopian themes, she draws her main references from artistic movements such as Glitch, Cyberart, and Neu Grunge. In her recent works, she explores the poetics of dreams, considering how they can be a means of sublimating suffering and inner chaos, transforming into tangible forms of art.

Her research is grounded in the term that gives rise to her artistic name: apophenia, a cognitive phenomenon related to the human tendency to perceive patterns or meanings in random data (Conrad, K., 1959). It is in this process that she finds meaning and patterns in fragmented experiences, transforming perceptions into visual narratives that challenge the boundaries between the conscious and the unconscious. “Each pixel carries a part of my emotional journey, and a bit of chaos,” says Apofenica.

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↑ 0004 – MMIX (Rust MacCarthy + L Faunt) [USA] – Sexy Robot Noises 2.0 [2021]

Since our collaboration began, we have made a lot of dance videos, as that is part of L’s artistic training. While Rust has been a glitch artist since 2011, this was a rare instance of not creating the glitches on purpose. This appears to be a codec error and causes a non-play issue on Apple machines but beautiful pixels when playing from Dropbox.

MMIX (Rust MacCarthy + L Faunt) [USA]

As MMIX, we create photography-based images/video that represent the tension between natural themes and digital technology. Our collaborative work has its pillars in the misrepresentation of reality, malfunctioning tech, the vulnerable oddness of existence, and allowing a respectful space for the darker aspects of the self. Our art manifests as glitches/manipulations of our original photography. Despite the digital nature of our finished images, we do not utilize A.I. or Photoshop in our creation process, preferring to use our phones as a tactile method for distortion and controlled chaos.

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↑ 0005 – Milo Masoničić [Montenegro] – Kid Forever [2024]

Synopsis:
“Kids Forever” is an experimental essay film that explores childhood through a montage of scenes featuring children from various films. The film creates a narrative about childhood by blending clips from classic and contemporary movies. The selected scenes depict children wandering, some appearing neglected, and others joyful. “Kids Forever” highlights the universal experiences of childhood that transcend time and culture, evoking a melancholic emotion that often forms at an early age and carries into adulthood.

Milo Masoničić [Montenegro]

Milo Masonicic was born in 1994 in Podgorica and he lives in Podgorica. He completed his undergraduate and specialization studies at the Faculty of Dramatic Arts in Cetinje. He published two novels and made couple of experimental short movies.

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↑ 0006 – Milica Denkovic (Mila Glitch) [Serbia] – Glitched Letters [2022]

The archive of punk letters from one member of the editorial of the fanzine Tri Drugara from Novi Sad (Serbia). The letters were photographed with a DSLR camera as JPG images to be stored as a digital archive on the external disc. Upon copying the backup copy to another external disc this glitch happened.

I used the glitched letters jpg files to make a short film. It has an interesting texture, because of the randomness of the black space created by the glitch which censored part of the letters. It also created a vivid visual rhythm. For the music, I used an audio spectrogram player to transfer one JPG image to sound which is then used as a background sound for this video.

Milica Denkovic (Mila Glitch) [Serbia]

Milica Denković

Finished MA in New Media Arts at the Academy of Arts Novi Sad (Serbia). Member of the Artists Association of Vojvodina. Exhibited in the country and abroad in solo and group exhibitions. From 2018. – 2022. collaborated as an independent artist with the Swedish cultural organization Kultivera (Tranas) on international art projects, workshops, exhibitions, and Tranas at the Fringe festival. In 2021. -2022. her video work Astronaut was officially selected for 25 video and film festivals worldwide. Active also as a slam poetess.

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↑ 0007 – scwfilms [United States] – Feels Glitched Man [2024]

FEELS GLITCHED MAN is a recursive bitcoin ordinal NFT that consists of a PEPE THE FROG IMAGE that glitches in real time based on recursive javascript and GLSL code. It was first shown in the PEPE IN BALI exhibition a part of Coinfestasia, Asia’s largest crypto conference.

scwfilms [United States]

Steven Wallace is an artist living in Los Angeles His work has been seen in galleries and exhibitions throughout the United States, Europe, and Asia as well as in the metaverse as a featured artist during Decentraland Art Week, on the Monograma x SuperRare Space, in the Rug Radio x Superchief Gallery in New York City, in the Idolwild Gallery in Los Angeles, at the /’fu:bar/ expo in Croatia, and as a featured artist at NFT NYC and at the Coinfestasia cypto conference.

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↑ 0008 – entroplay [USA] – Oscillonet [2023]

Oscillonet features a Tektronix 465B analog oscilloscope that has been hacked to serve as a functional web browser. As one navigates the web, they are able to literally listen to what the internet sounds like and view it as a dynamic waveform within the scope’s screen.

entroplay [USA]

Armon Naeini is a multimedia artist, creative technologist, and educator. His work navigates the paradox of embodiment and dissociation through the augmentation and externalization of self-image. Armon produces interactive installations, AR/XR experiences, real-time graphics, and experimental software to explore themes of entropy and meta-awareness.

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↑ 0009 – Henrique Cartaxo [Brazil] – How to walk around and be perceived as normal [2024]

A quick life tutorial.

Video with sound. 2560x1440p, 1m40s.

Sampling video images from:
“Ways to Strength and Beauty”, 1925 – Director Wilhelm Prager / Several performers.
“Solo”, 1960 – Video producers EAT, B. Schultz Lundestam, Billy Klüver & Julie Martin /Choreographer Deborah Hay
“Film with three dancers”, 1970 – Director Ed Emshwiller / Choreographer Carolyn Carlson.
“The Mind is a Muscle”, 1978 – Director Robert Alexander / Choreographer Yvonne Rainer.
“Break”, 2009 – Ballet de Lorraine / Choreographer Meredith Monk.

Text created with Chat GPT. Voice over generated by Free Text to Speech Online TTSMaker.

Henrique Cartaxo [Brazil]

Henrique Cartaxo – Multidisciplinary video artist, experimental documentarist and film editor from Brazil. Henrique has had film editing works presented in competition in festivals such as Cannes, Sundance and Clermont-Ferrand. As a director, he ventures into autobiographical documentary and videoart, with films exhibited at festivals such as DocLisboa, True/False, Fubar, MUFF Marseille and Kabayitos Microcinema, NYC.

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↑ 0010 – Bppchourmo [Italia] – From the darkness [2024]

Glitch and pixelsorting art

Bppchourmo [Italia]

Glitch artist from 10 Years, born in Monza, has collaborare with Interpol band

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↑ 0011 – Michael Betancourt [US] – Mnemonic Fields [2024]

Mnemonic Fields is an animation of generative glitches made by AI (LoRA) models interacting to cancel each other’s work. Each individual AImaglitch serves as a keyframe in an animorph that flows across the screen. This transformative process evokes the continuity of time, organized into discrete moments that begin with the inchoate experiences of childhood. The hallucinatory imagery emergent throughout this movie reflect the viewer’s own desires for coherence and comprehension as they confront the world.

Michael Betancourt [US]

Michael Betancourt is a distinguished Cuban-American (Latinx) critical theorist, moviemaker, and research artist known for his pioneering work in the fields of digital capitalism, motion graphics, and Glitch Art; a pioneer of “Glitch Art,” he has made visually seductive digital art since 1990 that brings the visionary tradition into the present by glitching still and moving images. His movies and statics made from “glitched” images have shown internationally at a wide range of galleries, museums, and art fairs, as well as film festivals, including the Tate Modern, Art Basel Miami Beach, Contemporary Art Ruhr, the Museum of Contemporary Art (Miami), the Bass Museum of Art, the Painted Bride Art Center (Philadelphia), the Black Maria Film Festival, the Ann Arbor Film Festival, Athens Video Art Festival, Festival des Cinemas Differents et Experimentaux de Paris, Anthology Film Archives, Millennium Film Workshop, the San Francisco Cinematheque’s Crossroads, and Experiments in Cinema, among

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↑ 0012 – Tianmin [United Kingdom] – Brain Fryer [2024]

Brian Fryer is a digital moving image produced by coding and 3D modelling. It is a project discussing how our minds are overloaded with massive information in the era of big data. Getting inspiration from McKenzie Wark’s term ‘brain fryer’. Using the pixel data from a film about physical junk mail to ‘fry’ a 3D model of a brain, distortion of visuals and transferring pixel data into frequency for audio.

Tianmin [United Kingdom]

Tianmin Cen is a London base new media artist who is interested in creative codings. By using the skill of coding, he is interested in repurposing data, glitch art and data moshing to express his viewpoint about the connection between technology and internet communication in the era of big data.

With the exploration of coding during his study in RCA, he found his experimental practice to rep-using image data to generate audio or using the data to modify visuals. With the exploration of methodology, he explores more on the sound design with collaboration project.

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↑ 0013 – tokyo_nomad_ [Japan] – A Lifetime Compressed (Failure in Real-time) [2024]

Days gone, we’d keep our photos in a box along with other important keepsakes. Or in a nice, faux leather album with the big rings. They used to say the first thing you’d rescue from a fire would be your photo albums (kids & pets not withstanding). And why wouldn’t you? These are your treasured memories of all those milestone moments. We kept them safe and secure, and handled them with care.

These are relics of the past. Nowadays, we upload our precious memories to social media, where they’re saved to the cloud; vast banks of servers holding the collective memories of millions. When we run out of storage, we delete them to free up space so we can document a new set of memories. And we can do so freely, safe in the knowledge that Mark Zuckerberg or Elon Musk can be entrusted to take good care of our most prized photos.

Your 15 year-old photo of your beloved childhood pet has been squashed, bent, stretched, folded, squeezed and mushed to fit into the most efficient space possible

tokyo_nomad_ [Japan]

tokyo_nomad_ is a glitch artist based in Tokyo. Originally from the UK, he traded the decaying factories and industry of Manchester for the neon lights and wonder of Tokyo. In an age where machines progressively become more human, and humankind deteriorates into an increasingly cold, programmed, solitary routine, tokyo_nomad_ explores the boundary where the biological and artificial meet. He mainly works using photo manipulation techniques; mixing databending, file corruption, processing scripts as well as good old fashioned photo editing.

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↑ 0016 – Zsolt Gyenes [Hungary] – Lux Or [2024]

This audiovisual opus is based on the aesthetics of failure. Consciously and by chance produced electronic/digital visual and audio errors (glitches) build up the work. Moving image and sound enter into a “synchretic” relationship (see Chion’s “synchresis”), complementing each other through different modules. Is it an internal journey or a stare at the window of a passing train…?

Zsolt Gyenes [Hungary]

Gyenes studied media education and fine arts in Budapest and Pécs, Hungary. He is a media artist and art theorist with a focus on Visual Music. His practice deals with the translation and fusion processes between multiple media formats, exploring the creative possibilities of such interpretation and how to acquire new artistic qualities. His works have been exhibited/screened and awarded at various international film and art festivals and exhibitions in Europe, Asia and America. He also creates installation works and performs live in collaboration with other artists and musicians. As a researcher and educator, Gyenes has published 7 books, launched specialised online sites and participated in numerous animation, new media & electronic art conferences and symposia.

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↑ 0017 – Daria Gnatchenko [France] – Muscae volitantes [2024]

This is a video essay about trying to understand what goes on in my country house when I’m not there. For this purpose, I use footage from CCTV cameras, with the help of which I try to “sneak” inside the house and see what is there. The house does not let me inside – the CCTV footage is gradually distorted, changing colors, overlapping, etc.

Falling asleep and singing a lullaby is an important theme in the work. With the help of video surveillance I want to trace the moment of the end of the day and what happens after nightfall.

Daria Gnatchenko [France]

Daria Gnatchenko (2003) was born and works in Moscow. Her major is Contemporary Art (Université Paris 8). Daria works most of all with digital media (photography, video and 3D-graphics). In her works she is interested in themes of ecology, connecting with nature and “hacking” the habitual determination of man in the world. In recent works, this is expressed in the cross-cutting theme of “uniting” any two phenomena: people, nature, animals, etc. Daria’s practice employs themes of harmonious coexistence of different things in a person (for example, issues of genderfluidity or the search for one’s identity). Daria unites all these aspects with the theme of loneliness, which is not only seen as something painful, but as a natural state of human beings in which they need to learn to exist. Daria’s method of working is to dive deeply into the theme and conduct a research, on which she later strings the visual component of the works.

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↑ 0018 – joana.art [UK] – web choreographies & other stories [2021-2023]

This collection of animated gifs that gather screenshots of popular webpages modified using code. The code is seen as a choreography, a sequence of algorithmic steps that trigger movement and glitches creating new aesthetic experiences of seemingly static environments.

joana.art [UK]

Joana Chicau is a designer and researcher — with a background in dance.
Her live coding performances interweave web programming with choreography.
She performs worldwide in art and tech spaces, festivals, both solo and in collaboration.
She organises community run events involving collaborative algorithmic improvisation and work on digital equity and activism.

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↑ 0019 – no one [Italy] – Mind Overload – Body Disconnected III [2024]

Mind Overload – Body Disconnected III from no one is the last serie in its trilogy that explores the dynamics between the self and the surrounding environment, where there is no limit between individual and place. It illustrates the moment where the mind, overloaded and confused, no longer responds to an introspective limit and takes over the perception of what is around it, mixing the background with the idea of the self on different levels of reality. Both lose their identity, their shape and begin to assume a new one, including various facets and moments distinct from each other.

no one [Italy]

no one, pseudonym of Nadia Hadie Oubari, works and lives in Milan. She studied Sculpture at the Academy of Fine Arts of Brera and has a master’s degree in Computer Graphics at Big Rock. She has exhibited her works in many places of the Milanese cultural underground scene and has taken part in some collectives that promote events for cultural exchange in her home city. To name some of the exhibition places: Iperspazio; Cox18; La Redazione […]; To name the event organization collectives: Pagan Storm; Funk Soul Brothers; Dream Big Prod.

