AWAITING OBLIVION

Natalie Maximova

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Full-length
Electronic Language International Festival

Awaiting Oblivion – England

Awaiting Oblivion explores the collapse of simulated reality in The Last of Us II, revealing spaces where boundaries between representation and existence dissolve. As the world fractures into glitches and voids, it exposes the instability of meaning, unmasking the illusion of coherence and confronting the observer with absence at the core of perception. A poetic voiceover amplifies the dissonance between digital precision and fluid, ephemeral ecological and philosophical inquiry.

BIO

Natalie Maximova is a London-based artist and researcher. Her work probes how simulated worlds produce and break meaning. Using machinima, game engines and post-photographic methods, she investigates glitches, edges and out-of-bounds zones, exposing the design logics and politics of mediation that shape how we see and inhabit digital spaces.

HALLUCINATION

Milton Montenegro

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Animation
Electronic Language International Festival

Hallucination – Brazil

When veteran cartoonist Joe K. is falsely accused of plagiarism, his life turns into a Kafkaesque nightmare.

His only hope is Onion-Man, the odd superhero he has been drawing for decades, who magically escapes from the comic books into the real world.

Together, they must outwit an authoritarian AI and unleash the deadliest of superpowers to avoid prison.

BIO

Michael Betancourt is a distinguished Cuban-American (Latinx) critical theorist, moviemaker, and research artist known for his work in the fields of digital capitalism, motion graphics, and Glitch Art; a pioneer of Glitch Art, he has made visually seductive digital art since 1990 that brings the visionary tradition into the present by glitching still and moving images. 

ZERSETZUNG

Michael Betancourt

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Animation
Electronic Language International Festival

Zersetzung – United States

The term “Zersetzung” [decomposition] identifies the psychological repression employed by the Stasi in the DDR that attacked their victims’ self-perception, confidence, and capacity for resistance through deliberate alienation and paranoia. Victims found themselves isolated, doubting their own memories and relationships, as the secret police manipulated their social environment to create chronic uncertainty about what is real, true, authentic; precisely the same instabilities created by AI.

BIO

Michael Betancourt is a distinguished Cuban-American (Latinx) critical theorist, moviemaker, and research artist known for his work in the fields of digital capitalism, motion graphics, and Glitch Art; a pioneer of Glitch Art, he has made visually seductive digital art since 1990 that brings the visionary tradition into the present by glitching still and moving images. 

PAISAGEM MENTAL

Affar Oppip

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Animation
Electronic Language International Festival

Paisagem Mental – Brazil / Italy

Composed of 12 static works produced during a psychiatric hospitalization (2021-2022), images generated by GAN interpolation, manipulations of “Trenzinho do Caipira” (a traditional Brazilian children’s song), personal recordings, and soundscapes of São Paulo, Paisagem Mental (Mental Landscape) explores the non linearity of human thought, highlighting its flows, speeds, and conflicts in interaction with the structural logic of algorithms.

BIO

Affar Oppip is a visual artist based in São Paulo, active since 2011. His research encompasses glitch art, generative processes, and experiences in the South American metropolis. Through glitches, noises, and overlays, he investigates memory, conflict, and technology, exploring new perspectives, interpretations, and reflections.

TROPOSPHERE

Damien Looney

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Troposphere – United Kingdom

A long form piece of very slowly shifting sounds and imagery.

BIO

Damien Looney is an Irish video artist creating real-time, audio-reactive animated works using analog video gear and software. He processes unique sound samples (CRT hums, number stations, defective tape) to drive visuals. His work blends flowing, watercolor-like imagery with glitchy digital decay, evoking the warped textures of old VHS tapes, broken TVs, and vintage computer screens.

Spatium

Aesthetics of failure. Disruption of dimension, magnitude and quantity in the timeless gap. Delicacy of destruction. In a void that serves a nonconventional level of perception.

This is the Spatium as a detachment of an interval in a moment of glitch. Superposing architecture with a malfunctioning device to be surrounded with. Spatium defines the possibilities what these spaces can transform into for the audience that is given the opportunity to experience.

Exo Gestus #2

Yvette Granata

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

Exo Gestus #2 – Estados Unidos

Exo Gestus #2 é uma animação experimental que investiga a forma como sensores de captura de movimento (motion capture) rastreiam incorretamente o corpo da artista. A obra constrói um mundo virtual a partir da amalgamação dos glitches gerados durante o rastreamento de seus movimentos com um traje de MOCAP que é grande demais para seu corpo. O traje foi projetado para corpos maiores, e nem mesmo o menor tamanho disponível pela empresa se ajusta a ela — como resultado, o tamanho de seu corpo provoca distorções nos dados capturados pelo sistema.

