- June 25, 2015
What happens when communication becomes cacophony and when what was supposed to have sense “glitches”? 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.
ABSTRACT — deadline 15/07/2015
SUBMISSION — deadline 30/08/2015
For further details about the submission, please visit burrasca’s website
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.