ARCHITECTURAL GLITCHING, AMBIGUITY AND THE ATTACK ON PERFECTION THIS IS AWKWARD MYRRA LINDHOLM Examiner/Jonas Lundberg Supervisors/Daniel Norell and Karin Hedlund Chalmers School of Architecture/Department of Architecture and Urban Design Myrra Lindholm Master Thesis Spring 2018 Examiner: Jonas Lundberg Supervisors: Daniel Norell and Karin Hedlund Master Program: Material Turn Chalmers University of Technology: Department of Architecture and Civil Engineering Göteborg, Sweden THIS IS AWKWARD ARCHITECTURAL GLITCHING, AMBIGUITY AND THE ATTACK ON PERFECTION 5 A B S T R A C T Peter Wol len wr i tes about the t went ieth centur y cu l ture; “In the end, pur i sm leads towards s tas i s ...”. Modernism has been c r i - t iqued for i t s over fondness of per fec t ion and sys temat izat ion, t wo aspec t s no longer jus t ideals but consequences of technolo - gy advancement . The inc reas ing ro le that technology p lays in archi tec tura l develop - ment has made way for f as ter and more ef - f ic ient processes, of ten coupled wi th ca l - cu lated and cont ro l led resul t s . The lack of tens ion and uncer ta int ies that fo l low makes a poor pos i t ion for s ide - s tepping conven- t ion. Contemporar y archi tec ture has inher- i ted modernism’s i s sue wi th s tagnat ion. The a im of th is thes is i s to d iscuss ins t ru - mental cont ro l and ques t ion the s t r ive for ’per fec t ion’ in the archi tec tura l t r ad i t ion. Wi th depar ture in wabi - sabi - a Japanese aes thet ic s and phi losophy that embraces imper fec t ion - and the g l i tch ar t movement - an ar t form centered around ut i l i z ing and highl ight ing mis takes - th is thes is set out to explore awk ward aes thet ic s and uncon- vent ional des ign methods. Intent ional ly awk ward s i tuat ions are in - c reas ingly present ac ross severa l c reat ive f ie lds . As a bumpy var iat ion of - r ather than in oppos i t ion to - the ’cor rec t ’, the awk- ward sugges t s a new set of aes thet ic ru les . Whi le the awk ward has a cent ra l pos i t ion in wabi - sabi and gl i tch ar t , i t has yet to prove i t s p lace in the archi tec tura l d iscour se. This thes is explores the presence of awk- wardness in h is tor ic and contemporar y ar- chi tec ture whi le showcas ing the awk ward’s abi l i t y to inter fere wi th our habi t s and pre - sumpt ions . The int roduc t ion of g l i tch ar t to the archi - tec tura l d iscour se, does not only present an a l ternat ive aes thet ic but a l so novel de - s ign methods. This thes is examines a se - lec t ion of g l i tch techniques and develops a method for ‘a rchi tec tura l g l i tching’. Theor y and method come together in Misal igned - a shor t f i lm por t ray ing appl ied gl i tching and rework ing of the Archi tec tura l bui ld ing at Chalmer s . This i s Awk ward leaves a commentar y in the d iscuss ion about ’cor rec tness’ and ’per fec- t ion’ w i th in archi tec ture and demons t rates the awk ward’s potent ia l of enr iching ar- chi tec ture wi th tens ion and ambigui t y. By int roduc ing gl i tching to the archi tec tura l des ign process, ins t rumental cont ro l and spat ia l c lar i t y can be removed f rom the d ig i ta l drawing. This incorporates ambigui - t y and unpredic tabi l i t y into the des ign pro - cess , which prov ide a f r u i t fu l env i ronment for novel ins ight s . 6 TA B L E O F C O N T E N T S _ Abs t r ac t _Tab le of content s 0 INTRODUCTION _ Background _Objec t ives _ S i tuat ion _ Method _Vocabular y _ Del imi t a t ions _ Reading ins t r uc t ions 1 MISALIGNED Des ign implementat ion _ Misa l igned in images _ References 2 AWK WARD Theor y deve lopment _Wabi - sab i _ Beaut y in imper fec t ion _Wabi - sab i in a rch i tec ture _The c rawl door of a Japanese tea house _ A c rawl ing enter ing _The s t a i r in the L aurent ian l ib r ar y _ A s ta i r out o f p ropor t ion _ Fuj imoto’s pub l ic to i le t te _Transparent p r i vac y _ L a Fabr ica _ Decorat i ve decay _Gordon Mat ta - Clar k _The at t ack on moder nism _ Ambigui t y _Ci rcus _ A new sense of space 3 BREEDING ERROR Theor y deve lopment _Gl i tch ar t movement _ Data bending _ Reconnec t _Technologica l power _ Bending boundar ies _ Misa l ignment _ Datamoshing _ Archi tec tura l g l i tch ing _Gl i tch meet s the drawing 4 DEMONSTR ATION Des ign implementat ion _ Map _Work f low _Gl i tch e lement s _ Phase one _ Phase t wo _ Summar y 5 APPENDIX Method deve lopment _ Appendix index _ 5.1 Data bending wi th Tex t ed i tor _ 5.2 Misa l ignment w i th Audac i t y _ 5.3 Datamoshing w i th Av idemux _ 5.4 Col lag ing w i th Photoshop _ 5.5 Gl i tch to 3D _ 5.6 Gl i tch to mat te r 6 B IBLIOGR APHY _ L i te rature _ Pro jec t ment ions _ L i s t o f f igures 5 6 8 -15 8 -9 10 11 12 13 14 15 17-34 18 -33 34 35 - 49 36 -37 38 -39 40 - 41 42- 43 44 - 45 46 - 47 48 - 49 51-58 52-56 57-58 59- 82 60 61 62- 63 64 - 69 70 -79 81- 82 83 -129 85 87-91 93 -108 109-113 115 -120 121-125 127-129 131-133 131 132 133 7 B R E E D I N G E R R O R ( 2 ) PA G E T I T E L 8 TECHNOLOGY WABI-SABI AWKWARDNESS ARCHITECTURAL GLITCHING COMPUTER AIDED DESIGN DATAMOSHING ARCHITECTURE GORDON MATTA-CLARK DISTORTION DATA BENDING MISALIGNMENT “COMPLEXITY AND CONTRADICTION” IMPERFECTION IMPERMANENCE INCOMPLETENESS GLITCH ART MOVEMENT METHOD- OLOGY AESTHETICS 9 The Japanese phi losophy wabi - sab i sugges t s that beaut y i s found in imper fec t ion. Hones t y. Awareness of ever y th ing’s incompleteness and imper manence i s mani fes t in f au l t s and c racks . Wabi - sab i i s a way of l i fe that embraces the odd, the mis shapen. The awk ward. Unease and d iscomf i tu re a re of ten synonymous w i th awk- ward s i tuat ions . However w i th a wabi - sab i mind - set such s i tuat ions might be va lued d i f fe rent ly. Accord ing to Andrew Zago ( Zago Archi tec ture) there i s an inc reas ing presence of in tent iona l l y awk ward s i tuat ions ac ros s severa l c reat ive f ie lds (2010, p. 205 ), sugges t ing an emerging aes thet ic that ignores es tab l i shed exper t i se, w i thout op - pos ing i t . Th i s spur s an in te res t o f the awk ward ’s potent ia l to in f luence the arch i tec tura l p rofes - s ion. Another f ie ld that , l i ke wabi - sab i, t akes a pos i t ion out s ide the mains t ream, i s the g l i tch a r t movement . Th i s p roces s - or iented ar t fo r m center s a round ut i l i z ing and exp lo i t ing er ror s , which occur rence i s e l sewhere seen as p rob - lemat ic and undes i r ab le. The g l i tch aes thet ic s a re as soc ia ted w i th v ib rant co lor schemes and intense, a lmos t d i s turb ing e lement s , seemingly ver y f a r f rom the muted natura lnes s that can be ident i f ied in wabi - sab i . The g l i tch, however, ex- pres ses the nature of technology, revea l ing i t s language and bui ld ing b locks . Gl i tch ar t shares the hones t y in wabi - sab i and t akes an equal l y awk ward pos i t ion. The proces s of g l i tch ing amount s to de l iberate ly a r r anging for a surpr i s ing outcome. By s t re tch ing the boundar ies w i th in a chosen media, g l i tch ing exp lores poss ib i l i t ies beyond ’ in tended’ f unc - t iona l i t ies and operate out s ide the sphere of p red ic t ion. In the in t roduc t ion of Ignorance and Surpr i se - Sc ience, Soc iet y, and Ecolog ica l De - s ign , Mat th ias Gros s wr i tes that ’nove l th ings a l - ways inc lude e lement s of surpr i se, uncer ta int y, and the unknown’ (2010 ). The unknown i s in i t ia l l y perce ived as ’ incor rec t ’ s ince i t does not a l ign w i th es tab l i shed knowledge, but seen f rom a new angle or w i th a d i f fe rent mindset , i t c an prov ide nove l ins ight s . Lear n ing f rom gl i tch ar t and tech - n iques of g l i tch ing can be a way of expanding the arch i tec t ’s t r ad i t iona l too lset and, perhaps, ex tend and t w is t the poss ib i l i t ies o f a rch i tec ture. Incorporat ion of g l i tch ing into the arch i tec - tura l des ign proces s i s , so f a r, unchar ted water s . There are no es tab l i shed ru les or convent ions of how to use g l i tch ing or how to in te rpret g l i tch mater ia l in a rch i tec ture. Th is re ta ins a poten - t ia l fo r exp lorat ion of how the g l i tch can in f lu - ence the arch i tec tura l des ign proces s . The r a t- t l ing charac ter o f the g l i tch d i s r upt s not on ly the drawing but a l so the arch i tec t ’s cus tom of read ing the arch i tec tura l d rawing. This opens up for unres t r ic ted inte rpretat ion of s t r ange and unpredic tab le e lement s that occur in the g l i tch mater ia l . B A C K G R O U N D I N T R O D U C T I O N ( 0 ) 1 0 O B J E C T I V E S This thes i s ana ly zes h i s tor ic and contemporar y occur rences of the ’awk ward ’, in tegrat ing phi l - osophica l ideas w i th a rch i tec tura l p recedences and d iscus s ing the ro le of ’awk wardness’ in a r- ch i tec ture. Wi th depar ture in the Japanese phi - losophy wabi - sab i and cur rent d i scus s ions about awk wardness in des ign, the in i t ia l theor y deve l - opment phase (chapter 2 - Awk ward ) examines poss ib i l i t ies o f awk wardness in a rch i tec ture w i th the purpose of ques t ioning the s t r i ve fo r ’per fec - t ion’ in the arch i tec tura l t r ad i t ion. In pur su i t o f decons t ruc t ing idea ls o f beaut y and arch i tec tur- a l o rganizat ion, th i s thes i s set out to search fo r ambigui t y and nove l t y w i th in the in tent iona l l y awk ward. Fo l lowing chapter - Breeding er ror - expand on how to exp lo i t e r ror in the des ign proces s , in - t roduc ing the reader to the g l i tch a r t movement and techniques of g l i tch ing. A foundat ion fo r why and how to implement g l i tch ing into arch i tec ture i s fo r med by d i scus s ing and bui ld ing an under- s t anding of the g l i tch a r t movement ’s ob jec t i ves and techniques . THESIS QUESTIONS _What i s Awk wardness in Archi tec ture? _What can Awk wardness add to the Archi tec tura l Discuss ion? _ How can Gl i tching in f luence the Archi tec tura l Des ign Process? 1 1 S I T U AT I O N I N T R O D U C T I O N ( 0 ) Thes i s ques t ions and objec t i ves come together in Misa l igned - a decons t ruc t ion based on ap - p l ied g l i tch ing and rework ing of the A rchi tec - tura l bu i ld ing at Chalmer s , por t r ayed in a 3.40 min f i lm. The purpose of the decons t ruc t ion i s to exempl i f y thes i s f ind ings and prov ide a p la t fo r m for d i scus s ion. The school o f A rch i tec ture and i t s phys i - ca l mani fes tat ion - the A rchi tec tura l bu i ld ing (SB -bui ld ing ) - was an in tu i t i ve choice as the sub jec t fo r des ign implementat ion of th i s thes i s . The decons t ruc t ion and re inte rpretat ion i s not a consequence of a fo r mulated c r i t i c i sm nor a ques t ioning of the arch i tec tura l qua l i t ies of th i s par t icu la r bu i ld ing. The bui ld ing mere ly ac t as Figure 1. SB - bu i ld ing, Cha lmer s Johanneberg. Author ’s own copy r ight . Figure 2. At r ium (SB - bu i ld ing ), Cha lmer s Johanneberg. Author ’s own copy r ight . a canvas on which to t r y out gathered too ls and concept s . Fur ther more, the charac ter o f the can - vas i s benef ic ia l in the pur su i t o f demons t r a t ing awk wardness . The robus t and near symmet r ica l b r ick bu i ld ing represent s per manence and sys - temat ic order, where main s t r uc tura l e lement s and phys ica l appearance s t and intac t even a f te r the recent re furb ishment (completed in 2017 ). The bui ld ing’s readabi l i t y makes the decon - s t r uc t ion and rework ing eas ie r to d i sc r iminate and eva luate. The SB -bui ld ing i s a l so a f ami l ia r env i ronment to the main audience of th i s thes i s - s tudent s and teacher s a t Chalmer s school o f A rch i tec ture - which adds to the readabi l i t y