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Looking at Cramer’s sense of the Post-Digital, the trend in the hyper-personalized and hyper-subjective digital art that has recently been rearing its head (I’m thinking of a bulk of the works at the New Museum Triennial) can be better understood. He writes:

“These fictions of agency represents one extreme in how individuals relate to the techno-political and economic realities of our time: either over-identification with systems or rejection of these same systems. Each of these extremes is, in its own way, symptomatic of what I would call a systems crisis: not a crisis of this or that system, but rather a crisis of the very paradigm of ‘system’” (710).

Looking, say, at Casey Jane Ellison’s construction of self as a (poorly coded) digital avatar or even the impeccably rendered 3D sculpture of Juliana Huxtable, we can understand how the “post-digital” enters into something of a “systems crisis.” Both artists deal with a certain challenging of sexuality, gender, and self-conception using digital media as a conduit in which to reflect. What i’m considering, however, is the manner in which engaging with this digital media, which, can itself be understood as operating within a systems crisis (or within the possibility of a systems crisis), allows “systems” (identity systems, in this case) to be called into a “crisis” and be successfully interrogated.