What - or rather - where is the electronic image? What are the claims made for the electronic image—the imagination that supports the theorizations and practices of the electronic image and its related terms of “video,” “the tele-visual,” “the virtual,” and “the digital.” And how do these claims differ from a photographic imaginary? And how have artists spoken to these newfound fantasies and anxieties of transmission, immersion and absorption, surveillance and control? And how can we re-imagine the mattering of electronic images in the context of climate change? The course begins with a study of Bram Stoker’s 1897 novel Dracula, and how it speaks to new technologies and media of reproduction and transmission. Organized via case studies of artists’ work, the course will examine the electronic image from the 19th century to the present: from discourses of phantasmagoria, hypnotism, telepathy, and spiritualism, to 20th and 21st century discourses on communication, information, data. The class will seek to meet the aesthetic—and political—challenges of what Friedrich Kittler argued as the consequence of digitalization: “Modulation, transformation, synchronization, delay, memory, transposition; scrambling, scanning, mapping—a total connection of all media on a digital base erases the notion of media itself. Instead of hooking up technologies to people, absolute knowledge can run as an endless loop.”