Books by michael betancourt
This is a low resolution preview of a book. If you find it useful or interesting, please consider... more This is a low resolution preview of a book. If you find it useful or interesting, please consider buying a copy. “Research Art: glitches, poetics, typography and the aura of the digital” is about margins and marginality in the art world as sources for critical engagements in the studio. It builds on the pioneering work of critical theorist and artist Michael Betancourt, who has used glitches as an integral part of his art since the early 1990s. This book presents his thinking about his own work linking theory and practice in a larger context of conceptual and theoretical concerns that are neither a statement of intentions, nor merely a subjective series of claims about past accomplishments. With 21 illustrations in full color, this book discusses his digital glitch movies, typoetry, abstract photography, and the Instaglitch series as direct examples of the connections between theory and practice, illuminating his proposal for “Research Art” as a domain equal to the “Business Art” familiar from exhibitions in the gallery-fair-museum network. Polemical and often challenging, it explores the role of expectations in making and interpreting art from the vantage point of the studio, rather than as a critic or historian, arguing that “Research Art” is the evolution of the critical position developed by Conceptual Art and Situationalism as the avant-garde program in art came to an end, an adaptation to the changed Contemporary reality of AI, globalization, and digital technology—an oppositional art made in the shadows of digital capitalism.
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Glitch Theory: Art and Semiotics, 2023
Introduction from the book Glitch Theory: Art and Semiotics.
Glitches and Glitch Art illuminat... more Introduction from the book Glitch Theory: Art and Semiotics.
Glitches and Glitch Art illuminate the unseen assumptions, ideology of dialectical thinking, and role of established knowledge that shapes as well as determines our engagement with the world. Betancourt builds on the role of perception in guiding these interpretations to explore the possibilities offered by glitches for addressing digital media. Not confined to esoteric questions of semiosis, this study presents an expansive model of ambivalence and ambiguity whose ramifications address how initial assumptions and beliefs create meaning. Tracking glitches across technical media old and new, and moving from early abstraction’s attempts to visualize a transcendental spiritualism through to contemporary AI generated art and media, Betancourt describes how glitches are not just technical failures but products of the instabilities between human interpretations and autonomous machinic operations that create a ‘discursive aesthetic’ guided by cultural fantasies of digital media’s immateriality that idealize it as a perfect, transcendent form.
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Art, AI and Culture, 2022
This is a low resolution preview of a book. If you find it useful or interesting, please consider... more This is a low resolution preview of a book. If you find it useful or interesting, please consider buying a copy.
Art, AI and Culture interrogates the aesthetic heritage of Modernism as it informs contemporary cultural applications of AI which demonstrate there is no escape from the kaleidoscopic lineage of colonialism where the status of "human" and all the rights that entails were withheld from the colonized in general, and from slaves, labor, and women specifically. This analysis theorizes the social identity threat posed by AI's challenges to existing social, cultural, political, and economic orders. Digital technology is not exempt from this historical lineage that transforms familiar questions of economic displacement caused by machine learning and digital automation into new battles in an on-going conflict over social status and position. This cultural approach to AI reveals the ways that it transforms expressions of identity, leisure and luxury into opportunities for profit extraction. Social phenomena, (including racism, sexism, and nationalism), capture individuals in a web of systemic control where digital automation provides a mechanism preserving the existing hierarchies and social status that it might otherwise challenge. Drawing on a reconception of capitalism as a proxy for social status and position, this study critiques the fantasy that replacing all human labor will create a fully automated luxury utopia without bias, oppression, or social change.
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Ideologies of the Real in Title Sequences, Motion Graphics and Cinema, 2019
Preface and Introduction to a book exploring the question of realism in motion pictures. Specific... more Preface and Introduction to a book exploring the question of realism in motion pictures. Specifically, it explores how understanding the role of realism in the history of title sequences in film can illuminate discussions raised by the advent of digital cinema. Developed from careful analysis of André Bazin, Stanley Cavell, and Giles Deleuze’s approaches to cinematic realism, this analysis uses title sequences to engage the interface between narrative and non-narrative media to develop a modal semiotic approach to cinematic realism where ontology is irrelevant to indexicality. This analysis shows the continuity between historical analogue film and contemporary digital motion pictures by developing a framework for rethinking how realism shapes interpretation.
