Wrestling with Proteus · Darren Tofts: Wrestling With Proteus He will seek to foil you by taking the shape of every creature that moves the earth, and of water and of portentous

Darren Tofts: Wrestling With Proteus

He will seek to foil you by taking the shape of every creature that moves the earth, and of water and of portentous fire .

. The Odysse� iv, 415�417

You thought the leaden winter would bring you down forever,

But you rode upon a steamer to the violence of the sun.

Cream, "Tales or brave Ulysses"

In 1967, the English rock band Cream produced their second album,

Disrae/i Gears. Along with such classics as "Strange Brew" and

"Sunshine of your Love," the album also featured a song th.at;tin·the

..• :·�:- .. idiom of psychedelic rock, revisited a very old story. That song,

J-� .

.

"Tales of Brave Ulysses," celebrated the epic journey of Ulysses on

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llis n'lturn to. Greece from tile Trojan wars. Mud1 of the song, like Tile.· -/-�::),: _:-:'_ \<-�::-_:

-:: u',·; ',:,�: _,· 0 ';; _. __ ·_'

' :>- : · ' ' ' :

--.-- > : ':>:

�:<'_:·: '',,:,' ,'·,' :�: ', --:\

_ :--: : � --',_

' ',' ''

Odyssey<)f.Homer on CVI1icllit�as.b?tse(j,fee�t!liesthe o.cean as e1

turbulent .force

. �it� whid�UI�Ss�s;��std�6attl�, ; forc��qUafin

· ....

C:na��cter and strength to the Cyclops and t�: other s�pernatural

beings he encounters on. his .seven, yearjdi.JrneY horne. One of tll�.se

was.·.Proteus, .• son ·.Of�os�idon:'�h�··slippery, shape-ch.anging •sea •• god who never ass.umed a.nxe�f�rfll !on�'erMd9hto.9�o��f�l �tthe

. weary ·traveler ·in·.•seardh .�f:)��f�r�:ti��.�t�t11J�js··Cin.appropriate

figure to signal the idea .otn4�1G id�&Ji��A��I��nt t<> �xplote in this

•· ��.$a�. Al()�§·�ifhih�f��,��r·i�e�c::��,;�n···immellse, �11ifti0g

frontier .ofdiscoverVand;¢xpl9r�ti�nP�f�ip�·��fi()�.�nd·��n�e��i�n,··

Proteus is a i.Js�f�l fri�t�b�;otilr �r:�i�� •. �hisdiscussion·.of Australian ---- -- ---- - ----;-_,--- -- - -·-'-.<i':c".:-_ _-:_-: --,<-,,:·_:_ �-:;. : _,::--_<_.::-_ _-- ' -

netart and the ways In �hicflt��?e•�ftistk·ha\le e�pproached the

intern�tas arJaestl)¢ticsp�\;�{

. :_ - - - : :: :: : ' - ·- -- ---- -.•Uiys$e�in 1967, the· generation of Australia� �¢�meclia.artists

.··· < r�pre�s��te� ·in Under_scwe wasin•·itsi�f<ll1c9.,AttH�ftirn�··there was

.no·s�ch .

• thing ·CI� fhe.·•i�t1r��th� resf:f the. worlcj .. was, 'Nell) � •,: - -- -- . -- - --

. wodd a�ay; �cllieved via flight, ocean passage 6? . -: ,:.-'• -.:':-·:· :- •- - , . : . : . - .- -- :; - --- <:--:.:--- -

• telecomrnunicatiCJns/rne internet.nas dramatically reJ�Jutjoniied . --- '; : : ' .. :-. ·- - ,:-__ -- --· - > .-·:_- ,: - - -: - -

saC:i�i aria spatial . . relations•throughoutithe w6rJcl.•·l"i:om·the point. or

.• Vi��;o� li�jng inAustralia, ·�he · ir)t.ernefhas wjth6Jf��1s;idn�ade .the

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Darren Tofts: Wrestling With Proteus ..

wprlcl'as�a.ll�r.�lac�. F'�r6aps not yet a "gi()IJal••tmag�,''

n6��h�l�ss��t��d�d th��work··�f.exi:ti��·· ·��¢�o��niJafibn;·I· · •· tel��bny ,tele�ision,

. radio ·�·· .• in••

elimi�a;ihg •. th� ·vast•·�istances· ···.

. . . separating .Au&traliafrom tll(:! rest o(the world. Historically,

Australia�s geographical.ldcaEic>n illri!l��ioAto··ttie· rest· of the · world. � " �� :::_-- _,>, �-·-"',' -: - :, - - .�<'< - ' ,• -

·represented. the.paradigrn. ofremotelless, . . a binary of presence{h�re) � - - - - ,' ' ' : - ' ' ' - -- ' . and<tbs�nc.� (thE:!r�) .

. Itis.�hisrgillC>��ne$s th�t t()nverg�nt ·

technologies, such as.the internet,· offerJhe promise to. overcome.

rh.� ;�p()siti<ln lief�e�� e allB t��r�tJ&��rally···e�tr�l1d�ed as ·a.· ··

'd�f��lll��;:�i��i�� ;�dtdnt��jg�gt�V�� for ��stefityJil

)gus�:ili�#1�t�Vdri�n·d��j;;�J ��l ��y's signa�tr� ph�as:, "�hetyranny -:-:::::-··::-<_; __ :--- ::-:/\><- : ::.:-· · ·-- ::::-::- -<::.:· :;; ;::> ,_:,:,_: _:- }'-;' -- -;- -_<>-' .-:-/::

' - �

of distance," Australia .was·. the al)tipodes, the•opposite side ()f tl"le'•

¢a�th: ��e �rigins .o(��··��r� "antipbd:� .. ·cl� �et:ace�·t� th: :::'':<':<_::·>�:· ·�-

---_> __ ;�-': :::::·

�:::·:.:::.

-_- "

---

-- _

_ >-:_ _- __ , ---- - _: Renaissance age of ocean exploration and colonial.expzlnsion, to the • ti��5Qk2�,��tr�fia �as discbvered �nd identified · as aBritish

.·.�Picini�l t:rrit�ry

F�n •• th:ofher �ide of the··world·. •Austra.lia.n

.id�·ntity, .· .

. ' - - _- •' ,- - ' " , .' - ,-" -· ... . \lP to ·· at Jeast th� ·firstfirtyye�fsof t�e tv.i�l)�iefh c�nt:Grv, W�� ..

