ID.DI scritti – pittorici: esercizio di traduzione.

by Giovanni Passariello and Federica Terracina

Keyword: translation, autore, write, paainting, tutorial, exercise, glitch, text, code, texture.

We choose some themes: “Ibidem”, “Ouverture”, “Direction”… explored our universe. The translation takes the space in another place: in the source code of the image.

Can possibly translation slip out of representation?

Here there are some exercises: open the image file via a text editor,
observe the code, modify it with the written texts

Each attempt generates more solutions.

“Solo quando il buio si dispiega”


To create a glitch you must know two essential things: what is it and how to make it.
The word glitch is typical in the electrotechnical field, and we use it to describe an unpredictable shifting, a peaky billowy slippage.
Every image you see on your computer are scripts. Behind each photo taken by the internet, or uploaded on your devices, there is a coded text. Each code digit – letter, number or sign  decrypts a piece of information that builds the unique structure of an accurate translation to image. Using some applications you can create and replicate different peaks, shiftings – which are interpretational mistakes according to the computer system – and interact with the picture according to her format: jpeg, png, tif e bitmap. To start and penetrate the practical side of this kind of script, you just have to transform your file: photo, painting, drawing, and open it in txt. When you open it, you will observe that the actual image will  be replaced by a long sequence of numbers, letters, signs, punctuations, spaced out by spatials and paragraphs.

To perform a glitch you have to operate on the text, to “engrave” between the signs.

Also only one little alteration conducted, in defined and sequenced space, can give us as a graphic effect a trail of glitch, well represented in the main image.

However it’s crucial to know that, when you open your image in txt, you will note a long window of information: approximately ten word pages, just to get an idea.

This is the first thing to know, before to move in it: your alteration will have to face many and many trials, within which you will find the different sensitivity of action, in which you absolutely have to prevent two privileged parts.
The lead and the end represent the beginning and the ending of each cyber text, their existence uncovers crucial information; for example, the label of the camera used to shoot.
N.B. Without these codes, even if they are a short sequence of signs, the image will be compromised.
Both lead and tail are easily detectable, because they are divided from the corpus, the main part, in which you’ll have an almost total freedom to play. In that magical world you can space out, cut, replace, add on whatever you want, hoping that on your work, when you’ll close your file and you’ll open again in the first version (jpeg, png, tif, o bitmap) the glitch appears.
In the main part too, there are signs, which we call control codes, that could compromise the correct final result of the script, if we touch, delete or space out them.
Therefore you have to try and try again, to understand where the codes are sensible to our interaction, and after we have to decide how to make a glitch “effect”.

Ouverture: text




Our examples are a part of an artistic work, developed by a writer and a painter.


We worked using Mac for obvious reasons related to the service and the application that Mac operative system can offer us.
After we digitized the 8 paintings, we saved them in different formats: jpeg, bitmap, png.
Talking about texts, we decided to keep them in the txt. format, paying attention to the “apostrophe”, which is a character that, in every digital code irreversibly undermines the image.
Another time, we decided to transform the six texts in a binary code. Once rendered, we translated them in the cyber code and we have observed the transformation of the image under different glitch shiftings.
Any other alphabetical text you want typing cannot be written as a whole, but we have to resize it according to the primary sensitivity of the area in which you are operating: your engraving has to consider this point as the primary point.
A Bitmap file has a larger extension than jpeg, and keeping in mind this difference, let’s go see together the different results wherewith we start a new chapter of the artistic process, to answer the main question, shaped by our artistic work.
Our goal  was to find a place where we could bring together, share and express two different ways of arti-making: writing and painting.
Addicted to “authoritative” play: painting and synopsis/textual testimony, we left these works to integrate themselves and interact in a new space and a new creative language – third, neutral: the crypto coding.
There are many ways to start, we would offer you the possibility to follow our creative process, composed by different trials, realised by following different App -under payment or opensource available.

At the cost of only one euro, you can work using ImageGlitch, an App which gives you the possibility to see contemporary your engraving effect and the sequence elimination, among crypto text codes.
In our situation we immediately observed that the paintings we chose for our artistic work revealed a low sensitivity to our action, especially if the image had been saved in jpeg.
In case of bitmap instead, we noticed that with the file opened using the app, after one single engraving, we obtained a different graphic shifting and sometimes more effective to our object.

Regarding the opensource way, free and available everywhere: we utilised the hexadecimal.
In this specific context, you act on the text on your right side, cause on the left there is the untouchable hexadecimal. On the right we have a code sequence similar to the one that we have already seen in ImageGlitch, but the image is not in view. You work without seeing it. We recommend operating on the text, saving all and opening the image, observing what happened. 

The difference between Imageglitch and hexadecimal is that once we have re-opened the bitmap film in hex, we can find the modifications – added, deleted, new words – using Finder: so, this means that the print remains not only in the glitch we can see on the image, as it happens using Imageglitch, but also inside the crypto text.
In the sign sequence we can track down and modify again what we wrote or only modified.
On Image-glitch this possibility doesn’t exist: if we would to open a second time the jpeg or bitmap file we saved, through the app, we cannot find any trace of our process: the code picks up every single modification and it rewrite it according to the image decoding app.

Ibidem ID:DI scritti-pittorici:esercizi di traduzione

L’esplorazione è attiva!

This project has multiple forms of destination.
It doesn’t imagine or narrate any ending.
It wants to look for the real principle that concerns every form: the principle dynamic, and not its visible appearances. The authors have decided to remove that appearance or authorial property to practice. More than ever today, sharing is essential for weave new artistic and narrative movements in unexplored, but existing spaces.

Suggestion, an inspired thought:

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