Читать книгу Avatar Emergency - Gregory L. Ulmer - Страница 8

Preface

Something is happening to us and through us that goes by the name “avatar.” Some of us are present in Second Life through an “avatar” or have had our identities stolen digitally, added a photograph to our Facebook account or personalized our blog with an icon, even designed and sold t-shirts, skateboards, coffee mugs and the like branded with our personal logos. But branding is not avatar. We have not yet begun to avatar, although there are futuristic scenarios and scholarly histories, looking forward and back in time, archiving the possibilities and precedents. You can meet avatar, that part of you inhabiting cyberspace (for lack of a better term). You and I need to meet the avatar that we already have, that we already are, now that it may be augmented within the digital apparatus (electracy) beyond branding to become prostheses of counsel and decision. Electrate avatar knows more than you or I do, it knows better than you or I do about what will have happened in our various respective situations. This claim must be not only understood, but undergone. It is not only an idea, a theory, but an experience. The goal of this book is to make it a practice of digital education.

The concept, tradition, and practice of “avatar” are central to the invention of “flash reason,” a deliberative rhetoric for public policy formation, making democratically informed decisions in a moment, at light speed, against the threat of a General Accident that happens everywhere simultaneously. Any theorizing of “avatar” must at least acknowledge James Cameron’s dramatization in the blockbuster film. It is fortunate for my account (given the influence this film will have in shaping the discussion) that there is an important aspect of electrate avatar captured by Cameron’s treatment. Avatar as an experience is an event of counsel. It is an uncanny encounter with one’s own possibility (potential), as undergone in various wisdom traditions noted here as analogies for the rhetoric (flash reason) made possible through avatar practice. Through avatar, players come to understand the General Economy (Bataille) of the universe, so to speak, represented as “nature” or the Gaia spirit of Pandora in Cameron’s film. The “jar-head” Sully, incarnated in his Na’vi simulation, transcends his Marine training as well as his limitations both physical and mental, to oppose the actions of the military-industrial-complex corporation that are threatening the natural order. It is perhaps understandable, if not inevitable, that the screenplay uses the shorthand of the Frontier myth, in high-concept reconfiguration (genre hybrid), to express its values. Cameron’s Avatar is a Western.

Concepts are an invention of literacy, created by the Classical Greeks in the Academy and Lyceum in Athens, as a device for developing alphabetic writing as a support for thought. Concepts used the formal technique of definition to identify the properties of an entity constituting its essence, its nature, based on its function or purpose. In addition to these general concepts classifying the things of the world, the Greeks produced a number of specialized concepts designed to do the work of philosophy itself, and philosophy ever since has created a host of these devices. The question today concerns whether or in what way philosophical concepts may survive in, or be adapted to, the apparatus of electracy that emerged at the beginning of the industrial revolution and is displacing literacy (and orality) as the dominant metaphysics (reality construction) of electronic digital civilization. The experiment in this study is to construct a “concept avatar” to support thought in electracy. Avatar is to electracy what “self” is to literacy, or “spirit” to orality. Avatar as concept is needed to understand how theory may still be performed in the image metaphysics of electracy.

Concepts begin in response to some problem field (plane of immanence in the vocabulary of Deleuze and Guattari) that resists or challenges or threatens human thriving. The problem field of Avatar is represented in the film as the military industrial complex, allegorized in the conglom attempting to mine unobtainium on Pandora, with the help of a ruthless head of security, a former Marine colonel. We are in an allegory, a mythology whose features are familiar, in that the screenplay conforms not only to the hybrid genre terms of a sci-fi-western, but to the fundamental adventure template of a “hero with a thousand faces” that structures nearly every narrative in Western culture. Sully is a “conceptual persona” whose transformation over the course of the narrative constitutes a “vital anecdote” dramatizing the thought needed to address the problem. It is not a matter of what Cameron intended but what we may learn about avatar as thought.

