In an attempt to discern how to disrupt a digital broadcast signal that carries encoded information live and in real-time, we turned our attention to datamoshing artists intervening into the code of digital video. It is important to keep in mind here that, as opposed to the analog processing of signals in real time where shape and pattern of video are altered by frequency and voltage, digital processes require coding and commands in the computer through mathematical functions. (507) Given the complexity of the digital broadcast transmission, and the extra layers of code and data simultaneously transmitted and received, we kept Yvonne Spielmann’s warning at the forefront as we began our research: Once the digital broadcast signal arrives at its destination, the receiving television set cannot obtain the data directly a television tuner must first decode the broadcast signal via a circuit board and onboard software. For instance, digital broadcast television, or DTV, images are compressed, encoded, and multiplexed, with multiple compressed channels of programming travelling within a single frequency range. The digital video signal carries more complex data than its analog counterpart. In his assessment of the flexibility of the electronic image, Vasulka is, of course, talking about the analog video signal. Responsive Aesthetics: Remediating Digital-to-Analog Television Converters as Artist Tools. The final result was the creation of a responsive datamoshing tool for use in exhibition or performance, both on its own or in combination with other systems (i.e., software, apps, image processing machines).Įric Souther, Laura McGough, Jason Bernagozzi. Inspired by a specific visual or aesthetic result, we would reflect on how this result was achieved technically and then experiment with other methods that might offer further enhancement. We approached this process as artists, rather than technologists. Our goal was to create a responsive datamoshing system that would not only modulate and distort the incoming broadcast image, but also provide artists with a level of control over these variations. We define datamoshing as an exploitation and interruption of the algorithms that comprise high quality digital streaming video, resulting in the visual distortion and alteration of the image. “Responsive Aesthetics: Remediating Digital-to-Analog Television Converters as Artist Tools” documents the research process undertaken to explore the reanimation of a digital-to-analog television converter box as an artistic tool for intervention with the digital broadcast image through real-time datamoshing.
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