CRITICAL PROGRAMMING: Toward A Philosophy Of Computing

Chapter 1 Introduction{11}

1.1 from automated genocide to the dumbest generation{11}

1.2 a collective intelligence problem, societies of control, the quintessential postmodern object, foss hopes, default philosophies of computing{11}

1.3 not to use old tools for new problems, scholarship requires a cybersage, digital humanities projects, critical programming studies, plan of the dissertation{11}

schedule

Chapter 2 Situation post-postmodern network dividual cyborg{11}

2.1 modernism and postmodernism, regressive subjectivity, Heideggers America, inventing the posthuman{11}

2.2 cybernetics, embodiment, techno-capitalist networks, dividual cyborg, cybersage{11}

Chapter 3 Theoretical framework and methodology{11}

3.1 critical theory, textuality studies, media studies, philosophy of technology{11}

3.2 social construction of technology, ensoniment, histories of computing networking and software, psycho-social studies of computer programmers{11}

3.3 software studies, game studies, code space, critical code studies{11}

3.4 platform studies, diachrony in synchrony, technogenesis and synaptogenesis, cyborg revisited{11}

Chapter 4 Philosophical programmers{11}

4.1 system engineers pioneers of babelization, distribued network visionaries, the new ontologists{11}

4.2 application developers beyond hard mastery and bricolage, auto-ethnographers of coding places{11}

Chapter 5 Critical programming studies{11}

5.1 working code places{11}

5.2 programming philosophers{11}

5.3 symposia, ensoniment{11}

5.4 tapoc, flossification{11}

5.5 pmrek, machine embodiment{11}

Chapter 6 Conclusion{11}

6.1 recommendations{11}

6.2 future directions{11}

Works Cited


1.1 from automated genocide to the dumbest generation

TOC 1.1 from automated genocide to the dumbest generation+

1.2 a collective intelligence problem, societies of control, the quintessential postmodern object, foss hopes, default philosophies of computing

TOC 1.2 a collective intelligence problem, societies of control, the quintessential postmodern object, foss hopes, default philosophies of computing+

1.3 not to use old tools for new problems, scholarship requires a cybersage, digital humanities projects, critical programming studies, plan of the dissertation

schedule

2.1 modernism and postmodernism, regressive subjectivity, Heideggers America, inventing the posthuman

TOC 2.1 modernism and postmodernism, regressive subjectivity, Heideggers America, inventing the posthuman+

2.2 cybernetics, embodiment, techno-capitalist networks, dividual cyborg, cybersage

3.1 critical theory, textuality studies, media studies, philosophy of technology

-3.1.0+++ {11}

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (IX) 20150219 0 0+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
Levy hints at potential for virtual aura through feedback recovering art and observer from withered condition brought on by commodification. (IX)

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (XIII) 20130910h 0 -5+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
Extreme closeup and other techniques are ways perceptions change through technology moreso than society, although Dumit discusses the social aspects; recall comparison to magician and surgeon, link to NMR. (XIII) With the close-up, space expands; with slow motion, movement is extended. . . . The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xliv) 20140303k 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Apply their methodology by opening black box of computer technology, which includes examining social groups, emerging digital humanities scholarship including Edwards, Ensmenger, Golumbia, Mackenzie, and so on layering on critical programming. (xliv)

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK bork-journal 20061209 TAPOC_20061209 0 -8+ journal_2006.html
Copeland seems oblivious to what I have called default metaphysics of computing. When by abiding with the assumption that "The Turing machine is an idealization of a human computer" (2004), he implicitly commits himself to an anthropomorphized conception that inevitably emphasizes performing arithmetic operations within deadlines, the traditional work of human computers, ignoring what I have called shortlines and the study of true parallel processing. These are phenomena not always reducible to Turing machine constraints. Maner, for instance, acknowledges; Aloisio, too, notes that in the history of the word compte was French for very short periods of time. Such alternate systems are commonplace; cyberspace is constituted by the coordinated effort a distributed network of Turing machines, perhaps what some guy at CAP meant by the term supercomputing. Do we want to spend much time with a philosophy of computing that could not come up with a means to operate a switch matrix since it has no sense of time, no appreciation for many things at once? What other all too human qualities lurk in our actual technological apparatus as a result of default metaphysics holding sway over production? Perhaps if nobody is working on metaphysics in the philosophy of computing, it could proceed using methodologies borrowed from the philosophy of technology.

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK bork-journal 20121222 20121222 0 -3+ journal_2012.html
Notes made last night in Burks, Goldstine, von Neumann as one of the essential texts of electronic computer technology, laying out in detail what Turing describes abstractly, pseudo design. Then a chapter of the latest book by Hayles, as if to confirm the course set by these early theorists of human computer symbiosis. She criticizes Manovich for claiming that database paradigms compete with narrative, as if to supplant the form so characteristics of humanity; consider them instead as symbiants, components.

3 0+ 0+ 1 2 3 4 (+) [-6+]mCQK bork-journal 20130428 TAPOC_20130428 0 -2+ journal_2013.html
The framework needs to be named; I currently call it a synchronic processes in many orders of magnitude layer model, articulated in pinball platform studies. The idea to be captured is of multiple layer, multiple temporal order of magnitude concurrent amalgamated synchronic processes.

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK bork-journal 20141209 20141209 0 -5+ journal_2014.html
Despite their unique computing capabilities, post-postmodern network dividual cyborgs are also themselves or descendants of the dumbest generation, emerging at the turn of the century in the western world with personal computers and flourishing in the present second decade Internet milieu, which includes machinery and other technology systems along with humans, for there are dumb devices along with dumb people, with banality of Microsoft Bob hiding family resemblance with concentration camp equipment. Treat gigantic underwater book as limit of natural automata and mechanical media along with table size pages or lights on a moutainside shimmering text and images. Should replace engineers with architects for first half of chapter four along with calling chapter six advertisement short for animadvertPHI. Hallucinate, noting both imagine and fantasize have visual bias, habitual use of ensoniment to rethink experience of ancient philosophy through software development work. Chapter three takes theories from as is situation, and adds tech-savvy layer to SCOT through software studies, critical software, and platform studies approaches.

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK bork-journal 20150218 20150218 0 -2+ journal_2015.html
An example of synaptogenesis is multidimensional close reading including visual focus on small text at close distance, plus other activities like using pointing devices. Time to think about table of contents level reading of chapter two, for it is currently not even a good Latour list as ecample of Bogost Latour litany software artifact examples change to domain range of operator operation third order logic unit phenomenon run time instance PHI.

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK horkheimer_adorno-dialectic_of_enlightenment (18-19) 20130929e 0 -11+ progress/2011/06/notes_for_horkheimer_adorno-dialectic_of_enlightenment.html
Mathematics reified thought as a machine process; compare analysis to Hayles. (18-19) In the preemptive indentification of the thoroughly mathematized world with truth, enlightenment believes itself safe from the return of the mythical. It equates thought with mathematics. The latter is thereby cut loose, as it were, turned into absolute authority. . . . Thought is reified as an autonomous, automatic process, aping the machine it has itself produced, so that it can finally be replaced by the machine. . . . Despite its axiomatic self-limitation, it installed itself as necessary and objective: mathematics made thought into a thing a tool, to use its own term.

-3.1.1+++ {11}

3 1 1 (+) [-4+]mCQK barthes-listening (246-247) 20110905 0 -6+ progress/2011/09/notes_for_barthes-listening.html
The three types of listening; relate to Suchman situated actions and difficulty of AI theorists with natural language. (246-247) This first listening might be called an alert. The second is a deciphering; what the ear tries to intercept are certain signs. Here, no doubt, begins the human: I listen the way I read, i.e., according to certain codes. Finally, the third listening, whose approach is entirely modern (which does not mean it supplants the other two), does not aim at or await certain determined, classified signs: not what is said or emitted, but who speaks, who emits: such listening is supposed to develop in an inter-subjective space where I am listening also means listen to me ; what it seizes upon in order to transform and restore to the endless interplay of transference is a general signifying no longer conceivable without the determination of the unconscious.

3 1 1 (+) [-4+]mCQK barthes-myth_today (108-109) 20131024o 0 -1+ progress/2011/07/notes_for_barthes-myth_today.html
Clear Foucault connection; later he refers to the insignificant ideology of the right: does bourgeois culture include classification systems as studied by Bowker and Star? (108-109) This anonymity of the bourgeoisie becomes even more marked when one passes from bourgeois culture proper to its derived, vulgarized, and applied forms, to what one could call public philosophy, that which sustains everyday life, civil ceremonials, secular rites, in short, the unwritten norms of interrelationships in a bourgeois society.

3 1 1 (+) [-4+]mCQK barthes-myth_today (110) 20131024p 0 -5+ progress/2011/07/notes_for_barthes-myth_today.html
Bourgeois ex-nomination. (110) The bourgeoisie is constantly absorbing into its ideology a whole section of humanity which does not have its basic status and cannot live up to it except in imagination, that is, at the cost of an immobilization and an impoverishment of consciousness. . . . it is as from the moment when a typist earning twenty pounds a month
recognizes herself in the big wedding of the bourgeoisie that bourgeois ex-nomination achieves its full effect.

3 1 1 (+) [-4+]mCQK barthes-myth_today (112-113) 20131024r 0 -5+ progress/2011/07/notes_for_barthes-myth_today.html
Language-object speaks things; clear Influence of Barthes method on Latour science studies. (112-113) One could answer with Marx that the most natural object contains a political trace, however faint and diluted, the more or less memorable presence of the human act which has produced, fitted up, used, subjected, or rejected it. The
language-object, which speaks things, can easily exhibit this trace; the metalanguage, which speaks of things, much less easily. . . .

3 1 1 (+) [-4+]mCQK barthes-myth_today (113) 20131024s 0 -5+ progress/2011/07/notes_for_barthes-myth_today.html
Zizek humor. (113) But it is enough to replace the initial term of the chain for an instant into its nature as language-object, to gauge the emptying of reality operated by myth: can one imagine the feelings of a
real society of animals on finding itself transformed into a grammar example, into a predicative nature! . . . There is no doubt that if we consulted a real lion, he would maintain that the grammar example is a strongly depoliticized state, he would qualify as fully political the jurisprudence which leads him to claim a prey because he is the strongest, unless we deal with a bourgeois lion who would not fail to mythify his strength by giving it the form of a duty.

3 1 1 (+) [-4+]mCQK barthes-myth_today (115-116) 20131024t 0 -6+ progress/2011/07/notes_for_barthes-myth_today.html
Left-wing myth inessential. (115-116)
Left-wing myth is inessential. . . . Left-wing myth never reaches the immense field of human relationships, the vary vast surface of insignificant ideology. Everyday life is inaccessible to it: in a bourgeois society, there are no left-wing myths concerning marriage, cooking, the home, the theater, the law, morality, etc.

3 1 1 (+) [-4+]mCQK barthes-myth_today (117) 20131024u 0 -6+ progress/2011/07/notes_for_barthes-myth_today.html
Micro-climates in myths: does Barthes single out the petit-bourgeoisie if not to situate the scholar mythologist on myth of the right? (117) Does this completeness of the myths of Order (this is the name the bourgeoisie gives to itself) include inner differences? Are there, for instance, bourgeois myths and petit-bourgeois myths? . . . some myths ripen better in some social strata: for myth also, there are micro-climates.

3 1 1 (+) [-4+]mCQK barthes-myth_today (118) 20131024v 0 -2+ progress/2011/07/notes_for_barthes-myth_today.html
Rhetorical forms of bourgeoisie myth that help constitute modernist, liberal subject: innoculation, privation of history, identification, tautology, neither-norism, quantification of quality, statement of fact. (118) Since we cannot yet draw up the list of the dialectical forms of bourgeois myth, we can always sketch its
rhetorical forms. One must understand here by rhetoric a set of fixed, regulated, insistent figures, according to which the varied forms of the mythical signifier arrange themselves.

3 1 1 (+) [-4+]mCQK barthes-structuralist_activity (149) 20131025a 0 -3+ progress/2012/05/notes_for_barthes-structuralist_activity.html
Definition of structuralism as an activity sounds like a programmed procedure. (149) Hence the first thing to be said is that in relation to
all its users, structuralism is essentially an activity, i.e., the controlled succession of a certain number of mental operations.

3 1 1 (+) [-4+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (VI) 20130910b 0 -6+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
From free-floating contemplation to involvement in hidden political significance and specific approaches to appreciation. (VI) With Atget, photographs become standard evidence for historical occurrences, and acquire a hidden political significance. They demand a specific kind of approach; free-floating contemplation is not appropriate for them. . . . For the first time, captions have become obligatory.

3 1 1 (+) [-4+]mCQK bogost-unit_operations (77) 20130910p 0 -3+ progress/2012/01/notes_for_bogost-unit_operations.html
Benjamin figure that fascinates goes by other names by famous theorists: think of the exotic object on We Have Never Been Modern. (77) The poem expresses a unit operation for contending with the chance encounter. On the one hand, it is the crowd that thrusts the narrator into th enew confusion his situations exposes. On the other hand, that very exposure reveals a useful tool, what Benjamin calls a
figure that fascinates.

3 1 1 (+) [-3+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xxvi) 20140118p 2 -11+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Formulating autocritique from flaw noted in their exposition: capitalism and critique simultaneously and interactively take charge of definition and categorization of the world through their capacities for displacement and inventiveness. (xxvi) Where tests are concerned, we equipped our actors with capacities for both displacement and categorization. Categorization consists in comparing singular events in a particular respect in order to connect them in a series. It is one of the basic operations people perform when they seek to give meaning to the world they live in, by deriving from it major invariants and a certain simplified image of the way it operates. Capacities for categorization are essential for ƒtightening up testsƒ. Contrawise, displacements refer to peopleƒs actions inasmuch as they are not categorical and, more especially, in so far as they do not form part of established, identified and highly categorized tests a feature which gives them a local, largely invisible character.
(xxvi) What is involved is a flaw in our exposition: capacities for categorization and displacement, as anthropological capacities, are obviously uniformly distributed. . . . Hence capitalism and its critiques simultaneously, and interactively, take charge of the definition / categorization of thew world.
(xxvii) Symmetrically, critique has significant capacities for displacement and inventiveness.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (14) 20140119b 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Cadres and engineers are primary recipients of management discourse. (14) We shall see how management discourse, which aims to be formal and historical, general and local, which mixes general precepts with paradigmatic examples, today constitutes the form par excellence in which the spirit of capitalism is incorporated and received.
(14) This discourse is first and foremost addressed to
cadres, whose support for capitalism is particularly indispensable for running firms and creating profits.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (15) 20140119c 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Constraint of maintaining tolerable distance between cadres and workers. (15) One of the constraints on their justification is the preservation of a culturally tolerable distance between their own condition and that of the workers whom they have to manage.
(15) The justifications of capitalism that interest us here are thus not so much those referred to above, which capitalists or academic economists might elaborate for external consumption, particularly in the political world, but first and foremost those addressed to
cadres and engineers.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (22) 20140304i 0 -3+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Cities as general convention of justification appropriate to exploration in computer games like Sim City and Civilization. (22) Inasmuch as they are subject to an imperative of justification, social arrangements tend to incorporate reference to a kind of very general convention directed towards a common good, and claiming universal validity, which has been modeled on the concept of the
city. Capitalism is no exception to this rule. What we have called the spirit of capitalism necessarily contains reference to such conventions, at least in those of its dimensions that are directed towards justice.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (26) 20140119k 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Take justification of capitalism to common good seriously to distance from polarizing critical approaches. (26) In taking the effects of the justification of capitalism by reference to a common good seriously, we distance ourselves both from critical approaches for which only capitalismƒs tendency to unlimited accumulation at any price is real, and the sole function of ideologies is to conceal the reality of all-powerful economic relations of force; and from apologetic approaches which, confusing normative supports and reality, ignore the imperatives of profit and accumulation, and place the demands for justice faced by capitalism at its heart.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (28) 20140119l 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Critique can delegitimate previous spirits. (28) First of all, it can
delegitimate previous spirits and strip them of their effectiveness.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (28) 20140119m 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Critique can justify capitalist processes in terms of common good. (28) A second effect of critique is that, in opposing the capitalist process, it compels its spokesmen to justify that process in terms of the common good.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (29) 20140119n 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Critique can also cloud the issue. (29) We may suppose that, in certain conditions, it can
elude the requirement of strengthening the mechanisms of justice by making itself more difficult to decipher, by ƒclouding the issueƒ.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (29) 20140119o 0 -4+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Model of change through interplay of three terms of critique, organizing work, maintaining space between means and justice. (29) The model of change we shall employ rests upon the interplay between three terms. The first represents critique, and can be parameterized according to what it denounces (the objects of denunciation being, as we shall see, pretty various in the case of capitalism) and its vigor. The second corresponds to capitalism inasmuch as it is characterized by the mechanisms for organizing work, and ways of making a profit associated with it, at a given period. The third likewise denotes capitalism, but this time in so far as it integrates mechanisms intended to maintain a tolerable space between the means employed to generate profits (second term) and demands for justice relying on conventions whose legitimacy is acknowledged.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (30) 20140119p 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
The test. (30) There is one notion that helps us to articulate the three terms of capitalism, spirit of capitalism and critique: that of the
test, which, in addition, represents an excellent vehicle for integrating exigencies of justice and relations of force into the same framework without reductionism.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (31) 20140119r 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Power conveyed by determination by tests of degree of amoral strength or just character status. (31) We shall say in the first instance (the test of strength) that at its conclusion the disclosure of power is conveyed by the determination of a certain degree of strength, and in the second (the legitimate test), by a judgment as to the respective is status of people. Whereas the attribution of strength defines a state of affairs without any more implications, the attribution of a status assumes a judgment that bears not only on the respective strength of the opposing parties, but also on the just character of the order disclosed by the test.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (32) 20140119s 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Critique and tests intimately related in affecting capitalism. (32)
Critique and tests are intimately related.
(32) The impact of critique on capitalism operates by means of the effects it has on the central tests of capitalism.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (33) 20140119t 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Reformist and revolutionary critique depending on how it affects tests. (33) From this second critical position, the critique that aims to rectify the test will itself often be criticized as
reformist, in contrast to a radical critique that has historically proclaimed itself revolutionary.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (35) 20140119u 0 -3+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Two stage birth of new spirit of capitalism. (35) The birth of a new spirit of capitalism thus comes about in two stages, although this is a merely analytical distinction, since they broadly overlap. In the first, we witness the sketching of a general interpretative schema of the new mechanisms and the establishment of a new cosmology, allowing people to get their bearings and deduce some elementary rules of behavior. In the second, this schema is going to be refined in the direction of greater justice, with its organizing principles established, the reformist critique will strive to make the new tests that have been identified stricter.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (36) 20140119v 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Domain of emotions and reflexive levels of expression of critique. (36) This is why there are actually two levels in the expression of any critique: a primary level the domain of the emotions which can never be silenced, which is always ready to become inflamed whenever new situations provoking indignation emerge; and a secondary level reflexive, theoretical and argumentative that makes it possible to sustain ideological struggle, but assumes a supply of concepts and schemas making it possible to connect the historical situation people intend to criticize with values that can be universalized.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (37) 20140119q 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Four sources of indignation: disenchantment and inauthenticity, oppression, poverty and inequalities, opportunism and egoism. (37) While capitalism has changed since its formation, its ƒnatureƒ has not been radically transformed. As a result, the sources of indignation that have continually fueled criticism of it have remained pretty much the same over the last two centuries.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (38) 20140119x 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Artistic and social critique. (38) Consequently, the bearers of these various grounds for indignation and normative fulcra have been different groups of actors, although they can often be found associated in a particular historical conjuncture. Thus, we may distinguish between an
artistic critique and a social critique.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (38) 20140119y 0 -7+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Artistic critique foregrounds loss of meaning, sense of beautiful; Baudelaire bourgeoisie and the dandy exemplifying attachment and detachment. (38) This [artistic] critique foregrounds the loss of meaning and, in particular, the loss of the sense of what is beautiful and valuable, which derives from standardization and generalized commodification, affecting not only everyday objects but also artworks (the cultural mercantilism of the bourgeoisie) and human beings.
(38) The artistic critique is based upon a contrast between attachment and detachment, stability and mobility, whose paradigmatic formulation is found in Baudelaire. On the one hand, we have the bourgeoisie, owning land, factories and women, rooted in possessions. . . . On the other hand, we have intellectuals and artists free of all attachments, whose model the
dandy, a product of the mid-nineteenth century made the absence of production (unless it was self-production) and a culture of uncertainty into untranscendable ideals.

