After the glitch: Photographic friction in Lisa Tan’s Dodge and/or Burn | Intellect Skip to content
1981
Photography and the Glitch
  • ISSN: 2040-3682
  • E-ISSN: 2040-3690

Abstract

This article aims to analyse how a photographic interaction, complicated by technical and bodily disruption, entails a productive glitch in the form of systemic friction. The analysis is grounded in artist Lisa Tan’s exhibition in Stockholm (2023–24), with a focus on a central video work. The exhibition’s theme of crisis and transformation guides the analysis within a qualitative framework informed by an art historical methodology of semiotics and phenomenology combined with media and disability studies. This interdisciplinary perspective organizes an account anchored in the artwork’s initial capture and exhibition display. As the glitch is redefined, from a technical error to an embodied experience of systemic friction, the article offers an innovative take on how both photography and glitch can be conceptualized and deployed. As a result, the glitch emerges as a tool to address today’s dominant sociotechnical systems and their visual underpinnings.

Loading

Article metrics loading...

/content/journals/10.1386/pop_00085_1
2024-03-19
2024-04-29
Loading full text...

Full text loading...

References

  1. Alloa, Emmanuel (2011), ‘Verktyg – skrift – element: Från en fenomenologi om medier till en medial fenomenologi’, in L. Dahlberg and H. Ruin (eds), Fenomenologi, teknik och medialitet, Södertörn: Södertörn University, pp. 11742.
    [Google Scholar]
  2. Andrews, Jorella (2011), ‘The photographic stare’, Philosophy of Photography, 2:1, pp. 4156, https://doi.org/10.1386/pop.2.1.41_1.
    [Google Scholar]
  3. Austin, John L. (1962), How to Do Things with Words: The William James Lectures Delivered at Harvard University in 1955, Oxford: Clarendon Press.
    [Google Scholar]
  4. Barthes, Roland (1980), Camera Lucida: Reflections on Photography, New York: Hill and Wang.
    [Google Scholar]
  5. Betancourt, Michael (2017), Glitch Art in Theory and Practice: Critical Failures and Post-Digital Aesthetics, London and New York: Routledge.
    [Google Scholar]
  6. Butler, Judith (1988), ‘Performative acts and gender constitution: An essay in phenomenology and feminist theory’, Theatre Journal, 40:4, pp. 51931, https://doi.org/10.2307/3207893.
    [Google Scholar]
  7. Certeau, Michel de (1984), The Practice of Everyday Life, Berkeley, CA, Los Angeles, CA and London: University of California Press.
    [Google Scholar]
  8. Cubitt, Sean (2017), ‘Glitch’, Cultural Politics, 13:1, n.pag., https://doi.org/10.1215/17432197-3755156.
    [Google Scholar]
  9. Dodge and/or Burn (2023–24), Accelerator, Stockholm, 16 September 2023–11 February 2024, https://acceleratorsu.art/en/utstallning/dodge-and-or-burn/. Accessed 10 November 2023.
  10. Fedorova, Ksenia (2020), Tactics of Interfacing: Encoding Affect in Art and Technology, Cambridge, MA: MIT Press.
    [Google Scholar]
  11. Flyvbjerg, Bent (2011), ‘Case study’, in N. K. Denzin and Y. S. Lincoln (eds), The Sage Handbook of Qualitative Research, Thousand Oaks, CA: Sage, pp. 30116.
    [Google Scholar]
  12. Galloway, Alexander R. (2004), Protocol: How Control Exists after Decentralization, Cambridge, MA and London: MIT Press.
    [Google Scholar]
  13. Garcia, David (2013), ‘Re-reading de Certeau: Invisible tactics’, Tactical Media Files, 20 May, http://blog.tacticalmediafiles.net/index.php/2013/05/20/re-reading-de-certeau-invisible-tactics. Accessed 10 November 2023.
    [Google Scholar]
  14. ‘glitch, n.’ (2023), OED Online, 3rd ed., Oxford: Oxford University Press, https://www.oed.com/search/advanced/Entries?scope=HistoricalThesaurus&q=glitch. Accessed 10 November 2023.
    [Google Scholar]
  15. Grundell, Vendela (2016), Flow and Friction: On the Tactical Potential of Interfacing with Glitch Art, Stockholm: Art and Theory Publishing.
    [Google Scholar]
  16. Grundell, Vendela (2018), ‘Navigating darkness: A photographic response to visual impairment’, Liminalities: A Journal of Performance Studies, 14:3, pp. 193210, http://liminalities.net/14-3/darkness.pdf. Accessed 28 February 2024.
    [Google Scholar]
  17. Grundell Gachoud, Vendela (2022), ‘Unruly images: The activist visuality of glitches and disabilities on Instagram’, in S. Hartle and D. White (eds), Visual Activism in the 21st Century: Art, Protest and Resistance in an Uncertain World, London: Bloomsbury, pp. 282300.
    [Google Scholar]
