One need only look as far as the upstart GLI.TC/H festival and its vibrant constellation of related practitioners to see that the glitch aesthetic is alive and well. Rosa Menkman has been active as an artist, theorist, organizer and agitator within this milieu and at the tail end of last year she published The Glitch Moment(um), which threads together a number of writing and research projects into a rather authoritative overview of engineered disruption as critical media practice. Released under the auspices of the Institute for Network Cultures Network Notebook series, The Glitch Moment(um) provides a really thorough examination of glitch aesthetics in relation to classical communications theory, questions of categorization, the propagation of glitch art as a 'genre' and presents some related research into the community of artists active within this realm. Menkman also tosses in a manifesto for good measure. Despite the numerous moving parts that comprise this text, it really works as a cohesive enterprise – not only in providing an overview of the history of glitch art but as an expert framing of the media theory that underpins the field.