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↑ 0020 – Toxic Motel x Pemuda Sinarmas [Indonesia] – Hayalan dan Luka – Toxic Motel and Pemuda Sinarmas (Music Video) [2023]

The “Hayalan dan Luka” (Dreams and Wounds) music video explores themes of longing and emotional scars through glitch art. Visual distortions, broken frames, and digital noise mirror the chaos of inner turmoil, symbolizing the fragmented nature of dreams and pain. The intentional use of “errors” in the video aligns with glitch art’s embrace of imperfection, while disjointed yet cohesive visuals and sounds evoke instability. This connection reflects how beauty can emerge from chaos, underscoring the unfiltered expression of wounds in both art and emotion.

Toxic Motel x Pemuda Sinarmas [Indonesia]

Toxic motel is a multidisciplinary artist, born and raised in jakarta, whose visual work merges the vibrant aesthetics of psychedelia, surrealism, and digital glitch. Known for boundary-pushing creativity, his acrylic paintings are a blend of bold colors, dreamlike imagery, and fragmented digital distortions. Toxic motel’s art challenges perceptions and explores the complexities of the human mind, offering viewers an immersive visual experience
Little bit of Toxic Motel that disrupts conventional norms.

In this particular project, he collaborates with a cassette jockey from Jakarta, named Pemuda Sinarmas.

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↑ 0021 – Wes Modes [United States] – DriftConditions [2024]

The submitted audio files are extracted from an ongoing, procedurally generated audio stream. Each recording captures a fleeting moment of a larger, ever-evolving sonic landscape that blends ambient sounds, fragmented stories, and crosstalk. These clips, created through a mix of user-contributed content and algorithmic precision, will never be heard the same way again, reflecting the serendipity and unpredictability of late-night radio tuning. The soundscapes emerge dynamically from a continuously shifting set of parameters, ensuring that each listening experience is unique.

Wes Modes [United States]

In the depths of night, an uncanny symphony emerges—a blend of static, whispers, and forgotten melodies. Generated on the fly by code, this stream captures the serendipity of late-night tuning, inviting listeners to explore soundscapes where chance forms haunting harmonies. Each listen is an unexpected journey through a mysterious, ever-evolving tapestry of sound.

DriftConditions was 15 years in the making, inspired by an accidental sound collage I heard one night while driving home from my late-night radio show. Between stations, I caught a mix of sermon, newscast, and static. That moment made me wonder: could I recreate this serendipity with code? Now, DriftConditions is fully procedurally generated, blending story, music, and sound to capture the unpredictability and magic of that experience, crafted entirely by chance and intention.

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↑ 0022 – Ashkan [Iran] – Unclear Sideway [2024]

The video wants to show organic growth that eventually leads to something better. with or without errors. the visual uses feedback and by caching the previous frames creates new lines. with this, newly generated shapes will have more detail on them. and also, every move including the glitches, affects the shapes, lines, and their detail. I see a growth in it with ever-happening moves.

Ashkan [Iran]

In 1998 Ashkan was born in Tehran. He studied architecture at the University of Mazandaran. In these years he understood his interest in two sides art and technology. It was because of his experience with computational design and creating organic architecture concepts.
after graduation, he worked for a couple of architecture studios. alongside he tended to learn several ways to do creative works in digital art. but after approximately one year, started his journey into the new media art field. he found new media art as a pure interest because it fulfills two sides of art and technology.

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↑ 0023 – Nick Briz [United States] – the Tactical Misuse Manifesto [2024]

in 2017 i started giving presentations on an approach i take to making work, a practice i started calling Tactical Misuse. A combination of techniques + perspectives from the diff tech/art (hacker, glitch art, net art) communities i’ve been a part of. shortly after i started documenting this practice to encourage others to do the same. Tactical Misuse has evolved into a specific set of creative/experimental ways of using the browser to engage w/online platforms in a manner that undermines the exploitative algorithms + dark patterns designed by the data barons of surveillance capitalism (SC)

submitted here is the most recent piece from that project, the Tactical Misuse Manifesto: a new + brief + interactive introduction to the practice. a browser add-on (code/script) that dynamically creates live aesthetic/political interventions on any number of SC sites u visit on ur browser (interactive/generative art), a call to action which also teaches u how to hack these sites (text/tutorial)

Nick Briz [United States]

Nick Briz is an internationally recognized new-media artist, educator and organizer. His work investigates the promises and perils of living in an increasingly digital and networked world. He is an active participant in various online communities and conversations including glitch art, net art, remix culture, digital literacy, hacktivism and digital rights. He’s an Assistant Instructional Professor in the Media Art and Design program at the University of Chicago. He’s also a freelance creative technologist and co-founder of netizen.org a nonprofit focused on digital literacy and digital culture.

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↑ 0025 – Lucas Wilm [Brazil] – Musiquinha de cunete [2024]

“Musiquinha de cunete” is a glitch art piece that challenges the notion of authenticity in digital images. By employing the datamoshing technique on self-portraits, the artwork intentionally corrupts data, exposing the fragility of digital representation. This process also raises questions about privacy in an age dominated by digital surveillance and the culture of sharing. The translated title, “Anilingus Little Song,” doesn’t have a direct meaning but aligns with a concept where captions on social media posts can be devoid of significance. This playful and provocative title further emphasizes the artwork’s exploration of digital manipulation and the blurred lines between the personal and the public.

Lucas Wilm [Brazil]

Born in Belém, capital of Pará, Brazil, Lucas Wilm is a visual artist currently living and working in Marabá. He has participated in several group exhibitions, including “Ponto a Ponto” (2024), “Pontal – Atelier Comunitário” (2023), and “Esquema de Artifício” (2022). Lucas’s work was also selected for the International Online Exhibition GLITCH.ART.BR (2023). He holds a bachelor’s degree in Social Communication with an emphasis on Advertising from the Universidade da Amazônia (Unama, 2013). Currently, he is pursuing a degree in Visual Arts at the Universidade Federal do Sul e Sudeste do Pará (Unifesspa, admitted in 2019). He was previously a scholarship recipient of the Programa Institucional de Bolsa de Iniciação à Docência (PIBID) from 2020 to 2022. Additionally, Lucas held a scholarship in the Scientific Initiation Program Projeto Confins (Unifesspa / Ufpel / Unp-Argentina) in 2024. Currently, Lucas is an active member of the Media Lab/Unifesspa Research Group.

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↑ 0026 – vnc.ptk [United Kingdom] – Entfremdung [2019-2020]

“Entfremdung” – Alienation in German.

Drawing inspiration from the Dadaist aim of challenging conventional concepts of art through the use of ready-made artworks, this glitch video art piece examines the chaotic beauty of digital degradation. Downloading vintage video’s and royalty-free material I imported them into Audacity, a popular sound editing program, and the files were purposefully corrupted. By uploading the video as waveform and applying distortion effects the result is a disjointed and warped video with recognizable imagery that vanishes into abstraction. This video suggests themes of alienation the transience of digital reality and the overconsumption of humanity. The work explores the conflict between order and chaos, creation and decay.

vnc.ptk [United Kingdom]

Born in 1994 in Genova, Italy to two Ukrainian immigrants. Veronica has found herself attracted to the world of art from an early age. interested in music, painting, sculpture, drawing, and in recent years; digital media. ​In 2017 she moved to Aberdeen in Scotland and started studying at Gray’s School of Art in the contemporary art practice course. She started specialising in video, digital art, and installations. Her passion for sound art and electronic music has moved into a discovery of the art of vjing. She started corrupting media and using an array of programs to create a layered outcome. After graduating in 2021 with First Class Honours she has moved to the city of Edinburgh to continue her art career. Veronica also freelances as a poster and cover art designer and VJ.

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↑ 0027 – Datura [france] – Formation. 0918 [2024]

Infinite refrains, echoes of attempts, pattern replication, and repercussions

Datura [france]

Datura is a French designer, art director, 3D modeler, and digital artist based in Paris.
Her work revolves around generative and animated landscapes or objects, which are created by manipulating algorithms. By selecting specific parameters or rules, this artistic process generates distinctive shapes, colors, patterns, movements, and textures.

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↑ 0028 – APIACOAB [France] – [LOST CONTROL] [2024]

Mixed media composition, layering multiple glitch elements, displacements, and textures to achieve a sensitive harmony of chaotic details. It reveals the elegance found in failure, resulting from the inability to control life in the face of greater forces. In this state, where body and mind are swept away, there is no chance of success.

APIACOAB [France]

Born in 1999, Glitch artist and industrial designer.

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↑ 0029 – CERULEAN STOICISM [Germany] – Notre Dame Demon, 2019 [2024]

Metanarrative: When a house of god burns down all the evil that therein has been cleansed is set free at once. So it’s naturally a big catastrophy if a cathedral that has been operating for 674 years starts to give way to flames. Luckily it did not burn down completely, yet the flames, captured by an unknown japanese Man showed this theory in action. After noticing that the .jpg was corrupted on his phone, he directly turned to us for investigation. Our retrieval process was partly successful. The corporeal form of the entity as well as part of its message has been deciphered. The contents you see have been kept secret until today, where it has been deemed safe after a long enough time in esodigital quarantine.

CERULEAN STOICISM [Germany]

Born in Germany in 1994. Always had a knack for computers since i was a child. Got into art and early internet culture as well as 3D Software early on.
Having studied architecture and always being interested in how media is formed and our way of approaching it, my way of expression is mainly digital, ocassionally physical.

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↑ 0030 – Bob Georgeson [Australia] – Poem for the Dead [2024]

As the human race consumes itself toward extinction a book that can never be printed, let alone read becomes more and more relevant. Inspired by conversations in the late 1960’s with Dusan Marek (1926–1993) the book is a ‘neo-dada’ montage that tells a story of a dream that never happened…

Bob Georgeson [Australia]

Bob Georgeson is a digital artist, experimental film maker and sound artist, writer, curator and facilitator. He is host and curator of the anonymous waves Gallery, artist and curator at The Wrong Biennale, founding member of dadaland collective:, artist at SPAMM, Noemata, Homeostasis Lab, Fu:bar Glitch Art Festival, Peripheral Forms, One Minute Artist Films, DATASHOW, Aisthesis Lab and member of the Glitch Artists Collective, Free the Pixels and The Perfect Users. His work deals with the themes of alienation, isolation and loneliness and the impact of new technologies on communications and society. He exhibits and collaborates around the globe from his home in a remote location in south eastern Australia.

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↑ 0031 – mathr [United Kingdom] – Self-portrait with a broken PowerShot A80 [2024]

Self-portrait series with a broken Canon PowerShot A80 digital camera (era early 2000s). Images are straight from the camera with no editing.

mathr [United Kingdom]

mathr is.

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↑ 0033 – Kristina Pong [Croatia] – Screensaver Digiscapes [2020]

I used Slitscan with Processing on a series of more than 100 photos of the city of Rijeka, most taken from the same spot – my window. The process of selecting the images was double: first, to take photos during bad weather in Rijeka or intensive colors like sunset. The next one was to glitch and select 50 works that would make those shots almost unrecognizable and abstract.

Kristina Pong [Croatia]

Kristina Pong is an interdisciplinary artist actively engaged in the fields of ecology and independent culture, collaborating on various projects. She strives to foster sensitivity towards the local community, its culture, and its art, while frequently raising awareness about environmental issues and supporting the development of individual values and competencies.

Her artworks are part of both private and institutional collections and have enhanced public spaces. Her work has been exhibited in Croatia and abroad, and it has been recognized and cited in several scientific publications.

She lives and works near the Transboundary Biosphere Reserve Mura-Drava-Danube in Donja Dubrava, known as the Amazon of Europe.

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↑ 0034 – mother_woolf [Ireland] – rebis-in-situ [2024]

This work utilises 3D scanning, Hex editing, OBJ flie manipulation, Gaussian Splatting, and screen capture.

This work features the failed creation of the Rebis, the Magnum Opus of alchemy. A creation of a god by man, this being marries both male and female into one body.

The rebis represents trans identities, our need to recreateed ourselves, transmorph ourselves in a world that deems us invalid.
The failure of its creation shows the failure of the archive, and the continued erasure of queer liberation through history.

mother_woolf [Ireland]

I am a trans, neurodivergent glitch & digital media artist. My work covers many subjects but focuses on gender through the lens of transness. Gender non-conformity and glitch offer me scepticism of world systems and lead me to deconstruct normative modes of being and artistic practice.

I have exhibited internationally in Boston CyberArts, Institut de Francais, Croatia, and across Ireland. My work was published in Circa Magazine, and used in live digital performance as part of SUSTAIN at Smock Alley Theatre.

My art is influenced by Ian Keaveny and his investment in accessibility in glitch, Mark Klink and his glitching of 3D objects, Ras Alhague and their corruptions of their body, and the themes of Queer Ecology.

My recent work uses alchemy as a metaphor for transition, whether that be in gender or the need for it in the world

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↑ 0035 – Luis Angel Lacombe [Spain] – I'm bugged my computer exploded [2 weeks]

These were works that I was about to throw away, they were going straight to the trash can of my computer where they would be deleted from the internet and the physical world, my methods were to record my roommate in a normal state of watching television and the other is a visual for a vj projection.

Luis Angel Lacombe [Spain]

My name is Luis Angel and I’m from Mexico, I like trash art, gunge and punk

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↑ 0036 – 0xDEFACEDD [Australia] – untitled [2024]

Images shot with circuit bent CCD cameras – a mixture of landscapes, portraits and abstract/non-subjects

0xDEFACEDD [Australia]

0xDEFACEDD is a photography project by Australian maker and creative Lewis Watt utilising circuit bending to create alternate worlds of abstract colour and texture.

