We see this point in action in the comments on the game Budget Hero she mentions in the previous paragraph.

While this critique is true perhaps of Hayles’ My Mother Was a Computer, a wider sample of Hayles’s work – especially her most recent collection of essays Electronic Literature – reveals just this kind of use of the literary to read the technological. In Electronic Literature Hayles urges us to read electronic literature not as reflecting but rather “reflecting upon the media from which it springs” (88).

The gloss provided by Ben Underwood echoes, rather than disputes, the approach taken in the work described here. Various critiques of the capacity of computing technologies to represent many everyday aspects of human cognition, much less consciousness, are well known. The work here acknowledges such limitations and embraces critical perspectives of AI such as provided by Searle, Winograd and Flores, Agre, and others. The goal of the GRIOT system is not to model consciousness. It is not full system autonomy or machine competence at a Turing-test style for story generation. The gloss provided by… continue

This was before ‘cows on parade’ became an art marketing success in Chicago. In subsequent years, the author has noticed similar decorated cows (and not a few plasticine horses) in cities throughout Europe and also in Russia and the Ukraine.

On the contention that works of literature need to be, defensively, cordoned off from the world (including the world of literary theory) see Kathleen Fitzpatrick’s book, Technological Obsolescence, reviewed in ebr by Anthony Enns.