New Media and the Artaud Effect

Acknowledgements
Contents
Chapter 1: Living Hieroglyphs
	Hieroglyphic Keys
	A Universe and a Theater of Signs
	Shedding Light on Hieroglyphic Language: Fenollosa and Pound’s Revolution of the Word
	Aby Warburg’s Expressivity without Subject and Eisenstein in Mexico: Hieroglyphs in Motion
	Hieroglyphs as Fields of Force: Olson’s Origins
	The Originality of Artaud in Twentieth Century Hieroglyphics
Chapter 2: The Power of Capture
	Inner/Outer
	Cybernetic Totality
	Brain Matter
	Sorcery Without Sorcerers
	Body Without Organs as Substrate of Resistance
Chapter 3: Beyond Hieroglyphics: I
	“The Body Is the Self”, or Godard’s Incommensurable
	“Impossible” Influence
	Where Artaud’s Ghost Seems to Move the Most—Grandrieux’s Cinema of Cruelty
	Grandrieux and Sade
	Constructing the “New Body”
Chapter 4: Beyond Hieroglyphics: II
	Klossowski’s Body Exchange, or Sharon Tate as Hieroglyph
	The Body Remixed—Sterlarc
	Catastrophe Theory in Gary Hill
	“the infinite, this is me”
	Schizophrenia as Interactive Cinema
	Another ‘Outside’
Chapter 5: Don’t Forget the Virtual
	Artaud: The Urge for Destruction
	The ‘Virtual’ as Revolutionary Source
	Breakdowns
	Artistic “Virtualism”
	No Guarantees
	Whose Groundlessness?
	For a New ‘Anti-Psychiatry’
Works Cited
	Archives
	Bibliography
	Filmography/Electronic Installations
Index