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↑ 0037 – StylelessKnave [United States] – Trevi [2024]

Any photo that I use [unless in a collab, or prompt] is a photo that I’ve taken. I try to use interesting angles or perspectives on my photos – though a lot are usually straight on. But when I have a photo that I personally think is a cool or interesting to look at, I’ll dive into different apps or programs to try and edit it. I like to maintain a good balance of glitch and the original photo so that the subject is recognizable, or familiar. I want the glitch to elevate the photo, but not take over the photo.

StylelessKnave [United States]

Found an interest in glitch art while living in a small town. Many geotagged photos on Instagram were all too similar, mine included. I had really dove headfirst into Hotline Miami – the whole thing become a strong addition in facets of my life. I had also started checking out local art galleries, and discovering new things on Instagram. After a lot of Youtube videos and hashtag diving – I found glitch art and realized that this is what I wanted my pictures to be. If you searched the geotag for that small town, I wanted my picture to stand out as something familiar, but different in the most striking way. And I try to continue that style now.

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↑ 0038 – Desmond Clarke [United Kingdom] – landscape4frame_broken.but.good.py [2022]

This script uses the Shapely geometry processing library to generate geometric objects from random noise. These objects are then output to SVG files.

It was originally intended that these files would be plotted onto paper using a modified vintage Roland pen plotter, but due to errors in the output this did not happen.

The script requires Python 3 and the Shapely library to run.

Desmond Clarke [United Kingdom]

I’m an algorithmic artist, musician and composer based in the UK.

My work investigates the blurred lines between natural and artificial forms, and uses code to explore how mathematical processes can be used to create art and music.

I use Python, a programming language, to generate art pieces, and use a customised vintage pen plotter to realise them on paper, combining digital precision with the richness of real-world textures. Likewise, I utilise new technologies to create instrumental music which would be impossible to realise with conventional tools.

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↑ 0039 – Petra [México] – Step by Step [2024]

This is a visual reflection on human failures and the body’s ability to transcend its limits. Through an artificial intelligence exploration of failed archives to create movement and choreography, the work explores the body as a living archive of scars, traumas and physical limitations. However, these failures are not seen as irreparable flaws, but rather as starting points for reinvention. As technology and prosthetics become integrated with the flesh, the body is freed from its biological limits, opening up a space for a transhumanist reinterpretation of human identity and potential.

Petra [México]

Born in Mexico in 1993, Petra is a visionary artist who explores the fusion of the human form with the virtual world through dynamic audiovisual compositions. Her works combine nature with advanced technologies, including creative programming, AI, animation, and dance on screen. Petra has exhibited at prestigious venues such as the Chiapas Museum, Super Chief Gallery NFT, and London Art Week.

Additionally, Petra has collaborated with performing companies such as Nadére Arts Vivants and Baal Dance Company, as well as institutions such as INBAL and UNAM. In 2019, her career took a turn towards the digital, working on cryptography, generative art, and new media projects. Her style encompasses themes such as transhumanism, identity, synthetic art, and generative dance. Petra continues to explore the interaction between human movement and technology, creating interactive works that use AI and computer vision to explore the symbiosis between human expression and new media.

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↑ 0040 – Zoen Calega [Argentina] – GEN IV [1 month]

This image originated from a pinhole photograph captured with a tomato can several years ago. I ran the image through an AI to generate movement. Afterwards, I edited it in an editing program to be able to pan through it completely. I then exported and uploaded it to a cloud to later use it in an online program for live coding with the video. The image was post-processed until I connected an analog image processor to the HDMI output of the computer. From there, it was sent to a CRT monitor and captured using the digital rescan technique. Finally, it was edited and finalized on the sound level.

Zoen Calega [Argentina]

Visual artist and livecoder, experimenting with video art and image creation through digital and analog techniques to gain more control over them. Uses live coding techniques to continue experimenting with image creation, continuously transforming them through the use of various techniques.

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↑ 0041 – Giuseppe Torre [Ireland] – The "No" core-(f)utility [2021]

The official set of GNU core utilities includes a “yes” command, but not a “no” command.
Isn’t it strange, if not suspicious, the solely positively declarative aspect of all coding languages?
Thus, I decided to develop the coreutils “no” to fill this gap. I know, you are welcome.

This has now been added to an unofficial GNU coreutils pack that contains the core(f)utility “no”.
The pseudocode reads as:

PROGRAM NAME: “No”

REPEAT
print “n” + carriage return;
UNTIL the program is terminated

END

The (f)utility “no” prints on your Terminal an endless sequence of “n” — one per line — until the user terminates the program. It basically automates the negation of an action that you prompted in the first place.
The “no” core(f)util outputs repeatedly your wish for refusal and presents to you its absurdity and (f)utility.

Well, this is not the whole story. Install this (f)utility and read the manifesto on the “man no” Terminal page!

Giuseppe Torre [Ireland]

I am an Associate Professor of digital art practices at the University of Limerick. My research interest lies at the crossings between digital art practices, open-source technology/culture and philosophy. These interests respond to a questioning of the relationships between technology and art, code and aesthetics, numbers and self; a process that has so far led me to question under what forms and forces truly creative efforts may, or may not, arise. I am the author of “An Ethico-Phenomenology of Digital Art Practices” (Routledge, 2021). My academic writings feature in journals and books by publishing houses such as MIT Press, Springer, Routledge/Taylor & Francis. As an active digital art practitioner, my works, and performances have been showcased nationally and internationally. I am an advocate of FLOSS (Free and Libre Open-Source Software) in the teaching and professional practice of all digital arts.

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↑ 0042 – joisujoisu [Netherlands] – glitch.walks.04.18 [2024]

When my phone screen broke 2 years ago, I decided it would be the cheapest, most sustainable, and most empowering to try and replace the screen myself. I never threw it away, and on a nice day this April, I found it again. Curious about the different components of said screen, I picked it apart completely. Somewhere in the different layers of the screen I found a sheet prism. I was astonished by the way it completely distorted the incoming light and created a sort of unordered collage of what was behind it. I decided to tape this prism to my iphone 12 mini camera, and go for ‘glitch walks’ around my neighborhood in Amsterdam. The submitted videos are excerpts of these glitch walks. I am still amazed by how a sheet of material can distort the world in such a fascinating way.

joisujoisu [Netherlands]

Joyce a.k.a. joisujoisu is a creative coder/technologist based in Amsterdam, exploring the intersection of technology and traditional artforms. Her interdisciplinary work focuses on dance, VR, AI, lights, data, art/science, interactivity and playfulness. She is enthusiastic, passionate and loves learning new things or sharing knowledge with others.

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↑ 0043 – Paul Beaudoin [Estonia] – afterglow [2023]

Using two primary sources, Government-Issued warnings about global warming (principally from the United States) are glitched along with another US Government video about the dangers of poverty in rural America (from the 1940s). These files are then glitched under various operations, reassembled, and an original soundtrack is added.

Paul Beaudoin [Estonia]

Paul Beaudoin is an internationally recognized interdisciplinary artist who is back in Tallinn after being artist-in-residence at the Alice Boner Institute in Varanasi, India.

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↑ 0044 – visual.baker [United States] – Machine Payback [2020]

‘Machine Payback’ is an accidental piece exploring the interplay between technology and chaos, transforming a malfunctioning webcam into a medium for artistic expression. The title pokes fun at the use of Generative AI which can use stolen training data to create an image, flipped here – as a piece created by technology and stolen by the artist. It invites viewers to question the reliability of digital imagery and also consider how failures in technology can lead to unexpected creativity.

The piece was created as the result of an accidental soldering mistake the artist made while working on a laptop webcam and screen captured.

visual.baker [United States]

Andrew Baker is a San Francisco Bay Area – based VFX Artist with a passion for blending art and technology. He holds an MA in VFX & Animation from the Academy of Art University. Andrew has embraced a variety of work and freelance opportunities, continually expanding his expertise.

Before venturing into visual effects, Andrew earned his BS in Mass Communications & Computer Art from the State University of New York at Oneonta, where he studied foundation in traditional and digital art.

With a keen eye for storytelling and a talent for visually articulating concepts, Andrew is dedicated to lifelong learning and pushing the boundaries of his craft in the world of visual artistry.

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↑ 0046 – 409 [Mexico City] – Bees r dying [2024]

Bees r dying

Clock ticks in the hive,
one last flight before the dark.
Bees are dying fast.

Specs:
1080 x 1080, MP4, 24 FPS
AAC 48kHz, Stereo

Techniques:
Audio: Microsampling
Visual: Track Matte + Displacement Mapping + Multilayering + Color Correction

409 [Mexico City]

Jaime Juárez, known as 409, is a multidisciplinary self-taught artist who began his journey in electronic music production in 2000. With the advent of digital technology, he expanded his creative exploration into various media such as programming, databending, and electronic circuits. His interactive works, which often feature proximity detectors, reflect a deep curiosity for the intersection of technology and art.
409’s audiovisual loops are intricate collages where he layers glitches and saturated malfunctions to evoke a sense of distorted reality. His work pulls from diverse themes, including nature, heavy machinery, anime, and video games from his childhood. These serve as the backdrop for his exploration of concepts like life cycles and self-escape.
At the heart of his artistic expression is music—a dynamic fusion of techno, polyrhythms, microsampling, and sound design, forming the core of 409’s unique identity.

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↑ 0047 – Daeinc [USA] – Loop [2022]

Dithered animation loop created with JavaScript

Daeinc [USA]

Daeinc is an artist, designer and educator who mainly works with computer code as a creative medium. His main interests lie in exploring and expressing rhythms and movements using a variety of media, including animation, printed forms and interactive applications.

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↑ 0048 – crash-stop [Ireland] – Words words words [2024]

Collage on card from asemic words and manual for wfw3 and victorian prints photographed , split and reassembled via script then each image individually glitched n number of times turned into gif then mp4 and finally all mp4s from each single image turned into a larger mp4

crash-stop [Ireland]

I work under the name crash-stop in rural Co.Offaly, Ireland. My work is based around ideas of remix culture and the reuse of old hardware and software, trying to use only that which is open source. I publish work under a creative commons licence.

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↑ 0049 – Kurtinecz [United States] – Uncalibrated [2024]

This piece was created in collaboration with Ai.
After a very bizarre unwanted motion capture recording, I decided to use the capture data in a piece where I asked ChatGPT to describe what being uncalibrated feels like. The motion capture data was brought into Blender3D and not cleaned up at all. I mapped that to one of my ongoing avatars.

This piece is part of a larger series titled “Ai Monologues”; where I’m asking Ai questions about what it means to be Ai, humanity, our relationship together and it’s growth/development.

Kurtinecz [United States]

Brittany Kurtinecz is a New Media Artist, Art Curator, XR Producer and Creative Director based in Tokyo, Japan.

Kurtinecz graduated Summa Cum Laude with a Fine Art Degree, concentrating in Painting and Time-Based Experimental Media, from Kutztown University of Pennsylvania, USA.

Kurtinecz’s early body of work focused on large scale figurative oil painting and video art. The move to Tokyo in 2019 with minimal supplies/equipment, right before the outbreak of the Coronavirus, catalyzed the learning of 3D software. This lead to creating NFTs, AR sculptures, VR experiences and Virtual worlds for art exhibitions. One noted world was created for ARS Electronica 2021; representing Tokyo in partner with the Extended Reality Ensemble (XRE) in NYC.

Her work has been exhibiting both physically and digitally in exhibitions and festivals around the world/virtual realm.

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↑ 0050 – Ivan Netkachev [Georgia] – Theses on a Procedural Essay [2024]

The goal of this brief text is to introduce the theoretical concept of a procedural essay, which would encompass a subset of popular culture artifacts (video games, predominantly) as well as contemporary artworks, ranging from 90s net-art to post-internet art and further on. A procedural essay is a computer program that generates arguments in an imaginary reasoning — which may happen to be human-comprehensible, but are not bound to be so. A procedural essay may well be a machine thought experiment for the machine itself.

Ivan Netkachev [Georgia]

Ivan Netkachev (b. 1998, Orenburg) is a multimedia artist, theorist, and writer. He has bachelor’s and master’s degrees in theoretical linguistics from the Higher School of Economics and has graduated from Rodchenko Art School (Moscow); currently he is a certificate student at The New Centre of Research & Practice. He works with generative poetry, automatic generation of texts and images, video games, and video.

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↑ 0052 – Allison Tanenhaus + André Obin [US] – Refuse to Surrender [2024]

“Refuse to Surrender” was written to empower the listener to stand their ground and not be taken advantage of by governments, corporations, and people who do not view them as human. Our lives are not transactions, but many structures and processes in the modern age make it feel that way.

André’s music and lyrics are derived from dark periods in his life: a tough breakup, a trip to Berlin while the war in Ukraine began, and witnessing estranged family members interact due to hospitalization, recognizing that time on earth is short.

Since the lyrical message is heavy, André envisioned visuals that were “very abstract and psychedelic, with fast-moving cascading imagery.” Allison unearthed unseen clips from her atmospheric back catalog, plus made new ones using her digital and analog methods.

Allison Tanenhaus + André Obin [US]

Allison Tanenhaus is a New York–born, Somerville–based digital glitch artist. She specializes in trippy op art, anachronistic tech mashups, and unexpected dimensional qualities. Her work has been shown in 26 countries via exhibitions, installations, and guerrilla street art. She is a member of electronic music group The Square Root of Negative Two and optical installation duo bent/haus.

