In his book, Soft Cinema, Lev Manovich discusses the formation and composition of soft film via a GUI/Global User Interface and random generator to extract the info-subjectivity of various heterogeneous file sources. Through this approach, he explores how info-subjectivity can be non-visually visualized, while simultaneously being linked to different layers. The renaturation system composed by the files reproduces the subjective experiences of life within a global information society. As a mix and match polymorphism, the heterogeneous flow of composite organisms and Internet bodies has already become an important platform for the formation of soft film in a global information society. This is much like in The Order of Things, where Focault places things next to each other without a particular order by juxtaposing, mixing, and matching non-place and common locus. This paper positions the Internet body as a philosophical common locus of a non-place to explore the randomness defined and extended by soft film. This is conducted to interpret information, material resources, and other aesthetics of Internet data, and re-extract the kinetic character of avant-garde net art. Through an even more philosophical and critical perspective, net art and an interactive documentary created by Perry Bard, Aaron Koblin, Ridley Scott, and Richard Vickers all correspond with the aforementioned concepts to form a discourse on Internet media’s aesthetic theory of “ Info-Subjectivity.” The discussion covers media soft cinema concepts, philosophy, and art, and is not only a deterritorization of the Internet’s energy, but also a conceptualization of the Internet itself. It echoes the multi-state and plurality of the Internet, as well as points to the openness and dissociative nature of the aesthetic concepts of the Internet.
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