Gazana et al. — Glitch: estética contemporânea visual e sonora do erro

Revista Cultura Visual

Year: 2013
Publication: Revista Cultura Visual
Author: Cleber Gazana, Virginia Pereira Cegato Bertomeu, João Vicente Cegato Bertomeu

Peer-reviewed academic article in Revista Cultura Visual (EDUFBA, Brazil) citing Max Capacity with a full descriptive paragraph and reproduction of his work X1689-0000 as Figura 6. The second known academic citation after Menkman (2011), and more substantive — Max is the only artist in the article to receive both text description AND artwork reproduction.

Glitch: estética contemporânea visual e sonora do erro

Publication: Revista Cultura Visual, n. 19
Publisher: EDUFBA (Editora da Universidade Federal da Bahia), Salvador, Brazil
Authors: Cleber Gazana, Virginia Pereira Cegato Bertomeu, João Vicente Cegato Bertomeu
Date: July 2013
Pages: 81–99
Language: Brazilian Portuguese
Type: Academic / Journal Article
Submitted: June 3, 2013
Approved: June 30, 2013
Open Access: Yes

Summary

Peer-reviewed academic article surveying both visual and sonic dimensions of glitch art. Published by the Universidade Federal da Bahia press. The article covers glitch art theory (Iman Moradi’s Pure Glitch / Glitch-alike classification, Rosa Menkman, Kim Cascone) and profiles key visual glitch artists before transitioning to sonic glitch (Luigi Russolo, Yasunao Tone, Oval, Ryoji Ikeda, Alva Noto).

Max Capacity appears in Section 2 (visual glitch art) with a full descriptive paragraph on page 86 and his work X1689-0000 reproduced as Figura 6 — the only artist in the article to receive both a text description AND a figure. The paragraph describes Max as working with old videogames, malfunctioning VHS equipment, and circuit bending of electronics and toys.

This is the second known academic citation of Max Capacity, after Rosa Menkman’s The Glitch Moment(um) (2011). While Menkman names Max in a categorized list of practitioners, Gazana provides a more substantive treatment with full descriptive text and artwork reproduction. Both are peer-reviewed academic publications from the foundational period of glitch art scholarship (2011–2013). The article directly cites Menkman’s work, placing both citations within the same theoretical lineage.

Published July 2013 — the same year as PARALLAX ViξW (Venice Biennale), ITAF 2013 (Ars Electronica), and Kinetics of Image (PAF). Max’s peak exhibition year was also generating academic attention.

Max Capacity Citation (p. 86)

Original (Portuguese): “O americano Max Capacity utiliza a estética do erro trabalhando com a tecnologia e mídias defeituosas, como videogames antigos, aparelhos VHS com mau funcionamento, Circuit bending de eletrônicos e brinquedos, entre outros. Seu trabalho já apareceu em diversos eventos e publicações.”

Translation: “The American Max Capacity uses the aesthetics of error working with technology and defective media, such as old videogames, malfunctioning VHS equipment, circuit bending of electronics and toys, among others. His work has appeared in various events and publications.”

Works Mentioned

X1689-0000 — reproduced as Figura 6 on p. 86. Caption: “Figura 6 - Obra de Max Capacity chamada X1689-0000.” Max is the only artist with both a descriptive paragraph and artwork reproduction.

Other Artists Discussed

Nick Briz
Notendo
Pixelnoizz (Figura 5 — untitled video frame, 2011)
Rosa Menkman
Ant Scott (Figura 4 — Glitch #18-void*, 2002)
Benjamin Gaulon / Recyclism (Figura 3 — Sarkorrupt)

Cross-References

The Glitch Moment(um) - Rosa Menkman — the other known academic citation of Max Capacity (2011). The Gazana article directly cites Menkman’s theoretical framework.
Iman Moradi’s Glitch Aesthetics (2004) and Glitch: Designing Imperfection (2009) — cited extensively in both academic texts. Moradi was co-interviewed alongside Max in the Digimag/Monoskop interview (2011).