CONTENTS

 
   about
   MICHAEL BETANCOURT NEWS
   movies: AESTHETICS
   movies: NEWS & REVIEWS
   movies: SHOWS & SCREENINGS
   random art notes
   random how-tos
   research: AVANT-GARDE MOVIES
   research: MOTION GRAPHICS
   research: VISUAL MUSIC
   theory: CRITICAL OBSERVATIONS
   theory: DIGITAL CAPITALISM
   theory: GLITCH & POSTDIGITAL
   theory: working notes

 

PORTFOLIO

 
Movies by Michael Betancourt

 michaelbetancourt.com
 Art of Light Organization
 Going Somewhere
 exhibitions [pdf]
 updates
 books
 contact
 purchase artworks

 
  Video Art listserv
 




 

SEARCH ARCHIVES

archives begin in 1996

  
 
avant-garde movies, motion graphics, and theory
 
by Michael Betancourt
 

This site presents extracts from Michael Betancourt's current research and writing projects, with news about current developments. A portfolio of finished, published writing is available here.

His trilogy of studies on film theory using title sequences as a model uniting avant-garde, documentary and commercial motion pictures were published in the Routledge Studies in Media Theory and Practice series: Semiotics and Title Sequences, Synchronization and Title Sequences, and Title Sequences as Paratexts.

If you are looking for more on agnotology, digital capitalism, or automated/immaterial labor and AI, look at The Digital, which presents links to his most recently published articles and other research on the political economy of digital capitalism contained in his books The Critique of Digital Capitalism and Force Magnifier. This analysis identifies how digital technology has captured contemporary society in a reification of capitalist priorities that includes the shift to automation and AI. The theory proposed in this book is the description of how digital capitalism as an ideologically invisible framework is realized in technology.

You can watch his movies here.

More articles, reviews, interviews, and translations are posted on MichaelBetancourt.com


 


Digital Graffiti 2022 - Best of Show - Alys Beach, FL

story © Michael Betancourt | published May 13, 2022 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



MICHAEL BETANCOURT NEWS

I am honored to have my work chosen as Best of Show at Digital Graffiti 2022. This was a great show with so much wonderful work, I am really happy to have been a part of it!





The show was in Alys Beach, FL from May 13 to May 14.

DG2022 was curated by John Colette and included work by Adriana Moya, Alex Campbell, Andy McKeown, August Bach, Bettina Mller, Border Williams, Carlos Vargas, Chandler Williams, Chris Cameron and Christina Georgieva, David Bennett, Eddie Lohmeyer, Eric Homan, Fumie Matters, Irene Mamiye, Isabel Clavo, Jeremy Newman, Jonah Allen, Kate Balsley, Katie Rolph and lo Ermoli, Katina Bitsicas, Keaton Fox and Renee Silva, Linda Loh, Luke Hildreth, Maria Fernandez, Michael Burton, and Michael Betancourt. Along with pieces by the Artists in Residence: mammasONica Peter Clark and Cody Samson Shmody.






 
Typoetry folio/book from nOIR:Z

story © Michael Betancourt | published March 5, 2022 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



MICHAEL BETANCOURT NEWS

A limited edition filio/book of my typoems, Thoughts Without Words is now available from the Candaian publisher nOIR:Z.






 
observations on my process

story © Michael Betancourt | published February 25, 2022 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



movies: AESTHETICS

I make Glitch Art; my work pioneered this engagement with digital computers in the 1990s before it even had a name. The role of autonomous and automated systems in my work makes the question of my process something that can be difficult to articulate clearly. The way I understand these generative images as simply another category or type of footage, one that is abstracted, but is neither necessarily critical nor essentially broken shapes how I use it as both a formal model to emulate with the non-glitched, and as an abstracting protocol to employ against the photographic realism that might otherwise emerge in my movies. Those intentional factors constrain the glitched materials so they become cues for their audience that what they see is not merely a malfunction, but is consciously shaped and chosen. The glitch is a pervasive, even dominant, contemporary sensibility for all the ruptures, aberrations, transformations that technical processes createbecoming manifestations of our interactions with the world.




read more



 
Glitch Movies by Michael Betancourt on Blu-Ray

story © Michael Betancourt | published January 13, 2022 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



MICHAEL BETANCOURT NEWS

Michael Betancourt is a Glitch Art pioneer who began manipulating digital errors in 1990. This US$20.00 collection surveys his HD movies.

These movies have shown in film festivals, art fairs, and galleries internationally, influencing the use of glitches in popular culture (such as in the title sequence to Amazon's sci-fi program The Expanse).

You can get the collection here:
https://www.michaelbetancourt.com/available/michael-betancourt-blueray.html




read more



 
E-Book Versions for Online Classes

story © Michael Betancourt | published December 31, 2021 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



MICHAEL BETANCOURT NEWS

One of the problems with teaching during the pandemic is the accessibility of textbooks. Here are links to ebook versions of some of my books for anyone who needs them:

The History of Motion Graphics

A Short Guide to Writing About Motion Graphics

Force Magnifier: The Cultural Impacts of Artificial Intelligence

Glitch Art in Theory and Practice: Critical Failures and Post-Digital Aesthetics

Semiotics and Title Sequences: Text-Image Composites in Motion Graphics

Title Sequences as Paratexts: Narrative Anticipation and Recapitulation

Synchronization and Title Sequences: Audio-Visual Semiosis in Motion Graphics

Typography and Motion Graphics: The 'Reading-Image'

Ideologies of the Real in Title Sequences, Motion Graphics and Cinema

Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space

The Critique of Digital Capitalism