glitch theory

Bdellovibrio bacteriovorus does not merely consume its prey; it infiltrates, liquefies, and metabolizes its host, integrating extracted nutrients into its own biochemical system. This microbial predation parallels the logic of capitalism’s insatiable hunger, where every resource is assimilated into surplus production, collapsing difference into raw material. Achim Szepanski’s assertion that "capitalism treats every registerable difference as a potential resource which can be capitalized or from which a surplus can be extracted" finds a striking analogue in Bdellovibrio’s indiscriminate predation of Gram-negative bacteria. Just as capitalism absorbs and repackages avant-garde aesthetics into commodified cultural products, Bdellovibrio erases biological distinctiveness in its relentless pursuit of metabolic sustenance. Szepanski’s theoretical framework on glitch music provides a conceptual perspective for understanding Bdellovibrio’s role in microbial ecosystems. Glitch disrupts sonic continuity, revealing the underlying mechanisms of sound production; Bdellovibrio’s predation similarly reprograms microbial networks, introducing disorder that paradoxically fosters ecological equilibrium. The bacterium’s metabolic process embodies the tension between failure and function, subversion and assimilation, echoing Szepanski’s claim that “failure develops in the arts into a cutting-edge concept, while at the same time it becomes codified by technology and business as a model for improvement and success.” Bdellovibrio’s predatory cycle, though chaotic, is a driving force of microbial adaptation—an echo of glitch’s role in shaping sonic capitalism. On a cosmic scale, predation emerges as a fundamental force: galaxies devour smaller systems, black holes consume matter, and Bdellovibrio dismantles its prey into molecular components. Szepanski’s ultrablack music—an abyssal dissolution of form into entropy—mirrors the bacterium’s mode of existence. “Ultrablack is the sound of formlessness,” writes Szepanski, a description that aligns with Bdellovibrio’s liquefaction of its host before reconstructing itself. The bacterium’s metabolic function is a microbial glitch, a dark rupture in bacterial reality that exposes the violent substrate of life itself. Rethinking posthumanism through bacteriology necessitates acknowledging microbial predation as a constitutive force. Bdellovibrio is neither purely destructive nor symbiotic; it disrupts, reorganizes, and subsists within a metastable equilibrium, much like capitalist metastasis, where all resistance is metabolized into further commodification. As D. M. R. McAlister notes, “The study of microbial predation forces us to confront an unsettling truth: survival is predicated on the relentless transformation of one entity into another.” Just as glitch erases and reformulates sonic expectations, Bdellovibrio deconstructs microbial bodies into raw metabolic material.

The concept of the Akashic Records-a metaphysical repository of all knowledge, events, and experiences-has long captured the imagination of philosophers, mystics, and scientists alike. From a systems biology perspective, which emphasizes interconnected networks and emergent properties, the Akashic Records can be reconceptualized as an informational substrate encompassing the entirety of life's processes.

Evolutionary processes are not governed by a predefined syntax but by a chaotic interaction of genetic changes, environmental pressures, and selective forces. Ayala also addresses the idea of biological processes as exhibiting "alien poetics," or emergent patterns that transcend the simple sum of individual parts. Life, according to Ayala, is not merely a mechanical assembly of genes and proteins, but a dynamic, interconnected system with emergent properties. These properties are not always immediately obvious from the study of individual components, much like the way the meaning of a poem arises from the interplay of words, structure, and rhythm rather than from the individual letters or verses themselves. Ayala discusses how natural selection, in its capacity to generate complexity, produces biological systems that display an almost poetic form of organization. The process of adaptation, through natural selection, generates intricate behaviors and interactions within ecosystems that are often far more than the mere sum of their components.

With a decade of experience in teaching English and a deep passion for literature, Paragkumar Dave is a dedicated Teacher-Researcher and PhD Scholar. Specializing in the depiction of crime and violence in Alan Moore's graphic novels, Parag combines rigorous literary analysis with a focus on visual storytelling to explore socio-political themes. Having qualified the UGC State Eligibility Test for the post of Assistant Professor in English, Mr/ Dave brings a wealth of knowledge and a commitment to fostering critical thinking in students. Based in Surat, India, Parag continues to contribute to the academic community through research that bridges literary criticism and visual arts. Currently pursuing a PhD in English Graphic Novels of Alan Moore. Three years of teaching experience across various academic levels. Proficient in blending offline and online teaching methods for effective learning experiences.

