Title: Materializing new media: embodiment in information aesthetics
Author: Anna Munster
Publisher: Dartmouth college press: Hanover, New Hampshire


In BorderXing Guide Bunting attemptd to cross the twenty-eight borders of Europe without legal papers. Here, a direct form of
sociopolitical   dérive comes into play, for Buntings point is that although incorporeal and informatic flows are constantly crossing
lines between nations, producing what we have come to think of as globalism, the physical movement oh humans has been increasingly
monitored and restricted. This tension has beome a point of critique of and intervention in information culture by a number of artists,
Keith Piper, Shila Gupta and the collective MOngrel, who have variously experienced the colonial legacy of nation-states as enduring in
spite of the so-called freedom brought about by the information age. p105-106

Technologies of VR,  viewed from this framework of transversal singularity (a gathering of points that cross each other to form divergent
lines), can offer an understanding of the mutations that machines and bodies are currently undergoing. They cannot, however, provide a
technological fantansy ride into a sublime, virtual realm, nor do they simply represent the culmination of modern technology's  inexorable
march toward the ultimate in dehumanization: corporeality as instrumentalized objectified experience. Rather, to paraphrase Guattari,
they are acutalizations of machines of virtuality.-p113

Hayles(1999,How we become posthuman):"Virtuality is the cultural perception that material objects are interpenetrated by information patterns."

There are Mexicans in cyberspace, and Poles, Nigerians, Turks and Italians, in the same way as there are Mexicans, Poles, Nigerians, Turks
and Italians in New York City. THere are noody's Others and that is reality as I understand it. -OLU OGUIBE("An interview with Olu Oguibe,"
Massimiliano Gioni, interviewer, Third Text 47(summer 1999:55.))-p150

As Katherine Hayles has argued, the materiality of embodiment has a particular way of receiving and generating meaning that gives
it a vector of movement that may have the potential to alter but is not equivalent to the vectors of digital information.-160

Fernandez makes the salient point tht the place where electronic art and the postcolonial impulse hve met lies with forms such as
digital photomedia and video, already regarded as the "older" practices of new media.-164

These differential interventions into the possibility of other speeds for electronic life provide us with a resource for what Arjun Appardurai
has called "self-imagining as an everyday social project.".(modernity at large, p4)-p166

Furthermore, we might look for these curious moments, mainly highlighteed by new media artists, that unfold embodiment as an ongoing and incomplete
proposition. In arguing for virtuality to be viewed as a differential in relation to its current and potential actualizations, I have suggested that folding
can be made concurrent with the concerns of contemporary aesthetics-p116
Gupta commits the ultimate interface transgression by introducing a photo identity for the very nameless workers of the IT economy who will be
transcribing  (rather than translating) the final love letter package into material form. And yet, like all scams, one feels both hopeul and doubrful that
this identity is authentic( http://web.archive.org/web/20040613171807/www.bbc.co.uk/arts/tate/century_city/bombay/shilpa2.shtml
  Shilpa: It's a take-off on the back-office nature of the IT market in India. You have call centres or transciption businesses where doctors in the US
will dictate something on a dictaphone and note patient history or something, and overnight it will land up in Bombay. So you have lots of people sitting
in droves and droves with headphones and transcribing it and sending it back.You have an inquiry and its answered in a British accent, when actually,
it's someone sitting in Bombay talking to you. So it's a take on this whole thing of transcribing.

Materializing new media culture means insisting upon n analysis of its artefacts that takes into account the ongoing engagement of information and new technologies
with embodiment. New media artists have found new ways to producing these engagements, ranging from the development of haptic and gestural
interfaces to a constructive acknowldgement of the impact that corporeal movement and material and environmental circumstances have had in producing
new media art and culture.-p184

Many "body" theorists have sought to locate the impact of materiality upon culture in bodies and their lived existence per se and
consequently give the body a determining or essentialist role. But "digiral embodiment" is an unstable and uneven condition produced
out of the differential impact of bodies and technologies as they globally impringe upon one another is widely varying circumstances.-p184