Evening All,

Happy Fiscal New Year from the Nomad Error Logs! Here’s to achieving your KPIs, and may this Q1 be your best yet (somebodypleaseputmeoutofmymisery)

Let's kick things of with some ART (because what else would you be here for?)

It's not been a prolific month for making art, truth be told. 

I have over the last few months been making these cools skulls. 

The effect is a combination of the Decompose Paint tool I wrote about in Issue 15, but blended in with some corrupted NES games.

But, I've not just been making glitch art this month. I've also been encountering some real-life glitches, as though my very presence corrupts the data in your files. For heaven’s sake, don't let me touch anything important like your online tax return or your favourite tamagotchi.

That one was caused by my microwave corrupting a stream I was watching. No, seriously, I shit you not. My microwave belts out waves at a frequency of 2.45 GHz, which is the same frequency as the wi-fi band I was using. You might notice it if your microwave is located close to your Wi-Fi router. Sad state of affairs when your microwave chicken biryani makes better glitch art than you do.

Then a couple of days later I came across these cool glitches on the TV screens of a train in Tokyo, which I feel is a good visual representation of my brain during the rush-hour Tokyo commute.

Shoulda got a video but I didn't want anyone to think I was a pervert.

Moving quickly on, Glitch Cult Festival will be taking place in Zagreb from April 23 to April 26. If this is your first time hearing about it and you’re thinking “hmmm, tell me more”, here’s an explanation I stole directly from their website.

“Exhibitions, Workshops, Glitch Talks AND Live Concerts? That sounds quite exciting. Can you tell me more info?” Well, lucky for you I also stole a copy of their program (keep in mind all times are Central European Summer Time; UTC+02:00)

Also, I don’t know if you saw, but I just want to bring attention to this particular line again one more time:

Yes, I'll be giving a talk there too! Imagine that. I won't be there in person, but I’ll be joining online as a giant disembodied head on a TV screen.

I'll be talking about some of the reasons I started this newsletter, and a bit about the wider glitch community and platforms. And if you're lucky, I might even tell you the secret to irresistible, silky-smooth hair. 

Here’s the blurb:

If you'd like to join, the exhibition is being held in Zagreb. But you can also join online, if you'd like to be a smaller, more inferior disembodied head.

Talk will be held in barely comprehensible English

Keep an eye on their IG page for more details

To get us all in the mood for Glitch Cult Festival, I’ll be devoting a big chunk of this issue to some Glitch Cult delights. Channeling my inner Damien Hirst, for this issue I’ll be outsourcing most of the hard work to some of the exhibiting Glitch Cult artists.

First up, we have our very first Error Logs guest column; written by Glitch Cult member Mndywrld, about a topic close to my heart; glitch art and the glitch community (that’s you!), and I think this essay serves as a nice foreword to the exhibition.

Life is an asset by Mndywrld

Ten years ago, mixed media was an important element of my work. I wanted to surprise people. Experimenting with physical medium combinations, I wanted to find the boundaries of my creativity and push past them. The idea was to make the most exciting, unique and intriguing stuff I possibly could. I recall painting a large mural and adding collage elements to it with newspaper and magazine clippings; it filled me with so much joy but also was comically big. I couldn't transport it and I ended up giving it away to the first person that would take it. I wanted to create grand scale impactful pieces that were jarringly hopeful and fully expressed my spirit and this big creative energy in my chest. As I look back, I think I was trying to make glitch art all along.

All it took was downloading a free app called “Glitche” to hook me. I dove right into the deep end and explored every element of it that I could. Everything became an asset. Life was an asset. My focus quickly turned to capturing as much as I could. Nature videos, beautiful blue skies, a construction site. I experimented with photo layering collages. I played around with distortion and color effects on a video of a tractor. Glitch was helping me become a more complete artist. It combined all of the elements I had been working with into one medium. I downloaded more apps and started combining and layering effects across each one. Longer form videos set to music became my favorite means of expression very quickly. The community that this brought me, and the friendship kept me going through some really dark times. The love that I received showed me that what I was making mattered. 

I felt that it was important to share with you some of my own story because I want you to know what Glitch has done for me. Glitch gave me confidence in my own creativity, myself and my ideas. Glitch gave me the ability to reach back out into the world at a time where it felt like I shouldn't. Like I didn't deserve it. It continues to center me and feed my spirit. It continues to introduce me to wonderful people from all walks of life all over the world. Glitch art is truly for everyone. It is the medium that makes me feel the most connected to my own humanity. 