BIO

Iván Abreu é um artista mexicano-cubano que cruza ciência, design e tecnologia para questionar a interação humana e os sistemas sociais. Vencedor do Lumen Prize, expôs no ZKM, Ars Electronica e MAB. Malitzin Cortés (CNDSD) é artista mexicana que explora som, tecnologia e arquitetura especulativa, combinando codificação ao vivo, audiovisual e crítica narrativa.

Simulacra

Rocio Delaloye

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

Simulacra – Argentina

Simulacra é uma animação em CGI que explora a identidade fragmentada de um ser digital enquanto navega por ambientes virtuais em constante mudança. Através de paisagens corrompidas (glitching) e memórias que se dissolvem, a obra examina a tensão entre conexão e desconexão em um mundo hiper-digital, convidando o público a refletir sobre a fluidez da identidade e os limites entre o real e o artificial.

BIO

Rocío Delaloye, artista de novas mídias nascida na Argentina e radicada em Nova York, explora temas como identidade, desconexão e as fronteiras difusas entre realidade e simulação. Seu trabalho já foi exibido no Museu RISD, no Boston CyberArts e na Fundação Ford. Recebeu os prêmios NYFA IAP e Digital Media Fellowship. É bacharel em Belas Artes pela Universidad Nacional de La Plata e mestre em Belas Artes pelo RISD.

Garden

Michael Betancourt

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – CGI VIDEOS
Electronic Language International Festival

Garden – United States

Garden is a generative glitches animation created by deliberately conflicting AI (LoRA) models. Using multiple LoRA models to generate images that evoke flowers in a garden, the work transforms traditional representations of plant life into a fluid and hallucinatory exploration of growth, decay, and metamorphosis. These transformations suggest alternative ways of understanding organic growth, where the boundaries between individual organisms become fluid and permeable.

BIO

Michael Betancourt is a contemporary Cuban-American critical theorist, filmmaker, and artist-researcher known for his pioneering work in the fields of Digital Capitalism, Motion Graphics , and Glitch Art . Since 1990, he has explored the intersection of technology, culture, and aesthetics in a diverse practice unified by a constant concern with the poetic potential of images generated by errors.

sorrow

Fran Orallo

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Video Art
Electronic Language International Festival

sorrow – Spain

The work consists of a video glitch that shows a distorted body making dramatic movements. The project questions the idea of identity and identification with one’s own body, showing a disjuncture when it comes to representation. The work is a metaphor that represents the violence exerted on a dissident body. The video is collected within the field of self-portrait since the body rep resented is the artist’s own body.

BIO

Fran Orallo lives and works in Glasgow, Scotland. He studied art at UPV, Valencia, Spain, and New Media Art at City of Glasgow College, Scotland. His work focus es on experimentation with the field of video and animation. He has exhibited his work both in Spain and abroad, participating in biennials, collective exhibitions, and festivals in more than 40 countries.

Subway Chase

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Subway Chase – Spain

Subway Chase is a high-speed underground race, a visual glitch that dissolves and transforms with the musical waves.

Bio

Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI ​​Film Festival Montpellier 2023.

Credits

Music: Subway Chase by Karl Casey

Glitch Robot
The Installation consists of several robotic actors. When the actors make contact with their instruments, they produce a sonic impression of an omnipresent texture of modern life: electronic music. The music robots used in this performance consists of recycled and 3D-printed parts such as harddisks, relays, tongues, motors and solenoids. Glitch Robot connects mechanical, visible movements to audible sound by using small sound-producing robots. Thus, the installation highlights the origin of the sound in a way no conventional medium of electronic music production is able to. Typically, electronic music eliminates the haptic aspect of sound-generation, creating a void in understanding of how sound, and thus music, is mechanically created.

Memoria frammentata
Phillip Stearns utilizza in modo creativo tutte le forme di elettronica nel suo lavoro, spesso mescolando luce e suono con tecniche tradizionali come la tessitura. Un aspetto del suo lavoro è la trasformazione della glitch art in disegni intrecciati attraverso il suo marchio tessile concettuale Glitch Textiles, fondato nel 2011. Questo spazia dalla visualizzazione di dati binari grezzi delle applicazioni alla scrittura di algoritmi personalizzati per generare modelli che possono essere trasformati in tattili e funzionali opere d’arte. Un’altra impresa è il trittico Fragmented Memory di grandi arazzi tessuti completato nel maggio 2013 al TextielMuseum di Tilburg, nei Paesi Bassi. Questo progetto ha utilizzato pratiche e processi digitali per sfumare i confini tra fotografia, visualizzazione dei dati, design tessile e informatica.