,--- _

:-··:--:

-:: '-':. ·'- ,-

'---:,:. '" -- ' ' - ' : ' -- ->:-

- ' - < (lefinedirl ter(l)s of British culture. As an oJtpost of the. British· • - -:

--

< , : ;: empil'e, .Australia reproduced thevalues of its!'hdiTie" cou�try;

Studentsof literature (orEnglishLiterature,to.be pre�is�): fjr " .

exall)ple,.ex<:l.usiv�IY•stlldii!dthewritihg �i. isritish·· · ·�uth6rs, •• 2hic� •i*J��t�d £R� �i%�re$�Wi��ofJa:tbral lif� ahd.·doll1estic ·manners . •

.

Ti�:le:s andwi�e, ��rk:�s,: bufofii�tler:l�va�ce .• tothe realities ·of ,·, . -- >� ' -- ·:' -"-,:_. ' ' /:·:::' --'<'-

-.<-

- _::::::.;:_: . :-_, __ ;; :·:,:,:----: "., '::: ' \

.. l.il(ing. in amislard contipent ln .the southern. hemisphere. It was v�ry



difficultto.gainrecognitio� of anything acfually prdduc�d. i� Atis�ralia, as AUstralians �hemselv,es were in .the grip .ofwhat was called.the :/::;._ : __ . ___ \ ·'-.:�:_::: ,._;; - ' _: :.' <:-__' ' :--'_ - ;' -- -_ ----- : _ __ _ ;·_ - -' : __

-: -· ; -_-:-. _-- . :->- .- ._,

·. ''q.lltural cringe;'' a powerful sense ofinfetiority, il loathing of anything produced locally .. cti)ture,. real culture, was to be the refleGtibn. of•a.ir��of�,···t�tn2i�n ��JI�h�·•ftll�d;C:rig,�'nc! .•

' ·, ;' - ' " ; . · Tffihgs are a little· different now.· Australian identity .has thrown off

·--:'; ---' ,' ':· . . - -_ -- _-:<

-- ->-:_- , ::·_--�·:_. _---: -'-- ; :' _-::__,_:- ' : '' ' :_:· ;�_ - " . thesfJ�<::kl�s of its colonial.heritage; A n�w found sellse ofworth · in ih�t/ltU��t�be Au�tr�lian wasforgMouf of the.post-war period, ' ' ' ' if1•··WfliC:�.·Au�tralianqft •. �.ri� ... litdlahir�;�I�V��·a't1��$iv�r81e illiec·· •

' ' ' ' defining.the antipodes, re-conceiving life at the other encj of the world, No longer th.e tyrant to be overcome on l:he Way to· . .. _> : -- <-' ---_-_- -_-______ -·:_:::'' <::-som�whel"e else, the ocean started to emerge as ;twayqfcl¢finiAg

. · .. ·<' Australi•a•ill�61trir�l te;��.I��ah:�ItiS1'�e��:28:icalf:ature.··.to be identified with, rather thantffetoiceraJi�n�ti��)�:[r�fPali��s ;�ohi

the rest. of the world. ��i��ti�6��fa;�� ... a�ecisiverole in changing the ways in which. A�straii� S�e� itself'irJ rel<!tid� to .the. · .. world. and .. the internet haS @isbli��ted{his.•¥g�internJtr 'ashas b:en····�·�:ed fT1a�y; �i�er,····rese01bles •. an�ient'. con.ceptions.o(the··· · uni.v�rse ·as· �··space .lacki�J a.�i��fTlf��enJ��nd0hJs��l�:er1i�·· ·:: .:--;--:-.:. ;_�-':---:::.-:--·<( _,.:-;'_:,>>:::._ ':,· ___ ,- ---- , - ' -_ ·-::.-:- _:

· eJe;ywhere. AJ�trali� i� p�rt pfthis<el)Jergeot global utdpia, this .spatial·•·•ndwher�,.·in·whi��;t��nd •• ttl�i��qt¢ ate �ne •• a.nd �he �:�:·.thing. ·colonlaJ ... notlons.·.ot��ir�dq�'th�I�}J�'t�J,��II{i�·��h · a world.



In a remarkable essay ()n the links .between Austral,ian identity and

telecofnmuniCations;McKE!rtzJeW�rk�ig�es··�hat•the•psycho-socia.l

k�pg[j�Hce BtBeing define� by'the oce�n) � Jk?t�pace t� 'be

·· traver��d or\ the. wayt�s��ewhere else, has lJ��n dra�atic�Uy .· •..•. ·• .. ·.··.

·· .· ··.· .

. ··.·• •· •· •. · .•·.··. ·. · . . ·.· · ... ·

· ·.·· .. •.·•. · .· .·

•.· .·•· •. · · · .. · •. ' - .' - -. ..

.. · .:. -.:- . . . · . ·• .. . ·.•. ··· . . ··•.·.••··. · · .

·. •· •.. -<.·.· . . . • •. • •· . . . ... • •.

·. ·.· .

. ·•• . . ·.·

·,

__ ·--.. ··•· · . . . ch�nged .• bythe techniques oftelestnesia; · or perceptionata·.distante,

· The ... mo!;frecentand.dramatit. otthese,the internet, has' displaced

tJe ��r: n�tioriofthe Joe: I intoth��b:tr��;�p:c1 �f � � i�er��t.kind .

offlow, not Of water but data, the flow ofdigitafinf6rmC�tion. Once

thespatialrneasure of cultural difference, antipodality, . as W<!rk

describes the experience of being at the. opposite end pf the world,

••·. · ··h�sbeehc<irnpr�ss�d·i�t()t�e i�llle� i�cy :f·b�ing h��e a��t�ere.

·Under such conditions loc�lity is conC:eivedless in terms of pl<!ce th<ln . .

aconst<!nt st<!te. efflux, <! l:lecoming In 'Nhith"qulturaldifferences are

no longer so tiedto the experience ofthe particlll<lrities of place."T

·. · ·.Aitflo\lgh'the•()ce<ln••·�a5•b�� etl itJJi�e X�t�&r�;:�•a

•��;ce··�f

•·.· · '' -, -".·· ,, "·:,_.: , , , , "c:, , .-. ·: :-:·;,, ·_-, - -; - ' " · .: , ' '· .'> mo�emeot ·elsewhere,.jtstraC:es non.ethelg�spersist ir\ tli� }VC!ys

.. · ··

·.tll��ists/�av�i��gih�5 �hJ �ig.it�l•.:sl<!�lt ��·th: ·wr:nnv· ·�r

dist(!�C�.· ·�nvokin� .·H�t��if i�entificat;r� •• df�he·'sea �lth•notions· of· the • ' : _- " - ---. .---: ' ___ , - _-_::.:-�:--.,--<_-:_-. __ :-:_._"' _- _,-- -- ------ -: - --:--,·-:. '-:--.. - ---·:- · ·, ' '

indefinite,the.u[llimit�d a!ld thei�finit�, ��r:kgciitures'to a · · concept

i� ld:ntit�·�h ·�iic�fluidity···a�d .multiplicity •• are. the a�propriate

:-.'_; _ _. :'_:_;;· ·-:_:;:' -:;->_;.:: '·_ <:·:,: metaphors •. for.thinking.aboul:net0ork�d•Jcl�ntil:y: ' ' ' . ' ,' ' ' , ', - ----- --- -- -

it W6uld b� a risk� bu�ines�to sOggestthat Australian artists, given ..

their· alltipodal'· heritag.e and)t�nti�uit� �ith the sci�,h�� bme··kind .



of. c::ultural patent on liquid id�ntity; .as ifJhe experiimce of fluidity " ' ',' ' ' :- : -_ ' ' ' ' ' ' ' ' ' ''

was some kind of cultural unconscious. We areMt, t9 use.frqncesca ; ; >:' ;>_-'_:;:- '.- ;-:- .- -' _,- ·--<''-_, <-: ,',- - ,, '

da Rimini'� tempting in1age, a ''liquid nation." .1/1/ell, not yet ('lnyway.

