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Biopolitical screens: image, power, and the neoliberal brain

turns against or co-opts its underpinning codec: ‘[T]he key frames forced to act as buffers of change, points of translation and contrast [are] generating their own effects of uncertain vision’ (p. 263). In this unstable multiplicity of the image, ‘the proliferation of virtual futures from a nonidentical present’ (p. 263), the virtue of the vector comes close to the absolute qualities attributed to black, which is incidentally mirrored in the final fade-out of Cahen’s L’étreinte. The Practice of Light has come full circle (spiral?) and I am both in awe and suspicious of its grand symmetry. Yet, Cubitt’s rigorous sense of order is dynamic and avoids becoming static. In video graphics, Cubitt argues, the vector is exploited to quantify and ascertain in the name of efficiency. In his own reading of Cahen’s L’étreinte, the notion of a landscape works like a key frame that – while arresting the flow of light in meaningful units – underscores the excess Cahen’s juxtaposition of images generates: