In 1957, the British cognitive scientist Colin Cherry famously wrote that “noise is the ultimate limiter of communication” pinpointing that our lives are driven by social interactions and communication, being the only tool we all posses to be determined as human beings, must be intelligible in order to be effective.
Still, what happens when communication becomes cacophony and when what was supposed to have sense “glitches”?
Glitch, defined for the first time in 1965 as an irritating disturbance by Time Magazine, refers to an unexpected result of a malfunction. Even though this term is mostly used in the computing and electronics industries, it has recently been adopted by the creative disciplines too: well-known examples of this emerging tendency are the fields of glitch art and glitch music. Of course, the practice of Glitching is related to technology and to the aesthetic of the “Machine,” so it might seem to be an idea strictly related to the post-Fordist society we live in and to the notion of virtuality, but it may also be related to other ideas such as “error,” “failure” or “useless.” From this point of view, Glitch assumes other meanings invoking new aesthetic and existential possibilities and perhaps becoming a strategy and/or an effect able to subvert the status quo, whether it is aesthetic or political.
The next issue of Burrasca will be focused on the understanding of the reasons why Glitch has recently established a broader and multidisciplinary meaning, on what it means and on the illustration of possible applications of such a notion in the creative disciplines, particularly focusing on Architecture and Urban Design.
Burrasca is pleased to receive submissions that investigate Glitch under this slant, embracing the larger number of matters included in it.
- Glitch as an error and/or as a fake mistake produced to generate new kinds of effects
- How glitch is today used in Architecture and in the Arts
- Ideas about what Glitch is, its definition and its understanding
- Possible theoretical speculations about its definition and its poetics Artworks or projects investigating this issue
ABSTRACT — deadline 15/07/2015
Submit 100 words that better describe both the form and the content of your contribution. Please, also add 5 keywords and your short bio in 25 words. Email us to firstname.lastname@example.org
SUBMISSION — deadline 30/08/2015
We accept 2 kinds of contributions: textual or visual.
If your submission is textual (e.g. essays, interviews, articles and anything else you might suggest), please write a maximum of 1300 words. We prefer a really simple and plain style edited according to the Chicago Manual of Style, 16th edition. Please attach also minimum 3 high res CMYK images.
If the submission is a visual work, (e.g. photo-essays, graphics, illustrations or projects), please consider a maximum field of 4 21×27,5 cm pages or 2 42×27,5 cm and contact us for additional information.
Burrasca’s board encourages the submission of any kind of inventive material and original contributions by every person, even independent thinkers and people who are not related to academic institutions. Burrasca is a printed series of publications with ISBN codification released twice a year. Please contact us if you would like to submit material that does not seem to fit in our criterias.