The Retrospectroscope was made using a single sheet of Plexiglas 5 ft. in diameter, and was mounted directly on a stand and illuminated from behind. As an optical device, its function was to create the illusion of movement utilizing large format still images. The "Retrospectroscope" apparatus has gone through many incarnations, its presence belies the processes that have created it. As a pre-cinematic device, it traces an evolutionary trajectory, encircling the viewer in a procession of flickering fantasies of fragmented lyricism. This re-invention simulates the illusion of the analysis of motion to recall early mysteries of the quest for this very discovery now taken for granted; the "Muses of Cinema" represented by the female figures on the disk, have emerged from a dark Neoclassical past.
In the inverted world of glitch art, functionality is just a sterile enclosure of creative space and degradation an agent of renewal.
Such was the spirit in the air at GLI.TC/H, a five-day conference in Chicago organized by Nick Briz, Evan Meaney, Rosa Menkman and Jon Satrom that included workshops, lectures, performances, installations and screenings. Intuitively, most people involved with new media know what glitch art is - it’s art that tweaks technology and causes either hardware or software to sputter, fail, misfire or otherwise wig out. Narrowing in on a more precise definition can be perilous, though. Purists would insist on a distinction between art that uses actual malfunctions and art that imitates malfunctions, but the organizers of GLI.TC/H took a catholic approach to their programming.
Painting the entire gallery a uniform bright green, Guidetti employs an unfixed/in-flux context created by the production environment of chroma-key (green-screen) video compositing technology. Rather than providing a blank neutral space it serves only as a temporary stand-in, demanding to be replaced. The viewer is confronted with this provisional setting in a state of waiting, without a final composite image. Markers for motion tracking and spatial reference placed around the space further enforce the absence of context.
Within the environment an array of equipment actively measures the physical, visual, and acoustic properties of the space. Reminiscent of tools used for ghost hunting, the instruments attempt to describe something non- visible/physical and provide some concreteness to something abstract. A video monitor among the equipment displaying computer generated 3D renderings of the exhibition shown in various perspectives and states, further complicates the ability to reach a complete, relative conception of the space.
GreenScreen (extrActor) (2005) is a greenscreen made of hydroponically grown grass which allows the viewers to insert themselves into virtual video backgrounds, which they can choose via remote control.
The Mac OS X 10.5 Leopard wallpaper, Aurora, with white area added to the sides of the image and then put through content-aware fill
The default Windows XP wallpaper, Bliss with area added to the sides, then put through content-aware fill
The Windows 7 "Future is Yours" wallpaper, with white area added to the sides of the image and then put through content-aware fill
A series of images with white area added to the sides and then put through Content-Aware Fill (a Photoshop CS5 tool that automatically generates content based on the existing content of the image and fills in the surrounding blank space). The resulting image is an extended view as interpreted by the software.