Every artist that you encounter at Glitch Cult has a unique story to tell. Despite our different journeys, locations, techniques, tools and experience levels we all share one thing in common. It is what I believe tethers everyone in this community to each other. We all had that moment where we realized Glitch Art was what we needed. What we had been searching for to unlock that part of ourselves we struggled to reach. I am immeasurably proud of everyone involved in this festival. I am so thankful to be a part of it. It is a privilege to welcome you. This is the culmination of so many beautiful people’s hard work and dedication. We’re excited to share our dreams with you. 

With Mndywrld’s stirring words echoing in my ears, I decided to hunt down some of the artists that will be giving workshops at the Festival to entice them into my big white van find out what glitch means to them. Read on to find out what happened when I shoved a microphone in front of their faces, and demanded that they answer my inane questions; all for your enjoyment.

First up is Andrea Chapo, an analog glitch artist who uses circuitbent equipment to corrupt tv signals and create cool-looking retro-futuristic glitches. His workshop is entitled Analog Glitch and will be held on Saturday 25th at 16:00.

T_N_\\\\\\\ What’s your philosophy when it comes to making glitch art, and how does your workflow or equipment support that?

♡A_C♡\\\\\\\  It's a kind of "mood" for me, I immediately think of my dark room, with the blinds down and the lights off, illuminated only by the TV on, with that annoying ultrasound that never stops (or at least my TVs do lol) and a lot of cables running around the room. My philosophy on this is definitely based on just having fun, but with as little as possible, so without necessarily needing expensive and complex equipment (which I don't actually have), I like it when things (and it goes beyond glitch art of course) are accessible to everyone and, in this world of video synths it is, Many people think you have to spend a lot of money on special equipment, but fortunately that's not the case. You can make do in many different ways, even with just a video camera and a TV, for example. Or with a little studying, you can even build video synths yourself!

I've never liked studying, so obviously I'm not a "technician," I've always preferred a more "freestyle/diy" approach, and since I like things to be for everyone, unable to truly disseminate my knowledge (s/o everyone who does tutorials lol), over the last two years I've decided to release almost every video of mine as "free to use" for everyone on the web!

T_N_\\\\\\\ What do you do with circuitbending that you would say transforms a regular analog-style glitch into something unmistakably in your style?

♡A_C♡\\\\\\\  I can't tell you exactly what/how it makes my style unmistakable (or if it is haha). As for analog effects, I always try to keep the original images "clean", in the sense that I usually like the idea of recognizing the original subject, whether it's the silhouette of a person, a tree, or a car for example (but I also like to create more "abstract" stuff every now and then). But I think the way I stand out best is with video editing, I've always enjoyed editing quite frenetically, although lately I've been trying to do something slower/static too.

T_N_\\\\\\\ What's your favourite artwork you've made using some of the devices you plan to use in your workshop, and what makes it stick with you?

♡A_C♡\\\\\\\ It's really difficult to choose hahah, but i think "you're still here" (2023), it just means a lot to me, it's dedicated to a special person and I still remember getting emotional while I was editing it. I've made it using the "Chroma Corruptor" videosynth (made by melt dream, "Melted Electronics" on Etsy) which i'll bring to the workshop!

T_N_\\\\\\\ You use a lot of hardware to make glitches. What's your holy grail - that one mythical piece of kit that you'd sell an internal organ for?

♡A_C♡\\\\\\\ Definitely the "Strange Loop MKII" (Feedback Video Synthesizer) and the "Video Breaker" (HD Analog Glitch Device), still both made by melt dream!

T_N_\\\\\\\ And finally, if you had to eat the hair of any fading 80s celebrity, who would you choose?

♡A_C♡\\\\\\\ Easy: BoJack Horseman! 😁

Big thanks to Andrea for the interview. The “you’re still here” visuals really are astonishing so definitely check the video above out.

The second artist on my hit-list is Glitchboy2000, a painter, sculptor and digital artist from Zagreb who blends paintings and sculptures with glitch. Their workshop is called Paint the Glitch and will be held on both April 23 and 24 at 15:00.

T_N_\\\\\\\ What's your philosophy when it comes to glitch art (whether it's technical, conceptual, aesthetic...al?)

GB2K\\\\\\\ My philosophy of “glitch art” is the beauty of chaos. Ever since I was a kid, I loved chaos; breaking things, going wild, that kind of classic childish energy. Now that I’m older, I still love it, but through a different medium - through art. To be honest, that very “shift/glitch/distortion” actually looks really aesthetically beautiful.