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Modernist and antimodernist aspects. (39) While it shares its individualism with modernity, the artistic critique presents itself as a radical challenge to the basic values and options of capitalism. . . . The social critique, for its part, seeks above all to solve the problem of inequalities and poverty by breaking up the operation of individual interests.
(40) However, notwithstanding the dominant tendency of each of these critiques towards reform of, or abandonment of, the capitalist regime it will be observed that each of them presents a modernist and an anti-modernist aspect. For this reason, the tension between a radical critique of modernity, which leads to ƒprotesting against the age without participating in itƒ, and a modernist critique that risks leading to ƒparticipating in the age without challenging itƒ, is a constant feature of critical movements.

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Capitalism readily submits to the exit critique. (42) The ƒexitƒ critique, which is a refusal to buy on the part of the consumer or customer in the broad sense, a refusal of employment by the potential wage laborer, or a refusal to serve by the independent service provider, is one to which capitalism more readily submits.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (60-61) 20140306b 0 -8+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Textual study with two phases of analysis based on two corpora of sixty texts per period: close reading by humans to define hypothetical characteristics of each period, and machine reading via Prospero analytical software to corroborate them. (60-61) We have therefore constituted two corpora comprising sixty texts each. The first corpus appeared in the 1960s (1959-1969), the second in the 1990s (1989-94); and both deal, in whole or part, with the question of
cadres, even if the latter are sometimes referred to by different terms (manager, directeur, chef, dirigeant, etc.). For each of the periods under consideration, these two corpora make it possible to bring out a typical image of what was recommended to firms as regards the types of cadres to employ, the way they should ideally be treated, and the kind of work that might appropriately be asked of them. Appendix 1 sets out the characteristics of the texts analyzed, while Appendix 2 presents a bibliography of each corpus. The corpora thus constructed (more than a thousand pages) have been processed in two phases. In the first instance, we submitted them to a traditional analysis based on an extensive reading that aimed at an initial location of their authorsƒ concerns, the solutions they proposed to the problems of their period, the image they offered of the inherited forms they declared to be outdated, and the various arguments advanced to effect the conversion of their readers. In a second phase, we used the analytical software Prospero@ (see Appendix B) to corroborate our hypotheses and confirm, by means of specific indicators running through the body of texts, that our analysis did indeed reflect the general state of the corpus (not a personal bias with respect to certain themes that risked exaggerating their importance), and hence the general state of management literature in the relevant years.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (61) 20140306c 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Comparative method placing emphasis on differences between the two corpora. (61) The option adopted is basically comparative. Emphasis has been placed on the differences between the two corpora, whereas constants have been paid less attention.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (86) 20140309j 0 -3+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Statistical software confirmation of their interpretation of content of two sets of management literature; now test them. (86) we used a textual analysis software program to compare the two corpora systematically. In Appendix 3, readers will find a presentation of this work, offering statistical confirmation of the interpretation of their content we have just presented.
(86) Let us reiterate that, in order to meet the constraints of the test to which we are subjecting them, these texts must present engagement in reformation as a personally exciting venture, demonstrate that the measures proposed are justifiable in terms of the common good, and, finally, explain how they will deliver to those who invest in them a certain form of security for themselves and their children.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (125) 20140121u 0 -3+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Model tests at end of a project. (125) <Model tests> are just as necessary for fulfilling the requirements of justice, and for their inscription in the fabric of everyday relations. These are situations when the status of persons and things is revealed with especial clarity.
(125) It is when a project is finished that the keyholders are revealed and an appraisal is conducted.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (135-136) 20140125e 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Based on these analyses and software analysis of 1990s management literature, projective city constitutes original mode of justification. (135-136) The analyses above lead us to believe that what we have called the projective city does indeed constitute an original mode of justification, whose architecture is based on a world of objects and mechanisms whose formation is relatively recent. We can also confirm it by demonstrating, with the aid of the textual analysis program Prospero, that the projective city definitely specifies the 1990s corpus.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (136) 20140125f 0 -5+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Mapping grammars of seven worlds via word categories shows dominance of industrial logic in both eras, and network logic overtaking domestic logic for second place in 1990s. (136) The grammars are represented in their computerized form by groups or categories of words associated with one or other world. It is then possible to compare the two corpora with respect to the presence or absence of the different categories. . . .

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (137) 20140125g 0 -5+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Textual analysis brings network logic to top position. (137) The program of textual analysis that we have employed thus makes it possible to bring out a major transformation in the space of thirty years in the registers of justification on which management literature bases itself, and an increase in the popularity of the network logic to top position. . . . Hence this tends to confirm the hypothesis that the construction we have extracted from texts does indeed represent, in stylized and concentrated form, what characterizes the new spirit of capitalism in a highly original fashion.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (139) 20140125i 0 -5+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Few management texts reference authors from human sciences and philosophy, mostly each other; communication, complexity, chaos are predominant terms. (139) However, although a large number of the terms or notions drawn from management texts where network logic predominates have their equivalent in writings from the human sciences, direct references to these works are rather rare in our corpus, and pretty much concentrated under the signatures of a few authors. These authors associate management in network form with three terms: first, communication (represented by references to Habermas, Bateson, and Watzlawick); secondly, complexity (J.-P. Dupuy, Edgar Morin); and, finally, disorder, chaos and self-organization (represented by references to Prigogine, Stengers, Atlan, Heisenberg, Hofstadter and Varela). As a general rule, the authors of our corpus predominantly cite other management authors, and frequently one another; this accords with the existence of management as a specific discipline.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (139) 20140125j 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Traces of 1970s Illich although rarely cited by management authors. (139) In other respects, we find in the writings of the main authors from whom we have extracted the outline of the projective city traces of a reading of Ivan
Illichƒs works in the 1970s. Their anti-authoritarian emphasis, critique of centralization, stress on autonomy and on what might, with a certain anachronism, be called self-organization, and also their technological humanism placing tools in the service of humanity, not vice versa were to be taken up in the thematic of the projective city.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (148-149) 20140125p 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Traditional political philosophy has not yet attempted to justify the network, connexionist order; consider recent Lanier as example arising from technologists. (148-149) Because, as far as we know, there is no key text that attempts to establish the possibility of a harmonious, just world based on the network. The connexionist type of order whose formalization we have sketched has not in the same way as the domestic, civic or commercial orders, for example been the object of a systematic construction in the tradition of political philosophy.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (150) 20140125q 0 -3+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Historicist and naturalist efforts to construct scientific sociology based on networks, reducible to reticular organization of knowledge. (150) The wish to construct an authentically scientific sociology on the basis of network analysis has been expressed in two different fashions. Schematically, the first might be characterized as historicist, the second as naturalistic.
(151) However, the tension between a historicist position (the network is the form that suits our age) and a naturalistic position (the network is the texture constitutive of any social world, even of nature in its entirety) can be reduced if one accepts that in the order of knowledge, reticular organization constitutes the form that is best adjusted to the global vision of the world from the viewpoint of a city founded upon a connexionist logic.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (156) 20140125x 0 -4+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Critique seemed to miss advance of new network mechanisms of capitalism besides condemnation of exclusion, until recently, though its 1970s vanguard emerge as promoters of the transformation. (156) Apart from the denunciation of exclusion, however, which is precisely a condemnation of the new connexionist world in terms of disaffiliation that is to say, disconnection which appeared at the beginning of the 1990s but remained largely unconnected with the new mechanisms of capitalism, at least until recently, it must be said that the new world became firmly established without a fuss. It was as if it had been covered up by the clamor surrounding the slowdown in growth and rising unemployment, which no public policies succeeded in curbing. Similarly powerless, critique was unable to analyze the transformation beyond exposing the new forms of social suffering. Quite the reverse, those in the vanguard of critique in the 1970s often emerged as promoters of the transformation.

3 1 1 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (309) 20131026n 0 -6+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Benjamin dialectics of seeing. (309) These fragments an enormous compendium of research notes and commentary suggest a critical theory of modernity based on a materialist philosophy which, because it is concentrated in the experience of vision, can perhaps best be described as a
dialectics of seeing.
(309) Benjamin saw in
Paris arcades the original temple of commodity capitalism, all of the characteristics of commodity culture in embryonic form. . . . The passages are the precursors of the department stores.

3 1 1 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (311-312) 20131026 0 -6+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Mass publication emblem books influence montage panoramic representation of dialectical images intuited as Urphenomena. (311-312) The
Passagen-Werkƒs pictorial representations of ideas are undeniably modeled after those emblem books of the seventeenth century that had widespread appeal as perhaps the first genre of mass-publication. . . . The images were to provide a critical understanding of modernity by juxtaposing, stereoscopically, images of two time dimensions, his own world and its nineteenth-century origins, according to the cognitive principles of montage. Nineteenth-century objects were to be made visible as the originary, Urphenomena of the present.

3 1 1 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (314-316) 20131026o 0 -20+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Conceptual extremes illustrated by quadrant diagram: petrified/transitory nature, dream/waking, fossil/fetish, wish-image/ruin. (314-316) His unfolding of concepts in their extremes can be visualized as antithetical polarities of axes which cross each other, revealing the dialectical moments of an image at the null-point. . . . If the termini are to be antithetical extremes, we might name those on the axis of reality,
petrified nature/transitory nature, while in the case of consciousness, the termini would be dream/waking. At the null-point where the coordinates intersect, we can place that dialectical image which by 1935 stood at the midpoint of the project: the commodity. . . . The diagram represents this invisible inner structure of the Passagen-Werk.
(quadrant diagram)
The
fossil names the commodity in the discourse of Ur-history, as the visible remains of the Urphenomena. . . . The fetish is the key word of the commodity as mythic phantasmagoria, the arrested form of history. . . . The wish-image is the transitory dream-form of that potential. In it, archaic meanings return in anticipation of the dialectic of awakening.

3 1 1 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (317) 20131026b 0 -6+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Under conditions of capitalist industrialization, reenchantment of social world through reactivation of mythic powers at dream level; Arcades project intended to practice dialectics of seeing to enable waking from that dream. (317) In contrast, and in keeping with the Surrealist vision, Benjaminƒs central argument in the
Passagen-Werk was that under conditions of capitalism, industrialization had brought about a reenchantment of the social world, and through it, a reactivation of mythic powers. . . . Underneath the surface of increasing systematic rationalization, on an unconscious dream -level, the new urban-industrial world had become fully reenchanted. Hence, Benjaminƒs Arcades project was to practice a dialectics of seeing that would enable people to wake up from that dream.

3 1 1 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (321) 20131026c 0 -13+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Theory of cognition based on childhood tactile, active, experimental experience of world wonder; compare to Lyotard. (321)
Childrenƒs cognition has revolutionary power because it is tactile, hence tied to action, and because, rather than accepting the given meaning of things, children get to know objects by laying hold of them and using them creatively, releasing from them new possibilities of meaning.
(321) Adults who observe childrenƒs behavior can learn to rediscover a mode of cognition that has deteriorated phylogenetically, and in the adult has sunk into the unconscious.
(322) These technologies [camera and cinema] provide human beings with
unprecedented perceptual acuity, out of which, Benjamin believed, a less magical, more scientific form of the mimetic faculty was developing in his own era.
(322-323) Now for the first time an analysis of this unconsciously interwoven space is possible. . . . It is in this way that technological
reproduction can give back to humanity that very capacity for experience which technological production threatens to take away. . . . Film provides the audience with a new capacity to study modern existence from the position of an expert. The printed word shows itself more vulnerable in contrast.

3 1 1 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (325-326) 20131026f 0 -7+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Trick in fairy tale is to interpret unconscious past of collective out of mass culture discards; compare to Lyotard parology. (325-326) The trick in Benjaminƒs fairy tale is to interpret out of mass cultureƒs discards a politically empowering knowledge of the collectiveƒs own unconscious past. He believed he could do this because it is through such objects that the collective unconscious communicates across generations. New inventions conceived out of the fantasy of one generation, they are received within the childhood experience of another. . . . At this intersection between collective history and personal history, between societyƒs dream and the dreams of childhood, the contents of the collective unconscious are transmitted: Every epoch has this side turned toward dreams the childlike side.

3 1 1 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (326) 20131026g 0 -5+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Turkle may be the first to attach to digital objects the transgeneration communication of socially formed collective unconscious fantasies. (326) Slumbering within objects, the utopian wish is awakened by a new generation, which rescues it by bringing the old world of symbols back to life. . . . When the childƒs fantasy is cathected onto the products of modern production, it reactivates the original promise of industrialism, slumbering in the lap of capitalism, to deliver a humane society out of material abundance.

3 1 1 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (327) 20131026i 0 -2+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Utopian wish slumbering within objects reactivated through child fantasy play. (327) At the moment of the collectiveƒs historical awakening, it was to provide a politically explosive answer to the socio-historical form of the childƒs question: Where did I come from? Where did modern existence, or more accurately, the images of the modern dream-world come from?

3 1 1 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (328) 20131026j 0 -2+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Preference formation in concrete, historical archetypes. (328) The world of the modern city appears in these writings as a mythic and magical one in which the child Benjamin discovers the new anew, and the adult Benjamin recognizes it as a rediscovery of the old. The impulses of the unconscious are thus formed as a result of concrete, historical experiences, and are not (as with Jungƒs archetypes) biologically inherited.

3 1 1 (+) [-4+]mCQK bull_and_back-auditory_culture_reader (306) 20131026 0 -3+ progress/2011/08/notes_for_bull_and_back-auditory_culture_reader.html
Tonkiss: for Benjamin, hearing as sense of memory, recording. (306) Walter Benjamin had that knack for making cities speak and sing. He souvenired sounds from different places, composed urban vignettes as if they were aural postcards.
(306) In these ways, sound threads itself through the memory of place.

3 1 1 (+) [-4+]mCQK connor-modern_auditory_i (206) 20130913 0 -1+ progress/2011/08/notes_for_connor-modern_auditory_i.html
Telephony has been ignored by philosophy despite its potential effect on sense of self. (206) The telephone offers a quasi-controlled collapse of boundaries, in which the listening self can be pervaded by the vocal body of another while yet remaining at a distance from it.

3 1 1 (+) [-4+]mCQK connor-modern_auditory_i (214) 20130913c 0 -1+ progress/2011/08/notes_for_connor-modern_auditory_i.html
Psychoanalysis gives some explanations for role of auditory despite its lack of ontology. (214) All these conditions are summed up, says Lecourt, in its quality of ƒ
omnipresent simultaneityƒ.

3 1 1 (+) [-4+]mCQK de_lauretis-technologies_of_gender (1-2) 20130914 0 -1+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Action of self reproducing narratives bound to terms of patriarchy traps feminist thinking, as capitalism traps utopian thinking. (1-2) To continue to pose the question of gender in either of these terms, once the critique of patriarchy has been fully outlined, keeps feminist thinking bound to the terms of Western patriarchy itself, contained within the frame of a conceptual opposition that is always already inscribed in what Fredric Jameson would call the political unconscious of dominant cultural discourses and their underlying master narratives --be they biological, medical, legal, philosophical, or literary and so will tend to reproduce itself, to retextualize itself, as we shall see, even in feminist rewritings of cultural narratives.

3 1 1 (+) [-4+]mCQK de_lauretis-technologies_of_gender (2) 20130914a 0 -1+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Need to deconstruct bind of subject constituted in gender and sexual differences. (2) This bind, this mutual containment of gender and sexual differences(s), needs to be unraveled and deconstructed.

3 1 1 (+) [-4+]mCQK de_lauretis-technologies_of_gender (3) 20130914c 0 -2+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Good definition of the real and how gender is shaped by its representations: seems like a very specific, culturally nuanced method of argumentation, as if De Lauretis is imitating the putative universal, gender indifferent manner that OGorman and others refers to as the Republic of Scholars. (3) (4) Paradoxically, therefore, the construction of gender is also effected by its deconstruction; that is to say, by any discourse, feminist or otherwise, that would discard it as ideological misrepresentation. For gender, like the real, is not only the effect of representation but also its excess, what remains outside discourse as a potential trauma which can rupture or destabilize, if not contained, any representation.

3 1 1 (+) [-4+]mCQK de_lauretis-technologies_of_gender (9) 20130914h 0 -3+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Proposition 2 two that self-representation also affects construction of gender. (9) The construction of gender is the product and the process of both representation and self-representation.
(9) Nevertheless, there is an outside, a place from where ideology can be seen for what it is mystification, imaginary relation, wool over oneƒs eyes; and that place is, for Althusser, science, or scientific knowledge.
(11) To what extent this newer or emerging consciousness of complicity acts with or against the consciousness of oppression, is a question central to the understanding of ideology in these postmodern and postcolonial times.

3 1 1 (+) [-6+]mCQK de_lauretis-technologies_of_gender (12) 20130914f 0 -2+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Interpellation nicely illustrated and defined by checking Male or Female boxes. (12) This [checking M or F boxes] is, of course, the process described by Althusser with the word
interpellation, the process whereby a social representation is accepted and absorbed by an individual as her (or his) own representation, and so becomes, for the individual, real, even though it is in fact imaginary.
(12) Hence the notion of a technology of sex, which he [Foucault] defines as a set of techniques for maximizing life that have been developed and deployed by the bourgeoisie since the end of the eighteenth century in order to ensure its class survival and continued hegemony.

3 1 1 (+) [-4+]mCQK de_lauretis-technologies_of_gender (18) 20130914i 0 -7+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Proposition three that construction of gender mediated by technologies of gender and institutional discourses, opening spaces at margins in micropolitical practices for alternate constructions of gender. (18)
The construction of gender goes on today through the various technologies of gender (e.g., cinema) and institutional discourses (e.g., theory) with power to control the field of social meaning and thus produce, promote, and implant representations of gender. But the terms of a different construction of gender must also exist, in the margins of hegemonic discourses. Posed from outside the heterosexual social contract, and inscribed in micropolitical practices, these terms can also have a part in the construction of gender, and their effects are rather at the local level of resistances, in subjectivity and self-representation.

3 1 1 (+) [-4+]mCQK de_lauretis-technologies_of_gender (89) 20130914m 0 -1+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
The sisters surrounding Gramsci embody the three choices for women in Western cultures: service, mystique, madness. (89) In a sense, the personalities and social roles assumed by the three Schucht sisters sketch almost to a T the only choices allowed women in most Western cultures: service functions within male structures, adherence to the feminine mystique of charity, sacrifice, and self-denial, and madness.

3 1 1 (+) [-4+]mCQK golumbia-cultural_logic_of_computation (20) 20130807c 0 -6+ progress/2013/08/notes_for_golumbia-cultural_logic_of_computation.html
Poststructuralism hinges on denial of substantive human nature. (20) We need, then, to distinguish between the concept
human prior to poststructuralism and after it to keep in mind the object of criticism Derrida and Foucault meant to target, while not jettisoning a robust enough conception of human life to sustain political and cultural reflection.
(20-21) It would be inaccurate to say that we have passed beyond the notion of a substantive human nature in our own society; such a concept functions powerfully in popular discourse around gender, race, and sexuality, among other places. . . . Whatever our particular characteristics, we are all human, and we accept the fact that his term has little substantive content.

3 1 1 (+) [-4+]mCQK hardt_negri-empire (113) 20141123k 0 -4+ progress/2014/10/notes_for_hardt_negri-empire.html
Totalitarianism in organic foundation and unified source of society and state, homogenizing community in mythical originary notion of the people. (113) What is totalitarian is the organic foundation and the unified source of society and the state. The community is not a dynamic collective creation but a primordial founding myth. An originary notion of the people poses an identity that homogenizes and purifies the image of the population while blocking the constructive interactions of differences within the multitude.
(113) The concept of nation and the practices of nationalism are from the beginning set down on the road not to the republic but to the re-total, the total thing, that is, the totalitarian overcoding of social life.

