“Just as the tools for representing the environment are the images and events unfolding in front of the camera exposed to the film strip and it’s material, or affective field, is the audience. To engineer a response in the audience the ‘tools’ used to visualise the environment need to be sharpened by an immense post-aesthetic remaking of the notion of effect in the service of the revolution.”
Sean Cubit Digital Aesthetics (1998:42)
“Traditional drawings and models have given way to animations, scans and readouts, and sound has become a digital signifier whose form adjusts it’s shape in front of us like an amorphous cloud …”
Paul D. Miller Rhythm Science (2004:5).