The frame is divided into a 3×3 grid that persists throughout the piece, each cell hosting a distinct visual loop. This “window‑boxing” recalls the early Mosaic web aesthetic and serves as a visual metaphor for fragmented identity. The central cell often displays a low‑resolution 3D avatar (named “Lilu”) rendered in Blender with a deliberately corrupted OBJ file, resulting in visible “missing faces”.
L046 demonstrates how formal experimentation can serve conceptual concerns. The intentional synchronization of visual corruption with audio peaks creates a synesthetic feedback loop that forces viewers to experience glitch both sonically and visually, embodying the concept of “embodied dissonance” (Jenkins 2019). lilu 046 hebeartist mp4
The work aligns with the glitch art lineage (Pennebaker 2020) but pushes the practice forward by integrating real‑time audio‑driven corruption. This reflects a broader trend within net‑art toward performative glitch—the use of glitches as intentional expressive gestures rather than accidental errors. The frame is divided into a 3×3 grid