o f the decons t ruc t ion. 1 2 M E T H O D Thes i s ques t ions and objec t i ves have been ex- p lored in inves t igator y work car r ied out in three phases; theor y deve lopment , method deve lop - ment and the f ina l des ign implementat ion. The f i r s t phase conc ludes l i te r a ture f ind ings t reat ing the thes i s ques t ions ’ What i s Awk wardness in A rch i tec ture? ’ and ’ What can Awk wardness add to the A rchi tec tura l d i scus s ion? ’ w i th the pur- pose of fo r mulat ing des ign c r i te r ia fo r the de - s ign phase. The des ign c r i te r ia a re expres sed as ’outcome’ and demons t r a ted through case s tudy ana lys i s . Secondly, an or ientat ion of the g l i tch a r t movement and the proces s of g l i tch ing i s p re - sented. The thes i s ques t ion ‘How can Gl i tch ing in f luence the A rchi tec tura l Des ign Proces s? ’ i s d i scus sed. The second phase - the method deve lopment found in chapter 5 - appendix - a t tend to de - s ign inves t igat ions in re la t ion to g l i tch ing and ways of in te rpret ing g l i tch mater ia l . The focus has been on d ig i t a l techniques such as d ig i t a l g l i tch ing and d ig i t a l co l lag ing. One theme was executed in a phys ica l model exper iment in or- der to exempl i f y the ‘g l i tch to mat te r ’ approach found in the theor y deve lopment about g l i tch ing (g l i tch tex t i les ). A l l s tud ies conc lude how to per- fo r m the s tudy (work f low), input- and output- fo r- mat as wel l as the v i sua l output of the s tudy. The eva luat ion of the proces s and v i sua l output was done wi th a t tent ion to usab i l i t y fo r the des ign implementat ion, the th i rd and f ina l phase where theor y and method come together in a ser ies of ‘g l i tch e lement s’, p resented in the shor t mot ion sequence Misa l igned . The proces s of g l i tch ing and rework ing of g l i tch mater ia l in to ‘g l i tch e lement s’ has been car r ied out accord ing to the fo l lowing work f low; 1. Gl i tch ing of p lan and sec t ion drawing of the sub jec t bu i ld ing. 2. In te rpretat ion and rework ing of g l i tch draw- ings in to three d imens iona l fo r m. Focus on the la rger sca le and organizat ion. 3 . Gl i tch ing of imager y of in te r io r spaces of the sub jec t bu i ld ing. 4. In te rpretat ion and rework ing of g l i tch image - r y in to three d imens iona l fo r m. Focus on the smal le r sca le; tex tures , mater ia l i t y and l ight . EVALUATION METHOD Theor y and case s tud ies ac t as re fe rence for eva luat ion of the g l i tch e lement s p resented in Misa l igned . Ana lys i s o f the case s tud ies nuance the not ion of awk ward by conc lud ing; _ DESIGN ELEMENT(S ). Bu i ld ing/phys ica l e le - ment s that the s tudy objec t i s focus ing on. _TOOL(S ). Treatment of the des ign e lement . _V ISUAL OUTPUT. V i sua l appearance present in the s tudy objec t . _OUTCOME. Resu l t f rom the re la t ionship be - t ween des ign e lement s , too ls and v i sua l output . A comprehens ive vocabular y conc lud ing the in tended read ing of too ls (concept s and tech - n iques), v i sua l output , g l i tch e lement s and out- come used throughout th i s thes i s a re l i s ted on the fo l lowing page ( Vocabular y ). 1 3 V O C A B U L A R Y I N T R O D U C T I O N ( 0 ) _COLOR INVERSION. Replacing a color with its comple- mentary color. _DARKNESS. Decreased brightness value. _DISTORTION (effect). Deformation of an image/object. _DISPLACEMENT. Relocation of an image/object. _DIAGONAL DISPLACEMENT. Diagonal relocation of an image/object. _FADING. Decreased intensity (opaqueness) and dis- tinction. _CONTOUR FADING. Decreased intensity (opaqueness) and distinction towards the edge(s) of an image/object. _PARTIAL FADING. Decreased intensity (opaqueness) and distinction in part of an image/object. _FRAGMENTATION. Erasing part of an image/object. _NOISE. Visual pixilation of a surface. _ROTATION. Turning an object along its midpoint. _180° ROTATION. Turning an object 180° along its mid- point (upside down). _SATURATION (high or low). Intensity of color. _SKEW. Give an oblique direction to an image/object. _SMUDGE. Spreading out an image/object in a smeary manner. _SPLIT. Separating an image/object into two parts. _TACTILITY. Feeling of something being responsive to stimulation of the sense of touch (textural qualities). _TINT CHANGE. Changing the tint value in an image/ object. _MULTIPLE SPLITTING. Separating an image/object into multiple sections. TOOLS _CONCEPTS _DECONSTRUCTION. Breaking apart or cutting into an image/object physically or analytically. _INTERPRETATION. (subjective or algorithm driven) Translating/rendering of meaning/appearance of an image/object. _RE-ORGANIZATION. Changing the visual/physical organization of an image/object. _TECHNIQUES _COLLAGING. Fragmentation of an image/object and reorganizing the fragments in a new composition. _DATA BENDING. (with text editor) Manipulation of a digital file’s information. _DATAMOSHING. (with Avidemux) Manipulation of a video clip’s I-, P- or B-frames. _DISTORTION. (technique). Digital or physical tweaking, pulling or deformation of an image/object. _MISALIGNMENT. (with Audacity) Opening an image, video or object file in an audio editor and treating the file as an audio file. VISUAL OUTPUT _ABNORMAL PROPORTIONS. Unfamiliar proportional relationships. _ARRAY. (diagonal, horizontal or vertical). Copying and placing a shape/object multiple times on a diagonal, horizontal or vertical line. _BRIGHTNESS. Increased brightness value. _COLORATION. Emergence of colors not present in the input image/object. GLITCH ELEMENTS _CLIMB DOOR. An opening/door that is placed on a wall to instruct a climbing motion over the threshold. _DECAYING ELEMENT. An element that appear to be in decay/fading away. _EXPOSING ELEMENT. An element that exposes former hidden activities/elements. _INACCESSIBLE ELEMENT. An element that has been made physically hard/impossible to reach. _IRIDESCENT ELEMENT. An element showing lustrous colors that change with movement and light. _LIGHT ELEMENT. An element that generate and emit light. _SHADING ELEMENT. An element that provide shade. _TEXTURED ELEMENT. An element with textural quali- ties. OUTCOME _DECAY. Feeling of impermanence (in the presence of signs of time and use). _DIPLOPIA. Sense of seeing double (double vision). _DISCOMFORT. Feeling of unease in an unfamiliar environment. _DISORIENTATION. Lack of readability of a space in the aspect of orientation. _INCOMPLETENESS. Feeling of an on-going process. _SELF-AWARENESS. Entering a state of introspection, becoming aware of oneself as an individual separate from the environment and other individuals. _TENSION. Interplay between two or more opposing phenomenon. 1 4 D E L I M I TAT I O N S The focus fo r th i s thes i s has been d i rec ted to - wards f ind ing, under s tanding and acqui r ing awk wardness in a rch i tec ture. The proces s de - ve lopment has focused on the in t roduc t ion of g l i tch ing into the des ign proces s . The thes i s has not a t tempted to so lve any par t icu la r sys temat ic , p rogrammat ic or technica l i s sues in the arch i tec - tura l p roposa l (des ign implementat ion), which so le ly ac t s as a p la t fo r m for d i scus s ion concer n - ing ’per fec t ion’, awk wardness and ins t r umenta l cont ro l w i th in a rch i tec ture. Acqui r ing and d is - cus s ing ‘awk wardness’ has been lead ing in both des ign and theor y deve lopment , whi le other as - pec t s of des ign/aes thet ic s have been intent ion - a l l y bypas sed. The method deve lopment fo r th i s thes i s ’ des ign implementat ion has centered around exp lor ing methods and techniques that gener- ate surpr i s ing, unpredic tab le and/or ‘awk ward outcome’. Wi th the g l i tch a r t movement as lead in the method deve lopment , i t was natura l that mos t des ign inves t igat ions and the f ina l imple - mentat ion became l imi ted to a d ig i t a l fo r mat . One smal l phys ica l exper iment was made, ac t- ing as a demons t r a t ion of the ’g l i tch to mat te r ’ approach. However, the emphas i s fo r th i s thes i s has been d i rec ted to d ig i t a l decons t ruc t ion and manipulat ion. 1 5 1 MISALIGNED Des ign implementat ion: Present ing g l i tch e lement s in images accompanied by ex t rac t s f rom b ib l iography 2 AWK WARD Theor y deve lopment : Awk ward aes thet ic s , tens ion and ambigui t y in a rch i tec ture 3 BREEDING ERROR Theor y deve lopment : E xp lor ing ins t rumenta l cont ro l in l ight of the g l i tch a r t movement and the process of g l i tch ing 4 DEMONSTR ATION Des ign implementat ion: Present ing, d i scuss ing and eva luat ing the process and outcome of g l i tch e lement s in re lat ion to theor y 5 APPENDIX Method deve lopment : Des ign inves t igat ions , g l i tch ing techniques and inte rpretat ion of g l i tch mater ia l R E A D I N G I N S T R U C T I O N S I N T R O D U C T I O N ( 0 ) 1 6 1 MISALIGNED DESIGN IMPLEMENTATION: PRESENTING GLITCH ELEMENTS IN IMAGES ACCOMPANIED BY EXTRACTS FROM BIBLIOGRAPHY 1 8 ‘If the source of the both-and phenomenon i s cont radic t ion , i t s ba si s i s h ierarchy, which y ield s several level s of meanings among ele- ment s with var y ing values . It can inc lude el- ement s that are both good and awkward , big and l i t t le , c losed and open , cont inuou s and ar t iculated , round and square , s t ruc t ural and spat ial . A n architec t ure which inc ludes var- y ing level s of meaning breed s ambiguit y and ten sion .’ 1 Rober t Vent ur i Dynamic element 2 0 ‘Ju st becau se we are immersed in dig i tal tech- nolog ie s doesn’t mean that we are in touch with them”… ” We are di sconnec ted , and par t of thi s di sconnec t s tem s f rom the fac t that dig i tal pro- cesse s are abst rac t , immater ial , or not readily vi s ible to u s , even if they are there r ight before our eyes .’ 2 Phil l ip Stearn s Textured element 2 2 ‘In equivocal relat ion ships one cont radic to- r y meaning u sually dominates another, but in complex composi t ion s the relat ion ship i s not always con stant . Thi s i s e spec ial ly t rue a s the observer moves throu gh or around a bui lding, and by exten sion throu gh a c i t y : at one moment one meaning can be perceived a s dominant; at another moment a dif ferent meaning seem s paramount .’ 3 Rober t Vent ur i 2 4 ‘Why hang things on a wall when the wall i t self i s so much more a challenging medi- um? It i s the r ig id mentali t y that architec t s in stall the wall s and ar t i st s decorate them that of fend s my sen se of e i ther profession .’ ‘Why hang things on a wall when the wall i t self i s so much more a challeng ing medium? It i s the r ig id mental i t y that architec t s in stal l the wall s and ar t i s t s decorate them that of fend s my sen se of e i ther profe ssion’ 4 G ordon Mat ta- Clark 2 6 ‘Why hang things on a wall when the wall i t self i s so much more a challenging medi- um? It i s the r ig id mentali t y that architec t s in stall the wall s and ar t i st s decorate them that of fend s my sen se of e i ther profession .’ 2 8 ‘Usually the thing that intere st s me i s to make a gest ure that in a ver y s imple way compli- cate s the vi sual area I ’m working in . L ooking throu gh the cut , looking at the edges of the cut , should create a c learly new sen se of space . But the cut al so mu st reveal a por t ion of the exi st- ing bui lding system , s imply a s that which ex- i st s .’ 5 G ordon Mat ta- Clark 3 0 ‘However we analyze the dif ference between the regular and the irregular, we mu st u l t imately be able to account for the most ba sic fac t of aesthet ic exper ience , the fac t that del ight l ie s somewhere between boredom and conf u sion .’ 