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CONTENTS PLUS

Journal of Korean Society of Media & Arts Vol.14, No.4


DOI : 10.14728/KCP.2016.14.04.021


Materialism and Hybridity in Digital Glitch Videos

(Kim, Jihoon)

Department of Film Studies, Chung-ang University


jihoonfelix@gmail.com

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Abstract
This paper examines digital glitch videos in terms of the dialectic of materialism and
hybridity. These videos refer to a type of video work that manifests and explores glitches,
a variety of errors and noises stemming from either the limitations inherent in the digital
media system or its intentional or accidental malfunctions. An array of abstract forms
expressed in digital glitch videos, including blurs, irregular lines, decolorization, broken
pixels, bleeding colors, are seen to pursue the materialist approach to digital media,
because the forms are derived from the techniques of databending and datamoshing aimed
at unveiling the underlying codes and frames of digital video files, and because they are
seen to challenge the assumption of contemporary digital audiovisual culture with regard
to the transparent transmission and storage of information. On the other hand, the works
of Evan Meaney, Rebecca Baron and Douglas Goodwin, and Takeshi Murata take on the
messy, impure aesthetic characterized by the dynamic coexistence of the abstract forms
and representational components, an aesthetic that challenges the purist assumption of
abstraction that has discursively framed abstract film and video. I argue that this aesthetic
hybridity is indebted to the technical and aesthetic features of structural film and
image-processing video, and that digital glitch videos are indicative of the transition of
those features to software algorithms.

Keywords
Digital Glitch Video, Databending, Datamoshing, Materialism, Hybridity

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<figure 1>, Paul B. Davis and Jacob Ciocci, Compression Study #1 (Untitled data mashup) (2007)


(materialism) (hybridity)
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holes, Dirt Particles, Etc., 1966, figure 3)>
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1970, figure 4)> ,

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1970

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1967-9)> (Johnson) TV

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(1989, p. 265).
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<figure 5> Nam June Paik, Electronic Opera #1, 1969

<figure 6> Woody Vasulka, C-Trend, 1974

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(2014, p. 158).

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Goodwin, Loseless #2, 2008

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2008

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[< (Monster Movie, 2005)> <(Caveman, 1981)>
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) (Untitled (Pink Dot), 2007)> < (Rambo: First Blood, 1982)>
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(figure 10).
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2)
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(2015, p. 110).

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<figure 9> Takeshi Murata, Untitled


(Silver), 2006

<figure 10> Murata, Monster Movie,


2005


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266). (Brown) (Kutty)
( )
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/ (2012, p. 171).

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(2007, p. 41).

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Submitted: 13 March, 2016


Sent for revision: 15 June, 2016
Accepted: 27 June, 2016

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