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[Network Aesthetics] Index.Pdf Index accidents: Aristotle’s theory of, 79, The Wire, structures of feeling, and 259n21; cinematic reflection affective complicity, 134– 38 on, 258n15; conspiracy films vs. affect theory, 33, 243n92, 264n66 network films and, 100; in network Agamben, Giorgio, 223 film, 77– 80; inSyriana , 78– 80, 89– agency: digital games and, 147, 148; in 90, 92, 262n48, 263n58 The Wire, 117 action: Arendt’s theory of, 160– 61, agnotology, 58, 251n37 162– 63; Between and, 160– 63; Alexander, Christopher, 208 reflection, active, 165;Uplink and, alone- togetherness, 2, 7 153 al Qaeda, 260n32 actor- network theory (ANT), 108– 10, alternate reality games (ARGs), 181– 128, 243n90, 268n19, 268n22, 219; alternate reality, production of, 275n72 193; collective dimension of, 195– Adorno, Theodor, 26, 230n13 96, 295n58; connectivity and, 183– aesthetic politics, 101, 265n75 84; defined, 183; designer- player aesthetics: concept of, 16– 19; of distinction, breakdown of, 193– 95; dejection, 99– 100; intersubjectivity ephemera and, 218– 19; exhaustion and, 141; post- identity collectivity and, 216– 19; and experience of and, 141; tensions in, 26. See also networks, vs. representation or network aesthetics; and specific imagination of networks, 183; works human- environment coupling affect: human and nonhuman in, 200; integration of play with dimensions of networks and, everyday life, 191– 93; names for, 31– 33; intensity in Syriana, 90– 91; 182; as networking, 186; practice- Journey and, 171– 75, 286n86, based research and, 185– 87; 287n68; network films and affective prehistory of, 187– 89; process and, experiences, 85– 86, 102; Stewart’s 199– 200; scale and difficulty, 195; “ordinary affects,” 287n69; terrorist Speculation, 194, 226– 27; Tomorrow networks and, 82; Uplink and, 154; Calling, 181– 82, 194, 208, 214; 300 Index alternate reality games (ARGs) (cont.) Barnett, Thomas, 95 as total engagement experience, Barthes, Roland, 262n48 217; transmedia flow and, 189– 91; Bartle, Richard, 145 videogames and computer games Bateson, Gregory, 192, 200 vs., 182– 83; viral marketing and Battlestar Galactica (TV), 39 spreadability paradigm and, 184, Baudrillard, Jean, 40 213– 14. See also Project, The Bazin, André, 241n80 Altman, Rick, 117, 271n44 Beast, The (ARG), 182, 191, 194, Altman, Robert, 73 293n34 ambivalence, 224– 28 beautiful, the, 240n68 Anderson, Ben, 260n29 Benjamin, Walter, 34, 41 Andrew, Dudley, 261n44 Bentham, Jeremy, 192 “Answer” (Brown), 39 Bergson, Henri, 32 Anthropy, Anna, 148, 170 Berlant, Lauren, 22– 23, 114, 185, 222, Appadurai, Arjun, 30, 31, 33, 237n46 225, 250n28, 283n43 Arendt, Hannah, 141, 160– 63, 176, 208 Berners- Lee, Tim, 13 ARG. See alternate reality games Bersani, Leo, 291n96 (ARGs) Between (game), 155– 66; about, 146, Aristotle, 79 156– 57; Arendt’s theory of action ARPANET, 12, 189 and, 160– 63; extimacy and, 164– 66; Arquilla, John, 81 flow and, 161;Journey and, 177– 80; Arrighi, Giovanni, 92, 263n56 multiplayer gameplay, 157– 60; art: as category, 17– 18; play and intimacy and, 177– 79; Gesamtkunstwerk (“total relationality and, 160; uncertainty artwork”), 190, 199; intermedia and, 163, 283n29 and multimedia, 188, 190; network Blas, Zach, 224 aesthetics and museum- based Bleak House (Dickens), 248n14, 276n82 artworks, 28; network art, 139– 40, “Blood for Oil” argument, 97, 265n69 188, 189 blowback, 82– 84 artgame movement, 189 Blow Out (De Palma), 78 artgames, 146, 155– 56. See also Blue Company (Wittig), 29– 30 Between (game); Journey (game) bodies and embodiment: aesthetic Atari, 156 politics and, 265n75; body’s atmospheric media, 285n60 capacity to affect and be affected, Auerbach, Erich, 113 264n66; exhaustion, 216– 19; avant- garde, 188, 223 media, bodily dimension of, 32; The Azcona, María del Mar, 77, 90, 256n2, Project and, 215; Syriana and bodily 257n9 engagement, 101 Bogost, Ian, 159, 167, 242n85, 279n6, Baer, Robert, 264n61 281n14, 284n49 Barabási, Albert- László, 98, 220, Boltanski, Luc, 10, 231n19 230n10, 232n23, 249n26 Booth, Paul, 209 Index 301 Bordwell, David, 73, 74– 75, 77, 100, chaotic fiction.See alternate reality 257n2, 262n52 games (ARGs) Bourriaud, Nicolas, 29, 140, 143, 188 Chappelle, Joe, 275n77 Brathwaite, Brenda, 206 Chen, Jenova, 168, 174 breaks: in network film, 90, 93;The Chess, Shira, 209 Project and, 217 Chiapello, Eve, 10, 231n19 Brooks, Peter, 113, 124 Ciccoricco, David, 237n45 Brown, Fredric, 39 Clark, T. J., 135– 37 Brundson, Charlotte, 272n51 Clayton, Jay, 252n51 Bukatman, Scott, 40 cliffhangers, 272n50 Burke, Edmund, 239n60, 240n68, Clinton, Bill, 12 248n15 Closed World, The (Edwards), 22 Burns, Ed, 114 cognitive mapping, 26– 27, 55– 56, 111, Burroughs, William, 152 240n76 Burrows, Roger, 107 Cold War: blowback and, 82– 83, 84; Bushnell, Nolan, 156 Clayton