In Digital TV Dinner, the glitches have been forced, by the unexpected removal of the game cartridge. Betancourt (2017: 35) continues by saying that this ‘unanticipated imagery…have become a standard part of the visual language of media art generally.Read More
Whilst I was researching about how to intentionally glitch digital images, I came across the term ‘data bending’. Basically, this means opening a file in a piece of software which it wasn’t meant to be used for. For example, using Audacity, which is a sound editor, to open an image file.Read More
Following my tutorial for Assignment 4, I had been trying to set Photoshop to save an image multiple times, so that it can become corrupted. However I couldn’t find out how to achieve this.
After taking so much care to protect my images, I found it ironic that I was now trying to ruin my images!
Whilst watching TV, I noticed how sometimes the signal was broken, causing the screen to pixelate and glitch. Intrigued, I began to wonder how I could purposely create the same effect with my images.
By opening a jpeg in Text Editor on the Mac, I was able to see rows and rows of characters. The software had interpreted the image into text. Therefore, by copying, deleting and inserting more text, I was able to manipulate the image above.
As well as randomly typing text, I have started to think about inserting specific text, such as song lyrics and quotes. I am planning to develop this approach further.
My understand of the file is that the top of the text related to the top of the image. There is also a header and footer which contain meta data for the entire image. Subsequently, I must avoid deleting or altering that information.
The above image has been taken from Paul Graham’s photo-book ‘Films’. At first glance the viewer could mistake it for some kind of on-screen digital interference. However, it is in fact created from photographic film. The abstract dots and blurred colours are a result of Graham zooming into the film. By doing so, he has created a new version of the image.
Daniel Rubinstein and Katrina Sluis (2013) base their two conceptions of the image on how photography is represented in two films: Titanic and Memento.
In the penultimate scene in Titanic, the photographs that appear beside Rose on her death-bed illustrate significant moments from her life, ordered chrologically after surviving the sinking of the Titanic. If a person's life could be retold in sentences, then the photographs would be the full stops, exclamation marks and question marks. They represent significant, memorable events which can be viewed and compared with each other, chronologically.
Meanwhile, Memento includes a series of polaroids, to help Leonard, an amnesia sufferer, identify his wife's killer. The photographs give Leonard 'points of access that allow movement from one temporality to another' Rubinstein and Sluis, 2013: 23). Instead of one chronological route through the photographs, there is a multiplicity of storylines.
Photo albums enable us to organise and catalogue photographic memories. If they are stored in a physical album, then they will usually be in chronological order. This enables the viewer to move forwards and backwards through time. Meanwhile, photographs which are stored digital are able to be accessed in a multimodal fashion. This can include clicking on links for different categories or typing in keywords to retrieve images with a corresponding tag. Furthermore, 'Timehop', on Facebook, pushes images taken in previous years. Distant memories are brought to the forefront of a person's thoughts.
Rubinstein and Sluis (2013) refer to photography as a 'two-faced Janus', because it points in two directions. Firstly, one side faces the 'real world' people, places and events, transforming them into a two dimensional object. Meanwhile, the other side faces the repetition and reproduction of those photographs.