The following is a collection of paragraphs and random thoughts which probably don’t make much sense but I had to write them down to document my thoughts and feelings at the moment.


A lot of my ideas about glitch have been about bringing the familiarity of the digital into the physical world. They have been centred around an exploration of the digital medium itself and exploring its properties. Ideas about compression, bandwidth, and glitches to name a few are all ideas most of us understand to an extent when it comes to interacting with the digital. However these are not things that make much sense in the physical world. For example we can compress an image and it can become pixelated, or artefacts might appear on the image as a result of the compression and the file format used. These are things which ‘make sense’ when viewed on a screen, but bringing it into the material world gets a bit confusing. This is something James Bridle has been trying to explain with his notion of the New Aesthetic, as the boundary between the physical and digital becomes blurred and indistinct. We are seeing digital artefacts in the physical world.

I think this is where my project and ideas come into play. We see the new aesthetic everywhere these days in consumer media and products. We are even seeing it in art with glitch art and new media art (which glitch art and my project probably fits under) as it infiltrates all aspects of our lives.


Gormley To glitch is focused on Antony Gormley inspired sculpture and Glitch art; the clue is in the name. However I’m coming to realise that I’ve been neglecting other aspects of digital media in my exploration. There are aspects of digital video and digital projection which I have largely overlooked for some reason. There are things like RGB channels, compression, transition effects which I think should definitely be experimented with. Gormley To Glitch exists at the boundary between physical and digital media. In a way, the physical sculptures are becoming digital through their blocky, pixelated forms and how the act as ‘screens’. Then, through the wonder of projection, the digital is bought into the physical world as 3D objects become canvasses for the 2D digital landscape.

  • Swipe effects
  • ‘enlarge’ effect (grow)
  • RGB distortion
  • Compression
  • Pixelation
  • Glitch

Projection mapping sequences usually have a narrative to them, things which change and evolve over a 5 or 10 minute performance for example. For this project I have been avoiding falling into the same structure with my projection mapping piece to create something different. I want it to be viewed in a similar way to how we view sculpture. Sculptures don’t move, they don’t really have a narrative to them. They just are. Sculptures exist motionless, outside of time, just waiting for us to give them a moment of our time as we view them. This is an idea which is heavily featured in Antony Gormley’s work and is why he has been such an inspiration for this project.

Obviously as I am projecting video onto the sculpture it is going to change over time, there has to be a level of progression. The videos I’ve been using are 24 frames per second. That’s 24 individual ‘moments’ every second. By introducing glitch, not all of these moments are the same however. Some frame the sculpture is still, serene. Others there may be a glitch, the sculpture has been distorted, coloured introduced, chaos. Then the next it has returned to its natural state. It disrupts the usual experience and expectation of sculptural works and creates something new. But at this point it doesn’t yet create a narrative on the same level as conventional projection performances. The glitch moments are sporadic and unexpected but there isn’t a story or narrative.


Tomorrow I’ll be able to test on all three models together for the first time. Up until this point there has been a singular focus with my projects as that’s all my flat would allow for. I am hoping that getting to work on the project as a whole and seeing all three models glitching together will inspire the next move. I’ve been having doubts for the past week as I haven’t seen much progression in my work and it has started to become mundane which is the last thing I want. With any luck, seeing the project as a whole will reignite my passion for it again and allow me to finish up and perfect it all in the final weeks before the deadline.