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1. New Philosophy for New Media

   In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position—as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human in the digital era. Hansen examines new media art and theory in light of Henri Bergson's argument that affection and memory render perception impure—that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms.

   Scott Rettberg - 26.02.2011 - 15:36

2. Digital Gestures

   Digital Gestures

   Eric Dean Rasmussen - 30.05.2011 - 21:03

3. Bodies in Code

   "Bodies in Code explores how our bodies experience and adapt to digital environments. Cyberculture theorists have tended to overlook biological reality when talking about virtual reality, and Mark B. N. Hansen's book shows what they've been missing. Cyberspace is anchored in the body, he argues, and it's the body--not high-tech computer graphics--that allows a person to feel like they are really "moving" through virtual reality. Of course these virtual experiences are also profoundly affecting our very understanding of what it means to live as embodied beings. 

   Hansen draws upon recent work in visual culture, cognitive science, and new media studies, as well as examples of computer graphics, websites, and new media art, to show how our bodies are in some ways already becoming virtual."

   (Source: Publisher website)

   Elisabeth Nesheim - 15.05.2013 - 12:18

4. Growing Intimate With Monsters: Shelley Jackson’s Patchwork Girl and the Gothic Nature of Hypertext

   Described by Robert Coover as “perhaps the true paradigmatic work” of the “golden age” of hypertext literature, Shelley Jackson’s Patchwork Girl (1995) provides not only a rewriting of Mary Shelley’s Frankenstein (1818), but an opportunity to consider the ways in which the gothic as a genre serves to problematize the somatic dimension of our writing technologies. In its capacity to touch the reader directly, at the level of the nerves, tissues, and fibres of the body, Patchwork Girl recalls the debates concerning the affective force of the gothic novel, and, in particular, the threat it was thought to pose for women readers. The gothic, in this sense, emerges as the deep and unsettling recognition that the technological is the formative ground of subjectivity, the very condition of our becoming. What Jackson calls “the banished body,” the monstrous materiality of subjectivity, haunts not only the eighteenth-century faith in the powers of rational powers of intellection, but our own post-human dreams of transcendence.

   Jill Walker Rettberg - 06.07.2013 - 09:27