6 Ern st G ombrich 3 2 ‘Beaut y can spontaneou sly occur at any mo- ment g iven the proper c ircum stances , context , or point of view. Beaut y i s thu s seen a s an al- tered state of con sc iou sness , an ext raordinar y moment of poet r y and grace .’ 7 Leonard Koren Inaccessible/textured element (shaft) 3 4 R E F E R E N C E S IMAGES PAGES 18 -19 L ight e lement . Author ’s own copy r ight . PAGE 20 -21 Tex tured e lement . Author ’s own copy r ight . PAGE 22-23 I r idescent e lement . Author ’s own copy r ight . PAGES 24 -25 Decay ing e lement . Author ’s own copy r ight . PAGES 26 -27 Shading p i l la r s . Author ’s own copy r ight . PAGE 28 -29 E xpos ing e lement ( to i let te). Author ’s own copy- r ight . PAGE 30 -31 Cl imb door. Author ’s own copy r ight . PAGE 32-33 I naccess ib le e lement (s ta i r ) . Author ’s own copy- r ight . TEXT 1: Rober t Ventur i in Complex i t y and Cont rad ic - t ion in Arch i tec ture , p. 23 (1966) 2: Ph i l l ip Stear ns c i ted by Cla i r Voon in Trans lat- ing Computer A lgor i thms into Tangib le Fabr ic s . A r t ic le in Hypera l le rg ic (2014) 3: Rober t Ventur i in Complex i t y and Cont rad ic - t ion in Arch i tec ture , p. 32 (1966) 4. Gordon Mat ta - Clar k , c i ted by Stephen Walker in Gordon Mat ta - Cla r k ; A r t , A rch i tec ture and the At tack on Modern ism, In t roduc t ion p. 3 (20 09) 5: Gordon Mat ta - Clar k , c i ted by Walker in Gordon Mat ta - Cla r k ; A r t , A rch i tec ture and the At tack on Modern ism , p. 15 (20 09) 6: Er ns t Gombr ich c i ted by Rosa Menkman in The Gl i tch Moment (um) , p. 29 (2011) 7: Leonard Koren in Wabi - sab i fo r A r t i s t s , De - s igner s , Poet s & Phi losopher s . p. 51 (1994) <<< Scan to v iew Misa l igned or v i s i t : ht tps: //v imeo.com/279466620 2 AWKWARD THEORY DEVELOPMENT: AWKWARD AESTHETICS, TENSION AND AMBIGUITY IN ARCHITECTURE 3 7 W A B I - S A B I A W K W A R D ( 2 ) In Awk ward Pos i t ion Andrew Zago argues that an inc reas ing presence of in tent iona l l y awk ward s i t- uat ions sugges t s an emerging aes thet ic d i s t inc t f rom re f ined e legance and c r i t i c a l oppos i t ion (2010, p. 205 ). Zago point s out that the mis f i t w i th convent iona l c i r cums tances should not be seen as an acc identa l byproduc t , but r a ther as what def ines these awk ward occur rences (2010, p. 205 ). In the Japanese phi losophy wabi - sab i, the awk ward has had a cent r a l pos i t ion fo r cen - tur ies , cont inuous ly h ighl ight ing the ind i f fe rence to convent iona l l y accepted aes thet ic s (Koren, 20 08, p. 62). Wabi - sab i p rov ides a way of re la t ing to natura l p roces ses in l i fe where imper fec t ion, imper manence and incomplet ion are va lued r a th - er than be ing thwar ted. Beaut y in imper fec t ion Wabi - sab i i s made up by wabi, expres sed through imper fec t ion and s impl ic i t y, and sab i, shown in the e f fec t t ime has upon an objec t . Togeth - er they fo r m an image of a s impler l i fe, w i th no c la im for pur i t y o r unneces sar y mater ia l ob jec t s (20 08, p. 21-29). Th i s unpol i shed and hones t a t t i - tude d is t inguishes wabi - sab i f rom contemporar y idea ls o f beaut y and ’per fec t ion’. An example of th i s tendenc y i s ’k in t sugi ’, t r ans la t ing to ’go lden jo iner y ’, a method used to repai r b roken ceram- ic s by h ighl ight ing the c r acks w i th go ld, s i l ve r o r p la t inum lacquer ( W ik ipedia, 2018). The ac t o f jo in ing broken p ieces together w i th va luab le meta l s demons t r a tes an acknowledgment of the c r ack as a par t o f the objec t ’s h i s tor y ins tead of something to be d isguised and forgot ten. Wabi - sab i phi losophy i s ambiva lent about separat ing beaut y f rom ugl ines s . Ins tead of shunning non -beaut y, embrac ing i t i s a way of coming to te r ms w i th what you cons ider as ug ly. Beaut y i s exp la ined as a dynamic event occur r ing bet ween you and something e l se that can appear at any t ime, g iven the proper c i rcums tances . Beaut y i s thus seen as a s t a te of consc iousnes s r a ther than spec i f ied at t r ibutes (20 08, p. 49). Th i s idea of beaut y makes wabi - sab i aes thet ic s hard to d i s t inguish or desc r ibe in words , which adds to i t s r i chnes s in tens ion and ambigui t y. Wabi - sab i in a rch i tec ture A para l le l to th i s idea of beaut y i s seen in t r ad i - t iona l Japanese tea house arch i tec ture. ’ The way of tea’ o r the tea ceremony was an impor tant so - c ia l ac t i v i t y among weal thy merchant s , samura i s and ar i s toc rat s when wabi - sab i emerged in Japan in the 15th centur y. The arch i tec ture to hos t the ceremony deve loped a longs ide wabi - sab i ideas of beaut y and came to resemble a medieva l f a r m- er ’s hut , ver y s imple in i t s appearance. To people accus tomed to the Chinese tea ceremony s t and - ards of re f ined, gorgeous, and per fec t beaut y, the Japanese tea room were in i t ia l l y perce ived as ug ly. Yet , in the proper contex t and under s tand - ing of wabi - sab i, the Japanese tea room took on except iona l beaut y (20 08, p. 51). Bes ides the use of natura l mater ia l s , l i ke wood and mud, that s igna l s impl ic i t y and con - nec t ion to nature, the layout of the tea room i s asymmet r ica l and shows wooden p i l la r s and jo i s t that do not l ine up per fec t l y. Tr aces of c r a f t s - manship are bedded in the mud wal l s down to the ver y u tens i l s used for the tea p reparat ion, demons t r a t ing care fu l and yet e f fo r t les s beaut y. Figure 1.  K int sug i: Tr ans la ted vase, Oeuv re de Yee Sook yung (Da lbér a, 2015 ). CC- BY.  F igure 2.  Yugao Te i Teahouse a t Kenroku - en (Spack man, 20 02). CC- BY.  3 8 A W K W A R D ( 2 ) T H E C R A W L D O O R O F A J A PA N E S E T E A H O U S E A crawl ing enter ing A par t icu la r l y awk ward deta i l o f the Japanese tea house i s the ent r ance to the tea room. Cal led the ’c r awl door ’, th i s s imple des ign features a square opening, not h igh enough to go t rough s t and - ing up. The humbl ing mot ion of hav ing to c r awl in to the tea room was a imed to decons t ruc t so - c ia l h ie r arch ies and make ever yone equal dur ing the ceremony. The nar row opening a l so res t r ic t- ed samura i s f rom br ing ing the i r swords in to the tea room, d i sar ming them f rom s tatus and power (20 08, p. 51). The abnor mal p ropor t ions of the door i l lus - t r a tes an arch i tec tura l e lement per for ming, not agains t nor in l ine w i th the ’cor rec t ’, but r a th - er p resent ing an a l te r nat ive log ic . The much too low l in te l i s ’w rong’ in re la t ion to nor mat ive un - der s tandings of what a door i s , yet i t s t i l l f unc- t ions as a door enab l ing you to enter the tea house, jus t w i th a b i t o f e f fo r t . The ex t r a s t r ug - g le f i t s i t s purpose, ins t r uc t ing a phys ica l mot ion that idea l l y causes the v i s i to r to adopt a gent le a t t i tude. This a t t i tude change can be l inked to a se l f -awareness that appear s when forced into a s l ight ly uncomfor tab le s i tuat ion. The awk ward - nes s occur s when you are put in the unusua l ac t o f c r awl ing. In th i s moment , a h igher sense of se l f -awareness i s l i ke ly to fo l low, remind ing you of how you and your ac t ions a re perce ived by and e f fec t other s . Andrew Zago wr i tes about the awk ward that ’ I t s s t r a teg ic dep loyment , however, requi res that i t appear, a t f i r s t , incor rec t , that i t o f fend re - f ined sens ib i l i t ies , and that , as a la tent read ing, i t c reate an unexpec ted and nove l e f fec t .’ (2010, p. 212). Th i s i s how the c r awl door appear s , in i - t ia l l y s t r ange and out of p ropor t ion, but under- s tood in i t s contex t i t ga ins va lue and adds to the arch i tec tura l qua l i t ies of the tea house. Figure 3 .  Ente r ing th rough the c r aw l door. Author ’s own copy r ight . CR AWL DOOR Des ign e lement (s) : Door Tool (s) : Lower ing the l in te l and r i s ing the thresho ld of the door Visua l output : Abnor mal p ropor t ions ( too smal l ) Outcome: Se l f -awareness Figure 4 . Typ ic a l l ayout o f a t r ad i t iona l Japanese tea room. Author ’s own copy r ight . Cr awl door Figure 5 .  Plan o f the ves t ibu le o f the L aurent ian l ib r a r y (Miche lange lo). PD - US 4 1 T H E S TA I R I N T H E L A U R E N T I A N L I B R A R Y STAIR IN THE L AURENTIAN L IBR ARY Des ign e lement (s) : St a i r Tool (s) : E xaggerat ion Visua l output : Abnor mal p ropor t ions ( too b ig ) Outcome: D isor ientat ion, tens ion A s ta i r out of p ropor t ion Another h i s tor ic , awk ward s i tuat ion i s found in the L aurent ian l ib r ar y in F lorence, where Miche l - angelo des igned a pecul ia r s t a i r in the ves t ibu le. Rober t Ventur i uses the s t a i r as an example in Complex i t y and Cont rad ic t ion in Arch i tec ture showcas ing the concept of both -and in cont r as t to e i ther- or that has charac ter i zed or thodox moder n arch i tec ture (1966, p. 23). The e i ther- or demands ar t icu la t ion and c la r i t y, both fo re ign concept s fo r a rch i tec ture of complex i t y and cont r ad ic t ion accord ing to Ventur i . Both -and, ins tead bui lds on cont r ad ic t ion and a h ie rarchy of mul t ip le leve l s o f meaning (1966, p. 23). The cont r ad ic t ion l ies in the presence of e lement s ’ that a re both good and awk ward, b ig and l i t - t le, c losed and open, cont inuous and ar t icu la ted, round and square, s t r uc tura l and spat ia l .’ (1966, p. 23). The s t a i r i s d iv ided in three para l le l paths where the outer th i rds a re ’abrupt ly chopped of f and lead v i r tua l l y nowhere´ (1966, p. 25 ). The s i ze of the s t a i r seems in i t ia l l y too la rge in re la t ion to the s i ze of the ves t ibu le, however cons ider ing the b igger contex t , the added outer th i rds c re - ates a ba lanced propor t iona l re la t ionship w i th the spaces beyond. The awk ward endings of t wo th i rds of the s t a i r a re consequences of th i s exag - gerat ion of p ropor t ion. Leading nowhere, they do not p rov ide the expec ted func t ion of a s t a i r, c aus ing d isor ientat ion and confus ion. However, they are needed to f i t the s t a i r ’s p ropor t ions to the b igger contex t . You could say that the s t a i r i s both too la rge and wel l p ropor t ioned, func t iona l yet awk ward. The re la t ionship bet ween the am- biguous propor t ions and the confus ing, chopped endings bu i lds a tens ion in the arch i tec ture that adds to i t s complex i t y. A W K W A R D ( 2 ) Figure 6 .  The t r ip le s t a i r c ase o f the ves t ibu le o f the L aurent ian L ib r a r y, one o f the unusua l fea tu res o f Mi - che lange lo’s des ign fo r th i s bu i ld ing. (Hami l ton, 1984). CC- BY. 4 2 A W K W A R D ( 2 ) F U J I M O T O ’ S P U B L I C T O I L E T T E Transparent p r ivacy A contemporar y p recedence of the both -and phenomenon i s Sou Fu j imoto’s pub l ic bathroom in I ch ihara, Japan. The to i le t te, embraced wi th g las s wal l s p laced in a fenced garden, i s both open and c losed, pub l ic yet p r i vate. The soc ia l demand of p r i vac y whi le going about your bus i - nes s i s combined wi th the des i re of ‘ f reedom f rom arch i tec ture’. A p lay w i th p ropor t ions make i t s p resence again. Fu j imoto c reates an abnor- mal ly la rge bathroom where the opaqueness of regular bathroom wal l s has moved mul t ip le meter s away f rom the to i le t te, leav ing only the t r ansparent g las s as sh ie ld fo r weather. In th i s case the d ispropor t ion c reates a va lue of f ree - dom and c loseness to nature whi le w i thho ld ing the to i le t tes in tended func t ion. In theor y. The b lur red l ine bet ween pr ivate and publ ic may come wi th a gra in of d i scomfor t . A l though the fence ho lds a door w i th a lock , the exper ienced leve l o f exposure might cause the user to fee l, a t leas t , a b i t awk ward. The spec tac le that the unusua l to i le t te has p rovoked fur ther l imi t s the sense of p r i vac y. FUJIMOTO’S PUBLIC TOILET TE Des ign e lement (s) : To i le t te Tool (s) : Separat ing wal l layer s ( t r ansparent inner wal l s and opaque outer wal l s ) . Visua l output : Abnor mal p ropor t ions ( too b ig ), openness Outcome: Tens ion, se l f -awareness , d i scomfor t Figure 7. Fu j imoto’s Pub l i c to i le t te, I ch ihar a . Author ’s own copy r ight . 