The ability to place this project in conversation within much larger scope of previous scholarship and various other material was another major consideration in situating this project within a digital space. Considering the vastness of the history of electronic music, queer studies, and work concerning evolving technology, this project demands hypertextuality, as well as hyperlinks.
Glitch lies at numerous matrices of power and identity. As I cannot expect to be able to fully communicate about the experiences of various marginalized communities in which I am not a part, nor do I desire to do so, I have also intended for this platform to direct attention to those who have personal authority to speak on the realities of BIPOC and differently abled individuals in particular.
Critics of Donna Haraway find fault with her broad perspective, arguing her work lacks the salience of a more concentrated ideological approach.
While I don’t take myself seriously comparing this project to Haraway’s invaluable contributions, I hope to preempt similar critiques to my own work. I very well may have sacrificed strength in favor of scope when it comes to my arguments; however, an orientation towards praxis and engaging popular interest has felt like my duty in examining the radical potential of glitch, a set of aesthetic practices I believe can transform the lives of those marginalized by the obscurity of oppressive structures.
As Doris Leibetseder and Rebecca Carbery have noted with regards to Harway’s critics, “versatility and lightness is advantageous to the feminist political battle and speeds up the process of getting closer to feminist goals.”
If I have anything to contribute to the queer or cyber feminist political battle, I prefer it to be a form both broadly relevant and widely accessible, such is this site’s intent. In the case that this scope disturbs, confuses, or otherwise upsets your conception of a traditional academic project, boo! This is exactly the function of glitch.