ABSTRACT
The Sarah Winchester House outside San Jose, now a tourist stop on any kitsch-tour of California's Silicon Valley, is more an antique than a machine designed for living in. But the bizarre logic of its construction makes it something of a model for what home in machine culture looks like. In its astonishing incorporation of a regressive domesticity and a compulsive, technologized violence, the Winchester House appears as a kind of landmark of corporeality in machine culture. What I mean to consider here are the relays progressively articulated between bodies and places such that the home, or, more exactly, the homelike, emerges again and again as the scene of the crime.