3 1 1 (+) [-4+]mCQK hardt_negri-empire (116) 20140928a 0 -1+ progress/2014/10/notes_for_hardt_negri-empire.html
Example of Las Casas Eurocentric view of Americas. (116) [Bartolome de] Las Casas cannot see beyond the Eurocentric view of the Americas, in which the highest generosity and charity would be bringing the Amerindians under the control and tutelage of the true religion and its culture.

3 1 1 (+) [-4+]mCQK hardt_negri-empire (124-125) 20140928e 0 -11+ progress/2014/10/notes_for_hardt_negri-empire.html
Alterity as colonical compartmentalization, exclusion in thoughts and values produced, not given. (124-125) The colonized are excluded from European spaces not only in physical and territorial terms, and not only in terms of rights and privileges, but even in terms of thought and values. . . . Apartheid is simply one form, perhaps the emblematic form, of the compartmentalization of the colonial world.
(125)
Alterity is not given but produced. . . . The Orient, then, at least as we know it through Orientalism, is a creation of discourse, made in Europe and exported back to the Orient. The representation is at once a form of creation and a form of exclusion.

3 1 1 (+) [-4+]mCQK hardt_negri-empire (125-126) 20140928f 0 -5+ progress/2014/10/notes_for_hardt_negri-empire.html
Role of anthropology in creating alterity; synchronic presence of diachronic evolutionary stages. (125-126) Among the academic disciplines involved in this cultural production of alterity, anthropology was perhaps the most important rubric under which the native other was imported to and exported from Europe. . . . The diachronic stages of humanityƒs evolution toward civilization were thus conceived as present synchronically in the various primitive peoples and cultures spread across the globe.

3 1 1 (+) [-4+]mCQK hardt_negri-empire (127-128) 20140928g 0 -14+ progress/2014/10/notes_for_hardt_negri-empire.html
Absolute difference of the Other produces European Self in dialectical movement. (127-128) Precisely because the difference of the Other is absolute, it can be inverted in a second moment as the foundation of the Self. In other words, the evil, barbarity, and licentiousness of the colonized Other are what make possible the goodness, civility, and propriety of the European Self. . . .
The identity of the European Self is produced in this dialectical movement. . . . Only through opposition to the colonized does the metropolitan subject really become itself. . . . Modern European thought and the modern Self are both necessarily bound to what Paul Gilroy calls the relationship of racial terror and subordination.

3 1 1 (+) [-4+]mCQK hardt_negri-empire (128) 20140928h 0 -5+ progress/2014/10/notes_for_hardt_negri-empire.html
Colonialism imposes binary divisions; colonialism, not reality, is dialectical. (128) Our argument here, however, is not that reality presents this facile binary structure but that colonialism, as an abstract machine that produces identitites and alterities, imposes binary divisions on the colonial world. . . .
Reality is not dialectical, colonialism is.

3 1 1 (+) [-4+]mCQK hardt_negri-empire (191) 20141125c 0 -5+ progress/2014/10/notes_for_hardt_negri-empire.html
Under imperial racism biological differences replaced by social and cultural signifiers; Bailbar differentialist, pluralist racism still essentialist. (191) With the passage to Empire, however, biological differences have been replaced by sociological and cultural signifiers as the key representation of racial hatred and fear.
(192) We should look more closely, however, at how imperial racist theory operates. Etienne Balibar calls the new racism a differentialist racism, a racism without race, or more precisely, a racism that does not rest on a biological concept of race. Although biology is abandoned as the foundation and support, he says, culture is made to fill the role that biology had played.
(192) This pluralism accepts all the differences of who we are so long as we agree to act on the basis of these differences of identity, so long as we act our race.

3 1 1 (+) [-4+]mCQK hardt_negri-empire (194) 20141125d 0 -2+ progress/2014/10/notes_for_hardt_negri-empire.html
Hierarchies still created under differential racism of Empire. (194) Empire does not think differences in absolute terms; it poses racial differences never as a difference of nature but always as a difference of degree, never as necessary but always as accidental. Subordination is enacted in regimes of everyday practices that are more mobile and flexible but that create racial hierarchies that are nonetheless stable and brutal.

3 1 1 (+) [-4+]mCQK horkheimer_adorno-dialectic_of_enlightenment (107-108) 20130929l 0 -9+ progress/2011/06/notes_for_horkheimer_adorno-dialectic_of_enlightenment.html
A criticism of culture industry that is often also applied to movies and video games. (107-108) The culture industry can boast of having energetically accomplished and elevated to a principle the often inept transposition of art to the consumption sphere, of having stripped amusement of its obtrusive naiveties and imposed the quality of its commodities. . . . What is new, however, is that the irreconcilable elements of culture, art, and amusement have been subjected equally to the concept of purpose and thus brought under a single false denominator: the totality of the culture industry. . . . With good reason the interest of countless consumers is focused on the technology, not on the rigidly repeated, threadbare and half-abandoned content.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (5-6) 20130929 0 -7+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Hard-core theory predicts, developing laws; soft theory maps, developing metaphors. (5-6) Soft theories, especially when focusing on art, aspire to closure through the introduction of metaphors or what has been called open concepts, i.e., those marked by equivocalness owing to conflicting references.
(6) Metaphor versus law, as the respective keystone idea of soft and hard-core theory, highlights a vital difference between the sciences and the humanities. A law has to be applied, whereas a metaphor triggers associations. The former establishes realities, and the latter outlines patterns.
(6) Consequently, humanistic theories cannot be discarded if their intended function is not fulfilled; at best they compete with one another.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (9) 20130929a 0 -4+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Embodiment and context always relevant to the work of art. (9) The work of art is never independent of these faculties, which it activates and mobilizes into a possible reformulation of our knowledge, and reorganization of our stored experience. The work also impinges on the context within which it was produced. It encapsulates cultural norms, prevailing attitudes, and other texts, and in doing so recodes their structures and semantics.
(9) In contradistinction to aesthetics, then, theories of art derive their components from sources outside themselves, thus obtaining a more reliable basis than the contrived speculations of aesthetics could ever provide.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (11) 20130929b 0 -6+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Methods provide tools for interpretive processes; theories must be transformed into methods. (11) Theories generally lay the foundation for the framework of categories, whereas methods provide the tools for processes of interpretation. . . . Hence these theories must undergo a transformation if they are to function as interpretive techniques.
(11) Hence there are two types of theory in the humanities: those that have to be transformed into a method in order to function, and those that are applied directly, retroactively undergoing a diffraction of their categories.

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Phenomenology focuses on intentional acts to gain insight on ways we related to the world. (14) In so doing, they also fashion the mode of
apperception of things given, and so phenomenology focuses basically on intentional acts for the purpose of gaining insight into the way in which we relate to the world.

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Concretization is realization of the work as point of convergence of artistic and aesthetic (Ingarden). (14-15) Just as the author perceives given (even imaginary) things and fashions them into the work, the work in turn is given to the reader, who has to fashion the authorƒs communication of the world perceived. This is the basis for a phenomenological theory of art. Roman
Ingarden (1893-1970) fleshed out this pattern in his two books, The Literary Work of Art and The Cognition of the Literary Work of Art. He delineates the basic components of the literary text and confronts them with the ways in which it can be concretized (realized). The text is given as a layered structure through which the subject matter of the work can come to light, but the actual bringing to light occurs in an act of concretization. Thus the literary work has two poles, which we might call the artistic and the aesthetic: the artistic refers to the text created by the author, and the aesthetic to the realization accomplished by the reader. . . . The work is the point of convergence, since it is located neither in the authorƒs psyche nor in the readerƒs experience.
(15) Hence, according to Ingarden, it is an intentional object, whose component parts function as instructions, the execution of which will bring the work to fruition.

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Example of stratified model for method derive from phenomenological theory. (23) Adding flesh to the bone, we shall briefly and rather selectively outline how to focus on a work of art in terms of the
stratified model. John Keatsƒs Ode on a Grecian Urn, to which reference has already been made, will serve our purpose.
(27) What used to be the capstone of Ingardenƒs theory proves to be a severe limitation when it comes to interpretation. Transforming the stratified model into a method thus has repercussions on the theory insofar as polyphonic harmony which Ingarden considered an ultimate value now turns out to be a residue of classicism in a theory that claims to assess the work of art as it is given to consciousness.

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Hermeneutical theory as process for understanding art in Heidegger and Gadamer. (29) As a general theory of understanding, hermeneutics does not confine itself to understanding a work of art. However, the latter is taken as a paradigm for illuminating the process through which understanding emerges, thus assuming crucial significance for both Heidegger and Gadamer.

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Collingwood question-and-answer logic a kind of reverse engineering method, an example of method derived from theory that will be repeated with Gombrich. (38) R. G.
Collingwood (1889-1943), in his attempt to outline how history can be reenacted in the present, proposed a question-and-answer logic.
(39) Each work of art is to be conceived as an answer to a question or problem prevalent in the respective historical situation within which it was produced. The work as an answer is bound to contain the question in the form of an issue that had to be addressed. Through the logic of question and answer we are able to reconstruct the context of the work to which it has reacted, thereby making us present to a historical situation that has never been our own. Thus a truly historical interpretation of the work of art emerges, which allows us both to reenact the work on its own terms, and to begin to understand its otherness. Furthermore, the question-and-answer logic does not subject tradition to preconceived principles, as all the philosophies of history do; instead of downgrading tradition to a foil for umbrella concepts, it allows tradition to speak to the present in its own language.

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Question and answer logic allows perception of self knowledge through experience versus preconceived notions of selfhood. (41) Now we are able to spotlight the question-and-answer relationship. The eighteenth-century norms regarding human nature pose a problem, as they identify human nature with a reified principle. Fielding provides a solution, as he shows that human nature is a process of learning from experience through self-control. . . .
Obtaining knowledge of oneself through experience versus preconceived principles of selfhood is the insight the question-and-answer logic allows us to perceive. We are now able to reenact a past to which we become present, and such a presence may turn into a viewpoint from which we may look at ourselves.

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Gestalts are generated as projective, active, grouping acts of perception. (43) Gestalt theory argues that whatever is encompassed in an act of perception is constituted as a field, which basically consists of center and margin. A field requires structuring, which is achieved by balancing out the tension between the data, thus grouping them into a shape. It is the creative eye of the perceiver that does the grouping, and this marks a decisive switch between Lockeƒs the active/passive poles, and provides a more plausible account of how perception works. A field arises out of the relationships between data relationships that are neither given not brought about by a stimulus but are the result of a grouping activity guided by the perceiverƒs underlying assumptions. This makes all perception into a
projective act of seeing, which in turn produces a gestalt.
(44) As the tension between data has to be resolved by grouping them, gestalt-formation is guided by three principles: those of economy, similarity, and figure and ground.

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Easy to see connection between gestalt theory and Clark, as if Clark assumes this metaphysical background for virtualizing perception, but also virtualizers the perceivers into extended mind to which Hayles hooks and holds on developing posthuman cyborg selves. (45) Perception is governed by these three principles, through which a gestalt balances out the tensions between data and between data and observer by screening off those that are not relevant to the perceiverƒs expectations.

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Making and matching are postmodern unit operations for gestalt theory; beholders share is the nonmetaphorical blank from which creativity emerges, and schema correction is the critical operation. (49) Correction is basically a criticism of the forerunner, and it operates by a dovetailing of
making and matching. Making comes before matching in Gombrichƒs classic formula.
(49) There is a great variety of operations, by means of which the pairing of making and matching inscribes itself as correction into the schema inherited by the painter. The most radical one is to dispose with the schema altogether because, as Gombrich maintains, the tendency of our minds to classify and register our experience in terms of the known must present a real problem to the artist in his encounter with the particular. (144) . . . This happened in Impressionism, when the evocation of light became the object to be made.
(50) The
beholderƒs share turns out to be a vital component of Gombrichƒs theory, because representation is no longer conceived as depicting a given object but stands for performance, and this process becomes tangible only through the beholderƒs realization.

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Aesthetics of reception explores reactions to text by readers in different historical situations. (57) An aesthetics of reception explores reactions to the literary text by readers in different historical situations.
(57) While the aesthetics of reception deals with real readers, whose reactions testify to certain historically conditioned experiences of literature, my own theory of aesthetic response focuses on how a piece of literature impacts on its implied readers and elicits a response.

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Literary work is virtual reality, instantiated fiction, consequence of beholders share. (58) A literary work is not a documentary record of something that exists or has existed, but it brings into the world something that hitherto did not exist, and at best can be qualified as a virtual reality. Consequently, a theory of aesthetic response finds itself confronted with the problem of how such emerging virtual realities, which have no equivalent in our empirical world, can be processed and indeed understood.
(59) The old semantic search for the message led to an analysis of those operations through which the imaginary object of the text is assembled. The resolution of opposites, bound up with the aesthetic value of the work, has led to the question of how human faculties are stimulated and acted upon by the literary text during the reading process.
(60) Basically the focus switched from what the text means to what it does, and thus at a stroke relieved literary criticism of a perennial bugbear: namely, the attempt to identify the authorƒs actual intention.

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Now literature does not merely have to react to problems implicit in its media forms, but can enact deliberate programmed actions to transform reality. (63) Literature endeavors to counter the problems produced by systems through focusing on their deficiencies, thus enabling us to construct whatever was concealed or ignored by the dominant systems of the day. At the same time, the text must implicitly contain the basic framework of the systems concerned, as this is what causes the problems that literature reacts to.
(64) There is no common code between transmitter and receiver governing the way in which the text is to be processed; at best such a code is to be established in the reading process itself.

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Blanks relate to Derrida featureless units; using Tristram Shandy example to see how meaning can arise from the interaction of the reader with blanks and other objects. (65) As the readerƒs wandering viewpoint in the act of reading travels between all these segments, its constant switching during the time flow of reading intertwines them, thus bringing forth a network within which each perspective opens a view not only on other perspectives but also of the intended imaginary object. The latter itself is a product of interconnection, the structuring of which is to a great extent controlled by blanks.
(65) Sterneƒs Tristram Shandy is a good example. Here the readerƒs traveling viewpoint has to switch between an increasing number of textual perspectives, and hence begins to oscillate between those of the characters, the narrator, and the fictitious reader, as well as the fragmented segments of the story, and the meanderings of the plot line, subjecting all of them to a reciprocal transformation.
(66) Even if an idea has to be discarded in order to accommodate new information, it will nevertheless condition its successor, and thereby affect the latterƒs composition. The chain of ideas which thus emerges in the readerƒs mind is the means by which the text is translated into the imagination. This process, which is mapped out by the structured blanks of the text, can be designated the
syntagmatic axis of reading.

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Chain of ideas, syntagmatic and paradigmatic axes of reading, constitutive importance of negation for reception theory. (66) The
paradigmatic axis of reading is prestructured by the negations in the text. Blanks indicate connections to be established; negations indicate a motivation for what has been nullified.

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Productive matrix, later deviational matrix of reception theory enables text to be meaningful through changing historical contexts. (68) Negation and blanks as basic constituents of communication are thus enabling structures that demand a process of determining which only the reader can implement. This gives rise to the subjective hue of the textƒs meaning. However, as the text does not have one specific meaning, what appears to be a deficiency is, in fact, the
productive matrix, which enables the text to be meaningful in a variety of historically changing contexts.

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For Eco semiotic theory, triangular diagram of sign/signifier, object/signified, interpretant/disposition in discussion of Peirce trichotomie iconic, indexical, symbolic conception of signs, though no mention of Saussure, or more expected no mention of Lacan in this chapter, although the next chapter includes a ten page afterthought on Lacan. (70)

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Connect Peirce semiotics to development by Tanaka-Ishii. (70) Semiotics as a theory of signs dates back to the philosophy of John Locke (1634-1702) and has been given a systematic exposition by Charles S. Sanders
Peirce (1839-1914).
(70-71) The process of signification requires a distinction between types of signs, whose different properties allow them to operate in a specific manner. Thus Peirce came up with another of his
trichotomies, as he called them, by defining signs as iconic, indexical, and symbolic. An iconic sign is similar to what it represents: it is an image of its object and, more strictly speaking, can only be an idea. An indexical sign represents an object not immediately present, such as smoke being an index of fire. Anything which focusses attention is an index. The symbolic sign designates an object: it must denote an individual, and must signify a character.

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Eco focus away from iconicity to ambiguous and self-focusing characteristics of signs; overcoding reveals upspeakable within language system. (75) Umberto Eco (b. 1930) caused a turnabout in the semiotic approach to art by breaking away from the discussion of iconicity altogether, maintaining: if the iconic sign is similar to the thing denoted
in some respects, then we arrive at a definition which satisfies common sense, but not semiotics. . . . Unspeakability arises from the specific sign-function in the aesthetic text, because the sign is both ambiguous and self-focusing (262).
(76)
Self-focusing is an overcoding in two respects, which means that the sign is to be read according to two different codes: (1) the message to be conveyed is overcoded by simultaneously presenting the pattern according to which it has been formed; (2) the sign-sequence is overcoded, as the prevalent norms of the language system have been outstripped, thus revealing the unspeakable within the language system.

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Ambiguous and self-focusing character of signs an aspect of Clark perception, in which the specific situated interplay of phenomena, Bogost objects, that is, as idiolect, plays a significant role in manufacturing the experience. (77) The term [aesthetic idiolect] is self-explanatory up to a point: in reading all the deviations caused by the ambiguous and self-focusing signs, one has to trace the underlying motivations. But as the guideline for such an activity has been produced by the work itself, the rule governing the reading has to be discovered, since it makes all the deviations function. Thus each reading of the aesthetic idiolect is an actualization of something that by its very nature is a potential, which can never be totally actualized.

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Semiotic theory rich in computational metaphors, foregrounding working code, easy to shift between human and machine artists and readers, and also apply to posthuman cyborg of Hayles: producing by violating codes may be the bricolage trace of breakdowns, but without doubt valid to include machine operations in labor of connecting signs with states of the world, for that is what computer control and modeling fundamentally attempts. (77) Generated by the deviational matrix, the idiolect calls for new coding possibilities, which makes the work of art into a paradigm of code changing and
code production. And as the relationship between the signifier and the signified is always governed by a code, which is not simply behavioristic by nature, as semioticians like Morris claimed, the work of art provides a fundamental insight into how codes are produced by violating codes. This means no less than to change the way in which ƒcultureƒ sees the world. . . . concerned with the labor of connecting signs with the states of the world.

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Example for semiotic theory of medieval conjuncture by Foucault of world picture as idiolect, perhaps similar to furrows of technological unconscious that can be intuited by analysis of histories of objects, including software codes as ultimate idiolect reflectors, pointing to Bogost unit operations and platform studies. (78) To illustrate the sign-function as outlined by Eco we may select a Renaissance text for the following reason: throughout the Middle Ages the sign relationship was ternary by nature; it emerged in late antiquity and persisted until it became problematized in the Renaissance. Ever since the Stoics,
Foucault writes, the system of signs in the Western world had been a ternary one, for it was recognized as containing the significant, the signified and the ƒconjunctureƒ. The latter functioned as an unquestioned code and was identical with the medieval world picture, so that the conjuncture represented the all-encompassing world order, which functioned as the regulating code for the sign relationship.
(80) Self-focusing and ambiguous signs give salience to the idiolect, which is self-produced by the work of art and has a code of its own arising out of the code changes it has wrought. The idiolect comes to life through multiple readings depending on interconnected pathways that are mapped by the ambiguous and self-focusing signs.

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Wellspring of artistic creativity in Ehrenzweig psychoanalytic theory in oceanic dedifferentiation and structured focusing, like Socrates draft. (88) Thus the interface bewteen
oceanic dedifferentiation and structured focusing through which the self is decomposed and reintegrated marks the wellspring of artistic creativity.