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.
(This is a low resolution preview. If you find it useful or interesting, please consider buying a copy.)

The contemporary digital video art genre of ‘Glitch Art’ enables artistic research with motion pictures to address liminal questions of articulation that were impossible in traditional analogue media. The Glitch Art technique of ‘datamoshing’ exploits the encoding of digital media to create a paradoxical separation of ‘image’ from ‘movement’ that demonstrates the central role of audience perception in parsing experience. This paper considers how artistic exploits of digital glitches enable novel analytic questions about the identification of kinesis and the role of the ‘frame’ and the ‘shot’ in cinematic articulation: [1] the relationship of the ‘long take’ where editing is minimized to the continuous progression of the ‘datastream’ in digital media, and [2] the role of differentiation between succeeding frames in the audience's identification/construction of ‘shots’ that are foundational to the technique of continuity editing.

This monograph was made to research and understand conceptually the artistic genre's signification by using error in the image's data process. In order to reach this end, it was made the analysis of several audiovisuals products, based on the texts of academic researchers such as Iman Moradi and Rosa Menkman. The goal is to grasp the context and implicit critic in art glitch's works, also by investigating their technical and communicational procedures and their relations with Jean Baudrillard's idea of simulacra.

Glitch Art emerges from a lineage of cultural concerns with the impacts of industrialization that continue into the present. Just as the invention of photography disrupted traditional conceptions of art, contemporary AImages provoke a similar cultural anxiety. This analysis situates Glitch Art within a lineage of artistic engagements with machinery that informs the nineteenth century attempts to counter the deskilling of traditional arts and crafts. These proposals by John Ruskin and William Morris led to an embrace of flaws and errors as demonstrations of human agency in production. The contemporary "glitch aesthetic" continues this history of aesthetic challenges to automation by exploiting the unexpected products of digital systems, allowing the extension of this tradition to address those artworks made with machine learning (AI).

To avoid the existential crises associated with AI terraforming, we need a robust ethical framework to underpin our actions. This framework should incorporate the principles of sustainability, ecological considerations, autonomy of life and respect for diversity. Addressing the inherent complexities and potential consequences of AI terraforming requires a multidisciplinary approach involving experts in philosophy, environmental science, and AI ethics.

Resumo: O ruído é um conceito importante abordado em diferentes áreas como a música, a comunicação e a informática, adquirindo ao longo do século XX, um papel fundamental para a criação artística. Pesquisas recentes sobre o tema alargam a sua compreensão para além do campo sonoro, enfatizando o ruído como resultado de processos criativos experimentais, marcados por estratégias de intervenção, descaracterização de mídias, mistura de linguagens, e proposição de novos padrões estéticos e perceptivos. Esta comunicação propõe que o ruído seja um conceito-chave para entender o caráter impuro e híbrido da fotografia experimental, compreendida simultaneamente como prática, conceito e estética, em acordo com teorizações que assinalam o caráter artificial, elaborado e maleável da imagem contemporânea.

This project is an analysis of the different innovative video formats for its promotion and development in the artistic and educational field. This essay aims to carry out an historical review of the evolution of this audiovisual media, in which image, video and experimental and instrumental sound play an essential role. In addition to this, contemporary work in videoart format by emerging authors will be displayed to visualise the way it has been amended over time. The conceptual framework is the study of the videoart format as a visual reference and its reflection in the Contemporary Visual Culture, as well as its application in the educational field. The methodology will be an independent and active teaching and learning through Learning by doing and Learning by teaching; the Primary Education students participate in this experience and create their own work through a number of configured patterns with a topic related to the aesthetic or didactic experience. Other creations displayed will be the representation of videoart works, video-installations and the Glitch art. The exploration of text, image, colour, sound and use of new tech-1333 Synnyt / Origins | 2 / 2019 | Abstracts nologies, develops a sense of curiosity, critical thinking and experimentation. The creative process is set up as a constructive contribution to different subjects. The dynamic approach reflected in the videoart and Glitch Art means an active learning, developing a self-critical sense, that invites the student to explore their surrounding manipulating known elements and making links of symbiosis between the different interrelated and interdisciplinary artistic concepts.