Avatar as concept may be and must be thought today, in that we already are avatar, or becoming avatar. We avatar (verb) online every day; we put our self into the prosthesis of the Internet, as Jake enters the prosthetic body to explore Pandora, and enter the culture of the Na’vi. The entry into writing produced the experience of “selfhood.” An important skill of literacy concerns the management of “voice” in writing. What is the experience of becoming image online? The electrate equivalent of “voice” is not just “image” but “avatar,” with the difference being that avatar is an expression you receive, not one that you send. My proposal is to add a conceptual register to the problem, persona, and anecdote referenced in the film. What experience does Jake have in the prosthesis that transforms him from jarhead to champion of the Na’vi fight against the conglom? Structurally we recognize his decision as conventional in our culture. At the end of the second act of a standard Hollywood three-act screenplay, the protagonist is confronted by a choice: to change from the disposition given at the beginning of the adventure in order to become adequate to the problem troubling the special world, and hence to take on the role of hero, or to refuse that role. This moment and opportunity to become what one (already) is, is a threshold position latent in experience, and a primary element in our wisdom and assumptions about identity. The mystery of this change is not only that it happens, but how it happens.

Jake’s decision to take the side of the Na’vi (Navi means “prophet” in the Hebrew Bible) against the conglom puts him in the service of a Gaia principle maintaining a balance of nature, not only on Pandora but presumably in the universe as a whole. He learned something prosthetically about the principle of Limit, Measure. Measure is the thought experience of avatar. What in the narrative as a whole might function as detail to articulate more clearly the vital anecdote of concept avatar? There is one scene that perhaps intimates more clearly than any other what our concept requires. It is the scene when Sully first meets Neytiri in the forest of Pandora. This Amazonian warrior intervenes to save Sully and help him (Pocahantas-like, as the reviewers point out), because of a sign of his life-affirming potential. This sign is the attraction to the prosthetic Sully of the Woodsprites (Atokirina), the floating seeds of the Pandoran holy tree, resembling small glowing jellyfish, and understood by the Na’vi as spiritual beings. This scene illustrates the controversial technical achievement of the film, shot in 3-D, in that these glowing sprites extend out from the screen, entering the space of the audience, and fill the auditorium with a soft drifting rain of colored beauty. This effect calls attention to the technology of the medium. The relevant point for concept avatar is just that the effect is accomplished by a technical replication of the way binocular vision produces depth perception, which is by the simultaneous rendering of two views of the same scene, slightly displaced one from the other. The thought of avatar must sustain this parallax dimension, supporting the emergence of a third quality out of a logic of two. Hold this effect as an emblem of what is attempted in Avatar Emergency (a rhetorical extra dimension).

Michael

Another popular film, a romantic fantasy in this case, provides a version of avatar more reflective of the traditional personification: Michael (1996), directed and written by Nora Ephron. The protagonist is Frank Quinlan (William Hurt), a journalist whose once-promising career was ruined when he refused to compromise his integrity. Having become disenchanted and cynical, Frank works for a sleazy tabloid (The National Mirror), whose editor (Bob Hoskins) considers him his top reporter, specializing in celebrity gossip and fanciful counterfactual events. The relevance of the film in our context is that the angel Michael (John Travolta) is using his last permitted visit to Earth to intervene in Frank’s affairs, to restore his connection with the life principle, Eros, vitality (Gaia). In this project Michael is acting as Frank’s “guardian angel,” as this figure was known in the Christian era, updated from the daimon or personal genius accompanying each soul entering the world in Ancient cosmology. The project unfolds through a lure, a situation arranged by the angel, that brings a crew from the tabloid to rural Iowa to investigate reports that an actual angel (wings and all) has shown up at the home of Patsy Millband (Jean Stapleton), a fan of the tabloid (especially of its mascot, Sparky the Wonder Dog).

Accompanying Frank and his photographer Huey Driscoll (Robert Pastorelli), owner of Sparky, is Dorothy Winters (Andie MacDowell), added to the group by the editor, claiming that she is an expert on angels. She actually is a professional dog trainer, hired by the editor, who wants to take Sparky away from Huey. Michael agrees to ride with the team back to Chicago, his plan being that Frank will fall in love with Dorothy during the journey. During the trip Michael demonstrates his love for embodiment, which gives him the capacity for sensory experience. He consumes bowls of sugar, smokes constantly, and engages in trysts with the ladies who are instantly attracted to him at all the stops that Michael forces the group to make at tourist sites along the way (world’s largest frying pan, biggest ball of twine). A key scene in the narrative involves an evening spent at a café and motel. The group has been expanded by a newlywed couple that helped them with a flat tire. At the café the party discusses their favorite pies. When the waitress comes, they order two slices of every kind of pie on the menu. They sample the slices and banter over which kind is best. Affection has grown between Frank and Dorothy, and that night they sleep together.

