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The following sketches a theory of time in games. This is motivated by: (1) plain curiosity; (2) theoretical lack: much work has been done on time in other cultural forms, but there is very little theory of time in games; and (3) the hope that a theory of game time may help us examine specific games, help trace the historical development of games, connect to the big question of how a game feeds player experiences, and generally serve as an analytical tool for opening other discussions in game studies and game design. Most computer games project a game world, and […]
I. “White Noise/White Heat,” or Why the “Postmodern Turn” in Rock Music Led to Nothing but Road – A Preface (of sorts) TEN YEARS BURNING DOWN THE ROAD I wrote “White Light” near the end of the 80s, which had surprisingly proved to be perhaps rock music’s most fertile and innovative decade. I originally wrote the essay as a feature article that appeared in American Book Review in the Spring of 1990 (McCaffery, “White Noise”). I was aware that ABR readers were book-lovers not rock fans, and my main goal in developing the essay that way – i.e., presenting an […]
In Remediation: Understanding New Media (Bolter and Grusin 1999) proposed a theory on media evolution that attempted to break with the myth of the newness of new media and the linear supersession of older media by newer ones (their main target, although this is not the explicit program of the book, is definitely Marshall McLuhan, whose teleological Understanding New Media is clearly meant to be remediated by a more nuanced and more powerful theory). Coining the notion of Remediation, they argued that each new media refashioned at least one older medium. This process of refashioning, however, does not obey a […]
Two histories of optical media have recently been produced in Germany, and at first glance they would seem to be complementary texts. They both cover roughly the same time period – from the origins of linear perspective to the development of virtual reality – and both authors were clearly familiar with each other’s work. Oliver Grau’s Virtual Art is a revised and translated edition of his earlier book Virtuelle Kunst in Geschichte und Gegenwart: Virtuelle Strategien (Berlin: Dietrich Reimer Press, 2001), which was itself an expanded version of the dissertation he completed at Humboldt University in Berlin in 1999, and […]
The technologies and speculations associated with “virtual reality” and cognate terms (such as “cyberspace”) have recently made it possible for scores of journalists and academics to develop variations on a favorite theme – the newness of the new, and more specifically, the newness of that new and wildly different world-historical epoch, era, or Zeitgeist into which we are supposedly entering (and on some accounts, have already entered) with the creation of powerful new machines of simulation. The innovative powers of the machines of virtual reality are so extensive, it would seem, that they are even supposed to be able to […]
All forms of “interactive text” demand a physical body with which to interact. When we use the now-common interface that consists of a mouse and keyboard as input devices, and the computer screen as display mechanism, it is easy to forget the body whose eyes perceive the screen, and whose hands and fingers manipulate the mouse and keyboard. In her book How We Became Posthuman, N. Katherine Hayles (1999) has eloquently explored how “information lost its body.” Hayles investigates the theoretical, historical, and literary maneuvers through which modern society has dissociated information from a body or medium. The consequent elevation […]
Praise for the body art of Camille Utterback, and commentary on controls. Early on in the feature film Superman, reporter and professional victim Lois Lane falls from a helicopter dangling from the roof of a New York skyscraper. Plummeting to her certain death, she is rescued in mid-air by Superman (aka: a man made of steel [and, for all we know, in some instances, of bits and bytes]), in his first appearance both in Metropolis and in the film. Such is his innate tenderness and his fine-tuning as a deus ex machina that he alters his ascending velocity to her […]
First, thank you to both respondents for their insightful and kind comments! To respond: Matt Gorbet critiques my implication that “poetic” interfaces do not allow users to maintain control of the interaction, stating instead that it is precisely the simplicity and clarity of this control that allow my examples to be successful. I agree that whether a work is artistic or purely functional, the connection between a user’s actions and these actions’ effects on the system must be clear and immediate. If a user cannot easily understand how his or her actions affect an interactive system, then the interactivity is […]
Body politics and mouse use scroll through the scene. (To Diane Gromala) 1) “Textuality — an open, infinite process that is meaning-generating and subverting.” Yes. This is one of the forms of textuality that I am interested in. Yet I want to go beyond the logocentric – the analogy of the text in discourse – somehow even in the extended sense of writing that Derrida describes (probably because he is a writer), he seems to bring us back to the way “writing” and/or “text” operate to understand that extension. The central issue is this – I do not believe we […]
Sidebar images from “Approaches to Interactive Text and Recombinant Poetics – Media-Element Field Explorations.” 19.sidebar.4-8. Examples of The World Generator in use. 19.sidebar.9. Control panel display for The World Generator. back to Approaches to Interactive Text and Recombinant […]
