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[…]is the specific intent of Murray’s essay, or whether she really does mean to go beyond language to questions of craft and technique. If academics are going to be helpful in solving the interactive storytelling problem, they need to be explicit about their intent, exhaustive in their historical analysis and rigorous with their language. The danger in failing to do so is not simply that confusion will arise, but that academia will perpetuate the reinvention of the wheel among the transient student populations in the same way these issues have reappeared a number of times in the transient commercial industry. […]
[…]use of language. The Glide language is described and depicted in the book, but it is also possible to compose poems via a Shockwave platform on her website ( http://www.academy.rpi.edu/glide/) (unfortunately it is a little difficult to use). Glide is a hieroglyphic language, and thus becomes specifically suited to the affordances of the Internet: The lily expressed its gratitude by teaching the Glides a secret, silent language. Breathing the raw pollen, day after day, the Glides listened as the lily bespoke itself through three shapes based on the gestures of their cupped hands at work: curved up as they scooped […]
[…]Thomson home run ball – which DeLillo clearly considers as a form of waste (99) – because “[i]t’s an object with a history” that prompts him to think about “the mystery of bad luck, the mystery of loss” (97). Nick’s notion of the mystery of loss is extremely important to his and DeLillo’s understanding of the connection between history and waste. The home run ball attains its mysterious status because it links many known and unknown historical narratives of loss, including Dodger pitcher Ralph Branca’s loss to Thomson and the Giants in 1951, Cotter Martin’s loss of the ball to […]
[…]we notice is the level of attention that the narrator gives to the events and thoughts leading up to and occasioned by the letter. More important, perhaps, we notice that this attention, doubtlessly felt as detached in the first reading, is not only psychologically appropriate as the young man’s way of coping with his grief, it is also the register of the growth of his affective wisdom, his coming to know that the “how” of what we experience is as important as the “what” or “why.” [see McElroy on 9/11, eds.] The central focus of the book’s action, the father’s […]
[…]result in a redundant effect on reading. The first reference to “sunset” (56) is echoed by “[o]ne of them materialized at sunset” and “at sunset a window beamed” (57). Through repetition, meaning emerges. Repetition is not used to stop the progression of the plot: the elements of Zanes’ life are never told twice in exactly the same terms. The accumulation of repetitions creates an unusual meaning, a meaning understood through indirect means. Zanes refers to his own time: “my time device” (58), “another time” (61) as opposed to “my wife’s cookbook, my time machine” (69). Zanes’ experience of life does […]
[…]between anticipation and retrospect as it catches itself and is caught in the act of writing. “[O]ver him came a chill”: passive subject followed by active “overtaking” that is the “telling.” The telling itself is the active agent. Which is the telling? At any rate, “telling” is in the “subject” position and telling demands an object or someone who is told, someone who listens. That “chill” that comes “over him” places him (Daley) in the position of the prey, as if beneath the approaching wings and talons of an osprey, as will become clearer in the context of this novel […]
[…]Hayles’ and my contributions to this thREAD constitute a warp and a weft. However, as other hands and voices join the weaving process we may lose those privileged positions and become incorporated in others’ patterns and designs, we may even be relegated to the fringes of the tapestry of meaning that is being created. And frankly, where Hayles’ and I end up the emerging conversation is less important than the plurality of opinions and diversity of interpretations that interconnect in and around the issue of how the academy can, or even should, envision a just and equitable political society. If […]
[…]that the reduced presence of the user in the piece is key to the meaning of the piece itself: [T]he interface allows the symbolic to reach into the physical world and constrain the user’s motions. The flip side of the text’s transgression into the physical in these pieces is the manner in which the user’s body enters the symbolic space of the texts – as a blue glow, a photographic image, or a point of view. She writes of Stream of Consciousness, The interpenetration of the real and the symbolic in this space is in fact quite lopsided. While the […]
[…]of the nodes it connects. This network, created by the commodification of relationships in the latest permutations of capitalism, brings with it a reprise to the very system that created it. These new and growing networks are, by virtue of their form, purportedly equipped and inclined to subvert and transform the control now held by the global, virtual form of domination called ” Empire.” But Hardt and Negri are unlucky, despite deserved celebrity. The respective futures of the two works were betrayed, in a sense, by events – Empire by the terrorist destruction of the World Trade Center and Multitude […]
[…]immanence and transcendence. Clearly recalling Spinoza’s distinction between “the immanent … [and] the transitive, cause” (Ethics I, 18), Hardt and Negri take as “the primary event of modernity … the discovery of the plane of immanence” (Empire 71). Rather than imagining the world as the effect of some external cause (such as God’s will), modernity on their account finds the causes and motion of the world to be indwelling in this world. This is a way of describing modernity that recalls a more familiar Renaissance humanist account but does not place any one type of the human at the center […]