T_N_\\\\\\\ In what way does your medium lend itself well to making glitch art? Is there something that works better with physical works than with digital or analog glitching?

GB2K\\\\\\\ Honestly, my medium (mainly painting, since I mostly create glitch paintings) is quite far from “classic” digital glitching. I’m always aiming for a kind of perfect balance, and I usually know what I want to achieve. With digital glitch art, people often just go with “whatever happens, happens.” For me, I always have a general direction - I know where I’m going and what I want to see in the end. Also, it’s quite demanding to hit that kind of glitch abstraction by chance, without aiming toward a final result.

T_N_\\\\\\\ A lot of glitch art depends on breaking or corrupting the medium. Are there any elements of the glitch process/philosophy that shape your process of painting or sculpting?

GB2K\\\\\\\ Unlike digital glitching, I don’t rely on randomness - I guide the chaos and usually know what I want to achieve. For me, the glitch isn’t accidental, but something I intentionally build and control.

T_N_\\\\\\\ What glitch techniques inspire you? Which ones are the hardest to recreate with paint?

GB2K\\\\\\\ One of the most interesting glitch techniques to me is Datamosh. I like how everything breaks apart into tiny pixels and fragments of color - it looks extremely complex.

From a painting perspective, that makes it very demanding, because every small detail has to be carefully placed and constructed. That level of fragmentation is hard to recreate by hand. I haven’t explored it in my work yet, but it’s definitely something I’d like to experiment with in the future.

T_N_\\\\\\\ What's your favourite glitch artwork you've made, and what makes it stick with you?

GB2K\\\\\\\ One of my favorite glitch artworks I’ve made was a large lenticular-style piece I exhibited recently. I built a wooden structure that looked like harmonica [‘accordian’ for our native english speakers - T_N_] and painted two images; one “normal” and one glitched. Then I cut them into strips and arranged them across the structure. What makes this work special to me is the interaction. As the viewer moves from one side to the other, the image shifts and glitches between the two versions. In a way, the viewer becomes part of the process - they’re the ones activating the glitch. That connection really stays with me, because I’ve always been drawn to interactive art, where something has to happen and the artwork isn’t static.

T_N_\\\\\\\ Just one last thing. If you had to eat the hair of any fading 80s celebrity, who would you choose?

GB2K\\\\\\\ The one and only goat WHITNEY HOUSTON.

Well, there you have it. While I might disagree that Whitney’s star is fading, I thought that Glitchboy2000’s responses were very thoughtful, and I love their approach to applying a glitch philosophy to more traditional mediums.

Third up(!?) is Mystical Dither Wizard, Terrafold 🧙‍♂️

Using techniques such pixelization, dithering, and modulation, her retro computer art feels nostalgic, verging on the hyperreal; echoing a past that never truly existed, except in our imaginations.

Her workshop is entitled Pixel Perfection and will be held on April 24 at 17:15.

T_N_\\\\\\\ What's your philosophy when it comes to glitch art (whether it's technical, conceptual, aesthetic...al?)

TF\\\\\\\ My philosophy is rooted in process. I build effect stacks, test combinations, and treat glitch like a disruptor to create discomfort in the precise world of mathematical rules and patterns. It’s about exploring the tension between control and chaos, and seeing what emerges when order breaks down.

T_N_\\\\\\\ In what way does GIMP lend itself well to making glitch art?

TF\\\\\\\ I really enjoy the GMIC plugin for its wide range of effects. There’s so much room for experimentation, and it’s perfect for building simple but visually rich glitch stacks with subtle details. I like to experiment with Posterized Dithering for control, and JFIF Self-Bomb and Huffman Glitches for a more chaotic energy.

T_N_\\\\\\\ How do you transform glitch art into something unmistakably your style?

TF\\\\\\\ I create my style by building consistent systems behind the chaos using specific stacks, careful parametrization and structures I return to. The visuals can vary a lot, but the underlying logic stays recognizable. And when I’m feeling lazy, I tweak or add steps to my workflow to see if new methods reveal anything interesting.

T_N_\\\\\\\ What’s your favourite artwork you’ve made using GIMP, and what makes it stick with you?