Introduction The new electronic spaces that I am interested in have the following characteristics in common: They are large. Many sites now support interchanges between hundreds and thousands of people. Usenet newsgroups and large listservs are the most common of such sites. I call these usually text-based, usually asynchronous interchanges, very large-scale conversations. (Sack 2000c) They are network-based. More specifically, they support network-based communities. The boundaries of these spaces and the communites they support are not geographic boundaries. Communities of artists, writers, and scientists are examples of pre-internet, network-based communities; i.e., communities based upon a social network and some shared […]
There is an uncalculated cost to abstracting information patterns from a body, and then again to forming a “data body” from patterns: an energetic cost, a time cost, and a loss that comes from viewing bodies as mere vehicles for pattern, whether that pattern be mathematical, statistical or structural. Vesna addresses these issues in n0time, as she did previously in Datamining Bodies. Her solution is to visualize social networks using tetrahedra and tensegrity (Kenneth Snelson, Buckminster Fuller) principles. In other words, a figure that has shown itself to be highly useful at many scales for gravitational architectures—of all polyhedra, the […]
Introduction (The Gossip on Voice Chips) This essay develops a frequently asked question (FAQ) list for Voice Chips. Like the questions in most FAQs, these questions are not actually frequently asked, but they might be, and like every FAQ, the attempt is to structure the accumulation of experiences in a sociotechnical project. Voice Chips and their newer partners, speech recognition chips, are small low power silicon chips that synthesize voice, play prerecorded voice messages, or recognize voice commands. Although this functionality is not new, what makes voice chips unique is that they are small and cheap enough to be deployed […]
Simon Penny adds object-context to the talking machines of Natalie Jeremijenko’s essay. Talking greeting cards, talking ashtrays, talking toilet roll holders: these are some of the more alarming products of the information economy, more alarming for their utter triviality and transience. Natalie Jeremijenko’s analysis of voice chip products (and secondarily, of voice recognition products) attempts a sociology of machines integrated into the human social circuit. This integration occurs on the basis that the machines engage, in some sense, in speech and speech acts. As she points out, this speech, lacking any but the most rudimentary sentience, confounds theories of speech […]
Reading subjectivity into the software interface, N. Katherine Hayles offers a compelling case for computational authorship. As leading theorists and practitioners Marvin Minsky (1985), Daniel Hillis (1999), and Brian Cantwell Smith (1998) have been telling us, computers are much more than hardware and software. In their most general form, computers are environments of varying scope, from objects that sit on desktops to networks spanning the globe. Indeed, in Edward Fredkin’s (1990) interpretation, computational processes ultimately generate the fabric of the universe. It comes as no surprise, then, to find researchers arguing that computation is fundamentally altering the ways in which […]
&Now Conference April 5-6, 2004 W: Compared to the Holocaust Conference going on up in Massachusetts this weekend, I think &Now was an especially fun place to be. The preisenters were freaks for the most part, freaks and Lydia Davis, from the fringes of word art. Those who write and have other people publish books of stories or poems were probably in the minority. There was abundant electronica, collaborative text-collage performance, multimedia performance fiction, text-image-sound, and even a critic. Compared to AWP in Chicago last month (4600 in attendance), the frightening barren gothic oppressively mirthless tornadoproof Cambridge WWII Air Raid […]
The following interview with Slavoj Žižek took place on the morning of September 29, 2003 in the Palmer House Hilton, a Gilded Age-era hotel in downtown Chicago. In the hotel’s opulent lobby, it was easy to spot the bearded Žižek amongst the nattily dressed businesspeople and well-healed tourists. As befits a self-described “old-fashioned left winger,” See Geert Lovink, “Civil Society, Fanaticism, and Digital Reality: An Interview with Slavoj Žižek” in Uncanny Networks (Cambridge: MIT Press, 2002) p. 39. Žižek seemed dressed down for our meeting. Yet when he lectured at the University of Chicago’s Oriental Institute later that night, Žižek […]
“Canoe Repair” takes place at a transitional time for the main character. Zanes moves from New York City to a New Hampshire town and has to adapt to a new life and a new job, running a Laundromat, as well as to his son’s new hang-gliding activity and his wife’s new TV job. Thus, “Canoe Repair” occurs at a moment when rural and urban worlds are put in “connection and disconnection at the same time” (“Midcourse Corrections” 50). While we learn more about Zanes’ occupations, we also read a portrait of the town’s life. We discover a picture of America […]
And I felt ready to live it all again too; for the first time , in that night alive with stars and signs, I opened myself to the gentle indifference of the world. Finding it so much like myself – so like a brother, really – I felt that I was happy again. -Albert Camus The Stranger My father is a rich man He wears a rich man’s cloak Gave me the keys to his Kingdom (coming) Gave me a cup of gold He said “I have many mansions” And there are many rooms to see But I left by […]
The following essay began as a response to Chapter Six of First Person, The Pixel/The Line, which Noah Wardrip-Fruin invited me to contribute to electronic book review ’s version of that text. 1. There are several things I’d like to write in response to all three essays of The Pixel/The Line – by John Cayley, Camille Utterback, and Bill Seaman – but I’d like to lead into this response by quoting a passage from Seaman’s Interactive Text and Recombinant Poetics. My primary concern will be with the issue of text and meaning and the reduced terms with which these are […]