According to Visconti, the entire glitching process is more of a philosophy than an aesthetic, since it’s all about ‘‘artists developing their own forms of production with whatever unorthodox tools they have in hand’’ — an approach that certainly shares an ethos with other marginal art practices such as street art. Ironically, the dirty and saturated style of much glitch- and street-art comes about from how artists relate to the public space: ‘‘Graffiti culture grew in opposition to the saturation of advertisements in public spaces,’’ claims Visconti, ‘‘much like glitch art has grown in opposition to the saturation of digital media in our everyday lives.’’ It therefore comes as no surprise that Visconti has used street photography as the prime matter for his ‘City of Vapors’ series, a body of work that is also a tribute to Miami, the city where the artist grew up. For more images and available art prints, you can visit Sabato Visconti’s website.