· Ther� is . nothing essential o(chare�ct�ristic�ll}' �ystraliap �bout the

ways in which. these artists.have underst90d 9r interpreted what the ' :-:'; ·-"> ,'' '": ':· '_; - ·:; :·; ,',:· ' ' . '

m�t has to offer identity ancl f:hecomiep(()f��bodiment. However it

is reasonable to assert·tt1�tA!Js�r<lli�nartisti�orRing inap online

. · environrnerithav� :�br;�e� t�e Jirtual n�p-spac� 9nhe.l)el: as <1n •

unfa�Hia rc; u ns�ttlirig, ��f��tidin� s;ac� �f�b;�ra�ti�n.

T�e; i�i>lLybersp(lce .• as.an.· othenvorldly .·w ortd�Withi�±f:d,6;rld, Jr.

an archi�e2td�e�fl(l�inousbri.lliance,·.likea·c�!estial. city,�aVe ;· bed6Je ktockfi�ures

· .. for if!1aglnihg .•. Wh�re•0e3�re·��·�

··.·��··are

online, B�t.sh1t�b ha� �h: •image of ijn immersive/ dimensionless void.

·�fi�ii�n(Jtsubjectto ··.the.lihlitatibns••Of�er�pe�ti�;/�ed��ryand .

�r�Ji��}��lig�a. gackharn's.•e/lipyrean:ug�·:�fiJ�I��;;��i�is��Jd t9 .

life!byi��s:in�the tw6-dimensional .•. scre�n1with ��·iilu�ory �epth of

f)eld �nd pouridtJs�peripheral visi�n. The title 9Hhis work in\'()kes an

.· :nc::ient noti.on ofa.·z9ne:ort1r� tO sugg�� a� im�ateriat .. envir(JnmE!nt i ' ' -:_-,,:-::-:':_:_:;: · ;:�-: ;::_.:::->:>-:>: ' ' ' ::

that is at one� intim�t�.@d ihll11ense, familiar and sublimE!.

empyrean is an .. intercc>Jl�kc�� ser'iE!� Of·p¢numbral, ai:mosph"eric ,_:::·:-:-· .'.,- , .··'<·,::·-:c·-.-_:_:,)::·�-:;> _' --.: <<< :�<._'_:, '', v.rorlds1 as sheer and l:r�rislu��nf a�gC>ss�mer.Ttre ability to ," --_ _:- ;_ .:,-:.,, '-, ' , "··-: '::'"- :. __ ::'': < _ ' ',

cons�antly shift viewpointscl'"��tesa.·strange,.otherworldly sensation

ofof11niscience, However tl'le deeper we move in�o these .evocative

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spa'ces; tlle mo;e inacce�sible and u�qiscovered tnh.seelll .. ·In this . "finite infinity of�pace,'' iQter<iction is "flexib.lea(ld fll]xing,'; ane"

scape ··of "viscous

.• deli�iuJll.'(tb us� akap�rbpfiat�ly.fl�id �hra�e f;olll

.

Rackham's. carrier, .a· �ork th�t intetpr�tsthe bo�y :t a n�v,igabie ' ,, __ -:· - - :. _ _-:_:

':. -... ,._ ·-:'- ' __ :;-:_: _ -:- -

zone or space of etnerea.l ?frangeness), In using\(RI\1[(\/irtyal

. Reality.MCJ�eling tangua��}asthe :rchite�tural·�nd•ll:vigati�nal

basis for this work,. Rackh<lrnli<ls cre<Ji:ed a t<Jntalizing trompe;!0C'i!

. that •invests.· our· visual •. p�;��Btj�n gf}mg�e��t �ithb6d1.1Y;

sensations of flying, yawing,�Hding and· floating. �his �0Aaes�nesia/'.

orJnt�mretation of one s�nse i� t�r1�·c)f��6fh�r/iQt�n�ifl�s t�� •

· . ex�e;i�nc: .·:f the .• ::rkas

.an explor�tiqnqf� puJsing infinity.•pr.·• · .

1sp�hl;l. · ·

- ' - ' lt:rs·••� ci,JriqJ§feature of.t.hework•·represented in ul1dec.score•that

�We��s ti ;�ii:;thid��tit � anq disernbodirnedtare disfi(\ctiY .protean· ·· · Idch�r<Jcter,sd�9e�tiv� �f·�b�n;e,;t��H�Z��fijn �nJ�Eta�ion.

· .

__ :'::-'::'_:_-: ·:_ :·: _::�:-:---:r:_ ;

_->_---:_:_:

<_-_-- -

-- - -- --:: __ : . -- - -- ._ � - . -

Once upon atirne, onlyHorneric heroes ofel<trijord.il1ary conViction

co.uld sUcceed i(l solidifying Proteus into ernbocllrnent, long enough tc) .. ' __ , __

:<--_ ,:\/._-· __ :_>--'::_.'