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To Williams generative reality rule of Marxist theory based on dominant, residual, emergent ontology, mechanics of emergence, revealing hidden motifs or intentions in conventions. (108) It is the formative process that Williams takes to be the hallmark of Marxism, based on Marxƒs idea that human beings create both the world and themselves.
(111) While base and superstructure pale into abstractions, their concrete replacement is a triadic relationship between the Dominant, Residual, and Emergent (122-7), which sets the productive process in motion. Out of this dynamic interrelationship arises the complexity of material reality in all its social, cultural, and artistic diversity.
(112) If structures of feeling admittedly a difficult term, intended to replace static concepts like ideology or worldview are defined as going beyond formally held and systematic beliefs (132), then art becomes a showcase revealing how these changes occur and what is thus brought into presence. . . . Williams singles out various levels to demonstrate how the emergent presence comes about namely, Signs and Notations, Conventions, Genres, Forms, and Authorship.
(113) Dichotomies such as fact/fiction, discursive/imaginative, referential/emotive solidify categorical divisions, thus failing to grasp the
mechanics of emergence.
(113) Conventions can spotlight both what has been eclipsed and what is to be asserted, thus revealing hidden motifs or intentions.
(113) This productive interaction is certainly a break away from what Williams might call a bourgeois theory of genres, which neatly categorizes generic forms, thus conceiving them as basically static. By contrast, Williams lays stress on the operations of the genres by foregrounding their internal mobility that energizes what is to be produced.
(114) Just as with form, the individual and the social are the material constituents of authorship, and it is out of the combination of the two that the production of authors emerges.

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No closure with deconstruction, so asymptotic theory, mode of reading. (119) The monstrosity is thus twofold. On the one hand the mutual amalgamation of theories reveals them as patchwork, though they claim nevertheless to provide totalizing explanations. On the other, this cobbling together of foreign imports is meant to bear out an assumption that has been posited. This state of theory marks the point of departure for deconstruction.
(119) Deconstruction cannot regard itself as theory, particularly as the latter has one fundamental requirement: that of closure.
(120) Deconstruction is a mode of reading, not confined to texts in the restricted sense of the term but applied in terms of textuality to almost everything there is. . . . Reading, then, is throwing a
jetty into the text, whose hierarchical order is destabilized by stating what the hierarchy has suppressed.
(121) This mode of reading is focused, but has no closure, no claim to comprehensive explanation, no panoramic view of the human condition; instead, it explores the open-ended dependence of every phenomenon on its otherness.

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That Austin uses performatively infelicitous examples demonstrates jetty unit operation. (123) Its character as a supplement becomes all the more obvious when Austin illustrates the conditions which make the performative infelicitous. These examples are ludicrous and sometimes even grotesque.

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Gans generative anthropology helps where ethnography does not explain function of literature in cultural formation; steps through literary/cultural ages from Romantics to postmodernism. (133-134) What art bodies forth is a state of being ahead of what there is, and this aspiration in turn prefigures the human condition. Doing art seems to be deeply ingrained in human makeup as a representation of our relationship to a challenging environment. Hence there is no need to devise a special theory of art from the observable development of human culture, because functional aesthetics (Leroi-Gourhan) appears integral to humankindƒs externalization of its capabilities, for which
symbolization provides essential guidance. What ethnography thus us is: without art no Homo sapiens. What, however, ethnography remains silent about is the particular function of literature in the process of cultural formation. . . . Therefore we have to turn to generative anthropology as developed by Eric Gans, who has demonstrated the extent to which literature articulates the rhythm of culture, epitomizes its vicissitudes, and provides relief from what humans are subjected to.

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From deferral of satisfaction to desire for centrality and sublimation of resentment liquidating all situated functions. (142) Human history, elucidated by the mirror of literature, serves in the final analysis as a visualization of what is nonconstructible : namely, the originary event. . . . As the originary event has generated the history of culture, the latter, in turn, lends plausibility to the positing of such an event. In other words, event and history are tied together by
recursive loops. . . . The price to be paid, however, for this explanatory function of literature is the exclusion of all features of the human makeup other than the desire for centrality and the sublimation of resentment.

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Aesthetic experience for Dewey in recreation of work by perceiver constituted by dynamic relationship of pattern and structure, akin to Geertz thick description. (145-146) Thus doing and undergoing still apply to the acquisition of experience, and the very recreation of the work through the recipient results in the participation that gives rise to the aesthetic experience.
(147) Hence Dewey resorts to a methodological procedure that is somewhat akin to Clifford Geertzƒs
thick description. This means that only features of what is under investigation can be detailed, as there are no umbrella concepts to theorize what is to be ascertained, and positing one would lead to thin description, i.e., subjecting the phenomena under observation to preconceived ideas.

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Womens imagination fettered by exposure to male imagination that pervades culture. (159) It is the womanƒs burden of daily routine that conditions not only her writing habits but also the topics she writes about.
(160) Quite apart from the question whether there are biologically rooted differences between a womanƒs imagination and a manƒs, the former is inevitably exposed to what is foreign to it, and hence is fettered in its unfolding.

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Do these feminist propositions enumerated by Kolodny suggest alternative ways to read technology, camped out with pluralists and pluralisms? (160) The state of feminist poetics has been succinctly outlined by Annette Kolodny, who suggests that the current hostilities might be transformed into a true dialogue with our critics if we at last made explicit what appear, to this observer, three crucial propositions to which our special interest inevitably gives rise. . . . (1) literary history (and with that, the historicity of literature) is a fiction; (2) insofar as we are taught how to read, what we engage are not texts but paradigms; and finally, (3) since the grounds upon which we assign aesthetic value to texts are never infallible, unchangeable, or universal, we must examine not only our aesthetics but, as well, the inherent biases and assumptions informing the critical methods which (in part) shape our aesthetic responses ([from footnote 7: Annette Kolodny, Dancing Through the Minefield: Some Observations on the Theory, Practice, and Politics of a Feminist Literary Criticism, in Showalter, ed., New Feminist Criticism, p.] 151).
(161) In spite of a still prevailing diversity, Kolodny contends that this would finally place us securely where, all along, we should have been: camped out, on the far side of the minefield, with the other pluralists and pluralisms (159).

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Quick run through the theories of art presented. (163) The phenomenological theory conceives the work of art as an intentional object to be distinguished from real and ideal objects.
(164) The hermeneutical theory sees the work of art as a means of enhancing self-understanding.
(164) Gestalt theory is based on the idea that ordinary perception is already a creative act through which we group data into percepts.
(164-165) Reception theory is concerned with the impact exercised by the work of art, which is dual by nature: it impacts both upon reality and upon the reader. . . . Such a reaction to realities brings something into the world that did not exist before, and this has the character of a
virtual reality, which the reader is given to process, thereby allowing reception theory to spotlight what the work of art makes the reader do.
(165) Semiotic theory points to the fact that the world cannot be determined or defined, but only read.
(165) [To psychoanalytical theory] The work of art produced through the creative process illuminates the phases of its emergence in a sequence ranging from ego decomposition to reintrojection, thus revealing the ego rhythm as the minimum content of art.
(165) Marxist theory in all its variants has been concerned with the self-production of human life. . . . What makes the work of art paradigmatic is the triadic relationship between its components, i.e., the dominant, the residual, and the emergent, which sets the productive process in motion.
(165-166) In deconstruction difference looms large. Whatever there is, is is marked by difference both internally and externally, because phenomena have a differential structure, and each one is different from others. . . . Deconstruction is basically a reading that tries to open up what has been eclipsed.
(166) Generative anthropology conceives of culture as the deferral of violence by means of representation. . . . Literature assumes a dual function in this ongoing alternation: it operates as a procedure of discovery by acting out what the prevailing structure of center and periphery has made inaccessible, and by representing this cultural frame it monitors the course of events, thus providing distance.
(166) [For pragmatism] aesthetic experience as purveyed by the work of art was considered to be of a special kind, and it was elevated into a measuring rod of which all other experiences could be distinguished from one another and qualified accordingly.
(166) Feminism tries to develop a gender-specific poetics by undermining the prevalent male hegemony.

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Again relates his reception theory to virtual realities, perhaps inviting Zizek study of the reality of the virtual as well as texts and technology media studies approach. (163)
(164-165) Reception theory is concerned with the impact exercised by the work of art, which is dual by nature: it impacts both upon reality and upon the reader. . . . Such a reaction to realities brings something into the world that did not exist before, and this has the character of a
virtual reality, which the reader is given to process, thereby allowing reception theory to spotlight what the work of art makes the reader do.

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Art reflects on intentionality by mapping, affecting self-understanding by the subject, highlighting performance, producing codes by violating them: easy to replace art with software for the top level of Montfort and Bogost hierarchy. (166-167) By elucidating the formation of the intentional object, art is made to reflect on intentionality as an operation of mapping. Through its encounter with the subject, it figures the process of self-understanding. In freeing representation from imitating a given object, it highlights performance as an activity that brings into presence something hitherto nonexisting. By intervening in reality, it is made to rearrange that which does exist, and which the recipient is given to process. Through code violation, it turns into a code-producing matrix, the reading of which allows us to monitor communication. By revealing the workings and the function of the ego rhythm, it is made to depict the subject as continually restructuring itself. Through tis creative practice, it projects modes of human self-production. By uncovering what has been excluded, it exhibits the way in which every phenomenon is inhabited by something other. By enacting the basic cultural fabric of center and periphery, it stages what is otherwise inaccessible. When it provides an aesthetic experience, it opens up an horizon that makes it possible to assess all kinds of experience.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (167) 20130930k 0 -5+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Architectural and operational types of theory. (167) If the framework of a theory is architectural, it is basically a grid superimposed on the work for the purpose of cognition; if it is operational, it is basically a networking structure for the purpose of elucidating how something emerges.
(168) Reception theory structures indeterminacies insofar as blanks and negations specify authorial strategies, and mark what the reader is given to resolve.
(168-169) Translating the work of art into cognitive terms is bound to produce indeterminacies that arise out of what a conceptual language is unable to grasp. Tackling indeterminacies, however, leads to art being inscribed into the cognitive terminology by giving it a negative slant.
(169) Such a development resembles the process which Thomas
Kuhn has described.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (172) 20130930m 0 -2+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Discourse maps territory projecting a lived domain; compare to Janz. (172) Theory explores a given subject matter, which it translates into cognitive terms, thus systematically opening up access to whatever is under scrutiny. Discourse maps a territory and determines the features of what it charts, thus projecting a domain to be lived in.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (173) 20130930n 0 -7+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Discourse constrained by drive to assert what is taken for truth. (173) For Edward Said, Foucaultƒs contention that the fact of writing itself is a systematic conversion of the power relationship between controller and controlled into mere ƒwrittenƒ words becomes the overriding guideline for the postcolonial discourse that he unfolds in his
Culture and Imperialism.
(173)
LƒOrdre du discours carries a double meaning: it is both order and command.
(174) Hence discourse is governed by rules, of which the all-pervasive one, operative in all forms, is that of exclusion; it marks what is prohibited. . . . Discourse is not free to say just anything but is basically confined to the division between true and false, and is simultaneously driven to assert what is taken for truth.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (175) 20130930o 0 -10+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Said postcolonial discourse guided by contrapuntal reading. (175) Edward Saidƒs postcolonial discourse, as developed in his book
Culture and Imperialism, works as an imposition in the Foucauldian sense of both colonial and anticolonial discourses.
(176) This complicity between literature and imperialism brings to light the intimate connection between culture and politics, which is hardly admitted by the self-understanding of culture.
(177) The very observation that metropolitan culture energizes Western imperialism constitutes the operational drive of postcolonial discourse, which functions primarily as discourse analysis, i.e., laying bare how knowledge and fantasy are superimposed on distant lands that are ruled by the metropolitan center. . . . Since Kant we have believed in the isolation of cultural and aesthetic realms from the worldly domain, but now it is time to link them again in order to discover what culture-inspired imperialism has shut out. This focus on what hegemonic discourses have suppressed is the hallmark of postcolonial discourse guided by the strategy of
contrapuntal reading.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (181) 20121108 0 -3+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Consider complicity between technology and imperialism, for instance dominance of English and [decimal] number system in programming languages and protocols, and subjugation of cyberspace by powerful corporations, then compare democratic rationalizations of free software to strategy (or tactic) of postcolonial discourse: imagine a past in which free software rapidly evolved global Internet and programming was a home economics skill taught as part of public education. (181) Colonialism, as a cloak for protecting the enchantment to be derived from the Other, reveals the complicity between culture and imperialism.
(181) Yeats and Camus, however, were not concerned with distant lands dominated by colonial powers but with what was nearest to them: Ireland and Algeria, the one subjugated by the British, the other a French province. These writers and their ilk were voices inside imperialist nations that tried to turn the colonizing impact of culture against this culture itself, thus anticipating the strategy of postcolonial discourse.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (182) 20130930p 0 -5+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Models of resistance from postcolonial discourse could be applied to software cultures, the most obvious cathedral versus bazaar. (182) Their main objective is to imagine a culture and a past independent of colonialism, and to conceive an anti-imperialistic type of nationalism. In view of its different pursuits, anticolonial discourse is also marked by rarefaction, and it becomes the task of postcolonial discourse to highlight the conditionality responsible for the retrenchments.
(183) On the one hand, familiar patterns of Western literature are deliberately taken up in order to communicate the agenda of decolonization, but this in itself is a confirmation of Western forms of articulation. On the other hand, however, the hybrid discourse constitutes a massive infusion of non-European cultures into the metropolitan heartland, signaled by what has since been called
The Empire Writes Back.
(184) What in the classical imperial hegemony was an intertwining of power and legitimacy has now changed into a growing awareness of the intertwining of cultures.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (5) 20130929g 0 -1+ progress/2012/04/notes_for_jameson-postmodernism.html
Totalizing dynamic of system: Bogost. (5) And it is certain that there is a strange quasi-Sartrean irony a winner loses logic which tends to surround any effort to describe a system, a totalizing dynamic, as these are detected in the movement of contemporary society.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (18) 20130929k 0 -4+ progress/2012/04/notes_for_jameson-postmodernism.html
Simulacra via programming further ties computer technology to postmodernism. (18) It is for such objects that we may reserve Platoƒs conception of the simulacrum, the identical copy for which no original has ever existed.
(18) In faithful conformity to poststructuralist linguistic theory, the past as referent finds itself gradually bracketed, and then effaced altogether,
leaving us with nothing but texts.
(19) Nostalgia films restructure the whole issue of pastiche and project it onto a collective and social level, where the desperate attempt to appropriate a missing past is now refracted through the iron law of fashion change and the emergent ideology of the generation.
(20) The work
remake is, however, anachronistic to the degree to which our awareness of the preexistence of other versions (previous films of the novel as well as the novel itself) is now a constitutive and essential part of the filmƒs structure: we are now, in other words, in intertextuality as a deliberate, built-in feature of the aesthetic effect and as the operator of a new connotation of pastness and pseudohistorical depth, in which the history of aesthetic styles displaces real history.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (50) 20130929r 0 -4+ progress/2012/04/notes_for_jameson-postmodernism.html
Aesthetic of cognitive mapping. (50) The cultural model I will propose similarly foregrounds the cognitive and pedagogical dimensions of political art and culture, dimensions stressed in very different ways by both Lukacs and Brecht (for the distinct moments of realism and modernism, respectivley).
(51) I will therefore provisionally define the aesthetic of this new (and hypothetical) cultural form as an
aesthetic of cognitive mapping.
(51) Surely this is exactly what the cognitive map is called upon to do in the narrower framework of daily life in the physical city: to enable a situational representation on the part of the individual subject to that vaster and properly unrepresentable totality which is the ensemble of societyƒs structures as a whole.
(54) The political form of postmodernism, if there ever is any, will have as its vocation the invention and projection of a global cognitive mapping, on a social as well as a spatial scale.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (61-62) 20130929t 0 -4+ progress/2012/04/notes_for_jameson-postmodernism.html
Quandrants of anti-modernist, pro-modernist against pro-postmodernist and anti-postmodernist, represented by Wolfe, Jencks, Lyotard, Tafuri, and Kramer, Habermas, respectively. (61-62) The combination scheme outlined above can now be schematically represented as follows, the plus and minus signs designating the politically progressive or reactionary functions of the positions in question.
(62) In place of the temptation either to denounce the complacencies of postmodernism as some final symptom of decadence or to salute the new forms as the harbingers of a new technological and technocratic Utopia, it seems more appropriate to assess the new cultural production within the working hypothesis of a general modification of culture itself with the social restructuring of
late capitalism as a system.
(63) Indeed, it can be argued that the emergence of high modernism is itself contemporaneous with the first great expansion of a recognizably mass culture.
(64) Postmodernism theory seems indeed to be a ceaseless process of internal rollover in which the position of the observer is turned inside out and the tabulation recontinued on some larger scale.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (301) 20130930g 0 -5+ progress/2012/04/notes_for_jameson-postmodernism.html
Catachresis four-term metaphor; cultural unconscious analysis pattern suggested that later is applied to technology systems analysis. (301) All the enumeration of sheerly cultural traits comes down to this
catachresis, or four-term metaphor. . . . they extend far beyond the aesthetic or the cultural as such, becoming meaningful or intelligible only when they reach the terrain of the production of material life and the limits and potentialities it (dialectically) imposes on human praxis, including cultural praxis.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (393-394) 20130930z 0 -2+ progress/2012/04/notes_for_jameson-postmodernism.html
Codes and transcoding from worldviews. (393-394) a linguistic solution nonetheless remains, and it turns on what has hitherto been called
transcoding. For alongside the perspective in which my language comments on that of another, there is a somewhat longer vista in which both languages derive from larger families that used to be called weltanschauungen, or worldviews, but which have today become recognized as codes.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (395) 20131001 0 -2+ progress/2012/04/notes_for_jameson-postmodernism.html
Invokes Baudrillard, Lacan, Latour, Rorty, Stuart Hall discussing hegemony of secular postmodern idiolects. (395) Hegemony here means the possibility of recoding vast quantities of preexisting discourse (in other languages) into the new code.
(395) Instead, they are the most visible and dramatic, owing to the naked deployment of the semiotic code itself, last and most visible of the secular postmodern idiolects.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (413) 20131001d 0 -3+ progress/2012/04/notes_for_jameson-postmodernism.html
Saturation of visual and auditory space. (413) the disorientation of the saturated space will be the most useful guiding thread in the present context.
(414) such strategy is bound and shackled to the city form itself.
(414) But what would happen if you conquered a whole series of large key urban centers in succession?

3 1 1 (+) [-4+]mCQK jameson-postmodernism (415) 20131001e 0 -6+ progress/2012/04/notes_for_jameson-postmodernism.html
Can we transfer this image to technological urban centers such as software APIs, Internet search results, and so on: what then of alienation and unmappability with respect to technological systems, as he extends it to political experience below? (415) And the Detroit experience may now specify more concretely what is meant by the slogan of cognitive mapping,m which can now be characterized as something of a synthesis between Althusser and Kevin Lynch. . . . Drawing on the downtowns of Boston, Jersey City, and Los Angeles, and by means of interviews and questionnaires in which subjects were asked to draw their city context from memory, Lynch suggests that urban alienation is directly proportional to the mental unmappability of local cityscapes.
(415-416) something like a spatial analogue of Althusserƒs great formulation of ideology itself, as the Imaginary representation of the subjectƒs relationship to his or her Real conditions of existence.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (417) 20131001f 0 -1+ progress/2012/04/notes_for_jameson-postmodernism.html
Triangulation method also employed by Hayles. (417) What now seems clear is that this kind of
triangulation is historically specific and has its deeper relationship with the structural dilemmas posed by postmodernism as such.

3 1 1 (+) [-4+]mCQK jameson-postmodernism (417-418) 20131001h 0 -2+ progress/2012/04/notes_for_jameson-postmodernism.html
Cognitive mapping as code word for class consciousness. (417-418) Cognitive mapping was in reality nothing but a code word for class consciousness.
(418) We have to name the system : this high point of the sixties finds an unexpected revival in the postmodernism debate.

3 1 1 (+) [-4+]mCQK johnson-what_is_cultural_studies_anyway (54) 20130930n 0 -1+ progress/2010/11/notes_for_johnson-what_is_cultural_studies_anyway.html
Recall de Lauretis feminist reterritorialization of Gramsci that focuses on equivalent of light entertainment texts. (54) In
Gramsciƒs writing the study of culture from the viewpoint of production becomes a more general interest with the cultural dimensions of struggles and strategies as a whole.

