Abstract
The article discusses the recent phenomenon of postdigital aesthetics, with a focus on postdigital artists’ preference for destructive actions, and their use imperfection, distortion and errors. It analyzes glitch art creators, using the theoretical tools proposed by Rosa Menkman and Michael Betancourt. It addresses the possible reasons for a return to analogue in the postdigital age and for a critical use of glitch in contemporary art. The art of glitch perhaps best epitomizes our postdigital condition and shows a discontinuous experience of reality.
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