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[…]classes. Hypertext is making its way into the law school at the University of Trento, in literary studies at the University of Modena, and in social studies at the University of Urbino. A Professor in occupational medicine at Modena has recently published a hypertext essay on his discipline. These are but a selection of examples meant to show that, despite a general atmosphere of resistance, a vital component within academia is already pursuing possibilities opened by hypertext. These people have to overcome enormous difficulties, including lack of funds and the chronically shortsighted attitude of our Ministry of Education. Nonetheless, judging […]
[…]has proven to be an extremely productive approach, and the successes and near-misses of this group are worth serious attention from ludologists and game designers. It is significant that this group has again discovered that computer glitches can be unintentionally expressive, sometimes more expressive than explicitly programmed behaviors. In his seminal article on emotion in believable characters, Joe Bates described an earlier character who elicited sympathy by a programming glitch that caused him to twitch in a way that viewers interpreted as frustration [Bates, 1994]. The issue here is one that can be found in other computationally ambitious, agent-driven projects, […]
[…]early game genres (Multi-User Domain, and MUD, Object Oriented, respectively) were successful in working with the player’s imagination, allowing for identification to happen on the basis of world-building and interaction with an online community. MUDs and MOOs are excellent examples of using words and stories that come from conventional literature in such radically different ways that an entirely new form of literature, if it can be called this, emerged. Games are intrinsically different in their mode of address and almost always lose their magic when trying to assume the narrative rules of movies. Equally, movies are rarely able to give […]
[…]subconscious is invented by a genius scientist called the Professor, which makes it possible to code and decode information through one’s brains while its owner is unconscious: birth of the ultimate cryptology. Yet, among the twenty-six on whom the new system is experimented, the hero of the novel is the only survivor, which is the governmental secret. No one can find the reason the rest have died; suggested is that the hero’s fitting to the system concerns the contents of the rearranged story of his subconscious. Its title “The End of the World” – a quote from the song, “Don’t […]
[…]be the case that Buffalo, where I’m presently writing this essay, is the home of a significant working-class identity that is not necessarily defined by income; the moment any one of my Buffalo-bred undergraduate students speaks up in class I’m immediately aware of how much more than simply money informs their thinking. On a less mundane level, Hardt and Negri are hardly simply proposing to ontologize poverty in the way that de Man seeks to ontologize texts – they are proposing, at the very least, that there is a new proletariat (distinctly different from the industrial working class who were […]
[…]matter ” (Agre, p. xiii). Important to note here is the primacy of the technical over the critical in a critical technical practice. One must first start with a technical problem, then one can take a critical or philosophical approach, by which one finds a technical solution. This is, in fact, true of SS-AI, at least the work on expressive agent architecture which I describe in First Person. It is not, however, true of Expressive AI. In Expressive AI, the opposite situation holds: the technical problems that the artist chooses to tackle are a consequence of the artist’s vision of […]
[…]definition of future studies’ goal echoes the general goals of academics engaged in cultural studies and critical theory. However, this futurism, both “optimistic” and “realistic,” is undercut by the collection’s coda, Mark Dery’s “Memories of the Future: Excavating the Jet Age at the TWA Terminal.” Reviewing the shabby remains of JFK ‘s TWA Terminal, Dery pronounces that the Jet Age “is well and truly gone, and with it the belief that we are cleared for takeoff to a brighter tomorrow, master-planned by social engineers and watched over by technocrats who will ensure that the monorails run on time” (300). His […]
[…]and anti-systemic thought. As he explains in his introduction, the challenge of contemporary critical theory is to imagine “a nontotalizing structure that nonetheless acts as a whole” (11). Taylor’s critique of deconstruction and other forms of “post-structuralism” is that they have failed in this task. Deconstruction, he argues, has focused exclusively on the Kierkegaardian critique of totalizing systems, demonstrating the ways in which systems presuppose but cannot contain the unpredictable, that which is wholly other. The problem with this position is that it assumes that all systems aim for perfect self-closure and thus repress difference. Hence, deconstruction can never imagine […]
[…]in their dramatic fight” (108). The panorama thus suspends the viewer’s ability to reflect critically on what they are seeing, as “the picture was designed to arouse, or even create, nationalistic and patriotic feelings in the audience” (112). Because virtual image spaces produce even more powerful immersive effects, Grau adds that they exercise an even greater degree of control over the observer: “In virtual environments, a fragile, core element of art comes under threat: the observer’s act of distancing that is a prerequisite for any critical reflection” (202). This is most clearly illustrated in Grau’s discussion of Charlotte Davies’ Osmose […]
[…]Press. —. (1997a). “Nonce Upon Some Times: ReReading Hypertext Fiction.” Modern Fiction Studies 43, no.3 (1997): 579-597. —. (1997b). Twelve Blue. http://www.eastgate.com/TwelveBlue/. Landow, George P. (1992). The Dickens Web. Watertown, MA: Eastgate Systems. —. (1997). Hypertext 2.0: The Convergence of Contemporary Critical Theory and Technology, 2nd edition. Baltimore: Johns Hopkins University Press. Langer, Suzanne (1953). Feeling and Form. New York: Scribner. Larsen, Deena (1994). Marble Springs. Watertown, MA: Eastgate Systems. Laurel, Brenda (1991). Computers as Theatre. New York: Addison-Wesley. Lynch, Kevin (1960). The Image of the City. Cambridge, MA: The MIT Press. Marshall, Catherine C., and Frank M. Shipman (1993). […]