3 1 1 (+) [-4+]mCQK johnson-what_is_cultural_studies_anyway (57) 20130930q 0 -19+ progress/2010/11/notes_for_johnson-what_is_cultural_studies_anyway.html
Creator emphasis in Benjamin ignored by Adorno; relate to theories of texts and technology Dumit text and produced different than text as read. (57)
Benjamin certainly took a more open view of the potentialities of mass cultural forms than Adorno. He was excited by their technical and educational possibilities. . . . Yet we can see that all of these insights are primarily the comments of a critic upon the theories of producers, or take the standpoint of production. It is here, still with the creator, that the really revolutionary moves are to be made. . . . It was not rooted in any extended analysis of the larger experience of particular groups of readers.
(57-58) Of course, we must look at cultural forms from the viewpoint of their production. This must include the conditions and the means of production, especially in their cultural or subjective aspects. In my opinion it must include accounts and understandings too of the actual moment of production itself the labor, in tis subjective and objective aspects. . . .
The text-as-produced is a different object from the text-as-read. The problem with Adornoƒs analysis and perhaps with productivist approaches in general is not only that they infer the text-as-read from the text-as-produced, but that also, in doing this, they ignore the elements of production in other moments, concentrating creativity in producer or critic.

3 1 1 (+) [-4+]mCQK johnson-what_is_cultural_studies_anyway (58) 20131103a 0 -2+ progress/2010/11/notes_for_johnson-what_is_cultural_studies_anyway.html
Means of formal description used in linguistic and literary studies indispensable for cultural analysis. (58) The
major humanities disciplines, but especially linguistic and literary studies, have developed means of formal description which are indispensable for cultural analysis. I am thinking, for example, of the literary analysis forms of narrative, the identification of different genre, but also of whole families of genre categories, the analysis of syntactical forms, possibilities and transformations in linguistics, the formal analysis of acts and exchanges in speech, the analysis of some elementary forms of cultural theory by philosophers, and the common borrowings, by criticism and cultural studies, from semiology and other structuralisms.

3 1 1 (+) [-4+]mCQK johnson-what_is_cultural_studies_anyway (61) 20130930s 0 -16+ progress/2010/11/notes_for_johnson-what_is_cultural_studies_anyway.html
Texts are polymorphous, for example James Bond genre, inviting Hayles MSA, as well as situated context of particular issues and historical periods. (61) Remember the Mini-Metro as an example of the tendency of texts to a polymorphous growth; Tony Bennettƒs example of the James Bond genres is an even better case.
(61-62) If, for example, we are really interested in how conventions and the technical means available within a particular medium structure representations, we need to
work across genre and media, comparatively. . . . We certainly do not have to bound our research by literary criteria; other choices are available. It is possible for instance to take issues or periods as the main criterion. Though restricted by their choice of rather masculine genre and media, Policing the Crisis and Unpopular Education are studies of this kind. . . . The logic of this approach has been extended in recent CCCS media-based studies: a study of a wide range of media representations of the Campaign for Nuclear Disarmament in October 1981 and a study of the media in a post-Falklands holiday period, from Christmas 1982 to New Year 1983. . . . By capturing something of the contemporaneity and combined effects of different systems of representations, we also hope to get nearer to the commoner experience of listening, reading and viewing.

3 1 1 (+) [-4+]mCQK johnson-what_is_cultural_studies_anyway (64-65) 20130930u 0 -9+ progress/2010/11/notes_for_johnson-what_is_cultural_studies_anyway.html
Not treating content as significant, neglect of production; invoke discussion of remediation. (64-65) In
Screenƒs theory there was a tendency to look only at the specifically cinematographic means --the codes of cinema. The relations between these means and other cultural resources or conditions were not examined: for example, the relation between codes of realism and the professionalism of film-makers or the relation between media more generally and the state and formal political system. . . . A critique of the very notion of representation (seen as indispensable to the critique of realism) made it hard for these theorists to pull into their accounts of film any very elaborate recognition of what an older, fuller theory might have called content. Cinema (and then television) were treated as though they were, so to speak, only about cinema or television, only reproducing or transforming the cinematographic or television forms, not pulling in and transforming discourses first produced elsewhere.
(65) Crucial insights into language and other systems of signification are therefore foreclosed: namely, that languages are produced (or differentiated), reproduced and modified by socially-organized human practice, that there can be no language (except a dead one) without speakers, and that language is continually fought over in its words, syntax and discursive deployments. In order to recover these insights, students of culture who are interested in language have had to go outside the predominantly French semiological traditions, back to the marxist philosopher of language Voloshinov or across to particular researches influenced by the work of Bernstein or Halliday.

3 1 1 (+) [-4+]mCQK johnson-what_is_cultural_studies_anyway (71) 20131001 0 -8+ progress/2010/11/notes_for_johnson-what_is_cultural_studies_anyway.html
Nice description of homogenized cultural identifications as slabs of significance. (71) There is also a systematic pressure towards presenting lived cultures primarily in terms of their
homogeneity and distinctiveness. . . . There is a discomforting convergence between radical but romantic versions of working-class culture and notions of a shared Englishness or white ethnicity. Here too one finds the term way of life used as though cultures were great slabs of significance always humped around by the same set of people.
(71) There is no better instance of the divorce between formal analysis and concrete studies than the rarity of linguistic analysis in historical or ethnographic work. Like much structuralist analysis, then, ethnographies often work with a foreshortened version of our circuit, only here it is the whole arc of public forms which is often missing.

3 1 1 (+) [-4+]mCQK keller_and_grontkowski-minds_eye (209) 20130908 0 -3+ progress/2011/08/notes_for_keller_and_grontkowski-minds_eye.html
Storage and communication of culture coalesce in visual media, especially with advent of writing (Havelock). (209) In an elegant analysis of the transition from an oral tradition to a literate culture in ancient Greece, occurring between Homer and Plato, Eric Havelock has argued that not only has the eye supplanted the ear as the chief organ but that in the process a host of other changes was induced changes from identification and engagement to individualization and disengagement, from mimesis to analysis, from the concrete to the abstract, from mythos to logos. With the growing emphasis on the visual eye comes the growing development, even birth, Havelock argues, of the personal I.
(210) He [Plato, Timaeus 61d-68e] describes the creation of the sense of sight in the same context as the creation of soul and intelligence in human beings; all of the other senses are described in the context of the creation of manƒs material nature.

3 1 1 (+) [-4+]mCQK keller_and_grontkowski-minds_eye (212) 20130930b 0 -6+ progress/2011/08/notes_for_keller_and_grontkowski-minds_eye.html
The eye was active with internal light in early theories of vision (emission theory), making it akin to the sun, as well as relation of soul to Forms. (212) The union, or reunion, of the soul with the Forms then constitutes knowing, just as the uniting of the light from the eye with the light from the sun constitutes seeing. Though that which mediates the meeting of the soul and the Forms is not specified, its analogy to light is often implicit. The terms which Plato uses for the Forms are
eidos and idea, i.e., things which are seen.
(212) His epistemological assumption is that we, who were originally part of the lawful divine structure, are thereby in principle able to see into (intuit) it fully again.

3 1 1 (+) [-4+]mCQK keller_and_grontkowski-minds_eye (212-213) 20130930c 0 -16+ progress/2011/08/notes_for_keller_and_grontkowski-minds_eye.html
Separation of subject and object and dematerialization of knowledge (separation from perception) are uncovered. (212-213) Modern scienceƒs confidence that nature, (properly objectified), is indeed knowable is surely derived from these Platonic concepts. . . . Two features of the scientific conception of objectifiability need to be distinguished. The first is the separation of subject from object . . . the second is the . . . dematerialization of knowledge. . . . We must ask whether there are not characteristics of vision, at least as conceived by Plato, which simultaneously invite the retreat from the body sought in Platoƒs epistemology and the maintenance of the moral-mystical character of his thought, in short, which constitute a paradox which pervades his work.

3 1 1 (+) [-4+]mCQK keller_and_grontkowski-minds_eye (215) 20130930d 0 -3+ progress/2011/08/notes_for_keller_and_grontkowski-minds_eye.html
Copy theory of Descartes replaces emission theory of vision: what are epistemological consequences, can conceptual inertia be overcome? (215) His work on vision, perhaps even motivated by his commitment to both its literal and metaphoric importance, in fact led to an undermining of the suitability of sight as a metaphor for knowledge. Descartesƒ inquiries into the nature of vision and optics were of paramount importance in the Western acceptance of the
copy theory of perception. He, perhaps more than any other Western thinker, was responsible for laying the emission theory to rest, with the result that the eye was henceforth regarded a a purely passive lens which simply receives the images projected upon it from without.

3 1 1 (+) [-3+]mCQK keller_and_grontkowski-minds_eye (218-219) 20130930e 0 -11+ progress/2011/08/notes_for_keller_and_grontkowski-minds_eye.html
Phenomenological analysis in place media/communication theory reveals same attributes of ultra high frequency systems. (218-219) In an attempt to understand the characteristics of vision which are responsible for its particular appeal to classical philosophy, Jonas has conducted a phenomenological analysis of the senses. He finds three basic aspects of vision which provide grounds for its philosophical centrality. Under what he calls simultaneity of presence he notes the distinctively spatial rather than temporal character of vision a property uniquely responsible for our capacity to grasp the extended now. . . . Under the heading of dynamic neutrality he notes the peculiar lack of engagement entailed by seeing, the absence of intercourse. . . . Finally he notes a third dimension of vision which contributes critically to objectivity and that is its uniquely advantageous dependence on distance.

3 1 1 (+) [-4+]mCQK keller_and_grontkowski-minds_eye (220) 20130930f 0 -6+ progress/2011/08/notes_for_keller_and_grontkowski-minds_eye.html
Jonas phenomenology of vision yields detachment from desire; no account for communion that was lost with emission theory but important to Newton and other scientists is result of sedimentation of the male bias. (220) However, this analysis neglects the ways in which vision as a model for knowledge can promote the sense of communion, of meeting of like with like, so central to Platoƒs understanding, which continues to survive in contemporary scientific belief.
(220) The emphasis on the objectifying function of vision, and the corresponding relegation of its communicative one might even say erotic function, needs to be separated from the reliance on vision as distinct from other sensory modalities. We suggest that if sexual bias has crept into this system, it is more likely to be found in the former than the latter.
(220) Once again, knowledge is safeguarded from desire. That the desire from which knowledge is so safeguarded is so intimately associated with the female (for social as well as psychological reasons) suggests an important impetus which our patriarchal culture provides for such disembodiment. It is in this sense that Cixous is right.

3 1 1 (+) [-4+]mCQK kellner-critical_theory_today (43-44) 20130930 0 -2+ progress/2012/05/notes_for_kellner-critical_theory_today.html
Revisit classics of critical theory of Frankfurt school for engagement with postmodernism. (43-44) During the present moment, the critical theorists have been among the most active critics of postmodern theory and the polemics between critical and postmodern theory have inspired much critical discussion and new syntheses drawing on both traditions. In this context, a return to the classics of critical theory should focus on the resources that its tradition continues to offer contemporary social theory, as well as the limitations that require going beyond the classical versions of critical theory.

3 1 1 (+) [-4+]mCQK kellner-critical_theory_today (44) 20130930a 0 -1+ progress/2012/05/notes_for_kellner-critical_theory_today.html
Positivist sciences reproduced existing social relations. (44) Critical theory distinguished itself through its critique of positivism, noting that the positivist sciences were instrumental in reproducing existing social relations and obstructing social change.

3 1 1 (+) [-4+]mCQK kellner-critical_theory_today (47) 20130930c 0 -1+ progress/2012/05/notes_for_kellner-critical_theory_today.html
Interdisciplinary social theory of new stage of state and monopoly capitalism by Jay, Dubiel, Kellner. (47) Their [Jay, Dubiel, Kellner] attempts to develop an interdisciplinary social theory brought together the social sciences and philosophy to produce a theory of the present age and of the transition to a new stage of state and monopoly capitalism.

3 1 1 (+) [-4+]mCQK kellner-critical_theory_today (48) 20130930d 0 -4+ progress/2012/05/notes_for_kellner-critical_theory_today.html
Reason instrumentalalized and incorporated into structure of society, sinking into new barbarism (Horkheimer and Adorno). (48) During the 1940s, Horkheimer and Adorno, abandoned the earlier program of interdisciplinary social theory and immanent critique. Their collaborative text Dialectic of Enlightenment thus enacted a genuine turning-point within critical theory. Horkheimer and Adorno believed that reason previously the organon of philosophical critique had been instrumentalized and incorporated into the very structure of society.
(50)
Dialectic of Enlightenment seeks to discover why humanity, instead of entering into a truly human condition, is sinking into a new kind of barbarism (1972: xi).

3 1 1 (+) [-4+]mCQK kellner-critical_theory_today (50) 20130930e 0 -2+ progress/2012/05/notes_for_kellner-critical_theory_today.html
Dialectic of Enlightenment first critical questioning of modernity, Marxism, the Enlightenment, anticipating postmodern critiques. (50) In retrospect,
Dialectic of Enlightenment is an extremely interesting text in that it provides the first critical questioning of modernity, Marxism, and the Enlightenment from within the tradition of critical social theory. It thus anticipates by some decades the postmodern critique of modernity and anticipates some of the features of later postmodern theory.

3 1 1 (+) [-4+]mCQK kellner-critical_theory_today (52) 20130930f 0 -2+ progress/2012/05/notes_for_kellner-critical_theory_today.html
Use of philosophical and literary interpretation of texts, for example Odysseus discussion, decentering analytic social theory. (52) The methodological point I wish to stress is that Horkheimer and Adorno here use the techniques of philosophical and literary interpretation to unfold the social truth contained in literary and philosophical texts. This move decenters the sort of analytic social theory that constituted the critical theory of the 1930s and marks a significant departure and growing mistrust of social sciences and theory.

3 1 1 (+) [-4+]mCQK kellner-critical_theory_today (54) 20130930h 0 -2+ progress/2012/05/notes_for_kellner-critical_theory_today.html
Examples of recent Frankfurt School scholarship by Wiggershaus and Habermas. (54)
Wiggershausƒ Die Frankfurter Schule (1986) has drawn on this archival material and presented a history of the entire trajectory of critical theory in its classical stages.
(54)
Habermasƒs article Notes on the Developmental History of Horkheimerƒs Works, translated in this issue, draws on this scholarship and provides a fresh interpretation of Horkheimerƒs most productive decade, his collaboration with Adorno, and his later theoretical decline.

3 1 1 (+) [-4+]mCQK levin-modernity_and_hegemony_of_vision (1) 20131003 0 -2+ progress/2011/08/notes_for_levin-modernity_and_hegemony_of_vision.html
Western philosophical thinking has drawn on authority of sight as evidenced by pre-Socratics. (1) We can now see that, even before Plato in fact long before Plato, not only in the extant fragments attributed to Heraclitus, but in fragments attributed to Parmenides (475 B.C.

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Critiques of subject by Gadamer and Habermas offer evidence of shift from seeing to listening. (3) There is certainly some evidence for a shift in our cultural paradigms: a shift, that is, from (the normativity of) seeing to (the normativity of)
listening. Thus Hans-Georg Gadamer appropriated the ocular concept of horizon and reinscribed it within a conversation-based hermeneutics of interpretation. And Jurgen Habermas, like John Dewey, has tried to replace the detached-spectator paradigm with a paradigm that recognizes the importance of democratic participation. Breaking away from a subject-centered rationality, Habermas has conceptualized a rationality that is grounded, instead, in the ethics of communicative processes.

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Nietzsche multiplying perspectives subverted authority of ocular thinking. (4) Already, in the nineteenth century, Friedrich
Nietzsche was formulating a powerful critique of the privileging of vision and of the foundational position of vision-generated, vision-centered concepts and methods in the history of modern philosophy.
(4) For, by
multiplying perspectives, Nietzsche is effectively using an ocular metaphorics derived from the tradition to subvert the authority of ocular thinking: he turns the very logic of ocularcentrism against itself, altering forever the visionary ambitions of philosophy.

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Judovitz argues Descartes transformation of vision to construct based on optical projection of geometric system. (9-10) Concurring with
Merleau-Ponty . . . [Dalia] Judovitz undertakes to demonstrate that, although Descartes acknowledged vision as the dominant sense and was sufficiently fascinated by the new science of optics . . . his much deeper commitment to rationalism disposed him to challenge, and ultimately repudiate, the power and nobility of vision. Ironically, at the same time that he [Descartes] criticized vision for its deceptiveness and attempted to separate mind from body, and reason from perception and imagination, he transferred the properties of the visible to the mental domain, whence they will illuminate metaphorically the powers of reason to attain certitude as clear and distinct ideas. Henceforth an intuitive, inborn light free of sensory experience, reason is finally empowered to rationalize the visible world for the sake of science and technology.

3 1 1 (+) [-4+]mCQK levin-modernity_and_hegemony_of_vision (14) 20131003d 0 -1+ progress/2011/08/notes_for_levin-modernity_and_hegemony_of_vision.html
Jay argues new ontology of vision by Merleau-Ponty based on dialectical intersubjectivity of gazes constituted by social relations, which decenters percipient subject and challenges definition of vision, seems to fit with subject proposed by Clark and others, implicit in Gee. (14) Perhaps one of the most thought-provoking questions with which Jay leaves us, then, is, what sense can we make out of phenomenological narratives that radically deconstruct the subject-object structure which we moderns have come to identify with, or as, the essentially human: assertions, for example, that there is an anonymous visibility, a reversible vision in general inhabiting us, that I am all that I see, and the through vision we [literally] touch the sun and the stars.

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Deconstructive, nonmetaphysical vision organized around blind spots, traces for Derrida. (17) If the concept of vision has been used by metaphysics to support presence, then he must continue to use this concept, but use it in a way that is disruptive and deconstructive: to designate a certain blindness-- or better: a
blind spot. This disruptive, non-metaphysical vision is accordingly organized around its own blind spots, and its objects are not forms that are totally present, but rather what Derrida calls traces : an unseen that nevertheless affects what we do see, the shape and scope of our visual field, a supplementarity that, in spite of its being unseen, or precisely because it is unseen, opens and limits visibility.
(18) although Derridaƒs critique of logocentrism substitutes something seen ( writing ) for something heard (logos), writing seems to bear some of the very traits to which he so insistently objects in vision. The traits of metaphysics paradoxically reappear, albeit transfigured, in the articulation of
ecriture, despite or rather because of its traces, its supplementarity, its margins.

3 1 1 (+) [-4+]mCQK levin-modernity_and_hegemony_of_vision (19) 20131003f 0 -4+ progress/2011/08/notes_for_levin-modernity_and_hegemony_of_vision.html
Introject Turkle concerns about the robotic moment into Levinas ethical prominence of face to face encounter and Flynn critique of Foucault postmodern gaze. (19) According to
Levinas, when we encounter others face to face, we are immediately affected by the ethical demands, the ethical claims, that their presence makes on us. We are touched and moved: The visible, he says, caresses the eye. One sees and hears like on touches. The argument he makes for the priority of the ethical is accordingly fleshed out in a hermeneutical phenomenology that articulates our experience of being sensibly affected by what we see when we see the face of another.