Angels have no bodies, and their envy of human sensory experience is a topos of the tradition. The film expresses a wisdom that is as commonplace as it is true, but also turns out to be hard to accomplish in practice. Or rather, it is the impossibility to accomplish complete satisfaction and the necessity of supplemental fantasy that are a source of creative disequilibrium governing the dynamics of existence. The Romance genre of the film argues (consistently) the wisdom that falling in love achieves an aspect switch from death to life trajectory (two sides of the same energy). Libido is a moebius strip. The functionality relevant to us is this relationship between Frank and Michael. Michael as Frank’s daimon demonstrates the tradition of “avatar,” whose literal meaning is “descent” (incarnation, descent of spirit into flesh). Avatar in Hindu or Indian religion refers to the descent of God into material existence in a time of crisis, and the functionality to be adapted for electracy is this event of consultation, the occasion of decision requiring wisdom, good judgment, prudence (phronesis). “Descent” also refers to human embodiment, whether as the incarnation of spirit in pre-modern cosmologies, or arbitrarily thrown, as in existentialist modernity after the death of God. Ironically, the crisis facing civilization in electracy is precisely the one angels know nothing about: finite sexuated corporeality. Michael’s self-indulgences certainly set a bad example for sustainable embodiment. We are going to have to deal with the emergency of the senses on our own. Avatar Emergency experiments with a rhetoric of flash reason that, instantiated in digital technology, makes possible a practice of judgment that is the electrate equivalent of what Michael personifies in the life of Frank Quinlan (or that Sully undergoes in his Na’vi prosthesis). This “flash” refers to velocity of thought, an illumination of insight referred to by numerous modern philosophers and writers. Representative of this emblem of illumination is Walter Benjamin, who described the dialectical image as a lighting flash: “What was must be held fast as it flashes its lightning image in the now of recognizability” (Benjamin, 1999: N 9, 7). The phrase is associated with networked communications, everything from short fiction through the animation program to “flash mobs” gathered using social media. These and other practices evolving within electracy are probes within which may be discerned an image (primary process) logic. A purpose of Avatar Emergency is to explore the capacities of this emergent logic through the invention of concept avatar.

EmerAgency

Avatar Emergency (AE) completes a tetralogy of books featuring the “EmerAgency,” an online virtual consultancy, intended as a collaborative framework for inventing the practices of electracy. As with Internet Invention (2003), Electronic Monuments (2005), and Miami Virtue (2011), AE’s point of departure is Paul Virilio’s challenge to our information society: every technology brings with it its own disaster. The technology in question is that of our communications infrastructure, the digital media that function at the speed of light. The disasters Virilio has in mind are natural, technical, cultural, and social (he even has a category for “deliberate accidents,” such as 9/11). The speed of our digital world has created a dimensional pollution, compressing everything into “now” (ironically, separated from “here”). This condition threatens to render impossible any democratic public sphere since there is no time for the deliberative reason, the persuasion and argument, needed to achieve the consent of the governed.

A similar point about the disparity between computing speed and human reason is made in a more optimistic way by cyber boosters. They predict that by 2050 one personal computer will have the computing power of the entire human population of the earth (Kurzweil.Qtd. in Oosterhuis 42). The challenge is to interface the equipment with human thought. The optimistic proposal is to invent “artificial intuition,” which, in the grammatological context, could use the Greek term for intuitive intellect: nous. The proposal is for a direct connection between the brain and the machine (cyborg). “To allow yourself to act intuitively behind a computer device is a liberating process. You should allow yourself to have direct access to your distributed project databases. How can you as a designer do that? Invent a process, run the process, jump right into the process and make your split second decisions. Sculpt your information in real time” (Novak 39). Marcos Novak describes his work as constructing the alien. The alien stands for something new. The alien represents the unknown. Although Novak’s “alien” may be a cousin of “avatar,” the first mistake of this appeal is to isolate “brain” from “body.” Electracy rather proposes that direct access to databases must be through “mindbodies,” engaging mappings among orifices, brain, culture, and technics.

