Author Archives: Lindsay Cox

About Lindsay Cox

Lindsay Cox Biography In addition to his own practice as an independent animator as a community artist he has facilitated many animation, short film and live performance projects with diverse community groups of all ages. As an animator working in a mixture of traditional and new techniques he has had work broadcast on the Comedy Channel, Channel 31, SBS TV, ABC2 TV and SBS and ABC websites. Recently he worked as Props and Set Construction/animation assistant on the Adam Elliot stop motion feature film ‘Mary & Max’. Currently working on main project at Footscray Community Arts Centre in the ‘Artlife’ program’ working with People with disabilities to create a surreal comedy TV series pilot that employs animation, live action and composited video.

A debased descendent in a spectatorship of death.

Essays and musings on Glitch including writings from an Exegesis submitted by Lindsay Cox April 2009 as a component of a  Master of Arts by Research Project (Animation and Interactive Media), School of Creative Media, RMIT in Melbourne. NB: Footnotes … Continue reading

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The material and the immaterial Glitch.

However, my own definition of glitch as “an error or undesired artefact in audio visual media arising from software or hardware manipulation” implies a ‘real time’ experiment where the conditions for glitch are created yet little more than a small degree of control is achieved. The essential nature of the glitch is that it is not controllable and at the point the glitch becomes a repeatable experiment, or an operator becomes a virtuoso in the methods of production of any specific glitch it has become something else – an ‘effect’. Continue reading

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The Economies of Analogue and Digital Glitch hiking.

Over 100 years later the situation has changed little. In 2008, the independent post- production firm ‘Company 3’, who offer all-digital post-production color correction encountered “tremendous opposition in Hollywood” to their services. Digital onlyprocesses manipulated on licensed software systems, threatened studio control over the product. The mutable nature of the ‘image as data’ and the decreasing cost of digital systems enabled an escape from the restrictive in-house systems of the large players. Continue reading

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A History of the Glitch

Each generation of electronic visual media technology brings new modes of recording, delivery and display and each of these modes offer extensions of the language of aesthetic expression available to the artist. Media artists often experiment by modifying hardware and … Continue reading

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The Glitch as readymade: Bricolage

The practice of adding pieces of equipment and various modes of image production together, which William Mitchell, calls ‘electrobricolage’, means that the possibilities for the glitch to exist are multiplied. Electrobricolage creates a present tense in which multiple modes of technologies may co-exist and overlap in chronology. By cobbling together new image producing ‘machines’ the artist creates new combinations of uncertainty – the conditions in which glitch thrives. Continue reading

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Nostalgia and Kitsch: The Glitch as ugly duckling

‘The History of Art is simply a history of getting rid of the ugly, by entering into it, and using it. John Cage Taiwan is a fast changing country, one of Asia’s so called ‘Tiger economies’. At the time of … Continue reading

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