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Anything that can be automated, will be. The “magic” that digital technology has brought us — sel... more Anything that can be automated, will be. The “magic” that digital technology has brought us — self-driving cars, Bitcoin, high frequency trading, the internet of things, social networking, mass surveillance, the 2009 housing bubble — has not been considered from an ideological perspective. The Critique of Digital Capitalism identifies how digital technology has captured contemporary society in a reification of capitalist priorities, and also describes digital capitalism as an ideologically “invisible” framework that is realized in technology. Written as a series of articles between 2003 and 2015, the book provides a broad critical scope for understanding the inherent demands of capitalist protocols for expansion without constraint (regardless of social, legal or ethical limits) that are increasingly being realized as autonomous systems that are no longer dependent on human labor or oversight and implemented without social discussion of their impacts. The digital illusion of infinite resources, infinite production, and no costs appears as an “end to scarcity,” whereby digital production supposedly eliminates costs and makes everything equally available to everyone. This fantasy of production without consumption hides the physical costs and real-world impacts of these technologies.
The critique introduced in this book develops from basic questions about how digital technologies directly change the structure of society: why is “Digital Rights Management” not only the dominant “solution” for distributing digital information, but also the only option being considered? During the burst of the “Housing Bubble” burst 2009, why were the immaterial commodities being traded of primary concern, but the actual physical assets and the impacts on the people living in them generally ignored? How do surveillance (pervasive monitoring) and agnotology (culturally induced ignorance or doubt, particularly the publication of inaccurate or misleading scientific data) coincide as mutually reinforcing technologies of control and restraint? If technology makes the assumptions of its society manifest as instrumentality — then what ideology is being realized in the form of the digital computer? This final question animates the critical framework this analysis proposes.
Digital capitalism is a dramatically new configuration of the historical dynamics of production, labor and consumption that results in a new variant of historical capitalism. This contemporary, globalized network of production and distribution depends on digital capitalism’s refusal of established social restraints: existing laws are an impediment to the transcendent aspects of digital technology. Its utopian claims mask its authoritarian result: the superficial “objectivity” of computer systems are supposed to replace established protections with machinic function — the uniform imposition of whatever ideology informs the design. However, machines are never impartial: they reify the ideologies they are built to enact. The critical analysis of capitalist ideologies as they become digital is essential to challenging this process. Contesting their domination depends on theoretical analysis. This critique challenges received ideas about the relationship between labor, commodity production and value, in the process demonstrating how the historical Marxist analysis depends on assumptions that are no longer valid. This book therefore provides a unique, critical toolset for the analysis of digital capitalist hegemonics.
This open access publication contains the full text of the book.
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This book develops a critical and theoretical approach to the semiotics of motion pictures as the... more This book develops a critical and theoretical approach to the semiotics of motion pictures as they are applied to a broader range of constructions than traditional commercial narrative productions.
This interdisciplinary approach begins with the problems posed by motion perception to develop a model of cinematic interpretation that includes both narrative and non-narrative types of productions. Contrasting traditional theatrical projection and varieties of new media, this book integrates analyses of title sequences, music videos, and visual effects with discussions on classic and avant-garde films. It further explores the intersection between formative audio-visual cues identified by viewers and how viewers’ desires direct engagement with the motion picture to present a framework for understanding cinematic articulation. This new theoretical model incorporates much of what was neglected and gives greater prominence to formerly critically marginal productions by showing the fundamental connections that link all moving imagery and animated text, whether it tells a story or not.
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Theory Papers by michael betancourt
Academia Letters, 2021
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Semiotica, 2024
AI-generated images of "cats" offer novel opportunities to consider the semic role of expectation... more AI-generated images of "cats" offer novel opportunities to consider the semic role of expectations in sign formation where they act as a constraints on semiosis through their potential identification of the AImage as "correct," as a "glitch." AI separates the artist's decision-making process from image production, continuing a trajectory that began with the invention of photography in the nineteenth century that brings the <<sign>> formation process into consciousness by distinguishing 'intentional' and 'unintentional' encoding. The identification AI-produced images as-glitched provides a vehicle to consider how the sign formation process informs identifications of creative action as an intentional action. Aesthetic appraisals are central to this process where cultural beliefs about creativity become ideological constraints on interpretation. The potential to understand AI "glitches" as expressive features of the imageobject, rather than errors, proceeds via the aesthetics and affects of earlier art, such as the 'painterly motion' shown in old master paintings by Peter Paul Rubens, or via the heritage of Surrealism, reveal the central role of "glitches" in the distinction of creative and uncreative action.
