id	author	title	date	pages	extension	mime	words	sentences	flesch	summary	cache	txt
work_g63bu3xytvadrh2ji6wdr6nu5u	Debra Benita Shaw	The Aesthetics of Retrieval: Beautiful Data, Glitch Art and Popular Culture	2020		.pdf	text/html	8616	530	54	Thus, glitch and its 'compression aesthetics' (Kane 2014: 4) is an iteration of these tendencies which makes direct use of the technical processes of digital production to suggest a critique of data visualisations and their representations of forms of order through which information becomes commodified. I want to conclude here then by exploring the emergence of noise artefacts into popular culture with a particular emphasis on Denis Villeneuve's sequel to Ridley Scott's Blade Runner (1982/1992/2007) and Sam Esmail's TV series Mr Robot, both of which are about the loss of data and which also make judicious use of glitch to explore the power structures that condition subjectivities. Leaving aside, for the moment, the debates which make a distinction between glitch art proper and 'glitch-alike' (Moradi in Betancourt, 2017: 86), my claim here is that Max is a figure that, in his troubling of ontological certainties in the face of apocalypse, can offer a way to assess the critical function of glitch in popular culture in terms of its revelation of the posthuman subject, read through the aesthetics of retrieval.	./cache/work_g63bu3xytvadrh2ji6wdr6nu5u.pdf	./txt/work_g63bu3xytvadrh2ji6wdr6nu5u.txt