4 4 L A FA B R I C A A W K W A R D ( 1 ) Figure 8 .   I n te r io r wor k space, La Fabr ica , Barce lona. (Forgemind A rch iMedia, 2014). CC- BY. 4 5 L A FA B R I C A Decorat ive decay 1973 arch i tec t R icardo Bof i l l found a d i sused ce - ment f ac tor y, an indus t r ia l complex f rom the tur n of the centur y and dec ided to tu r n i t in to h i s p r i - vate home and s tud io fo r h i s a rch i tec tura l o f f i ce. The f ac tor y i s f u l l o f huge but use les s spaces of wei rd p ropor t ions , however they become mag- ica l because of the i r tens ion and d ispropor t ion (Bof i l l , 2015 ). La Fabr ica was shaped through se lec t i ve de - mol i shment of the o ld s t r uc ture ( f r agmentat ion) reve l ing sur rea l i s t i c s t a i rcases that lead nowhere and for mer concealed for ms that appear to have been scu lptured out of the concrete. The resu l t i s un ique and i r regular spaces a long wi th a r us t ic aes thet ic fee l re la t ing to wabi - sab i phi losophy. Figure 9.  Proces s , La Fabr ic a, Barce lona. (Forge - mind A rch iMedia, 2014). CC- BY. ”S lowly, w i th the va luab le he lp o f Cat a lan c r a f t s - men, the Cement Fac to r y was t r ans fo r med, bu t i t w i l l a lways remain an unf in i shed wor k” (Bof i l l , 2015 ) A W K W A R D ( 2 ) The s igns of t ime are many and Bof i l l sees La Fabr ica as a cons tant ly changing, imper manent p ro jec t (Bof i l l , 2015 ). Th i s ever- changing atmos - phere b lends w i th a fee l ing of decay. In wabi - sab i phi losophy i t i s sa id that th ings a re e i ther mov- ing toward, o r evo lv ing f rom noth ingness (Koren, 20 08, p. 40 ). These t wo ant ipodes coex is t in the ambiguous La Fabr ica . L A FABRICA Des ign e lement (s) : Cement f ac tor y Tool (s) : Reduc t ion Visua l output : Abnor mal p ropor t ions ( too b ig ), f r agmentat ion Outcome: Decay, incompleteness , tens ion 4 6 the e f fec t o f th i s monopoly that mos t concer ned h im was the sys temat i zat ion inher i ted in the ma- chine t r ad i t ion ( Walker, 20 09) - a sys temat i zat ion that i s perhaps even more s t res s ing in today ’s technology dr iven soc ie t y. H is ideas resonate w i th th ings wabi - sab i, even though Mat ta - Clar k came f rom a d i f fe rent s t and ing point . The or ig in of wabi - sab i was a reac t ion to the Chinese f lo r id or namentat ions and ex t r avagance (Koren, 20 08), whi le Mat ta - Clar k reac ted and worked in the pur- i sm of moder n ism. Ambigui t y Mat ta - Clar k sought to s t re tch the boundar ies of a rch i tec tura l space es tab l i shed by moder n ism. Walker re fe r s to a quote by Mat ta - Clar k where he, l i ke Ventur i , expres ses an in te res t in ambi - gu i t y ; Look ing at Mat ta - Clar k ’s oeuv re, par t icu la r l y h i s bu i ld ing d is sec t ions , i t i s easy to a rgue that h i s work demons t r a tes s impl i s t ic ant i - fo r mal i sm and an at t ack on h i s educat ion (20 09, p. 8 ). A s Walk- e r however point s out , Mat ta - Clar k ’s wor k was insp i red by an in te res t o f ambigui t y r a ther than an ‘out r ight a t t ack on arch i tec tura l fo r m’ (20 09. p. 8 ). Gordon Mat ta - Clar k was an ar t i s t ( t r a ined arch i - tec t ) who reac ted s t rongly agains t moder n is t ide - a l s o f pur i sm and sys temat i zat ion w i th h i s v io lent bu i ld ing d is sec t ions . His aes thet ic s a re usua l l y desc r ibed as awk ward and s imi la r to what Bof i l l d id w i th La Fabr ica , Mat ta - Clar k used reduc t ion as a mean of decons t ruc t ing and f r agment ing arch i tec tura l space. Mat ta - Clar k ’s manner was however b ru ta l and demons t r a tes a c r i t ique on completeness . The at tack on modern ism Mat ta - Clar k rece ived for mal t r a in ing as an ar- ch i tec t a t Cor ne l l Univer s i t y in 1962- 68. How- ever, Mat ta - Clar k d id not p rac t ice arch i tec ture s ince he cons idered i t a p retent ious enterpr i se. Ins tead he sought ”anarch i tec ture”, an a l te r na - t i ve use of bu i ld ings that invo lved a re jec t ion of f unc t iona l i s t aspec t s of, what he ca l led ’pas t- due Machine Age mora l i s t s ’ (MoMA, 2012). In Gordon Mat ta - Cla r k ; A r t , A rch i tec ture and the At tack on Modern ism Stephen Walker captures Mat ta - Clar k ’s reac t ion to the in te r na l ambigui t y of moder n ism’s own at tempt s of def in i t ion and h i s fo rce fu l a t t ack on r ig id i t y ; Gordon Mat ta - Clar k reac ted agains t the mod- er n i s t s ’ genera l s t r i ve fo r pur i sm and sys tema- t i za t ion in par t icu la r. He thought that a s ing le work could be inte res t ing and va luab le, but to r a i se the par t icu la r to a genera l r u le was to Mat- t a - Clar k ”organized monopoly”. In a rch i tec ture, ’My in i t ia l dec i s ions were based on the avo idance o f mak ing scu lp tu r a l ob jec t s and an abhor rence o f f l a t a r t . W hy hang th ings on a wa l l when the wa l l i t se l f i s so much more a cha l leng ing medium? I t i s t he r ig id ment a l i t y tha t a rch i tec t s ins t a l l t he wa l l s and a r t i s t s decor a te them that o f fends my sense o f e i the r p ro fes s ion’. (20 09, p. 3 ) A W K W A R D ( 2 ) G O R D O N M AT TA - C L A R K ‘. . . t he th ings we s tud ied [a t Cor ne l l ] a lways in - vo lved such su r f ace fo r mal i sm that I had never a sense o f the ambigu i t y o f a s t r uc tu re, t he ambigu - i t y o f a p lace, and that ’s the qua l i t y I ’m in te res ted in gener a t ing what I do.. .’ (20 09, p. 8 ) Figure 10 . Dis sec ted bu i ld ing, Gordon Mat t a - C la r k (Gaynor, 2012). CC- BY Plan 4f l Sect ion Figure 11. Rec reat ion o f a d r aw ing o f Ci rcus - p lan and sec t ion. Author ’s own copy r ight . 4 9 A new sense of space Mat ta - Clar k ’s work bares w i tnes s of h i s search fo r a new sense of a rch i tec tura l space. An e loquent i l lus t r a t ion i s Mat ta Clar k ’s las t f ina l i zed bui ld - ing d is sec t ion - Circus (o r the Car ibbean orange ) . Completed in 1978, Circus p resent s a rework ing of the MCA bui ld ing (Museum of Contemporar y A r t ) in Chicago. The d is sec t ion was executed as a ser ies of th ree c i rcu la r cu t s a long a d iagonal ax i s in the sec t ion. Three cor responding c i rcu la r cu t s were made in the roof ’s p lane so that the a l ignment of the cut s impl ied three spher ica l vo l - umes, ‘pee led away ’ f rom the s t r uc ture (A l t i ce, 2012). The work , cu t and car ved into a d i sor ient- ing and grav i t y def y ing s t r uc ture, demons t r a tes a d i sc rete v io la t ion on the v i s i to r ’s sense of va lue and sense of o r ientat ion. C I R C U S A W K W A R D ( 2 ) The method of ‘des ign’ i s cent r a l in Mat ta - Clar k ’s work . The c i rcu la r cu t s were p laced caut ious ly, however the i r execut ion i s o f a more impuls ive, aggres s ive charac ter. The cut revea ls the nature of the bui ld ing mater ia l s and c reates a d i s t inc t cont r as t bet ween the per fec t ion of the wal l sur- f ace and the imper fec t ion of the cut - h igh l ight- ing the break w i th convent iona l aes thet ic s . Equal to La Fabr ica , a sense of decay and incomplete - nes s co inc ide in the f r agmented s t r uc ture. CIRCUS Des ign e lement (s) : MCA bui ld ing Tool (s) : C i rcu la r cu t s in p lan and sec t ion Visua l output : Fr agmentat ion Outcome: D isor ientat ion, decay, incomplete - nes s , tens ion 5 0 3 BREEDING ERROR THEORY DEVELOPMENT: EXPLORING INSTRUMENTAL CONTROL IN LIGHT OF THE GLITCH ART MOVEMENT AND THE PROCESS OF GLITCHING Figure 1.  Gl i tch a r t us ing Proces s ing: Cosmic Winds - IC 2944 The Running Chicken Nebula . (Stear ns , 2015 ). CC- BY. 5 3 Reconnec t Whi le contemporar y communicat ion s t r i ve fo r t r ansparent immediac y in order to make the user fo rget about the presence of the medium (Men- kman, 2011) g l i tches does the oppos i te. O f ten coupled wi th re t ro aes thet ic s , g l i tches c reate a nos ta lg ic w indow reminding us of a les s per fec t pas t . The nature of the g l i tch a l so resembles the inherent imper fec t ions in our se lves (Roy, 2014), mak ing g l i tch media re la tab le in the same way as a c r ack in a vase. Rosa Menkman, a r t theor i s t and g l i tch a r t i s t , l i f t s the d i scus s ion of the s t r i ve fo r per fec t com- municat ion in The Gl i tch Moment (um) , conc lud - ing that i t i s a counterproduc t ive endeavor (2011, p. 29). In the pur su i t o f immediac y in communi - cat ion, s igna l speed has been inc reas ing ly p r i - o r i t i zed. Ear l ie r deve lopment in aud io and v ideo technologies focused on the reduc t ion of no ise in order to improve the exper ience of the media, a mot i f that seems to be of secondar y impor- t ance today accord ing to Menkman. Per fec t ing the speed of communicat ion a l so per fec t s the exper ience of the in for mat ion, perhaps to the ex tent that the exper ience becomes b land and gener ic . Menkman quotes Er ns t Gombr ich; The inte rp lay bet ween surpr i se and uni fo r mi t y keeps us f rom exper ienc ing something as a r t i f i - c ia l o r bor ing. A para l le l i s seen in d ig i t a l mus ic p roduc t ion where composer s add noise to the i r compos i t ions in order to make the mus ic more p leasant to the human ear. B R E E D I N G E R R O R ( 3 ) G L I T C H A R T M O V E M E N T A contemporar y in te res t in decons t ruc t ion and unconvent iona l aes thet ic s s imi la r to Mat- t a - Clar k ’s exp lorat ions , i s found in the g l i tch a r t movement - a p roces s or iented ar t fo r m centered around exp lo i t ing er ror s . The search fo r ins t r u - menta l and mater ia l hones t y connec t s g l i tch ar t to ideas of wabi - sab i . The break w i th the expec t- ed - not unusua l l y generat ing awk ward outcome due to the misa l ignment w i th accepted knowl - edge (e.g. the c r awl door and Miche langelo’s s t a i r ) - pos i t ions g l i tch a r t as an exper imenta l a r t fo r m that cont inuous ly s t re tches the boundar ies of des ign and aes thet ic exper ience. Data bending I t i s sa id that wabi - sab i can be ga ined through ’acc ident s ’ o r le t t ing th ings happen by chance. One example i s l i f ted in Wabi - sab i fo r A r t i s t s , Des igner s , Poet s and Phi losopher s where Koren ment ions a technique of c reat ing i r regular f ab - r ic s by sabotaging the computer p rogram of a tex t i le loom (20 08, p. 67 ) - a technique res id ing in the g l i tch a r t movement . The ac t o f in tent ion - a l l y cor rupt ing d ig i t a l in for mat ion (o r phys ica l l y manipulat ing e lec t ronic dev ices) i s w i th in g l i tch a r t known as ‘data bending‘ o r ‘data manipula - t ion’. Data bending i s usua l l y per for med through b inar y -numer ic code, hexadec imal and ( les s com- monly ) ASCI I s t r uc tura l representat ions (Aus t in, 2016, p.14). In other words , the cor rupt ion of d ig - i t a l in for mat ion i s the ac t o f t r ans for ming a f i le ’s l inear sequence representat ions . Th is i s done by opening the sub jec t f i le in a tex t ed i tor and re - vea l ing i t s in for mat ion for manipulat ion through re - organizat ion, sc r ipt ing or use of p rogramming languages such as Process ing . The