same time establishing the glitch as a definitional precondition: it is a recovery of technical failure as the formal basis for media practice. These mechanical interruptions of the typical functioning of digital media-whether in audible or visible forms-have been employed in electronic media for decades (Nam June Paik's video processing effects initially appear in technical repair manuals for television receivers produced by RCA in the 1950s. 1) The aura of the digital's separation of the physical and digital dimensions of digital art from consideration is especially pronounced with media works; user-audiences for these technologies rarely become concerned by the interruptions posed by technical failures: just as the aura of the digital serves to strip the physical dimensions of media from consideration, the identification of these digital artifacts as 'glitches' equally insures that they vanish from consciousness, naturalized as momentary (transient) failures in an otherwise functional system. The theorization of 'glitches' in media art function as an index for the intersection of earlier Modernist aesthetic and theoretical priorities with more contemporary concerns with digital capitalism and its ideology produced in/through media. The fundamental issue for this analysis and its object, the glitch, is the status of the audience; in examining these issues, this analysis returns to a set of underlying

Mere materiality, the recognition and identification of the "substance" of digital media as an encoded, electronic signal only becomes a critical engagement through a leap from this immanent identification of substance to significance, requiring more than just an acknowledgement of the "ontology" of digital facture. Digital media is rendered for humans by an apparatus operating invisibly, continuously, and autonomously; however, interrupting the normative operation of the device is an insignificant challenge-lapses, drop-outs and other computer failures are commonplace, as are the slight "errors" familiar from the resolution, compression, and sampling apparent in the aesthetics of the movie. These transient electronic misfunctions, "glitches," are ignored or elided from consideration, demonstrating the aura of the digital in operation. The ideally-conceived digital signal transcends its particular, immanent encounter (always distinct from the perfection of the immaterial digital 'object') in a separation of digitality from its materiality that is a fantasy of transcendent perfection. Conceiving the digital as independent of its presentation blocks the identification of materialist significance: the identification qua glitch as noise (a non-signifier) ends any further need for engagement, but also demonstrates that all interpretations are dependent on their lowest level identification as requiring consideration and attention; the audience's internalization of this condition is the aura of the digital. Emergent post-digitality presents basic difficulties of conceptualization.

O evento Exposição On-line Internacional de Glitch Art – Glitch.Art.Br 2021 é uma plataforma on-line projetada para promover, exibir, interagir e fornecer um espaço dedicado para discutir a arte Glitch. Um evento organizado no Brasil com alcance global.
É gratuito e aberto a todos, pois permite a um público mais amplo, em todo o mundo, acessar um programa online que reúne obras e textos de artistas e pesquisadores da atualidade.
É uma iniciativa participativa e voltada para a comunidade dedicada a mostrar artes experimentais e subversivas de velhas e novas mídias que se baseiam em tecnologias analógicas e digitais, além de práticas abrangentes de nova arte-mídia criativa. O evento está particularmente interessado em apresentar obras de arte que exploram crítica, artística e livremente o uso da tecnologia. Este livro é um registro da primeira edição da exposição e conta com três artigos que discutem a Glitch Art e o uso de erros e da tecnologia na arte pós-digital.

The Glitch Art International Online Exhibition – Glitch.Art.Br 2021 is an online platform designed to promote, display, interact and provide a dedicated space to discuss Glitch art. An event organized in Brazil with global reach.
The exhibition is free and open to everyone, as it allows for a wider worldwide audience to access an online program that brings together artworks and texts by current artists and researchers.
The goal is to create a participatory and community-oriented initiative dedicated to showcasing experimental and subversive arts from old and new media that are based on analog and digital technologies, also to wide-ranging creative new media-art practices. The exhibition is particularly interested in featuring artworks that explore the critical, artistic and free use of technology. This book from the first edition of the exhibition has three articles that discuss Glitch Art and the use of errors and technology in post-digital art.

O presente artigo, num primeiro movimento, explora reflexões, conceituações e categorizações realizadas por autores como Moradi (2004), Menkman (2011) e Stearns (2012) acerca da Glitch Art – gênero de arte digital que explora o erro tecnológico. Em seguida, de maneira mais específica, a partir da compreensão de duas categorias da Glitch Art propostas por Moradi (2004) – Pure Glitch e Glitch Alike – propõe-se uma terceira categoria, que denominamos Glitch de Superfície, que aparece à luz do desenvolvimento das tecnologias e dos softwares e aplicativos de edição de mídias digitais, como imagens, vídeos e textos. A concepção de “superfície” está atrelada à noção de que tais aplicativos, ao simularem o erro digital contido dentro da máquina, transportam-no para a sua camada mais extrema: a superfície da imagem. Por fim, busca-se refletir sobre as reverberações desta categoria artístico-estética proposta, em seu caráter social, político, cultural e econômico.

