Particulate cinema: Visualising data and posthuman physics
Movies used to be made. They were things: overwhelmingly sensational yet entirely immaterial in their manifestation of audiovisual eventfulness. In a sense, cinema produced things in a parallel universe running in tandem with modern art’s desperate drive to “immaterialise’” its artworks and “de‑objectify” its creative economy. Yet movies did this uncontrollably and inevitably. Are not movies large‑scale, immersive, collaborative, multi‑tasked, industrial commissions? And is that not what eventually became the imprimatur of internationalist biennales bent on spectacular production?