TF\\\\\\\ ethereal tornadoposting, a four-piece set of glitched tornados from May 2025 was made in GIMP/GMIC, and that series was pretty much the seed idea to develop my process further into glitching dither patterns with pixel sorting. Since then, I’ve made several works with similarly easy but well-defined stacks within this style.

T_N_\\\\\\\ Your work leans into a lot of old-school computer techniques; dithering, pixelization, deliberate colour palettes. What’s your inspiration behind that?

TF\\\\\\\ It’s less about old-school aesthetics and more about constraint. Techniques like dithering or limited palettes force decisions on how to suggest detail, how to guide perception with minimal information. That pressure - combined with minimal compositions - creates more interesting results than unlimited freedom, and introduces a set of challenges in the editing process compared to traditional raster workflows.

T_N_\\\\\\\ Just one last thing. If you had to eat the hair of any fading 80s celebrity, who would you choose?

Unfortunately, just at that moment, Terrafold told me she had to leave urgently. Something about a crystal ball emergency. 🔮

Completely agreed about how useful G’MIC is (check out Error Logs #18 for a feature I did one some of the effects) and I’m sure she’ll go into a lot more detail about how to use some of those effects.

Fourtherly, is StylelessKnave, a glitch artist whose repertoire spans a wide spectrum of glitch, as well as being a big supporter of other artists in the community. Their workshop, Glitch on Mobile, will be held on April 25th at 18:15.

T_N_\\\\\\\ What's your philosophy when it comes to glitch art (whether it's technical, conceptual, aesthetic...al?)

SK\\\\\\\ Glitch art, big picture, should be two targets. Does it scratch the creative itch for the artist? And does it look cool? Everything I post, hits both lanes for me. They pull that want to be creative. And if I hit that creative block? If I come back to it to try again the next day, does it look good enough for me to want to stare at it for a few more hours while working on it? Are the colors striking? Does it give me that "Oh shit!" moment when I copy and paste jelly fish facts in a .HEIC edit via hex editors [shout out to Error Logs 6]? Or when I'm bouncing back and forth between OneLab, 8Bit Photo Lab, and Vaporgram for the edit, save, reedit, resave process and I finally get the colorful distortion that I'm looking for, there's a moment that hits and feels like "Damn, this is dope!" My philosophy is that if making glitch art, art in general, if it doesn't feel like that - whether the subject is somber, excited, angry, or happy - then it's not worth doing.

T_N_\\\\\\\ What does a good mobile glitch look like to you?

SK\\\\\\\ A good mobile glitch, has clear[ish] features/subject, and it looks complete. It should go beyond "picking a filter" and saying it's done. Granted sometimes the most simple glitch is the strongest, but going for the first modulation/oscillation filter and calling it a day? I think mobile apps should be used to their near fullest potential. Mix it with color swapping, then drop it in another mobile app for its dithering features, push and pull the scale, distort it with a third or fourth app for some pixel sorting. As long as it shows that it was worked, can I recognize [even delayed] what I'm looking at? Can I see it and think "Damn, there's no way we are using the same app."

T_N_\\\\\\\ What are some differences between glitching on mobile and on PC?

SK\\\\\\\ Glitching on mobile, I feel like it gives me something more streamlined and immediate at least for the tools I use. I consistently use OneLab, 8BitPhoto Lab, Glitc4ndroid, and Vaporgram on mobile. On PC, I'm running through Processing, Hex Editors, Notepad++ [thank you btw, shout out to Error Logs 4-8], MoshPro, and DitherBoy. All give me an amazing variety of glitch edits to work with, but when you want to edit something in the moment, or if I'm just feeling creative at work during some down time, you can't go wrong with a few apps on the phone to work with. On vacation, and know you want to edit on something, maybe even just ideas while your PC finally gets a well-deserved break from Photoshop or Resolume? Mobile apps are the scratch to that itch.

T_N_\\\\\\\ How do you think the glitch art scene has shifted since people started doing it on phones?

SK\\\\\\\ This is difficult, because I've been working from my phone since I stumbled on glitch art some time ago. Back then I was using Glitch4ndroid, SLMSK, I think I might have had 8Bit Photo Lab at the time a little later too. Coming back to glitch art in 2026 and these apps [minus SLMSK, but I think Glitcheapp just reintroduced it], has been fascinating for me to see. I think glitching on mobile CAN be behind the curve in the world of Touch Designer, After Effects, and the like - but if an artist can look past that, and utilize mobile glitching in the moment, then they can find a sweet spot that not many PC glitch artists can capitalize on. The hard part is patience, because even I will keep a photo and video on hold until I get home so I can use all my tools and toys. We're all riding our own horses.

