Cover

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Title Page, Copyright, Dedication

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Contents

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pp. vii-viii

Illustrations

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pp. ix-x

Acknowledgments

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pp. xi-xiv

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Introduction: the body in the machine

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pp. 1-24

In 1995 I attended the 22nd annual American Computer Machinery Conference on Computer Graphics and Interactive Technologies, known in the digital graphics world by the acronym SIGGRAPH. Having endured four days of technical papers on...

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1. Sampling and Folding: the digital and the baroque

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pp. 25-54

In the wake of late-twentieth-century entities such as the “cyborg” or the “posthuman” and with our increasing fascination for the “biotechnological” we have become accustomed to thinking of hybrids as entities that seamlessly graft machines and bodies together...

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2. Natural History and Digital History

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pp. 55-85

Although it may seem unordinary to couple the natural and the historical, the idea of digital history is altogether more pernicious. The digital, as we are constantly reminded, is a new technology, and its newness seems to stretch out toward a future, deemed either...

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3. Virtuality: actualizing bodies, abstracting selves

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pp. 86-116

Catherine Richards’s 1993 installation The Virtual Body is seductively named, having appeared at a particular time in the history of new media arts and entertainment and being deceptively simple in its realization (figure 11). If the culture of information...

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4. Interfaciality: from the friendly face of computing to the alien terrain of informatic bodies

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pp. 117-149

Between the two seemingly opposed approaches of Brenda Laurel and Donald Norman to the design of computer software and hardware, an even playing field defining the dominant relations between humans and computers has been mapped out over the...

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5. Digitality: an ethico-aesthetic paradigm for information

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pp. 150-177

Where and how to locate a digital aesthetic? In a sense the question, reaching us from the already faded past of the early 1990s, is no longer of value for theorists and practitioners of electronic, new media and digital arts. Indicative of the lag and catch-up that...

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Postscript: emerging tendencies in embodied information aesthetics

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pp. 178-186

In an extraordinary new media work, Loops, the collaborative team of Paul Kaiser, Shelley Eshkar, Merce Cunningham and Marc Downie created an abstract motion portrait of the dancer drawn from a changing database of information captured through motion...

Notes

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pp. 187-210

Bibliography

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pp. 211-224

Index

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pp. 225-237