{"id":1660,"date":"2007-07-27T00:00:21","date_gmt":"2007-07-27T07:00:21","guid":{"rendered":"http:\/\/josephaleo.com\/blog\/?p=1660"},"modified":"2018-10-01T19:54:15","modified_gmt":"2018-10-02T02:54:15","slug":"solipsistic-nation-no-48-twitch","status":"publish","type":"post","link":"http:\/\/josephaleo.com\/blog\/solipsistic-nation-no-48-twitch\/","title":{"rendered":"solipsistic NATION No. 48: Twitch"},"content":{"rendered":"

This week on solipsistic NATION<\/b> we\u2019re going to dig into the genre of Glitch<\/a>.<\/p>\n

It\u2019s generally accepted that Oval<\/a>\u2018s Wohnton<\/i>, produced back in 1993, was the first proper Glitch album. Since then, Glitch quickly spread around the world as artists such as Autechre<\/a>, Aphex Twin<\/a>, and Yasunao Tone<\/a> who used damaged CDs in his Techno Eden<\/i> performance in 1985 followed suit.<\/p>\n

While Glitch adheres to logic, patterning, and order it can be at the same time either raw or delicate or, sometimes, both. We\u2019re going to explore both the raw and delicate aspects of Glitch on today\u2019s show.<\/p>\n

Photo credit: Yasemin Sabuncu<\/a><\/i><\/p>\n