AE is an alternative to both the dystopian and utopian versions of this challenge of speed, arguing that “getting up to speed” is a motivation to take seriously the lesson of apparatus theory, which is that language technologies are not just equipment, but include institution formation (to develop and disseminate the relevant skill-set) and identity experience (individual and collective adaptations and adjustments to the new conditions). Even if we become posthuman (whether or not as cyborgs), the proposed invention must still include a practice or skill set that mediates between user and the equipment, just as the practices of literacy mediate between the person and the library. “Electracy” is to digital media what “literacy” is to alphabetic writing. The method of AE is to draw upon a sampling of elements, representing something of what the Western tradition knows about flash reason, sudden thought, or thinking at the speed of light, associated with the archive of image practices, usually associated with a mode of thought alternative to discursive analytical reason. Concept avatar assists our transition from the discursive to the momental. In fact, the ambition of flash reason is to bring into a rhetorical practice the effect Proust experienced as involuntary memory, referring to an event of time that exceeds the three ekstases of past-present-future:

And now, suddenly, the effect of this harsh law [that we can only imagine what is absent] had been neutralized, temporarily annulled, by a marvelous expedient of nature which had caused a sensation—the noise made both by the spoon and by the hammer, for instance—to be mirrored at one and the same time in the past, so that my imagination was permitted to savor it, and in the present, where the actual shock to my sense of the noise, the touch of the linen napkin, or whatever it might be, had added to the dreams of the imagination the concept of ‘existence’ which they usually lack, and through this subterfuge had made it possible for my being to secure, to isolate, to immobilize—for a moment brief as a flash of lightning—what normally it never apprehends: a fragment of time in the pure state. (The Past Recaptured 133)

I had this experience when the Woodsprites floated out of the screen of Avatar (a moment to be discussed later).

A review of the tradition, having in mind the qualities of immediate insight, reveals that flash reason is associated with a particular virtue—that virtue without which all other virtues are useless, some have said: prudence, or phronesis, as Aristotle called it. There is a renewal of interest not just in ethics but in wisdom, noted in, for example, the Arete Initiative at the University of Chicago, which announced a two million dollar research program on the nature and benefits of wisdom. Two million dollars buys a lot of pie. Prudence is a time-wisdom, a capacity to make an appropriate decision in an instant by taking the measure of a particular situation in its temporal context. This virtue has a history that is not well understood, causing it to fall out of favor or be reduced to caricatures (“expediency”) and even to be forgotten entirely. The formal goal for this study is to outline an image metaphysics that will do for electracy what Aristotle’s categories did for literacy. A premise is that the path to the invention of general electracy (a fully electrate society) passes through an updating of the virtue of prudence. To approach the design of an interface rhetoric through the history of a virtue is to answer one of the four questions of Marshall McLuhan’s heuristic tetrad. With respect to the invention of any artifact one is prompted to ask, what does it: 1) enhance? 2) obsolete? 3) retrieve? 4) produce when taken to its extreme? (Laws of Media 7). Our heuretic experiment retrieves from obsolescence the virtue of making an instant judgment in a particular situation as a source for the new logic of now-time as the best hope for thinking in Virilio’s dromosphere.