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Digitalisierung der Arbeitswelten, 2024
The lineage of industrialisation that began in the eighteenth century continues with the developm... more The lineage of industrialisation that began in the eighteenth century continues with the development of artificial intelligence (AI). It reveals a heuristic apparent in/as the social paradigm that defines labour as interchangeable with the machinery it operates. Placing AI into a socio-cultural context with the industrial revolution reveals the on-going impacts of the social disparities created by capitalist production in the nineteenth century that were justified by reifying Immanuel Kant’s Enlightenment philosophy concerning judgement (human agency) continue to shape contemporary developments. Examining this philosophical justification and its influence illuminates a social paradigm focused on the replacement of labour with automation. This interdisciplinary approach links moral and aesthetic claims to the questions of labour to reveal a heuristic in which workers were cast as the “intellectual organs” of the machine, anticipating “machine learning” and other forms of digital automation that replace intelligent labour. This cultural foundation developes from the continuity of technological changes that defined each stage of industrialisation through disparate social, cultural and aesthetic claims about machinery and the social significance of the industrial factory. The regimentation of labour by industrialization concerned nineteenth century artists and critics whose ideas established an archetype whose structural effects shape and constrain the contemporary implementation of automation and AI.
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Semiotica
The identification of encoding depends on an ascription of intent—without intent, there is nothin... more The identification of encoding depends on an ascription of intent—without intent, there is nothing to communicate. This paper answers the question, "What is the role of intention in the identification of encoding that arises for images and other non-lexical objects of semiosis?" by proposing the “intentional function,” which resolves the syntagmatic problems posed by visual imagery: it identifies the viewer’s treatment of what they encounter as if it is encoded based on formal non-signifying cues visible in the image and learned through past experience. This decision about the organization and structure of the work becomes apparent from the consideration of a photographic “selfie” made by a monkey in the rainforest.
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CTheory, 2006
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Ctheory, 2007
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Ctheory, Aug 28, 2007
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CTheory, 2002
Julian Hochberg and Virginia Brooks argue in "Movies in the Mind's Eye" that the apparent movemen... more Julian Hochberg and Virginia Brooks argue in "Movies in the Mind's Eye" that the apparent movement of motion pictures should be understood as a mental process described by cognitive theory and gestalt psychology. This argument is a reconfiguration of the traditional, physiological model that makes the motion an effect of ocular physiology. In place of this model, they propose that the movement we see when watching a movie—whether in the form of a film or a video tape—is more than simply the illusion of motion: it is perceptually as real as any other visual motion we perceive. The difference between this motion and other motion resides in its empirical status independent of observation, not in our subjective perception. Their transformation of the conceptualization of "motion pictures" has implications for our understanding of motion in painting. So-called "painterly motion" is historically one of the most important effects employed in old master p...
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Journal of Visual Art Practice, Jul 8, 2008
Automated technology that produces art presents specific issues for interpretation: where should ... more Automated technology that produces art presents specific issues for interpretation: where should the artwork be situated in the objects the machine produces, the machine itself, or the design for the machine? Central to this question is the issue of human agency in the creation of art. This paper examines these issues in relation to the implications of Sol LeWitt’s ‘Sentences on Conceptual Art’, and frames the question of human agency in relation to the work of con-temporary artist Roxy Paine, and the historical artists Mary Hallock-Greenewalt and Richard M. Craig who created autonomous systems for making visual music. These artists’ work involves automated technology that functions without their intervention. These works suggest a framework that recognizes the artist’s role as the designer of art, rather than as necessarily the fabricator of those works.