Unstable Systems or Why Is My Junk So Raw? is an exploration in the raw aesthetics of exposed electronics; showing the complicated systems that make our everyday electronics work using the visual language of formalism to display these "broken" consumer electronics as art. The work in my thesis show explores the creative potential of death and impermanence through the failing of technology. The work in the exhibition combines my interest and childhood fascination in electronics as well as my experience with my father's illness. Accidentally and intentionally broken TV's and electronics are producing live glitches which emphasize the instability of these otherwise closed systems. v

O presente artigo, num primeiro movimento, explora reflexões, conceituações e categorizações realizadas por autores como Moradi (2004), Menkman (2011) e Stearns (2012) acerca da Glitch Art – gênero de arte digital que explora o erro tecnológico. Em seguida, de maneira mais específica, a partir da compreensão de duas categorias da Glitch Art propostas por Moradi (2004) – Pure Glitch e Glitch Alike – propõe-se uma terceira categoria, que denominamos Glitch de Superfície, que aparece
à luz do desenvolvimento das tecnologias e dos softwares e aplicativos de edição de mídias digitais, como imagens, vídeos e textos. A concepção de “superfície” está atrelada à noção de que tais aplicativos, ao simularem o erro digital contido dentro da máquina, transportam-no para a sua camada mais extrema: a superfície da imagem. Por fim, busca-se refletir sobre as reverberações desta categoria artístico-estética proposta, em seu caráter social, político, cultural e econômico.

Contexto digital e pós-digital Sabemos que o impacto da tecnologia digital na arte foi enorme. Vemos isto nas formas de expressões artísticas que surgiram deste contato entre arte e tecnologia, como a Arte Digital, (New) Media Art, Net Art, Web Art, instalações interativas, entre outras. Desde o início deste século, surgiram diversos discursos sobre uma era e arte pós-digital, presentes em artigos, livros, eventos científicos e exposições de arte. Kim Cascone, compositor de música eletrônica, professor e escritor, em seu importante artigo chamado A Estética da Falha: Tendências do Pós-Digital na Música Computacional Contemporânea, publicado em 2000 na Computer Music Journal/MIT, discutiu o uso de erros de softwares, falhas da tecnologia, ruídos, entre outros, descrevendo o que ele chamou de fase e estética pós-digital da música eletrônica. Cleber Gazana-Designer, professor (at FAAP, USJT, Belas Artes, FAPCOM), visual and sound artist and researcher member of the group c/A/t-[s]cience/Art/technology-CNPQ-UNESP. His research focuses on art and technology, Glitch Art and design.

In which ways glitch art is linked to perturbation? This master's degree research tries to approach definitional and theoretical limits of this new media artistic form. By sketching the glitch art history and by comparing it with some 1960's to today artworks, a critic of the dominant discourse about this subject will be propose.

///

En quoi le glitch art se réfère-t-il à la perturbation? Ce travail universitaire tente d'approcher les limites définitionnelles et théoriques de cette forme artistique issue des nouveaux médias. Par l'esquisse d'une histoire de l'art glitch et par la comparaison de ce dernier avec des productions artistiques des années 1960 à aujourd'hui, une critique du discours dominant sur le sujet sera proposée.

Este artigo trata de um dos desdobramentos estéticos da Arte Digital atual - a Glitch Art. Uma prática artística de subversão, conhecida também como estética do erro digital , pois trata sobre o fazer as coisas da maneira errada, de rejeitar as regras e maneiras corretas de uso de hardware e/ou software em nome da experimentação. De acordo com o tipo de erro, um não intencional e inesperado e o outro intencional e planejado, foram identificadas duas importantes classificações-Pure Glitch e Glitch-alike. O trabalho utiliza, principalmente, as teorias de Moradi, Menkman e Briz. O tema é quase inédito e a motivação para sua realização nasce devido à insuficiente reflexão sobre este assunto atual no meio acadêmico brasileiro e da necessidade de investigação de sua estética. PALAVRAS-CHAVE estética; falha digital; erro digital; Glitch art.

The present paper is about one of the aesthetic developments of the current Digital Art-the Glitch Art. An artistic practice of subversion, also known as aesthetic of digital error, because it deals about doing things the wrong way, to reject the rules and correct ways to use hardware and / or software in the name of experimentation. According to the type of error, unintentional and unexpected and the other intentional and planned were identified two main classifications-Pure Glitch and Glitch-alike. The paper uses mainly the theories of Moradi, Menkman and Briz. The theme is almost unheard of and the motivation for your realization born due to insufficient reflection on this current subject in the Brazilian academic community and the need to investigate your aesthetics.