T_N_\\\\\\\ What's your favourite artwork you've made using Onelab, and what makes it stick with you?

SK\\\\\\\ This flower piece from May '25 was and still is my favorite artwork I've made using OneLab, Top 10 overall. Sometimes things just hit at the right time, laying in bed, late in the night, trying to take your mind off things, and just running through OneLab with a photo of a flower that I took at a market earlier that week. Sometimes the glitch selection, saving, editing, and resaving doesn't hit. Sometimes I'm picking the effects and edits that don't go well with the source photo I've taken, and more often than not - I've taken a crappy photo. But something about this one just felt right in the middle of the night. All cylinders were firing, and the caption for it was more so me talking to me, and even a year later it still resonates for me. Colors, composition, and all of it, I think it's still great.

T_N_\\\\\\\ Finally, one thing I’ve been meaning to ask you for a while; if you had to eat the hair of any fading 80s celebrity, who would you choose?

SK\\\\\\\ The hair of an 80s celebrity for dinner, Cher, won't give context unless you believe in life after love. Or Lisa Bonet, because context, just look at her. For the balance of a triangle, Bill Murray, because no one would ever believe me. But there has to be some magical power in all three [Samson could never].

[Finally] want to give as much flowers, respect and admiration to Faded Code for putting this whole thing in motion and somehow keeping her sanity through out. She is an amazing and inspiring leader.

Ta very much. I’ve written before about how I think the Lab apps are a great gateway into glitch art, and the one quote that really resonated with me was “Damn, there's no way we are using the same app.” - I’m a sucker for people who can use those things in surprising ways.

And finally, we have an interview with AlienArms; Sonification Sorcerer and psychedelic animal spinner, AlienArms will be giving a workshop entitled Glitch in Audacity on April 23rd at 18:00, which focuses on glitching images and videos by converting the data into soundwaves and editing it in music editing software, Audacity. The audacity…

T_N_\\\\\\\ What's your philosophy when it comes to glitch art (whether it's technical, conceptual, aesthetic...al?)

👽\\\\\\\ This question stumped me for a bit, but I think it's because I don't really have a real answer besides: "I think it's cool"

I'm fascinated by how just changing arbitrary numbers/values within a video or image file can create such drastic and inspiring aesthetic effects.

T_N_\\\\\\\ In what way does Audacity lend itself well to making glitch art?

👽\\\\\\\ Audacity is great to me because it feels rather intuitive and it's a more visual and interactive way to mess around with data.

You can see elements of the image appear in the waveforms. For example, if you have an image with a black background and a subject on the foreground, it will show up as silence on either side of the subject within the waveform.

T_N_\\\\\\\ What do you do with Audacity that you would say transforms a regular Audacity glitch into something unmistakably your style?

👽\\\\\\\ I think my work is some of the only audacity video editing that I can find. I know other people have done it, but I don't know if anyone has been consistently using it as much as I have (I would love to be proved wrong!!!)

T_N_\\\\\\\ What's your favourite music effect to apply?

👽\\\\\\\ I love auto tune / pitch correction. The way it manipulates image data just feels right. I've tried several plug-ins and they all operate differently but also still achieve the same effect that I'm looking for. 'G-Snap' is probably my most used, but as of late I've been using 'mAutoPitch'. There's also one called 'PitchFix' that I've used, but it seems to be the least stable and also slowest to process the audio/image data.

T_N_\\\\\\\ And the one thing that all readers are dying to know. If you had to eat the hair of any fading 80s celebrity, who would you choose?

Sadly, before he could respond, a blinding blue light flash before our eyes, and AlienArms was beamed up into the sky.

Thanks for the interview. It’s been a while since I glitched something in Audacity, and I had no idea that you could also apply plugins (which I’ve never tried before) to images - I’ll definitely be checking that out some time. Personal fave is wah-wah.

Anyway, there you have it. I hope you enjoyed the hard-hitting questions that you’ve come to expect from this esteemed publication. Pulitzer in the bag. It’s time for me to drive my big white van off into the sunset. But before I go, I just want to say a big thank you to all the Glitch Cult artists for answering my big dumb questions, as well as Faded Code for helping coordinate this all.

Now that I did something nice for you, don't forget to join my talk on Sunday April 25th at 15:15 (as well as check out the rest of the exhibition). I’ll see you there!