Abstract

Glitch composition is a meta-discursive practice: rather than writing new music inspired by older recordings, it constructs new music inspired by the technological conditions and limitations in which those recordings emerged. For those listeners who aren’t particularly interested in technology theories, such music is particularly alienating—an in-joke that one doesn’t get. When glitch becomes pop, it loses its theoretical savvy, replacing the “synth pad” in a contemporary pop song. Glitch’s subversion of the bad value judgment placed on damaged media is only a partial one—as scratched CDs (whether they be glitch ones or not) remain economically worthless commodities.