The article deals with the main theoretical works on glitch art and glitch aesthetics, allowing to make the complete representation of the current state of research of glitch phenomena and to identify relevant approaches to their study. Glitch art as a new movement in art explores the specific communication between human and machine leading to the emergence of unpredictable situations in the work of computer technology – failure (error) that generates a specific imaginative environment. The error interpreted by the artist as a glitch phenomenon reflects the essence of digital aesthetics, revealing the reality of the conditions of existence of digital and machine systems. Glitch art turn out to be an integral part of interpretive practices that criticize digital culture to promote the project of ideal image transmission. It opens up new opportunities to problematize the author's figure as an interpreter who break ideas about the norm, the ideal which allows us to consider the source unaesthetic material (error) as means of creativity. Such problematization of the author's figure different forms and types of existence of glitch were differentiated, as well as conceptual, social, ethical, aesthetic and artistic principles of glitch art with own set of means of artistic expression and with semiosis regimes.
В статье рассмотрены основные теоретические работы по глитч-арту и глитч-эстетике, позволяющие составить представление о современном состоянии глитч- исследований и выявить актуальные подходы к изучению. Глитч-арт как новое направление в искусстве исследует специфическую коммуникацию человека и машины, приводящую к появлению непредсказуемых ситуаций в стандартном функционировании техники – сбою, порождающему специфическую образную среду. Ошибка, проинтерпретированная как глитч-феномен, отражает суть цифровой эстетики, обнажающей реальность условий существования цифровых и машинных систем. Глитч-арт оказывается неотъемлемой частью интерпретационных практик, критикующих цифровую культуру, которая продвигает проект идеальной передачи образа, что открывает новые возможности проблематизировать фигуру автора как интерпретатора, размывающего представления о норме, идеале, что позволяет рассматривать исходно неэстетический материал (ошибку) как средство творчества. Такая проблематизация фигуры автора выявляет концептуальные, социальные, этические, эстетические и художественные принципы глитч-арта со своим набором средств художественной выразительности и со своими режимами семиозиса

Os campos da arte digital e do design visual vêm se transformando ao longo de nossa história e estas mudanças se mostram tanto no contexto técnico quanto no estético. Nesse sentido, é notória a frequente utilização de meios tecnológicos em produções artísticas e de design contemporâneas. A presença da tecnologia digital nestas produções permite o surgimento de novas formas expressivas. Assim, objetiva-se comparar as questões da arte digital Glitch e do design visual analisando-os num terreno onde as separações entre os dois campos do conhecimento se mostram em uma diluição de fronteiras e natureza híbrida típica da contemporaneidade, marcando profundamente a cultura visual de nossa época.

Este trabalho trata da Glitch Art e busca identificar quais são os procedimentos de criação mais praticados deste recente gênero artístico. Como referências teóricas utilizamos, principalmente, Fernandes (2010) e Gazana (2013, 2014, 2015). A Glitch é uma arte que subverte o uso projetado de dispositivos técnicos e de softwares e que se apropria da estética resultante desta subversão. Assim, para realizá-la os artistas utilizam alguns procedimentos artísticos bastante comuns a eles, conhecidos como Circuit-bending, Databending e Datamosh. O tema é quase inédito e a motivação para sua realização nasce devido à insuficiente reflexão sobre este assunto atual no meio acadêmico brasileiro.

Este artigo discute o surgimento e as principais características estéticas visuais da Glitch art, um dos desdobramentos estéticos da arte digital. Iniciamos com a definição do termo glitch e apresentação da Glitch art e suas duas classificações: Pure Glitch e Glitch-alike. Descrevemos suas características estéticas visuais, fragmentação, repetição, linearidade e complexidade, e mostramos artistas glitch que possuem propostas atuais no campo da arte digital visual e que utilizam a estética do erro em suas obras. Acreditamos, assim, ter apresentado um panorama teórico sobre a estética contemporânea visual do erro digital.
Palavras-chave: Erro digital; Estética do digital; Glitch art; Arte visual; Arte e tecnologia.

