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77
Ridgway, forthcoming.
78
R Lozano-Hemmer, ‘Relational Architectures: Rafael Lozano-Hemmer,’
2003 <http://www.absolutearts.com/artsnews/2003/05/28/31074.html>
(viewed July 8, 2005).
79
R Lozano-Hemmer, ‘Body Movies: Relational Architecture 6,’ 2001
<http://www.absolutearts.com/artsnews/2001/08/31/29058.html> (viewed
July 8, 2005).
80
D Toole, ‘Of Lingering Eyes and Talking Things, Adorno and Deleuze on
Philosophy since Auschwitz,’ Philosophy Today, Volume 37 Numbers 3-4,
Fall 1993, p. 232.
81
Ibid.
82
G Deleuze, Cinema 2: The Time-Image, H Tomlinson and R Galeta (trans),
University of Minnesota Press, Minnesota, 1989, p. 173.
83
Hansen, New Philosophy for New Media, p. 597. Note that here, Hansen is
speaking of his “digital image,” which, he contends, accomplishes a bit more
than Deleuze’s time-image. The digital image correlates affectivity with a
shift from the body as a locus of perception to the body as affective source.
84
Ibid, p. 602.
85
Rafael Lozano-Hemmer quoted in J Sullivan, ‘Body Movies -
Experimental: An Interview with Rafael Lozano-Hemmer,’ 2002
<http://www.idonline.com/imdr02/body.asp> (viewed July 8, 2005).
86
Hansen, New Philosophy for New Media, p. 268.
87
Rodowick, p. 228.
88
Brian Massumi quoted in ‘Brian Massumi: Entrevistado por Maria Teresa
Cruz,’ by MT Cruz, 2003
<http://www.interact.com.pt/interact8/entrev/entrev1.html> (viewed February
2, 2005).
89
Massumi, Parables for the Virtual, p. 14.
90
C Utterback, ‘Untitled 5,’ 2004
<http://camilleutterback.com/untitled5.html> (viewed July 12, 2005).
91
Ibid.
92
Hansen, New Philosophy for New Media, p. 220.
93
Ibid, p. 205.
94
Ibid, p. 211.
95
Ibid.
96
Ibid. In Chapter Six, Hansen argues that Skulls (Robert Lazzarini, 2000), a
digital sculpture that updates and dialogues with The Ambassadors (Hans
Holbein, 1533) assists in production of the digital any-space-whatever.
97
Ibid, p. 206.
98
N Stern, ‘step inside,’ 2004,