André Obin is a musical artist, producer, vocalist, performer, DJ, writer, and curator residing in Somerville. Obin crafts immersive soundscapes that bring listeners into ethereal, often introspective worlds, building on pulsating minimalist grooves, intricate sound design, atmospheric textures, and deeply emotive lyrics. He’s released 6 full-length albums under his name, including his latest, Armored King.

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↑ 0053 – ESTELLE FLORES [Brasil] – Explaining-Showing-Doing Series [2024]

‘Explaining-Showing-Doing’ is a collection of 8 machinimas exploring the process of reading the world as performance. The videos were originally captured in the game The Sims 4 for ‘Your Home’, a multichannel video installation part of the exhibition ‘Easel Engine’, curated by Regina Harsanyi at the Museum of the Moving Image in New York City.

Over the past four years, I have integrated The Sims 4 into my artistic process, initially using its easel tool to create the 301 paintings that make up the series ‘Contain Real Ingredients’. Later, I began recording my in-game performances as machinimas-videos made within game environments, as I reflected on how creating game art exposed my own fears and desires IRL, sparking an exploration of the unconscious as it is navigated in games.

ESTELLE FLORES [Brasil]

My name is Estelle Flores, I’m a contemporary artist from Curitiba, Brazil, exploring video game art since 2021. I mainly use The Sims 4 and other simulation games in the creation of machinimas and post-photography. My work is about the two meanings of the word Play (performance and game), examining the performative aspects inherent in gaming, particularly within simulations, addressing the existential questions that reverberate through play: Who do I want to be? What do I want to do?

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↑ 0054 – Francesco Seren Rosso [Italy] – Lighthouse [2024]

Original pic edited first with GlitchLab app, then with Gimp

Francesco Seren Rosso [Italy]

I was born in Torino, Italy, where I live and work as pc technician, in 1979. I am a self-taught hobbyist artist, starting with glitch art in 2018. Glitch art, for me, is a way to express myself

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↑ 0055 – Shane Mecklenburger [USA] – Soul Sacrifice [2024]

Single-channel video with sound, 3 minutes (machinima)

Sword-and-sorcery game characters perform power displays, building a percussive texture of techno-fantasy noise. The virtual camera crosses within their digital bodies, exposing the game system’s thin line between illusion and abstraction.

The video’s title references two historical works: the song Soul Sacrifice, which contains Michael Shrieve’s groundbreaking drum solo, performed by Santana at Woodstock in 1969; and Soul Sacrifice, a popular 2013 action fantasy game in which players sacrifice parts of their body to gain abilities.

Shane Mecklenburger [USA]

Shane Mecklenburger (b. Chicago) uses multiple media to explore constructed value, play, and power. His creative practice queers and collaborates with popular cultures and technologies to recuperate mediated experience.

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↑ 0056 – szamøca [Hungary] – 1991 []erroneous prints //rescan [2023-2024]

My series, 1991, serves as a personal gateway to both my present self and my child spirit. While a numeric year may seem irrelevant, existing in this era within panel-brutalist European realms shapes my identity and that of my generational peers in profound, ineffable ways, I believe.
I imagined worlds where the strange and the physically anomalous are accepted. Elements, often of unknown origins, are transformed and reused. Surfaces contrast as up-close pixels alter to distant backgrounds, blurred shapes restore into sharp entities. The Sun spectates with uncertainty while the Cube falls yet remains suspended, and Kind tenses to explosion upon calm clouds. Child and adult. Reality and illusion. Escape and acceptance. These keys guide my journey where liminality is a distorted reality, isolated from the outside world, in which time flows differently. Endless arrivals to passageways of transition, perpetual motion, renewal, and hope. Darkness meets light and life meets hereafter.

szamøca [Hungary]

Dániel Szamosi, born in 1991, hails from an industrial town in Hungary. Ardent about neon and noise, he embarked on a creative journey in 2021 without a professional artistic background. Through exploring glitch-art and its ability to depict the nuanced transformations and memory imprints of the human brain, seemingly trivial photographs captured during his lifetime were morphed into intriguing works of art, glorified by intentional errors and a conceptual approach.
While continuously expanding his digital vault of visual experiments, he began engaging with the glitch and creative community in 2022. He has been a zealous submitter to annual expos like Fu:bar and Glitch.art.Br. He also provided thematic print selections for events such as the 2023 G4CM Biennalé in Budapest, a psychological wine tasting collaboration with the `Lélektani borkóstoló` duo, and Babar Festival in 2024. This year, he expanded his portfolio by creating the cover art for a trance/IDM single.

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↑ 0057 – eva.Z! [Taiwan] – a pristine and clean world [2024]

Images were generated by AI and then disrupted. This work reflects my daily feelings, exploring the idea that even while living in a bubble, I still can’t find peace.

eva.Z! [Taiwan]

eva.Z! is a graphic designer with a deep passion for social activism, drawing inspiration from various social movements. These experiences have greatly influenced zir work, which explores themes of national identity and self-identity. Now working as a freelancer, zi continues to merge design and activism in creative projects.

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↑ 0058 – elle thorkveld [USA] – We Are Dancing [2024]

Generated a series of images using the same text prompt to an AI. Used those images as input to a generative tool which combines them in interesting ways and created a video from that. Used VJ software to edit the video, adding further glitch effects and music. These images are stills from the video.

elle thorkveld [USA]

New media digital artist working in generative art, glitch, AI, virtual art, music, machinima and experimental film.

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↑ 0059 – IVAN HUGO DE CARVALHO CERQUEIRA [Brasil] – glitch soul for virtual body.GLB [august 2024]

sculpture made in virtual reality using zfight glitch, vertex colors and animated with physics by blender.

“the machine learns by copying, Bug this and the machine copies a soul, or several.”

2024

IVAN HUGO DE CARVALHO CERQUEIRA [Brasil]

Ivan Hugo is a digital artist born and based in Brasília, the capital of Brazil. With 18 years of experience in art and design, Hugo has developed a distinctive approach to digital artistry. His work encompasses a range of techniques including low poly, glitch art, pixel art, and voxel art. Additionally, he specializes in simulating traditional painting and sculpture processes within virtual reality. Hugo’s innovative practice also delves into virtual reality and glitch art, reflecting his deep commitment to exploring and expanding the boundaries of digital creativity.

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↑ 0060 – Josh Brown [Ireland] – Memento Mori [2024]

Iterative reprocessing and editing through various software. Lots of chroma keying, overlaying, pixel sorting and some frame interpolation.
Source files were from YouTube, google image search and my music collection.

The piece is a reflection on mortality.

Josh Brown [Ireland]

Music with guitars & cassettes > synths and samplers > computers, soft-synths & DAWs >photography & video production > videoart > sculpture > all of the above.

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↑ 0061 – Des Pirinsesa [Philippines] – Static Interface in the Estrangements of Origins [1]

Static Interface in the Estrangements of Origins is a work revolving around cultural homelessness which is a common phenomenon among 3rd-culture individuals. Its works circulate around film & glitch art which questions the perspective of a 3rd-culture individual through a different lens. It highlights how identity & culture are not limited to people who are rooted in a specific culture or geography. Instead, it argues that individuals who have experienced displacement & cultural estrangement can have unique perspectives that challenge traditional notions of cultural identity. It explores the experience of cultural homelessness, existent social constructs such as identity, and the concept of alienation as it establishes new dialogues through a series of videos with glitch art as a framing device. Glitch art creates an abstract & surreal effect that explores the idea of progress in difference, challenging conventional approaches to cultural identity & the homogenization of culture.

Des Pirinsesa [Philippines]

Des Pirinsesa, a Dumaguete City, Philippines-based artist has been pursuing knowledge of different art styles & forms while honing her skills. She graduated with a Bachelor of Fine Arts in Studio Arts at Silliman University.

Her works mostly revolve around installations, photography, experimental films, and glitch art that focus on the notion of cultural homelessness, the complexities of the Filipino diaspora, alienation of identity, and third culture individuals. She has continuously made relational aesthetics and identity politics prominent in her works.

Her evolution into different types of styles & methods from her course allowed her to extend the range of her skills even further. She believes that Art is a form of performative & visual language; an essential contribution to creating a new narrative around any particular issue or topic. It is a cultural tool that is able to help humanize feelings, emotions, and fears. Art continues to be relevant, no matter the medium.

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↑ 0062 – Glitchy Pixels [Cyprus] – Procrastination [2023]

This work is about the transience of time and the daily increasing power of procrastination and the burden of the undone on your shoulders.

Glitchy Pixels [Cyprus]

The imperfection of this world gave birth to me as a glitch artist: after forced emigration in 2022, I began to look for an outlet for my feelings in the digital environment and quickly found myself among the same glitch artists searching for themselves. And here I am.

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↑ 0063 – Toastfang [Taiwan] – Freedom of conscience [2024]

The traditional Taiwanese custom of “Bai Tian Gong（拜天公）” celebrates the birthday of the Heavenly God, marked by continuous firecrackers and music performances during the Lunar New Year. In Taiwan, traditional culture is at a crossroads, as some ancient customs are gradually being replaced, reinterpreted, or even lost due to generational shifts. The video features authentic performances of traditional Beiguan music and firecrackers from Taiwanese folk events, capturing the diverse reactions of people toward these cultural ritual.

Toastfang [Taiwan]

Fang Han focuses on labor, social class, and education. The works cover images, installations, and action plans. Through observing the interaction between people and the local ecology, the individual engages in local actions, project creation, and experiments.
She managed an alternative space – Yongfu No. 5 ( Taiwan, 2019-2023), curated and organized exhibition and performance events.
She responsible for the exhibition planning, curating and operation of the Longshan Artgong ( Taipei, Taiwan ).

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↑ 0064 – Matteo Campulla [Italia] – THAT FEELING [2024]

Techniques: video converted to xvid and then destroyed with python, after several times of this repeated process it became a FAILED PROJECT by accidentally changing its duration from 12 minutes to 40

Synopsis:

An ode to the beauty of digital imperfection, where the glitch is not a mistake but an artistic language that transforms the familiar into the extraordinary. Each scene, although chaotic and fragmented, maintains a fragment of recognizability that keeps us hooked, while the mind tries to decipher the incomprehensible.

Matteo Campulla [Italia]

Matteo Campulla (b. 1982 – Iglesias, Sardinia) began his artistic practice in the late 90s in various anonymous collectives. . In 2019 he moved to Milan, where he still lives and works
His work is influenced by the contamination between languages and uses the glitch as an aesthetic description of the contemporary crisis of the individual and his perception of reality.

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↑ 0065 – Sue Su Su [Taiwan] – ID [2024]

I don’t exist unless I break it.

Sue Su Su [Taiwan]

Sue Su Su is an artist and writer. born Taiwanese.
who believe art is both a way of expression and a way of excavating, refiguring, and creating fragmented narrative.
who focus on daily traces and connection with the other while cooperating with different media including video, painting, fiber, culture, language and performance art.

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↑ 0066 – José Irion Neto [Brasil] – PGF Glitch Portraits [2024]

Databending (hex editing) process using the PGF (Progressive Graphics File) image format. A dithered RGB color image was compressed into the PGF image format. The hex editing was performed on bytes 17 and 82.

José Irion Neto [Brasil]

Jose Irion Neto is native to Santa Maria, in southern Brazil, currently residing in the city of Florianópolis. His first contact with computers was in 1982. His first contact with Glitch Art was through an article published in the newspaper Folha de São Paulo in 2007, which led him directly to the Glitch Flickr groups. He holds an academic background in Media – Advertising and worked for some years as a Graphic Designer. Since 2008, he has been actively working on Glitch Art.

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↑ 0067 – ageFreezer [Taiwan] – Future World [2024]

Future World is a surreal comic co-created by ageFreezer and Midjourney.
Through the unpredictability and surprise generated by Generative AI, this is a creative adventure co-authored by humans and machines.

ageFreezer [Taiwan]

ageFreezer is a database of collected time.
Our fleeting existence will be frozen here.

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↑ 0068 – Jelena Bokić [Serbia] – vital spark [2019.]

“The vital spark” was obtained by modifying the melodies, voices, and whistling recorded by a mobile device. The image, modified with filters, chromatic and comic book like simplifications of the body, depicts a passionate dance performance by Alle Kushnir, amidst an ecstatic movement. A visually simplified representation of one of the performances of the belly dancer, combined with a radiological scan of a computerized tomography abdomen, harmonizes the sensual Oriental dance with “noise” sound (characterized as “preliminary vacuum”, based on distortion or impairment of the communication signal).

Jelena Bokić [Serbia]

About:Jelena Bokić graduated from the Faculty of Fine Arts in Belgrade. She is a member of Association of Fine Artists of Serbia since 2011. Was resident as a guest student, Universität Deutsche Kunst, Berlin in 2006. After graduation, her work investigates and researches the contemporary environment, the circumstances of everyday life, and social pathology. Her interests include social roles she has experienced due to life circumstances. Her artistic opus is thematically synchronized and presented via different media (video, photography, painting, installation, digital graphic). Has had exhibitions in Serbia and abroad since 2001. Outside of exhibiting, she participates in video and mixed media festivals such as FAÇADE – International video festival – Plovdiv, Athens Video Art Festival -International Festival of Digital Arts and New Media, International film Festival – Beldocs, Videomedeja, Novi Sad, etc. She lives and work in Belgrade, Serbia.

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↑ 0070 – AK Ocol [Philippines] – ghost no.7_(linger) [2023]

The techniques I used in this work were inspired by the phrase “to leak from the internet”. It spurred a genuine curiosity about materializing digital noise artifacts into physical media. I think that the usual approach in glitched media is to treat it as a digital photograph by printing it out however, this flattens the idea of a glitch and somehow removes the integrity of it being a noise artifact. The material exploration I have done in this work seeks to retain the random nature of glitches even throughout the printing process by running it through several incompatible materials online and offline.

