There’s something about nostalgic, retro games, being corrupted that creates a certain aesthetic. The video I will reference with this journal is for comedy as the man commentating over his own corruptions laughs uncontrollably. Though I agree it’s comical in nature when the game’s audio inclemently speeds up or the opening son’s sounds are switches with some of SFX. There’s a genuine beauty in its aesthetics because of its off rhythm composition. The arrangements may resemble the original Rare tune or the opening scene of Donkey Kong Country but it’s also disconnected from it.
Through the reading I find that much of the consensus found by Pedro Ferreira and Luis Ribas to be hyper focused on the avant garde auteur. The use of glitches as an art form is an amazing tool that has been used to create provocative pieces of art there’s no doubt about it. Regardless of that I think it’s inappropriate to gate keep glitches as an exclusive art form as they stated in this quote “This trivialization of glitch effects as mere appearance neu-tralizes the role of glitch” [115]. The reference video I have is jovial, immature, and without real purpose but entertainment value but I’d argue that’s where much of the fascination of glitches began. To gate keep glitch to the art scene is bit absurd.
Source
“Post-Digital Aesthetics in Contemporary Audiovisual Art.” Pedro Ferreira & Pedro Ferreira, 2019, pp. 112–24, 2020.xcoax.org/pdf/xCoAx2020-Ferreira.pdf.
Vincent “Vinny”, director. [Vinesauce] Vinny — Donkey Kong Country Corruptions, 23 Feb. 2021, youtu.be/W545DP8CmWQ.
“Real-Time Corruptor — Vangaurd.” Https://Redscientist.com/Rtc, 16 Feb. 2021, corruptedbytes.com/the-vinesauce-rom-corruptor/.
