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2025 Glitch Film : Session #1&2/Scripts_and_Parameters
This event is part of the Glitch Film from the Fubar Archive event on Mondays, December 22 & 29 2025, both starting at 5 PM @ Klub MaMa Zagreb.
In addition to the video screenings, visitors will have the opportunity to explore the parametric data structure and diverse multimedia content of the Fubar archive (join here), which will be made available to the wider public in the coming period as an interactive archive of recent digital experimental art.
PARAMETRIC EXPERIMENTS
On Monday, December 22 from 5PM to 9PM, Fubar directors Dina Gligo and Vedran Gligo will present their archival collection, and will host a discussion with the audience and artists at 7PM (CET).
5pm — selection by Dina Gligo
Leandro Estrella [AR/IT] : rouse [2016, 03’13”]World Wide Basement Vibes [US] : Cache Scratch Fever Dream [2021, 07’38”]Paloma Kop [US] : Magnetic Field Recordings [2021, 24’43”]crash-stop [IE] : Safe as houses [2021, 33’23”]Eric Souther & Andrew Deutsch [US] : Exponential Growth [2021, 13’06”]Debora Bernagozzi and Jason Bernagozzi [US] : Ritual for Synthetic Media [2023, 18’43”]
Leandro Estrella [AR/IT] : rouse [2016, 03’12”]
Digital video, then cutting and looping, then datamoshing with Way Spurr-Chen’s Moshy, then re-cutting and re-looping, then exporting, then the end.
Alexis Leandro Estrella is an emerging artist, particularly prominent on the European scene. He works and experiments with a plurality of materials and media, tending to the exploration of new technologies, which he adds to his artwork. In recent years, his artistic research is based on the paradoxical relationship between creative destruction and destructive creation, which he articulates with other subjects such as time and memory.
World Wide Basement Vibes [US] : Cache Scratch Fever Dream [2021, 07’38”]
CSFD is an evolving real-time visual effect network that ingests multiple audio sources and dynamically deconstructs video input. The spine of the design revolves around a frame cache of up to 6000 images, and each input controls the playback speed and direction of a randomized moment in the constantly recording buffer memory. Not only that, but audio signals control hundreds of parameters and switching logic to keep the experience interesting to both the audience and the artist.
World Wide Basement Vibes is an analog & digital glitch artist based in Minneapolis, MN who is actively developing tools for and techniques for TouchDesigner and VHS era analog video bending. My most current output is a self oscillilating visual experience 100% controlled by incoming audio signals.
Paloma Kop [US] : Magnetic Field Recordings [2021, 24’43”]
Vector synthesis using Oscilloscope Graphic Artist, Phosphorm, and modular synthesizer, rescanned from Leader oscilloscope using a digital camera. Combined with footage shot Brooklyn, upstate New York, Chicago, and Central Asia from 2015-2020. Sounds were produced using the same signals used in the oscilloscope, combined with radio receivers and processed through granular resynthesis and effects. The resulting composition is a hybrid space combining the environment’s imagery and solar radiation with electronically produced signals and transmissions. We scan through various morphing geometric forms and drifting radio signals, exploring the harmonics and textures.
Paloma Kop is a video and sound artist using feedback, electronic hardware, and hybrid media processes to produce compositions, installations, and performances. She deconstructs the boundaries between material space and electronic space, and is interested in the universalities between natural phenomena, computing, and chaos. She holds an MFA in Electronic Arts from Alfred University and has performed at venues such as Ibrida*Pluri Festival, Transient Visions Film Festival, and Ambient Church.
crash-stop [IE] : Safe as houses [2021, 33’23”]
Using the desktop and ffplay and ffmpeg to create a feedback loop between movable windows and pre-prepared video.
crash-stop is an artist living and working in rural Ireland.
Eric Souther & Andrew Deutsch [US] : Exponential Growth [2020, 13’06”]
The exponential growth of the human race, capitalism, and climate change reveals a system on the brink of failure. The ongoing global epidemic COVID-19 has tipped those scales into the red, putting millions at risk. This crisis has made it clear that America needs to rethink its economic practices and nationalize health care. COVID-19 has become the glitch in our system that requires us to step back and question the frameworks we have in place. To consider new pathways for future political, social, and economic realities.