AE is organized, then, around an exercise—the design of a personal allegory of prudence, based on a model of “encounter,” in which contemporary artists updated famous paintings from a museum collection. The scene of decision foregrounded in this allegory is a point of departure for thinking about judgment itself as a kind of experience, including collective judgments of the kind archived in cultural traditions. What might wisdom be today, upon what authority might it be grounded, according to what measure, on behalf of what world view, what vision of well-being? The argument is expressed as testimony, not as declaration or prescription, framed in a reflexive account of my attempt to design an allegorical emblem out of my own experience. This exercise in allegory is a means to design and test a conceptual persona through a vital anecdote, as relay for concept avatar. Within this frame I present, in the genre of mystory (Ulmer, Internet Invention), what I have come to understand about living, my decision to become a professor of the Humanities and the lifestyle embraced as part of that choice, just enough (a measured contribution) to assist your own reflections, to locate your own place in and out of time. Concept avatar must be not only understood, but undergone.

iDatabase

AE is organized as a theoretical pedagogy, proposing exercises that introduce the operating principles and devices testing an aesthetic deliberative reason. The basic insight of apparatus theory is that the language practices of a civilization are an apparatus (a social machine), involving inventions arrived at autonomously in each of the three principal lines of evolution: technology, institutional practices, identity formation. Flash reason is a synthesis made from parts of historical practices, but for it to function as the general skill set of electracy assumes that it is taught in some form institutionally, augmented by the full power of the digital prosthesis. Reviewing the features of image authoring provided by the iLife suite of programs found on most Mac computers (iPhoto, iMovieHD, iDVD, GarageBand, iWeb) might be sufficient motivation for the invention of an electrate rhetoric, in any case. Despite the ease and ubiquity of these and similar authoring programs, however, the question of interface design is not as straightforward as it might seem. Lev Manovich’s The Language of New Media gives an idea of some of the challenges facing the transition to electracy.

Since the featured experiment in prudence does not directly discuss new media, a brief inventory of Manovich’s description of what is included under this rubric gives an idea of the context assumed for avatar as an image practice.

Technology

1.The convergence of all media in digital form, thus making all media programmable. The post-medium condition.

2.A new data object in information space. The new image ontology is “object-oriented.” An info-thing is a collection of diverse multimedia items (text, image, sound, voice, music, animation, clips, links, data streams, and the like) formed as an assemblage.

3.Support for real-time interaction with and modification of data. This capability of authoring “on the fly” is what makes it possible for flash reason to address the dangers of the Internet Accident.

Software

1.The avant-garde revolution of modernism, more or less achieving the full potential of its innovations by the 1920s, offers the best description of digital production tools: the cut-and-paste aesthetics of collage-montage, from Cubism to cinema, continuing in the Fine Arts up to our own time, and culminating in postmodernism. Manovich’s list of operations includes (besides cut-and-paste) copy, sort, search, filter, transcode, and rip. These aesthetics have become hegemonic in the tools, in the hardware and software of computing, but not yet in the common sense of everyday life or popular culture. This disparity between the parts of the apparatus (technology and institutional practices being out of joint) is a major challenge for education.

2.Information space is a composite, juxtaposing or superimposing heterogeneous locations. The logic of selection (menus) is modular, involving a range of features from video-keying to the program loop. The related point in grammatological terms is that literacy remains relevant as the category system for creating topics (topoi), but these topics are modules assembled into heterogeneous wholes that in turn need a regional category. That category (theorized here and in my previous work) is “chora.”

3.Simulation exceeds and incorporates representation. The computer replaces, simulates, and exceeds the lens. The scene created in the computer is not limited to, and is independent of, the parameters of conceptual and perceptible environments. Electracy as an apparatus is challenged to invent the institution, a metaphysics, and its related language/thought practices supporting this new relationship between humans and our equipment. Flash reason separates out and adds “affect” to concept and percept, or “judgment” to reason and will, as an autonomous faculty now accessible to ontology through the capacities of digital technology.

Interface (HCI)

1.The computer screen as equipment is literally and figuratively a frame. Or, the various registers of framing constituting any metaphysics are made more explicit in electracy; the computer screen frames an information space; cinematic editing frames the mise-en-scene of this space-time; image ontology frames what counts as reality for those using the apparatus. The interface displaying the information has a double structure, toggling between the transparent (promoting identification with a mimetic scenography) and the opaque (a critical tool for control and navigation).

2.A new object. Any object, thing, or prop in the represented/simulated scene may function as a sign with all the powers of the “as-structure” of language, meaning that it operates to control and navigate information. Any such sign may serve as a portal or gate switching between the levels of identification and control. In historical terms, this interface construes the equipment as externalized and programmable memory palace.

