Mark F Beasley Rearranging hex src of a chiptune on 27 March 2011

from the archives of my d1Ɍ+y̶ ̶N̶3WWW_M3DI∆ / 新污媒體; the Unstable Arts now known as Glitch Art / 當機藝術; yesterdaze was vry #glitch’y…

in my automajikal memories machines, a system of, series of, feeds:


“The artists invited to this exhibition view the phone as a studio, workshop, publisher, and exhibition space. They use small devices as a medium of expression. They work with desktop & mobile apps, and use the same principals of composition that are important in traditional media, including: line, color, texture, shape, tone, form, space, and depth.

Some of the artists have exhibited their work publicly in galleries & museums. Others are almost exclusively digital artists, and rarely show their work outside of online media. Many of the artists work in abstract visual modes, and some work with contemporary poetry, ringtones, or experimental sonic performances.”

Curated by Peter Erickson

“ARTISTS on view, from Philadelphia, Berlin, London, NY, Chicago, Baltimore, and Minnesota:

Kim Asendorf
Nadia Botello
Alfredo Salazar-Caro
Margot Bowman
Thomas Pregiato
Dina Kelberman
Eva Papamargariti
Sandra Gramm
Patrick Koziol
Patrick Quinn
Tyler Kline
Yoshi Sodeoka
Lee Tusman” — Little Berlin

“Having a 2 sec ,selfie lay down in @thehundreds wozniak pullover . Comfy asfuck” — Monami Frost
#gritch ist knot #glitch // #gritchArt — at Miller’s Pub.
Karl Klomp in #CHI #now. #INTENSITIES

“mastering malfunciton” “characteristics of imperfection” && “humanizing affects” w/ Karl Klomp #now

“The Machine Plays Itself” — Karl Klomp on #refunctmedia / @recyclism in #INTENSITIES #now

“Share your glitch art with others or come to observe the artistic chaos. Expect to see a bit of everything; executable/artware, digital poetry, animated gifs, data-bent-psychedelia and the retro-nostalgia of pixel art. Glitch enthusiasts are invited to physically bring their error-prone data or upload their corrupted, hacked, or otherwise mis-haped files via 0P3NR3P0.NET. This event is organized in collaboration with Nick Briz, an artist currently based in Chicago. — at Museum of Contemporary Art Chicago.” — Museum of Contemporary Art Chicago (4 March 2013)


&& the once open repo is nowww only a memories. radically open in another, unintended way, (not so much unintended as in glitch / Glitch Art, but rather as in the configurations of the complex human-techno-social complications that make Dirty New Media dirty… ) this project is (ironically) archived && only accessible in fragments via the closed sources of Facebook systems (that @ least 01 of the organizers/developers of the 0p3nr3p0 for Glitch Art) famously left. #THIS is the dirtiness of Dirty New Media, that anticipatory pre-glitch state that stretches now through and into these #postglitch moments && memories of hologram roses in new hotels, dead channels tuned to static skies above the ports.



“the glitch as something to aspire to.” — Hito Steyerl

“digital practice is constituted — like perhaps any technology — by malfunction” —Hito Steyerl

“Whoever is an image is an object.” — Hito Steyerl

“Error establishing a database connection” — http://blipfestival.org/2011/

SYS.TE/M FAIL.¢URE — Shauna Jean Doherty (27 March 2014)
“Wednesday, April 16, 2014

“SYS.TE/M FAIL.U+RE: Revelations of the Interface

An OCAD University Thesis Exhibition curated by Shauna Jean Doherty and Feauring Glitch Video Work by: Nick Briz, Jennifer Chan, Adrienne Crossman, and Ezra Hanson-White

2186 Gallery, 2186 Dundas St. West, March 28th — April 2nd 2014

The exhibition SYS.TE/M FAIL.U+RE investigates the increasing invisibility of the technology that surrounds us. Four new media artists, Ezra Hanson-White, Jennifer Chan, Nick Briz and Adrienne Crossman use the digital interface as their subject in these experimental glitch video works, critically considering the implications of technological pervasiveness and its increasing transparency. Through the appropriation of software imagery and computer glitches these artists disrupt the conventional representation of digital information. They effectively suggest alternative perspectives and modes of expression in a world saturated by technology designed to go undetected.” — Shauna Jean Doherty

*gif by Anthony Antonellis



Curated by Alfredo Salazar-Caro

“Rigidbody components take control over an object’s position — it makes the objects fall down under the influence of gravity, and can calculate how objects will respond to collisions.”
-From Docs.Unity3d

RIGID_BØDIES is an exploration of data as the marble of the 21st century. This exhibition is a brief showcase of international New Media artists working in digital sculpture.

Featuring Works by:
∰Kim Asendorf
∰Sara Ludy
∰Nick Kegeyan
∰Anthony Antonellis
∰Kevin Carey
∰Sua Yoo
∰LaTurbo Avedon

  • gif by Anthony Antonellis”
“America’s edgiest sweetheart… the small-town Lolita who — … to be the object of desire.”

YUNG PH∆R∆ØH (Kevin Carey)
See translation — at Glitch Art 0P3NR3P0.NET Share Fest. (19 March 2013)


“We exist within a built environment that is constantly mediated by the grid. Grids organize space through coordinate mapping and patterns of development. Grids compress, redisplay, and reorder information. Grids are an enforcement system imposed upon both nature and culture.


A Bill Miller’s ‘Gridworks’ is an ongoing body of work that includes drawings, collage, video and 3D compositions of text-based characters — a selection of new drawings will be presented in this solo exhibition, along with the third in his series of vinyl ‘wall drawings’ + video, browser-based, and other textual works.” — Gridworks: A solo exhibition by A Bill Miller @ TRANSFER Gallery (April 13th — May 4th)

ƒRØM MARCH 28… ¥3§𐌕3̶Ɍ̶Ɍ̶Ø̶Ɍ̶z̶:Ð▲ƵΞ̶____ģ̶Ł̶1̶ɫ̶C̶ʮ̶’¥ — jonCates,