The glitch was created by creating a virtual network for streaming video out and back into the same system. The glitches occur by throttling the networks bitrate and creating a feedback loop by taking the in back to the out. These glitches are similar to slow internets effects on streaming services like Netflix. Streaming services claim they provide you with 4k HD video, and the pixels within that resolution are present; however, they downsample your images based on your connection speed. I cannot help but make correlations to the promises of capitalism and the bootstrapped picturesque life of exponential growth and prosperity.”
Eric Souther is a new media artist who draws from a multiplicity of disciplines, including anthropology, linguistics, ritual, critical theory, and New Materialism. He develops video instruments that investigate technological & cultural ecologies, agency, and emergence. He looks for new ways of seeing beyond the seductive qualities of an image, and to find unseen connections that help us understand our digital and non-digital existence. His work takes many pathways, which include single-channel video, interactive installation, projection mapping, print, virtual reality, and audiovisual performance.
Deutsch was born in Keene, NH, and received his BFA in Video Art and Printmaking from Alfred University in 1990. He obtained his MFA in Integrated Electronic Art from Rensselaer Polytechnic Institute in 1994. Since 1998 Deutsch has released over 14 CDRs of solo electronic music on his Magic If Recordings label. Each Magic If edition showcases his experimental music and graphic art and is distributed exclusively in the United States by Anomalous Records. He has collaborated with various artists, including: Harald Bode (posthumously),[1] Tetsu Inoue, Pauline Oliveros, Ann Hamilton, Joseph Nechvatal Tony Conrad and Stephen Vitiello. His collaborative piece Empty Words 4 with John Cage and Yvar Mikshoff has been accepted into the limited archives of the John Cage Trust. There are re-mixes of Deutsch’s CD Garden Music on Oval’s OvalProcess, and Microstoria’s Improvisers.
Debora Bernagozzi and Jason Bernagozzi [US] : Ritual for Synthetic Media [2023, 18’43”]
Live Video Processing by Debora Bernagozzi
Custom Software (SC Frame Buffer), Google Earth Hacking, Sound by Jason Bernagozzi
“Ritual for Synthetic Media” is a single channel video recorded from a live video and sound performance by Debora and Jason Bernagozzi.
Debora (Notes toward a statement):
When I live process video, I’m not working from a rehearsed performance or simply performing a set of effects, I am feeling that video on a deep, physical level, and – combined with a solid relationship with my tools enabling nuanced expression – take both myself and the viewer into the video, experiencing it, embodying it, and emerging. Through the processing, I am further exposing the ephemeral qualities of signal and matter, while recombining the imagery to create new worlds, new energies. In these performances, Jason’s sound affects my experience of the video, and my visual responses to that affect his sound choices. We are traveling in the space of the media together.
Jason Bernagozzi is an artist whose work examines and critiques the codes embedded within the psyche of media culture. He is currently an Associate Professor of Electronic Art at Colorado State University. Debora Bernagozzi works primarily with the mediums of video, photography, and fiber. Their work has been exhibited in the US and internationally, including at the Denver Art Museum, Burchfield Penney Museum, Ann Arbor Film Festival, and the Kuala Lumpur Experimental Film and Video Festival. Jason and Debora are also a co-founders of the experimental media art non-profit organization Signal Culture where Debora serves as Executive Director.
8pm — selection by Vedran Gligo
Fubomatic video.py is a script for the random selection of video files from a specified directory. It assembles and saves a playlist of a defined total duration, with the option to filter works via a CSV file containing permissions, exclude specific entries, and generate title videos (“legends”).
python fubomatic-video.py /run/media/v3d/4TBSSD/00_FUBAR_ARCHIVE --run \
--target-minutes 30\
--min-minutes 7\
--max-minutes 10\
--omit-dir raspi --omit-dir credits --omit-dir 00_apply.fubar.space+cloud\
--csv-allow 2015-2024-FUBAR_ART-tags-videi_s_privolama.csvDaria Gnatchenko [FR] : Muscae volitantes [2024, 07’26”]Death Orgone [CA] : Acceleration Trilogy [2022, 22’18”]Amanda Marina Stojanov [US] : Your Choice [2019, 09’47”]Jason Bernagozzi [US] : Dialectic [2021, 08’33”]
Daria Gnatchenko [FR] : Muscae volitantes [2024, 07’26”]
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 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.
