- Sadegh Majlesi. work title: HUMANS LIKE RAINDROPS, running time: 4 minutes.
The work shown in Figure 7 is a three-minute video produced from Majlesi. An assembly of the sound of rainfall creates a glitch noise in this work as if a camera is located above uncertain levels, levels with varying degrees of gray color that also create volume for the audience. It is not clear what these surfaces are, the building, the wall, the ceiling, etc., and at the same time gives the audience the feeling that it flies closely over the buildings.
In the image, a geometric form of water droplet with one point in the center and eight lines around it can be seen, and the artist has created the volume of water droplets with lines that are repeated throughout the surface of the image. In this work, disconnection creates a type of volume that at first glance appears to be buildings and in the next step, the pixels fall creates a bright shadow and different surfaces. In another layer, we have geometric droplets of water that are on the whole screen and are moving non-stop and fall. Majlesi has shown the fall of droplets on a completely geometric form, similar to the form of nature. The division of the image screen before us is similar to the division of Mondrian rectangles, and it should be noted that in each of these rectangles with the same quality of contrast and brightness, the spaces are separated. In the view of the audience, they move from top to bottom of the surfaces and pass through the visual page and exit.
By selecting the title "Humans like rain," the artist shows the audience the rain in an urban space, and all these raindrops are similar in the first stage, as if thousands of droplets of water are moving similarly and are arranged throughout the picture. In some parts, a series of water droplets can be seen and in other parts they are less clear. It's similar to what happens in society and can be reflected.
Here, the glitch element, the effect it has created on these droplets, is similar to what happens to humans in the real world, and some of their spirits and paths are glitched in historical records, and in other words, some are not recorded, and we have a division in history.
In this work, the artist creates four different levels and uses the method of dissonance of pixels moving from top to bottom in the image, creating volume and a dark, black city in a black space. And in the next step, it depicts the concept of humans as geometric droplets of water, which fall and degrade at any point in the image.
The visual element of this work for Majlesi is the display of falling rain and visual disorganization from the perspective of raindrops and in the background of the irony of the world of Dhar. Its auditory element is the sound of the evil of rain and outside commotion, social assembly and human overcrowding, and ultimately spiritual ascent.
- Razieh Koushki, Vahid Qaderi. work title: Glitch, Pixel language, running time: 1 minutes and 57 seconds
As a result of five minutes and 57 seconds of Razieh Koushki, Vahid Qaderi first worked on the music of Glitch and noise art, and in the next step, Koushki portrayed this created music. In the foreground of the first sequence, we see losses in hundreds of pixels, which represents a form similar to ascension, and in the foremost layer, we are faced with a series of falls and disconnections as broken lines, which are simultaneously glitched and intertwined. In other words, the foreground order is also glitched. In front of that order, it shows the degree of disconnection, destruction and ultimately more glitch.
The course of change in Vahid Qaderi's music portrays koushki based on music and the living visualization that exists everywhere. In the following, not only do the regular points in the background fall and begin to dissolve, that the dance and the breakage of the lines we had in front of the image are also starting to fall and glitch more, and this fall happens so much, that in some parts of the points, we only have some trends from the original image and most of the image is gripped and noised. After one minute and forty-four seconds of video, it begins to move and fall around, which creates points. With the games played in flow focus system, it achieves good images. From about 2 minutes, the speed and process of metamorphosis are such that we no longer deal with that initial video.
In the 3rd and 45th minutes, it cuts off the visual image altogether and creates a completely gray screen, and then with each of the bits and casts in the music, the line of arts enters the image, which after they find black contrast, they come back to the original color and look like the rest of the pixels. Gradually, the image is filled with glitched pixels, all of which have a completely similar algorithm.
