Abstract

Augmented reality (AR), a third space that connects virtual and physical spaces in real-time, has embodied the disembodied vision of virtual reality (VR). While VR enforces visual immersion with one’s body in a fixed position, AR enables users, as they move around in real-world environments, to interact with virtual objects. The commercialization of AR technology through smartphones during daily road travel is a clear indication that the “age of ubiquitous computing” has become a reality. In the near future, the third space will continue to expand, leading to significant changes in the way technology, media, subjects, and society interact. Among various changes, perhaps the most notable is the transformation in the nature of the image. In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, Deleuze aimed to renew philosophy by establishing a typology and expanding the concept of the image, which was crucial to understanding changes in the mode of perception. However, the role of the body is quite restrictive in his theory of image. Furthermore, some argue that his theory runs the risk of de-politicizing cinematic practices by giving more privilege to the time-image than to the movement-image, leading to an excess of metaphysical discourse on the image. Therefore, it is crucial to acknowledge Deleuze’s contributions to the theory of image while overcoming the potential risk of disembodiment and depoliticization. To achieve this goal, we need to connect Deleuze’s theory to that of Benjamin, who recognized the uniqueness of cinema as a new art form in the age of mechanical reproduction and viewed it as an expansion of the ‘play-space’ to seek the politicization of the arts. This paper aims to critically reconstruct Deleuze’s image theory by integrating recent findings from cognitive science research. Moreover, it will explore the feasibility of actualizing Benjamin’s theory of cinema. To achieve this goal, the paper will combine the Deleuze-Benjamin connection with Mark B. Hansen’s analysis of the intimate correlation between digital media and somatic performativity to identify new challenges and prospects for the cultural politics of the image in the age of ubiquitous computing.