-§�cUte the information required to continue on their journey. Net

artistshqV� inherited·· �Olllethl�� Of thj� �bilifyi�o 2��t&?� �rld,infle�t .. ---:- - --,_-_-'::-'��-'-< ,' : :·<-;:_

:_:·· __ ,-_>·:· -_: - ---:::: .·.·_ .. ,_

-'·: :_·: ,,_·:·,::··- -__ - __ < -, - .

the dynamic for.ceofthe .old sea .god's resistance to singular identity> · -- -- : .. , '- -

- .:-·. -.--- ·;'/_-:->-::- -::_ --:

t9 a fixed bodily forrn. This all)biguous,contradictory actofc;p�uring

flux .. js sugg�sted in�-1//I(PL[NESand .. chromos, ·the time,based,

cell.ular :utorn�ta.of P�� o�n .• Th�s�. �leg�(lt(mi�i��Ji?t•.works

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' ' '' ' .-'· _·:-.:._: ·_<·::,,_,>:- >·------· __ -.-.·:�:-:: _._··.-::·::·· _ _ . . ;·: simulate the processes of.generatiol) in living .syst¢ms< r�seinbling

•·chromosome strands, ba�teda·like coloni�s �n�c�llul�r··�ctivity.··•

Brown's. ever�ch�nging. shap�sworkpn t�e pril)¢i�le�;0ariation

withill afinite set, enacting the vitality commontoorganicand . ' . ' - -· - ·-. ' . -

artificial life .. Brown's particles <ire a ki�d oi priJl{aJ r\Jatt�r apd tf1eir -

' ' "' ' ' ' ", ",_.'• - '-- .·.- ,' _; _. ' ' -- " ' '- - - -··.st.atus.�s ·11fe 1!> constituted•· ·notirl>�fiV{m�t��l·s��s�,/IJutr�t�:r.in

their organization, their f�l�ntiJ�� ana6�6i�diGtZ�IeJer�utatio� ·.· H�f�are !Tiicroscopic gli;pses ofartificiatlife, .wl}ose.mediuinisth�·· . a�straction of digital coder�t�ett·��ll��J�tri �isll.

··.

1t;is•an•·•important.·.telecot!Titnira:ti�e

if1�t��:�life;ln �ustralia ·that .• the

�eth.as contributed to ar1()ri�bii,gj>�rd�JtiC>� bfabre�kdoWn of the ;�:-__ :, /_·._::::: -�:-: ·:

··-- ; ·<-", ::_:· - - - ' • - -\ ·_: __ , __ -.-::_:-.:--.. .. :.: _ _-- :: __ · tYranriy c:ifdistance(though the.internet still.has a 10�gwaY'to. gdto

deliver tne proniises rn�d�:�� it� ��h�l;, �He �r():ises·of.universal -, - ·-- '' ' ---- •, -

access andglo��c�hlle�tivity). It has,.though, had•·a decisive.:impaot'

on• th� IJi�f��JAlcaF;tr��tur: <lfcenter and periphery.< f��P��;·W�f sp��: l�cks: circumference .·af1d its.center.•is evei�0�ere). i�·

• conternporarydisc\ls�i�x� ofide�titr �nd s�xuality, .to be matginal; · r£t�� Ka� ce��al/stqndsfor. a reclaimed· emp�:�tM��t•i�the .

na.�ebtlislllJJ�rsiveipolitics.The.·work.of;r�nC\!SC� d� ;�i�fnli.s iln

uncompromis;�gJhcJrsi�n·i�to ·tlle· exploration ·of thesepoUtii:s>an· ·•··

. •. ��fr¢me/oft�n aggre�sive · inscriptionoffefrl�l� id�nfity as•

. · . dol�:o;phous, .• perverse· and fJcking •• dapg�r��{�;f�t�ding • m��ber ·. ofth� cyber(eministi ¢olle�tive VNS

.·M£�ri;,\d��;,s Work •.has· been

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;c;ti�ely d6m0iitted tochaiJ�riging a�� <lest<JbjliirJ19 the doOiinarit, · ��:cJIJ��·ltereotypes �f

.centralized• i�entity,

·· ·power.and .• control,·

·: ,- . . _" ,_ - -

p<)rticularlyin respect to S()Cial e�change .on .the net. A key text, in

. ihis ;�sp�ct}.isVNSMatn�'Srnuch quoteddyJ;�ifeflliflisthaniresto of

{993,i� •�hich. the.strugg.lefor · identity···and. ;ow:r.•is.•w�ged··against

. thE� corporate .rnoriolith o(Big baddY Mainf�arne. · Alarrned th.at the net

isj��t �n�the.r ·.rnale .• d��i�a�:d··· are��,cl�•Ri�ini·.!�drk.is " - ;·.·- .-- - . - .- '- _ -_ --

•·· d�terrT1il1e�ly<J,dversarial. arid . oppositional to the repli�ation qn . the

•·· · ��i�f��2��1 J�ereotypes.of ."r:al life,"BUfitisalso ·emp6wering

-"- - - - :----.-< - ' �

<is well,· identifYing the net�� a 5Jia¢e of•re�l�rnatior{fortfeminine·

..•• iJejti�y,··��u:lit�·and eroticism·.· It is

·d�� a�:··unwis:,th:n,

·.·to

discuss da Rimini's work in terms ofdiscrei:e texts (Dol/space, ·

Idendty_Runners), as the GashGir! site is·a serial, autographical -- - - -- --- - - - ' - - · - ·- - - ' -

. space .of interconnect�dfmumrnedia tableaux yivants .. The.•orie tailed

lid; �i�ibi'�;�ai�hall��lih� �n� h�rv:ri6��o�uJ��:i:Jn:e,�611

Yoko, Puppet Mi$tress, the ghost, GashGirl, shift and weaye through

disconnect�d•·email dialogues,. J6Jrnalentri�s, striden� ll)allifrst��··

allcl .. slog<Jns, resisting ··singularity,celebrat(ng dlfferenc�, �� Rif11ini's

��sfh�tici:��l�Jxt�p�si��i�a��it��;Un��t:�,a�;upf�ni��ets

· ortext, .. or.devoting an eritir� s�re��t:&(ln ��A�rism�&re'm�j�··· :_._.- .-_- _ -··>---::,-_·--.:_\>' ., _-.-_.-·.-:_:,:,,.-�·:,'<·. _ : .. -· .:·,: _ _ ,-._..-:·--Y;J·:.:-\::--:-:'::.:.': -.<- :··.::,·:-: _ _>/_:_,----- ---> ,

message, ef1do�s h�ri8rkwith<��8�l�9�t1ik�be��·tY···Yetit. is a -�: :_-:·-_- _:- :_ �----::;-:---- - : ·: - --- --: ;.-_:,: }' ::· , :}'.:- <·:· ·::' ;--:-� ·-·:' __ : ·_ :·_->

' :: - _::_: �--_-":'·<·:_;: _ _ --:.:'·:; _: .---:;:;. __ :_._ -_ _ _ _ ,- _ -::: ·._

beauty born ofdislocat�d, �fte11 deconteJ>t�aliz�d i�ages1interrupted

·sef1teri2e�· aridlll1finished·n<matives;Tt1is Is•a site in which the center ;':-.:.--:·;_._--.-,,_ ·,:_::,_.).:· - :_:-:::_·:,·:- - ', -------.-- - .-·-:--·_:·:.;"· - ">· ·:--··,;,-- _-_-.. -:-

d��nofhold. GashGir/articulates a disruptive,anarchicjoy in the



. . "pleasures of the virtual flesh," a reveling in. abstract sexuality that is

. atoncewelcorninQ and threatening: ''Sutk IllY code, I:Jaby!n

\!,that kind of identity. is implied in a virtual ellyir'onment, the presence of networked communitations?Iden�ity, traditionally understood, isaligm!d �ith notions ofpre�ence, thahvhich we carry around with us as. corporeal beings. Virtual or t.ermi11al identity, as .it

