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Laura Sullivan and her students explore webwriting and content provision as activist tools. Rosemary Hennessy challenges progressive academics “to return cultural studies to the fundamental category of capital” (83). To do so will mean going against the dominant tendencies within a discipline which often “produces ways of understanding that exile meaning-making and identity in the realm of culture, sheltered from any link to capital or class” and thus “reiterate[s] a cultural logic that has been one of capitalism’s most potent ideological forms” (83). My work in the electronic classroom has tried to avoid the kind of cultural studies that Hennessy […]
Whether they fret over Ziggy Stardust or the condition of posthumanity, fans and scholars share, argues Harvey Molloy, a few habits of mind. The Fan’s Desire When I teach my course in Writing and Critical Thinking, I try, like every other teacher of composition, to awaken in my students a sense that they should approach their writing as a valuable 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 […]
In works such as Applied Grammatology, Teletheory, and Heuretics, Gregory Ulmer has rigorously advocated a shift from critical interpretation of culture to theoretically-charged cultural invention. His articulation of poststructuralist and psychoanalytic theories informs not merely a composite system of textual criticism but an expansive method of artistic creation. Ulmer’s theories of invention have vitalized his collaboration with the Florida Research Ensemble, a diverse group of artists and scholars who have worked for over ten years to counter the instrumentalist tendencies of new media. Instead of suggesting immediate ways to fix social problems, the FRE attempts to describe the psychological undercurrents […]
Gregory Ulmer describes his current work, not as scholarship or critical writing, but as a “project for a new consultancy.” And it was partly for advice that I initially contacted Ulmer to request an interview for the electronic book review. I wanted to see whether Ulmer’s ideas about electronic literacy (“byteracy”) could be of use in designing an online review of books and media. Also, since I happened to be organizing an ebr forum around Michael Bérubé’s article, The Politics of Selling Out, I thought that Ulmer might help me to extend Bérubé’s arguments to electronic economies. I reasoned: the […]
A colleague recently remarked to me, “I don’t want to write essays on paper any more. It’s so much easier to manipulate a document in hypertext. I mean, if it’s on paper, it may as well be engraved in stone.” Though I quickly pointed out the limits to this line of thinking, shuddering to imagine my graduate school thesis about comparative mimesis in eighteenth-century narratives placed on par with the acclaimed ten-part essay dictated to Moses, I began to ponder the implications of these new malleable texts in this “late age of print.” The quotation is from J. David Bolter, […]
part i: macaroni and meatballs everywhere i turn these days – the new yorker, harper’s, the voice, the chronicle of higher ed., not to mention the academic presses – i seem to run into either a piece of writing by or a reference to michael bérubé, proof-positive that he’s attained academic superstar status of the kind enjoyed during the turn-of-the-eighties by andrew ross… and now i have before me yet another of bérubé’s institutionally-centered ruminations, cultural criticism and the politics of selling out… sheesh… this one reads at times like an apologia, with bérubé self-consciously quoting himself by way of […]
Introduction Interactive drama has been discussed for a number of years as a new AI-based interactive experience (Laurel 1986; Bates 1992). While there has been substantial technical progress in building believable agents (Bates, Loyall, and Reilly 1992; Blumberg 1996, Hayes-Roth, van Gent, and Huber 1996), and some technical progress in interactive plot (Weyhrauch 1997), no work has yet been completed that combines plot and character into a full-fledged dramatic experience. The game industry has been producing plot-based interactive experiences (adventure games) since the beginning of the industry, but only a few of them (such as The Last Express) begin to […]
Computer games are clearly a distinct form of media, with an emerging history and place in entertainment and increasingly in the arts. At this particular juncture, there is much misunderstanding of this new genre primarily because games are played through established technologies such as televisions and computers. At the same time, games display characteristics that are, at least superficially, similar to existing media forms, which creates possibilities and confusion at the same time. The numerous recent attempts to develop games as extensions of profitable movies have resulted in abject failures and rare, weak successes. This, in my opinion, is due […]
Stuart Moulthrop’s concerns in addressing networked and programmable ludology are strongly inflected by issues and values in the ethics and politics of “new” media, summed up for me in his reminder that “cyberspace is not a book or a moving picture but a complex virtual environment that should never be allowed to become second nature.” Inclinations such as these are heartily welcome and always salutary, especially given Mouthrop’s engaged stance and engaging literary persona, but here his chief counterpoint, Markku Eskelinen, represents a consciously theoretical approach to the game at hand. This leaves Moulthrop to speculate on mights, woulds, and […]
Hypertext Fiction and Its Critics Although games, visual art, and textual experiments had long been areas of academic research, the first artistically convincing explorations of literary computing appeared in the late 1980s. It was only in these years that computers became sufficiently commonplace that a computational creation could realistically hope to find an audience. Of equal importance was the gradual acceptance of Ted Nelson’s thesis (Nelson 1976) that computers could be tools for artistic expression, for even in 1982 the title of Nelson’s Literary Machines was meant to shock and surprise. The final and critical step, first taken by an […]