McKenzie, Jon. “Laurie Anderson for Dummies”. The Drama Review. 41.2 (1997): 30-50.

Second, she plugs her electric body into corporations, here specifically, Warner Bros. Records, HarperCollins, and Voyager, who mass produce her work and in turn plug her through various media blitzes. Through such corporate bodies, she thus links up with the language game of bureaucratic performance: profitability and reengineerings. The twists of her work lie in the path she cuts across these three terrains of performance: cultural, technological, and bureaucratic. 31

it’s because Anderson has described The Nerve Bible as a ‘retrospective of the future.’ 33

Philip Auslander has written that Anderson, unlike performance artists of the 1960s, does not seek to transgress the emerging electronic order from some external location; rather, her works resist that order by inhabiting it (1992)…Resistance in electronic space is less about taking and maintaining a physical or logical position outside of power and more about playing multiple language games in order to learn a variety of moves, to point out the different rules governing them, and to invent new ones when necessary. From “Lower Mathematics”: “I think we should get rid of the value judgments attached to these two numbers and recognize that to be a zero is no better, no worse, than to be number one. Because what we are actually looking at here are the building blocks of the Modern Computer Age” (1994a:135). 38

[quoting Lyotard]:

There are many lanuage games—a heterogeneity of language particles. They only give rise to institutions in patches […]. The decision makers, however, attempt to manage these clouds of sociality according to input/output matrices, following a logic which implies that their matrices are commensurable and that the whole is determinable. They allocate our lives for the growth of power. (1984:xxiv) (Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota.)