'-',' ··-<:'._;'-" __ , --'· _:.-;>;,_ :,:_::,_:· ' : :·: ' :\':f: ::':•: ":··' -- , • - .�'(:;:_-. _-.'- ''' ' ,-

·:·._-<- _:· •' , -

'i� als0 d��dribed,. st.igge!its a profound afldradicaldise.rntJodiment,a . n�tional,rather :hanphysical presence, existing, somewhere, in the

f1on�s[Jace of the net. Think of a tele!Jhone conversation to clarify the . idea oftwo absent bodies comrf1uf1icating within a sharecj, c611sensual

.·· ·�res�nl:� th�t JJe�a� d�s�ri�e as ��r�ual: ��ilr��u mightb� · "there" and· I ··might · .be •"here"inaph�sic�(sef1�e)�llrill9 il fele[lhdllk/• •·

·•

conversation, •where are"�� .. ? \IV ,ihi� � �'kgn� (c�nversbiion;··thollgh, there is still. "the grain6fthe �6i�e;t1 ;i��i��ih� P� Yii��presence . ·of· tile· spea ker.··•on·.· til�·· �et, fhe:\f�i�e·i� r�J�e��nt�d i� ··the·. silent

• •in:�rj�tions .of t�xt ona screen, by;"�igns.on•il.wfli�� field:"If1 this

virtual.sense'ofide[ltitV,t��t i:�·st�� inf'r ��rp�;siZ�resence, a surrogate,re�;��e�flng 4�:raosentpres��ce .• In this ·s�nse, identity is decentered, separatedf�o� the physicJI pr�sence of th;e speaker. -'-<_.-_---:.�::_.._,_._, __ ,_-_ .. -:c ;_-:_-, _: __ -- :->·-�:_':-_:_- <->,·._·: ·-::-· - :: ----:- -_:.):.---- . :· .

'Bjt :ve� .:ore.••than··.this,.:virtual }dentitV tan • b�·.a��.J�i�f�nrig· · · experience. ·of'fr�g��htatioh.Thr fltJ� of'dfg l��linfdrri,atibri is.•never ," - -",-. .. ', ---:--:·'-.'-'- ---'_, -, ''/' ,_.'• - -- -.--, '

reliable. As Norbert Wiener, thefounderof�yb��netics,o�ce observed, "AUinfo�matiC>� has a tendenc}' to•·leak•in •transit.�· When


Darren Tofts: Wrestling With Proteus - -

'

- . . ; -- -

identity is represented byth� de tour ofthe•sig�, qy Words on··a - - - - ·-- --- -_:--': , ___ ,.,_ -_-- -./ - --- .: - ---- - - - '--o ---- - -- ---- ... -- ---- :'>-- - ----

screen,. the. process of decellt�rillg is ongJingand unpr�dictable. "I - ' ' -- :- '

-_.- -

_._·: _ - ;

can't begin to. describe what thisdoes t:() rlly pody/'•declar�s a ' , , -- -.·--:··.-· . .-· , .· .---: .. - .,. __ , .-., , ._ ' ·_-.·'--:c

..• ·troubled 2rimiriologist ih JasonS�eeney's .. disturping · work· of'.forensic ,- - - - '

a�sthetic:s, The!·Last.to $£ie!Tnen}AJi!le.• Sliait�redimagd�of blood··· ::- :;';_

·:-.--/: ::;: : -- .. ::·.

::--- -- .': ' ':'- _ ':: -; � ·_;< --- ---._-<,

smear�d youths coqpled in �rotic. viol�nc�, reminiscent of Francis . Bacon's gritty homage�•to tJYIJridge, <tre r�fr�cted thro!Jgh various protocols • of· representati�rW��oci�t�d :wit�(�knne �e�ire and seducti�n�s�ch as

.text-based·chat.spaces <t�d·. '!pick--��"·jbints ). fn

seekirigto ·int�rpr$t t�e�f��lWat��ft�1e �c�he,· the narrator

confronts the reali�y 6��i��PlldiM�Ht,ihdfragrn.entatibn .of the body •• as

.it.•is .• distributed<t��di�J�f��d ��(}s�Het�ork� by

•· tethllblogie�·•of �ur�!ula�ce. s:e�ney .is i�te��sted fnthe .tele�visuai ·

•· .dimen.�ion.·.ofthE!�Eit,.which,�fo�pJs:d to :�·rds, ••• atleast •• offer�

•...• li��f1g��:�� i�ages .. of··people .•• IO••garti2tlar,'i��i��i�t�r��\i�the

·rJ�zy!djt6�ri�g.visuality ofwebcc:a�. streamin�, ��i��fof�grounds . - : - : - ---:- _ :-::<;:: _.--- - - - -" - -- ._._: - ----- :: ; _ _. :" -- :-< :_

tllere�ucl:ionof what were one� whole �odi��Jn�� pix�ls, d!lJist-like shapes that nev�ffUily .• recbn:�itute :h:t they r:pr�sentin their tr�r\;�is�io�. ��ebody is,· ih.a fig�rative•sen�e�n}'w��,reduc�d to bit;. !3o,too, •... is··· any information .that· mi��t·b; •• ��ri�:� fr��·.·the -·>_- :<-.:C"'->._; ____ - - - :- - ' ' • - - · -------<"- ".' ---:.::-: --�-

.various textual'�[ld 'llsi,Jalrepresentations of.a sexual encounter gone aw� .. ;; :_<::

··_ ,' -- -_

�[<!�Mentation, as.an ind�x.ofplacejh.om.e arlcl id�f1��i�,i{also

http://cavil.com/under_score/frameset1 0/toftay.html (11 of 18) (1 0/19/2001 12:25:50 PM]

Darren Tofts: \Vrestling With Proteus

---,_ __ <-' ___ ,_-.:_;o_-:·::::' _ -'-- ·_ - ----__ -_::_:_:_.- : - ' :·.::_ :·:.- --_-- -:- ·:.-·- :' __ -: _ ___ -:---imagined in rice; a.lyric;al, ic;onographic meditijtion on a wl1ite

Australian woman;� experience of post-colonial Vietnam. This <-;_-;:--.·-:-- --- . __ - _: . -_ -_ -- - -

· �"lc:peri.;m2� i� not represented by a narrative ortravelogiJe, b1.1t Is .. .