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Ctheory, May 1, 2002
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Semiotica, 2005
This essay presents and discusses the ways that prior experience constitutes a logical black box ... more This essay presents and discusses the ways that prior experience constitutes a logical black box in Umberto Eco’s discussion of serial forms in “Interpreting Serials” using the complex adaptive system model for how complexity arises and is sustained over time proposed by John Holland. In exploring how Holland’s model can account for some aspects of Eco’s past experience, it becomes evident that a modification of both theories to accommodate multiple, contradictory potentials simultaneously suggests we consider meaning as a range of potentials rather than as a singular choice. Even though the model proposed here is incomplete and tentative, it is suggestive of possible strategies for justifying interpretations without precluding their rejection or revision at a later time. Individual interpretations are justified not by comparison to an external truth but by the existence of other possible interpretations with shared characteristics that nevertheless contradict each other.
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Ctheory, 2015
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CTheory, 2015
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CTheory, 2016
Digital automation is specifically designed to render human agency redundant for the processes an... more Digital automation is specifically designed to render human agency redundant for the processes and procedures being automated. The historically necessary role in production
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Books by michael betancourt
Glitches and Glitch Art illuminate the unseen assumptions, ideology of dialectical thinking, and role of established knowledge that shapes as well as determines our engagement with the world. Betancourt builds on the role of perception in guiding these interpretations to explore the possibilities offered by glitches for addressing digital media. Not confined to esoteric questions of semiosis, this study presents an expansive model of ambivalence and ambiguity whose ramifications address how initial assumptions and beliefs create meaning. Tracking glitches across technical media old and new, and moving from early abstraction’s attempts to visualize a transcendental spiritualism through to contemporary AI generated art and media, Betancourt describes how glitches are not just technical failures but products of the instabilities between human interpretations and autonomous machinic operations that create a ‘discursive aesthetic’ guided by cultural fantasies of digital media’s immateriality that idealize it as a perfect, transcendent form.
(This is a low resolution preview. If you find it useful or interesting, please consider buying a copy.)
Art, AI and Culture interrogates the aesthetic heritage of Modernism as it informs contemporary cultural applications of AI which demonstrate there is no escape from the kaleidoscopic lineage of colonialism where the status of "human" and all the rights that entails were withheld from the colonized in general, and from slaves, labor, and women specifically. This analysis theorizes the social identity threat posed by AI's challenges to existing social, cultural, political, and economic orders. Digital technology is not exempt from this historical lineage that transforms familiar questions of economic displacement caused by machine learning and digital automation into new battles in an on-going conflict over social status and position. This cultural approach to AI reveals the ways that it transforms expressions of identity, leisure and luxury into opportunities for profit extraction. Social phenomena, (including racism, sexism, and nationalism), capture individuals in a web of systemic control where digital automation provides a mechanism preserving the existing hierarchies and social status that it might otherwise challenge. Drawing on a reconception of capitalism as a proxy for social status and position, this study critiques the fantasy that replacing all human labor will create a fully automated luxury utopia without bias, oppression, or social change.
(This is a low resolution preview. If you find it useful or interesting, please consider buying a copy.)
The critique introduced in this book develops from basic questions about how digital technologies directly change the structure of society: why is “Digital Rights Management” not only the dominant “solution” for distributing digital information, but also the only option being considered? During the burst of the “Housing Bubble” burst 2009, why were the immaterial commodities being traded of primary concern, but the actual physical assets and the impacts on the people living in them generally ignored? How do surveillance (pervasive monitoring) and agnotology (culturally induced ignorance or doubt, particularly the publication of inaccurate or misleading scientific data) coincide as mutually reinforcing technologies of control and restraint? If technology makes the assumptions of its society manifest as instrumentality — then what ideology is being realized in the form of the digital computer? This final question animates the critical framework this analysis proposes.
Digital capitalism is a dramatically new configuration of the historical dynamics of production, labor and consumption that results in a new variant of historical capitalism. This contemporary, globalized network of production and distribution depends on digital capitalism’s refusal of established social restraints: existing laws are an impediment to the transcendent aspects of digital technology. Its utopian claims mask its authoritarian result: the superficial “objectivity” of computer systems are supposed to replace established protections with machinic function — the uniform imposition of whatever ideology informs the design. However, machines are never impartial: they reify the ideologies they are built to enact. The critical analysis of capitalist ideologies as they become digital is essential to challenging this process. Contesting their domination depends on theoretical analysis. This critique challenges received ideas about the relationship between labor, commodity production and value, in the process demonstrating how the historical Marxist analysis depends on assumptions that are no longer valid. This book therefore provides a unique, critical toolset for the analysis of digital capitalist hegemonics.
