 translation. Welcome to the talk about operational glitches with Christian Heck. Please applaud. Thanks. This talk is a lecture. I will try to associate things. Something that I wrote in the last three years to share it with you. It's halfway between natural languages and code from the code I will only say and we show six minutes. I tried to write the text for people in the West, in the industrialized world. I only have information to which you also have access. For me, I wanted you to be conscious what kind of what it does to the world when the world is machine-readable. So I didn't do it alone. Thank you for Nick Priest and Volker Munho for the code. Thank you to Volker Knopp who really helped me a lot for the text. Let's have a look at the next sample of the code. Five minutes film. Biometry. Metadata. Identification. Metadata. We have improvised number. Glitch. Stair. Surveillance. Kill. List. Rocket. Kill. Dead. Jesus. Work. Or factory. Death. Glitches. Stair. Gorgon. Prism. Apple. Worker. Effective. Human. They say operational glitches, but it's based on the assumption that the computer technology is based on the world. The technology is there to allow the control and develop and be developed. Or for the effective elimination of abnormality. What we see in the mainstream media is a civilian scandal and it's a follow-up as other things designed. Glitch. We can use it as art to irritate. We can try to put some stones in the runner's shoes. Glitches. What is a glitch? As most of you know, there are more than one way to see what you look at. You can see it. You can look at it. You can hear it. Here you have four different examples. Binary, ASCII or the usual image. Glitch artists just put images in the text. This is the simplest way to do glitch art. You just open an executor and you change one letter or a letter. A letter offer number. They don't actually work on the image. We look at the image in code or we hack the codex to change the way the image will be worked on. There are different interpretations of a glitch. In my work I've used the way of the interpretation of Martin Heidegger. Most of my work is based on it. I want to read some from you. This is from a talk from 1935. It's a shoe in shoes. It can use it. It can only get the knowledge of if it's wearing shoes when they're uncomfortable. This is how you know that you're wearing shoes. This is the moment when you actually consider having them. They are not as such an encod in our world. A glitch in an encoder or an image is like the Sony the shoe. Something which helps me to see and understand that there is something that the world wants to show me. The world is screaming at me. I see the world through different eyes. I see it through machine eyes. This machine is between me and the world. There is a media between us. This is an extraction of time and space. A simplification of machine readability. If something happens in there, when anything, something goes in the black box and somehow comes out. An attraction of a movement because this is the only way to see. This is also the only way for the man to see through a machine. This media changes the world as space because I cannot be catapulted out of that. A change has taken place. Usually under technical images we understand, as Obena explained, an image of something we can call it situation, world or image or movement or time or life and during the reception of this image. Am I the world? Am I movement? Am I life? I am. I am limb. This is life, which is an abstracted life, which tries to experience. I'm talking about an abstract phenomenon, not only something that you can actually consider, but the actual consideration. Next question is, what's one and how do we get these images, these technical images? In my message, I went from phenomenon to which I called cottage. That's what I called the era, because when you read the cottage, I'm not in the position of someone which is outside, someone who only gets passively, passively gets the information. I am inside. I am moving inside. I am moving with its time, the time of the technical image. But as long as I am moving inside of its, in its space, in its time, this is a time where I can see in this moment, this, I cannot, I cannot ask anything about it. I'm not, I cannot ask what I am looking at. It's just there. To come back to Heidegger, just like the shoe is, you can only get it in your world if, when it starts to press your foot. So, so wearing a shoe is not, I don't consider having a shoe when I'm wearing a shoe which is comfortable. So the glitch art in this context is a possibility to, of, of considering something which, which puts me away to the world, even though I am thinking about seeing the world and at the same time I am the world. Glitch art is a possibility to, for a, for a artistic consideration of the, the thing world. This is Kunstwerkist, artist, Zeus, Kunstwerkzeug. I'm not talking about, I'm not working because I know it as error and the, I cannot look at it through the machines. I, I see it as errors. I am talking about errors you cannot see. It tries to create aesthetic, to create aesthetic errors through working, showing me what is there. But which is, which I don't consider right now. There is no time for it. I need time to be that my world is being shown as it is or not. It's through a machine, a, a knowledge of the errors in the, in working with the image, in generating the image, in the story of people through, in the history of people through indexation of its, of their metadata. This extraction of space from, if I spoke before, because of doing, making people machine readable or, or when I talk with them with devices, this, this placement, it's, it goes with the time. And this time it is, it is designed as a real time. But that's wrong. This real time is, is actually an abstraction of time because something that I actually get through the image or through a machine in, I can only get that in with, by not considering the time, the duration in, I abstract it to a many mechanical time. We should maybe read out these things with the text, but we can't in that short time, sorry. A real time, I can talk to my girlfriend in South Korea. I can talk, have a Skype conference with my work colleague. I, in real time, as John pilot in Nevada sees his future victims in Pakistan. If Ramstein couldn't guarantee the image transfer via real time anymore, the real, real time would be done. And that's why I said that time could be, could save lives. Okay, thanks.