Death Orgone [CA] : Acceleration Trilogy [2022, 22’18”]
These three short films (Flesh Intolerance, Eternal Craving of Neon Limbonic Climax, CODE-><-VIRUS) explore themes of accelerationism, hyperdeath, pedagogy, posthumanism and body horror. They served as exploration before my last experimental documentary, Drug Porn, and my new path in my experimental video games. I explored and mixed several glitch and digital techniques including pixelsorting, datamoshing, 3D, etc. Glitch acts for me as a sculpting and twisting and torturing of the breached files until the meaning of the material changes completely towards possibilities beyond mathematical logic. I search for the eeriness generated from the mutilation of the image that’s absolutely hypnotizing, especially with that type of material. It’s letting the iterative process take control: chance, serependity and the creative strenght of pure noise as a concept. All in all it’s as, if not more (in my own opinion), relevant than chemical alteration of celluloid.
Death Orgone — Frédérick Maheux is a multimedia artist whose main interests are emergent subcultures of the digital age, eschatological futurology, and speculative realism. Beside his work in experimental and documentary cinema, he creates noisy video games, produces industrial music under the name Un Regard Froid and practices the art of analogic collages. He is currently a doctoral student at UQAM in the communication department working on underground video games creation and their potential as epistemic objects.
Amanda Marina Stojanov [US] : Your Choice [2019, 09’47”]
Your Choice is a video and animation piece that visualizes a fictional world. It is an introduction to a world by a woman’s voice, processed in a way to feel post-human, disembodied from anything they might hear IRL (In real life). The voice is speaking directly to the audience asking them to make a choice. Their ability to make this choice is never fulfilled and they are instead taken on a journey by a human voice. The images of the bodies in the film are 3D scanned from two women interacting, using 3D scanning technology. The animation and textures imposed are reminiscent of other cyborg representation of women in artificial intelligence and science fiction narratives. This video addresses the issues of gender representation in uses of technology. Physical powers of the body are manipulated through the scans by exploring the translation of real bodies into emerging technologies and then into popular media outlets.
Amanda Stojanov is an artist, educator, and activist. Her work explores storytelling through multi-tech platforms including VR, immersive audio/visual projection, and animation amongst others. She has worked with design teams in large design studios, independent agencies, non-profit organizations and continues to work as a freelance art director and designer. She has exhibited her work in California, Budapest, and Linz. Amanda has previously worked as an educator at Art Center College of Design, and UCLA. She is currently an Assistant Professor at Monmouth University, Long Branch.
Jason Bernagozzi [US] : Dialectic [2021, 08’33”]
Datamoshing & Frame Buffering using a custom made flicker system with variable control. All done real-time in one take.
Jason Bernagozzi is an artist whose work examines and critiques the codes embedded within the psyche of media culture. His work uses the real-time features of video and electronic media as a way to engage with interdisciplinary concepts as a dialogical system of emerging languages. He is particularly interested in the potential of non-human agents as collaborators in the artistic endeavor as a way to explore new concepts that exist outside the sphere of human assumption and logic. Bernagozzi’s work has been supported through numerous grants and awards from organizations such as the New York State Council for the Arts and the New York Foundation for the Arts and has been exhibited nationally and internationally at exhibitions such as the European Media Art Festival in Osnabruk, Germany; the Festival Les Instants Vidéo Numériques et Poétiques in Marsaille, France; the Ilman Museum of Art in Seoul, South Korea and the Currents New Media Festival in Santa Fe, New Mexico. Jason is also a co-founder of the experimental media art non-profit organization Signal Culture. Since 2014, Signal Culture has given residencies for over 260 artists, toolmakers and researchers from 16 countries and 30 states. Bernagozzi sees Signal Culture as an extension of his practice, facilitating the opportunity to hack, program and reimagine the purpose of various technologies in a fluid, real-time studio that encourages cross disciplinary investigation and a critical relationship to mass media. He is currently an Associate Professor of Electronic Art at Colorado State University.
The Film Program from the Fubar Archive: Glitch Film production is supported by the City of Zagreb and the Kultura Nova Foundation.
