By Bruce Nixon
...In Practice, Alternating Currents is most compelling - particularly in the work of Marque Cornblatt - When it takes up another familiar and probably more troubling issue, the relationship between the human, that thing of flesh and imagination, and technology. Here we encounter the issue in two interrelatted contexts: one which considers technology as extrahuman, as an extention of our own physical characteristics, a tool for making the "human machine" more effective and convenient, and one which considers technology as antihuman, something that has overwhelmed its origins, to now shape and even direct human activity. Cornblatt's agonized cyborgs seem especially cognizant of the high anxiety of technological entrapment and are quite scary; in this work imprisonment by technology is literal and pervasive, as in Self Portrait - Acid of Indifference, social, as in Self Portrait - Resistance/Submission, and spiritual, as in Self Portrait - Diver Down. These are memorials, in a way, to the passing of an exclusively human society, and testimonials to a new world in which human and machines coexist, interact, and sometimes struggle with each other for dominance. The matter of spirituality may be moot. Technology, in Cornblatt's work, looks more like the evil twin of the human.
By Randal Davis
...Cornblatt adopts the now-familiar stance of post-Industrial cyberpunk, offering icons of the high and low technology of the bricoleur; what Ronell calls the "Fragments of residual transcendency". They are lent powerful presence in the extraordinary Grace (1994), itself enough reason to visit Delerium.