Page 221 - Cyberculture and New Media

212 The Différance Engine
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22
Heidegger’s phrase (translated from ‘das-man’) for an inauthentic ‘Being’
which follows the machinic flock showing for example an inauthentic being-
towards-death (a disavowal of its real-coming) and thus a lack of authenticity
in one’s present comportments.
23
Rehak, op. cit. p122.
24
Here we see a paradox of ‘the break’ which there is no real time to go into
here but which would take the ‘break’ of the shot-reverse-shot (something
screen theory takes to actually suture) and by taking them away would suture
ever the more. Here lies an illogical paradox in Rehak’s argument that would
be worth unpicking further (beyond its confines in Rehak’s usage to further
issues within notions of remediations of the cinematic).
25
Here again there is the paradox of ‘programming’ which some remediating
Screen theorists take as an enslaving power of the game: programming as if
to program audient outcomes. We will be looking into this a little further in.
26
Bolter a little like Rehak sees video games as carrying on or ‘remediating’
the work achieved by earlier media.
27
Gauntlett, D. Media, Gender and Identity: An Introduction, Routledge,
2002 p97.
28
Ibid p. 142
29
Osborne, P. & Segal, L., ‘Gender as Performance: An Interview with
Judith Butler’, Radical Philosophy 67 (Summer 1994), pp32-39.
30
Here performative is closed down from any prior materiality to a radical
free-choice without standing-order. This combination of self-presence and
reflexivity provides a tautological self-security which repeats the notion of
the free-flowing individual, so beloved of the tradition. In dressing this
tradition up in the garb of an escape-from-tradition the 2.0 theorist gains a
very flexible tool.
31
To match with portfolio identities we have portfolio work which contours
identity within the ambit or ecology of the infrastructural move from a
previous industrial lifelong workplacedness to a post-industrial ‘portfolio
working’ where work focuses down to a highly mobile individual (the
smallest company, as some have coined ‘him’). Countless employment
studies (for example: Gold. M. ‘Managing Self-management: Successful
Transitions to Portfolio Careers’ in Work, Employment and Society Vol. 16,
No 4.) point out this change in the dominant life-time. For a more worked out
sociological view see Harvey, D., The Condition of Postmodernity,
Blackwell, Oxford, 1989 as well as Smart, B., Modern Conditions,
Postmodern Controversies, Routledge, London and New York, 1992. Such a
transition (and self-reflexive freedom) is however figurally ‘triangulated’ in
the (rather patronisingly self-confident) film ‘Billy Elliot’, where a boy in a
British northern industrial town ‘comes out’ to his locale as a ballet dancer