Abstract:
In this essay I examine how the matter, technology and psychology in- volved in producing and experiencing film come together in a process I call becoming-cyborg. Rather than stressing the semiotic, rational and mechanistic processes usually attributed to the figure of the Cyborg, becoming-cyborg involves asemiotic, open-ended, chaotic and contingent exchanges between the matter of the mind and matter outside of it. Tarkovsky's Stalker (1979) provides the opportunity to drill down further into the details of how multisensory, kinaesthetic, abstract, conceptual, technological, material and neurological entanglements sustain becoming-cyborg.