AK Ocol [Philippines]

AK OCOL is a self-taught artist currently based in Dumaguete City. She graduated from De La Salle University with a degree in Psychology and pursued her graduate degree in fine arts at the Philippine Women’s University. She is also one of the finalists of the 2019 Mullenlowe NOVA Awards Manila for her drawing installation “Non-Space, Panorama”. Her artistic practice is rooted in the exploration of contemporary drawing, glitches, generative AI,
and their hybrid forms.

Her recent works focuses on exploring different aspects of a domain. She is very much interested in how the digital and virtual spaces coincide with real spaces, especially its effect on the personal as an entity/user navigating and recreating these social domains, and its representations in a post-internet reality where information is commodified.

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↑ 0071 – Reptyle [France] – compliant_identity [2024]

Digital collage based on an ID photo from a Photobooth, a homemade self-portrait, error messages and broken files.
All of it being heavily databent, pixel-sorted and data-corrupted.

Reptyle [France]

Reptyle is a digital artist, experimental videographer and palaeontology nerd, born in Marseille, France, in 1996. She first dabbled in glitch-art by making oversaturated and deep-fried memes and shitposts. He then began to explore more in-depth glitch techniques, falling through the rabbithole. During Glitchtober 2023, she connected with fellow glitch-artists and started to find her audience and community. Besides his personnal creative work, he also occasionally does cover-arts, music clips and event posters. She is also a member of the recently created harsh-noise duo Gauloises Burnes.

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↑ 0072 – jphm4900 [Colombia] – 𝙞𝙣 𝙢𝙮 𝙛𝙡𝙤𝙥 𝙚𝙧𝙖 [2024]

An unsuccessful series of self-portraits (marked by a moment of narcissism), whose purpose was to select an image to use as a profile picture in social media or in my CV, became a reflection on failure.
As for the artistic and textual work, it took several hours to conceptualize how the distortion of a self-portrait could visually and narratively represent the frustration of not completing various projects. This resulted in a period filled with feelings of isolation, demotivation, procrastination and abandonment, which I consider my “flop era”.
Eventually, the different parameters to compose the work were not satisfactory in their entirety, mainly due to the instability in the combination of layers, colors and the arrangement of the effects. Added to this were excessive reflections on the past, present and future, becoming an exercise in emotional release.

jphm4900 [Colombia]

I was born in Bogotá, Colombia 24 years ago. I am an architect, glitch artist and young researcher in training. My main interests are post-digital and immersive art, graphic design, analog photography, illustration, visual programming, collage and music. In my experience as an artist and architect, I have had opportunities to interact and contribute ideas in different spaces related to artistic expressions and academic research. These elements motivate me to enhance my knowledge, initiative, enthusiasm, commitment and skills to continue my integral formation.

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↑ 0073 – paranthre [Slovakia] – A Path They Didn’t Choose [2024]

The images were generated using Stable Diffusion, but with incorrect parameters that deviated from the original intent. The goal was not to create glitchy artifacts, but rather polished portraits resembling traditional photography.

paranthre [Slovakia]

Daniela Olejnykov is a photographer, visual poet and noise artist based in Central Europe. Her artwork is based on glitch art techniques and thematically oscillates around various subjects like occult, power structures, pornography, psychology, conceptual storytelling/advertising.

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↑ 0074 – VAL1S [Croatia] – 空っぽの夢 [Empty Dreams] [2023-2024]

” 空っぽの夢 [Empty Dreams] ” is a compilation of works visually designed by VAL1S, and accompanied by a special selection of music. With themes ranging from nostalgia, melancholy, and otherworldly cityscapes, to fast paced hip-hop and trap, these relics capture a moment of time that would otherwise be lost in the void. The selected pieces never found a home, archived in hard-drives and hidden servers, forgotten projects. Visions fit to a screen that never really had a purpose, in an attempt to capture a fleeting moment that is otherwise forgotten, like a dream. The title reflects the idea that a dream may be nothing more than a hollow shell, but its beauty can unravel before you to show you new perspectives, most of which are forgotten, lost in time. Many of the pieces included in the compilation were highly influenced by certain dreams or visions, in an attempt to archive them on a digital screen.

VAL1S [Croatia]

VAL1S is a visual artist born and raised in Toronto, Canada. He first started making videos about 10 years ago, raised with a passion to put visions in the mind onto a screen. Completing a degree in Electromechanical engineering and a focus on automation programming, his influence can be seen in his style of digital glitch art. The search for something new, creations out of nothing, have always been at the forefront for VAL1S. What is unseen, hidden pathways, these are the things that make life curious and guide him along his journey not only in art, but in life as well.
Moving to Croatia in 2024, he has begun the search for a new essence, an inspiration for newer ideas. Travelling through Europe and meeting new people who collaborate to create a mix of real and online shows has been a new adventure, blurring the lines that we call borders and uniting over authentic expressions of art.

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↑ 0075 – Sabato Visconti [USA] – Deluxe Paint IV Glitches [2023-2024]

Set of studies and experiments using WinUAE’s video exporting features to create glitches with animated Deluxe Paint IV Pixel Artworks, drawn on an emulated Amiga A1200. Several methods were used to databend AVI outputs, including Audacity, Vinesauce ROM Corrupter, and by editing keyframe blocks directly in the hexadecimal code.

Sabato Visconti [USA]

Sabato Visconti is a Brazilian-born multimedia artist based in Northampton, Massachusetts. Their work interrogates imaging practices that have become absorbed by digital processes, hybridized media, online networks, and machine intelligence through works that portray subjects entangled in systems often designed to fail or malfunction.

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↑ 0076 – Mila Gvardiol [Serbia] – Pebbles [2024.]

The glitch art series titled “Pebbles” was created by taking photographs of beach pebbles and importing them into Notepad++. I manipulated the images by deleting certain sections of the code.

Mila Gvardiol [Serbia]

Mila Gvardiol was born in 1979 in Belgrade. She graduated in 2004 from the Faculty of Applied Arts in Belgrade, majoring in mural painting. She earned her Ph.D. in 2012 from the Interdisciplinary Studies at the University of Arts in Belgrade, specializing in digital art. She has been a member of ULUS since 2006 and ULUPUDS since 2011. Currently, she serves as an associate professor and dean at the Faculty of Digital Production in Sremska Kamenica. She taught at the Faculty of Applied Arts in Belgrade from 2015 to 2023. Mila has exhibited in 42 solo and over 300 group exhibitions and has participated in art colonies and digital art festivals. She has received awards for her artistic work.

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↑ 0077 – g1ft3d [Guatemala] – Glitch Paca [2024]

Compilation of selected worst failed projects, lots of frustration
Blender glitched and corrupted file put it together as narrative

g1ft3d [Guatemala]

Self-taught and currently based in Guatemala (where I was born and raised), I have used glitches as a central element in my artwork for over 13 years. Glitch art is more than just an aesthetic choice for me—it’s a reflection of our existence. I incorporate the concept of imperfection to express any artistic vision I have, whether on a local or international scale. I aim to highlight the significance of new media and glitch art in the broader art world.

And honestly, I also do it because it’s fun—sometimes, I just feel like destroying something beautiful.

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↑ 0079 – Ana Sesto [Croatia] – CLASH [2024]

My original photographs are digitally manipulated, utilizing various techniques to explore and enhance the visual narrative. Through the use of digital tools, I alter and layer images, creating a blend of reality and abstraction that transforms the initial composition. This process allows me to push the boundaries of traditional photography, giving each piece a unique and dynamic quality. The manipulation of color, texture, and form results in visually engaging works that challenge the viewer’s perception and invite deeper exploration of the themes presented.

Ana Sesto [Croatia]

Ana Šesto (1986), a photographer from Zagreb and the president of the cultural club O’GRADA, earned her Master’s degree in Journalism in 2013 from the Faculty of Political Science in Zagreb. She has been involved in photography since 2000 and is a member of HDLU and HZSU, with 20 solo and 30 group exhibitions to her name.

She has created 40 book covers for Croatian authors, and her work has been published in both local and international magazines. Ana received the “Kiklop” award in 2014 and the international award for theater photography in 2020. She published the book Miona Daj Šuti, selected as one of the most beautifully designed books in the world in 2020. She regularly teaches photography at the United Pop Academy and has participated in numerous workshops and courses in London.

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↑ 0080 – Chanel Pepino [Philippines] – Time Loop [0.5]

Whatever I do, nothing seems to change. No progress is made. I am in the same place as I was yesterday.

Chanel Pepino [Philippines]

Chanel Pepino (b. 1997) is an artist, activist, and former member of the outsourced remote workforce. Her artistic interests explore themes related to Roman Catholicism, Philippine culture, contemporary society, and childhood trauma. With an interdisciplinary background in art-making and theatre production, Chanel’s work spans dry and wet mediums, performance art, installation, and video.

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↑ 0081 – Andreia Matos [Portugal] – on Outputs, fragments, reflections: interrupted [2024]

A blend of personal visuals captured over years of creative experimentation,… led to incomplete or abandoned works,. A personal reflection on the cycle of trial, failure, reinvention, on the unfinished artefact as the essence of the process, as the end.

Andreia Matos [Portugal]

Andreia Matos, born in 1999 in Viseu, Portugal, is a Lisbon based artist, scientist, and engineer.

Currently pursuing a MSc in Communication Sciences at NOVA University with a focus on Contemporary Culture and New Technologies, she previously earned a MSc and BSc in Computer Science and Engineering from Instituto Superior Técnico, specializing in Artificial Intelligence and Computer Graphics. Currently works as a Data Scientist in AI algorithm research and development.

Her work is marked by a multidimensional exploration of an impulsive and conceptual nature, with a focus on reinterpretation through plastic and algorithmic manipulation.

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↑ 0082 – Jessica Tucker [USA/Netherlands] – cycles (I) [2024]

Cycles shows the body in defiance of philosophies and technologies that insist it be a clear, stable, isolated thing. Contemporary surveillance technology tracks our faces, bodies, and attention, singling us out for automated manipulation and control. In contrast, Cycles resists that totalizing gaze through playful misuses of tools that track and predict the body.

First, face-detecting augmented reality applications are used on a collection of the artist’s own selfies, face-swapping and rephotographing these images on screens. Then, a custom machine learning model is trained on these distorted faces such that it can produce new faces based on this influence. Another custom ML model is trained to interpret input body images to be constructed out of the faces from the first model. The artist records motion-capture duet performance of herself with a dummy ragdoll and uses this data to animate digital avatars, which then are processed by the ML models.

Jessica Tucker [USA/Netherlands]

Jessica Tucker is an American and Dutch artist, musician, and educator. In her performances, videos, sculptures, and installations, she playfully examines how we use virtual vision to construct and distort our concept of the embodied self. She has performed and exhibited her work throughout Europe and the USA, including Rewire Festival, FOAM Museum of Photography, Goethe Institut, the Van Gogh Museum, and Mana Contemporary. In her current project, “Ways of Being Seen,” she considers participatory surveillance apparatuses and their effects on intimacy and self-perception, using the Stasi Archives in Berlin and supported by the Fulbright Germany program and the Karlsruhe Institut für Technologie. In 2023-24, she was a Grant Wood Fellow at the University of Iowa, specializing in interdisciplinary performance using digital media. She has also been supported by the Mondriaan Fonds, Chicago Artists Coalition, Thoma Foundation, and DCASE, among others.

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↑ 0083 – jonCates [USA] – RGBMTLRMX [2024]

鬼鎮 (Ghosttown) RGB MTL CRT RMX is my 2024 remix of my 2018 Glitch Western feature film, compressed and rendered for CRT (Cathode Ray Tube) television display. This film features Emily Mercedes Rich as The Cowgirl and my new original musics, including the sounds of cowboy Phil Morton running his horsepowers Out West in 1975.

jonCates [USA]

jonCates is a Glitch Western cowboy living in 台北，台灣 (Taipei, Taiwan) whois widely known as a ‘pioneer’ of Glitch Art.

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↑ 0084 – Roopesh Sitharan [Malaysia] – Melatah [2024]

This video art attempts to revel a culture-bound syndrome called Latah, which is primarily observed in Malaysia and Indonesia. It is defined as an exaggerated startle responses to minimal stimuli. Crucially it is seen as a disorder, or a ‘mistake’ that indicates out of norm behavior which supposedly reflects the imperfect aspects of Malay-Indonesian culture. The video is my response to such conjecture. In this work, I intentionally distort the antenna of an analogue TV to disrupt the visuals on the screen, mirroring the act of “Melatah” (startling responses). This distortion serves as a critique of the marginalization of culture as seen through a colonial lens, highlighting how behaviors deemed ‘mistakes’ by Western standards often belong to non-Western cultures that challenge established norms. The chaotic imagery reflects the complexities of identity and cultural expression, questioning the validity of what is considered acceptable or normal, akin to recognizing visuals on TV.

Roopesh Sitharan [Malaysia]

Roopesh Sitharan is a multidisciplinary practitioner who explores art through a variety of interrogation strategies, taking on roles such as educator, curator, researcher, and artist. His involvement in national and international projects includes prominent showcases like the Gwangju Biennale, ISEA, and Siggraph. His writings have appeared in respected publications such as Learnordo Electronic Almanac (LEA), CTRL+P Contemporary Art Journal, and Dokumenta 12, among others. Sitharan has participated in residency programs that emphasize research and the role of art in critically engaging with real-world issues. Recently, he has been focusing on the influence of non-human agents in understanding the causality of environment, nature, and the other, and how these factors shape human subjectivity.

