The Aesthetics of Retrieval
Beautiful Data, Glitch Art and Popular Culture
Bibliographic Data
| ID | 3777703 |
|---|---|
| Authors | Debra Benita Shaw (0000-0002-6283-6036, University of East London, corresponding author) |
| Year | 2020 |
| Volume | 1 |
| Issue | 1 |
| Publication date | 2020-10-29 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Anthropocenes – Human Inhuman Posthuman (JOURNAL) |
| Journal identifiers | ISSN: 2633-4321 • E-ISSN: 2633-4321 |
| Publisher | University of Westminster Press (PUBLISHER • GB) |
| DOI | 10.16997/ahip.15 |
| OpenAlex | W3095193694 |
| Language | EN |
| Citations received | 4 |
| References cited | 9 |
At a time when the meaning of democracy is challenged by the power of algorithms and the politics of misinformation what has become apparent is that the valorisation of data is the defining characteristic of contemporary digital capitalism. In the marketing of 'Big Data' different forms of visualisation (dataviz) are employed to support the claim that a series of perfect signals can be abstracted from the background noise of the world's incessant uploading of information. At the same time, 'glitch' artists and musicians have developed techniques which deliberately disrupt digital signals, randomly re-assorting ordered sequences to privilege noise over signal and aestheticize error.This paper will examine glitch as an artform which deconstructs the aesthetics of dataviz at the same time as it exposes what must remain hidden for it to retain value. It will propose a critical technique through which glitch artefacts in popular culture can be employed to explore the oppositional politics of posthuman subjects
Aesthetics · Art · Glitch · Literature · Popular culture · Computer Science · Museums and Cultural Heritage
| Unique citing works | 4 |
|---|---|
| Citations per year | 0,8 |
| Citation span | 2021 - 2025 (5) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 4 |