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Cinema and Software The twentieth-century cinema “machine” was born at the intersection of the two key technologies of the industrial era: the engine that drives movement and the electricity that powers it. While an engine moves film inside the projector at uniform speed, the electric bulb makes possible the projection of the film image on the screen. The use of an engine makes the cinema machine similar to an industrial factory organized around an assembly line. A factory produces identical objects that are coming from the assembly line at regular intervals. Similarly, a film projector spits out images, all the […]
The novel has long been associated with ethics. This link goes back to F.R. Leavis, but Andrew Gibson has shown that this tradition is alive and well today not only in the work of humanist critics like Wayne Booth, but among postmodernists like Richard Rorty and J. Hillis Miller. One way to interrogate Simon Critchley’s theory of ethics and political resistance in Infinitely Demanding is to set it alongside of contemporary novels and to ask how they respond differently to the same cultural moment. It isn’t hard to see Critchley’s book as a response to the bleak political moment in […]
When gamers interact with their environments . . . probing often takes the form of seeking out the limits of the situation, the points at which the illusion of reality breaks down, and you can sense that it’s all just a bunch of algorithms behind the curtain. – Steven Johnson, Everything Bad Is Good for You Puppet master: An individual working “behind the curtain” to control the game. – Sean Stacey, “The Unfiction Glossary” In early August 2004, the alternate reality game I Love Bees gave its online players, over 600,000 in number, their first real-world mission. On a Web […]
In the summer of 2004, I was approached by my friend Greg Moccia with a unique task: to design a live-action role-playing event at which he could propose to his girlfriend. The resulting game was A Measure for Marriage, a one-session LARP in which players took the roles of nobles and attendants as they attempted to find romance, thwart villainy, and restore true love in an improvised Shakespearean comedy. Of course, designing a LARP about romance that must end with a real proposal is a daunting task, and the success of A Measure for Marriage was a result of careful […]
On December 16, 2003, popular Web magazine Slate published an article by journalist and author Steven Johnson (2003). Reviewing simulation games that engage problems of social organization, Johnson posed a question: “The [2004] U.S. presidential campaign may be the first true election of the digital age, but it’s still missing one key ingredient. Where is the video-game version of Campaign 2004?” Upon reading this article, we smiled at its perfect timing: at that very moment we were developing The Howard Dean for Iowa Game, the first official video game ever commissioned in the history of U.S. Presidential elections. Former Vermont […]
Eliza Redux Then The first manifestation of Eliza Redux The title for this film has now been changed to The Veils of Transference to differentiate it from the online Eliza Redux. was a pre-scripted film produced in 2001 depicting a twenty-minute psychoanalytic session between a robot and a human, during which the robot and human switch back and forth in their roles as analyst and analysand; and in the end, it is the robot, in its role as a patient, that has a “baring of the soul” cathartic experience. The robot-actor in this case was essentially a puppet; its locomotion, […]
This essay-narrative originally appeared in a catalogue published by Eastwick Art Gallery in Chicago, and it was also included in ebr 11. FRIDAY EVENING, January 1999 Gold Star, 10:30. Two draft beers, DAB ($7.00 with tip). Daniel agrees that an interview would be better than an essay. He wants a text that will be unlike all the other catalogue texts. During the past few days, he’s been reading my copy of Gregory Bateson’s Steps to an Ecology of Mind. Could we do something along the lines of a metalogue? Daniel asks if I know whether, on the Internet, he might […]
“Why shouldn’t Wordsworth be read through Whitehead? Why shouldn’t the canon of Romantic poetry be read alongside the inscription technologies of cartography or tour guides?” Eugene Thacker’s challenge to the recent compartmentalization of academic literary studies is inspired by a reading of Ron Broglio’s book, Technologies of the Picturesque. For Thacker, as for Broglio, literary Romanticism and phenomenological reflection are not the only unifying forces against the dissolution of the technological subject. It is often said that humanities departments in the States – and especially English literature departments – have turned away from theoretical reflection towards historical, sociological, and even […]
Only in North American academia would the first three titles listed above have appeared before the fourth. Only here would “culture” be the first thing literary scholars think of writing about when confronted with a transformation in the material media of our own practice. Works of literature are cited in these first three books, occasionally as participants in the transformation but more often as casualties or, at best, as well-crafted, all-too-human expressions of what it feels like to live through the transformation. Race in Thomas Foster and Martin Kevorkian, gender in N. Katherine Hayles, and class in all three are […]
“If every link is a next, every memory is a was.” – Michael Joyce, Othermindedness Michael Joyce tends to avoid overstatement or overemphasis, and nowhere is this more true than in his characterizations of the World Wide Web. The Web – which he refers to as something that “our culture has slipped on … like a lonely guy slips on a T-shirt from the Hard Rock Cafe” (Othermindedness 52) – underwhelms him. A more expansive collection of these characterizations, many taken – in the true spirit of surfing and sampling – out of context, would include the WWW as something […]