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Benjamin dialectics of seeing. (22) Walter
Benjamin would certainly have approved this attention to perception and sensibility. . . . This [Arcades Project, argues Susan Buck-Morss] is perhaps Benjaminƒs most important work, for in it he formulated a critical theory of modernity and a materialist dialectics of seeing, using material from his experiences in the Arcades of Paris, vast shopping theaters in which he loved to stroll, simultaneously marveling like a child at the variety of riches displayed there, before his eyes, but also reflecting very deeply and critically on the intangible, more invisible dimensions of significance in his experiences.
(23) Like Nietzsche, like Foucault, Benjamin was a teacher of vision, of vision as social criticism. . . . He struggled to overcome the habits of social normalization, socially induced blind spots ours and his own. He understood the distinctiveness of modernity to be captured in, and by, its visual productivity and visual obsessions.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (10) 20131004l 0 -3+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Wittgenstein versus Saussure on starting for language analysis, favoring functionalist logical structures of language games and computer programs for method. (10) Wittgenstein, taking up the study of language again from scratch, focuses his attention on the effects of different modes of discourse; he calls the various types of utterances he identifies along the way (a few of which I have listed)
language games. What he means by this term is that each of the various categories of utterance can be defined in terms of rules specifying their properties and the uses to which they can be put in exactly the same way as the game of chess is defined by a set of rules determining the properties of each of the pieces, in other words, the proper way to move them.
(10) to speak is to fight, in the sense of playing and speech acts fall within the domain of general agonistics.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (11) 20131004m 0 -1+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Agonistics: social bond composed of language game moves. (11) the observable social bond is composed of language moves.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (14) 20131004q 0 -2+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Tempting to distinguish positivist and critical types of knowledge. (14) It is tempting to avoid the decision altogether by distinguishing two kinds of knowledge. One, the positivist kind, would be directly applicable to technological bearing on men and materials, and would lend itself to operating as an indispensable productive force within the system.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (30-31) 20131004w 0 -4+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Narrative appeal for science targeted at abstract, male subject, implying that scientific knowledge generates a new subjectivity; similar to institutional generation of docile bodies in Foucault. (30-31) We can see too that the real existence of this necessarily abstract subject . . . depends on the institutions within which that subject is supposed to deliberate and decide, and which comprise all or part of the State.

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Many theorists including Kittler discuss place of Humboldt and University of Berlin in Western intellectual history. (32) Wilhelm von
Humboldt had to decide the matter and came down on the side of Schleiermacherƒs more liberal option.
(34) It has been necessary to elucidate the philosophy that legitimated the foundation of the University of Berlin and was meant to be the motor both of its development and the development of contemporary knowledge. As I have said, many countries in the nineteenth and twentieth centuries adopted this university organization as a model for the foundations or reform of their own system of higher education, beginning with the United States. But above all, this philosophy which is far from dead, especially in university circles offers a particularly vivid representation of one solution to the problem of the legitimacy of knowledge.
(35) According to this version, knowledge finds its validity not within itself, not in a subject that develops by actualizing its learning possibilities, but in a practical subject humanity. The principle of the movement animating the people is not the self-legitimation of knowledge, but the self-grounding of freedom or, if preferred, its self-management.

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Marxist position of Frankfurt school that critical knowledge develops by constituting autonomous subject via socialism and justifying sciences by giving proletariat means to emancipate itself. (37) Marxism can, in conformity to the second version, develop into a form of critical knowledge by declaring that socialism is nothing other than the constitution of the autonomous subject and that the only justification for the sciences is if they give the empirical subject (the proletariat) the means to emancipate itself from alienation and repression: this was, briefly, the position of the
Frankfurt School.

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Science cannot legitimate prescriptive language games, or itself. (40) If this delegitimation is pursued in the slightest and if its scope is widened (as Wittgenstein does in his own way, and thinkers such as Martin Buber and Emmanuel Levinas in theirs) the road is then open for an important current of postmodernity: science plays its own game; it is incapable of legitimating the other language games. The game of prescription, for example, escapes it.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (43) 20131005d 0 -4+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Kuhnian progress of scientific knowledge through games of legitimation. (43) The argumentation required for a scientific statement to be accepted is thus subordinated to a first acceptance (which is in fact constantly renewed by virtue of the principle of recursion) of the rules defining the allowable means of argumentation. Two noteworthy properties of scientific knowledge result from this: the flexibility of its means, that is, the plurality of its languages; and its character as a pragmatic game the acceptability of the moves (new propositions) made in it depends on a contract drawn between the partners. Another result is that there are two different kinds of progress in knowledge: one corresponds to a new move (a new argument) within the established rules; the other, to the invention of new rules, in other words, a change to a new game.
(43) The principle of a universal metalanguage is replaced by the principle of a plurality of formal and axiomatic systems capable of arguing the truth of denotative statements; these systems are described by a metalanguage that is universal but not consistent.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (48) 20131005h 0 -4+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Goal of education is optimizing performativity of practical subject: consider in light of Foucault argument that prisons grew illegalities and institutionalized delinquency its possible unintended consequences. (48) The desired goal becomes the optimal contribution of higher education to the best performativity of the social system. Accordingly, it will have to create the skills that are indispensable to that system.
(50) In any case, even if the performativity principle does not always help pinpoint the policy to follow, its general effect is to subordinate the institutions of higher learning to the existing powers. The moment knowledge ceases to be an end in itself the realization of the Idea or the emancipation of men its transmission is no longer the exclusive responsibility of scholars and students.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (65) 20131005s 0 -5+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Not prudent to follow Habermas seeking universal consensus through dialog of argumentation (Diskurs). (65) For this reason, it seems neither possible, nor even prudent, to follow
Habermas in orienting our treatment of the problem of legitimation in the direction of a search for universal consensus through what he calls Diskurs, in other words, a dialog of argumentation.
(65) This would be to make two assumptions. The first is that it is possible for all speakers to come to agreement on which rules or metaprescriptions are universally valid for language games, when it is clear that language games are heteromorphous, subject to heterogeneous sets of pragmatic rules.
(65-66) The second assumption is that the goal of dialog is consensus. But as I have shown in the analysis of the pragmatics of science, consensus is only a particular state of discussion, nor its end.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (72) 20131005v 0 -4+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Determining unity Habermas intended to bridge gap between cognitive, ethical, and political discourses. (72) What
Habermas requires from the arts and the experiences they provide us, in short, to bridge the gap between cognitive, ethical, and political discourses, thus opening the way to a unity of experience.
(72) My question is to determine what sort of unity Habermas has in mind.
(73) The first hypothesis, of a Hegelian inspiration, does not challenge the notion of a dialectically totalizing
experience; the second is closer to the spirit of Kantƒs Critique of Judgment, but must be submitted, like the Critique, to that severe reexamination which postmodernity imposes on the thought of the Enlightenment, on the idea of a unitary end of history and of a subject. It is this critique which not only Wittgenstein and Adorno have initiated, but also a few other thinkers (French or other) who do not have the honor to be read by Professor Habermas which at least saves them from getting a poor grade for their neoconservatism.

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Modulation of Nietzschean perspectivism in Kantian sublime. (77) But I see a much earlier modulation of Nietzschean perspectivism in the
Kantian theme of the sublime. I think in particular that it is in the aesthetic of the sublime that modern art (including literature) finds its impetus and the logic of avant gardes finds its axioms.

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Presenting the fact of the unpresentable. (78) I shall call modern the art which devotes its little technical expertise (
son petit technique ), as Diderot used to say, to present that fact that the unpresentable exists.
(79) It is not my intention to analyze here in detail the manner in which the various avant-gardes have, so to speak, humbled and disqualified reality by examining the pictorial techniques what are so many devices to make us believe in it.

--3.1.2+++ {11}

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Informative and interpretable aspects of texts. (763) We then have two perspectives: the text as a technical, historical, and social object and the text as it is individually received and understood. These aspects, which we might call the
informative and the interpretable, are governed by different rules, but they are interdependent and influence (and sometimes intrude on) each other in many ways.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (764) 20131024v 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
The original would be the author imagined text guiding the physical production that becomes the text, or abandon idea of real behind text. (764) we prefer the original imagined integrity of a metaphysical object to the stable version that we observe.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (765) 20131024b 0 -13+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Scales of change of metamorphosis; compare to Berry modes of software. (765) There are many scales of change in a textƒs metamorphosis: unintentional . . . usurpatory . . . plagiary . . . and subversive or estranging . . . [s]ome of the results of some of these operations we might accept as authentic new works, others not, according to the cultural legitimacy of their method of construction or their operator; or, in the case of a new aesthetic system, depending on contemporary empathy with the perceived political symbolism of the mode of mutation.

3 1 2 (+) [-6+]mCQK aarseth-nonlinearity_and_literary_theory (765) 20131024d 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
These transboundary phenomena trace human machine symbiosis. (765) What remains to be investigated, then, is the possibility that textuality exists beyond metaphysics, through location, anatomy, and temporality.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (766) 20131024e 8 -2+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Texts are cross products of linguistic, technological, historical matricies. (766) . Texts are cross products between a set of matrices linguistic (the script), technological (the mechanical conditions), and historical (the socio-political context); and because of the temporal instability of all of these variables, texts are processes impossible to terminate and reduce.

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Textonomical version of topology studies ways various sections of text connected in terms of intentional design rather than physical appearance. (766) the
textonomical version of topology may be described as the study of the ways in which the various sections of a text are connected, disregarding the physical properties of the channel (paper, stone, electromagnetic, and so on), by means of which the text is transmitted.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (767) 20131024g 0 -2+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Basic units of texts are textons, which are arbitrarily long strings of graphemes, plus traversal functions. (767) As a suitable name for such a unit I suggest
texton, which denotes a basic element of textuality.
(767) In addition to its textons, a text consists of one or more
traversal functions, the conventions and mechanisms that combine and project textons as scriptons to the user (or reader) of the text.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (767) 20131024h 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Variates applied to nonlinear texts (see Texts of Change): toplogy, dynamics, determinability, transiency, maneuverability, user-functionality. (767) Below is a list of the variates, slightly adapted from my
Texts of Change, in which they are developed and discussed at length and applied to a set of nonlinear texts.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (768) 20131024i 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Four feedback functions in addition to interpretive function of user: explorative, role-playing, configurative, poetic; note theorists seem to present sets of four or so key concepts (for example, Ryan). (768) Besides the
interpretive function of the user, which of course is present in the use of both linear and nonlinear textuality, the user of nonlinear texts may be described in terms of four active feedback functions: the explorative function, in which the user decides which path to take; the role-playing function, in which the user assumes strategic responsibility for a character in a world described by the text; the configurative function in which textons and/or traversal functions are in part chosen and/or designed by the user; and the poetic function, in which the userƒs actions, dialogue, or design are aesthetically motivated.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (768) 20131024j 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Four degrees of nonlinearity, from static to indeterminate dynamic cybertext. (768) As a simplified synthesis of this model I now propose four pragmatic categories, or degrees, of nonlinearity: (1) the simple nonlinear text, whose textons are totally static, open and explorable by the user; (2) the discontinuous nonlinear text, or hypertext, which may be traversed by jumps (explicit links) between textons; (3) the determinate cybertext, in which the behavior of textons is predictable but conditional and with the element of role-playing; and (4) the indeterminate cybertext in which textons are dynamic and unpredictable.

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I Ching as expert system, readerless text; this answers a question I have been asking myself for years. (769)
The Book of Changes may not be the worldƒs first text, but it is certainly the first expert system based on the principles of binary computing that very much later became automated by electricity and the vacuum tube.
(770) The user of
I Ching relates the scripton directly to his or her individual situation, and the interpretation, following the ritual of producing the hexagram, can only be done by the individual.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (771) 20131024l 0 -5+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Bush memex user modeled after traditional academic author; hypertext jump equates to switching print texts, the lest topographical mode of nonlinearity. (771) But it should be pointed out that in his fascinating vision his
poetics nonlinearity is as much a problem (the maze ) as a solution (the trail ). . . . This may seem more radical than it actually is, with subversive political consequences for the world of literature and art; but Bushƒs user is clearly modeled on the traditional academic author.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (773) 20131024m 0 -5+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Difference between hypertext and cybertext is the latters self-changing ability. (773) If literary hypertext is a new form of computer-mediated textuality, cybertext is a fairly old one, going back to the 1960s if not longer. . . . A cybertext is a self-changing text, in which scriptons and traversal functions are controlled by an immanent cybernetic agent, either mechanical or human.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (774) 20131024n 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
The game Adventure as example of determinate, ergographic cybertext. (774)
Adventure and most texts like it are determinate, intransient, and intratextonically dynamic, with completely controlled access to scriptons.

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Absent structure of determinate cybertext is the plot. (774) If the absent structure of narrative is the key problem in literary hypertext, in determinate cybertext the absent structure is the plot.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (775) 20131024p 0 -2+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Indeterminate cybertext, for example MUDs, beyond genre, not against genre. (775) Indeterminate cybertext should be seen as a movement not against, but
beyond genre. As the simulation of social structure becomes richer, plot control becomes increasingly difficult; and it is easy to predict the decentered cybertext in which stories, plots, and counterplots arise naturally from the autonomous movements of the cybernetic constructs.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (776) 20131024q 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
MUDs are to be experienced, not read. (776) A discussion of MUDs in terms of authors and readers is irrelevant: a MUD cannot be read, only experienced from the very narrow perspective of one or more of the userƒs characters, with a lot of simultaneous scriptons being beyond reach.

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Cybertextuality adds ontological category of simulation. (777) Cybertextuality has an empirical element that is not found in fiction and that necessitates an ontological category of its own, which might as well be called
simulation.

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Examples of nonlinear rhetorical unit operations, following Pierre Fontanier: forking, linking/jumping, permutation, computation, polygenesis. (777) If we turn to rhetoric, we see that nonlinearity is clearly not a trope, since it works on the level of words, not meaning; but it could be classified as a type of figure, following Pierre
Fontanierƒs taxonomy of tropes and figures.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (778) 20131024t 0 -2+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Immersion the difference between hypertexts like Afternoon and cybertexts like Adventure. (778) The key difference between
Afternoon and cybertexts such as Adventure and TinyMUD is what the virtual reality researchers call immersion: the userƒs convinced sense that the artificial environment is not just a main agent with whom they can identify but surrounds the user. In cybertextual terms we could say that the user assumes the strategic and emotional responsibility of the character, or that the distances between the positions of main character, narratee, and user have collapsed.

3 1 2 (+) [-4+]mCQK barthes-myth_today (79) 20131024 0 -1+ progress/2011/07/notes_for_barthes-myth_today.html
At the end he gives seven rhetorical aspects of myth: this cannot be of inconsequence to any academic discipline studying texts and technology, of which new (digital) media studies is either a subset, like PHI is to semiology, or intersects. (79) Myth is not defined by the object of its message, but by the way in which it utters this message: there are formal limits to myth, there are no substantial ones.

3 1 2 (+) [-4+]mCQK barthes-myth_today (80) 20131024a 0 -1+ progress/2011/07/notes_for_barthes-myth_today.html
Myth always has a human narrative context, regardless of medium forming its text. (80) Ancient or not, mythology can only have a historical foundation, for myth is a type of speech chosen by history: it cannot possibly evolve from the nature of things.

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As a message, is myth therefore a subset of texts, are all myths textual? (80-81) It can consist of modes of writing or of representations, not only written discourse, but also photography, cinema, reporting, sport, shows, publicity, all these can serve as a support to mythical speech. . . . Mythical speech is made of a material which has
already been worked on so as to make it suitable for communication: it is because all the materials of myth (whether pictorial or written) presuppose a signifying consciousness, that one can reason about them while discounting their substance.

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Just as SGML is not popular, whereas HTML and XML are, no semiology yet; make a footnote in dissertation. (81) For mythology, since it is the study of a type of speech, is but one fragment of this vast science of signs which Saussure postulated some forty years ago under the name of semiology. Semiology has not yet come into being.

3 1 2 (+) [-4+]mCQK barthes-myth_today (81) 20131024d 2 -5+ progress/2011/07/notes_for_barthes-myth_today.html
Study of myth involves sensitivity to semiology and ideology. (81) (81-82) Semiology is a science of forms, since it studies significations apart from their content. . . . The important thing is to see that the unity of an explanation cannot be based on the amputation of one or other of its approaches, but, as Engels said, on the dialectical coordination of the particular sciences it makes use of.

3 1 2 (+) [-4+]mCQK barthes-myth_today (83) 20131024e 0 -2+ progress/2011/07/notes_for_barthes-myth_today.html
Signifier, signified sign are a triad like Lacan imaginary, symbolic, real. (83) We must here be on our guard, for despite common parlance which simply says that the signified
expresses the signified, we are dealing, in any semiological system, not with two, but with three different terms. For what we grasp is not at all one term after the other but the correlation which unites them: there are, therefore, the signifier, the signified, and the sign, which is the associative total of the first two terms.

3 1 2 (+) [-4+]mCQK barthes-myth_today (84-85) 20110805 0 -2+ progress/2011/07/notes_for_barthes-myth_today.html
Diagram has Language econmpassing and Myth encompassing indicating the groupings, and second order sign whose signifer is another sign; imagine compared with Saussure and Lacan. (84-85) In myth, we find the tri-dimensional pattern which I have just described: the signifier, the signified, and the sign. But myth is a peculiar system, in that it is constructed from a semiological chain which existed before it: it is a second-order semiological system.

3 1 2 (+) [-4+]mCQK barthes-myth_today (85-86) 20131024g 0 -1+ progress/2011/07/notes_for_barthes-myth_today.html
Barthes provides such wonderful examples of mythical speech, like Hayles tutor texts. (85-86) It is now time to give one or two examples of mythical speech.

3 1 2 (+) [-4+]mCQK barthes-myth_today (86) 20110730 0 -2+ progress/2011/07/notes_for_barthes-myth_today.html
If only natural language studies founding early AI work had this depth, the confusion with plans may not have occurred: perhaps that is why I was drawn to Barthes while reading Suchman. (86) I am at the barberƒs, and a copy of
Paris-Match is offered to me. On the cover, a young Negro in a French uniform is saluting, with his eyes uplifted, probably fixed on a fold of the tricolor.

3 1 2 (+) [-4+]mCQK barthes-myth_today (86-87) 20131024h 0 -4+ progress/2011/07/notes_for_barthes-myth_today.html
Myth operates upon established systems, meanings become forms, concepts through signs in signification: can this second order character of myth also supply methodology to other second-order systems, such as technological artifacts, including program-generated virtual reality phenomena? (86-87) On the plane of language, that is, as the final term of the first system, I shall call the signifier:
meaning (my name is lion, a Negro is giving the French salute); on the plane of myth, I shall call it: form. In the case of the signified, no ambiguity is possible: we shall retain the name concept. The third term is the correlation of the first two: in the linguistic system, it is the sign; but it is not possible to use this word again without ambiguity, since in myth (and this is the chief peculiarity of the latter), the signifier is already formed by the signs of the language, I shall call the third term of myth the signification. This word is here all the better justified since myth has in fact a double function: it points out and it notifies, it makes us understand something and it imposes it on us.

3 1 2 (+) [-4+]mCQK barthes-myth_today (90) 20131024i 0 -3+ progress/2011/07/notes_for_barthes-myth_today.html
Compare to Bogost unit operations, his invocation of Badiou count-as-one stripped of the human counter: the surplus apparently encoded in signifier via, among other operations, myth touches upon asymptotic approach of human sign system functions (recall parallel discussion of signification in Diogenes Laertius) and symbolic machine control operations; at the shimmering signifier boundary are hyperlinks. (90) This repetition of the concept through different forms is precious to the mythologist, it allows him to decipher the myth: it is the insistence of a kind of behavior which reveals its intention. This confirms that
there is no regular ratio between the volume of the signified and that of the signifier. In language, this ratio is proportionate, it hardly exceeds the word, or at least the concrete unit.

3 1 2 (+) [-4+]mCQK barthes-myth_today (96-97) 20131024k 0 -1+ progress/2011/07/notes_for_barthes-myth_today.html
Myth is pure ideographic system. (96-97) Myth is a pure
ideographic system, where the forms are still motivated by the concept which they represent while not yet, by a long way, covering the sum of its possibilities for representation.

3 1 2 (+) [-4+]mCQK barthes-myth_today (101) 20131024l 0 -6+ progress/2011/07/notes_for_barthes-myth_today.html
Think about use of Einstein cartoon in help systems and Greekish names of electronic devices; relate stolen language to puns and Derridean terms. (101) When the meaning is too full for myth to be able to invade it, myth goes around it, and carries it away bodily. This is what happens to mathematical language. . . . So that the more the language-object resists at first, the greater its final prostitution; whoever here resists completely yields completely: Einstein on one side,
Paris-Match on the other.

