Brian Massumi, ‘lntroduction: Concrete Is as Concrete Doesn’t’, pp.1-21, in:
Massumi, B., 2002. Parables for the virtual: movement, affect, sensation. Duke University Press, Durham, NC.
When I think of my body and ask what it does to earn that name, two things stand out. It moves. It feels. In fact, it does both at the same time. It moves as it feels, and it feels itself moving. Can we think a body without this: an intrinsic connection between movement and sensation whereby each immediately summons the other?
The project of this book is to explore the implications for cultural theory of this simple conceptual displacement: body-(movement/sensation)-change.
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Michel Serres, ‘Energy, Information’, pp.94-97, in:
Serres, M., Schehr, L.R., 1982. The parasite. Johns Hopkins University Press, Baltimore.
If all the merit, honor, and glory are usually given to the populace of the anthill, sometimes they are given to the grasshoppers. All that is necessary is to have enough of them in the system for us to be happy. As usual, good and evil are divided, and the corresponding marker is sometimes given to the worker, sometimes to the singer.
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Joel Snyder & Neil Walsh Allen, ‘Photography, Vision, and Representation’, pp.143-169 in:
Critical Inquiry, Vol.2, Autumn 1975.
Is there anything peculiarly “photographic” about photography – something which sets it apart from all other ways of making pictures?
[…] for most of this century the majority of critics and laymen alike have tended to answer these questions in the same way: that photographs and paintings differ in an important way and require different methods in interpretation precisely because photographs and paintings come into being in different ways.
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Jae Emerling, ‘Preface’ and ‘Introduction’, pp.xii-xiii and pp.1-16, in:
Emerling, J., 2012. Photography: history and theory. Routledge, Abingdon, Oxon ; New York, NY.
Every book on photography is always marked by the same limitation: the absence of all the photographs discussed within the text.
In other words, every historical and theoretical text on photography has blind spots, photographs that are missing, absent, untranslatable. Rather than see this as a shortcoming, perhaps it is better to reckon with these blind spots as openings, as disjunctive syntheses.
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Geoffrey Batchen, ‘Desiring Production’, pp.4-24, in:
Batchen, G., 2002. Each wild idea: writing, photography, history. MIT Press, Cambridge, Mass.
So no one would want to deny that 1839 was an important year in the life of photography, particularly with regard to the direction of its subsequent technical, instrumental, and entrepreneurial developments. However, the traditional emphasis on 1839, and the pioneering figures of Daguerre and Talbot, has tended to distract attention from the wider significance of the timing of photography’s emergence into our culture. This essay aims first to establish this timing and then to articulate briefly something of that significance.
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Adam Brown, ‘The Spinning Index: architectural images and the reversal of causality’, pp.237-258, in:
Rubenstein, D., Golding, J., Fisher, A., 2013. On the verge of photography: imaging beyond representation. Article Press, Birmingham, UK.
It can be claimed that the digital revolution represents the final cutting loose of the mechanisms of production and distribution from local and social circumstances.
Virgilio’s argument, in Speed and Politics, is that it is precisely this speed which separates producer from consumer: digital practices accelerate the movement of capital and commodity beyond the speed of critique.
Speed, of course, is a vector function which can be defined as movement through space over time. For Virilio, ‘the speed of light does not merely transform the world. It becomes the world’. Extrapolating Virilio’s thesis, it is possible to claim that, in certain key circumstances, time can be said to move backwards, as if it is the pixel, not the quantum particle which possesses the ability to move faster than the speed of light.
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R. Joshua Scannell, ‘Both a Cyborg and a Goddess: Deep Managerial Time and Informatic Governance’, pp.247-273, in:
Behar, K. (Ed.), 2016. Object-oriented feminism. University of Minnesota Press, Minneapolis.
[Referencing Jasbir Puar (2012)]
Affective intensities, distributed bodily information, data trails, teletechnology, all commingle in a constantly productive distribution of posthumanist political modulations that are the target of what Gilles Deleuze identified as “the society of control.”
Puar metonymizes these analytics as goddesses and cyborgs. On the one hand, the reified humanist categories of goddess identity and personhood render a political imagination that exotifies both the sub- jects it seeks to represent and the political systems that oppress them. On the other, the teleological technical determinism of the cyborg easily slips into a sort of pseudo-intellectual “disruptive” solipsism. Surely, she claims, there must be cyborg goddesses in our midst.
It is my contention that a figure with the attributes of the cyborg goddess has emerged, but that it is not human.
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Amy Ireland, ‘Black Circuit: Code for the Numbers to Come’, E-flux Journal #80 (March 2017). [http://www.e-flux.com/journal/80/100016/black-circuit-code-for-the-numbers-to-come%5D
We are used to calls to resist the total integration of our world into the machinations of the spectacle, to throw off the alienated state that capitalism has bequeathed to us and return to more authentic processes, often marked as an original human symbiosis with nature. But Plant—as a shrewd reader of post-spectacle theory—makes a deeper point. Woman as she is constructed by Man—and in order to be considered “normal” in Freud’s analyses—is continuous with the spectacle. Her capacity to act is entirely confined to modalities of simulation. She has never been party to authentic being, in fact it is her negating function that underwrites the entire fantasy of return to an origin. Because she is continuous with it, she is imperceptible within it.
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Amy Ireland and Linda Dement, ‘A Thousand Reps’, 2016
The unacknowledged status of reproductive labour has traditionally been connected to socialist-feminist responses to capitalism, identified as a site from which protest against the system as a whole can be activated, without necessarily questioning the logic of reproductive labour itself—as a form that reinforces a single, heteronormative mode of creativity.
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