also experienced as heterogeneous--both discontiguous and contiguous, lived from within and without. Cinematic presence is multiply located--simultaneously displacing itself in the There of past and future situations yet orienting these displacements from the Here where the body at present is. That is, as the multiplicity and discontinuity of time are synthesized and centered and cohere as the experience of a specific lived-body, so are multiple and discontiguous spaces synopsized and located in the spatial synthesis of a particular material body. Articulated as separate shots and scenes, discontiguous spaces and discontinuous times are synthetically gathered together in a coherence that is the cinematic lived-body: the camera its perceptive organ, the projector its expressive organ, the screen its discrete and material center. In sum, the cinematic exists as a visible performance of the perceptive and expressive structure of lived-body experience. Not so the electronic, whose materiality and various forms and contents engage its spectators and "users" in a phenomenological structure of sensual and psychological experience that seems to belong to no-body. Born in the U.S.A. and with the nuclear age, the electronic emerges in the 1940's as the third "technological revolution within capital itself," and, according to Jameson, involved the unprecedented and "prodigious expansion of capital into hitherto uncommodified areas," including "a new and historically original penetration and colonization of Nature and the Unconscious."[28] Since that time, electronic technology has "saturated all forms of experience and become an inescapable environment, a 'technosphere'"[29] This expansive and totalizing incorporation of Nature by industrialized culture, and the specular production and commodification of the Unconscious (globally transmitted as visible and marketable "desire"), restructure capitalism as multinational. Correlatively, a new cultural...