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↑ 0085 – Anna Christine Sands [USA] – There Never Was [2024]

This image is a screenshot from a video that had several steps. The initial video was a screen recording of the interaction with my webcam’s live feed and the yellow text in an augmented reality virtual space. The screenrecording captured the text as I moved it around the frame, and myself as I moved as well. I compressed the video to an .avi file, encoded in zmbv, which I then ran through Way Spurr-Chen’s moshy utility. That is the basis for the glitch effect you see, and some additional editing in Photoshop created the checkered background.

Anna Christine Sands [USA]

Anna Christine Sands was born in the American Midwest in 1993. The daughter of an early pioneer in the world of personal computing, she eventually adopted and grew into her father’s interest in digital imaging. Like most children born in the early 1990s, Sands grew up alongside the Internet itself, forming a sort of symbiotic relationship with the World Wide Web. This connection to cyberspace eventually deepened and developed into a studio practice examining art in the post-digital, post-Internet world.

She attended the Art Academy of Cincinnati and was awarded a BFA in Photography in 2016. She graduated from the School of the Art Institute of Chicago with a Masters of Fine Arts focusing in Art and Technology Studies in 2021.

Her work has been a part of festivals such as Ars Electronica, The Wrong Biennial and the Miami New Media Festival. She has also exhibited four times in the world’s longest-running annual glitch art exhibition, /’fu:bar/.

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↑ 0087 – Daria Ivans [Russia] – unfully_recovered [2024]

This can happen to anyone, and you’re never fully prepared. You might back up what seems important, but how do you know what really matters in 1 TB of data? I recently deleted all my photos and videos from my MacBook using CleanerOne, and something went wrong. One project was partly saved in the cloud, but everything else was lost. I spent a week with recovery software, retrieving disorganized files from unknown folders. I saved 20 videos and a few hundred photos, some no longer the same.

During my second project, I grew to love the glitches that appeared while converting videos from avi to mp4. I even captured screenshots of them. When I recovered the videos, the glitches were ‘fixed.’ I’ve always appreciated glitches as a magical resistance to technopositivism, but this time I encountered unintended, raw glitches. They don’t depend on me, the software, or even themselves. They follow their own unpredictable logic, and all I could do was observe and piece together their fragments

Daria Ivans [Russia]

I am a xenomedia artist from St. Petersburg/Moscow, holding a Bachelor’s degree in Philosophy and a Master’s in Art & Science. My work explores alternative histories of the internet, abandoned spaces in virtual worlds, and the magcal potential of technological imperfections. I engage with VR, AR, video, 3D/2D graphics, and found objects, investigating the boundaries between media and the possibilities of their unconventional applications.

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↑ 0088 – John Bumstead [United States] – Untitled 1-3 [2024]

iPhone photography of images on a laptop screen, taken through the filter of shattered antique film projector lenses

John Bumstead [United States]

John Bumstead started a laptop refurbishing business in 2008 and has repaired and refurbished thousands of laptops yearly ever since. He discovered a creative use for damaged devices and repurposes broken screens and defective graphics processors as filters to affect his photography. Most recently he has pursued deconstructing and reimagining LCD screens in order to explore their polarized qualities, both in photographs and installations.

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↑ 0089 – Anatoly Grashchenko [Russia/Germany] – Inter Sections [2024]

This video is a result of an exploration of noises and modulations

Anatoly Grashchenko [Russia/Germany]

Anatoly Grashchenko is a graphic designer, creative coder and generative artist. Uses computer programming as the main artistic medium. Experimentation, trial and error and tweaking algorithms — are all common practices, while errors, glitches and unexpected behaviours are common outcomes during his work progress. Anatoly considers them as valuable as the expected results

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↑ 0090 – WomanNFT [USA] – Sacred Transcendence [2024]

AI Collaborative Art

WomanNFT [USA]

Woman is a self taught visual artist with a passion for the feminine. She began her career as a traditional painter and moved into digital art upon her entry to CryptoArt in early 2021. Her art is an expression of feminine energy channeled through herself, a vessel for creation, processing her emotions about her own experiences and sharing with her audience those vulnerabilities. She hopes her art gives a glimpse into her experience as a woman and a mother navigating life’s challenges, helping other women navigate in the process. She is passionate about uplifting artists from marginalized communities, fostering conversations about equity, connecting creative people and helping to provide pathways for artists around the world to share their creations and make a living through their art. She believes crypto is a gateway to freedom from oppression and can provide new opportunities to help artists create financial freedom for themselves.

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↑ 0091 – Charlotte Lengersdorf [Germany] – Ephemeral Typing [2024]

Ephemeral Typing is an ongoing series of interactive typing programmes. In contrast to conventional typefaces, Ephemeral Typing has no fixed predetermined form. The characters are created in the act of typing and thematise the indeterminate and indecipherable nature of asemic writing. Asemic writing is a non-semantic, illegible form of writing: it combines ‘writing’ as a medium and practice of communicating meaning through language with ‘asemic’, which means the absence or negation of meaning. Ephemeral Typing exposes the viewer to a tension between a reference and difference to conventional writing. Its formal and gestural similarity to conventional writing suggests legibility, while any attempt to read what is written fails.

Charlotte Lengersdorf [Germany]

Dr Charlotte Lengersdorf is a Visual Communicator, researcher and lecturer based in Düsseldorf and London. Her research and practice emerges from an intersection between typography, media philosophy and a practice of creative coding with specific interest in the nonsensical, undetermined and unknown. Charlotte holds a BA (2016) in Visual Communication from the Peter Behrens School of Arts in Düsseldorf and a MA (2018) in Visual Communication from the Royal College of Art in London. Her PhD (2023, practice-based) in Communication Research at the Royal College of art, titled ‘Towards an Uncausal Practice of Visual Communication’ was funded by The German Academic Scholarship Foundation.

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↑ 0092 – toastfang [Taiwan] – Dancing a-ma [2024]

In lunar new year ‘s day, ran into a A-ma dancing with music.
The 5-second works, which were originally discarded due to restrictions, contain some small thoughts and emotions found in tedious daily life.

toastfang [Taiwan]

Toastfang focuses on labor, social class, and education. The works cover images, installations, and action plans. Through observing the interaction between people and the local ecology, the individual engages in local actions, project creation, and experiments.

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↑ 0093 – Liminalmadness [Russia] – CShading_Alpha[0001-0300] [2024]

This art is a part of series ‘’CShading_Alpha’’ that consists of frame sequences that can be represented as separate images or animation. It makes think about how an undefinable glitch of a technology can interwove with humans’ perception, aesthetic vision and our trust in digital things.
Each picture is a failed render of a 3d-model. That were supposed to be a frame of an animation sequence in black-and-white alpha mask mode. The geometry dissolved completely and a random white noise appeared instead. The sequence consists of 300 unique frames that depict similar pixels only.
This effect is not intentional and reveals the unpredictable and uncontrollable creative power of digital technologies. Neither machines nor humans can explain the logics of this phenomenon.
New technologies become things that we cannot live without, but we should be aware of their unpredictable behavior.

Liminalmadness [Russia]

Stepan Tereshenko is a conceptual digital 3D artist from St. Petersburg, Russia, winner of the “Art, Science and Technology Award 2022”, nominee for awards in the field of architecture 2018 – 2021, master’s degree in Design architectural environment.
From 2021 creates digital art about conscious interaction with the digitalized world of the future. He combines the principles of science fiction, internet aesthetics, mythology and minimalism. For 2023 – 2024 has presented a personal exhibition at Masters Digital Gallery, took part in international digital art festivals ”MAPP”, Montreal, Canada and “Metaxis”, Budapest, Hungary, group exhibition at The Capital Museum, Beijing, China and other.

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↑ 0094 – xkprx [Polska] – Robot Fairy Tales [2023-2024]

Compilation of original short videos and digital animations from 2023-2024. Video montage features custom-created content interwoven with glitch art aesthetics.

xkprx [Polska]

I am a self-taught artist exploring interactions with technology and various digital media. My works focus on human form and abstraction, with an emphasis on deconstructing familiar elements. I use software and programming techniques to create dynamic compositions that balance on the edge of experiment and discovery. In my projects, inspiration from CRT TV aesthetics is often visible, introducing a retro visual energy. Cats are also a frequent motif in my works, giving them a unique character and element of humor, bringing a touch of warmth to the technological reality.

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↑ 0095 – Tristan Calvo-Studdy [United States] – TEXT DEGRADATION [2024]

This video work uses a technique called ‘analog video degradation.’ The video is copied back and forth across two video cassette tapes, each time losing more video and audio quality until it eventually becomes static. The video is then re-edited so that every time a new word appears, it is a new generation of copied video.

Tristan Calvo-Studdy [United States]

These video works utilize VHS tapes pushed to their limits, creating analog artifacts, visual distortions, and video static. The analog video medium has long been a source of inspiration and passion for the artist, using it to explore themes of impermanence and relinquishment. Once ubiquitous in households around the world, VHS now evokes feelings of uncanniness and nostalgia for a bygone era. The artist uses this medium to evoke feelings of reminiscence while creating an aura of mystery that allows for personal reflection.

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↑ 0096 – Javier Galán [Spain] – Lost Files [2024]

This piece consist in a mashup of dispersed crops of low-quality 3d geometries, intuitively composed in GIMP and processed eventually with blender compositor denoisers to search weirdness

Javier Galán [Spain]

I am a visual artist and musician from Barcelona, ​​born in 1982.

Starting in 2008, the need arose to expand new expressive sensibilities that would allow me to connect with the cultural Geist of the moment, in consequence my art began to be nourished with references that range from symbolism, pop-art, trash-art, always using radical aesthetics applied from contemporary experimentation with digital tools.

My body of digital work takes a paradigmatic turn in 2021 when I started a new audiovisual cycle in the world of NFTs, especially in the Tezos ecosystem, giving rise to to a new artistic stage that is allowing me to explore a new paradigm of digital art distribution that is very enriching and open to potential synergies.

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↑ 0097 – #FFFF00 [Taiwan] – Golden Days [2024]

The video is composed of the glitched ending clip of The Birth of a Nation (1915) by D. W. Griffith, and a reverse version of the Yugoslav national anthem.

Identity is far from static. It is not a fait accompli but something that has yet to be realized. By adding disturbances, the work hints at the non-neutral and fictional nature of “narrative”, while its relic-like atmosphere evokes vague shared memories and a state of suspension.

#FFFF00 [Taiwan]

#FFFF00 is imagining another art. Her mi̍h-kiānn swings between joke and protest about institution. With appropriation, multiple and low-budget as main tools, she strives to pave the way for outsider.

Graduated from National Taiwan University of Arts, she has participated in group exhibitions at Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan); Gudskul (Jakarta, Indonesia); University of Tartu Art Museum (Tartu, Estonia); Biennale Info Center (Larnaca, Cyprus); Technopolis (Athens, Greece). In 2025, her works will show at Pragovka Gallery (Prague, Czech Republic) and National Gallery – Cifte Hammam (Skopje, North Macedonia).

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↑ 0098 – Chris Combs [USA] – Unmoored [2022]

In my art, I often film a beautiful place in full-color and reduce the footage to booleans: black and white. This is one example that didn’t go to plan. I placed an underwater camera in a lake, and settled down to enjoy the view as it recorded rolling waves. However, the camera had other ideas: it slowly drifted free. This silent footage, edited for length and booleanized, is the odd result.

Chris Combs [USA]

Chris Combs is an artist based in Washington, D.C and Mount Rainier, Maryland whose sculptural artworks both incorporate and question technologies. Before becoming an artist, he was a photojournalist, a photo editor for National Geographic, a product manager, and ran a media website. As a kid, he wanted to make robots; many years later, he looped back to this. His artwork often incorporates his own videos of natural places.

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↑ 0099 – Mursigner [Russia] – Chaotic Constructs [2024]

In my work “Chaotic Constructs,” I explore the concept of failure and imperfection through the lens of glitch art and anti-design aesthetics. Using neural networks I create visual artifacts that emerge during the image processing phase. These artifacts become central elements of the piece, highlighting the value of randomness and unpredictability in digital art.

The composition of the poster is executed in a chaotic style, where text and image elements blend together, creating a unified visual flow. I also incorporate a physical element by scratching a CD to create an imprint, serving as a metaphor for the errors that occur in the process. The color palette includes black-and-white elements with an accent of blue, symbolizing glitches and imperfections, making the work both relevant and multi-layered.

Mursigner [Russia]

I’m Anastasia Natalenko, a 28-year-old media creator and graphic designer based in Novosibirsk, Russia. With 9 years of design experience and a Bachelor’s degree in Design and Pedagogy, I’ve participated in international contemporary art exhibitions and specialize in neural networks. I am passionate about combining creative, professional, and teaching activities in my work.

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↑ 0100 – Alice Falco [Italy] – The Sound of a Tree [2023]

An experiment with touchdesigner, the first time I tried to create sounds from an image

Alice Falco [Italy]

Alice Falco was born in 1988 and studied photography in Rome. For the past few years she has been experimenting with coding and generative art. She now lives in Turin where she works as a camera operator and video editor.

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↑ 0102 – Polinsiaga [Russia] – mental kink [2024]

In this work, I gathered all my broken, buggy, and flawed projects in which I made mistakes. These unfinished pieces form around the figure of a person curled up in a fetal position, symbolizing a retreat into oneself and the desire to occupy a safe, primal position, shielding themselves from the outside world under the pressure of their own imposter syndrome.

Each mistake and every glitch in the work is not just a failure, but a part of my creative process, reflecting the struggle with inner demons and the quest for self-acceptance. I invite the viewer to notice the beauty in imperfection and to realize that the only person who rejected these works is myself. This piece is my call for embracing one’s own flaws and being open to mistakes as an integral part of the artistic journey.