manipulat ion causes mal func t ions and inte r rupt ions in the t reated media (2016, p. 14). These in te r rupt ions a re known as g l i tches . An exper imentat ion w i th data bending can be found in chapter 5.1 - Data bending wi th tex t ed i tor (appendix ). “However we analyze the difference between the regular and the irregular, we must ultimately be able to account for the most basic fact of aesthetic experience, the fact that delight lies somewhere between boredom and confusion”. (2011, p. 29) 5 4 fo r example, compres s ing a R AW-f i le in to a JPG - f i le. Compres s ion i s used in g l i tch a r t as a way of showing i t s impac t on a f i le ’s per for mance. Bending boundar ies The word ’g l i tch’ can be t r aced back to the the Y idd ish word g l i t sh or g l i t shn, meaning “to s l ip” ( Zur ko, 2016). To th ink of the g l i tch as a s l ip in - d icates a s l ippage or b reak w i th the expec ted. Accord ing to Mat th ias Gros s ”nove l th ings a l - ways inc lude e lement s of surpr i se, uncer ta int y, and the unknown, a l l o f which are located out- s ide the sphere of p red ic t ion” (2010, p. 1). Gros s a l so wr i tes; Gl i tch ing i s a way of p rovok ing a s l ippage that generate surpr i s ing outcome. The surpr i se makes us aware of our own ignorance, makes way fo r new d iscover ies and reeva luat ion of cur rent knowledge. A para l le l l to th i s was seen in the d i s - cus s ion about ‘awk wardness’ in p rev ious chapter. Gl i tch ing a l so at tempt s to s t re tch the boundar ies of des ign by exp lor ing poss ib i l i t ies beyond the ‘ in tended’ f unc t ions of d i f fe rent media. Misa l ignment A te l l ing example of bending boundar ies i s the g l i tch technique ‘misa l ignment ’ which desc r ibes the ac t o f opening a d ig i t a l f i le in a p rogram de - s igned for a fo r mat other than the input ’s fo r mat . The t yp ica l work f low cons i s t o f t ak ing, fo r exam- p le, an uncompres sed image f i le and opening i t in an audio ed i tor that a l lows you to impor t any t ype of r aw data. The program wi l l expres s the image as an audio t r ack in th i s case and a l lows G L I T C H A R T M O V E M E N T Technologica l power Gl i tch ar t i s t Ph i l l ip Stear ns , known for tu r n ing technology g l i tches in to t angib le f abr ic s (Gl i tch tex t i les ) , sa id in an in te r v iew wi th Cla i re Voon that ; Stear ns sh i f t s the per spec t ive f rom the g l i tch as nos ta lg ia to the g l i tch as a way of under s tanding the d ig i t a l technologies that sur round us . Work- ing w i th g l i tches demands an under s tanding of technology and technologica l power ( Vavare l la, 2015 ) which car r y an oppor tuni t y to ques t ion that technologica l power. I n Gl i tch i t good: Un- der s tand ing the Gl i tch Ar t Movement Mal l i ka Roy wr i tes that ”Gl i tch ar t s t a r t s conver sat ions that t r ad i t iona l a r t fo r ms can’ t rea l l y acces s , jus t by the nature of how i t ’s c reated.” (2014), conc lud - ing the re levance of the g l i tch a r t movement in today ’s technology dr iven soc ie t y and i t s un ique oppor tuni t y fo r t imely cu l tu ra l commentar y. In the d i scus s ion about s igna l speed and s t r i ve fo r immediac y in communicat ion, Menk- man a l so exp la ins the concrete consequences of that p roces s . To enab le f as te r and longer t r ans - por tat ion of in for mat ion, t r ans fe r p rotoco ls such as en/decoding and compres s ion a lgor i thms are used. A compres s ion reorganizes the in for ma- t ion, the t ime and space through which the e l - ement s of sound and images are communicated, by sca l ing, reorder ing and decompos ing them, which lead to los s of in for mat ion (2010, p. 15 ). Th i s i l lus t r a tes how under s tanding d ig i t a l tech - no logy makes you aware of the consequences of, ”Sc ient i f i c methods thus shou ld a l low research - e r s to su r p r i se themse lves as we l l as the i r peer s . W hat i s needed fo r do ing so i s an in te r r upt ion o f the cont inuum bet ween accepted k nowledge and fu tu re ex pec t a t ions” (2010, p. 1) ”Jus t bec ause we a re immer sed in d ig i t a l tech - no log ies doesn’ t mean that we a re in touch w i th them”… ”We are d i s connec ted, and par t o f t h i s d i s connec t s tems f rom the f ac t tha t d ig i t a l p ro - ces ses a re abs t r ac t , immater ia l , o r not read i l y v i s ib le to us , even i f t hey a re there r ight be fo re our eyes .” (2014) B R E E D I N G E R R O R ( 3 ) Figure 2. The Mak ing o f G l i t ch Tex t i le s a t Pure Count r y Weaver s . (Stear ns , 2016). CC- BY. Figure 3 .  TIFF compres s ion Gi f . (Menk man, 2010 ). CC- BY. 5 7 i s thus neces sar y i f one chooses the p lanar d raw- ing as input , whi le g l i tch ing of a 3D model could potent ia l l y generate a more ‘ f in i shed’ resu l t . Gl i tch ing of 3D - objec t s a re, however, p rob lem- at ic . Th i s i s sue i s d i scus sed by Aus t in and Per in who conc lude that three - d imens iona l d rawing f i les a re genera l l y qu i te res i s t ant to t r ans for ma- t ions due to the cons t ruc t ion of the f i le (2016, p. 16). The obj - f i le i s an ASCI I based for mat which in for mat ion i s read as i t s l i te r a l tex tua l in te rpre - t a t ion, meaning that a point ’s Car tes ian coord i - nates a re exac t ly wr i t ten in the f i le as the i r ‘x ’, ‘y ’ and ‘z ’ va lues . Manipulat ion of these va lues i s qu i te f in ick y and eas i l y resu l t in inva l id geome - t r y. Another i s sue i s that you cannot d i s tor t the topology of an ob j - f i le w i th code manipulat ion (2016, p. 16). The l inear per spec t ive car r ies other d i f f i cu l - t ies , such as the ques t ion of how to in te rpret the t r ans for med drawing into three d imens iona l ge - omet r y. S ince g l i tch ing in a rch i tec ture i s s t i l l an unchar ted te r r i to r y, there are no d i rec t i ves on how to do th i s - but a l so no res t r ic t ions . Th i s i s perhaps where the poss ib i l i t y o f the g l i tch l ies fo r a rch i tec tura l use. Aus t in and Per in wr i tes; “The lack of a c lear and s ingular in te rpretat ion of the g l i tch drawing forces the arch i tec t to re - conf igure and re - eva luate what these drawings mean spat ia l l y.” (2016, p.16). A demons t r a t ion of a poss ib le work f low for a rch i tec tura l g l i tch - ing i s p resented in Drawing the g l i tch . The au - thor s choose to s t a r t w i th a t wo d imens iona l representat ion of the Barce lona Pav i l ion. When imagin ing the three d imens iona l f igure you could ex t rude the wal l s in a t r ad i t iona l sense which would resu l t in a s kewed bui ld ing. You could a l so see the drawing as an axonomet r ic ( f igure 6) where the skewed l ines in the drawing are ver t i - ca l p ro jec t ions (2016, p.16) which ins tead c reates a bu i ld ing w i th mul t ip le, nar row f loor s . A R C H I T E C T U R A L G L I T C H I N G you to ed i t the image as i f i t was an ac tua l aud io f i le. When expor t ing the ed i ted ver s ion back to i t s input fo r mat you should be ab le to see the g l i tch resu l t . An exp lorat ion of misa l ignment can be found in chapter 5.2 - Misa l ignment wi th Au - dac i t y (appendix ). Datamoshing Datamoshing i s a fo r m of data bending espec ia l - l y a imed at manipulat ing data in v ideo f i les . The e f fec t o f th i s technique i s popular in mus ic v ideo produc t ion, an example can be seen in the v id - eo for Yamborghin i H igh w i th ASAP Mob. Data - moshing v ideo can be done by remov ing or du - p l icat ing the i - , p - and b - f r ames that make up a v ideo - c l ip, resu l t ing in f r agmentat ion and d is tor- t ion in the v ideo. For more deta i l s on datamosh- ing see chapter 5.3 - Datamoshing wi th Av idemux (appendix ). Gl i tch meet s the d rawing The appl icat ions of g l i tch ing w i th in a r t , mus ic and v ideo produc t ion are wel l known. Gl i tch ing and arch i tec ture are les s commonly b rought to - gether, but there i s an emerg ing inte res t in the mar r iage. In Drawing the Gl i tch (Drawing Fu- tu res) Mat thew Aus t in and Gav in Per in a rgue that ‘ the in t roduc t ion of g l i tches in to the produc t ion of a rch i tec tura l d rawing has the capac i t y to open up and t r ans for m what i s under s tood to cons t i - tu te d ig i t a l -a rch i tec tura l p roduc t ion.’ (2016, p.14), sugges t ing that g l i tch ing can deve lop the way we see the arch i tec tura l d rawing and how we produce arch i tec ture. When int roduc ing g l i tch ing to arch i tec ture one mus t f i r s t cons ider the input fo r mat . A t r a - d i t iona l a rch i tec tura l d rawing i s a representat ion of a three d imens iona l rea l i t y whi le a 3D model i s a more d i rec t t r ans la t ion of the arch i tec tura l conf igurat ion. A rework ing into three d imens ions B R E E D I N G E R R O R ( 3 ) Figure 6 .   Three - d imens iona l rewor k ing o f a va l id in te r p re t a t ion o f the dat a - bent image of the p lan o f the Barce lona Pav i l ion. ( i n Drawing the Gl i tch. Dr awing Fu tures p. 17 ). Figure 4 .  A redr awing o f the Barce lona Pav i l ion by K ie r an Pat r i c k . ( i n Drawing the Gl i tch. Dr awing Fu tures p. 17 ). Figure 5 .  A s tudy mat r i x o f how the same f igure o f the p lan reconf igures i t se l f depend ing upon b inar y - nume - r i c t r ans fo r mat ions o f the p lan. ( i n Drawing the Gl i tch. Dr awing Fu tures p. 17 ). A R C H I T E C T U R A L G L I T C H I N G The g l i tch d i s r upt s not on ly the drawing i t se l f but the v iewer ’s cus tom of read ing the arch i tec - tura l d rawing - fo rc ing an at tempt to spat ia l l y make sense of b izar re, awk ward moment s in the drawing. Aus t in and Per in a rgue that the g l i tch drawing c reates a d i s t ance bet ween the draw- ing’s author and the spat ia l condi t ions i t repre - sent s . They see a para l le l to how Eisenman used drawing as a method to deny h imse l f spat ia l c la r- i t y and the g l i tches’ potent ia l to remove spat ia l c la r i t y f rom a d ig i t a l d rawing (2016, p. 18 ), incor- porat ing ambigui t y in the des ign proces s i t se l f. A s Aus t in and Per in conc ludes; “The notat iona l 5 8 nature of d rawing means that the g l i tch t r ans - fo r ms i t f rom “a work that i s yet to be rea l i zed” to a work that cannot be rea l i zed w i thout a re - work ing of what the drawing represent s .” (2016, p. 18 ). The rework ing demands a new way of read ing the arch i tec tura l d rawing. The read ing of a g l i tch p lan requi res a recons iderat ion of the sec t ion and a g l i tch sec t ion demands a re -un - der s tanding of the p lan. The g l i tch b reaks the convent iona l re la t ionship bet ween the p lan and sec t ion (o r other representat ions), expanding the boundar ies of a rch i tec tura l representat ion. B R E E D I N G E R R O R ( 3 ) DEMONSTRATION 4 DESIGN IMPLEMENTATION: PRESENTING, DISCUSSING AND EVALUATING THE PROCESS AND OUTCOME OF GLITCH ELEMENTS IN RELATION TO THEORY 2 1 3 4 5 6 8 7 9 1 Exposing element - Water 2 Exposing element - Toilette 3 Shading pillars 4 Climb door 5 Inaccessible element - Stair 6 Light element 7 Iridescent element 8 Textured element 9 Decaying element MAP GLITCH ELEMENTS F ig u re 1 .  