The Contemporary Imaginary and False Continuities of Ryan Trecartin’s Moving Image

Contemporary film, or the moving-image more generally, is often discussed as llustrative of new forms of thought. Deleuze’s Cinema 1 and Cinema 2 provide us with ways to consider the moving-image, not only as a manifestation of new images of thought, but as an affective constituent of human consciousness.
With this in mind, what might be the diagnostic, or prognostic implications of the films and installations of contemporary artist Ryan Trecartin? Described by Gesine Borcherdt as a greedy, cyborgian freakshow, the turbo-charged pastiche and false-continuities of his work, provide fodder for a new philosophical imaginary to grapple with the digital age.