New Portrait

WEEK 3

Reading Reflection on In Defense of the Poor Image

Lately, I’ve been thinking a lot about how our obsession with retro, Y2K, and dreamcore aesthetics ties into Hito Steyerl’s idea of the poor image. These trends thrive on grainy textures, pixelated graphics, and compressed visuals—qualities that were once seen as flaws but are now embraced as nostalgic artifacts. When I scroll through TikTok or Pinterest, I see low-res GIFs, VHS filters, and distorted JPEGs being used deliberately to evoke a time when digital media felt raw, unpolished, and strangely more personal.

Steyerl argues that poor images exist in opposition to high-production, institutionalized visuals. Maybe that’s why they resonate so much now. In an era where everything is ultra-HD and algorithmically optimized, there’s something freeing about the imperfections of an old Windows XP error screen or a blurry anime screenshot. They carry the residue of past digital experiences—files endlessly copied, compressed, and re-uploaded, much like the fragmented memories we chase through nostalgia.

But I also wonder: are we really reclaiming the poor image, or are corporations just repackaging it into another aesthetic to be consumed? It’s strange how something once considered low-quality can be rebranded as a curated vibe. Maybe the poor image was never poor—just ahead of its time.

©Zhongao Xuan

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