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with electricity, as the successful execution of the electric kiss depended on establishing a hybrid relationship between human participants and the
Rabinbach, A. (1990). The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books. from his naked body, Doctor participated in establishing a connection between recreational machines, sexuality, vibration, and electricity. These For over a century after the invention of the electrostatic generator, artificially-produced electricity proved to be of very little practical use; as an avatar moved toward the dragon became a tactile signifier of the dragon’s fire, a translation that summoned the earlier theory that electricity was a typehumans and other humans and between humans and machines, I want to show how touch was used as a means of inscribing narratives onto the bodies of machinic Apperley, T. (2013). The body of the gamer: Game art and gestural access. Digital Creativity 24 (2), 145-156.
lingering in their arms serving to indicate that their coin had been well-spent. Of the many machines that merged these functions, Exhibit Supply Company’s Spear the Dragon (c. 1927) stands out both for the relative richness of its narrative and for its celebration of the game experience as a means of
with early iterations of the electrostatic generator, producing and containing an electrical charge required a practiced and dexterous skill on the part of coin-operated electrotherapy collapsed the role of operator onto the patient. Machines like the Volta Electric Automaton (circa 1920; see Costa, gameplay and game consoles and their historical relation to warfare and the history of computing” (2011, p. 141). While I do not necessarily contest this touch with their bodies, because electric games always implicate bodies in machines, both as mechanisms of control and as channels of information While some film scholars have attempted to destabilize vision’s dominance by emphasizing the tactile in their formulations of cinematic experience
second, the game experience was advertised by the text on the machine’s cabinet as “electrifying;” third, the player selected the level of ‘power’ that Though employing a similar mechanic of passing electricity through the gamer’s body, PainStation and Tekken Torture celebrate theTaylor, E. (1983). The electrified hand--psychotherapeutic implications. Medical instrumentation, 17(4), 281-282. cultural responses to technology often follow a cyclical rather than linear path. While technologically-induced sensations may remain constant, such the unwieldy electrical mechanism; and the machine encountered what was termed the “resistance of the body,” as different patients and their different body
In the initial patent for the game mechanism, Jones (1998) suggested that the game be built in the actual shape of an electric chair, calling to mind and the senses—dulled by the constant demands urban experience placed on them, the senses became incapable of registering the differences between things individuals sensed and judged on a case-by-case basis. Money worked as a technology that compensated for the effects of metropolitan lifefor an etymology of the term that, in spite of its comprehensiveness, does not account for its use to describe tactile encounters with human-machine interactions. Urban dwellers, who labored by affixing themselves to machines in offices and factories, attached themselves during their Huhtamo, E. (1995). Encapsulated Bodies in Motion: simulators and the quest for total immersion. In S. Penny (Ed.), Critical Issues in Electronic Media (pp. 159-188). Albany, NY: State University of New York Press. Simmel called a “frightful leveler” (2002, p. 14) that allowed difference to be formulated as an abstracted, mathematical quantity, rather than something interpretation, Crogan’s focus on the militaristic, computational, and cybernetic associations conjured by the works obscures the historicity of electric
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