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Following Derrida, who d(e)rives the Artaudian jet from “the drive itself . . the force of the drive . . the compulsion and the expulsion . . ”38 The effect of the re-jection of objects was an assertion of art’s historicity and indeterminacy. The authors in this volume collectively suggest just such an undecidability that mitigates against a need to re/categorize objects and media or to resolve the tensions among communication, activism, and art. And significantly, collectively is the way many of the distance art projects themselves spoke.

Described in this way, electronic and information art finds support for many of its conspicuous features within a host of practices, rather than being seen as anomalous or marginal. Information art is still not, however, the central or most potent aesthetic force of the period. All the other movements touched on earlier in the chapter—pop, minimalism, Happenings, conceptualism, Fluxus, performance art, and so on—have well-defined outlines in the critical landscape of the 1960s. Information art does not overwhelm or supersede them, nor do its concerns subsume these other activities under a broader category.

13. Derrida, Post Card, 65–66. 14. Avital Ronell, The Telephone Book: Technology, Schizophrenia, Electric Speech (Lincoln: University of Nebraska Press, 1989). Ronell’s telephone book (a seminal text) answers the noisy calls of telephony very fully, so I will not rehearse her arguments here. (For a further discussion of Ronell, see my “E/motional Machines: Esprit de corps,” in Conference Proceedings for Affective Encounters: Rethinking Embodiment in Feminist Media Studies, ed. Anu Koivunen and Susanna Paasonen, University of Turku, School of Art, Literature and Music Series A, No.

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Draw & Write!


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