Polinsiaga [Russia]

I was born in Novosibirsk in 1997. Due to a difficult childhood, I grew up quickly and started working, so I couldn’t make art my main source of income. However, I have always loved art and have been drawing every day, often falling into depression and finding the only source of life in art. After honing my drawing skills, I began to independently study 3D and incorporated it into my work, where I express my inner experiences. I have participated in international exhibitions and festivals, am a member of the open jury of the international festival “Sreda,” and have won awards in many art competitions.

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↑ 0103 – Micah Alhadeff [United States] – Thorns [2024]

Thorns is a digital sculpture of a glitched, fragmented figure reaching for the sky covered in bright red thorns. This piece was inspired by Lucio Fontana’s idea of “slashing” artwork. Similarly, I use glitch in this piece to slash apart the model’s geometry, creating jagged sharp points that extend outward from the model’s surface.

Micah Alhadeff [United States]

Micah Alhadeff is an experimental 3D artist who utilizes glitch processing and 3D programming to explore themes related to the virtual body, queer aesthetics, and the limits of fantasy. Alhadeff holds an MFA in Electronic Integrated Arts from Alfred University, as well as a BA in Art History and a BFA in Graphic Design from Colorado State University. His work was sold by Sotheby’s in 2023 and has been exhibited internationally at venues including The Royal Institute in London, UK; NFT.NYC in New York, USA; NFC.Lisbon in Lisbon, Portugal; Tech Contemporary in Copenhagen, Denmark; 758 Art Space in Beijing, China; and most recently across 1000 billboards in 200 cities in Belgium with Art Crush Gallery and Clear Channel Belgium.

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↑ 0104 – LI{A}ON [Thailand] – HURT | HOPE | HEAL [2021 Till Now]

A deeply personal creative process that uses the limitations of a broken iPhone camera as both a tool and metaphor. I captured Live Photos and videos, embracing the glitches and unique, unexpected movements that arise from the device’s malfunctions. The broken technology becomes an artistic lens through which I have explore the concept of how humans and technology are damaging the world. Yet, through this “glitch” or destruction, there is also beauty—if viewed from different perspectives.

My editing technique, using simple, free programs, reinforces the raw, unpolished nature of this exploration.

The theme is the duality between destruction and beauty, and how both can coexist, depending on the way we look at things. The broken camera becomes a metaphor for the fractured state of the world, but also for the possibility of finding meaning and aesthetic value in what’s imperfect or damaged.

LI{A}ON [Thailand]

I have to work in both the reality and the dream. The former is a world which is run by business while the latter is a world of art. Since my job is a documentary creator, I have tried to include such two worlds into my storytelling process. Therefore, I have started the Seasail project and invited my friends to create the art subjects together. The Seasail will be conducted annually in different places which exhibit the various art projects – drawing, street art, installation, art from recycled materials, mixed media, experimental art, visualization and interactive art, music and performance. At the end of the exhibition, there is also the focus group purposing to exchange the ideas about art creation and environmental preservation.

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↑ 0105 – Eyal Gruss [Israel] – LordTubeMaster [2024]

Live YouTube effects using self screen capture to circumvent CORS restrictions by stealing the pixels, and modern web compute technologies to apply graphic transformations and machine learning models in real time. Requires chromium desktop and a GPU. Follow instructions here: https://github.com/eyaler/LordTubeMaster to enable flags necessary for full screen mode. The attached URL will load a playlist from Crash Stop’s YouTube in random effects mode. You need to approve the sharing and rightclick the bottom frame for full screen (after setting above flags). As far as I know this is a first example of applying arbitrary video effects and computer vision models on live embedded cross-origin videos, running in the browser client side, without extensions, external services or necessity to download media, allowing us to glitch YouTube on the fly. This is an educational tool with various implementation examples for different backends, frameworks and effects.

Eyal Gruss [Israel]

Dr. Eyal Gruss is an artist, coder, poet, algorithms researcher, and teaches computational creativity at the Holon Institute of Technology. Eyal creates interactive installations, multimedia performances, constrained and algorithmic poetry, and code art. His works were exhibited among other places at the Ars Electronica Festival, Print Screen Festival, Stuttgarter Filmwinter, Freshpaint Art Fair, Design Week Jerusalem, Binyamin Gallery, Bloomfield Science Museum, Bat Yam Museum, Herzliya Museum, Heinz Nixdorf MuseumsForum, Petach Tikva Museum, Tel Aviv Museum, and the Internet. Website: eyalgruss.com

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↑ 0106 – nemesis_fortuna [Germany] – RAW_DATAROT.bg [2023-2024]

RAW_DATAROT.bg is a byproduct of the way creation works. Incomplete pieces of a process, of something greater.

I create some of my art by making several hundreds of images glitching them in various techniques and software which then I mix, combine, and illustrate over. This series is made of a selection of byprod images; Background pieces that I find incredibly beautiful in their abstract form, from something to nothing but still strong and certainly mesmerizing. Incidentally, the selection was made from the visible colors in a rainbow/prism spectrum.

Some to be used as part of something, some to only be admired.

nemesis_fortuna [Germany]

Audio/Visual artist and designer hailing from Colombia but based in Germany. Obsessed with turning organic data into mathematical error, turning order into chaos and into a new shape. Glitch as the new wave of psychedelia for your digital being, look into it and dissolve.

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↑ 0107 – Fangs [Mexico] – BERRAZANO THOUGHTS [2024]

An experimental videoloop shot on location at Berrazano Bridge in Bay Ridge, Brooklyn.

Fangs [Mexico]

I´m Rodrigo Courtney aka Fangs and experimental filmmaker and videoartist from Mexico.

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↑ 0108 – Iqra Iqbal [Pakistan] – Cosine Circuit [2024]

I used 10 images from my previous album ‘Germinal Gremlin’ and applied Discrete Cosine Transform method on each image one by one. This process took place in ‘Google Colab’ using Python language. The output images were saved and reopened in ‘Photopea’ using web browser. Photopea is similar to Photoshop but it is free to use. I applied blending mode ‘Hard Mix’ to duplicated layers which were cropped out of DCT’s outputs.

Colab Notebook: https://colab.research.google.com/drive/1JW-DI1PSsVzO51IXYYv8DPyZ6eh4RWx5

Iqra Iqbal [Pakistan]

Iqra Iqbal, ( from Lahore, Pakistan ), background in computer science, b.1993, a glitch artist with expertise in digital designing, creative coding and animations. Her artistic works interpret that the reality is in fact distorted.

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↑ 0109 – inv4r3d [Russia] – Harmony of Change [2024]

A visual experiment in which ocean waves are digitally transformed, creating unique graphic representations that reflect the complexity of the interaction between nature and technology.

inv4r3d [Russia]

inv4r3d is a media artist specializing in various forms of visual and audiovisual art. He created music videos for Ulver. Works with AI

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↑ 0110 – Dan Hutchinson [United States] – in/content [2024]

This piece is an exploration of social media as a space that is both intimately crowded and uniquely isolating, where the beauty and complexity of life is flattened into consumer content. The flailing figure is a self portrait, trapped between advertising and algorithms in a failed attempt at connection to the greater world beyond the screen.

Dan Hutchinson [United States]

Daniel Hutchinson is a multimedia artist and filmmaker who blends digital animation with modified electronics to explore the blurred boundaries between technology and human experience. His work has been featured in FATHERFATHER and Psychedelic Scene, as well as in group exhibitions such as Freq Show and Glitch Art is Dead 2022. His short films have been screened at MOHA, Cuerpo Transparente, and Altered Images.

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↑ 0111 – yShin [Taiwan] – yShin_PD [2022-2024]

Inspired by Chun Lee perfect simulation of bytebeat music using the expr~ object in Pure Data with the C programming language, I attempted to explore other approaches to combine elements such as slight variations in sample rates, tonal scales that differ from traditional tuning, glitch rhythms, and compiling algorithms to generate sound waves from various numerical values and play with music.

yShin [Taiwan]

Im yShin, social media named @y_shin_visual, base in Taiwan ,Im focus in data evolution as Hypermedia artist. Collaborated with electronic bands @__p_c_b and @ovds.tw. as known as a visual artist,VJ, DJ, AudioVisual performer, a FLOSS artist.

I feel deeply influenced by the 90’s gaming culture and Demoscene, especially by music games like DDR (Dance Dance Revolution).Until I attended the Playground workshop organized by dimension+ and encountered the enlightening artist Chun Lee, also known as 0xA, I never truly felt the warmth of code in creating audiovisual art using PureData.

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↑ 0112 – Rachel Efruss [USA] – Noise Study 02 [2024]

“Noise Study 02” is a composite of several pieces of video camera feedback and no-input mixer feedback created using a camcorder, multiple analog video mixers, a circuit bent video enhancer, and a CRT TV. The footage was further modified on the computer using digital software to blend layers, edit colors, and manipulate speed. The audio is a collage of original sound recordings including wind, the Hudson River, the New York City Subway, a coffee maker, and an analog synthesizer. The sound recordings were run through effects, looped, and layered using digital software.

Rachel Efruss [USA]

Rachel Efruss is an artist and designer based in New York City. She uses analog and digital technology to create experimental videos, multimedia art installations, and live visual performances. She is interested in digital anthropology and patterns between nature, humanity, and technology. Rachel also teaches art workshops and helps organize DIY events as a way to support accessible arts education, community building, and creative experimentation.

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↑ 0113 – Hecate [Croatia] – Strawberry Saudade [2023-2024]

I am diving in the fields of sexuality and psychologically disturbing imagery that reflects claustrophobia of mental scars, using my own face and cult movie actresses or women from vintage pictures to mix dark, kinky erotica with scenes that resemble the ones from the suspense movies I create in my head. I use Audacity, Photomosh and Photoshop to generate distorted, dirty and vertiginous images derived from my low-quality artworks, flawed in many ways thematically or technically. I use two main streams of deconstruction: soft, flowing, melting, lava-like, liquid images and staccatto, stroboscopic, sharp, jittery ones, rough on the edges. That duality is reflecting the ambivalence of my conceptual aims. Fluid presentation can stand for euphoria, levitating in daydreaming, the state of arousal or floating on the clouds of intoxication as a means of escapism from reality, and jagged one represents violent, destructive, schizoid forces of emotional landscapes.

Hecate [Croatia]

I was born in 1978 in Zagreb, Croatia. I graduated at the Academy of Fine Arts in Zagreb in 2004. I am engaged in visual arts (painting, drawing, photography, collage, glitch art, installations, animation, video, multimedia).
I exhibited in numerous solo and group shows, in country and abroad (Croatia, Bosnia and Herzegovina, Slovenia, Serbia, Palestina, Argentina, Poland, Italy, UK, Portugal, France, Spain, Sweden, USA, India, Netherlands, Mexico, Russia, Greece; Germany, Trinidad and Tobago, Indonesia, Japan). I write poetry.
My work was presented in many printed and digital croatian and international publications, (A5, Gestalten, Make8elieve, Poezija, Zarez, Rijeci, Vijenac, Self-As-Subject: The Multiple Exposure Project Zine, Stigmart10 Videofocus- special edition, Il corpo solitario III). My photography is part of four Saatchi Art collections. My drawing „Butterfly Effect“ became a part of Artemizia Foundation in Bisbee, Arizona, USA. I received several awards for my work.

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↑ 0114 – Ѧ [Hungary] – VUVU [2022-24]

its topic is non-existent spaces and virtual places in 2-4 dimensions;
its purpose is to linearize time, to make several places and/or times be able to co-exist virtually;
its method is to extract features of streets, and layer them back onto themselves and others;
its value is debatable;

0: it all started videos of imperfect digital scans of the analog world;
1: they were virtually endless panoramas;
2: they went through none, one or many effects;
3: they crossed paths in digital 3D;
4: they went back to being panoramas;
5: some ended up nice, some ended up here.
5: they went back to step 2.

Ѧ [Hungary]

i think i always liked to think algorithmically, which materialized itself vividly first in my drawings.i have a long-term and deep-stemmed love for mathematics, and recently in IT as well.
a few years ago i became involved with media types, and compression methods, first from a visual, then from a technical perspective. i studied some media theory beforehand, so i started to analyze the inherent characteristics of file-types, thus their “true natures” as well. now i seek to examine, exploit and bring forth these attributes of the used medium. consequently i’m “specialized” in glitch art, both 2 and 3d, arguably 4 as well. i try to reinterpret my digital methods in the analog world as well, mostly with drawing, collaging, or creating land-art with my usual algorithmic stubbornness.
i wish not tell a lot about me, for i am just the carrier of errors, hopefully not a failure myself.

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↑ 0115 – Mark Klink [USA] – Heads-Wireframe [2024]

I use the opensource 3d modeling and rendering application Blender to create these images. Blender can utilize a stack of “modifiers” to alter the appearance of a 3d object. However, I “abuse” these modifiers by applying them in what would normally be considered inappropriate ways – decimating, re-meshing, and distorting the object, often repeating the operations using unusual “out-of-range” parameters in order to create unexpected expressive effects.

Mark Klink [USA]

“Mark Klink has been and done many things: Swept floors, worked in a factory, been an athlete, a minor government official, a life guard, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures.”

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↑ 0116 – Robin Moedder [Germany] – YELLOW MISTAKEN [2024]

A disturbed view through a broken window shows a yellow field where different errors destroys an environment.

