SuperBoob XXXviii

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Errorism: A glitch art Man Fest I/O of the Decodent Perverse

imports.

declarations.

glitch creates works of art in the age of digital transmission, a digital analog to pop where mechanically degrading the signal produces original errors of reproduction. (we are the Andy Warhol of the Internet)

glitch proclaims lets all make mistaks, turn every error into an err or: an aesthetic intervention by the cosmos opening possibilities for new aesthetic phenomena.

glitch injects excess noise into information science, physically intervening in the channels of communication to mutliply Shannon's entropy by the complexity of thermodynamic entropy.

glitch opens a new psychedelia of action- packed mentalism where the minute and subtle interplays of difference and repetition jam up the visuals creating a dizzying effusion of tripping op art effects enhanced by biochemcial pupil dilation.

glitch inverts every loss in reproduction as a gain, where the visual remnants of pixellation, lossy compression and low resolution are celebrated as jagged edge play.

glitch caresses the seedy underbelly of contemporary technoscience to explore the visual materiality of images in online culture, forensically examining the bare backbone of the internet for iconic artifacts of the zeitgeist to produce portrait prints from the googleheim gallery.

glitch perverts the art world, inviting the viewer as voyeur to watch the exhibitionist exhibition of the pleasure of an artist's artgasms achieved through relentless rasterbating.

glitch guarantees provenance by use of body fluids, a dangerous supplement marking the viral marketing of its image virus as a sexually transmitted disease.

glitch revels in the eros after erosion, recalling the eroticization of error implicit when masturbating to digitally scrambled pornographic films on pay-per-view television.

glitch steals its name from glitch techno, a sub-genre of techno music that shares its methods, making bud dub remixes from scratched cds, static, pops and clicks to unleash the ghosts in the machine.

glitch claims the forensically unique signature of a commercial consumer printer as the artistic property of the PBFB by embossing print-outs with our printer's chop.

methods.

continually degrade the signal by decay and decomposition.

digital image => photoglitch => laserglitch => inkglitch => hydroglitch

	photoglitch degrades the signal by breaking off some of its dangly bits, physically truncates the binary file to ensure data loss, then loads it into photoshop where the broken image causes the program to malfunction, misbehaving erratically to bend its tools to unpredictable functions in an abuser interface of abject oriented programming whose spasmodic crashing breaks images into their constituent rgb and cmyk colour channels, layered as transparencies, resized, recoloured, and remixed in increasingly chaotic fashion.
	laserglitch degrades the signal by transforming the larger rgb colour space of the projected screen to the smaller cmyk colour space of the printed page, obscuring differences between saturated colours.
	inkglitch degrades the signal by printing past the usefulness of an ink cartridge, the image's discrete square pixels smeared into a decayed product of wispy continuous horizontal streaks. hydroglitch degrades the signal by dissemenating authorship guaranteed by the hand of the artist, who jerks off to stain the digital materiality of the image with a genetically verifiable watermark digitally finger-painted on sticky pages.