“Around 1960, John Cage and David Tudor discovered that they could get some startling results by using a phono cartridge as a kind of contact microphone. The cartridge is designed to pickup the vibrations present in the groove of a vinyl audio recording. It does this by way of a needle or stylus that runs in the groove of the record. The vibrations are then converted into electrical signals that are amplified. Cage and Tudor made their new sounds by detaching the cartridge from its tonearm, replacing the phonograph needle with objects such as toothpicks, Slinkys, and straight-pins, and then amplifying the results of physical contact between the surrogate “needle” and other objects.” — Holmes, Thom. Electronic and Experimental Music. Pionners in Technology and Composition. 1985. 2 ed. New York: Routledge, 2002.
“[Futurism] was probably the first time in history that sound artists shifted their focus from the foreground of musical notes to the background of incidental sound.” — Cascone, Kim. “The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music.” Computer Music Journal 24.4 (2000): 12-18.
“If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises, tomorrow, as new machines multiply, we will be able to distinguish ten, twenty, or thirty-thousand different noises, not merely in a simply imitative way, but to combine them according to our imagination.” — Russolo, Luigi. The Art of Noises. 1913.
“A glitch is stunning. It appears as a temporary replacement of some boring conventional surface; as a crazy and dangerous momentum (Will the computer come back to “normal”? Will data be lost?) that breaks the expected flow. A glitch is the loss of control.” — Goriunova, Olga, and Alexei Shulgin. “Glitch.” Software Studies: A Lexicon. Ed. Fuller, Matthew. Leonardo. Cambridge, Massachusetts: The MIT Press, 2008. 110-19.
“Avant-garde artists inspired or disgusted by technology and its societal influence have created a range of artistic responses, the aesthetics of which today’s glitches strangely seem to comply with. A glitch reminds us of our cultural experience at the same time as developing it by suggesting new aesthetic forms.” — Goriunova, Olga, and Alexei Shulgin. “Glitch.” Software Studies: A Lexicon. Ed. Fuller, Matthew. Leonardo. Cambridge, Massachusetts: The MIT Press, 2008. 110-19.
“A glitch is a singular dysfunctional event that allows insight beyond the customary, omnipresent, and alien computer aesthetics. A glitch is a mess that is a moment, a possibility to glance at software’s inner structure, whether it is a mechanism of data compression of HTML code. Although a glitch does not reveal the true functionality of the computer, it shows the ghostly conventionality of the forms by which digital spaces are organized.” — Goriunova, Olga, and Alexei Shulgin. “Glitch.” Software Studies: A Lexicon. Ed. Fuller, Matthew. Leonardo. Cambridge, Massachusetts: The MIT Press, 2008. 110-19.
“I think that Arnulf Rainer is the film that best approximates to the essence of cinema as it exists because it uses the elements that constitute cinema in its most radical, purest form. There’s light and the absence of light, there’s sound and the absence of sound and their becoming in time. Just that.” — Peter Kubelka, interviewed by Christian Lebrat. 1988.
“Glitching represents an attempt to understand the liminality between translation and interpretation though methodical alteration and systematic intervention of digital files.” — Meaney, Ewan. “On Glitching”. 2008.
“(…) still, many artists seem interested in keeping the technical medium silent in their work. Notable exception can be seen to the world of avant-garde filmmaking, those celluloid scientists who scratched and warped and, through a process of their own hands, reminded us that cinema was a medium and not just a vehicle.” — Meaney, Ewan. “On Glitching”. 2008.
“Visual representations also undervalue the knowledge we have by virtue of having bodies. Sensitivity to changes in our environment through time develop best if we learn to use all our senses, not just sight. (…) In his 1945 book The Phenomenology of Perception, the philosopher Maurice Merleau-Ponty argued that perception is a process in which an active body enters into a “communion” with its surrounding. Perception, for Merleau-Ponty, is a continuous interaction that involves the subject’s intentions, expectations, and physical actions. There is no purely active “sender” nor any purely passive “receiver,” he wrote; without action, there can be no experience of anything “external” to the subject. “The body is our general medium for having a world; sight and movement are specific ways of entering into relationships with objects,” he wrote. For Merleau-Ponty and other critics of visuality as a privileged medium of understanding, it is meaningless to talk about perceptual processes of seeing without reference to all the senses, to the total physical environment in which the body is situated.” — Thackara, John. In the Bubble: Designing in a Complex World. Cambridge, Massachusetts: The MIT Press, 2005.