on, 252n51; Stephenson Butler, Judith, 99, 265n78 and, 252n52; terrorism and, 87; Underworld and, 60– 61 Caillois, Roger, 162, 183, 191 collaboration: ARGs and, 196; Journey Caldwell, John, 129 and, 167– 68, 288nn76– 77; The Callon, Michel, 108 Project and, 202– 9 capital and capitalism: collective threats, 245n5 “communicative,” 184– 85; collectivity: aesthetics and post- Cunningham on the novel and, 71; identity collectivity, 141; ARGs hopelessness and, 100; Jameson and, 195– 96, 295n58; crowd vs. on cognitive mapping and stages multitude, 295n58; The Project and of, 26– 27; Latour on, 275n72; collective collaboration, 208– 9; play and, 290n92; proliferation togetherness vs. community, of network concept and, 13– 14; 296n58; We the Giants and, 6 spatial problematic in novels and, communication: ARGs and, 200; 254n65; Syriana and tragedy of, digital games and, 152; Journey 99– 102; Underworld and, 55– 56; in and, 167, 172, 286n82; The Wire, The Wire, 123– 28 communications media in, 120– 23 Castells, Manuel, 8, 9, 12, 14, 203, 204, “communicative capitalism,” 184– 85 244n95, 296n58 communism, in The Wire, 127– 28 Castiglia, Christopher, 141 Communist protonetworks, Castronovo, Russ, 141 personification of, 245n5 Cebrowski, Arthur K., 259n28 community, sense of, 141, 208 Certeau, Michel de, 169– 70 comparative media approach, 30– 31 Chaddha, Anmol, 107, 267n18 complexity: DVD format and, 272n51; “Chain- Links” (Karinthy), 232n22 emergence and, 85; realism and, chaos theory, 78, 261n39 274n66; as sensory overload and 302 Index complexity (cont.) and, 67; cyberspace and sense self- organizing system, 86– 87; of, 239n61; Deleuze’s “control sublimity and, 47– 49; televisual societies,” 27, 152– 53, 155; digital seriality and, 103– 4 games and, 161– 62; network complexity science, 78, 84– 85, 261n37 aesthetics and, 21– 23, 27; “power complicity: collaboration as, in The without control” interaction, 194; Project, 202– 8; Derrida on, 205; The temporality and, 153; Uplink and Wire and affective complicity, 137, computer network simulations and, 278n95 152– 53 computer games. See digital games and controversy, 125, 274n66 videogames convergence culture, 30– 31 computer networks: breakdown and, Corner, The (Simon), 268n19 182; control and history of, 21– 22; Cosgrove, Dennis, 43, 245n1 in Cryptonomicon, 253n57; digital counterplay, 205 games and, 144; failure and, 210; counterpublics, 180 new cultural and art forms from, Crary, Jonathan, 181, 208, 217 182. See also networks Crawford, Chris, 281n14 computer network simulations, 148– 49 criss- crosser films, 74, 256n2 Computer Space (game), 156 critical theory, 15– 16 Comte, Auguste, 85 Cronenberg, David, 89 connection and connectedness: cruising, 180, 291n96 connectivity vs., 183, 203; control Cryptonomicon (Stephenson), 62– 71; vs. limitless connection, 21; analogous relationship between “everything is connected,” 7– 8; novel and network in, 62– 64; excess of, 224; as infrastructural departure from earlier technological basis of everyday life, 1– 2; linkage– fiction, 64– 65; epistemological disconnection spectrum and, 7; limits, sense of, 70; historical network films and, 102.See also parameters and maximalist form of, network imaginary; and specific 63, 65; Lawrence in underground works railway, 68– 69; libertarianism connectivity: ARGs and, 183– 84; and, 255n74; materiality and, 64; connectedness vs., 183, 203; as maximalism and, 63, 65, 253n61; weapon, 81 as network novel, 44– 47; prologue conspiracy: collective nature of, and Shaftoe’s haiku, 62– 63; Randy 258n13; conspiracy films, 76– 77, and computer networks in, 253n57; 100, 262n45; Krapp on conspiracy spatial, temporal, and geopolitical theory, 258n11; network films and, dimensions of networks in, 66– 69; 77– 78 title of, 69– 70, 255n72; undersea Contagion (film), 258n12 cables venture, 65– 66; Underworld control: Anthropy on digital media compared to, 64, 72 and, 170; Between and, 162; Csikszentmihalyi, Mihaly, 161 Cryptonomicon and the Internet Cunningham, David, 71 Index 303 cybernetics, 21, 239n61 and, 147, 148; ARGs contrasted cyberpunk, 40, 48– 49, 249n18 with, 182– 83; artgames, 146, 155– cyberspace, 239n61 56; Between, action, and extimacy, cyclical repetition, 136– 37, 278n94 155– 66; blog culture and, 173; as cultural form, 143; Deleuze’s Dabney, Ted, 156 control societies and, 155; history Dante Alighieri, 284n48 of, 144– 45; Journey, relationality, dark play, 192 and affect, 166– 77; missile Darwin, Charles, 221, 297n4 assassination scene in Syriana database cinema, 74, 80, 257n2 as suggestive of, 93– 94, 263n60; Dawson, Ashley, 97 modeling of complex systems Dean, Jodi, 184, 215– 16, 226 by, 281n14; modeling of worlds Debord, Guy, 191, 216 in, 141, 148, 279n6; networked deep play, 192 play and online intimacy, 177–
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