Spring Breakers 4 Eva

Munt, AC; Harvey, J

Spring Breakers 4 Eva

Munt, AC Harvey, J

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Citation:: Sync 3, 2015
Issue Date:: 2015

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	Filename	Description	Size
	Spring Break 4 Eva.mp4	Published version	87.21 MB	MP4	View/Open

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Field	Value	Language
dc.contributor.author	Munt, AC	en_US
dc.contributor.author	Harvey, J https://orcid.org/0000-0002-7467-1187	en_US
dc.date.issued	2015	en_US
dc.identifier.citation	Sync 3, 2015	en_US
dc.identifier.uri	http://hdl.handle.net/10453/122048
dc.format	Moving Image: Digital Video	en_US
dc.relation.ispartof	Sync 3	en_US
dc.title	Spring Breakers 4 Eva	en_US
utslib.location	107 Projects: Contemporary Art Space	en_US
utslib.for	1902 Film, Television and Digital Media	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/FASS Faculty Administration
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.place-of-publication	107 Projects: Contemporary Art Space	en_US
pubs.rights-statement	SPRING BREAKERS 4 EVA Alex Munt & Justin Harvey SPRING BREAKERS 4 EVA is a glitch-based moving image work which explores the aesthetic impact of the error and accident in digital media as a new ‘meta’ mode of Pop-Art. Research Background. In 2000, Kim Cascone theorised the glitch as a post-digital form whereby artworks are generated via the ‘aesthetics of failure’. In 2007, artist Paul B. Davis manipulated glitches in popular video-streaming sites like YouTube to produce the ‘data-moshing’ effect of data instability. Connor McGarrigle extended glitch forms to embrace illegally downloaded practices which result in absent data packets. Nick Briz framed the ways in which glitch forms relate to the history of appropriation-based art practices, such as Pop Art. This research extends a ‘meta’ theory of the glitch to ask: how do we read and conceive the digital glitch when it results from errant copy of an existing pop artwork? Research Contribution. SPRING BREAKERS 4 EVA extends glitch forms to include copies, or ‘rips’, of digital video discs to generate new glitch artworks. It finds that the digital glitch has the capacity to introduce a ‘meta’, or second-tier, mode of pop aesthetics when derived from an existing pop-based artwork. Research Significance SPRING BREAKERS 4 EVA was exhibited at Sync 3 at Project 107 contemporary art space in Sydney.	en_US

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http://hdl.handle.net/10453/122048