Glitch vs Video Synthesis
グリッチ / ビデオ・シンセシス
Glitch comes from UI Expression and Video Synthesis from Experimental Film. One is style and the other technique. They are reached for with some of the same intent, which is where they get confused.
Glitch
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Refuses to hide error and corruption, exposing the fragility of the digital medium itself.
Video Synthesis
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Generating and modulating the video signal itself like an instrument. Nam June Paik and Shuya Abe's synthesizer turned the television from receiver into raw material, opening video art's technical ground.
| Glitch | Video Synthesis | |
|---|---|---|
| Era | digital | 1969– |
| Family | UI Expression | Experimental Film |
| Kind | Style | Technique |
| Cues | Channel shift / Block noise / Scanlines / Dropout | Modulated signal / Feedback vortices / Waveforms made visible / Television sets repurposed |
| Best used for | Expressing uncertainty and system failure · A jolt of tension in music and video | Live stage visuals generated in time with the performance itself · Work that uses the signal as its material instead of recorded footage |
| Type | Partially corrupt a monospace or plain sans | Distort letters as signal, moving between legible and collapsed |
| Composition | Build the healthy composition first, then break part of it | Symmetrical feedback around the center, vortex speed setting composition |
| Material | RGB shift, compression noise, missing pieces | Color from oscillator waveforms, layers from camera and monitor recursion |
| Caution | Perpetual glitch loses meaning. Stage the difference between normal and broken. | Stopping the moment feedback throws up a pretty accident, then stringing accidents together without learning which control produces which image. |