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[…]the mostly-fictional creation of Keever’s literary wife, Ann. In the present, Keever is trying to come to terms with his degeneration from sports hero into physically handicapped suburban dad. Driving around in his company van, a “tomb on tires” (11), he feels like he has joined the living dead. Indeed, with his artificial hip, a steel rod hammered into his femur, he is already partially inanimate. This liminal status makes him an appropriate guide for the pilgrims he ferries throughout America and Europe. Much of the novel unfolds as a series of vignettes about these pilgrims, who try to confront […]
[…]under the name John Benyon Harris (Wyndham is perhaps best known for The Day of the Triffids [1951] and The Kraken Wakes [1953]). In this story, first published in the Sci-Fi pulp magazine Wonder Stories, a group of humans have time-traveled into an unknown future year towards which all the time travel machines that have ever been invented and that have malfunctioned in some way are gravitated (the year is unknown, but is guessed to be around 13000). The stranded travelers find themselves in a land where humans are no longer the dominant species. First they witness some sort of […]
[…]speech. The Dean game was launched during Christmas week 2003. Players were able to play it for free on the candidate’s web page. It was very successful in terms of audience: it reached 100,000 plays in the month before the Iowa caucus, a very respectable number considering its novelty and the fact that it was launched during the holidays. Designing the game was quite a challenge. Even though we both were experienced game developers, nobody had tried anything like this before. The web was plagued with satirical amateur Flash games, but we faced many difficult questions: how do we tailor […]
[…]the word “author” (below), to mean any and all participants in a virtual text-based scenario? [P]lots would have coherence not from the artificial intelligence of the machine but from the conscious selection, juxtaposition, and arrangement of elements by the author for whom the procedural power of the computer makes it merely a new kind of performance instrument. (Murray 1997, 208) Links Chatterbots Robosapien Eliza References Baum, L. Frank (1900). The Wizard of Oz (originally published as The Wonderful Wizard of Oz). Chicago: Geo. M. Hill Co. Freud, Sigmund (1987). A Phylogenetic Fantasy: Overview of the Transference Neuroses. Cambridge, MA: Harvard […]
[…]really seriously do media theory without engaging with what has been accomplished in Germany.”“[M]an kann heutzutage nicht wirklich ernsthaft Medientheorie betreiben, ohne sich auf das einzulassen, was in Deutschland geleistet wird” (“Deutschland” ###).This does not mean that what has been accomplished in Germany is either easy to identify or free of controversy. Winthrop-Young compares media theory in Germany today to the Kleinstaaterei that once ruled German politics: distinct fiefdoms fighting for dominance, locked at times into an ever escalating arms race of exaggerations and differentiations. Even so, I will focus on some leading themes for the sake of what I […]
[…]scale levels: an individual life, a life lived within and in relation to friends and family, to community, to bioregion, to nation, to the planet. Thus in “Economy,” the first chapter in Walden, he challenges his reader to connect their particular and individual consumer choices with the emerging global capitalist economy of America. Perhaps best known is the linkage he makes, in “Civil Disobedience,” between small-scale individual actions and the large-scale political state. When the civil State asks you to carry out its dirty work by propagating injustice to others, you should revolt by simply withdrawing your consent – “not […]
[…]constitutes one incarnation of the potential fusion between “all object with no context [and] all context with no object” that Laura Dassow Walls argues becomes possible through practices of deliberate reading that attend to natural material reality. While Walls’ argument focuses on nonhuman natural entities, tracing an ethics based on giving voice to things that do not speak, these essays enact similar processes, albeit with multiple levels of reversal, giving voice to the inhuman data of humans. What does reading such data deliberately reveal? To state the question in Walls’ terms, what linkages do the communications studied in these essays […]
[…]either the beauty of pristine wildernesses or the incredible ugliness of ruined land? LOE: The latest postcard that I received from CLUI, is advertising their latest exhibit is called “Urban Crude: the Oil Fields of the Los Angeles Basin.” The photograph is of an oil rig on a hilltop street that looks like Mulholland Drive. Just by the mere fact of using that photograph as the postcard, I think, is telling. At the same time, they’re claiming they’re not making political statements – rather they claim they are just offering documentation. I find that to be fascinating and pretty effective. […]
[…]or imagination (before setting out again). What emerged was a creed for the screen. In a word, a [s]creed. A [s]creed for digital fiction embraces… close analysis: We take a bottom-up approach. We base our conclusions on examples. We substantiate every critical assertion with a case. Theory is vital to us but analyses provide the evidence on which we base our conjectures. In scholarship, it is not sufficient to talk only of the pleasurable or intimidating experiences of reading digital fiction. Anecdotal tales of our frustrations or delights, even when they are compelling, do not yield interpretations. When we lose our […]
[…]enough in time and have fetishized enough memories to provide a powerful counterweight to the latest generation of material. On a broader scale, this postlapsarian backlash once again finds a parallel in Dickens, since Pickwick – a picaresque anomaly in a career defined by fictions of grand architecture – was always his most beloved novel, and since the public readings he gave at the end of his life, in deference to the assumed inclinations of his audience, were never drawn from his most recent work (Collins 1975, lxvi).“In confining his Readings to the earlier novels… Dickens was – whether to […]