DOI: 10.36871/hon.202104020
Authors
L. N. Nagornaya
Moscow Military Music School named after Lieutenant-General V. M. Khalilov
of the Ministry of Defense of the Russian Federation, Moscow, Russian Federation
Abstract
The relevance of the article is associated with the rapid development of various forms of digital
art, due to the increasing role of information technologies, which have caused fundamental
transformation processes in the modern cultural environment. The article is devoted to the origin
and value-semantic foundations of such a direction of modern digital art as glitch art. The
origins of this direction, which lies in the aesthetics of Futurism, experiments in concrete music,
as well as in the technique of deconstruction and recombination of parts of the original image
in Cubism, are considered. Examples of glitch art are given — "Tali Hinkus" by Paul Hertz,
"Glitch Diva" by Elena Romenkova, "White" (from the "Utopia" series) by Viktor Makurin,
parallels with cinema works ("The Matrix" directed by Wachowski) are drawn. An important
property of digital art is its ability to fill the global information space with new meanings and
values: it is both a protest against total technocracy and digitalization, and a fixed gap in collective
techno-hypnosis, and a display of the processes of the human subconscious.
The study of this phenomenon allows to take a critical look at the interaction of the physical
and digital world within modern culture, to identify the prospects for this interaction.
Keywords
glitch art, contemporary art, digital art, futurism, concrete music, digital photography
