Ultimately, popular conceptions of gender as binary and accordingly rigid to particular roles serve
as oppressive yet largely invisible and
unquestioned structures in contemporary society.

Just as glitch resists
ideal mediation, individuals of non-normative gender identities reject oppressive systems of expression and fight for visibility.

In this way, we can understand gli
tch as a sonic marker of both human and machine, rupture and unity, embodied and disembodied, digital and material.

“Literature and visual art are almost always concerned (at least in part) with the organization of sexuality, the construction of gender, the arousal and channeling of desire. So is music, except that music may perform these functions even more effectively than other media. Since few listeners know how to explain how it creates its effects, music gives the illusion of operating independently of cultural mediation. It is often received (and not only by the musical untutored) as a mysterious medium within which we seem to encounter our “own” most private feelings. Thus, music is able to contribute heavily (if surreptitiously) to the shaping of individual identities: along with other influential media such as film, music teaches us how to experience our own emotions, our own desires, and even (especially in dance) our own bodies. For better or for worse, it socializes us.” –McClary, Feminine Endings, 53.

Music is particularly suited as a lens through which to investigate the postmodern te
ndency towards material obscurity and th
e late-capitalist intent towards mystification.

In many ways, the lack of consideration of materiality in a digital realm mirrors that of the sonic re

Compared to visual art forms, such as cinematic, image-based, or sculptural arts, sound arts are oft
en popularly considered to be immaterial. For this reason, people often find trouble defining, describing, and intera

cting with music itself as it evades the common way we are trained to interact with visual subjects.This lack of rec
ognition for the materiality of music cau
ses abstraction which has led to a
similar fetishiza
tion of mus