This work discusses the beginning and the main visual aesthetic characteristics of the Glitch art, one of the aesthetic outcomes of digital art. We begin with the glitch term definition, the Glitch art presentation and your two classifications: Pure Glitch and Glitch-alike. We describe their visual aesthetic characteristics, fragmentation, repetition, linearity and complexity, and show glitch artists with actual proposals in the field of visual digital art and that use the error aesthetic in their works. Thus, we believe we have presented a theoretical overview of  contemporary visual aesthetics of the digital error.
Keywords: Digital error; Digital aesthetic; Glitch art; Visual art; Art and Technology.

Este artigo discute a arte Glitch digital e suas relações com a arte visual do passado, com ênfase na arte moderna, com o intuito de entendermos o porquê e como este recente gênero artístico e sua estética são apreciados atualmente. Começamos definindo a Glitch Art e suas duas classificações mais difundidas: Pure glitch e Glitch-alike, assim como descrevemos suas características visuais e apresentamos artistas que utilizam a estética do erro. Seguimos para uma breve e relevante apresentação da Glitch Music e de alguns artistas no campo da arte sonora do ruído e do som danificado, a fim de constatar semelhanças entre as práticas sonoras e visuais. Avançamos na investigação das diversas características das artes do passado, em suas diferentes manifestações visuais, e suas relações com a arte Glitch, para assim entendermos que muito do que se aprecia hoje neste gênero artístico são elementos que já vem sendo considerados e debatidos como arte há séculos atrás.
Palavras-chave: Estética do erro. Glitch art. Arte visual. Arte e tecnologia. História da arte.

This paper is about the digital Glitch art and its relations with the visual art of the past, with an emphasis on modern art, with the aim to understand why and how this new artistic genre and its aesthetics are currently appreciated. We begin by setting the Glitch art and its two classifications most widespread: Pure glitch and Glitch-alike, as well as describe their visual characteristics and present artists who use the aesthetics of error. We proceeded to a brief and relevant presentation of Glitch music and some artists in the field of noise sound art and damaged sound, in order to determine similarities between sound and visual practices. We progress in the investigation of several features of the arts of the past, in their different visual manifestations, and its relations with the Glitch art, to understand that much of what we enjoy today in this artistic genre are elements already being considered and discussed as art there centuries ago.
Keywords: Aesthetic of error. Glitch art. Visual Art. Art and technology. Art history.

Este artigo discute a Glitch art, seu surgimento e suas principais características e qualidades estéticas visuais e sonoras. Iniciamos com a apresentação e definição da Glitch art e suas duas classificações: Pure Glitch e Glitch-alike. Descrevemos suas características visuais e mostramos artistas glitch que possuem propostas atuais no campo da arte digital visual e que utilizam a estética do erro em suas obras. Seguimos nosso estudo para as artes sonoras até a Glitch music, além de apresentar os artistas com propostas de vanguarda e de destaque no campo da arte sonora. Acreditamos, assim, ter apresentado um panorama teórico sobre a estética contemporânea visual e sonora do erro.
Palavras-chave: Ruído; Estética visual e sonora do erro; Glitch art; Arte e tecnologia.

This work proposes to discuss the Glitch art, their beginning and their key features and visual and sound aesthetic qualities. We begin with the presentation and definition of Glitch art and their two classifications: Pure Glitch and Glitch-alike. Describe their visual characteristics and show glitch artists that have actual proposals in the field of digital visual art and that use the aesthetics of error in their works. We continue our study for sound artists to Glitch music, besides presenting the artists with vanguard and prominent proposals in the field of sound art. We believe, therefore, have presented a theoretical overview about the contemporary visual and sound aesthetics of the error.
Keywords: Noise; Visual and noise aesthetics of error; Glitch art; Art and technology.

Lashev, L. & D. J. Dimitrova, 2008. Comparative allometric analysis of three isoxazolylpenicillins in four mammalian species. Bulg. J. Vet. Med., 11, No 4, 269−273. Comparative allometric analysis of selected pharmacokinetic parameters of cloxacillin, dicloxacillin and flucloxacillin in four animal species (cats, dogs, pigs and sheep) was performed. The correlations between the total body clearance (CL B ) and the volume of distribution (Vd area ) to the body weight of animals were established. They can be expressed by the equations: cloxacillin − CL B =5.68W 1.18 , Vd area =0.24W 1.56 ; dicloxacillin − CL B =17.95W 0.92 , Vd area =2.93W 0.62 ; and flucloxacillin − CL B =10.59W 0.97 , Vd area =1.52W 1.43 . No statistically significant correlation was found for the half-life values.