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[ā¦]righteous, and occasionally perverted. He is also an avid game player, an aspiring game designer and comic artist, and a fairly competent hacker. Guy has just recently found out that his long-time partner is having an affair. This discovery launches him upon a series of quests, which you participate in, in an effort to gain insight into the nature of his partnerās relationship. The unexceptional.net project draws on the traditions of comics, graphic novels, and computer games to create an environment that crosses boundaries between pop culture, fine art, and social critique. It also blurs the borders between ārealā space [ā¦]
[ā¦]by extension, other forms of RPGs) and Pearce by describing how these fictional personae can come to form virtual communities in the online world. Walkerās focus is narrower: on the specific network of quests in Blizzardās World of Warcraft and how these quests create narrative densities in areas of virtual space. Finally, Adrianne Wortzel provides us with a description of her Eliza Redux project (itself self-consciously modeled after Joseph Weizenbaumās ELIZA and its āDoctorā script). Wortzelās artwork brings physical and virtual worlds together with an additional layer ā streaming live video of a robot performing the role of a therapist [ā¦]
[ā¦]to keep the ball moving at all times. Again, as simple as it sounds, it is all too easy for people to freeze up, holding the ball as they try to think up the ārightā word to say. It quickly shows the advantage of simply reacting to the word said previously rather than crafting a word. The physical act of throwing the ball provides a focus for the conscious mind so it does not interfere with the simple act of instant response. Another exercise used in rehearsal to sharpen reaction skills is a Three-Line Scene. As the name implies, these [ā¦]
[ā¦]appeared. Against the Dayās publication in 2006 perhaps shocks, and in any case forces, critics to come to grips with its extreme bandwith and complexity before anything else. So not quite unexpectedly, there were some slightly far-fetched comparative approaches, forcing the reader to ask, is it profitable to create a connection between Against the Day and Kiplingās ouevre on the slim basis of a brief mention of and some allusions to Kim in Pynchonās novel? Others palpably tried to charter the new terrain by filtering it through the somewhat idiosyncratic prism of their own record of research and expertise ā [ā¦]
[ā¦]of Postwar American Fiction,ā published in Critical Inquiry in 2005 ā which is not at all to complain about articles on steroids, but merely to observe that brevity need not preclude ambition.) Each of us, already, thinks differently than she or he did yesterday; there is not much any of us can do to stop that, even when we try ā as we all do, all the time. But if there is anything in the life of criticism I find incomprehensible, it is that some of its operators, upon being gently offered a plain and uncontroversial truth ā that we [ā¦]
[ā¦]in my inbox. Listed in its brief summary of the articles in the most recent volume, was this: āA [S]creed for Digital Fictionā by Alice Bell, Astrid Ensslin, Dave Ciccoricco, Hans Rustad, Jess Laccetti, and Jessica Pressman. I took myself over to the url in question, and read the screed. Itās an elegant piece of writing. For me one of the most important aspects of this anti-manifesto comes in its title ā āA (S)creed for Digital Fiction.ā Not that tricksy ā(S)Creedā (Iām tired of words broken up by brackets, though I can see the point they are making in the [ā¦]
[ā¦]before development, and contemporary industry. The intense simplicity causes the viewer to forget the intricate aesthetic strategies that go into producing something powerful and plangent. Indeed, one of the strategies is to erase all trace of technological production ā certainly no wizardry is in evidence (I could have put the movie together on my Mac), which is a plus for the staging of Nature. The next step, of course, is to erase the trace of erasure. For quite some time I found myself unable to write about it, unable even to think about it. The movie is a masterpiece of [ā¦]
[ā¦]Clarkeās Posthuman Metamorphosis: Narrative and Systems, which proposes at one point that ā[t]he posthumanist turn in Luhmann is encapsulated in the fundamental theoretical move of positing nonliving autopoietic systemsā (Clarke 2008: 17). Like Wolfe, Clarke is based in Texas, which leads me to wonder if an essay on the rise of Texan systems-theory-informed posthumanism needs to be written. (Is there something in the water?) This āpairing of systems theory and deconstructionā (7) holds Wolfeās version of posthumanism at a refreshing distance from the easy, complacent incarnations that often earn the label ātranshumanism.ā And in articulating the shortcomings of transhumanism, Wolfe [ā¦]
[ā¦]a story of his life,ā and must be in possession of a full and āexplicit narrative [of his life] to develop fully as a personā (Marya Schechtman). Strawson I think rightly points out that valuing narrative is a choice, and experiencing oneself and oneās life as a narrative is by no means self-evident or universal. In any case, conventional, character-based storytelling cannot be said to receive much support from science: we can believe (but not prove by experiment) that the gathering together of experience in narrative is somehow natural, and we can think that conceiving our lives as a narrative [ā¦]
[ā¦]experience of the world. (See George Lakoff and Mark Johnsonās Philosophy in the Flesh [1999] and Francisco J. Varela, Evan Thompson, and Eleanor Roschās The Embodied Mind [1991].) Such scholarship presents metaphor as a series of mappings from one conceptual space to another, and has shown that there are many basic, entrenched metaphors that people use to express everyday concepts. These concepts are often structured by image schemas, āskeletal patternsā that recur in our motor-sensory experiences. Conceptual blending theory builds upon Gilles Fauconnierās mental spaces theory and elaborates insights from metaphor theory to describe the means by which concepts are [ā¦]