R e w o rk e d g li tc h p la n w it h m a rk e d v ie w p o in ts fo r g li tc h e le m e n ts . A u th o r’ s o w n c o p yr ig h t. 6 1 PHASE ONE Workflow 1. Glitching of plan and section drawing, SB-building Glitch technique: Misalignment with Audacity Media: Audacity (2.2.1 for Mac) Input: Uncompressed image file (.bmp); plan and section Tool(s): Playing audio backwards and applying various effects from the ‘Effect’-panel Output: Uncompressed image file (.bmp); Glitch plan and section 2. Interpretation of glitch drawings Interpretation technique: Subjective Media: Rhino, Cinema 4D Input: Glitch plan and section (output step 1) Tool(s): Vertical extrusion based on shadow effect, horizon- tal extrusion in negotiation with glitch plan Output: Motion sequence portraying glitch elements (based on 3D model) PHASE TWO Workflow 3. Glitching of imagery, SB-building Glitch technique: Misalignment with Audacity Media: Audacity (2.2.1 for Mac) Input: Uncompressed image file (.bmp); photography Tool(s): Playing audio backwards and applying various effects from the ‘Effect’-panel Output: Uncompressed image file (.bmp); Glitch imagery 4. Interpretation of glitch imagery Interpretation technique: Subjective, algorithm driven Media: Cinema 4D, Photoshop, After Effects Input: Glitch imagery (output step 3) Tool(s): Various (see individual examples) Output: Motion sequence portraying glitch elements (based on 3D model and 2D imagery) Misaligned portrays the result of applied glitching, inter- pretation and reworking of the Architectural building at Chalmers. The design process for Misaligned has been developed through design studies that explored a selec- tion of glitch techniques and ways to turn glitch material into three dimensional form. The preference to work with two dimensional input in the glitching phase was based on previous chapter’s elaboration on difficulties of glitching 3D-objects and experience from the design investigation with data bending obj-files, both concluding that the 3D format is quite resistant to transformation and sensitive to destruction. The reworking of two dimensional glitch ma- terial into three dimensions instead became a part of the design process. Glitch technique The glitching process for Misaligned has been done exclu- sively with the glitch technique misalignment with Audac- ity. This technique showed promising results in the initial design investigations when looking for re-organization properties and a variation of visual output. The technique works on a number of scales, from spatial organization to small scale detailing such as textures and light. It showed a balanced relationship between surprise and familiarity, both in the visual output and in the actual process. The technique also allowed experimentation without risking complete damage of the input. Interpretation and reworking The interpretation and reworking och the glitch material has been carried out in two phases. The initial phase dealt with the larger scale; re-organizing and re-shaping struc- tural elements based on a glitch plan and section. The second phase focused on transforming qualities in glitch imagery into textures, materiality and light. The result is a motion sequence orchestrating dynamic qualities such as decay and light. Misaligned takes the viewer close to the glitch elements, bringing the appreciation of the tweaked structure, strange colorations and odd organization closer to a real time experience, searching for the awkward mo- ment to occur like when entering a Japanese tea house with a crawling motion. W O R K F L O W D E M O N S T R AT I O N ( 4 ) Figure 2.  Ground f loor d r aw ing, Cha lmer s A rch i tec tu - r a l bu i ld ing ( input fo r g l i t ch ing ). P rov ided by WHITE a rch i tec t s . Pond 6 3 5 INACCESSIBLE ELEMENT (STAIR) Reworked gl i tch sect ion Interpretation technique: Subject ive Input: Glitch image Tool(s) : Horizontal extrusion Outcome : Disor ientat ion, tension 4 CLIMB DOOR Reworked gl i tch sect ion Interpretation technique: Subject ive Input: Glitch image Tool(s) : Horizontal extrusion Outcome : Disor ientat ion, sel f -awareness 3 SHADING PILL ARS Reworked gl i tch plan Interpretation technique: Subject ive Input: Glitch plan Tool(s) : Vert ical extrusion in relat ion to shading effect Outcome : Tension 1 EXPOSING ELEMENT ( WATER) Reworked gl i tch plan Interpretation technique: Subject ive Input: Glitch plan Tool(s) : Vert ical extrusion Outcome: Incompleteness, tension 2 EXPOSING ELEMENT (TOILETTE) Reworked gl i tch plan Interpretation technique: Subject ive Input: Glitch plan Tool(s) : Vert ical extrusion Outcome: Incompleteness, tension, discomfort 6 LIGHT ELEMENT Reworked glitch image A Interpretation technique: Subjective Input: Glitch image A Tool(s): Light fixtures, transparent material Outcome: Diplopia, disorientation 8 TEXTURED ELEMENT Reworked gl i tch image B2 Interpretation technique: Subject ive, a lgorithm driven Input: Glitch image B2 Tool(s) : Mater ia l displacement Outcome : Tension 7 IR IDESCENT ELEMENT Reworked gl i tch image B1 Interpretation technique: Subject ive Input: Glitch image B1 Tool(s) : I r idescent mater ia l , UV mapping, hori - zontal extrusion based on camera perspect ive cal ibrat ion Outcome : Diplopia, disor ientat ion, abnormal proport ions 9 DECAYING ELEMENT Reworked glitch image C1-C30 Interpretation technique: Subjective, a lgorithm driven Input: Glitch image C1-C30 and variations of glitch image C1 Tool(s): Sequence composition, photo manipulation Outcome: Decay G L I T C H E L E M E N T S D E M O N S T R AT I O N ( 4 ) 6 4 PHASE ONE Gl i tch p lan An or ig ina l d rawing of the ground f loor of the SB -bui ld ing ( f igure 2) was tu r ned into an image bmp -f i le and impor ted to Audac i t y. A par t o f the drawing was then p layed back wards , caus ing re - organizat ion of the p lan. The main par t o f the drawing was rotated 180°, p lac ing the ent r ance of the school on the oppos i te s ide of the bui ld - ing. Wal l s were d i sp laced, c reat ing an ambigu - ous indoor/outdoor s i tuat ion by the ent r ance. The bas s va lue was then inc reased to 15 in Au - dac i t y, generat ing a hor i zonta l smudge e f fec t . E xpos ing e lement - water (1) The l ine displacements in the gl i tch plan were in- terpreted in a tradit ional sense when imagining the vert ical shape. The outcome, however, is far f rom ordinary. At the top of the gl i tch plan, two of the l ines representing the edges of the pond has been displaced. I f imagining that the remain- ing l ines are extruded vert ical ly and that the wa- ter stays in the same place, two edges of the wa- ter would be missing. Whi le only the surface of the water was vis ible pr ior the gl i tch, i ts volume is now revealed. This occurrence has been cal led an ‘Exposing element’ . The water in the pond act as an ambiguous, gravity defying phenomenon, a qual i ty seen in Matta-Clark’s deconstruct ion of the MCA bui lding (Circus ) which left the vis i tor with P H A S E O N E quest ions of i ts const i tut ion. The appearance of the exposed, gravity defying water element arouse cur iosity as i t acts in conf l ict with common un- derstandings of how water behave in nature. The phenomenon is easi ly portrayed in Misal igned . To real ize the i l lus ion in the physical world one can imagine the water being contained by transparent wal ls . Exposing element - toi lette (2) Another expos ing e lement was found jus t bes ide the pond where a to i le t te was p laced wi thout a sh ie ld ing wal l . The exposed to i le t te becomes an ex t reme ver s ion of Fu j imoto’s to i le t te in the fenced garden. The mis s ing wal l o f the exposed to i le t te a l lows a n ice v iew for the user in the same way as the g las s wal l s does fo r Fu j imoto’s to i - le t te. The water d i s t ances the user f rom people pas s ing by, however not as e f fec t i ve ly as Fu j imo - to’s opaque fence. The openness and awk ward p lacement in the middle of the school yard ar- guab ly l imi t s the exposed to i le t te ’s usab i l i t y. In - s tead, i t t r anscends towards a scu lptura l ob jec t . The compos i t ion has a charac ter o f d i sp lacement and incomplet ion, resembl ing t r a i t s seen in La Fabr ica. Bof i l l c a r ved out and exposed for mer concealed for ms of the o ld f ac tor y and func t ion - a l i t ies became scu lptura l ob jec t s that enr iched the arch i tec ture w i th tens ion and ambigui t y. The exposed to i le t te r i se ques t ions , but u l t imate ly i t becomes a qu i r k y ingred ient in the school yard. <<< Scan fo r sequence of the ’E xpos ing e lement s’ o r v i s i t : ht tps: //v imeo.com/279455258 D E M O N S T R AT I O N ( 4 ) GLITCH PLAN Misal igned plan drawing Glitch technique: Misal ignment with Audacity Input: Uncompressed image f i le ( .bmp) Tool(s) : Backwards and bass: 15 Visual output: Displacement, hor izontal smudge, noise 6 6 B R E E D I N G E R R O R ( 2 ) PA G E T I T E L 6 7 P H A S E O N E Shading p i l la r s (3 ) The hor i zonta l smudge e f fec t shown in the g l i tch p lan encourages a var ie t y of pos s ib le in te rpre - t a t ions . For the deve lopment of Misa l igned , the smudges were in te rpreted as shadows. The sun was p laced at a s t r a ight angle f rom the wes t in a model ing sof t ware and the ver t ica l ex t r us ion of the p lan was made in order to achieve s imi la r shadow ef fec t s as in te rpreted in the p lan. A re - su l t o f th i s method i s the shad ing p i l la r s in the at r ium. S imi la r to the outer th i rds of Miche lan - ge lo’s s t a i r that p rov ided something e l se than the common expec tat ion of a s t a i r, these shad - ing p i l la r s p rov ide shade ins tead of the common load bear ing func t ion. The abnor mal p ropor t ions and ques t ionab le func t ion generate a fee l ing of d i sp lacement - however subt le compared to the exposed to i le t te by the ent r ance. Th is in te rp lay bet ween cur ios i t y and confus ion c reates tens ion, jus t l i ke Miche langelo’s awk ward s t a i r. Gl i tch sec t ion A sec t ion f rom the SB -bui ld ing was t reated in a s imi la r way as the p lan in Audac i t y. When work ing the g l i tch p lan and sec t ion in to a coherent ent i - t y, negot ia t ions had to be made. For ins tance, the rework ing of the sec t ion only cons idered the d i sp lacement whi le the smudge e f fec t was ignored in order to s impl i f y merg ing of the t wo inte rpretat ions . The footpr int o f the bui ld ing was not recons idered to fo l low the hor i zonta l mis - a l ignment of the lower par t o f the sec t ion ( f igure 4), re - shaping of the sec t ion ins tead focused on changes ins ide the at r ium. Cl imb door (4 ) The lower par t o f the sec t ion was rotated 180° in the g l i tch drawing. This caused the door s on the ent r y f loor to misa l ign w i th the mul l ion gr id on the upper leve l s o f the bui ld ing. Here the sec t ion was a l lowed to dominate over the p lan and the door s have been moved on the wal l as seen in the reworked g l i tch sec t ion. They were a l so p laced ver t ica l l y on the wal l to fo l low the g l i tch sec t ion. The new e lement s have been ca l led ‘c l imb door s’ as you would have to c l imb over the thresho ld to enter the space beyond. The para l le l to the c r awl door i s ev ident . The moment of hes i t ance that the unusua l door p rovokes , t r ans i t ions in to a sense of se l f -awareness in the v i s i to r when in - s t r uc ted to the awk ward c l imbing pos i t ion. Figure 4 .  Rewor ked g l i t ch sec t ion d r aw ing. Author ’s own copy r ight . Figure 3 .  Sec t ion D - D dr aw ing, Cha lmer s A rch i tec tu r a l bu i ld ing. P rov ided by WHITE a rch i tec t s . Figure 5 .  