Notes
- This clip was part of a video projection of three consecutive pieces by Chris Cunningham at Plateau of Humanity, 49th Venice Biennale, Venice, Italy, 2001.
- For example, one could cite Rosi Braidotti's reworking of Harawa/s cyberfeminism, in which she sees the figure of the cyborg offering the possibility of “difference”. R Braidotti, Nomadic Subjects, New York: Columbia University Press, 1994, pp 95–110. I would suggest that this kind of reading of organic/machine relations remains tied to a problem of figuration in which one is always searching for the perfect “representative” both aesthetically and politically. This paper attempts to move the body/machine relation instead out of the arena of figuration and into that of affect and the differential.
- See, for example, R Ascott, “On Networking”, Leonardo, vol 21, no 3, 1988, pp 231–2; F Popper The Art of the Electronic Age, London: Thames and Hudson, 1993, pp 86–87.
- G Deleuze and F Guattari, What is Philosophy?, trans. H Tomlinson and G Burchell, New York: Columbia University Press, 1994, pp 173–5.
- G Deleuze and F Guattari, A Thousand Plateaus, London: The Althone Press, 1988, p 273.
- See A Munster, ‘Digitality-approximate aesthetics’, ctheory, vol 24, nos 1-2, article 93, 2001, http://www.ctheory.com.
- Although the concept of affect is not Deleuze's concern in Nietzsche and Philosophy he develops the notion of unequal forces combining and combatting each other so as to produce “the body”. Here bodies can be organic, social, technical and incorporeal and are the product of the distinction or differentiation between the varying capacities of forces. “Every force is related to others and it either obeys or commands. What defines a body is this relation between dominant and dominated forces. Every relationship of forces constitues a body—whether it is chemical, biological, social or political.”: G Deleuze, Nietzsche and Philosophy, trans. H Tomlinson, New York: Columbia University Press, 1983, p 40.
- G Deleuze and F Guattari, A Thousand Plateaus, p 266.
- G Deleuze and F Guattari, Anti-Oedipus: Capitalism and Schizophrenia, trans. R Hurley, M Seem, and HR Lane, New York: The Viking Press, 1977, pp 36–7.
- DW Smith, ‘Deleuze's Theory of Sensation: Overcoming the Kantian Duality’, Deleuze: A Critical Reader, Oxford and Cambridge, Massachusetts: Blackwell, 1996, p 32.
- J Baudrillard, ‘Photography: Or The Writing of Light’, ctheory, article 83, 12 April 2000, http://www.ctheory.com (accessed 4/09/01).
- P Virilio, ‘From Superman to Hyperactive Man’, The Art of the Motor, trans. J Rose, Minneapolis and London: University of Minnesota Press, 1995, pp 99–132.
- M Seltzer, ‘Wound Culture: Trauma in the Pathological Public Sphere’, October, no 80, 1997, pp 3–27.
- ibid., p 17.
- Bad Code was realised at prototype level in 1996 but was initiated more as a series of artistic strategies to intervene into the production of an over-sanitised digital aesthetics and dated from 1991. These ranged from projects such as Spiral Space, linking text-based virtual spaces to their various manifestos such as Bitch Mutant Manifesto of 1996. This latter work is still accessible online at http://www.aec.at/meme/symp/contrib/vns.html (accessed 4/09/01).
- See B Massumi, The Bleed: Where Body meets Image’, Rethinking Borders, J Welchman (ed), London: MacMillan, 1996.
- G Deleuze, Cinema 1: The Movement Image, trans. H Tomlinson and B Habberjam, Minneapolis: University of Minnesota Press, 1997, pp 108–111.
- L Manovich, The Language of New Media, Cambridge, Massachusetts and London: MIT Press, 2000, pp 45–6.
- F Guattari, Chaosmosis: An Ethico-Aesthetic Paradigm, Sydney: Power Publications, 1995, p 37.
- Skyline by Magnus Wallin was made in 2000 and exhibited with the animation Exit at the 49th Venice Biennale, Venice, Italy 2001.
- G Deleuze and F Guattari, A Thousand Plateaus, p 400.
- B Massumi, The Autonomy of Affect, Deleuze: A Critical Reader, P Patton (ed), Oxford: Blackwell, 1996, p 221.
- W Bogard, ‘Distraction and Digital Culture’, ctheory, art 88, October 5 2000, http://www.ctheory.com (accessed 4/09/01).
- G Deleuze, Cinema 1–The Movement Image, trans. H Tomlinson and B Habberjam (Minneapolis: University of Minnesota Press, 1997) p 118.
- NK Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics, Chicago and London: University of Chicago Press, 1999, pp 25–31.
- This is a reference to Manuel de Landa's reconceptualisation of history as the entwined, nonlinear and emergent interactions of genetic, geological and linguistic matter. He argues that all history might be considered as the emergent product of interactions between different kinds of matter flows. These interactions shift between states of stability and fast state changes as ‘matter-energy’ crosses critical thresholds. See M de Landa, A Thousand Years of Nonlinear History, New York: Swerve Editions, 1997, pp 18–21.
- T Murray, ‘Digital Incompossibility: Cruising The Aesthetic Haze Of The New Media’, ctheory, art 78, 13 January 2000, http://www.ctheory.com (accessed 16/09/01).
- ibid.
- I have written more extensively about Harwood's work in ‘Digitally-approximate aesthetics’, ctheory, http://www.ctheory.com.
- L Dement, In My Gash, interactive CDROM, 1999, distributed through http://www.digimatter.orq.au.