��sturecl to in terms of fragmentary memorabilia, s1.1ch as gulll

wrapp�rs,.beercoasters, dice, a pressed flower. These ephemera ,' : <: :· .. -- , " -- -- - - . • . -- - - . . . .

t:l'"i69er �emories.of a journeY;·irito·.<l.·heartofdarknessi� neighboring . - ---:;-:':'_:>."- ·::' ----_._:·-- - ·--:>::--::_-- - - ·,.- -----· -- - -

A$ ian c()Jnt�}ecovering from the. ravages of war and iJ1cotporgted ·

· • into ia •. po�er·regime· ()f

. whic:h .Austr�li�h •• ��s � co�trl!J�tlngf()r�e .. lice ·

·· is sGg�estive of a kind ()freverse a�tipodali��'�ht�ata �ro�imate,

be:irg�dcoJ�try· is defined iil r�lati()n.to"�go�iTJ;nt �ustralia.··This· ·

is.suggested·ir1 £iJ� {�� t�: :or:'1authdr,.•JennYWeight,;has

��·��e�iciz:d · her name (geni.wate).)nl t��rting t� the !Jase, phonetic -, ·-.-__ _._ --- --

- -<,.:-::-:-.; _::-: -'-,.'.-<,-:<--::.---".C<-:-::·---- - .

dimension of language, geniwat� �sCh�� the arbitrary . symbolism of

0rit�eri English,. which abstracts the Ji�u�l"trdiTlthe phonetic,• from

·;�� fuildamental.•gcfb(speafd�� ; 'it'i� � �Q�:nt.ac�, an

,actof.refusai •.•

�� CQ�fo��. ��: als� .an a:t. �fid�ntificati��Witb r ��b�;ai�: te

.

culture, .a culture cleftrlecl �s other by a domi[lant English speaking

nation; -- - - .. , :,-.:·: /:>->-_-, -- - : - ----·>:-:-·::.";;_--::·'-_.,:_-.;::'-<;_..;:

·.�dentity�j� this s�ns�,is .. conti�gent •• Thati .�Fit.is �bnditfo�akup��

t�: co�plex.dynamics}()fraJ�; �t�lli�ity, �·e�derand. nation�ljty.

While suchfactors ahfgiyens, to the degree that we ''identify''

C>t;�s�lve�.iO.• relation· .. to . . a �ati;>n

;or � 2ultu�J, tlley are n.ot .. n�cessa tily :. -: ----.> _, _. - ', ', - -- - ----- --- _.-: ---- - --.-:_: - --._-_:" :

fixed. As ricJatt�sts, uH�xpec;��d··or .dramatic change c�n i;,ping�


Darren Tofts: Wrestling With Proteus -,:·,,,-···, -/.'';; ' ' . ' upori who andwh�t we are, of what we might, or ITijghtnot, wantto

' ' :;_ "\,_: ----.' -- ,'---" :''" '-:: ' ' ' _, :-' ' ' ' beC:��e. \IIJHal: is �oiTiinant t:a n becpme other i .n an instant, and vice

; -,_-, :>,,::--'·:_' ·-:::_:-, ·: :; :-';- ' __ ,-, '. -:,'_;, ':: versa. pa�Vz�bina�on dramatizes this shifting dynaJ'llic in his.

transfiguring Rors.chach · 1Jiot,lfq$si/. .. �¢'spp�;iveit6 VIIh�t \lisitqrs . to

the·site ·see. in it,the F��sil's §ense ofit��lf, C>{itsid�ntity,is·.either

confirmed· or undermined �ythe iJpj�cti�ei�fl�ctio!ls ofvisitors . •' ' , , ' ', , , , , , ' ' , , ,, ' ' ' · --- --- - ' ' -

interacting .with it, In •t�is r�sb�c� i«2i£�v irltwhic� liossll interprets

• identity ih terms �fthe r�fleJti�ns ofothers (a<�ery antipodal

cone;eptJ,·· sUgge�ts ttJat i�eh�it�•jsAJi ia� ··��el12�ft�� ··rather ·.

--- '.' __ ,_, "- _: __ ':"' .. _., >,-.-,",--___ -:.:c -·<<:.:· ·;' '" _ _ :;, :-,--;.-,, , , >- - - --. -., , , , > , ·•· strA�thiU� tH�b;��61v�s'�ll .

respollse.totheperceptions ofothers.This

·�obi�G��f

:�� #ifutib�a•�, .resp:nsive

. i�entity· ··is .resonant·with .. the " ', " ' ,,, - - ,- ' '"' ' '

t6��()fflui�J�� and ch�nge. However it is modified. by J:helae;k 9fits

own.wil.l··•io deterrnihin� cflaW�e. -ttie/F��i� '� �i��e iti��lfis��ught

Jp<i�·, ;

•�i��:��e�dba�kloop, .recognizing, .. in

.the i.nteractions :�f

/>rs¢� fle�yisitor,perCeptions of .itself .• that·haJe·be�rl ·.·�C>fe�:�ifor: • . . ·�riJ;��r�� it� .

· meJ'llo� •• Its .• identity is .nothing

·. more than

··�h�� ·

··· ···.

'>, · -:-;,:. -:':--::,_.:_,:-:· -: _,' : -, ., ' ' -:-' ' ,.:' ,, ', - ; _, " / -

Zebington calls.a. "reliquary ofrecorcted perceptions/'this id�a,. that '" ' '' ' ', :�'--:. ,_,_,::,_:.,' ,- ;,'--- ·,'_:::''- , :/'·-':\:_ ::: ::_:,<' - .. _ -:> < ':''- --_

.. w� ar� wl1at�tl1ers see•.in �s, recalls the notiOn 6t.antip0dalidentitY (:'' , ',)',: ·' ; <; - -'- , ' ' '-, ' ' ' : ;.:::-'-

' -: ' ':::, _ _

>-:-:;�{ ·>_:>;-:_','/_:_:.:::-discussed·earlier, .in whic;hthe

··�olonialselfnlir:r6fs th� �llit�ral

•

idehtity.·of a·.· remote. other. :n •• i�v��s� iPro¥��i\�� dbui�[6hknge

shape and identity with •. the force of hi� d�h �III,.}Z��iridtlrJ 's Fossil

o$sifies . intd .. a . cache·•ofret�i\1�� icl��kaJ�p�tc�ptions,. a stefile,.

collectiVeconscious��s·l�t�ic� f��o�s;.ci;{:J��arallce (ironically

th� • import··of .a �orschac;� ��£t) ale .• �linli��d�···



cC>qtr'ariWise (the proteani.mpqlse easilyai:comiTlodates opposites), ; :.··· ••• --��, •· · ... . :

'' : -.· ... ·· :. •. . .

. . ·•• •··. •·· .. �:.

•• , ..• •.· • ••• . • •• .. . · .·· .

-' - -. ·· . •• . . .· . . .

•• .

.. •• • · . ... · ' .. .

