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[…]I look at an article in Russian, I say, ‘This is really written in English, but it has been coded in some strange symbols. I will now proceed to decode” (qtd. 65). And indeed, through most of the Cold War, MT energies and resources were funneled into translating (nominally, at any rate) more Soviet data than the human component of U.S. intelligence agencies could possibly process, even as the agents themselves were thereby absolved from any need to actually learn Russian (96–97). Lennon bends this in two directions: toward “the drive to optimize” (qtd. 63), on the one hand, that […]
[…]such as Noah Wardrip-Fruin (Expressive Processing), and Mark Marino (“L.A. Flood,” Critical Code Studies), among the many other artists and apostles of three-dimensional space. Beyond the Screen is divided into three sections, each of which considers one way that new media literary aesthetics can be said to move beyond the flat grid of the computer terminal. The first section considers the relation between literature and locative, spatially-informed media; the second offers diverse perspectives about the transformation of literary genres vis-à-vis digital media; and the third presents a short collection of essays that focus on the problems and practicalities involved in […]
[…]contractions and expansions of time, in the narrative’s process time. While earlier when working with doubly deictic subjectivity, process disrupts the traditional model of narrative frequency, here it distorts duration. As such, two of the fundamental categories of narrative time are unsettled somewhat by the kinds of interaction that TOC, as a new media novel, encourages. The Logic of Chronology: A Conclusion The differing experiences offered by the Chronos box and the Logos box can be linked to the character’s names. Chronos is a well known Greek god of time, and thus it seems apt that his box was a […]
[…]to manipulation. Abbott’s Flatland is something of a cult work, long unacknowledged in literary studies and, until fairly recently, nearly owned by the mathematics community where it is prized for its elegant use of analogy to introduce students to the concept of unperceivable dimensions beyond the familiar directly measurable three. Based on discussions with fans of the book, it seems that many young students in middle school mathematics classes beginning in the late 1970s-1980s were introduced to the work as part of the class curriculum. Others came across the Dover thrift edition or possibly heard a reference to it in […]
[…]back and re-adjusting them (this was, of course, the cause of the Y2K crisis). At the same time, code is also written with a view to changes likely to happen in the next cycle of technological innovation, as a hedge against premature obsolescence, just as new code is written with a view toward making it backward-compatible. In this sense too, the computer instantiates multiple, interacting, and complex temporalities, from micro-second processes on up to perceptible delays. Humans too embody multiple temporalities. The time is takes for a neuron to fire is about .3 to .5 milliseconds. The time it takes […]
[…]Interaktive Installationen. Für eine Hermeneutik digitaler Kunst). Simanowski, professor of media studies in Basel, also known for his editorship of the online journal dichtung-digital , intended to fill in the critical lacuna. Vehemently defending the necessity for professional criticism and scholarship, he emphasizes the need for a critical discourse on digital art. It is not enough to just “embrace an artifact in its phenomenological materiality” (x), we have the obligation to try and establish its meaning. The preface to Digital Art and Meaning reads as a manifesto for hermeneutics. Simanowski emphasizes time and again the importance of the mind in […]
[…]a prison? Could the situation rather be the opposite, that is, that the web is the solution to the critical situation of contemporary novels? Why doesn’t White count for the rich culture of alternative “presses” and directories that have grown up on and around digital literature and art for the last three decades? Digital literature, that is literary works that are published on the web and that must be read on a computer, has established itself as an important alternative to book literature and the book publishing press. It is on the web but outside of Amazon. You’ll find it distributed […]
[…]in DNA, and a perfect bound spine in VAS. Lest the reader overlook this formal equation between coded chromosome and coded book, the novel’s pagination, on pages where the line appears, mimics the notation used to indicate the beginning and end points of a gene sequence. The ellipses before page numbers, here, and their appearance on only right hand pages, underscore the sense of the text as a continuous chain of facing pages arranged as a double helix of genetic base pairs. This sense of closed pages interlocking in genetic recombination is represented elsewhere as simple sex, with the image […]
[…]not attuned to these complexities. These are insights, I’d stress, that postcolonialism, critical race studies, feminism and gender studies, and science and technology studies contribute, offering additional conceptual resources and reading practices to further expand the affirmative toolkit Post-Postmodernism recommends here. Drawing on Gilles Deleuze’s concept of the “powers of the false,” Nealon further differentiates his intensifying approach from earlier postmodernist theories and historical materialisms, even Jameson’s, that remain more or less invested in the “weak” or mediating, interruptive force of the false and its limiting modes of challenging hegemonic truth by interrupting or suspending it. His own “post-postmodern” reading […]
[…]D. Fox. “Designing empowering and critical identities in social computing and gaming.” CoDesign 6.4 (2010): 187-206. —. Toward a Theory of Critical Computing:The Case of Social Identity Representation in Digital Media Applications. CTheory (2010). —. Phantasmal Media: An Approach to Imagination, Computation, and Expression. Cambridge: MIT Press, 2013. Harrell, D. Fox, D. Kao, and Chong-U Lim. “Computationally Modeling Narratives of Social Group Membership with the Chimeria System.” Paper presented at the Proceedings of the Workshop on Computational Models of Narrative – a satellite workshop of CogSci 2013: The 35th meeting of the Cognitive Science Society, Berlin, Germany. 2013. Harrell, D. […]