Rewor ked g l i t ch sec t ion d r aw ing - c lose up. Author ’s own copy r ight . D E M O N S T R AT I O N ( 4 ) 6 8 P H A S E O N E Inaccess ib le e lement (5 ) The 180° rotat ion and hor i zonta l d i sp lacement a l so e f fec ted the s t a i r in the at r ium, or ig ina l - l y lead ing down to the basement . The s t a i r has been moved bet ween the second and th i rd f loor, tu r ned ups ide down and made inacces s ib le. In Bof i l l ’s La Fabr ica we saw a s imi la r occur rence where s t a i r s ended up as inacces s ib le ob jec t s r a ther than func t iona l, a rch i tec tura l e lement s . However, there i s a d i f fe rence in the i r charac - te r s . The outcome of perce ived incompleteness and decay in La Fabr ica i s mis s ing in the g l i tch in te rpretat ion where the s t a i r has been made in - acces s ib le due to i t be ing tu r ned ups ide down. This s igna ls an e r ror in the des ign proces s r a th - er than incomplet ion. Both s t a i r s , however, bare w i tnes s of the e lement s’ h i s tor y of c reat ion. When merg ing the reworked g l i tch p lan and sec t ion, yet another e lement was made inacces - s ib le. S ince the s t a i r to the basement was moved to fo l low i t s pos i t ion in the g l i tch sec t ion, conse - quent ly i t was re located in the p lan, leav ing the path way to the basement w i thout acces s . 2 1 3 4 5 6 7 8 9 Figure 5 . I nacces s ib le e lement s ( s t a i r and basement ) . Author ’s own copy r ight . <<< Scan fo r sequence of the ’Shad ing p i l la r s ’, the ’C l imb door ’ and the ’ I nacces s ib le e lement ’ o r v i s i t : ht tps: //v imeo.com/279457619 D E M O N S T R AT I O N ( 4 ) 6 9 D E M O N S T R AT I O N ( 4 ) P H A S E O N E GLITCH SECTION Misal igned sect ion drawing Glitch technique: Misal ignment with Audacity Input: Uncompressed image f i le ( .bmp) Tool(s) : Backwards and bass: 5 Visual output: Displacement, hor izontal smudge, noise 7 0 PHASE TWO Glitch imagery Phase two focuses on interpreting and reworking glitch imagery from interior spaces of the subject building. Three photographs, por traying three sep- arate views found on the entry f loor, worked as basis for the glitching. A variation of visual outputs was cre- ated from these three images using audio treatments in Audacity. Four outputs were selected for fur ther reworking. The selection was made with attention to the image’s balance between familiarity and surprise as well as between readability and chaos. The inter- pretation and reworking of the glitch imagery was then done with four approaches in order to demon- strate dif ferent possibilities of the reworking process. 7 1 P H A S E T W O Light element (6) The first input, image A, was taken underneath a bal- cony in the atrium, capturing the ceiling plane and the bottom of the balcony. The image was treated with an echo effect in Audacity, resulting in horizontal array and coloration. The reworking demonstrates a way of using light in order to achieve the aesthetic feeling of the glitch. The vibrant, glowing colors in the glitch image were mimicked by the use of neon lights and colored glass. The per formance of the light element is, in contrary to the shading pillars and the inaccessible stair, in line with expected functions. The element includes light fixtures that emit light and transparent material that transmit light. The appear- ance, however, showcases a typical glitch aesthetic, withholding a sense of diplopia and disorientation that the glitch input suggests. By animating the light fixtures, Misaligned por trays the temporal and flexi- ble quality of ar tificial light adding a dimension not seen in the glitch image. D E M O N S T R AT I O N ( 4 ) >>> Scan fo r sequence of the ’ L ight e lement ’ o r v i s i t : ht tps: //v imeo.com/279258627 7 2 P H A S E T W O IMAGE A GLITCH IMAGE A GLITCH IMAGE A Misaligned image A Glitch technique: Misalignment with Audacity Input: Uncompressed image file (.bmp) Tool(s): Echo effect Settings: Delay value: 0,8; decay value: 0,5 Visual output: Horizontal array, coloration, noise GLITCH IMAGE C1-30 Misaligned image C Glitch technique: Misalignment with Audacity Input: Uncompressed image file (.bmp) Tool(s): Bass and descant effect Settings: bass: 1-30 (descant: 0; volume: 0) Visual output: Fragmentation, coloration (low bass values), low saturation (high bass values) IMAGE B GLITCH IMAGE B1 IMAGE C GLITCH IMAGE C15 GLITCH IMAGE B1 Misal igned image B Glitch technique: Misalignment with Audacity Input: Uncompressed image file (.bmp) Tool(s): Echo effect Settings: Delay value: 0,5; decay value: 0,5 Visual output: Horizontal array, coloration 7 3 GLITCH IMAGE B2 Misal igned image B Glitch technique: Misalignment with Audacity Input: Uncompressed image file (.bmp) Tool(s): Echo effect, bass and descant effect Settings: Delay value: 0,5; decay value: 0,5 and bass: -10 (descant: 0; volume: 0) Visual output: Horizontal array, coloration, tactility GLITCH IMAGE B2 P H A S E T W O D E M O N S T R AT I O N ( 4 ) 7 4 P H A S E T W O Ir idescent e lement ( 7 ) A s imi la r t reatment as app l ied for image A was done to image B (generat ing g l i tch image B1), a photo of the foyer of the SB -bui ld ing. Hor i zonta l a r r ay and co lorat ion occur, th i s t ime inte rpreted as an i r idescent qua l i t y. The appearance of g l i tch image B1 was at tempted through the use of i r i - descent and t r ansparent mater ia l in a model ing sof t ware. P ieces of the g l i tch image was mapped onto sur f aces in the model to fu r ther mimic the i r idescent and d isor ient ing qual i t ies seen in the g l i tch image. The hor i zonta l shape was ins t r uc t- ed f rom a camera ca l ib rat ion to match the per- spec t ive of the g l i tch image. The hor i zonta l a r r ay in the image d is rupt s a s t r a ight fo r ward inte rpre - t a t ion of the per spec t ive which caused a f au l t y ca l ib rat ion. The resu l t i s an exaggerated, e lon - gated hor i zonta l shape (see f igure 6). Ventur i spoke about the both -and phenom- enon, say ing that e lement s can have a dece iv - ing appearance at f i r s t s ight , such as the s t a i r in the L aurent ian l ib r ar y, and the deter minat ion of something’s va lue or dominance i s depending on the angle of percept ion. Th is means that one e lement can ho ld double meanings in te rac t ing as the dominant and subord inate. The i r idescent mater ia l in te rac t s as green and p ink , p rov id ing separate appearances depending on l ight and movement . The inte rp lay w i th t r ansparenc y and re f lec t ion in the reworked g l i tch adds to the dy - namic qual i t ies and generate fee l ings of d ip lop ia and d isor ientat ion. The geomet r y appear to have ‘nor mal ’ d imens ions seen f rom the lead per spec- t i ve, however v iewed f rom a d i f fe rent angle the s t r ange, p ro longed shape i s revea led. <<< Scan fo r sequence of the ’ I r idescent e lement ’ o r v i s i t : ht tps: //v imeo.com/279462033 D E M O N S T R AT I O N ( 4 ) Figure 6 .   I r idescent e lement ( rewor ked g l i t ch image B1. Sh i f ted per spec t i ve v iew. Author ’s own copy r ight . 7 5 B R E E D I N G E R R O R ( 2 ) PA G E T I T E L 7 6 B R E E D I N G E R R O R ( 2 ) PA G E T I T E L 7 7 P H A S E T W O Tex tured e lement (8 ) Gl i tch image B2 i s a resu l t o f f u r ther g l i tch ing of g l i tch image B1. The bas s va lue was set to -10 a f te r the appl ied echo e f fec t o f g l i tch image B1. This c reated a more dense co lorat ion and a f la t- te r, tex ture - l i ke appearance. The t r ans for mat ion of the tex tura l qua l i t y was done through a lgo - r i thm dr iven in te rpretat ion, us ing g l i tch image B2 as d i sp lacement and co lor source fo r a d ig - i t a l mater ia l . Whi le the input photo - image B - por t r ays the d i sp lay a rea in the foyer of the SB -bui ld ing, the d i sp laced mater ia l was app l ied in the oppos ing s t a i rcase shaf t . The enc los ing env i ronment of the shaf t h igh l ight s the unusua l sur f ace t reatment and prov ides a moment of surpr i se when you tur n the cor ner to enter the s t a i r. The sur f ace t reatment i s o f an ambiguous charac ter : I s i t sof t o r hard, f r iend ly or hos t i le? The v i sua l e f fec t i s s t r i k ing, w i thout be ing too d is turb ing or too cont rover s ia l . Mater ia l i za t ion of the g l i tch has been demon- s t r a ted by g l i tch a r t i s t Ph i l l ip Stear ns in chap - te r 3 - Breeding er ror. Stear ns le t a tex t i le loom weave f abr ic s based on g l i tch imager y as a way of mater ia l i z ing technology. A s imi la r approach could be adopted for the ‘ tex tured e lement ’, fo r example by le t t ing a 3D pr inte r t r ans for m the ‘g l i tch mater ia l ’ in to phys ica l fo r m. >>> Scan fo r sequence of the ’Tex tu red e lement ’ o r v i s i t : ht tps: //v imeo.com/279460 028 D E M O N S T R AT I O N ( 4 ) 7 8 Decaying element (9) Image C was t reated 30 t imes with bass values var ying f rom 1-30 (row 2-7 on fol lowing page). The higher bass values showed a v isual output of de-saturat ion and f ragmentat ion which brought a feel ing of decay. The intent ion of the rework- ing was to por tray this decaying feel ing and to capture the gradual t rans formation f rom ‘normal’ to ‘gl i tch’. A sequence was formed out of the 30 gl i tch images and transit ion images was created to f i l l the gap between image C and gl i tch image C1. The result ing sequence shows an elevator gradu- al ly fading away. The t rans formation could be per- ceived to mir ror a process over t ime - a bui lding in decay, moving towards nothingness - tapping into thoughts of impermanence shared by wabi-sabi and Gordon Mat ta-Clark. P H A S E T W O <<< Scan fo r sequence of the ’Decay ing e lement ’ o r v i s i t : ht tps: //v imeo.com/279464427 D E M O N S T R AT I O N ( 4 ) 7 9 B R E E D I N G E R R O R ( 2 ) PA G E T I T E L 8 0 B R E E D I N G E R R O R ( 2 ) PA G E T I T E L 8 1 S U M M A R Y f i rm the awk ward’s ro le in archi tec ture as an al ternat ive logic, prov id ing archi tec tural e lement s that do not fa l l in l ine wi th es - tabl ished exper t ise. Awk wardness has been shown to enr ich these archi tec tural prece - dences wi th ambigui t y and tens ion - c reat- ing sel f -awareness in a humbl ing crawl or, as seen in Circus, prov id ing a new sense of archi tec tural space by p lay ing wi th our sense of or ientat ion. The awk ward inter- feres wi th our habi t s and presumpt ions, expanding our ideas about the wor ld that sur rounds us . S imi lar awk ward s i tuat ions as seen in the case s tudies were discovered when rework- ing the gl i tch mater ia l of the SB -bui ld ing, which demons t rates the gl i tching process’ potent ia l of generat ing awk ward outcome. That i s not to say that awk ward aes thet- ic s and s i tuat ions are a lways the resul t of a gl i tching process . As both the gl i tching and the interpretat ion of the gl i tch has mul - t ip le poss ib le outcomes, some might resul t in more convent ional e lement s and aes thet- ic s . I t a l l comes down to the des igner ’s in - tent ion in the rework ing s tage. The ‘c l imb door ’, for example, could have been inter- preted as a window which purpose is to t ransmit l ight and al low s ight through the wal l - and which does not sugges t that you move through the opening. The window- in - terpretat ion does not generate the same awk ward c l imbing-s i tuat ion as the door- in - terpretat ion, however both e lement s der ive f rom the same gl i tch mater ia l . In wabi - sabi phi losophy i t i s sa id that beau- t y i s a s tate of consc iousness that can occur at any given moment . When work ing wi th the gl i tch mater ia l, moment s of beaut i fu l awk wardness were found when al lowing the unexpec ted to lead the way in the de - s ign process . A smudge in the gl i tch p lan became dramat ic p i l lar s prov id ing shade ins tead of s t ruc tural suppor t . Re - located l ines generated grav i t y def y ing water and doors that ins t ruc t a p lay ful c l imbing mo- t ion through the opening. V ibrant colora - t ions inspi red ways of work ing wi th l ight and mater ia l - resul t ing in neon l ight s and a s ta i rcase draped in a color fu l tex ture. These moment s of beaut y begin to te l l us something about the potent ia l and the pos - s ib i l i t ies that occur when the gl i tch meet s the archi tec tural drawing. Awkwardness The f i r s t ques t ion of this thes is