Responding to the co-production of screen seriality and human subjectivity within contemporary machine cultures and economies of excess, this article examines televisual affect and proposes concepts that address the languages, components and processes of particular televisual subjectivities. Discussions focus on science fiction fantasy series Farscape – a space odyssey fascinated with biotechnological evolution and mutative consciousness. This article aims to invigorate and extend the critical analysis of contemporary televisual affect, taking up questions and methodologies from Félix Guattari’s machinic ontology and (...) Georges Bataille’s formulation of a sacrificial economy to address the conditions of consumption–production relevant to television today. (shrink)

This paper considers how players of Magic: The Gathering (MTG) limited draft turn their acquired gameplay style or disposition (their MTG “gamer habitus”), with respect to drafting, into an object of knowledge. This is done in order to then consciously rework it, to respond to new formats and to the changing metagame. I will focus on a particular case study: how streamer Chord_O_Calls' instructional video shows his own re-evaluation of certain cards. Evidently, it is a process requiring reflexivity, although I (...) aim to be specific with regard to the particular “form of reflexivity” involved. I distribute this outward to the MTG “habit assemblage” (an ensemble of techniques, things, relations) and argue that any individual player's instantiation of this reflexivity involves a practice-based synthesis of paratexts from the MTG habit assemblage that is not codified but is shaped by the assemblage. This leads to a consideration of the “intelligence” and limits of not only particular habits but that of the MTG “habit assemblage” itself. I argue that the broader socio-technical significance of the form of reflexivity that is being proliferated here is one which is defined by its flexibility, by an attentional style of delayed and shifting categorization. (shrink)

This article engages with the fabrication of experiences in first-person shooter video games. On one hand, it explores the forms of affective and cognitive engagement this novel type of immersive imagery demands of the player. On the other hand, the article speculates on how video games images resonate and coincide with other key practices and imaginations defining the political reality of life today. What (at least according to some accounts) matters most in the politics of life today is a particular (...) locus of mediation – the brain. The ways we imagine ourselves are today characterized by a figure of the ‘cerebral subject’. The article presents an attempt to chart video games imagery in relation to this key contemporary image of who we are, and to consider how the rhythms of the console screen might be seen as emblematic of a more general anthropology of subjectivity today. (shrink)

Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject and object. This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related to the (...) player/game relationship can be read through the lens of Adorno’s aesthetic theory. Developing Adorno’s concept of mimesis, I argue that the interface is often treated as a dialectical question of how the space between subject and object should be traversed. I reflect on the possible advantages of focusing on this contested space through a discussion of game controllers and the Aristotelian concept of techne. (shrink)

Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject and object. This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related to the (...) player/game relationship can be read through the lens of Adorno’s aesthetic theory. Developing Adorno’s concept of mimesis, I argue that the interface is often treated as a dialectical question of how the space between subject and object should be traversed. I reflect on the possible advantages of focusing on this contested space through a discussion of game controllers and the Aristotelian concept of techne. (shrink)