Disclaimer: The publisher was sent to me by the publisher.

Audiovisual Disruption: Post-Digital Aesthetics in Contemporary Audiovisual Arts offers a compelling exploration of the post-digital, providing a solid theoretical and practical foundation for understanding this critical concept. By situating the post-digital not as a mere chronological marker after digitalisation but as an entangled condition where digital, analogue, and material practices coexist, the book establishes itself as an essential resource for scholars and practitioners alike.

Its initial chapters present a nuanced overview of the post-digital, making complex ideas accessible while laying the groundwork for the more specific focus on artistic practices that follow.

The heart of the book is its exploration of post-digital art, particularly in the realm of audiovisual art, where it maps out four distinct approaches to engaging with the post-digital: “on,” “within,” “in-between,” and “off.” These modes of engagement reflect the multifaceted ways artists (and whomever) may respond to critique digital conditions. The “on” approach highlights surface-level interactions, emphasising the visible aesthetics and effects of digital tools, often turning technology itself into the subject of critique. The “within” perspective shifts inward, exploring the underlying infrastructures that sustain digital systems, bringing to light the invisible mechanisms that define the post-digital condition. “In-between” focuses on the liminal spaces between analogue and digital, examining the hybrid frictions and transitions that open up new aesthetic possibilities. Finally, “off” considers acts of disengagement, where artists critique or reject digital frameworks, offering critical counterpoints to the pervasive dominance of digital culture. These conceptual frameworks are not only well-articulated but also flexible, offering readers tools for both understanding and practising art in post-digital contexts.

One of the book’s most significant strengths is its focus on artistic practice. By centering the discussion on critical making and creative processes, Audiovisual Disruption bridges theoretical discourse and practical application. This makes it particularly valuable for artists, researchers, and educators interested in exploring how post-digital conditions shape and are shaped by artistic inquiry. The emphasis on audiovisual art is advantageous, providing vivid case studies and clear (post)digital examples that bring abstract ideas to life. These examples are provocative and insightful, demonstrating the richness and complexity of post-digital aesthetics.

While these categories as a framework for discussing post-digital art are innovative, they might risk oversimplifying artistic practices’ dynamic and overlapping nature. For instance, many contemporary works of art might simultaneously engage “on,” “within,” and “in-between” approaches, yet the text occasionally treats these modes as distinct and separable. While this categorisation helps organise the discussion, it could benefit from a more explicit acknowledgement of the fluidity and intersectionality inherent in artistic responses to the post-digital. However, the artistic examples do exemplify the porous nature of these categories and show how they can also be used as an overlapping, hybrid approach (which is very compelling!).

While detailed and well-founded, the book’s focus on audiovisual art may limit its immediate relevance to those outside this specific artistic domain. Artists and scholars working in other media might find the frameworks less directly applicable, though the book’s overarching insights into post-digital aesthetics remain broadly useful.

Despite these minor critiques, Audiovisual Disruption succeeds in providing a rich and thought-provoking analysis of the post-digital condition. Its dual emphasis on theoretical rigour and artistic practice ensures its appeal to a diverse audience, from scholars and educators to practising artists. By the end of the book, readers are left not only with a deeper understanding of post-digital aesthetics but also with practical tools for engaging with this complex landscape. For anyone interested in artistic research, digital frameworks, or contemporary aesthetics, this book offers a critical and inspiring resource that is sure to spark joy in readers’ minds.