Michael Betancourt has screened internationally in the Black Maria Film Festival, Contemporary Art Ruhr, Festival des Cinemas Differents de Paris, Millennium Film Workshop, and Experiments in Cinema among others. He wrote The ____________ Manifesto, has published in The Atlantic, Millennium Film Journal, Leonardo, and CTheory; his writing has been translated into Chinese, French, German, Greek, Italian, Japanese, Persian, Portuguese, and Spanish, published in than twenty-one books, including The Critique of Digital Capitalism, The History of Motion Graphics, Glitch Art in Theory and Practce, and Beyond Spatial Montage: Windowing.

Institute for Electronic Arts Residency!

story © Michael Betancourt | published April 3, 2024 | permalink |  |  

The Institute for Electronic Arts is a high technology research studio facility within the School of Art and Design, NYSCC, Alfred University, New York. The IEA encourages and supports projects that involve interactive multi-media systems, experimental sonic/video production, digital imaging, and publications. The IEA is committed to developing cultural interactions spurred by technological experimentation and artistic investigations.

The IEA is supported by the National Endowment for the Arts, The New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, the Schein-Joseph Endowment and the Ralph C. Wilson, Jr Foundation.

story © Michael Betancourt | published September 8, 2022 | permalink |  |  

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

story © Michael Betancourt | published September 2, 2022 | permalink |  |  

On September 3, 4, and 5, 2022 Glitch Art is Dead will be showing both my installation/movie Instaglitches (2021) and selected images from the Instaglitch Project. There is a a portfolio of these static images available here.

story © Michael Betancourt | published July 12, 2022 | permalink |  |  

The new issue of Utsanga.it includes four of my typoems!

story © Michael Betancourt | published May 13, 2022 | permalink |  |  

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 Müller, 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.’