The late 20th and early 21st centuries have seen the creation of new forms of subjectivities that represent the integration of digital and information technologies into construction of the self and bodies. I argue that to this point there has not been a satisfactory theoretical framework for the experience of bodies in virtual environments that does not default to problematic binaries of physical and virtual, real and unreal, and meaningful and meaningless. These dualistic constructions render experiences of bodies within virtual settings meaningless. In order to examine how this power differential between physical and virtual came to be, I engage with Katherine Hayles' evaluation of information as a disembodied entity. I argue that Hayles' humanist principles prevents her from fully understanding the experience of bodies within virtual spaces as meaningful and important. I then deconstruct the materialist basis of representation in order to demonstrate how information can be reconceived as an embodied force. I further analyze digital media art installations, specifically dance performances, to examine how digital bodies are currently experienced in relationship to corporeal forms. I finally offer two new theories of <reality> and the networked body in order to dismantle the binary between physical and virtual and to make a space for all embodied experiences to be valued. / Master of Arts

This study explores the human and technical limitations of looking and seeing. It proposes a model for design that expands technical sight toward harmony with our human notion. It proposes a model for design that expands technical sight toward harmony with our human notion. This study is guided by the phenomenological experience of being expressed primarily by Heidegger as well as neuro-physiological research on the mind and body relationship by Ramachandran, Sacks Nicolelis and Damasio. It examines, in two paths, the technical developments that seek to alter or enhance our ways of looking and seeing. The first path is an assessment of ways of looking with optics-based cameras that includes how cameras might be set to look, how they behave in looking and how they translate that look into an image on display. The second path is an assessment of the image in varying states of readiness which include the capture state, state of rendering (for view) and state of display. The study uncovers the various ways that images are translated to be seen, and how sight and ocular vision might be detached in the process of imprinting what is seen in the imagination. It includes key examples of modern image device capabilities, makes suggestions about how the framework of this study can be applied in specific cases and predicts the state of image devices in the future.