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[…]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. […]
[…]established hyperfiction and electronic literature writing.McKenzie Wark, “From Hypertext to Codework,” Hypermedia Joyce Studies, vol 3, issue 1 (2002).Later, artists like mez breeze and Alan Sondheim were at home in both worlds. Net.art brought a fresh air of everyday culture and the digital vernacular: the languages of spam, chat bots, viruses, browser crashes, debugging messages, blue screens and 404 codes – a language that was much more rampant in the 1990s than in today’s iPhone, iPad, Facebook and Google world with their sanitized operating systems and app stores. And it was a largely non-academic movement whereas electronic literature was, and […]
[…]frame for his argument. Birger Vanwesenbeeck chastises the postmodern and posthuman turn in Gaddis studies for excommunicating religion from their critical congregations in “Agapē Agape: The Last Christian Novel(s).” Vanwesenbeeck returns to Gaddis’ comment that The Recognitions constitutes the “last Christian novel” and argues for seeing the writer as trying to “write himself loose from a religious doctrine, which [. . .] he loathed as much as he [. . .] realized its deep contiguity to the art of fiction” (88). For Vanwesenbeeck, this bind comes to the fore in Agapē Agape, as Gaddis’ views of (artistic) community are communicated […]