At a time when the meaning of democracy is challenged by the power of algorithms and the politics of misinformation what has become apparent is that the valorisation of data is the defining characteristic of contemporary digital capitalism. Big Data is sold on the basis of accurate retrieval; the promise that a series of perfect signals can be abstracted from the background noise of the world’s incessant uploading of information. Against this background, the rise of digital ‘glitch’ art is interesting in terms of how it privileges noise over signal and aestheticises error. Glitch artists randomly re-assort ordered sequences to demonstrate that order itself is arbitrary, contingent and open to transduction. In deliberately confounding the apparently smooth interface through which digital messages are received, the glitch aesthetic suggests a productive imagery for a politics which confronts the hierarchies embedded in and reproduced by digital culture. The recording of the packed seminar, that was also part of the 2018 London anti-university, didn't come out well, so Debbie has recorded this podcast lecture for us.

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“What did the council decide on item 42?” — answered with the speaker and the moment.

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