While, the process continues to happen, again traces of those tangled glitch lines We have the beginning of the video, which was in the front sequence, and they gradually come back, and in the background, from that amount of noise, we go back to some places. In front of some lines in a shattered form, we see in a glitched form. Behind the same element and the effect, we had from those points are the points as if they are moving upwards and rising. But there's not much fall here, and we don't see the stretch that we saw at the beginning of the video. This is the only difference between the initial and final sequences of this work. In other words, it refers to a circulation and repetition in the whole process of abyss, which, at the moment of entering the lives of all human beings, have that kind of high spirit, and finally, when they go, they return to it with a little change (Fig. 8).
- Shahab Shahali,. work title: Telecommunication, running time: 1 minutes and 7 seconds.
Figure 9 represents a 3D video in a gray space, which is created beyond any prejudice. This work is pictured in 4D cinema and in Maya. In the gray foreground, we see a 3D bust that looks something like a demon. It is possible to take several impressions of it, on the other hand something like demon and on the other hand, the face of a woman with a mask of a skull with a deer-like plug on the face and a ring above the head is marked as sainthood and flowers that grow from the left side of her head. At the bottom of the bust and in its completion, there are two pieces of stone in the shape of his shoulders, with a camera placed on one of the stones. On six different levels of 3D sculpture, on the surface not in the 3D nature, the glitch-like has occurred. We see a noise similar to the thrush of television, because the title of the work is called "Telecommunications", it should be noted that it expresses a kind of reading of the work about telecommunications in the contemporary world. The images viewed are a mess, and today we are also faced with images of the people we are in contact with.
The artist creates casts in six levels created separately with glitch and noise by manipulating the data. And somehow it confronts the audience emotionally with an element that is perhaps scary and ambiguous to many and at the same time has very innocent eyes. In one part, a cast occurs in the woman's body and face, and elsewhere the cast occurs in the mask. It can be said that in reality, we humans have some glitches, both in their innate and acquired state, i.e., in our natural behavior and adaptive behavior.
In an image of destruction, a woman's face is pulled forward, the face becomes a demon. In the glitch path, from time to time, the ring of holiness above the woman's head turns black as if it were somehow humanly referred to in the telecommunication system. The noise and pseudo-glycemic formats used in the video space are faced with them both in digital and analog and electronic modes.
In other words, here the impact of TV media on telecommunications is investigated. In each section, even in terms of form, there is distortion and nothing remains of the woman's face, and the only mask remains, which reflects exactly the evolution of a human being that happens to all of us human beings, meaning that we are not somewhere else and, in the end, only a mask remains of us. This mask moves from black to white and at the end of the image only remains the niqab, which has neither the flowers, nor the stones in the shoulders, nor even the ring of sainthood, nor the face, which only refers to the reading of that mask in connection with the distance. Shah Ali does not agree with the transfer of sensation in the artworks, so he believes that in this work, it has not been tried to convey a sense, merely an event depicted with his reading and perspective. The Internet and social media have been the source of artistic inspiration for the creation of this work, which it considers a collective and global issue.
-Nazila Karimi,. work title: The Thirteen Dream, running time: 1 minutes and 13 seconds.
Figure 10, called " The Thirteen Dream " by Nazila Karimi was prepared in one minute and thirteen seconds. That sleep is thirteen points of balance between light and darkness, creative and destructive force, heaven and earth, which is considered to be the end and start at the same time. Thirteen sleep is a symbol of the early chaos before creation and the onset of life again, which at the same time represents production and rebirth. It relates to the concept of the end of an era and the beginning of a new era.
In this one minute and 13-second work, called Thirteen Sleep, we see the delusive image of a woman created using the technique of distortion in the glitch and has visual characteristics of fragmentation, repetition and linearity.
This eerie solarized image feeds us on the boundary between darkness and light, reality and illusion. It is a symbol of inner intuition and the concept of an end and a re-start.
-Nikzad Arabshahi,. work title: Autogenesis, running time: 3 minutes.
