ABSTRACT
Using examples from contemporary art and John Law’s Aircraft Stories, I claim that actor-network theory (ANT) is a practice, like art, rather than a specific theory. This equivalence has four dimensions. First, both practices are a consequence of the conditions of contemporaneity. Second, as a result of this consequence, both describe and exemplify those conditions which are characterised by logic of information as it is distributed over systems of communication and control. Third, these conditions are underwritten by a particular understanding of what the human subject is; that is as one distributed and dispersed over those social systems. Fourth, ANT is as much an aesthetic as it is an epistemic practice.