  18. Hirschmann, Nancy J. and Smith, Richard M. (2016), ‘Rethinking “cure” and “accommodation”’, in B. Arneil and N. J. Hirschmann (eds), Disability and Political Theory, Cambridge: Cambridge University Press, pp. 26384.
    [Google Scholar]
  19. Iversen, Margaret (2007), ‘Following pieces: On performative photography’, in J. Elkins (ed.), Photography Theory, New York and London: Routledge, pp. 91108.
    [Google Scholar]
  20. Kane, Carolyn L. (2019), High-Tech Trash: Glitch, Noise, and Aesthetic Failure, Oakland, CA: University of California Press.
    [Google Scholar]
  21. Kellner, Therese (2023), interview and personal tour of the exhibition with V. Grundell Gachoud, Accelerator, 26 September.
  22. Kelly, Caleb (2009), Cracked Media: The Sound of Malfunction, Cambridge, MA and London: MIT Press.
    [Google Scholar]
  23. Krapp, Peter (2011), Noise Channels: Glitch and Error in Digital Culture, Minneapolis, MN and London: University of Minnesota Press.
    [Google Scholar]
  24. Manon, Hugh S. and Temkin, Daniel (2011), ‘Notes on glitch’, World Picture, 6, Winter, n.pag., http://worldpicturejournal.com/article/notes-on-glitch. Accessed 10 November 2023.
    [Google Scholar]
  25. Marks, Laura U. (2002), Touch: Sensuous Theory and Multisensory Media, Minneapolis, MN and London: University of Minnesota Press.
    [Google Scholar]
  26. McRuer, Robert (2006), Crip Theory: Cultural Signs of Queerness and Disability, New York: New York University Press.
    [Google Scholar]
  27. McRuer, Robert (2018), Crip Times: Disability, Globalization, and Resistance, New York: New York University Press.
    [Google Scholar]
  28. Meeken, Luke A. and Knochel, Aaron D. (2022), ‘Glitching form: Subverting digital systems that capture the physical world’, Art Education, 75:4, pp. 4956, https://doi.org/10.1080/00043125.2022.2053478.
    [Google Scholar]
  29. Mirzoeff, Nicholas (2006), ‘On visuality’, Journal of Visual Culture, 5:1, pp. 5379, https://doi.org/10.1177/14704129060622.
    [Google Scholar]
  30. Mitchell, William J. T. (2005), ‘There are no visual media’, Journal of Visual Culture, 4:2, pp. 25766, https://doi.org/10.1177/14704129050546.
    [Google Scholar]
  31. Pasek, Anne (2017), ‘The pencil of error: Glitch aesthetics and post-liquid intelligence’, Photography and Culture, 10:1, pp. 3752, https://doi.org/10.1080/17514517.2017.1295711.
    [Google Scholar]
  32. Preece, Chloe and Whittaker, Laryssa (2023), ‘Towards glitch pedagogy’, Journal of Marketing Management, 39:1–2, pp. 6891, https://doi.org/10.1080/0267257X.2023.2174165.
    [Google Scholar]
  33. Rutten, Ellen and Vos, Ruby de (2023), ‘Trash, dirt, glitch: The imperfect turn’, European Journal of Cultural Studies, 26:1, pp. 313, https://doi.org/10.1177/13675494231152371.
    [Google Scholar]
  34. Schneider, Rebecca (2011), Performing Remains: Art and War in Times of Theatrical Reenactment, London and New York: Routledge.
    [Google Scholar]
  35. Shusterman, Richard (2012), ‘Photography as performative process’, The Journal of Aesthetics and Art Criticism, 70:1, pp. 6777, https://doi.org/10.1111/j.1540-6245.2011.01499.x.
    [Google Scholar]
  36. Siebers, Tobin (2006), ‘Disability aesthetics’, Journal for Cultural and Religious Theory, 7:2, pp. 6373, http://www.jcrt.org/archives/07.2/siebers.pdf. Accessed 28 February 2024.
    [Google Scholar]
  37. Siebers, Tobin (2008), Disability Theory, Ann Arbor, MI: The University of Michigan Press.
    [Google Scholar]
  38. Tan, Lisa (2001–12), Letters from Dr. Bamberger, installation, Accelerator, Stockholm, 16 September 2023–11 February 2024.
    [Google Scholar]
  39. Tan, Lisa (2019/2023), Waiting Room, photography, Accelerator, Stockholm, 16 September 2023–11 February 2024.
    [Google Scholar]
  40. Tan, Lisa (2021–23), Dodge and Burn, video installation, Accelerator, Stockholm, 16 September 2023–11 February 2024.
    [Google Scholar]
  41. Tan, Lisa (2023a), ‘Current work’, Lisa Tan Official Website, https://lisatan.net/current-work.html. Accessed 10 November 2023.
    [Google Scholar]
  42. Tan, Lisa (2023b), interview with V. Grundell Gachoud, Zoom, 28 September.
  43. Tan, Lisa (2023c), Pa, installation, Accelerator, Stockholm, 16 September 2023–11 February 2024.
    [Google Scholar]
  44. Tan, Lisa (2023d), Promise or Threat, installation, Accelerator, Stockholm, 16 September 2023–11 February 2024.
    [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/pop_00085_1
Loading
/content/journals/10.1386/pop_00085_1
Loading

Data & Media loading...

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error