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I have a short write-up called "Postcinema, Motion Perception and Glitch Movies" on my work with glitches and their relationship to postcinema in issue 15 (their issue focusing on experimental film and video) of AM Journal of Art and Media Studies.
Betancourt, Michael. "Postcinema, Motion Perception and Glitch Movies." AM Journal of Art and Media Studies 15 (2018): 202208.
doi: 10.25038/am.v0i15.242
Assuming that the motion images displaced on screen are stable, discrete unitsboth the particular shots and the individual frames that form themis a constant, even axiomatic, belief about motion pictures; works that challenge these beliefs are postcinema. This seeming immobile foundation comes into doubt with the development of digital technology, especially in the possibilities for direct manipulation of the digital files in themselves in those protocols collectively labeled glitch that alter the encoded data of movie files to eliminate the differentiation between individual frames (for example, by datamoshing). These structural changes to the encoded data still offer the possibility for motion imagery, but do so in a way that opens up new potentials in a convergence of historical painterly techniques for rendering motion and those developed with kinematography in the nineteenth century.
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