Article by Raine Blunk
“I don't really hold on to a particular image for too long,” says pynchy, aka Chris Lynch of Glitch Artists Collective (GAC). “I know whether it is going to work or not fairly quickly... and with the nature of glitch something completely different than what you were trying to achieve in the first place may be found.” There's always something hiding underneath the assumed simplicity of the images we see every day on the web – the ones we perceive as "finished" or "complete" offer a totally different range of options for glitchers. Take GAC, for example: from the Facebook page for posting your own glitches, to the archive for saving the good ones, to the request page or the individual artists' pages now hosted by glitchartistscollective.com, there's a plethora of ways for artists to explore or expand their work or the work of fellow glitchers.
With twelve years invested in the animation industry, it’s refreshing to hear Lynch describe the experience that is “glitch” so casually. Animation is where he got his start mixing and matching program applications, but it certainly wasn’t a stopping point for research. Since making a low-budget music video for a friend who was a member of GAC “some time ago,” Lynch has watched the GAC community/forum/site grow and morph through various glitch aesthetics (and members).
Lynch admits that while there are endless possibilities for glitching data, the difference between “glitch-eqsue” work and “real glitches” does exist, even if everyone doesn't have the same understanding of what makes the two different.
As far as sharing this content is concerned, Lynch attributes the expansion of ideas or styles within GAC and the world of glitch art to a more expansive internet.
And of course with the growth of the web, there’s a lot of room to talk copyright when artists are constantly generating content from other found content. “Social media can be fantastic, but all artistic communities should support all artists in crediting the source material and promoting true owners of content,” says Lynch, who’s non-objective pieces (post-glitch, anyways) offer the most intriguing layers of data.
So where’s the dividing line between a “modified” copy and an “edited” original? “I don't really have a problem with any image being glitched as long as it in some way changes the image into something else, something new... rather than the same thing but with an effect applied,” says Lynch. Technique-wise, he doesn’t care what you do as long as it makes something cool.
“My interest is in creating an image with the development of new techniques and methods,” says Lynch, who started experimenting with 3D glitches after seeing Mark Klink’s tutorials. He sees our technologically-fueled future obliterating glitch culture altogether as we more precisely tune “glitches” into “effects.”
With glitch styles developing so quickly, it’s no wonder Lynch feels current copyright laws “don’t stand a chance” against internet-savvy data moshers. Whether the images are created from scratch or modifications of someone else's work, there's no keeping up with the “ongoing experience” that is glitch.