ABSTRACT
The networked nature of digital media, their ephemerality and their preference for beauty over sublimity all point towards an aesthetics of mutation and evolution, and a communicative post-rationality of mutual dependence and invagination. The emergent digital temporalities are among the many phenomena in which the ecological model enters the realm of work, and work begins to supersede function and pleasure as the best way of understanding the tasks of media, culture and art. Although space has become a governing topos of cultural studies since the influential work of Harvey and important geographical and geopolitical work by scholars such as Massey and Sassen, time has been getting its fair share of attention outside the cyberculture zone in recent years. Cyberspace is a territory, Gibson's 'consensual hallucination', entered through portals and gateways, viewed through Explorers and Navigators, a dimension with its own geography of datastreams, homes, firewalls; where cybernomads roam the electronic frontier, whose orientations are back, forward and deeper.