. ,·.·. · .. ... · .. · .·

. ·.·• the, idei:j �fdifference andJragmentationis celebrated as· enriched -.:::>

' _::'' . -":� - - - :-:- _'--

,' -

ptolifer�tion inthe transforrhative hypertextual writing ofjhe

ltJta}rklJ/bJed�ng Jextsj 'I{�C>Jid b��rlo�s�(liE!tq at.tribqte an '-· ""' .·. -:;-- · .. ::� ' ,-- ; ',' ·:, -�--. . -, ::)· · ":_-_o:· :,:,o'•<'"<-:·:<'-"" '<·:,' ; : author to this wor!<, as the concept of the auth.or, with its - ; ,' " ' <.

connotations of pri.9in.a�d P:reS'ehce, clon'tsif W¢11. with the : ':<--_ -- --- ---- : �--- '' :::·< __

_ ,_:_, _--

,<:.::-__ :-:::<_--·:. __ . ·:.::_,--:.>>:'!::·_<:_ � _,_- _:- _ ·---

� - -_ -_- .- _-: - >:_-::' " ', " -discontinuous poetics qf[vlez{a;k.a Mary�Anne Breeze, another shape-

. ¢b��dlr). �ez's'e-deograpbic�ritingliteralizesthe dispersive. nal:ure

ot.�h� net0o�k,el�ng�ii�d,a�d.cli��.ii��lan9uadl.Jnt&an···'··.·· ••··

unreadable,. u qrecognizable' .syntax. th:t ••. i.s, sur�risindl�,· �ich

. :f)�· fun -, ' ', - - -· - - - : -' �

of·�e:�ing ... ·n•i§ r�plete.\o\lith. puns, do'dbl�entE!qdres,!ndeterminate

meaningsand unexpected •. dislqcatior)s.>W�rdsafe brok�� upi�to

, sylla.�les,then ··broken. d�dn •. ev��··furt�eid &��e�.�!i)��iitl��·: ,.· ..

·.· iJ��iit�e icl�k()r>1:nehy�eR��fJ�I Wi1:1\th$ <lBstraction of'c;qae, · ·,

signaled.;lnthe,· prolific. use· ofdia�riti�/�:r�/:&��·.·:s···Jr:��:ts,>,

.

.

apostrophes and underscores. The ungraspable, elusivequalityof

electronic \N�iting achieves its mo�t dramatic form iq the el{asperating - , , -· .

dysrhythmia of e.Motion.a/1, Weap(}n .. Loacter. In this frenetic work, ···�=·�r?��f:oqt�d···��·c��J�si�i·�x�e�i�·��···�fah!int�rfacdth�t;··• - ' - - • ' ' , ·:-- - � - ::. --:

_:->-' ,-;_::._: ·<-. ,: '- -like !'roteus, literally. eludesany attempt to be pinnE!d down and

interacted with. We !lave becorne so accustornf'!d to. point and click. at

··•thih��. \Y��·r�if)t�rgcti�d �ifh. i��th¢�b��[qft��sbr$�n. Thi�···�ork.

kno:sthis ·and;J;�:�sfg;co-�perat�i�.;�riy�0�·�:···



�- - _- -- ':-_;--:-_'_'\''::_;(�: _____ --:>-:'-': ;

''The nature ofthe uni�er$e,'' �bser\ledt��£�<l century Roman orator Antbni�s.M�rcus, ·"delights notin anything so flluch a:tdalt�rall things, and present them under anotherf()rm." No doubt inspired by

epic tales of ocean travel and protean struggle; such a remark invokes a contingent, chaotic universe in which primal matter is volatile; a universe . that)s. yer/ f<jfllili ar tp our.c§ntempori'lry agepf ::<::,-_:-_.-f· ,;_ ', --- -: _ _. ;_: :::·;> -: ----.:>_.-:--:---_.--- ' - •'< ::-__ �-- - -:-i:::_:-:::- --·-::.-:'::':/::------·-_·.:::. - - - -<: :·--.:. _; - - --� -

complexity. Net life is a· constant coml11ingling of strange attraction, . t�.�.JgM.fJot�U·arti�t;•�gi�:;ollit�·G;6&i��\�o�silJ.iliti��.i��>t�ifl�ill� . a�a�t��Jh�p�ells.tdZ$when�� rre <lJu�e,a�h� ,i��kib, �n··�is. · .

.

. aptly·named 177en!scds, tses th�idea diJti'Ysibgn()lllyi- th� ��lief

. · ·tH:� it i{&ossibl�to ''read" a· person's identif� In th�ir f��ial······

c:ha racteristicS •'"' as � !ll��pfjdJfort��DlJ��Il .. coll)putef illt�rfclte. In ..

···�.b��%�1Jisfus·�·��•�e�i!1aiJ:;gehlcSiifon�i�s�tlri��s··th�··d�ctrine.of.· ·tecR�old�i��·�r�gress{�h�prdiTlisr.ofb�dily•tran�for�ati�n tnrough .·hioit�g�llic�. ��;bJ��Qd n Y�urs�lf)rn�nudf·c�arl�teristics, �u�·lities�r1ci.aftributes en�b��ithe U��rtd "*thieveir) o�IY.secobds · .. what would take nattwe generations." Intetactivity anp di�ital manipulation•are,

.forTorkin,;��rodic.an•�l;gt��·

·�f�rdc��s:�Ji

natural selection; the pi�el is to personal· image manipulation<wn�t prilllal matter is to. genetics. Tonidr1's archive ofmodifi�Clf�d!sand

·'bod(tek is••sometnlng <lra b:stiarJ,.aneta�e �ersiono;t�e cahinet .of ·'·-::-: ... --··_-':_' >_-.-- __ .-_.{:· _ _-_:,>·':':--::-<·_-.-:::'_ .,-: __ ;'.:- :·_ .. :_.- _c,:'< _ .:· _.:::,:-_- - --.:-<-- " --,

··duri()�iti�� the• fr�akis�owand .·the beayti�i�Jl's saloll.·, fhts·visioh of technology as aberration is the nightmare of being digital. Liquid ··identity,fartrpm b.eing a benefit or desirables>lltcorl1¢, is se�n a� a



form ofmonstrosity;

tilE! idea pHhe ·perverse, ffi!Jtational· outcomes of technoldgical

progress underpins the dys�opic, absurd worl(:l of Ian H<Jig's Web . �evd/utfon •

. >ItlHaJg's garish Seb-�orld. ofc�ack�ot cults·and

· · .·>--. --- ',

' ' ' _, - ; technologically. over-identified geeks, .humanity is devolving a tan

·· al�rflling rate, The key indicator ofthis,devolution seems to be an

�l'agg�rate� expl�it<Jtion ofthe web as a glqbal pi<Jtform fqr pershnal

evangelism.• In this W�6devblfttlo; i� �tirJ�<:� j��llt �� J�!��d .----=-·:,:-:;•: <;<-/:-.--:<. < - ::·>. : _, -:: _-, _ _ .-.- -:--__ >:'. ,'

. th� p�opl.e who mak� tnE!Il).t6an ahyfl\i.h��s�/If•sgrh�lW§•�If.ifl� .

clic�es ·of hom�-spu� ��i��;��,ft�� i!�d�lling colqr.s�nse. <Jnd

typography, .. scrol.ling te�t anG �vkfd�n�t��ti�n; t�exc�ssiJe

.interactivity ·anct . . prolifet�ting hyd�rte�tll��i11±�i�ii�di;ital

co�nectivi�y gone.�ad:, ··a .• Prolixitywhicnsuggests thafa'litti�··HTML·• ·

in .. the·wrqngh��ds(canjd� a·i�n� ,· ·{J�� w�Y.