Nervelevers
if “Nervelevers” is anything to go by, Squarepusher’s upcoming album, Be Up A Hello, will be the closest thing we’ve had to vintage Squarepusher in years. This will be welcome news for many fans. Much like the best of Squarepusher’s catalogue, there’s a brilliant live quality to “Nervelevers.” His music often doesn’t sound like a single producer staring into a computer, but more like an incredibly tight jazz band, totally in sync. The track might not feature his virtuosic bass playing, but you can picture him slapping his bass guitar during its frantic acid line. You’re pulled through a chaotic wormhole, with only a brief respite when the glitched jungle drums break down to an almost hip-hop stagger. It’s fast, unpredictable, and most importantly, fun. Only a handful of artists can make music this complex feel like such a good time.

Algorithmic Architecture
This short film is intended to encourage a creative audience to seek out Kevin Slavin’s talk Those Algorithms Which Govern Our Lives. It employs an effect which takes place in Google Earth when its 3D street photography and 2D satellite imagery don’t register correctly. This glitch is applied as a metaphor for the way that our 21st century supercities are physically changing to suit the needs of computer algorithms rather than human employees.

YOUARENOWHERE
Conjuring a futuristic sort of shamanism, Andrew Schneider’s YOUARENOWHERE experiments with the virtues of sensory overload via quantum mechanics, parallel universes, and the “Missed Connections” board on Craigslist. Battling glitchy transmissions, crackling microphones, and lighting instruments falling from the sky, one guy on a mission and a tricked-out interactive new-media landscape merge to transform physical space, warp linear time, and short-circuit preconceived notions of what it means to be here now.

Glitch art
Finding his own niche between new media arts and conceptualism, Adam Ferriss creates unique digital coding that manipulates, distorts, and engineers images into psychedelic terrains. At times, his technicolor abstractions feel organic despite their technological roots – an ambiguous craft born of the RGB Tricolor separation process and pixel sorting algorithms he so carefully employs. Using these “procedural mechanisms,” Ferriss initiates iterative changes in light and pixel structure of his given source material – creating a literally infinite array of compositional possibilities that grapple with human perception during an era of ubiquitous manufacture.

Chromadynamica
Pantone’s work deals with dynamism, transformation, digital revolution, and themes related to the present times. Felipe Pantone evokes a spirit in his work that feels like a collision between an analog past and a digitized future, where human beings and machines will inevitably glitch alongside one another in a prism of neon gradients, geometric shapes, optical patterns, and jagged grids. Based in Spain, Pantone is a byproduct of the technological age when kids unlocked life’s mysteries through the Internet. As a result of this prolonged screen time, he explores how the displacement of the light spectrum impacts color and repetition.

Glitch art’ is a new genre which is now growing very popular within the digital art age. A glitch is certainly what many of us has experienced at least once in their life you are surrounded by technology. It is a temporary fault in the system and produces a distorted image. According to Iman Moradi, who wrote a brief account on glitch art, defined that there are two types of glitch art. One being ‘Pure Glitch’ where it was produced at random, real, and appropriated. Where as Szauder’s work classifies into ‘Glitch-alike’ because of the deliberate nature where the works were planned and designed, making them artificial.

Rigged
A hybrid of consumer associations, ranging from the glossy iconography of the TV commercial and the sterility of video game graphics to the luminosity of the department store poster and the smell of freshly opened cosmetics, create a subconscious lure. Her use of CGI technology in her artistic practice surpasses a simple study of digital textures (think nostalgic glitch-making) to occupy a full-fleshed, hyperreal space, usually reserved to corporate giants in advertising or entertainment.

Glitch art
小故障艺术是一种新类型，如今在数字艺术时代越来越受欢迎。 故障肯定是我们许多人一生中至少经历过的一次，您被技术所包围。 这是系统中的暂时性故障，会产生失真的图像。 根据有关毛刺艺术的简短介绍的伊曼·莫拉迪（Iman Moradi）的定义，毛刺艺术有两种类型。 一种是“纯毛刺”，它是随机，真实和适当制作的。 Szauder的作品在哪里归类为“小故障”，因为这些作品是经过计划和设计的，因此它们是人造的。

glitch portrait

Good vibrations storage
“Good Vibrations“, une incroyable création de l’architecte / designer Ferruccio Laviani, inspirée par le phénomène du “Glitch Art”, utilisant les bugs informatiques et vidéo comme source de création. Une rencontre assez improbable entre design et glitch donnant naissance à une commode en bois au style classique, complètement déformée comme sous l’effet de bugs d’affichage… Simplement superbe.

Skin 2
His work often uses classical imagery that is transformed and energised using decidedly non-classical colours and forms. He uses collage and glitch techniques on his own and found images to create a quickly expanding body of work which has a recognisable and consistent style but has un unexpected energy making it feel fresh and dynamic.

the glitch
GIF

班克斯
バンクシー
Бэнкси
A glitchy Ariel
Dismaland

Glitchometry monochrome stripes

Glitch
via highlike submit

فيليب ستيرنز
glitch textiles