“Glitches come as a tactical revolt of the material against its organisation. To the extent that it is a refusal of the maker’s intent, it is at once a material event and a moment in which authorship is in question. A film, or indeed any communication, typically establishes its source as in some way human, whether imaginary, fictional, or determinate, and whether posed as equal, as dependent, or as authoritative. The glitch indicates an other subject in the medium, a ghost in the machine, an inhuman in our communications.”
Glitch is not simply a c
o
m
p
uter process. Gli
tch denotes an interaction between human and machine. In her “Cyborg Manifesto,” Donna Haraway argues that our complex interconnection with various technologies has made us more than human. We are all
cyborgs.
Understanding glitch musicians as cyborg artists, the
“digital grain”
may reveal more than the materiality of digital platforms, but of the digitally-
mediated cyborg body. As we fuse with technology, we be
come more than purely human beings in more than a meta
phorical sense, but in a physical form as well. A cborg body is composed of the
organic human form
in
accordance
with digital technologies.