3.General cultural interface. Popular (entertainment) culture in general, and film (cinematography) in particular have become internalized and naturalized to the point that they comprise a rhetoric capable of organizing any body of information. In Aristotle’s terms, we could say that the commonplaces of popular forms and media may be used to structure and communicate the specialized places of knowledge. Any data may be constructed and navigated as if it were a movie.

Electracy then faces the same challenge confronting literacy in the era of Plato and Aristotle. In both cases there is in place a vernacular or endoxal skill-set available and capable of exploiting the new media (alphabetic or digital). Aristotle’s logic and rhetoric fashioned that endoxal interface of natural language into the powerful devices of argumentative inference that remain the core of literate education to this very day. Our proposal is that flash reason may do for the general cultural interface of media popular culture what Aristotle did for the natural language vernacular of Greek writing.

This set of features of new media extracted rather crudely from Manovich’s sophisticated and detailed argument constitutes nonetheless a useful reminder of the equipmental dimension of the electrate apparatus upon which to map the features of flash reason. Flash reason is the rhetoric citizens will need to become native users of the “language” described by Manovich. Flash reason, that is, as avatar rhetoric, is a second-order conduct, articulating the extant information culture for purposes of personal, professional, and public ends, the way literate rhetoric articulated the resources of natural language (including mythology, epics, ritual performance and the like) in the previous apparatus.

Image Ontological Affect

The flash reason necessary for avatar is the skill set native to new media, in the way that argumentation is native to literacy. It does not replace oral or literate practices, but supplements them with a new authoring, constructing a new metaphysics. This new metaphysics opens a dimension of human experience that until now seemed beyond the reach of education, if not of manipulation. This dimension of human capacity was framed by the Classical Greeks as a matter of virtue, meaning “power” or “capacity” native to a person. Virtue as such could not be taught, it was said, but could be trained by means of habit. A synonym for virtue in this usage is “disposition,” “inclination,” “habitus.”

This aspect of human “being” as life principle or force has been described by various terms: entelechy (Aristotle), conatus (Spinoza), monad (Leibniz), eternal return (Nietzsche), unconscious (Freud), Dasein (Heidegger). Spinoza’s definition of conatus summarizes the phenomenon in question: a striving to persevere in one’s own being. Striving—to what end? The key point is that this dimension of reality happens within first-person experience, not as an idea or concept, but affectively, as a feeling, the sensation of being alive. This “little sensation” is the site of a struggle for the future of humanity today, just as at one time was the “soul.” Most recently “disposition” is the target of neuroscience. An index of this continuity in the tradition is Antonio Damasio’s Looking for Spinoza: Joy, Sorrow, and the Feeling Brain. Damasio is one of the leading commentators on how neuroscience is explaining physiologically some of the insights of artists and philosophers. This affective dimension of the real is now accessible to image ontology in electracy.

A good account of the technological, artistic, and theoretical context motivating flash reason is Mark Hansen’s New Philosophy for New Media. Hansen’s insight is that in new media the very definition of “image” is transformed. An image is not some external support that we perceive as an object, but is a field of information that we experience as a participant. We are in the image, or rather, even more strongly, the image is a construct produced by the interaction of the equipment with our embodied condition. The theoretical basis for this insight comes from a revisionist reading of Bergson, partially rescued from Deleuze’s first retrieval of this philosopher for contemporary media theory.

The current usage of “avatar” is confused with “brand,” but “brand” is only my self-promoting ego. In electracy brand is augmented by avatar, beyond the pleasure principle. In the electrate image the individual body functions as filter, selecting from a flood of raw data what counts as real. Moreover, the selection is made coherent, given order, by an underlying intuition of unity that is the subject “I.” This unity is fundamentally affective (feeling, not emotion). Affect is distinguished, given its own modality, separate from and equal to the other faculties or virtues (in our terms): concept and percept. Hansen puts together this theory with the features of VR equipment and artists who experiment with and display this embodied affective ordination, such as Jeffrey Shaw. “By transforming the body into a screen that literally ‘selects’ images by absorbing them, Shaw’s environments institute a strict proportional correlation between action and perception: without the activity of the body within the space of the image, there would simply be no perception at all” (New Philosophy 54). In Bodies in Code, Hansen makes a distinction between a person’s body image and body schema (mirror perception versus proprioception), and the importance of the latter for “mixed reality,” that outlines a possible technical instatiation of concept avatar in digital media. Body image is projected as brand; body schema maps database information on triggers interfacing self and brand with collective knowledge (avatar).

