Abstract

In a range of digital creative productions and digital culture, questions of how to deal with finitude are on the rise. On the one hand, sectors of the digital entertainment industry – specifically computer games developers – are concerned with the question of how to manage `death' digitally. On the other hand, death and suicide have become the impetus for humorous artistic expression. This article tracks the emergence of a digital ethos that is cognizant of consequence, finitude and even death. Rather than pit a 1990s `will to life' against an emerging `death drive', I argue that the shift to an ethos in which dark consequences ensue from digital actions must be understood by working through digital code's technicity and unfolding this relation of technics to both ethics and politics. Although Bernard Stiegler's analysis of technicity goes some way toward unfolding a political analysis of the aesthetics of digital code, his articulation of noopolitics fails to provide us with a way to conduct ourselves digitally in an era of cognitive capitalism. I look to critical software practices and their provisional networked publics, with potential lines of flight for contemporary technoculture via novel digital `codings'.