Page 288 - Cyberculture and New Media

Seppo Kuivakari 279
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59
Lacoue-Labarthe 1989, 5 and Silverman 1996, 11.
60
Crary 2000, 46-47.
61
Crary 2000, 50-51.
62
Lacoue-Labarthe 1989, 92-95.
63
Hershman Leeson 1995, 19-20.
64
Cf. Jay 1997, 46.
65
Solomon-Godeau 1995, 29. She says Paranoid Mirror addresses at least
some of the implications of what can be (inelegantly) called the
“spectacularization” of women. The mirror has many associations: the
vanitas of the Renaissance – the woman with the mirror, but also the mirror
of truth and of surveillance. More details of Paranoid Mirror see Ibid., 30-
31.
66
Pictorial mises-en-abyme, in the thread of my study, are living portraits
from the transforming faces of Della Porta to the unfamiliar face in the
picture of Be Me.
67
Lacoue-Labarthe 1990, 83.
68
Lacoue-Labarthe and Nancy 1997, 76.
69
Rokeby 1995, 133. This artistic approach is building a long bridge from the
present to the baroque mirror culture and its playful taming of human
passions with illusions and projective magic under the well known title
“natural magic”. Desistant features of media were embraced in the Baroque
mirror cabinet of e.g. Athanasius Kircher and a century before him, Giovanni
Battista Della Porta with passionworks of the mirror. A certain processing of
the signal (non-organic fluctuation of the symbolic order) from these mirrors
through Futurism and e.g. Fluxus even to the present day media I have called
after Derrida rhythmotypical. Derrida says that rhythm belongs neither to the
visible nor to the audible, neither to “spectacular” figuration nor to the verbal
representation of music, even if it structures them insensibly. I see this as a
symptom of rhythmic typing of any audiovisual material. E.g. for John Cage
a rhythmic structure was as hospitable to non-musical sounds, noises, as it
was to those of conventional scales and instruments – and the very
hospitability of technology to process the signal as sounds. “Typorhythmics”
can also be desistant, as are certain withdrawals of the signal in sound art.
This “echoing” is slightly different mode than that of modernist
fragmentation of sound. See Lacoue-Labarthe 1989, 32-33, cf. Nyman 1999,
32. See also Zapp 2004, 78-80.
70
Lacoue-Labarthe & Nancy 1997, 17.
71
Lacoue-Labarthe 1989, 34 and Silverman 1996, 20.
72
Cf. Kuivakari 2005, 251.
73
Lacoue-Labarthe 1989: 258–259.
74
Ibid.