I would like to consider a notion that I have felt was intuitively true but have never explored in depth: that the 8-bit or "low-res" aesthetic of much contemporary electronic art can be thought of as a form of digital materialism. By employing the phrase "digital materialism," I draw upon a specific term that has circulated within the sphere of avant-garde filmmaking from the 1970s onward. In this context, materialism describes a sensibility, most explicitly theorized in the writings of London-based filmmaker Peter Gidal, in which the physical materials of film technology are made visible within the work itself, and thereby become decisive components of a reflexively cinematic but predominantly non-narrative experience. Materialism reverses the usual Hollywood practice of hiding the mode of production so as not to disrupt the suspension of disbelief necessary to enter into a staged, fictional world.