3 1 2 (+) [-4+]mCQK barthes-myth_today (103) 20131024m 0 -2+ progress/2011/07/notes_for_barthes-myth_today.html
Traditional literature as voluntary acceptance of myth; how about myth of the personal computer? (103) A voluntary acceptance of myth can in fact define the whole of our traditional Literature. According to our norms, this Literature is an undoubted mythical system: there is a meaning, that of the discourse; there is a signifier, which is the same discourse as form or writing; there is a signified, which is the concept of literature; there is a signification, which is the literary discourse.

3 1 2 (+) [-4+]mCQK barthes-myth_today (125-126) 20121127 0 -1+ progress/2011/07/notes_for_barthes-myth_today.html
Users speak the object; mythologist condemned to metalanguage, simulacra. (125-126) The mechanic, the engineer, even the user,
speak the object ; but the mythologist is condemned to metalanguage.

3 1 2 (+) [-3+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (XII) 20130910f 0 -6+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
This makes sense of gnomic formula by Aarseth contemporary empathy with the perceived political symbolism of the mode of mutation. (XII) The reactionary attitude toward a Picasso painting changes into the progressive reaction toward a Chaplin movie. The progressive reaction is characterized by the direct, intimate fusion of visual and emotional enjoyment with the orientation of the expert. . . . The conventional is uncritically enjoyed, and the truly new is criticized by the public.

3 1 2 (+) [-4+]mCQK bogost-unit_operations (3-4) 20130910 0 -10+ progress/2012/01/notes_for_bogost-unit_operations.html
Multiple small pieces relates to Derrida morsels, the other kind of byte, also mentioned by Landow. (3-4) In literary theory, unit operations interpret networks of discrete readings; system operations interpret singular literary authority. In software technology, object technology exploits unit operations; structured programming exhibits system operations. . . . In effect, the biological sciences offer an especially salient window into the development of unit operations. . . . In general, unit operations privilege function over context, instances over longevity.

3 1 2 (+) [-4+]mCQK bolter-writing_space (10) 20130910 0 -4+ progress/2008/09/notes_for_bolter-writing_space.html
The strict requirement of textual unity and homogeneity is relatively recent. (10) Yet our definition of textual unity comes from the published work we have read, or more generally, from the current divisions of academic, literary, and scientific disciplines, which themselves both depend on and reinforce the economics of publishing. The material in a book must simply be homogeneous by the standard of some book-buying audience.
(11) In the ideal, if not in practice, an electronic text can tailor itself to each readerƒs needs, and the reader can make choices in the very act of reading.
(11) This ideal of cultural unity through a shared literary inheritance, which has received so many assaults in the 20th century, must now suffer further by the introduction of new forms of highly individualized writing and reading.

3 1 2 (+) [-4+]mCQK bolter-writing_space (64) 20130910c 0 -6+ progress/2008/09/notes_for_bolter-writing_space.html
Is this taking speech balloons too far, applying remediation to Greek vase painting? (64) We could also say that the space of the text was trying to remediate the image into discursive meaning, while the image was insisting on the formal significance of the word itself as an image.
(64) In Egyptian writing, for example, there was an intimate relationship between image and text. . . . The Greek and Roman writing space was not as friendly to pictures.

3 1 2 (+) [-4+]mCQK bolter-writing_space (100) 20130910g 0 -2+ progress/2008/09/notes_for_bolter-writing_space.html
Etymology of reading suggests gathering signs and moving over writing surface, recalling Socrates claim in Xenophon that once he learned to gather together all the spoken things (xunienai ta legomena) he never failed to investigate any study. (100) Lego literally means to gather, to collect, and one of its figurative meanings is to make oneƒs way, to traverse. This etymology suggests that reading is the process of gathering up signs while moving over the writing surface.

3 1 2 (+) [-4+]mCQK bukatman-terminal_identity (3) 20130912 0 -2+ progress/1994/06/notes_for_bukatman-terminal_identity.html
Consider analysis of science fiction by Hayles to study subjectivity. (3) MacDougallƒs history of the Space Age emphasizes the establishment of a comprehensive technocracy in the United States. .

3 1 2 (+) [-4+]mCQK bukatman-terminal_identity (30) 20131026a 0 -5+ progress/1994/06/notes_for_bukatman-terminal_identity.html
Textuality now an explicit theme; Hayles considers Bukatman. (30) Textuality now becomes an explicit theme in the science fiction work; language will comprise the content of the discourse as well as determine its form. . . . a text that emphasizes the estrangement of the sign.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (17) 20130912 0 -1+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
MLA CSE guidelines a goldmine of work for a future generation of humanities scholars. (17) First in the volume, we provide a complete revision of the MLAƒs CSE Guidelines for Editors of Scholarly Editions.

3 1 2 (+) [-6+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (66) 20130912a 0 -9+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Buzzetti and McGann discuss insufficiency of OHCO thesis for missing structural mobility, assuming meaning embedded in syntactic form, assuming coincidence between syntactic and semantic forms. (66) The OHCO thesis about the nature of the text is radically insufficient, because it does not recognize structural mobility as an essential property of the textual condition. . . . A digital text representation need not assume that meaning can be fully represented in a syntactic logical form. . . . A formal representation of textual information does not require an absolute coincidence between syntactic and semantic logical form.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (67) 20130912b 0 -5+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Buzzetti and McGann see markup as highly reflexive act, oscillating indeterminacy like self-organizing systems; in line with videogame studies, electronic literature. (67) Diacritical ambiguity, then, enables markup to provide a suitable type of formal representation for the phenomena of textual instability. . . . Markup should be conceived, instead, as the expression of a highly reflexive act, a mapping of text back onto itself: as soon as a (marked) text is (re)marked, the metamarkings open themselves to indeterminacy.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (69) 20130912c 0 -7+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Buzzetti and McGann invoke pragmatistic, existential imperative to build devices. (69) Scholarly editions are a special, highly sophisticated type of self-reflexive communication, and the fact is that we now must build such devices in digital space. This necessity is what Charles Sanders Peirce would call a pragmatistic fact: it defines a kind of existential (as opposed to a categorical) imperative that scholars who wish to make these tools must recognize and implement.
(70) In fact one can transform the social and documentary aspects of a book into computable code. . . . We were able to build a machine that organizes for complex study and analysis, for collation and critical comparison, the entire corpus of Rossettiƒs documentary materials, textual as well as pictorial.

3 1 2 (+) [-6+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (71) 20120901 0 -4+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Interesting suggestion by Buzzetti and McGann for researching autopoietic functions of social textualities via user logs dovetails nicely with software studies and projects for future digital humanities scholars. (71) The autopoietic functions of the social text can also be computationally accessed through user logs. This set of materials the use records, or hits, automatically stored by the computer has received little attention by scholars who develop digital tools in the humanities. Formalizing its dynamic structure in digital terms will allow us to produce an even more complex simulation of social textualities. Our neglect of this body of information reflects, I believe, an ingrained commitment to the idea of the positive text or material document.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (77) 20130912d 0 -1+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Robinson: propositions reached from Canterbury Tales project digital edition: specificity of research context, inclusion of full-text transcription, restoring exhaustive historical criticism, editing and reading altered, adopt open transcription policy. (77) Until the late 1980s, a few experiments and articles appeared to suggest that a combination of the computer, with its ability to absorb and reorder vast amounts of information, and new methods of analysis begin developed in computer science (in the form of sophisticated relational databases) and in mathematics and in other sciences might be able to make sense of the many millions of pieces of information in a complex collation and provide a historical reconstruction of the development of tradition.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (92) 20130912i 0 -2+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Rosenberg: recounts development of a major scholarly editing project of Edison Papers that includes its technological evolution. (92) The Edison Papers is working to combine images and text, and I hope that a careful examination of some avenues and lessons learned in that process will be helpful to anyone fortunate enough and bold enough to undertake such a task.
(93) A second unusual aspect of the Edison corpus [after its size] is the central importance of drawings and even physical artifacts to an understanding of its subjectƒs work, which is a direct consequence of Edisonƒs being an inventor and fresh territory for documentary editing.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (111) 20131027 0 -9+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Fraistat and Jones: TEI for encoding poetic text at level of structure, describing in ordered hierarchy. (111) If we wish to encode a poetic text at the level of its structure, to describe (not format) its components stanzas, parts of stanzas, lines, and so on, for search, retrieval, analysis, and recombination by a computer we must turn to SGML proper and the guidelines developed by the Text Encoding Initiative (TEI). . . . It now seems likely that both the HTML 3.0 and SGML (TEI Lite) versions of The Devilƒs Walk will in the near future need to be made available in XML (or the Web-ready standard it has created, XHTML).
(112) By nesting multiple sets of tags of this sort, it becomes possible logically to mark the portions of a stanza octet, sestet, quatrian, couplet such that software recognizing the document type could parse, search, and manipulate the text in complex ways. To put it in computer terms, we focus on the textƒs content objects as they can be described in an ordered hierarchy.
(113) All this data and metadata will be marked in the text itself, not in a separate file, and will then be carried with the edition in a form that will survive across various platforms and delivery systems.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (116) 20130912h 0 -2+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Fraistat and Jones: MOOzymandias virtual reality experiment enacts the autopoietic functions of social texts envisioned by Buzzetti and McGann, demonstrating similarities between editing and programming. (116) More recently, we have moved beyond the Web page and HTML as such in
MOOzymandias, an ambitious collaborative experiment in editing that situates Shelleyƒs sonnet Ozymandias in a text-based multiuser virtual-reality environment, making the edition, its text and apparatus, more like a game or theatrical space than a letterpress artifact. MOOzymandias was created to attempt what no existing markup scheme can really do well yet: deal with the multidirectional, spatialized, phenomenological effects of poetic language and the multilayered complexity with which poems mean, in terms of both their presentational and structural features and in terms of the contextual editorial environments constructed by every edition through its acts of annotation and interpretation.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (139) 20130912k 0 -2+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Flanders: consider this notion of readerly discovery promoted by Flanders for software and critical code studies. (139) This emphasis on readerly discovery is part of a crucial shift that has shaped the digital collection and its editorial assumptions.
(140) If one result of these developments has been a tendency to view a digital collection in the spirit of an archive as a body of source material on which may be built a superstructure of metadata, retrieval and analysis tools, and editorial decisions the corollary has been an almost ironic interest in the materiality of the text.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (155) 20130912l 0 -3+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Van Hulle: argues transclusive flexibility afforded by not only digital format but nonproprietary format so that it can be machine processed in new ways. (155) The transcription of the documents in Reading is encoded in TEI-compliant XML. The advantage of this nonproprietary format is the resulting
transclusive flexibility of the textual material. Depending on the userƒs focus, the draft material can be rearranged in several ways: (1) in a documentary approach, based on the catalog numbers; (2) in chronological order; (3) by language; (4) with a focus on translation; (5) in retrograde direction, starting from the published texts.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (156) 20130912m 0 -1+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Van Hulle: proposes Vanhoutte linkable unit linkeme a basic concept of electronic texts (see if Landow covers). (156) Every paragraph in the reading text can be linked to and compared with other versions of it.

3 1 2 (+) [-6+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (171) 20130912q 0 -3+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Vanhoutte: argues modern texts often feature non-nesting problems from time and overlapping hierarchies. (171) The transcription of modern manuscript material using TEI proves to be more problematic because of a least two essential characteristics of such complex source material:
time and overlapping hierarchies.
(172) Therefore, the structural unit of a modern manuscript is not the paragraph, page, or chapter but the temporal unit of writing. These units form a complex network that often is not bound to the chronology of the page.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (171) 20131027d 0 -1+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Vanhoutte: answering what is a text, ontology matters for noncritical operations, such as transcription, especially if it turns out to be non-nesting, non-hierarchical. (171) Only when a project has a clear argument on the ontology of the text can a methodology for text transcription be developed.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (174) 20130912s 0 -6+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Vanhoutte: three categories of genetic criticism are transversal, horizontal, vertical. (174) Therefore,
critique genetique does not aim to reconstitute the optimal text of a work and is interested not in the text but in the dynamic writing process, which can be reconstructed by close study of the extant drafts, notebooks, and so on. . . . Rather than produce editions, the geneticiens put together a dossier genetique by localizing and dating, ordering, deciphering, and transcribing all pre-text witnesses. Only then can they read and interpret the dossier genetique.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (182) 20130912u 0 -5+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Huitfeldt: argues Wittgenstein manuscripts provide almost every imaginable complicating variation for textual markup and requiring keen awareness of of nuances of diplomatic reproduction. (182) Like many modern manuscripts, Wittgensteinƒs writings contain deletions, overwritings, interlinear insertions, marginal remarks and annotations, substitutions, counterpositions, shorthand abbreviations, as well as orthographic errors and slips of the pen. . . . Moreover, Wittgenstein had his own peculiar editorial conventions, such as an elaborate system of section marks, cross-outs, cross-references, marginal marks and lines, and various distinctive types of underlining.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (351) 20130913 0 -1+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Case and Green: concern raised that extensive monitoring capabilities will make it harder for scholars to secure permissions from publishers; imagine when reach goes into real time, perspectical virtual worlds. (351) Because copyright owners now use technological means to search the Web to find unauthorized uses of their content, a publisher may be unwilling to expose itself to the cost of responding to potential claims, whether it believes the use is fair use or not.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (354) 20130913a 0 -3+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Case and Green: lack of authoritative search for ownership and rights from Library of Congress further complicates transmedia events such as sounds in virtual realities that are generated from copyrighted text via text to speech synthesis. (354) Because the Library of Congress catalogs do not include entries for assignment or other recorded documents, they cannot be used authoritatively for searches involving the ownership of rights.
(355)
Audio. Should permission be required to use audio material, the editor should be aware of the possible need for several layers of permissions.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (364) 20120905 0 -5+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Deegan: Fedora project flexible extensible digital object repository architecture proposes new ways of reasoning based on behaviors rather than essential nature; compare to Tanaka-Ishii study of object-oriented programming methodologies. (364) A new approach to the preservation of complex digital data is being explored by the University of Virginia and Cornell University, together with other academic partners: the Fedora project (flexible extensible digital object repository architecture), one of a number of repository architectures that have been proposed for use in digital libraries. . . . Fedora is of particular interest, because it proposes new ways of reasoning about digital data, based on data objects and their behaviors rather than on the essential nature of the data.

3 1 2 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (367) 20120909 0 -2+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Deegan: CCS link of cultural bias in encoding recommends ASCII entity references over direct Unicode; see Case and Gee. (367) For text, the ASCII standard should always be used, with markup added that is also in ASCII. There has been great progress in the presentation of special characters through the Unicode standard, but it is preferable that characters be encoded as entity references that can be displayed in Unicode than encoded as Unicode itself.

3 1 2 (+) [-4+]mCQK crane-classics_and_the_computer (46) 20131028a 0 -6+ progress/2012/03/notes_for_crane-classics_and_the_computer.html
Classicists are ideally positioned to inform texts and technology theories. (46) Classicists have for thousands of years been developing lexica, encyclopedias, commentaries, critical editions, and other elements of scholarly infrastructure that are best suited to an electronic environment. Classicists have placed great emphasis on systematic knowledge management and engineering. . . . While many of us compare the impact of print and of new electronic media, classicists can see the impact of both revolutions upon the 2,500-year history of their field.

3 1 2 (+) [-4+]mCQK crane-classics_and_the_computer (49) 20130913b 0 -1+ progress/2012/03/notes_for_crane-classics_and_the_computer.html
I call them ideological constants, the stable source texts from antiquity around which ephemeral technologies can emerge and dissolve; contrast to traditional conception of rhizome. (49) He [David Packard] observed that software and systems were ephemeral but that primary sources such as well structured, cleanly entered source texts were objects of enduring value.

3 1 2 (+) [-4+]mCQK crane-classics_and_the_computer (54) 20130913f 0 -5+ progress/2012/03/notes_for_crane-classics_and_the_computer.html
DSPACE and FEDORA library repositories; update alienation concept with copyleft and global repositories. (54) A variety of library repositories are now coming into use. . . . In the world of publication, alienation is a virtue, because in alienating publications, the author can entrust them to libraries that are designed to provide stable access beyond the lifespan of any one individual.

3 1 2 (+) [-4+]mCQK derrida-dissemination (63) 20130915a 0 -6+ progress/2012/02/notes_for_derrida-dissemination.html
Suggestion that texts imply ergodic features. (63) A text is not a text unless it hides from the first comer, from the first glance, the law of its composition and the rules of its game. . . . it is simply that they can never be booked, in the
present, into anything that could rigorously be called a perception.
(63) The dissimulation of the woven texture can in any case take centuries to undo its web: a web that envelops a web, undoing the web for centuries; reconstituting it too as an organism, indefinitely regenerating its own tissue behind the cutting trace, the decision of each reading.

3 1 2 (+) [-4+]mCQK derrida-dissemination (65) 20130915b 0 -1+ progress/2012/02/notes_for_derrida-dissemination.html
So much for histos, the word to contemplate becomes pharmakon; will it be resumed after the long detour soon to be announced? (65) If we then
write a bit: on Plato, who already said in the Phaedrus that writing can only repeat (itself), that it always signifies (semainei) the same and that it is a game (paidia).

3 1 2 (+) [-4+]mCQK derrida-dissemination (65) 20130915c 0 -2+ progress/2012/02/notes_for_derrida-dissemination.html
Take off from Phaedrus implying continuing with Statesman, although different experience for those unfamiliar with it that Derrida presumes is the default thing evoked by the preceding reading: is taking off in this way like or unlike hyperlink operation, maybe a very advanced form of associative linking, recalling how there are a number of forms according to Bogost or Montfort like for Barthes listening? (65) The example we shall propose of this will not, seeing that we are dealing with Plato, be the Statesman, which will have come to mind first, no doubt because of the paradigm of the weaver, and especially because of the paradigm of the paradigm, the example of the example writing which immediately precedes it. We will come back to that only after a long detour.

3 1 2 (+) [-4+]mCQK derrida-dissemination (66) 20130915d 0 -9+ progress/2012/02/notes_for_derrida-dissemination.html
New connotation for interpreting Phaedrus, not longer dismissing it as badly composed following Diogenes Laertius. (66) We will take off here from the Phaedrus. We are speaking of the Phaedrus that was obliged to wait almost twenty-five centuries before anyone gave up the idea that it was a badly composed dialogue.
(67) In 1905, the tradition of
Diogenes Laertius was reversed, not in order to bring about a recognition of the excellent composition of the Phaedrus but in order to attribute its faults this time to the senile impotence of the author.
(67) This is, in particular, the case and this will be our supplementary thread with the whole last section (274
b ff.), devoted, as everyone knows, to the origin, history, and value of writing. . . . In truth, it is rigorously called for from the one end of the Phaedrus to the other.

3 1 2 (+) [-4+]mCQK derrida-dissemination (71) 20130915h 0 -2+ progress/2012/02/notes_for_derrida-dissemination.html
Reading and walking also done in Symposium; Derrida is concerned with how many different ways pharmakon has been translated, and why. (71) A spoken speech whether by Lysias or by Phaedrus in person a speech proffered
in the present, at the presence of Socrates, would not have had the same effect. Only the logoi en bibliois, only words that are deferred, reserved, enveloped, rolled up, words that force one to wait for them in the form and under cover of a solid object, letting themselves be desired for the space of a walk, only hidden letters can thus get Socrates moving.

3 1 2 (+) [-4+]mCQK derrida-dissemination (75-76) 20130915j 0 -7+ progress/2012/02/notes_for_derrida-dissemination.html
Writing as object is artifact that makes other artifacts, a tool or set of materials. (75-76) Let us freeze the scene and the characters and take a look at them. Writing (or, if you will, the
pharmakon) is thus presented to the King. . . . And this work is itself an art, a capacity for work, a power of operation.
(76) The
pharmakon is here presented to the father and is by him rejected, belittled, abandoned, disparaged.

3 1 2 (+) [-4+]mCQK derrida-dissemination (77) 20130915l 0 -4+ progress/2012/02/notes_for_derrida-dissemination.html
Father is the speech producer (disseminator, reproducer, transmitter) from the writing text. (77)
Logos is a son, then, a son that would be destroyed in his very presence without the present attendance of his father. His father who answers. His father who speaks for him and answers for him. Without his father, he would be nothing but, in fact, writing.

