MAX CAPACITY
Press

The Glitch Moment(um) — Rosa Menkman

Year
2011

Max Capacity is cited on page 33 of Rosa Menkman's The Glitch Moment(um) (2011), the foundational theoretical text on glitch art. Menkman categorizes Max as a "signal processing artist" alongside Karl Klomp, Lovid, and Morgan Higby-Flowers — placing Max in the canonical list of artists who define the field.

The Glitch Moment(um) — Rosa Menkman

  • Publication: The Glitch Moment(um)
  • Author: Rosa Menkman
  • Publisher: Institute of Network Cultures, Amsterdam
  • Series: Network Notebooks #04
  • Date: October 2011
  • ISBN: 978-90-816021-6-7
  • Page: 33
  • License: Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
  • URL: http://www.networkcultures.org/networknotebooks

Summary

Max Capacity is named on page 33 of Rosa Menkman’s The Glitch Moment(um), in the chapter “A Phenomenology of Glitch Art,” section “The Predicaments of Defining Glitch Art.” Menkman categorizes Max as a signal processing artist alongside Karl Klomp, Lovid, and Morgan Higby-Flowers — distinguishing this category from “aesthetic glitch-tricksters” (Jon Satrom, jonCates), “fabric artist” (Melissa Baron), and “databend generative artists” (stAllio!, Pixelnoizz, Hellocatfood).

The Glitch Moment(um) is widely considered the foundational theoretical text of glitch art. Being named in this text places Max Capacity in the canonical list of artists who define the field, as categorized by its primary theorist. Published in 2011, this is contemporaneous recognition — Max was included while the movement was still being defined.

Cross-References

  • Rosa Menkman also exhibited alongside Max in Message (Not) Received at UT Dallas (Nov 2014)
  • Jon Satrom and jonCates, named in the same passage, connect to Max via GLI.TC-H BUMP 2010 and SPEED SHOW - while loop is true
  • Melissa Baron (spelled “Barron” in UTD Mercury) also named — exhibited alongside Max at UTD 2014

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