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[…]latour exchange… serres is clearly concerned with our capacity as a species to “dominat[e] the planet,” our “global powers, ” which leads him to pose the most elemental, and in some ways most pressing questions, to wit: “will the earth depend upon the city? – will the physical world depend upon the political world?” (173-174)… his answer, in the abstract, is that “a new kind of feedback… turns practical action inside-out,” thus highlighting the philosophical-moral dilemma reflected in his assertion “we construct the givens” (174)… but in fact i’ve elected to take a different tack, to stick with the local […]
[…]about them. We might as well be studying the use of computer graphics in advertising, or the latest Star Wars episode. Only by asking ourselves what games are not, or what they need not be, can we find out what they really are. There are of course reasons why we might not want to do this. Games are increasingly popular, big business, and technologically, they are cutting edge. If we can appropriate them as traditional cultural or literary objects, ready to study with conventional methods, we are home free. And if games are texts, then we’ve got what it takes, […]
[…]Hamlet on the Holodeck Murray emphasizes the uniqueness of digital forms, insisting that “[w]e do not need designers who can produce more-attractive interfaces with the same formats of communications. We need designers who can re-think the processes of communication, exploiting the capacity of the digital environment to be more responsive to human needs” (Murray 1999, 4). We might wonder how Murray can square these quite sophisticated views with an apparently naïve classicism. If we need new formats, why re-impose the traditional architectures of fiction and drama? If digital technologies take us so far from writing, print, and broadcasting, how can […]
[…]Mez’s practice, excerpted sentences of which, from her e-mail writing, appear in figure 15.2: Re][stuttered][[sutured][: not][net][.art Date: Wed, 21 Feb 2001 10:56:26 +1100 ][the x.press][ed 4 time, 4 the answer, 4 the dreamic caul 2 a][r][mories][][ ][jumper lead.ing 2 a p][asse][o][mo][lished cliff-curve][ .drain the cu][s]p n datadrown. ……………………………………+ …………..+[not.art is][net][a rutting corpse-knot]+ ……………………………………+ +please stop+ +++ please l][ectro][][gl][isten +++ Figure 15.2: Excerpts from Mez’s email writing What Mez attains, that Cohen, in his search for greater legibility, does not attempt, is the feat of keeping us in motion from one view/read cusp to the next, seeding the screen with many […]
[…]even appears on the cover of Grau’s book: “The highly ambitious task of locating the latest image technologies within a wider art-historical context has now been accomplished.” The task of Kittler’s lectures could similarly be described as locating the latest image technologies within a media-historical context. While their goals are therefore quite similar, the differences in their methods and conclusions seems to indicate some of the tensions between the discourses of art and media history, which are unavoidable when discussing contemporary computer-generated images. In order to locate these books within an historical context, it should be noted that they are […]
[…]human organism finds itself in an ecology humanly social and political with all that that, from Plato to Bateson and Schumacher and the Bureau of Land Management, tries to comprehend; but I wander here in a specifically volcanic wilderness and in the presence of the psyche. Well, it’s obvious, isn’t it? Our habit of active, purposeful observation, critical reflection, and hands on/ hands off participation. We manage abundance north of here on the Olympic Peninsula – fish, seals, oysters, the prized gonads of the sea urchin’s orange insides, the mossy festoooned branches and giant raised roots of Ho Rainforest trees. […]
[…]its neighbors, however slightly, so as to make its own survival slightly less improbable. . . . [T]he concept of Gaia captures the distributed intentionality of all the agents, each of which modifies its surroundings for its own purposes.” As I have now come to think, autopoietic Gaia taps its own modes of planetary cognition from the deep wells of these microcosmic points of biotic sensation. So, back then, at work at once on two seemingly separate strands of autopoietic systems theory, I saw a way to bring them together. I could now construct Margulis and Sagan’s phrasings in What […]
[…]“electronic novels.” Some IF works (including those) typically take many hours of interaction to complete. Other works, such as those entered in the annual IF competition http://ifcomp.org/, are designed to be completed within two hours. Seeing those in the former category as “novels” and the latter sort as “short stories” is a sensible way to describe how much interaction time is required. It is not particularly the case, however, that aesthetic or poetic principles of the novel vis-ý-vis the short story apply to these two sorts of works. It is not in fact obvious that IF is more closely tied […]
[…]private, and men’s work is public and theoretical. I keep thinking of my husband’s work: his latest series of sculptures is entirely domestic and quiet, all about our family and friends, nothing about the world out there. I’m wondering if his work would have been possible without gender politics in art. It strikes me that focus on gender issues in the arts has permitted sculpture especially to embrace a wider range of media and content than had been available to it. In the 1960s artists could weld, carve or cast, like Lee Bontecou did (an example of a female artist […]
[…]and by extension, an immersion in experiences which give meaning in and of themselves by a [l]osing oneself in that bottomless certainty [of one’s death and] feeling sufficiently remote from one’s own life to increase it and take a broad view of it – this involves the principle of a liberation… The divine [italics mine] availability of the condemned man before whom the prison doors open in a certain early dawn, that unbelievable disinterestedness with regard to everything except for the pure flame of life…[all] that which a human heart can experience and live (The Myth of Sisyphus 59-60). This […]