The affective flows of the sublime in Martina Menegon's new machinic subjectivity

What can the use of emerging digital technologies for the creation of art exploring subjectivity offer up for research into new affective flows within the temporal structures created by machinic assemblages? An examination of the work by the artist Martina Menegon who explores the self to engage with the problematics of representation, cognition and sensation within machinic assemblages using photogrammetry, raises ontological issues. Menegon uses photogrammetry to capture her body as data, to experience her body and represent her body as art in the digital virtual space, link the ontological, with the material and corporeal. This recent virtual reality output of

Menegon's explores emerging post screen digital aesthetics and manifestations of digital subjectivity, where “affect” becomes central to the form, content and reception of the work.

Menegon uses the virtual digital space to take pleasure is confusing the boundaries of the body via its digital capturing, re-presentation and plays with notions of the self and its limits. Menegon's explorations can be positioned as action research within a theoretical framework of Donna Haraway and the assemblage theory of Giles Deleuze and Felix Guatarri where a new “image” of the self can be mediated or remediated and where Menegon can take responsibility for production and dissemination within her networks of distribution to consider what this entails. The temporal and affective relationships of production become key to this new machinic subjectivity.