Philosophy of Photography - Photography and the Glitch, Oct 2023

Within the last decade, a growing number of artists, media activists and theorists have been engaged with the potential of the glitch – with processes and aesthetics that arise from visual errors in digital technologies. But glitches also offer clues to understanding normative knowledge and power systems, and to challenge these. This is relevant in critical approaches to photography and its historical role in forming, controlling and colonizing systems as well as conventional understandings of the medium as a transparent window onto the world/reality. In this introduction we outline our approach to the glitch in the artistic and curatorial research project ‘Photography and the Glitch’, to which the contributors to this issue have contributed in various ways.

This article explores the properties of glitch within practices of in-game photography. It argues that capturing the breaking of game textures and graphics reveals the process of creation of photorealism and the remediation of traditional photography within digital and playable spaces. On the other hand, it proposes that screenshotting game glitches acts as an involuntary bug report and part of an economy of ever-optimizing networked images.

Landscapes and atmospheric processes are rapidly changing, and so are the technologies we use to depict and detect them. How to ponder these transformations through artistic thinking and making? In the artwork On Thunderclouds, I examine the thundercloud as aesthetic motif, meteorological phenomenon, and as an ominous sign of climate change. In the making of the work, the tension between prediction and unpredictability on a larger level is mirrored in my working process, a balancing act between setting up systems and allowing elements of chance, even chaos. In the work various predictions, speculations and uncertainties thus vibrate.

This article proposes to reconceptualize the Hungarian photographer, artist and educator László Moholy-Nagy’s (1895–1946) inter-war call for a ‘new vision’ in order to grasp how artists presently experiment with photography and adjacent new technologies to explore the environmental, ecological and elemental dimension of media themselves. For Moholy-Nagy, photography represented a new way of seeing and experiencing the increasingly industrialized and automated world and a means of expanding our sensory perception. Drawing on recent scholarship of elemental media theory, I adapt Moholy-Nagy’s interest in the materiality of photography and the atmospheric and medial dimensions of light itself to an environmentally attuned notion of ‘new visions’. Exemplified with discussion of recent works by Emilija Škarnulytė, Lesia Vasylchenko and Istvan Virag, I show how a number of contemporary artists likewise scrutinize photography’s (understood in an expanded way) material basis and atmospheric qualities to explore new forms of image-making, including CGI and synthetic aperture radar images, fitted to reflect the accelerated automation and ecological precarity that mark the early twenty-first century.

Among one of the main inspirations for the research behind this Special Issue is Jussi Parikka’s 2010 book Insect Media: An Archeology of Animals and Technology. In this interview, the guest editors, Nina Mangalanayagam and Louise Wolthers, ask Professor Parikka to revisit some of the book’s core issues in relation to digital photography and the current media landscape in general. The conversation also revolves around artificial intelligence (AI), bugs, mimicry, contemporary art as well as scale and operational images, which reflect Parikka’s recent research.

In a number of works of art, I have taken an interest in insects, bookworms that eat books, electronics as anatomy and clever robots whose actions in a way resemble the apparently primitive abilities of insects. This text has its starting point in two works of art, Eaten Books and Atlas of AInsects. In the artworks, I am interested in insect anatomy and insects as symbols of decay, survival, extinction, death and post humanity. The text is originally from an artistic lecture about my work with insects and coding, and is based on a reading from within the computer program Eaten Books. A performance where the software is letting insects erase the text.

Rosa Menkman proposed that the concept of glitch should be considered a tipping point, a momentum, that can be seized, in which the power of subjectivity and the collaborative efforts of creators and the active spectators take centre stage. This article will discuss how in the last decades the glitch as noise and techne has shifted towards glitch as precarious aesthetics and how it has become associated with decolonial and feminist modes of critique. While the glitch is still seen as a material, a techne, there is a resistant aesthetics of mutiny, a tactical revolt of the material that is confronting systemic standardization, bias and institutionalization. As presented in the exhibition VJ Um Amel, Beit Um Amel (2020), the technologically induced phenomena are analogous with the crises and states of emergency in various global infrastructures, systems and information channels.

‘I am not data’ has been produced in collaboration with a creative coder from the Netherlands. Over a period of six months around 4600 images were chosen from approximately 20,000 images of LatinX femmes. The images were then fed into a generative adversarial network (GAN) simulation that produced this film. The resulting work seeks to elucidate a process of lumping together foreign bodies as a method of amalgamation that works to create ‘new’ information. It exists in tandem with ‘Second Nature’, a body of work on Mexican femme bodies and algorithmic web searches, from which some images are included in this article. The process behind the GAN used for this film becomes a mere reference to a human shape. Its processes of synthesis work as a metaphor for systems of human classification in which the bodies of foreigners become fuel for monstrous stereotypes. There is a sense of history repeating itself through the ways that these technological tools are used in artificial intelligence (AI) which launches questions regarding equality and progress in pursuit of social justice.

In response to calls to forget and unthink photography this article considers the computational environment and its consequences for the image making. What is there to know about images that are networked and generated with data processing techniques rather than with light and chemistry? How to analyse images and read what they are and what they represent, beyond what is visible in the picture? The article argues that glitches while aesthetically capturing errors in the machine point to broader conditions of image making revealing systemic errors and not only its momentary technical failures. To explore digital images as affective phenomena to be sensed, the article looks at how glitch and its operations have been used by artists to generate digital images, and most importantly how they reveal computational systems as technical objects and affective infrastructures where discrimination is not an error but part of the system.