This open access publication contains the full text of the book.
This interdisciplinary approach begins with the problems posed by motion perception to develop a model of cinematic interpretation that includes both narrative and non-narrative types of productions. Contrasting traditional theatrical projection and varieties of new media, this book integrates analyses of title sequences, music videos, and visual effects with discussions on classic and avant-garde films. It further explores the intersection between formative audio-visual cues identified by viewers and how viewers’ desires direct engagement with the motion picture to present a framework for understanding cinematic articulation. This new theoretical model incorporates much of what was neglected and gives greater prominence to formerly critically marginal productions by showing the fundamental connections that link all moving imagery and animated text, whether it tells a story or not.
Theory Papers by michael betancourt
Glitches and Glitch Art illuminate the unseen assumptions, ideology of dialectical thinking, and role of established knowledge that shapes as well as determines our engagement with the world. Betancourt builds on the role of perception in guiding these interpretations to explore the possibilities offered by glitches for addressing digital media. Not confined to esoteric questions of semiosis, this study presents an expansive model of ambivalence and ambiguity whose ramifications address how initial assumptions and beliefs create meaning. Tracking glitches across technical media old and new, and moving from early abstraction’s attempts to visualize a transcendental spiritualism through to contemporary AI generated art and media, Betancourt describes how glitches are not just technical failures but products of the instabilities between human interpretations and autonomous machinic operations that create a ‘discursive aesthetic’ guided by cultural fantasies of digital media’s immateriality that idealize it as a perfect, transcendent form.
(This is a low resolution preview. If you find it useful or interesting, please consider buying a copy.)
Art, AI and Culture interrogates the aesthetic heritage of Modernism as it informs contemporary cultural applications of AI which demonstrate there is no escape from the kaleidoscopic lineage of colonialism where the status of "human" and all the rights that entails were withheld from the colonized in general, and from slaves, labor, and women specifically. This analysis theorizes the social identity threat posed by AI's challenges to existing social, cultural, political, and economic orders. Digital technology is not exempt from this historical lineage that transforms familiar questions of economic displacement caused by machine learning and digital automation into new battles in an on-going conflict over social status and position. This cultural approach to AI reveals the ways that it transforms expressions of identity, leisure and luxury into opportunities for profit extraction. Social phenomena, (including racism, sexism, and nationalism), capture individuals in a web of systemic control where digital automation provides a mechanism preserving the existing hierarchies and social status that it might otherwise challenge. Drawing on a reconception of capitalism as a proxy for social status and position, this study critiques the fantasy that replacing all human labor will create a fully automated luxury utopia without bias, oppression, or social change.
(This is a low resolution preview. If you find it useful or interesting, please consider buying a copy.)
The critique introduced in this book develops from basic questions about how digital technologies directly change the structure of society: why is “Digital Rights Management” not only the dominant “solution” for distributing digital information, but also the only option being considered? During the burst of the “Housing Bubble” burst 2009, why were the immaterial commodities being traded of primary concern, but the actual physical assets and the impacts on the people living in them generally ignored? How do surveillance (pervasive monitoring) and agnotology (culturally induced ignorance or doubt, particularly the publication of inaccurate or misleading scientific data) coincide as mutually reinforcing technologies of control and restraint? If technology makes the assumptions of its society manifest as instrumentality — then what ideology is being realized in the form of the digital computer? This final question animates the critical framework this analysis proposes.
Digital capitalism is a dramatically new configuration of the historical dynamics of production, labor and consumption that results in a new variant of historical capitalism. This contemporary, globalized network of production and distribution depends on digital capitalism’s refusal of established social restraints: existing laws are an impediment to the transcendent aspects of digital technology. Its utopian claims mask its authoritarian result: the superficial “objectivity” of computer systems are supposed to replace established protections with machinic function — the uniform imposition of whatever ideology informs the design. However, machines are never impartial: they reify the ideologies they are built to enact. The critical analysis of capitalist ideologies as they become digital is essential to challenging this process. Contesting their domination depends on theoretical analysis. This critique challenges received ideas about the relationship between labor, commodity production and value, in the process demonstrating how the historical Marxist analysis depends on assumptions that are no longer valid. This book therefore provides a unique, critical toolset for the analysis of digital capitalist hegemonics.