In Figure 11, we have the generative code in motion from left to right, and when we reach the white space and the previous images are set aside in a series of black and white linear forms, it begins to create level, line and volume. None of the lines and surfaces are similar and, in most places, we see that based on a constant rhythm of music, the generating codes do not give the image a constant and still new creation takes place. As the sound of music becomes below, the generating codes with smaller lines and on brighter levels begin to produce images. This overlap between surfaces and lines and the loss of parts of the data makes the glitched images so beautiful that even in many parts it resembles landscape images and we understand the form of nature.
It is as if the artist has been able to re-create in these productive codes with all the casts. That is, it should be noted that these are precisely the design codes that the artist converts his information and physical movements into data by sensors and has implemented this type of design energy, which the generative code recognizes and incompletely and in glitch with infinite integration and without any repetitive incident, re-performs the artist's work.
With more noise, the foreground image from white to dark leads and the lines become bright, to the extent that the music noise increases, we also see this noise in reflecting the generating code because the sound has noise. The artist's codes have also been converted into images with noise and glitch, i.e., casting has happened during the production of the image, because once accordingly it forms the sound and once again creates the sound and produces the image accordingly because the noise is more than the noise allows it to simulate less from inside its data and implement the same noise. Productive art, auto genre’s central system, is a complex system for designing algorithms, analyzing the physical behaviors of hands, joint movement and frequencies of brain waves that the artist performs when painting. The data is recorded by multiple sensors and then with other algorithms is able to reconstruct the visual language elements of the artist and model their combined method. That is, it takes some algorithms from a person's signal and body and brain waves, and here's a glitch step. The sensors have scanned all the frequencies of the body and we have incomplete readings through the sensors of the artist's behavior, which is the incomplete reading of the glitch taken at this stage. The data are encoded and converted into productive art in an algorithm, then the end result of this fusion is a combination of information production pattern, using which the design of the final engine for the creation of the artwork is possible. That is, the data simulator engine plays the role of central system intelligence, which constitutes the entire data, so that by creating a set of sensors and creating glitches, it takes codes from the artist that includes his hand behaviors, joints and brain energy, and this data is tabloid to the codes and algorithms that are inserted into a data simulator engine and determines that Based on this engine, generators are implemented and simulated. In fact, the artist has created a productive art that converts itself into code in a section through coding and puts those codes back into a production engine that leads to image conversion and formation. Here we have a glitch of the artist's reading of nerves, senses and physical movements, and a glitch occurs unconsciously in the production engine, but the engine is also given a code that states that, when it is received, it is produced based on that line, surface and volume, which again another glitch occurs at this stage.
-Arash Masoom,. work title: Metatron, running time: 1 minutes and 33 seconds.
The shape (12) represents a one-minute, thirty-three-second effect called Metatron, meaning a hexagonal element and cube, which in nature all elements of creation emerge from this form. In this work, Immaculate has designed codes to visualize a series of vector points. The music of this work was composed by Farbod Hamedi.
In the first few sequences, we observe a number of points, which, like the stars of the galaxy, are completely scattered and have disconnection, loss and destruction, as if this glitch is not seen in the whole galaxy, and there is no clear order within them. In seconds 27, the loss, disconnection and destruction increase, and from the forty-four seconds, all the points that have been glitched show in several lines. In fact, they have not yet been disciplined and have only allowed some of the starting lines of these points to look at an image similar to images, Metatron or one of the symbols of alchemy. It can be a reference to the element of creation, which at the height of disorder at the end with a fractal order, has created.
Metatron is an analysis of the equilibrium between different dimensions of creation based on human centrality, but from the point of view of Arash Masoom Alchemy and the theory of non-influence diplomacy, it has caused unreasonable performance and the creation of glitch in this direction. Archetypes, natural and fractal patterns of the Julia collection have inspired artists in the formation of these floating points and he has tried to show the existence of order at the same time as disorder. Masoom considers Metatron to be a sophistication on all scales and this concept is perceived in all and none of them. He believes that something bigger rotates everyone, something that rotates but doesn't rotate, moves, but doesn't move.