keyboard usersuse the left and right arrow keys to navigate between individual artworks.
touch screen usersswipe left and right to navigate between individual artworks.
clicking or touching the description box will bring it to the foreground to be more easily read. clicking it again will push it back to the background again.
clicking or touching the view button will allow you to view the actual artwork. while viewing, a back button will appear in the upper right corner of the screen that will take you out of the viewer and back into navigating between artworks. you can navigate between individual images or gifs (or in the case of deviltown, video screens) using the same method of navigation mentioned above for your device.
clicking or touching the background of the navigator will change the positioning and styling of all the boxes on the page. a good way to make things at least temporarily more readable and also loads of fun!
to exit this help screen, click or touch on the background outside of it. to go back to the main help menu click on the help bar above.
when we see a digital image, we are truly seeing a simulacrum, a collection of pixels formatted to trick the eye/brain of the observer into forming an impression of the real. it is only through the malfunction of this system, the glitch, that the true material reality of the image can be revealed. the embrace of the mistake or failure represents a powerful gesture in a culture obsessed on maintaining the image of success (even if this image is built on the reality of deep precarity). in fact, the aesthetics of glitch, as a striving towards the real of the digital, in many ways parallels the romantic turn towards nature in response to a new enlightenment of techno-utopic accelerationism (often obliquely referred to by digital art's obsession with water and fluidity), but the pastoral landscapes of glitch are fallen landscapes, haunted by the spectre of their own destruction.
the work in g͠lͮi̔t᷾c̝h̳ invites the viewer to explore these ideas through the machinic gaze of the cyborg. a gaze that is able to see multiplicities of perspectives superimposed on top of each other, distinct and intermeshed simultaneously. a gaze that sees outside of time and linearity into a world of simultaneity and speed. a gaze that does not seek to build complete coherence out of raw visual information. the gaze that privileges ambiguity and fluidity. a gaze that is aware that even the distortions are distortions.