This open access publication contains the full text of the book.
This interdisciplinary approach begins with the problems posed by motion perception to develop a model of cinematic interpretation that includes both narrative and non-narrative types of productions. Contrasting traditional theatrical projection and varieties of new media, this book integrates analyses of title sequences, music videos, and visual effects with discussions on classic and avant-garde films. It further explores the intersection between formative audio-visual cues identified by viewers and how viewers’ desires direct engagement with the motion picture to present a framework for understanding cinematic articulation. This new theoretical model incorporates much of what was neglected and gives greater prominence to formerly critically marginal productions by showing the fundamental connections that link all moving imagery and animated text, whether it tells a story or not.
of this taxonomy lie in empirical psychological studies of “form- constants” found in cross-modal synesthetic visions and hallucinatory states, specifically the work of Heinrich Klüver in his examinations of mescaline and the mechanisms producing visual hallucinations. While the proposed taxonomy is limited only to synesthesia-inspired abstraction, it has suggestive possibilities when considered
in relation to other forms of non- synesthetic abstraction such as Islamic Art, the geometric forms found on classical Greek vases, and other kinds of decorative abstract patterns.
Over the past few months, Betancourt and Sean Scanlan, NANO's editor, developed one question into this interview through email exchanges.
Contributors Found Footage Magazine issue#8:
Akosua Adoma Owusu, Cedric Arnold, Michael Betancourt, Eugeni Bonet, Eugènia Balcells, Lukas Brašiškis, Marie-Pierre Burquier, Abigail Child, Matthew Cole Levine, Federica Foglia, Cécile Fontaine, Rachel Garfield, Mike Hoolboom, Salise Hughes, Karissa Hahn, Matthew LaPaglia, Scott MacDonald, Pedro Maia, Camilla Margarida, Antoni Pinent, Jennifer Proctor, Gracia Ramírez, Justin Remes, Jeffrey Skoller, Andy Spletzer, Maureen Turim, César Ustarroz, Johanna Vaude, Jennifer West, and Theodore Xenophontos.
Contributors Special Issue #5: Michael Betancourt, Anne-Marie Bouchard, Donald Brackett, Marie-Pierre Burquier, Joanna Byrne, Francisca Duran, Ken Eisenstein, Alex Faoro, Tim Grabham, Lee Hangjun, Jesse Lerner, Matthew C. Levine, Leandro Listorti, Scott MacDonald, Raphael Montañez Ortiz, Chon A. Noriega, Keitaro Oshima, Justin Remes, Marta Rychter, Hugues Sanchez, José Sarmiento-Hinojosa, Guli Silberstein, Giuseppe Spina, Stacey Steers, César Ustarroz, and Francesca Veneziano.
FFM fills the void created by the fact that there has not been, up to this time, any forum for the collection and dissemination of information, critical thinking, and discussion of found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival cinema, mash-up…
FFM accommodates a selection of articles and sections aimed at exploring issues of ethics, politics, form and content related to the culture of recycled cinema: monographs, interdisciplinary essays, interviews and opinion pieces concerning the eclectic universe of found footage filmmaking.
Collaborators Issue #3: Sergi Álvarez Riosalido, Paula Arantzazu Ruiz, Alejandro Bachmann, James Benning, Joseph Bernard, Michael Betancourt, Stephen Broomer, Antonin Charret, Jeroen Cluckers, Miriam De Rosa, David de Rozas, Anja Dornieden & Juan David González Monroy (Ojoboca), Thomas Draschan, Atom Egoyan, Siegfried A. Fruhauf, Yervant Gianikian & Angela Ricci Lucchi, Arine Kirstein Høgel, Kevin B. Lee, Matthew Levine, Manu Luksch, Scott MacDonald, Mukul Patel, Edwin Rostron, Nazare Soares, Makino Takashi, Ignacio Tamarit, Guillaume Vallée and Martin Zeilinger.