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On the Globalization of Literature: Haruki Murakami, Tim O’Brien, and Raymond Carver

[…]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 […]
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On Materialities, Meanings, and The Shape of Things

[…]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 […]
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Phoebe Sengers responds in turn

[…]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 […]

Fingering Prefiguring

[…]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 […]

Celebrating Complexity

[…]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 […]

Optical Media Archaeologies

[…]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 […]

The Pleasures of Immersion and Interaction

[…]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). […]

Literal Art

[…]of literary phenomena is trivial and that “digital” is a redundant term (in cultural studies at least). It is used for media that would be better characterised as “literal.” This may present itself as a ironic circumstance. I may appear to be proposing that we apply critical tools and criteria from a world of relatively conservative cultural authority, from print culture, from alphabetic minds, and attempting to use them to overdetermine our brave new world of networked and programmable media. However, it should be clear from what I’ve said so far that I am concerned with addressing the materiality of […]

Approaches to Interactive Text and Recombinant Poetics

[…]machine of perfectly definite form. (Hodges 1983, 104) The varying symbolic properties of computer code become compressed, and function in a pun-like manner, inwardly enabling the functionality of a code-driven conceptual machine within specific hardware environments, while outwardly presenting media and physical process variables. The body becomes enmeshed experientially. A participant exploring such media-spaces becomes structurally coupled with the authored artifacts of computational media elements and processes. Maturana describes this as a linguistic domain. Yet we are just beginning to experience the fruits of how someone uses this potential functionality of computer-based authorship, when they draw upon a cogent field […]
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What Does a Very Large-Scale Conversation Look Like?

[…]need a map of the group in order to find their current or desired position in the group. Groups need a map to reflect on their limits and internal structure. This map can be either a metaphorical or a literal map. Maps have historically been very important for geographically circumscribed groups. On a country’s map, citizens can find their homes, their proximity to the capital, their range of travel experience, and so forth. Maps usually incorporate several kinds of information; e.g., political boundaries, roads, and elevations might be included on one map of a region. No map can incorporate all […]
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