Abstract
In response to calls to forget and unthink photography this article considers the computational environment and its consequences for the image making. What is there to know about images that are networked and generated with data processing techniques rather than with light and chemistry? How to analyse images and read what they are and what they represent, beyond what is visible in the picture? The article argues that glitches while aesthetically capturing errors in the machine point to broader conditions of image making revealing systemic errors and not only its momentary technical failures. To explore digital images as affective phenomena to be sensed, the article looks at how glitch and its operations have been used by artists to generate digital images, and most importantly how they reveal computational systems as technical objects and affective infrastructures where discrimination is not an error but part of the system.
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