This is a website (Wow!) which leverages both visual and sonic glitch aesthetics to bring attention to digital materiality, the physicality of digital space.

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This site conveys information in both an interactive and nonlinear structure, actively engaging with Jack Halberstam’s “low theory,” as that which “revels in the detours, twists, and turns through knowing and confusion, and that seeks not to explain but to involve.”

Down the numerous rabbit holes you may stumble across on this site, I hope your journey mirrors the nearly infinite assemblages, networks, and matrices of creation and destruction inherent to glitch.

You might not see everything there is to see. Maybe you’ll come back sometime and find something new.

︎Welcome 2 real life! U R going 2 have 2 work 4 it!!!1!!11!

In building a unique digital platform to feature my research, I aim to honor the radical underpinnings of glitch aesthetics in cyborg feminism by seizing the digital space as a means of not only displacing the naturalized concepts of digital immateriality and gender rigidity but also of aesthetic intelligibility and academic passivity.

︎“A queer methodology, in a way, is a scavenger methodology that uses different methods to collect and produce information on subjects who have been deliberately or accidentally excluded from traditional studies of human behavior. The queer methodology attempts to combine methods that are often cast at being at odds with each other, and it refuses the academic compulsion towards disciplinary coherence.”

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︎“Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other. The tools are often stories, retold stories, versions that reverse and displace the hierarchical dualisms of naturalized identities. In retelling origin stories, cyborg authors subvert the central myths of origin in Western culture. We have all been colonized by those origin myths, with their longing for fulfillment in the apocalypse… Feminist cyborg stories have the task of recoding communication and intelligence to subvert command control.”


I’ve thought and read a lot about how to be seriously unserious. So seriously, this is serious stuff. No, seriously! It is!

︎“Perhaps the greatest contribution that any of us can make who excavate history, and who develop and clarify theory, is to ensure that our history and theory is relevant and accessible to all those who are ready and willing to take action.”

A main aim for this website is to present work about the radical potential of glitch aesthetics in a widely accessible format.

This work extends past my own research and creative compositions to include decades of media and scholarship related to glitch, cyborgs, and queerness.

In examining the radical potential of glitch, particularly for marginalized individuals including queer, BIPOC and differently abled communities, it has always felt necessary that this project remains highly inclusionary and accessible.

Altogether, I hope that making this information widely available in an interactive digital format will inspire those who have something to gain from the aesthetics of glitch to actively learn, discuss, imagine, create, and enact meaningful AFK engagement.

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In addition to the role of researcher and author, I have undertaken the role of experiential curator in this project, ensuring that all aspects of this site work together to educate viewers users about the use of glitch aesthetics in contemporary electronic music and culture as highlighting digital materiality and providing radical creative potential for expressing and affirming alternative conceptions of gender.

Personally, I hope that this project will be truly at the heart of my interdisciplinary study throughout the Culture and Politics program, where my intention has been to explore cultural production through various media, including, but not limited to,
︎visual art, and
︎technological systems.
︎“Being taken seriously means missing out on the chance to be frivolous, promiscuous, and irrelevant. The desire to be taken seriously is precisely what compels people to follow the tried and true paths of knowledge production around which I would like to map a few detours. Indeed terms like serious and rigorous tend to be code words, in academia as well as other contexts, for disciplinary correctness; they signal a form of training and learning that confirms what is already known according to approved methods of knowing, but they do not allow for visionary insights or flights of fancy.”


“To that end I hope this book is readable by and accessible to a wider audience even if some nonacademic readers find my formulations too convoluted and some academics find my arguments too obvious. There is no happy medium between academic and popular audiences, but I hope my many examples of failure provide a map for the murky, dark, and dangerous terrains of failure we are about to exp

“the intellectual worlds conjured by losers, failures, dropouts, and refuseniks, often serve as the launching pad for alternatives precisely when the university cannot. This is not a bad time to experiment with disciplinary transformation on behalf of the project of generating new forms of knowing, since the fields that were assembled over one hundred years ago to respond to new market economies and the demand for narrow expertise, as Foucault described them, are now losing relevance and failing to respond either to real-world knowledge projects or student interests…[There is now] a choice between the university as corporation and investment opportunity and the university as a new kind of public sphere with a different investment in knowledge, in ideas, and in thought and politics.”