'�e;dev;/Jtiorfs

promise ·of"�v�lutio��rt ��;�odie�" •. smack� of·<Jweirdo sensibility

that has. spent too much time �1t2hi�� dt;t �a!Y movie:, playjng : -

_,_ -:::· -''=>:-::>.;· __ ;\:-_ :- >:.,_:,:-:: ' ' ,' :> -<-·', --': - -_

· i:J(Jilgeolis and Dragons and surfing. the. web for updates on •·

.doomscl<JY. Tfl�\·s��e�.�b��;�::d. tnditi��al" �f :eb

·.d:volutianjs .not··

thi ��taangel of•the cybercceiE!stial· City,. nor the ··liqu\d.id�ntit�;ofthe - -- - ' ,- , ' ' ' ' ' ' ' ' ' '" ' ' ' ,'

��t��st;eam,. but rather the ugly f<Jce of extremisma�d fanaticism: a '· -, ''-- ' ' " ':- __ :·:: :·:- -,

mutant who hOt qnl¢ 6elil:!0�s iil He<J��ns Gat�, but i$ convinced th<Jt ' >--:.:<:: . . : ','' '',; __ :--_---_<<:( ·; _,

··Elvis is alre<Jdy OJ1 board.



To return) then, to whereweb�gan. The IOCq) and the rel"note pre the _- y- - -. _ " ';:--- <-- - '- . - -- ·:_. - -

· · · ctetisi\f�t��lt)s 6rexthang� or1thenet: E\ierycenter.·is.a •periphery,

�\le�perip�ery.a�ente�,t��IV� ter�� rningling in ttwanti-

· spatialecology of the net. Froll1 �herev.erypu)ook at it, .this is ' _ _.,_. ::'.-. ' - _ __ , __ , · . .': -- -·.-·, - - -:::----:-·:.- _:, <:..: ',

" :�:--:

·· a�tlpod�Jty 6� any6tll�r ��me, in •any 6t�er langu�g�; 'To

acknowledge this is to recognize that antipodality is not, in advance, -- --- - ., : -

_. -_ . . - - --

a �istloctly · Australian··exp�ri��c�. It is a .rec�gnition .. of "''; . . . tllatwhich. is far off, the diStC!nce that bedevils communication

. . . ·��yond··•the.· range. Of.·physical pre$ence; a iUstaflc�,.·.b�fqt�.

{tete),

· .. •• tel�chmmu�icat;:ns,

·· as.dra.�atic.·across· the �tl:ntic •:c�anas•. the

·····.·;��iJ�;()�, rna ill:re.�i�ian�·ti��·��· ��a��, i�e;Jl.��.Jj,i�·

· · ···•.··

· .. -:._;·::. · · .. ·. · ·.

·.•.·.·. ---.':_. ·:·: ..

.. ·· ...•. ·<.·:

__ - --. · . ·.•.•. · . .•

· •. ·.· · .. . -.. -.. .. ·

..

·... .· · .. · . ,-- -.

. . . . •·.•

. . ·•• .•.

·· ... • • . _ .-:;..-. . • ':'.•·. · .. · ·.·.• .. ·.·. ·;· (listancetfora•time,.situated· Australi.a· .at·the•.opposite· efld · of the ::\'':'-' : .. >;- ----�;--:_- ----- < -'--- -:::. - - - - -._. ·-_;" -� .-.:<<'

.· •0C>rtc:I. ·Qoviit•is a•distC!Ilceon the way to disaJ)p�arilllce. The works

. > b�:ughtthgether inU!7qet(scpre maywt;ll be frorn·. artists dpvm . .

ubdEiri).bl.Jt iheypernOhstrate, .· eloqu�ntlyt huhl()rousl�, s6rnetimes ·

violently! that the. terre!jtrial co-ordinates of longitude C)nd latitude - - ' -,

- - - - --

clqnihold muchtruckinthe ambience. ofcyberspace. the underscore ,::,: ;_._ .;:.'--- .·_.".: - :· . ,' '; ' ' - -:' :_ ' :

---

-i� thde/c_icore i!l an enigmatic cypll�r of this global terra incognita,

. the ilvatatoftelepresE)oc�, syfll:hesi�i ng clifference ihto pl"oxi rnity, yei:

r:t�i,�ing· ··�·��traces

.

of·t��t.di��rence:.

- - ' __ .,'-:_ -- , ____ .- -- : -. - ... }:::-��--,�� -hY�_i·��::-��-: -�:-�

-t�,-ci_. :_t_z:«'p_&_-:S:fi;i):';-:��:'. 9_-t�_k·z-�--:��;-t�;v:�f£-p; d

. ;v=p�sd0a�;21 ,�·p�i'ILV'{-•;(:,p 2

[l]McKenzie\Nark, Suck ohthis, planetofr10ise! (Version

http:llcavil.comlunder_scorelframeset10/toflay.html (17 of 18) [1011912001 12:25:50 PM]


1.2}, in David Bennet, ed.� Cultwal,s-tudie.>:j'loralisp>i!nd th(!ory . .Melbourne:· Melbourne Unlyersity Press;t9!)3; · p;l64.

. . . . ::

.·.-.· .. ::·.·. . .· .. ·' ,._-:_·

· .. ·.: : ••. · .....• -': ... :·:_ .• ·.•. ·· ·· .• •·.. .·· · .· .. ... · .. · . . ·.. .· . --:-.·

.• ·.·. · .;·:;···'.

·.::.-�:·· .·····.· .... -' -.

·••

.· · . . · .. .. ·.· •.. · .. · . ... •. [:2] "He be<;a,rne .. lnturn a bearde�<.lion, · a.sn<�ke,a ·paflther,.a monstrous boar; then. running• w.ater.'' . .

. ' . TheOdys,s-ey,trans. vvalt�r Shel'/ring. Oxfdrd: Oxford U .J1iyersity �re�s, l.!)Bp, iv,.457�<j.l;9;

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