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[…]exploration of an interest, instead of as an obligatory duty that must be performed in order to complete an assignment. As a model of passionate writing, we review a number of fan sites and Web logs on the Web. The fan site provides a model for online research; some of the most useful resources on the Internet are created and maintained by dedicated enthusiasts. Fan sites are the antithesis of the plagiarized essay or the bought term paper. They are written, produced and maintained out of a love of the subject matter; a love that is none other than the […]
[…]term for the interplay of family, school, entertainment, and labor. Just as the popcycle fosters comforting illusions of personal liberation within free market society, so the Internet reproduces such costly “freedoms” at speeds hitherto unknown. Yet by raising deep-seated psychological drives to conscious awareness through the visual apparatus of the Web, the FRE formulates a potential mode of resistance. In uncovering the “repressed” of net-surfing culture, the Ensemble makes unspoken consumerist values available to deconstructive analysis. Subjectivity, according to Antonio Negri in his “Twenty Theses on Marx,” is itself deconstructive. “Auto-valorization and sabotage are the double figure of one and […]
[…]zavarzadeh’s marxist critique of the activist “public intellectual” as “a figure invented to combine this deep anti-intellectualism and counter-revolutionary affirmation of the commonsense with reformist localism” (qtd. in bérubé): i now want to suggest that there is at least as important a difference between the literary public sphere and the public policy sphere as the difference between cultural politics and public policy, and that most cultural studies intellectuals, myself most assuredly included, have not yet begun to think seriously about how best to negotiate that difference. so in all, the nasty implications of bérubé’s argument about us academic intellectuals – […]
[…]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, […]
[…]e-literacy, or whatever we finally call the new regime. But how does this regime square with the latest new world order, with Mr. Bush’s “first war of the 21st century,” or as skeptics have it, the First Crusade? Since we have set aside Murray’s values of transparency and immersion, we can assume that molecular media will not lend themselves readily to any general mobilization. On the contrary, cultivating more conscious, active engagement with information systems implies at least the possibility of opposition. Indeed, as we have already suggested, the political economy of media in the 21st century seems to demand […]
[…]a world where we are asked to process simultaneously scales from the nano to the cosmic. Delivered to and through new media, we find new understandings. Delivered to and through new media, the bitstream displays varying modalities that our bodies and brains have long been used to processing differently. We shift differently, we censor differently, we move differently, to sound, to text, to image, and to animation. Today, perforce, we are learning to oscillate differently, in new “ratios,” as Blake or McLuhan would say. The stenographer at her stenotype was an early pioneer of this environment. Her continual active choice […]
[…]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. […]
[…]preparations for technoscientific leaps to planetary vistas. Rather, it turned Gaia into the latest episode in the epic of the human species itself arriving at the cosmic threshold heralded by the annunciation of the cyborg. Haraway’s cyborg Gaia expands well beyond a recent theory of planetary function. Gaia’s scientific figure covers over its subtext as an ideological project bearing the stigmata of its cybernetic pedigree: Gaia is not a figure of the whole earth’s self-knowledge, but of her discovery, indeed, her literal constitution, in a great travel epic. . . . The people who built the semiotic and physical technology […]
[…]“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 […]