Page 290 - Cyberculture and New Media

Seppo Kuivakari 281
______________________________________________________________

structural analyses of these examples tell for Dällenbach that the duplication
that these paintings from history give rise to, far from being faithful, is
distorted by the convexity of the mirror. We are witnessing the outside within
inside, or external within the internal; Dällenbach says, for the optical illusion
sought in all these pictures, which is their main attraction, lies in bringing
into the painting items that (fictively) are outside it: the reflections provided
in the mirrors complete the picture and function primarily as a medium for
interchange. Dällenbach 1989, 11-12. Still, the attraction remains the
distorted same in the contemporary mirrors of media art; what is changed is
that the outside is not that “fictive”, in Dällenbach’s meaning, any more, but
as real as the camera or other means of context awareness would provide.
102
Lacoue-Labarthe 1997, 153.
103
Dixon 2007, 245.
104
Ibid., 194.
105
Lacoue-Labarthe 1989, 264–265 and 1994, 21.
106
Ecological media theory share the same view as Dove does.
107
Dove 2002, 210.
108
Cf. Ulmer 1989, 127: The drama is intrasubjective, corresponding to the
theory of narcissism, supported by the myth of the androgyne (the desire to
merge with the other), which, according to Lacan, represents the effort of the
split psyche to regain (impossible–Imaginary) unity.
109
Spivak in Derrida 1976, lxxvii.
110
Dixon 2007, 146.
111
Lindberg 1998, 28-29, 32-33 & 47
112
Lacoue-Labarthe 1989, 92-95:
113
Rokeby 2000, 101-102.
114
Rokeby 100-102, Lindberg 1998, 36
115
Morse 2000, 37.
116
Derrida 2004, 385.
117
Solomon-Godeau 1995, 25-27.
118
Lacoue-Labarthe & Nancy 1997, 153. This can be questioned through the
practise of media artists like Christa Sommerer and Laurent Mignonneau,
who together creates a-life as a sign of technology, which produces the
“interruption of a man”. Note: this break only according to Nancy. On the
other hand, history has shown us many times how technologies have been
installed only for the limitation of the “original man” in favour of an
idealized, clean and pure picture of mankind, which is the very ge-stell of
eugenics, and more recently, genetics. Questions towards the madness of
reason arise, not only ethical: in a world cleansed from madness, can we ever
really understand the calmness of Antigone, or the reasons behind the
madness of Hamlet and Macbeth, or, even, the symbolics behind the