ABSTRACT
This essay brings together ideas on the technics of music video and its form as it tracks the transforming avatar of Icelandic singer-songwriter Björk via a reading of the artifactuality of her performance as well as her thematic and formal engagement with the posthuman and the hyperreal. The essay reads Björk's employment of “programmed” visual and sonic features in music video including body prosthetics, computer-generated imaging, virtual reality, and digital voice manipulation to illustrate Bernard Stiegler's notions of technicity, technical being, and the place of music video as mnemotechnical object in the program industry.
