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[…]“The overflowing body is archived and accessible only to the owner.” Since “[e]ach n0time body becomes a chat room where people can meet,” it seems the function of the program is to kill and remove the “old body,” as occurs on MOOs, but without offering the actual affordances for communication and community present on many MOOs. How does n0time relate to time? A claim Vesna makes in her introduction is that distributed presence shifts our perception of time. I do believe that online experience and distributed presence shift our perception of time, as I have argued in “Dalí Clocks: Time Dimensions […]
[…]would change the mind as well. Turing’s own history tragically demonstrates this: “[Alan Turing] told police investigating a robbery at his house that he was having `an affair’ with a man who was probably known to the burglar. Always frank about his sexual orientation, Turing this time got himself into real trouble. Homosexual relations were still a felony in Britain, and Turing was tried and convicted of `gross indecency’ in 1952. He was spared prison but subjected to injections of female hormones intended to dampen his lust. `I’m growing breasts!’ Turing told a friend. On June 7, 1954, he committed […]
[…]and which is the woman. It is [the man’s] object in the game to try and cause [the interrogator] to make the wrong identification. The object of the game for [the woman] is to help the interrogator. We now ask the question, “What will happen when a machine takes the part of [the man] in this game?” Will the interrogator decide wrongly as often when the game is played like this as he does when the game is played between a man and a woman? These questions replace our original [question], “Can machines think?” [Turing, 433-434] Turing intended the man, […]
[…]power of the performative speech act in both instances. This procedure situates marriage in an uncomfortably close relationship to the arrangements of slavery: not in a direct correlation, Sedgwick maintains, but a speculative association. One of the valuable points to be learned from placing the two beside each other is that the consequences for women in each of these instances of performative speech have been overlooked throughout history, and remain so in the continued invocation of Austin’s influential theory. This is one of many experiments Sedgwick conducts in Touching Feeling to explore the critical possibilities of thinking with the notion […]
[…]in the game and in the world, as corporal, cognitive, and evaluative processes. It is not a clean, comfortable place. Warren Spector tells a story apropos of this topic, and again a personal story, about his wife’s reactions to playing Deus Ex. Warren Spector / Ion Storm, Deus Ex (Eidos Interactive, 2000). I heard Spector recount the story at the Education Arcade conference at E3 2004. See http://www.watercoolergames.org/archives/000142.shtml#spector. The game is famous for offering multiple solutions to any problem, including but not limited to combat. When the player does choose to fight, the representations are ghastly; Spector talks about wanting […]
[…]and thus to imagine a new kind of progressive politics “that is pulsional, equivocal, [and] flirtational” rather than unified and universal (Davis 132, 133). For similar descriptions of theoretical postfeminism, see also Misha Kavka’s “Feminism, Ethics, and History, or What Is the “Post’ in Postfeminism?” and Lisa Joyce’s Writing Postfeminism. While Kavka focuses primarily on the impact of continental philosophy on postfeminism, Joyce provides readers with a succinct discussion of postfeminism that seems more indebted to the North American tradition of pragmatic feminist criticism. Given this emphasis on multiple, denaturalized subjectivities and fluid, nonlinear political strategies, it is not surprising […]
[…]as there are no satisfactory answers to what constitutes any poem, and all those forms from sonnet to free to langpo are in themselves constraints – as is the political economy of poetry and poetics in general. (And perhaps there are no satisfactory answers to any question.) All of that being said, what a wonder that this book is moving, that it is a joy to read and re-read, as if in spite of (to spite) the constraint, as it it’s actually about the freedom that constraint can, in some circumstances, open up in terms of subjectivity, language, the murmur. […]
[…]http://www.xensei.com/users/carmin/ Lialina, Olia. http://art.teleportacia.org/ Mez. The Data][h!][Bleeding Texts. http://netwurkerz.de/mez/datableed/complete/index.htm subRosa. http://www.cyberfeminism.net * Works Cited and Consulted Barrett, Michèle and Anne Phillips, Eds. Destabilizing Theory: Contemporary Feminist Debates. Cambridge: Polity Press, 1992. Brooks, Ann. Postfeminisms: Feminism, Cultural Theory and Cultural Forms. London and New York: Routledge, 1997. Critical Art Ensemble. http://www.critical-art.net/ Critical Art Ensemble Defense Fund. http://www.caedefensefund.org/ Cassel, David. “Hacktivism in the Cyberstreets.” AlterNet. 30 May 2000. 16 June 04. http://www.alternet.org/story/9223 Griffis, Ryan. “Tandem Surfing the Third Wave: Part 3, interview with subRosa.” YOUgenics. 2003. 16 June 04. http://yougenics.net/subRosaInt.htm Haraway, Donna. “The Cyborg Manifesto.” Simians, Cyborgs and Women. New York: Routledge, […]
[…]they are woven into a personal web. “No neat ushering from present to past,” Cy writes. “[I]t’s all equal” (33). Here the reader must allow me to interrupt myself, just as Ancient History is interrupted when visitors to the apartment take away Cyrus’ first pages while he hides behind a curtain. Perhaps I am following Dom’s Code of Welcomed Interruption, which “sprang from [his] sense that our state is now a Field-State of InterPoly force Vectors multimplicitly plodding toward Coordinate Availability and away from the hierarchical subordinations of the old tour-de-force antropols…” (141). For a long time, I had difficulty […]
[…]or states of being. See: the imprecision is infectious. But upon reading David Foster Wallace’s latest short story collection, Oblivion (out this June in the U.S. and early July here in the U.K.), the term seemed somehow right. Though only two of the volume’s eight stories are, strictly speaking, “new” fictional offerings (the first six have appeared in journals from AGNI to Esquire), Oblivion is shot through with a largely consistent set of themes and arguments, rendering the work Wallace’s most penetrating, disquieting and altogether kick-ass compilation to date. Operating in a world where life and commercial narratives have become […]