Abstract
This paper locates glitch art as a critical and creative mode of protest against sexual surveillance. With reference to my art project Queer-Alt-Delete, and by drawing on the affirmative philosophies of Rosi Braidotti and Gilles Deleuze, I argue that glitch art interlaces algorithmic uncertainty with subjectivity in ways that facilitate an experimentation with new political becomings. I question the characterization of biometrics as a foreboding and impenetrable cloud of networked computational control and suggest that glitch art has the capacity to expose and exploit the inherent vulnerabilities and fallibility of recognition technologies. Making a case for a consideration of the virtual dimensions of protest, I emphasize the unexpected and indeterminate potentials of glitch art to corrupt binary cis-tems of surveillance.
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