“Cybergunk 2077” is a series of game photographs capturing the glitches found in a Day 1 release of “Cyberpunk 2077” played on an NVIDIA GTX1080 GPU. Glitches in this series were all “farmed in the wild,” meaning that no outside processes were used to induce the glitches, they were all part of the Day 1 source code, and captured using screen recorders or the game’s photo mode.
“Ecco the Dolphin: Extinction (Vol. 03)” and “There are Things You Can’t Out Run” are a series of glitched game performances presented as looping animated GIFs. Emulated ROMs from two classic Sega Genesis games, “Ecco: The Tides of Time” and “Out Run” were taken and glitched using a byte-replacing databending script. Glitched ROMs were played and recorded to create alternate narratives from these classic games.
“The Offshore Firm” tells the story of a shadowy wealth management firm that facilitates the free circulation of capital in a world of globalized finance. The series is composed of metarealistic game photography depicting hypercorporate, antisocial, and sometimes liminal virtual environments. This photographed scene was created using “The Life Stage: Virtual House,” a building design simulator released in 1993 for the 3DO console. Although the game has fallen into obscurity, it was notably ahead of its time for its use of photographic gameplay elements within an immersive 3D virtual space.
Sabato Visconti is a Brazilian new media artist and photographer based in Western Massachusetts whose work centers around glitch and post-photography. Since 2011, Sabato has sought to interrogate imaging practices that have become absorbed by digital processes, hybridized media, online networks, and machine intelligence through works that portray subjects entangled in systems often designed to fail or malfunction.
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