The purpose of flash reason is to develop the rhetorical practice that allows users within the apparatus to take full advantage of the equipment and forms becoming available for everyday use, as described by Manovich and Hansen. This selective filtering of embodiment is made available for ontology in the equipment, just as alphabetic writing made analytical thinking available for ontology in literacy. What the written verb “to be” is to literacy, digitally designed emblems are to electracy. Literacy augmented the experience of idea (thinking); electracy augments the experience of affect (feeling). Concept avatar thinks feeling (the goal of Proust’s novel). Hansen notes that assigning affect its own modality brings forward for further application the experience of vitality, the intensity of a satisfaction in its own right (the value termed “life” made reflexive through avatar). Avatar personifies living. A relevant anecdote reinforcing this point is that of a seminal moment in the creative development of Bill Viola’s aesthetics, when he viewed a scene of a children’s birthday party filmed using high-speed equipment that produced a saturation of information (384 fps). “Viola recounted being dumbstruck by his observation of joy literally growing and moving through the faces of his subjects … even in a still image [from this footage] there was not only an excess of emotion, but a certain temporal expansion of it beyond the confines of what was captured in the image” (Hansen, New Philosophy 260).

The most relevant part of Viola’s discoveries for avatar is not that new media actually has the capacity to expand the temporality of a present “now,” but that emotion has its own temporality, or exists outside of time (264). The answer to the Internet Accident threatened in the conditions of collapsed dimensionality described by Virilio, is to ontologize this detour, this alternative register of emotion, from within which an electrate deliberative reason may be possible. Within the fully formed apparatus this modality constructs a new dimension of reality, supplementing the realities already informing our world, with unforeseen (unforeseeable) consequences for civilization. To access this dimension for judgment both individual and collective requires avatar simulation today, just as it did in bygone wisdom traditions. Avatar is the practice of netizens that remains for the most part implicit in the theoretical conversation to date. AE’s purpose, then, is to explore a category system for “new media.” Our experiment complements Hansen’s and Manovich’s accounts in adding the features for a skill set the electrate user will internalize in order to reason with an affective metaphysics, operating database feeds at light-speed in a dromosphere.

The debts incurred during the research process are numerous. Students at the University of Florida have contributed to Imaging Florida, the EmerAgency, and seminars exploring choragraphy, heuretics, and grammatology. Students and colleagues in the European Graduate School (Saas-Fee, Switzerland) have been a valuable resource for experimentation. My colleagues in the Florida Research Ensemble have been a continuing source of inspiration and help: thanks especially to John Craig Freeman and Barbara Jo Revelle. Colleagues and students in the Rhetorics, Communications, and Information Design program at Clemson University are making an original contribution to the heuretics of electracy. The Office of Research, Technology, and Graduate Education at the University of Florida supported the project with a grant from the Opportunity Fund. The Humanities Institute at the University of Florida funded a conference (February 2007), organized by Kate Casey-Sawicki, bringing together colleagues participating in the listserv Invent-L, where many of the ideas expressed here were first aired. Some of the sections of this study are adapted from essays published in Digital Humanities Quarterly, Discourse, Pre/Text, and in two books published by Routledge Press: Ecology, Writing Theory and New Media, and The Routledge Companion to Experimental Literature. Thanks to Mark Amerika for including me in the online part of Remixthebook (University of Minnesota Press). Special thanks to my wife, Kathy, for her support and understanding, and to my sons, Tyson and Leland, for keeping me humble. The ideas outlined here will continue to evolve in my blog, http://heuretics.wordpress.com.

Avatar Emergency

The eye was placed where one ray should fall, that it might testify of that particular ray.

—Ralph Waldo Emerson, “Self-Reliance”