Chapter Introduction -- chapter 1 Origins of “Glitch” in The Stoppage -- chapter 2 The Heritage of Materialist Media -- chapter 3 Digital Mis function and Materialist Approaches -- chapter 4 Critical Engagements with Failure.

The divide between the digital and the real world no longer exists: we are connected all the time. How do we find out who we are within this digital era? Where do we create the space to explore our identity? How can we come together and create solidarity? The glitch is often dismissed as an error, a faulty overlaying, but, as Legacy Russell shows, liberation can be found within the fissures between gender, technology and the body that it creates. The glitch offers the opportunity for us to perform and transform ourselves in an infinite variety of identities. In Glitch Feminism, Russell makes a series of radical demands through memoir, art and critical theory, and the work of contemporary artists who have travelled through the glitch in their work. Timely and provocative, Glitch Feminism shows how the error can be a revolution.

Glitch Art in Theory and Practice: Critical Failures and Post-Digital Aesthetics explores the concept of "glitch" alongside contemporary digital political economy to develop a general theory of critical media using glitch as a case study and model, focusing specifically on examples of digital art and aesthetics. While prior literature on glitch practice in visual arts has been divided between historical discussions and social-political analyses, this work provides a rigorous, contemporary theoretical foundation and framework.

To explore how interfacing shapes spectatorship online, Vendela Grundell examines experiences of the flow of digital culture through the friction of photo-based glitch art by Philip Stearns, Rosa Menkman, and Evan Meaney. With a focus on the viewer, these three cross-disciplinary case studies analyse material new to the art historical context. In particular, they focus on how glitched artworks in online environments can make viewers aware of their own activity within the flow, causing a break in the increasingly naturalised integration of system and individual. A tactical potential emerges when a glitch invites the viewer to try out different positions relative to the system.

This novel begins in a Russian prison camp at a baseball game featuring the defective Baptists versus the Fideists. There is a plot (of sorts), one of revenge surrounding a doctor who, in removing a bone spur from our narrator, manages to amputate a ring and index finger, a significant surgical error considering that the narrator is, or was, a violinist. When Dr. Roak is released from prison, our narrator escapes in order to begin the pursuit, and thus begins a digressive journey from Afghanistan to Venice, then on to India and Morocco and France. All of this takes place amid Mathews's fictional concern and play with games, puzzles, arcana, and stories within stories.

"In Cracked Media, Caleb Kelly explores how the deliberate utilization of the normally undesirable (a crack, a break) has become the site of productive creation. Cracked media, Kelly writes, slides across disciplines, through music, sound, and noise. Cracked media encompasses everything from Cage's silences and indeterminacies, to Paik's often humorous tape works, to the cold and clean sounds of digital glitch in the work of Tone and Oval. Kelly offers a detailed historical account of these practices, arguing that they can be read as precursors to contemporary new media.".

Expand your knowledge of the aesthetics, forms and meaning of motion graphics as well as the long-running connections between the American avant-garde film, video art and TV commercials. In 1960 avant-garde animator and inventor John Whitney started a company called "Motion Graphics, Inc." to make animated titles and logos. His new company crystalized a relationship between avant-garde film and commercial broadcast design/film titles. Careful discussion of historical works puts them in context, allowing their reappearance in contemporary motion graphics clear. This book includes a thorough examination of the history of title design from the earliest films through the present, including Walter Anthony, Saul Bass, Maurice Binder, Pablo Ferro, Wayne Fitzgerald, Nina Saxon, and Kyle Cooper. This book also covers early abstract film (the Futurists Bruno Corra and Arnaldo Ginna, Leopold Survage, Walther Ruttmann, Viking Eggeling, Hans Richter, Oskar Fischinger, Mary Ellen Bute, Len Lye and Norman McLaren) and puts the work of visual music pioneers Mary Hallock-Greenewalt and Thomas Wilfred in context. The History of Motion Graphics is the essential textbook and general reference for understanding how and where the field of motion graphic design came from and where it's going.