디지털 글리치 비디오에서의 유물론과 혼종성

초록

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.

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