Pop art has traditionally been the most visible visual art within popular culture because its main transgression is easy to understand: the infiltration of the "low" into the "high". The same cannot be said of contemporary art of the 21st century, where the term "Gaga Aesthetics" characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer's "The Culture Industry" and Adorno's Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby 'upending tradition'. In the tradition of philosophical aesthetics that Adorno began with Lukacs, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is "Gaga Aesthetics": aesthetics that no longer follows clear fields of activity, where "fine art" is but one area of critical activity. Indeed, Adorno's concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna's Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry.

Arabic Glitch explores an alternative origin story of twenty-first century technological innovation in digital politics-one centered on the Middle East and the 2011 Arab uprisings. Developed from an archive of social media data collected over the decades following the 2003 U.S. invasion of Iraq, this book interrogates how the logic of programming technology influences and shapes social movements. Engaging revolutionary politics, Arab media, and digital practice in form, method, and content, Laila Shereen Sakr formulates a media theory that advances the concept of the glitch as a disruptive media affordance. She employs data analytics to analyze tweets, posts, and blogs to describe the political culture of social media, and performs the results under the guise of the Arabic-speaking cyborg VJ Um Amel. Playing with multiple voices that span across the virtual and the real, Sakr argues that there is no longer a divide between the virtual and embodied: both bodies and data are physically, socially, and energetically actual. Are we cyborgs or citizens-or both? This book teaches us how a region under transformation became a vanguard for new thinking about digital systems: the records they keep, the lives they impact, and how to create change from within.

Renowned artist Damien Hirst (b.1965) is reviewed in an exhibition of works spanning twenty years, held at Tate Modern from April to September 2012.The review explores the development of his art from the potent animal vitrines and butterfly composites to the series of extensive spot paintings, where the artist engaged in a complex invigilation of the coded systems that govern daily existence. The exhibition at Tate Modern features 'For The Love of God', the celebrated diamond studded skull, to be centred in the vast Turbine Hall of the converted power station at Bankside.