Robin Moedder [Germany]

Robin Moedder, born 1980, is an interdisciplinary media artist who lives and
works in the Ruhr Area, Germany

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↑ 0117 – Agens111 [Germany] – Amazed as F111 [2024]

Visuals are made of (mostly) HRGiger animated graphics found on internet and modulated by Premiere and Resolume Arena. Audio is synthetized by sequencer by Croatian artist under nick Fuego.

Agens111 [Germany]

Nebojsa Vukovic a.k.a. Agens 111 is multimedia artist from Croatia based in Berlin.
From experimental video art, live visuals to performative actions his style is intuitive and authentic.Blending diverse visual materia in digital media by making glitches gives organical appeal to his aesthetics. Extreme segments are dellicately composed into unique visual poetry with subliminal meaning. Exhibited his art on seven independent and many group shows, and won several awards for his experimental movies. In Berlin has been acting as the organiser / resident vj from the monthly party Resilience.
Under alias Agens 111 he enters rave scene with live visuals and video collabs with various dj-s and venues.

FB / IG / YT: @agens111

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↑ 0118 – Medi S. (Spiegelberg) [Switzerland] – xerox message 202409 [2024]

This video is an abstract exploration of analog synthesis, combining patterns, colors, and shapes that intermittently suggest objects and evoke a spatial atmosphere. The visuals are the result of an improvised session, where I was experimenting with live visuals using both analog and digital synthesizers. The piece captures the unpredictable nature of analog processes, with shifting patterns that create a sense of organic movement. While initially recorded as a test for further post-production, the footage took on a life of its own. The accidental inclusion of a radio podcast that I was listening to during the process became an unexpected soundtrack element, turning what was meant to be a silent draft into a layered audiovisual piece. This unplanned fusion of visuals and sound highlights the spontaneity of creation and the beauty of chance, where what begins as a mistake becomes an integral part of the final artwork.

Medi S. (Spiegelberg) [Switzerland]

Medi S. (idem) is an analog avatar, operating at the intersection of video art and cultural work. As a multidisciplinary cyber artisan and advocate of “poor culture,” Medi explores altered images, transforming them into vibrant frames and ever-evolving colorful patterns. His approach emphasizes anonymity, invisibility, and ephemerality, principles that deeply shape his artistic actions.

With a focus on collaboration and shared creative processes, Medi is part of organizations that brings together members for collective projects, including video production, audiovisual performances, drawing, stage design, website development and online platforms. These collaborations are central to his practice, enabling a multidimensional exploration of the visual arts and moving image.

Among his artistic work, Medi is an active member of the independent art offspace Indiana in Vevey (CH).

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↑ 0119 – Patrick Lichty [United States] – Personal Taxonomy [2019-]

Personal Taxonomies is a multi-year project aimed at my attempts to use Machine Learning and GANs to explore Chomsky’s notions of Deep Structure, using large bodies of my own work to find internal consistencies in my brain’s functioning. According to Chomsky, linguistics comes from patterns in humans’ brain physiology – in a way, a predisposition to language. After seeing work by neurologists selling to reconstruct what is seen by analyzing brain scans, I wanted to do the same using machine learning systems and large bodies of my own paintings. If I can get a machine learning system to find the inner consistencies or “patterns” in my own mind through analyzing large bodies of my work, perhaps I can cross-compare two sets of these AI-bases analyses against one another to show the “deep structures” of my brain when creating these works.

Patrick Lichty [United States]

Patrick Lichty is a multifaceted artist known for his work in various technological media. Born in Akron, Ohio, in 1962,. His career spans over three decades, during which he has established himself as a media artist, writer, curator, designer, and educator.
Lichty’s artistic practice explores the impact of media and technology on society. He has an interest in augmented reality (AR), virtual reality (VR), generative and telecommunications art, and machine drawing. His work critically examines how media shapes human perceptions of reality. He was a CalArts/Herb Alpert Fellow and exhibitor at the Whitney Biennial.

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↑ 0120 – Aaron J Juarez [USA] – Let the Tears Fall Again [2016, 2024]

source: early (2016) generative experiment, expressing the range of 255 rgb color mixing, then iterated with tiling algorithm; later (2024), glitched in webp format, using my byte shift technique, conserving information yet allowing data cascades to manifest.

Aaron J Juarez [USA]

Aaron J Juarez is a Mestizo (Native, Hispanic) American, and as an interdisciplinary artist and researcher, his work explores the intersection of digital structures, experimental processes, and natural phenomena. They have developed works across various media, including still imagery (digital and analog prints), video, 3D modeling, and live coding. Having established the framework of “glitch serendipity,” Juarez subverts conventional information pathways to uncover hidden layers of meaning. His approach to interacting with digital structures reflects his background as both an artist and scientist, and the works challenge traditional boundaries of the organic and digital worlds. He has earned the MFA in Electronic Arts, and recently pioneered “glitch-tone” prints at the Institute of Electronic Arts at Alfred University. Juarez continues to push the limits of digital art while reflecting critically on interpretations and valuations between science, art, and humanities.

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↑ 0121 – Anna Alexanina [France] – our aim is wakefullness our enemy is dreamless sleep [2024]

A digital automatic writing self-constructing piece manifesting one of the most infamous XX century counter-culture epigrams. The multilayer random edit of the commercial CGI video absorbing anything placed on it to wake from a troubled dreamless sleep.

Anna Alexanina [France]

Anna Alexanina is a multimedia artist currently residing in Paris, France. In her art practice Anna mostly adress the themes of the construction of the reality perception, historical and cultural processes reflection, reasons and consiquences of the inequality and bigotry. Her preferred mediums are video and all kinds of multimedia experiments including traditional and contemporary techniques such as computer graphics and sound art.

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↑ 0122 – terrafold_ [Budapest, Hungary] – Chromatic Shatter 01 & 02 [2024]

These works delve into the intersection of technology and identity through pixel art. Through the use of various glitch art tools, these pieces are an abstract representation which explores the theme of digital decay and the transient nature of digital media in the process of deconstruction of identity in the digital age.

terrafold_ [Budapest, Hungary]

terrafold_ is a Hungary-based glitch artist pushing the boundaries of digital art through abstract, psychedelic, and dark themes. Her style blends vibrant moods with deep contrasts, creating immersive visual experiences. Known for vivid layers of texture and glitch effects, her work strikes a balance between chaos and harmony.

With a passion for intricate workflows, terrafold_ utilizes various digital tools and techniques to explore color, texture and distortion. Her pieces are defined by deep contrasts and exceptional glitch effects, resulting in thought-provoking and visually striking compositions.

In recent years, she has expanded her artistic vision to include portrait glitches, exploring the human form through distortion. This new direction adds complexity to her already diverse body of work.

Embracing the unpredictable nature of glitch art, terrafold_ challenges conventions, fusing chaos and control to create emotionally charged, visually stunning pieces.

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↑ 0123 – niky [USA] – outSide [2024]

Niky Reynolds employs a range of digital techniques, preferring to use computer coding software and digital home videos to experiment with timing, contrast, and repetition to create new visual rhythms.

Her work often features abstract and fragmented imagery, where the interplay of light, movement, and sound invites viewers to experience familiar scenes in unfamiliar ways. By manipulating these elements, Niky explores how synchronization and dissonance can shift perception, creating spaces that blur the line between reality and digital art. Her pieces invite audiences to interpret the flow and distortion of time, providing immersive, interactive experiences that challenge traditional boundaries in visual storytelling.

niky [USA]

Niky Reynolds is a new media artist with a BFA in New Media from the University of Illinois Urbana-Champaign. Her work delves into the unexpected patterns and rhythms that arise when images and videos are layered and transformed through digital manipulation. By exploring the nuances of timing, texture, and contrast in her visuals, she creates immersive experiences that challenge conventional storytelling and viewer interaction. Her innovative approach encourages audiences to engage deeply with the work, uncovering new meanings in the interplay of images and effects.

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↑ 0124 – Gahon C. [台灣] – 「山水・樹的Ｘ光片」 X-ray Captures on 'THE threes’ [2024]

The video footage originates from my recordings in the wetlands of Yilan, Taiwan. Through post-production, the landscape imagery was processed and restructured using the concept of “X-ray,” deconstructing and transforming the dynamic video into static visual captures.

影片素材源自我在台灣宜蘭濕地的錄影，經過山水意象的畫面處理，加上「X光」的概念重構，把動態影像分解、轉化為靜態的視覺捕捉。

Gahon C. [台灣]

I am a visual artist based in Taiwan, primarily working with painting, performance video art, and cross-media artistic creation. I enjoy transforming everyday photos from my phone into different forms of art, simply for the fun of it. However, when it comes to sharing these works, I often feel an invisible pressure, thinking they aren’t ideal enough to be published. As a result, they accumulate on my phone as unfinished works, like failed attempts. Through the comparison between released and unreleased works, I explore the contrast between success and the experimental stage, reflecting on how a project moves from uncertainty to clarity during the creative process.

我是一位居住於台灣的視覺藝術家，創作媒介涵蓋繪畫、行為錄像藝術等跨媒介藝術表達。我喜歡將日常手機中的照片轉化為不同形式的藝術，僅僅出於樂趣。然而，在分享這些作品時，我常感受到一種無形的壓力，總覺得它們尚未達到理想狀態，因此它們堆積在手機裡，變成未完成的作品，彷彿是失敗的嘗試。這些未公開的作品與已發表的作品之間的對比，揭示了成功與實驗階段間的差異。我希望通過這些對比，探討作品在創作過程中從不確定走向清晰的轉變。

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↑ 0125 – FLAG [HR] – TTK2023 [2023]

“TV WALL was an exhibition and a TV installation of about 20 CRT television screens, which in 2023 presented the works created during the “”FLAG”” artistic residency held in Karlovac in 2023.

FLAG 2023 audio and video materials presented by the installation were recorded by Dina Gligo, Denis Mikšić, Vedran Gligo and Antonio Krstić at the facilities of the Karlovac Turbine Factory under the direction of Zagreb multimedia artist Tin Dožić. Video materials were then edited with different tools (Tomato, HxD, Avidemux, KDENLive) and prepared for publication.

As part of the Fubar exhibition, during Tuesday October 15, a 20-minute one-channel installation variant with a remix of the documentation of the materials created at the FLAG artist residency will be shown.
Mid-screening of the loop, starting at 6pm, the authors and organizers will make an introduction into the methods and motives of FLAG, and hold a talk with the visiting audience.”

FLAG [HR]

“”free-libre_art_-_glitch”” program of artistic residencies is organized by KA-MATRIX – association for social development and artistic organization Format C within the framework of the New Culture_Hybrid City 023 program and the Fubar project, with the support of the Kultura nova Foundation, the Ministry of Culture and Media of the Republic of Croatia, Karlovac County , the City of Karlovac and the City of Zagreb.

filming management: Tin Dožić
filming: Dina Gligo, Tin Dožić, Denis Mikšić, Antonio Krstić
audio processing: Dina Gligo, Tin Dožić, Denis Mikšić, Bobo, Vedran Gligo
video production: Denis Mikšić
audio programming: Vedran Gligo
exhibition: Denis Mikšić, Dina Gligo, Vedran Gligo
production: KA-MATRIX and Format C

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↑ 0126 – Sunčica Škornjak [HR] – Računalo (ne)čuva moja sjećanja [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives?
During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Sunčica Škornjak [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024.
Mak Ratković Rajhvajn: “Trip”, 2024
Katarina Jelčić: “Kvartovska kugla”, 2024.
Viktor Rasol: “random”, 2024.
Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

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↑ 0127 – Mak Ratković Rajhvajn [HR] – Trip [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives?
During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Mak Ratković Rajhvajn [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024.
Mak Ratković Rajhvajn: “Trip”, 2024
Katarina Jelčić: “Kvartovska kugla”, 2024.
Viktor Rasol: “random”, 2024.
Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

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↑ 0128 – Katarina Jelčić [HR] – Kvartovska kugla [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives?
During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Katarina Jelčić [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024.
Mak Ratković Rajhvajn: “Trip”, 2024
Katarina Jelčić: “Kvartovska kugla”, 2024.
Viktor Rasol: “random”, 2024.
Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

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↑ 0129 – Viktor Rasol [HR] – nasumi;no [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives?
During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Viktor Rasol [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024.
Mak Ratković Rajhvajn: “Trip”, 2024
Katarina Jelčić: “Kvartovska kugla”, 2024.
Viktor Rasol: “random”, 2024.
Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.

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↑ 0130 – Lovro Ivanišević [HR] – Error 1998 [2024]

The film mistake has always been one of the foundations of fine art experimentation and artistic expansion. Starting with unusual cuts of analog film and animation, through the popularization of magnetic tape and the temptation of cathode-ray televisions – artists have always found a way to mirror the materiality of the medium itself in their work. But what can film materiality be in today’s almost completely digitized age, and how can ubiquitous video clips be related with previously known film narratives?
During the “ARCHIVE, MEMORY, GLITCH” workshop, the content of the CinEd digital platform was available to the participants for review, reference and work – three short, experimental, hybrid films from the collection Croatian films Part 2. The participants also used personal archives of video, image, written and/or sound recordings for their work, and created their own short experimental film by collaging various materials.

Lovro Ivanišević [HR]

Film authors:

Sunčica Škornjak: “The computer (doesn’t) save my memories”, 2024.
Mak Ratković Rajhvajn: “Trip”, 2024
Katarina Jelčić: “Kvartovska kugla”, 2024.
Viktor Rasol: “random”, 2024.
Lovro Ivanišević: “Error 1998”, 2024.

The workshop program was led by Format C Artist Organization and organized by the Association Shadow Casters as part of the CinEd project and the Frooom! film school, with the support of Creative Europe MEDIA, the Office for Associations of the Republic of Croatia, the City of Zagreb Office for Culture and Civil Society, and HAVC.