reads ‘ What i s Awk wardness in Archi tec ture? ’. The presence of awk wardness was found in the t radi t ional Japanese crawl door and Mi- chelangelo’s odd s tai rcase. I t was present in more recent archi tec tural work l ike the refurbishment of La Fabr ica, Mat ta Clark ’s bui ld ing dis sec t ions and Fuj imoto’s publ ic to i let te. The second ques t ion asked was ‘ What can Awk wardness add to the Archi - tec tural Discuss ion? ’. Andrew Zago s tated that : ‘As an emerging cul tural sens ibi l i t y, the awk ward may help def ine fer t i le ter r i to - r y for new archi tec ture’ (2010, p. 206). The case s tudies presented in this thes is con- D E M O N S T R AT I O N ( 4 ) 8 2 S U M M A R Y Process The thi rd and f inal thes is ques t ion concerns the t radi t ion of ins t rumental cont rol in ar- chi tec ture and reads ‘How can Gl i tching in - f luence the Archi tec tural Des ign Process? ’. The nature of the gl i tch is that i t cannot be fu l ly cont rol led. In the same way as in - tent ional awk wardness requires the archi - tec t to per form contrar y to his or her bes t judgement ( Zago, 2010, p. 209), g l i tching undermines the archi tec t ’s exper t ise by re - moving spat ia l c lar i t y f rom the drawing. The gl i tching of the SB -bui ld ing’s p lan drawing showed that , in order to imagine the ver t i - cal shape of the p lan representat ions, re - work ing techniques had to be invented. The displaced l ines were unders tood according to common exper t ise, whi le the smudge ef fec t demanded a more c reat ive interpre - tat ion. The gl i tch makes room for several unders tandings of a drawing or image, in - corporat ing ambigui t y into the des ign pro - cess i t se l f. Unpredic tabi l i t y i s another def ining fea- ture of gl i tching. When play ing a drawing back wards for example, the organizat ion is d is rupted in a way that the author of the drawing could not have fu l ly predic ted. This prov ides new ins ight s of spat ia l re la - t ionships that can help spur the author ’s c reat iv i t y. Plac ing a toi let te in the middle of a school yard or mak ing a s ta i r inaccess i - b le by turning i t ups ide down would proba- bly not be the resul t s of a t radi t ional des ign process . These surpr ises, however, are not necessar i ly rewarding. The archi tec t i s pro - v ided wi th absolute f reedom at this s tage - a f reedom of choos ing what to develop and how to develop i t . Another aspec t that i s s igni f icant for the gl i tching and rework ing process i s the re - ver sed re lat ion bet ween image and draw- ing. Whi le a t radi t ional des ign process goes f rom drawing to a rendered image or i l lus - t rat ion, gl i tching prov ides an image of the v isual resul t to begin wi th. The interpreta - t ion of the image is then turned into a de - s ign or representat ional drawings through a c reat ive process . The ‘ l ight e lement ’ and the ‘ i r idescent e lement ’ demons t rate this re lat ionship c lear ly. They show how a gl i tch can inspire new ways of us ing t radi t ion- al techniques, such as l ight ing f i x tures or an i r idescent mater ia l, in order to achieve a des ign s imi lar to the prov ided gl i tch im- age. The ‘ tex tured element ’ demons t rates a somewhat d i f ferent scenar io. The process begins wi th the gl i tch image, but ins tead of mimick ing the aes thet ic s and conf igu- rat ion of the image wi th subjec t ive inter- pretat ion, the gl i tch image is used to dr ive three dimens ional geometr y in a model ing sof t ware. The algor i thm dr iven interpreta - t ion fur ther d is tances the archi tec t f rom the des ign and al lows surpr ises pos t the gl i tching process . The f inal conf igurat ion of the ‘ tex tured element ’ was in this case achieved by the del iberate des ign choice of apply ing the ‘g l i tch tex ture’ onto the wal ls of a s ta i rcase shaf t . D E M O N S T R AT I O N ( 4 ) 5 APPENDIX METHOD DEVELOPMENT: DESIGN INVESTIGATIONS, GLITCHING TECHNIQUES AND INTERPRETATION OF GLITCH MATERIAL 8 5 A P P E N D I X I N D E X 5.5 GLITCH TO 3D _ Summar y _Work f low _ Subjec t i ve Inte rpretat ion _ Height f ie ld in Rhino _ Mater ia l D isp lacement in C inema 4D 5.6 GLITCH TO MAT TER _ Summar y _ Shr ink p las t ic model 5.1 DATA BENDING WITH TEXT EDITOR _ Summar y _Work f low _ 2D Image and 3D Objec t s 5.2 MISALIGNMENT WITH AUDACIT Y _ Summar y _Work f low _ 2D Pr imi t i ves _ 2D Pr imi t i ves Audio Track _ 2D Pr imi t i ves _ 2D Imager y 5.3 DATAMOSHING WITH AVIDEMUX _ Summar y _Work f low _ I - f r ame Delet ion _ P- f r ame Edi t ing 5.4 COLL AGING WITH PHOTOSHOP _ Summar y _Work f low _Col lage A _Col lage B - C _Comment s 87-91 93 -108 109-113 115 -120 121-125 127-129 8 6 8 7 5.1 DATA BENDING WITH TEXT EDITOR THE COPY/PASTE METHOD 8 8 There are severa l ways to work w i th data bending in a tex t ed i tor. You can rep lace number s , use sc r ipt s (p roces s ing ) o r in other ways in te rac t w i th the data. Th is inves t igat ion w i l l use the copy/ pas te method, a qu ick and s t r a ight fo r ward way to s t a r t work ing w i th data bending. Any f i le t ype that can be opened in a tex t ed i tor can be used as input , however compres sed f i les have les s data in for mat ion and wi l l not be manipulated as eas i l y. Th i s s tudy uses r aw image - f i le and a cou - p le of ob jec t- f i les ( .ob j ) as input . The data bent mater ia l was f ina l l y opened in su i t ab le image or model ing sof t ware in order to examine poss ib i l - i t ies fo r f u r ther rework ing of the g l i tch mater ia l . Conclus ions The copy-pas te method had a r a ther p red ic ta - b le v i sua l output ( l inear co lorat ion in segment s) fo r a l l tes ted r aw image - f i les . In order to get an v i s ib le e f fec t s , the image a l so had to be broken qui te a lot and the resemblance to the or ig ina l then became fa int . Th i s i s a p rob lem regard ing the des ign implementat ion where achiev ing awk- wardness i s a key dr i ver. When the leve l o f confu - s ion becomes too la rge in re la t ion to f ami l ia r i t y, you might end up in a s t r ange and non re la tab le resu l t - mis s ing the mark of the more re la tab le awk wardness . The resu l t o f the copy/pas te meth - od for ob jec t- f i les was more unpredic tab le, how- ever d i f f i cu l t to work w i th. The obj - f i le showed res i s t ant to manipulat ion and i f ed i ted in the ‘wrong’ p lace you end up wi th inva l id geomet r y. Fur ther deve lopment of the data bent mater ia l was a l so found unreward ing. Both the g l i tch im- age - and objec t- f i les appeared d i f fe rent to what they looked l i ke v iewed in F inder. The data bent mater ia l a l so showed ted ious to work w i th. 8 9 W O R K F L O W D ATA B E N D I N G ( 5 . 1 ) Input : Image R AW-f i le ( .CR2), 3D objec t ( .ob j ) Media: Tex t ed i tor ( Tex t red igerare on Mac) Tools : Copy/pas te Output : Image R AW-f i le ( .CR2), 3D objec t ( .ob j ) Work f low 1. Open image or ob jec t w i th a tex t ed i tor. 2. Sc ro l l down to leave head untouched. 3. Rear r ange the f i le ’s in for mat ion by se lec t ing sec t ions of tex t , copy and pas te i t once or sev- era l t imes somewhere in the document . 5. Save f i le. 6 . Open in su i t ab le sof t ware to see resu l t . Figure 2. I nput image. Author ’s own copy r ight . Figure 1. Tex t ed i to r in te r f ace. Author ’s own copy r ight . Figure 3 . Output image. Author ’s own copy r ight . 9 0 INPUT (0 ) COPY/PASTE (1) COPY/PASTE (3 )COPY/PASTE (2) C B A 9 1 A1 - COPY/PASTE Tools: Copy/paste Visual output: Horizontal coloration in thin lines (in segments), tactility A2 - COPY/PASTE Tools: Copy/paste Visual output: Horizontal coloration in thin lines (in segments), tactility A3 - COPY/PASTE Tools: Copy/paste Visual output: Horizontal coloration in thin lines (in segments), tactility 2 D I M A G E & 3 D O B J E C T S D ATA B E N D I N G ( 5 . 1 ) B1 - COPY/PASTE Tools: Copy/paste Visual output: Structured fragmenta- tion upper half, partial fading (lower half) B2 - COPY/PASTE Tools: Copy/paste Visual output: Partial fading (lower half) B3 - COPY/PASTE Tools: Copy/paste Visual output: Fragmentation upper half A0 - INPUT Image RAW-file (.CR2) B0 - INPUT 3D objec t ( .ob j ) C1 - COPY/PASTE Tools: Copy/paste Visual output: Surface fragmentation C2 - COPY/PASTE Tools: Copy/paste Visual output: Surface fragmentation, symmetric fan-like line formation C0 - INPUT 3D objec t ( .ob j ) C3 - COPY/PASTE Tools: Copy/paste Visual output: Surface fragmentation, symmetric fan-like line formation The copy/paste was executed randomly for all tests, the visual output of C2 and C3 are still very similar. This shows that the obj-file is rather resistant to manip- ulation 9 2 9 3 B R E E D I N G E R R O R ( 3 ) PA G E T I T E L 5.2 MISALIGNMENT WITH AUDACITY TREATING IMAGE FILES IN AN AUDIO EDITOR 9 4 B R E E D I N G E R R O R ( 2 ) PA G E T I T E L This chapter exp lore misa l ignment us ing the au - d io ed i tor Audac i t y. Th i s sof t ware a l lows you to impor t R AW- data, meaning that you can impor t any t ype of uncompres sed f i le such as an image f i le and the program wi l l expres s i t s data as au - d io waves . You can then ed i t the t r ack , app ly e f - fec t s , cu t and rear r ange i t as i f i t was an ac tua l aud io t r ack . When done ed i t ing, the t r ack i s ex- por ted back to i t s input fo r mat in order to v iew the v i sua l resu l t och the manipulat ion. Note: The in i t ia l s tud ies in th i s chapter use ge - ometr ic 2D pr imi t ives as input in order to eas ie r see the cor re lat ions bet ween ef fec t and v i sua l output . Af te r fu r ther exper imentat ion wi th non symmetr ica l images, i t was found that some ef - fec t s had an 180° rotat ion ef fec t which i s not v i s - ib le in the pr imi t ive exper iment s . Conc lus ions Misa l ignment work on a number of sca les , f rom re - organizat ion to smal l s ca le deta i l ing ( t ac t i l - i t y, tex tures , co lorat ion). The leve l o f recogni - t ion was h igh for many e f fec t s , which c reates a ba lanced outcome of surpr i se and f ami l ia r i t y - p romis ing for a t tempt ing awk ward outcome. The v i sua l output a l so showed to var y depending on the input , which add to th i s technique’s leve l o f unpred ic tab i l i t y. Misa l ignment w i th Audac i t y was exper ienced as user f r iend ly. I t was easy to operate, both in the sense of get t ing s t r i k ing v i sua l resu l t s and in the sense of avo id ing complete damage of the input so that i t cannot be v iewed or opened in another sof t ware fo r f u r ther rework ing. The ap - p l icat ion fo r ob jec t and v ideo for mat s has , how- ever, not been exp lored here. 9 5 W O R K F L O W M I S A L I G N M E N T ( 5 . 2 ) Input: Uncompressed image f i le ( .bmp) Media: Audacity 2.2.1 ( for Mac) Tools : Effects f rom the ‘Effect ’ -panel. Output: Uncompressed f i le ( .bmp) Workf low 1. Import raw data to Audacity: For .bmp and .obj choose: Encoding: U-Law Bit order: Big endian Channel: 1 For .avi choose: Encoding: A-Law Bit order: Big endian Channel: 2 2. Mark part of audio to effect (a lways leave be- ginning (head) of audio track untouched). 3. Apply effect (s ) and/or cut, rearrange the audio track (see fol lowing studies for detai ls ) . 4. Export as uncompressed f i le, same as input: Choose: Head: RAW (header- less) Encoding: Same as input (U-Law for .bmp and .obj and A-Law for .avi ) . 5. Open in suitable software to see result . Figure 2. I nput image ( .bmp). Author ’s own copy r ight . Figure 1. Audac i t y in te r f ace. Author ’s own copy r ight . Figure 3 . Output image ( .bmp). Author ’s own copy r ight . 9 6 INPUT (0 ) BACK WARDS (1) INVERT (2) ECHO (3 ) C B A 9 7 2 D P R I M I T I V E S M I S A L I G N M E N T ( 5 . 2 ) A1 - BACKWARDS Tools: Backwards-effect Vi