3 1 2 (+) [-4+]mCQK derrida-dissemination (78) 20130915m 0 -2+ progress/2012/02/notes_for_derrida-dissemination.html
Critique of Robin translation leads to overall point about uniqueness of original Greek sustaining an ancient thought by play in ambiguity of words like pharmakon. (78)
Logos-- discourse --has the meaning here of argument, line of reasoning, guiding thread animating the spoken discussion (the Logos). To translate it by subject [sujet], as Robin does, is not merely anachronistic.

3 1 2 (+) [-4+]mCQK derrida-dissemination (79) 20130118 0 -5+ progress/2012/02/notes_for_derrida-dissemination.html
Logos as spoken (orality) always in context, whereas written words naturally decontextualized; logos also engendered via human breath and silent reading until formant synthesis can create simulacral audible phenomena. (79)
Logos is a zoon. An animal that is born, grows, belongs to the physis. Linguistics, logic, dialectics, and zoology are all in the same camp.
(80) The father is always father to a speaking/living being. In other words, it is precisely
logos that enables us to perceive and investigate something like paternity.

3 1 2 (+) [-4+]mCQK derrida-dissemination (81-82) 20130915n 0 -11+ progress/2012/02/notes_for_derrida-dissemination.html
Complex meditation on structural relations between the logos, the father, the good, capital and connection of tokos, product, birth, child and potentially token: can it be argued a fortiori that, since this kind of thinking is so unique for humans, that it would be even more unlikely if not impossible to be thought by machines? (81-82) The figure of the father, of course, is also that of the good (
agathon). Logos represents what it is indebted to: the father who is also chief, capital, and good(s). Or rather the chief, the good(s). Pater in Greek means all that at once. Neither translators nor commentators of Plato seem to have accounted for the play of these schemas. It is extremely difficult, we must recognize, to respect this play in a translation, and the fact can at least be explained in that no one has ever raised the question. . . . Tokos, which is here associated with ekgonos, signifies production and the product, birth and the child, etc. This word functions with this meaning in the domains of agriculture, of kinship relations, and of fiduciary operations.

3 1 2 (+) [-4+]mCQK derrida-dissemination (85) 20130915o 0 -10+ progress/2012/02/notes_for_derrida-dissemination.html
Plato leveraged structural laws, resulting in specific possible combinations of mythemes. (85) Our intention here [citing Borges, Joyce, and Borges again] has only been to sow the idea that the spontaneity, freedom, and fantasy attributed to Plato in his legend of Theuth were actually supervised and limited by rigorous necessities. The organization of the myth conforms to powerful constraints. . . . Plato had to make his tale conform to structural laws. . . . What we wish to do here is simply to point to the internal, structural necessity which alone has made possible such communication and any eventual contagion of mythemes.

3 1 2 (+) [-4+]mCQK derrida-dissemination (91) 20130915p 0 -9+ progress/2012/02/notes_for_derrida-dissemination.html
Relation between writing and death common in other Greek philosophers; also relation to joker, floating signifier, putting play into play. (91) For it goes without saying that the god of writing must also be the god of death.
(92-93) The system of these traits brings into play an original kind of logic: the figure of Thoth is opposed to its other (father, sun, life, speech, origin or orient, etc.), but as that which at once supplements and supplants it. Thoth extends or opposes by repeating or replacing. By the same token, the figure of Thoth takes shape and takes its shape from the very thing it resists and substitutes for. But it thereby opposes
itself, passes into its other, and this messenger-god is truly a god of the absolute passage between opposites. . . .

3 1 2 (+) [-4+]mCQK derrida-dissemination (95) 20130119 0 -6+ progress/2012/02/notes_for_derrida-dissemination.html
Structurally constrained chain of significations meaningfully defining play of play, contrary to play in meaning of technical terms; on a continuum with appeal to arbitrary and changeable meaning of programming variables, even product names, populated with strange cases like thryristor? (95) The word pharmakon is caught in a chain of significations. The play of that chain seems systematic. But the system here is not, simply, that of the intentions of an author who goes by the name of Plato. The system is not primarily that of what someone meant-to-say {un vouloir-dire}. Finely regulated communications are established, through the play of language, among diverse functions of the word and, within it, among diverse strata or regions of culture.
(96) The possibilities and powers of displacement are extremely diverse in nature, and, rather than enumerating there all their titles, let us attempt to produce some of their effects as we go along, as we continue our march through the Platonic problematic of writing.

3 1 2 (+) [-4+]mCQK derrida-dissemination (96) 20130915r 0 -1+ progress/2012/02/notes_for_derrida-dissemination.html
Complex reading of pharmakon like supplement in Of Grammatology. (96) (footnote 43) With a few precautions, one could say that
pharmakon plays a role analogous, in this reading of Plato, to that of supplement in the reading of Rousseau.

3 1 2 (+) [-4+]mCQK derrida-dissemination (97) 20130915s 0 -1+ progress/2012/02/notes_for_derrida-dissemination.html
Translation cancels out productive resources of ambiguity and context, whereas a glossematic system works differently: link this to Tanaka-Ishii differentiating being centric and doing (interface) centric types of OOP; destroying anagrammatic writing, neutralizing differentiation afforded by Greek textuality also seems related to Montfort and Bogost, and others, describing programming tricks to cleverly leverages platform constraints. (97) Its translation by remedy nonetheless erases, in going outside the Greek language, the other pole reserved in the word
pharmakon.

3 1 2 (+) [-6+]mCQK derrida-dissemination (98) 20130915t 0 -6+ progress/2012/02/notes_for_derrida-dissemination.html
Violent and impotent translation leaves original anagrammatic writing untouched for Derrida to interpret now. (98) If Platoƒs text then goes on to give the Kingƒs pronouncement as the truth of Theuthƒs production and his speech as the truth of writing, then the translation
remedy makes Theuth into a simpleton or a flimflam artist, from the sunƒs point of view. . . . Their discourse plays within it, which is no logner the case in translation. Remedy is the rendition that, more than medicine or drug would have done, obliterates the virtual, dynamic references to the other uses of the same word in Greek.

3 1 2 (+) [-4+]mCQK derrida-dissemination (99) 20130915u 0 -8+ progress/2012/02/notes_for_derrida-dissemination.html
Compare the never harmless remedy of technologized remembrance to Zizek chocolate laxative: painful pleasure and artificial. (99) There is no such thing as a harmless remedy. The
pharmakon can never be simply beneficial.
(99) For two reasons, and to two different depths. First of all because the beneficial essence or virtue of a
pharmakon does not prevent it from hurting. . . . This type of painful pleasure, linked as much to the malady as to its treatment, is a pharmakon in itself.

3 1 2 (+) [-4+]mCQK derrida-dissemination (99-100) 20130915v 0 -12+ progress/2012/02/notes_for_derrida-dissemination.html
Doctors of Cos would deplore cyborgs for their unnatural prostheses; necessity built into word choice, evidenced by parallel examination of Timaeus and Phaedrus. (99-100) Then again, more profoundly, even beyond the question of pain, the pharmaceutical remedy is essentially harmful because it is artificial. . . . Plato is following Greek tradition and, more precisely, the doctors of Cos. The
pharmakon goes against natural life: not only life unaffected by any illness, but even sick life, or rather the life of the sickness. . . . Writing does not answer the needs of memory, it aims to the side, does not reinforce the mneme, but only hypomensis. And if, in the two texts we are now going to look at together, the formal structure of the argument is indeed the same; if in both cases what is supposed to produce the positive and eliminate the negative for this is inscribed in the sign pharmakon, which Robin (for example) dismembers, here as remedy, there as drug. We expressly said the sign pharmakon, intending thereby to mark that what is in question is indissociably a signifier and a concept signified.

3 1 2 (+) [-4+]mCQK derrida-dissemination (103-104) 20130915w 0 -14+ progress/2012/02/notes_for_derrida-dissemination.html
Writing like self-compiling compiler, since it must found the possibility of systematicity; similar to problems of dealing with self reflexivity in programming languages covered by Tanaka-Ishii, and Derrida will milk the ghost in other writings, exceeding all classical models of reading, writing itself, so begin by finding and reading it. (103-104) It is not enough to say that writing is conceived out of this or that series of oppositions. Plato thinks of writing, and tries to comprehend it, to dominate it, on the basis of
opposition as such. In order for these contrary values (good/evil, true/false, essence/appearance, inside/outside, etc.) to be in opposition, each of the terms must be simply external to the other, which means that one of these oppositions (the opposition between inside and outside) must already be accredited as the matrix of all possible opposition. And one of the elements of the system (or of the series) must also stand as the very possibility of systematicity or seriality in general. And if one got to thinking that something like the pharmakon or writing far from being governed by these oppositions, opens up their very possibility without letting itself be comprehended by them; if one got to thinking that it can only be out of something like writing or the pharmakon that the strange difference between inside and outside can spring; if, consequently, one got to thinking that writing as a pharmakon cannot simply be assigned a site within what it situates, cannot be subsumed under concepts whose contours it draws, leaves only its ghost to a logic that can only seek to govern it insofar as logic arises from it one would then have ti bend {plier} into strange contrortions what could no longer even simply be called logic or discourse. All the more so if what we have just imprudently called a ghost can no longer be distinguished, with the same assurance, from truth, reality, living flesh, etc.
(104) Every model of classical reading is exceeded there at some point, precisely at the point where it attaches to the inside of the series. . . . Such a functional displacement, which concerns differences (and, as we shall see, simulacra ) more than any conceptual identities signified, is a real and necessary challenge. It writes itself. One must therefore being by reading it.

3 1 2 (+) [-4+]mCQK derrida-dissemination (108-109) 20130915y 0 -13+ progress/2012/02/notes_for_derrida-dissemination.html
Texts and technology studies needs to disrupt archive memory model, as Hayles does with presence/absences, inside/outside, living/nonliving, mneme/archive, original/type in direction of Clark extended mind. (108-109) The boundary (between inside and outside, living and nonliving) separates not only speech from writing but also memory as an unveiling (re-)producing a presence from re-memoration as the mere repetition of a monument: truth as distinct from its sign, being as distinct from types. The outside dos not begin at the point where what we now call the psychic and the physical meet, but at the point where the
mneme, instead of being present to itself in its life as a movement of truth, is supplanted by the archive, evicted by a sign of re-memoration or of com-memoration. . . . Memory is finite by nature. Plato recognizes this in attributing life to it. As in the case of all living organisms, he assigns it, as we have seen, certain limits. A limitless memory would in any event be not memory but infinite self-presence. Memory always therefore already needs signs in order to recall the non-present, with which it is necessarily in relation. The movement of dialectics bears witness to this. Memory is thus contaminated by its first substitute: hypomensis. But what Plato dreams of is a memory with no sign.

3 1 2 (+) [-4+]mCQK derrida-dissemination (112-113) 20130915z 0 -15+ progress/2012/02/notes_for_derrida-dissemination.html
Philosophers are also writers, and writing guards laws. (112-113) How indeed does the dialectician simulate him whom he deonounces as a simulator, as the simulacrum-man? . . . Through this economy of signs, the sophists are indisputably men of writing at the moment they are protesting they are not. But isnƒt Plato one, too, through a symmetrical effect of reversal? . . . As another sort of guardian of the laws, writing guarantees the means of returning at will, as often as necessary, to that ideal object called the law. We can thus scrutinize it, question it, consult it, make it talk, without altering its identity. All this, even in the same words (notably
boetheia), is the other side, exactly opposite, of Socratesƒ speech in the Phaedrus.
(113) The italicized Greek words amply demonstrate it: the
prostagmata of the law can be posited only in writing (en grammasi tethenta). Nomothesia is engrammatical. The legislator is a writer.

3 1 2 (+) [-4+]mCQK derrida-dissemination (115) 20130916 0 -9+ progress/2012/02/notes_for_derrida-dissemination.html
Speech (logos) is also pharmakon, in fact its quintessence. (115) Despite these similarities, the condemnation of writing is not engaged in the same way by the rhetors as it is in the
Phaedrus. If the written word is scorned, it is not as a pharmakon coming to corrupt memory and truth. It is because logos is a more effective pharmakon. This is what Gorgias calls it. . . . Sorcery (goeteia), psychagogy, such are the facts and acts of speech, the most fearsome of pharmaka.
(116) But before being reined in and tamed by the
kosmos and order of truth, logos is a wild creature, an ambiguous anamality.

3 1 2 (+) [-4+]mCQK derrida-dissemination (116) 20130916a 0 -5+ progress/2012/02/notes_for_derrida-dissemination.html
Interesting to find equivocation of persuasive speaking and drugs in Gorgias. (116) Such persuasion entering the soul through speech is indeed a
pharmakon, and that is precisely what Gorgias calls it: [quoting] The effect of speech (tou logou dunamis) upon the condition of the soul (pros ten tes psuches taxin) is comparable (ton auton de logon) to the power of drugs (ton pharmakon taxis) over the nature of bodies (ten ton somaton phusin).
(117) The reader will have paused to reflect that the relation (the analogy) between the
logos/soul relation and the pharmakon/body relation is itself designated by the term logos. The name of the relation is the same as that of one of its terms. The pharmakon is comprehended in the structure of logos. This comprehension is an act of both domination and decision.

3 1 2 (+) [-4+]mCQK derrida-dissemination (117) 20130916b 0 -3+ progress/2012/02/notes_for_derrida-dissemination.html
Evidence that Socrates is a pharmakeus; claims the the argument from the Lysis is actually a really poor argument. (117) But if this is the case, and if
logos is already a penetrating supplement, then isnƒt Socrates, he who does not write, also a master of the pharmakon?
(117) Socrates in the dialogues of Plato often has the face of a
pharmakeus. That is the name given by Diotima to Eros.

3 1 2 (+) [-4+]mCQK derrida-dissemination (127-128) 20130916d 0 -11+ progress/2012/02/notes_for_derrida-dissemination.html
Dialectics draws philosophemes from deep background fund of differance of the play of pharmakon in the pharmacy; first appearance of the word. (127-128) The
pharmakon is the movement, the locus, and the play: (the production of) difference. It is the differance of difference. . . . Already inhabited by differance, this reserve, even though it precedes the opposition between different effects, even though it preexists differences as effects, does not have the punctual simplicity of a coincidentia oppositorum. It is from this fund that dialectics draws its philosophemes. . . . It is also this store of deep background that we are calling the pharmacy.

3 1 2 (+) [-4+]mCQK derrida-dissemination (128) 20130916e 0 -12+ progress/2012/02/notes_for_derrida-dissemination.html
Myth of writing as parasite: can it return to mythical position of mere excess, amusement, through its own operation, writing? (128) It is part of the rules of this game that the game should
seem to stop. . . . The purity of the inside can then only be restored if the charges are brought home against exteriority as a supplement, inessential yet harmful tot he essence, a surplus that ought never to have come to be added to the untouched plenitude of the inside. The restoration of internal purity must thus reconstitute, recite and this is myth as such, the mythology for example of a logos recounting its origin, going back to the eve of the pharmakographic aggression that to which the pharmakon should not have had to be added and attached like a literal parasite: a letter installing itself inside a living organism to rob it of its nourishment and to distort the pure audibility of a voice. . . . Writing must thus return to being what it should never have ceased to be: an accessory, an accident, an excess.
(128) The pharmaceutical operation must therefore
exclude itself from itself.
(129) It is in the back room, in the shadows of the pharmacy, prior to the opposition between conscious and unconscious, freedom and constraint, voluntary and involuntary, speech and language, that these textual operations occur.

3 1 2 (+) [-4+]mCQK derrida-dissemination (130 footnote 56 20130120 0 -5+ progress/2012/02/notes_for_derrida-dissemination.html
Suggests in footnote that Freud and subsequent psychoanalytic approaches constrained by their focus on evil from above leave rich interpretive potential, like the neutered translation, safe for reterritorialization in the same and less popular texts; likewise critical programming rereads humanities tradition and applies this methodology to default philosophies of computing. (130 footnote 56)

3 1 2 (+) [-4+]mCQK derrida-dissemination (134) 20130916h 0 -2+ progress/2012/02/notes_for_derrida-dissemination.html
All these coincidences and never a use of the word pharmakos by Plato seems odd. (134) The date of the ceremony is noteworthy: the sixth day of the Thargelia. That was the day of the birth of him whose death and not only because a
pharmakon was its direct cause resembles that of a pharmakos from the inside: Socrates.

3 1 2 (+) [-4+]mCQK derrida-dissemination (134) 20130916i 0 -3+ progress/2012/02/notes_for_derrida-dissemination.html
Transforming divination, myth into logos, reasoned argument. (134) It is a
manteia, Socrates suggests (275c). The discourse of Socrates will hence apply itself to the task of translating that manteia into philosophy, cashing it on that capital, turning it to account, taking account of it, giving accounts and reasons, upholding the reasoning of that basileo-patro-helio-theological dictum. Transforming the mythos into logos.

3 1 2 (+) [-4+]mCQK derrida-dissemination (146) 20130916m 0 -7+ progress/2012/02/notes_for_derrida-dissemination.html
Writing primarily signifies the absence of the writer, in contrast to recorded performance. (146) Writing, the lost son, does not answer this question it writes (itself): (that) the father
is not, that is to say, is not present.
(148) All Platoƒs writing . . . is thus,
when read from the viewpoint of Socratesƒ death, in the situation of writing as it is indicted in the Phaedrus. These scenes enclose and fit into each other endlessly, abyssally. The pharmacy has no foundation.

3 1 2 (+) [-4+]mCQK derrida-dissemination (154-155) 20130916p 0 -3+ progress/2012/02/notes_for_derrida-dissemination.html
Speaking and writing both deal with the trace; good and bad senses of play equates to dialectical and nondialectical trace. (154-155) Hence the dialectician will sometimes write, amass monuments, collect
hupomnemata, just for fun. But he will do so while still putting his products at the service of dialectics and in order to leave a trace (ikhnos) for whoever might want to follow in his footsteps on the pathway to truth. The dividing line now runs less between presence and the trace than between the dialectical trace and the nondialectical trace, between play in the good sense and play in the bad sense of the word.

3 1 2 (+) [-4+]mCQK derrida-dissemination (162) 20130916u 0 -2+ progress/2012/02/notes_for_derrida-dissemination.html
See Manovich NMR to analyze whether distinction between cultural and/or software conventions provides structure for play to transpire. (162) Structure is read as a form of writing in an instance where the intuition of sensible or intelligible presence happens to fail.
(162) It occurs in the name not of the invention of graphics but of grammar, of the science of grammar as a science of differences.

3 1 2 (+) [-4+]mCQK derrida-dissemination (165) 20130916w 0 -8+ progress/2012/02/notes_for_derrida-dissemination.html
Resorts to examples from semiotics (relations among letters) to provide metaphors for ontological questions, the deliberate method Tanaka-Ishii uses to ponder the semiotic/grammatological questions themselves that otherwise cannot differentiate each others extent, grammar and ontology. (165) The discourse [of the Stranger in
Theaeteus], then, is off. Paternal logos is upside down. It is then by chance if, once being has appeared as a triton ti, a third irreducible to the dualisms of classical ontology, it is again necessary to turn to the example of grammatical science and of the relations among letters in order to explain the interlacing that weaves together the system of differences (solidarity-exclusion), of kinds and forms, the sumploke ton eidon to which any discourse we can have owes its existence (ho logos gegonen hemin)(259e)?
(166) The distinction between grammar and dialectics can thus only in all rigor be established at the point where truth is fully present and fills the
logos. . . . And that is the difference that prevents there being in fact any difference between grammar and ontology.

3 1 2 (+) [-4+]mCQK derrida-dissemination (167) 20130916x 0 -13+ progress/2012/02/notes_for_derrida-dissemination.html
At stake is a Latour list stretching across Western intellectual history to computed binarism. (167) Just as Socrates supplements and replaces the father, as we have seen, dialectics supplements and replaces the impossible
noesis, the forbidden intuition of the face of the father (good-sun-capital). . . . The disappearance of that face is the movement of differance which violently opens writing or, if one prefers, which opens itself to writing and which writing opens for itself. . . . And which by the same token threatens the domestic, hierarchical interiority of the pharmacy, the proper order and healthy movement of goods, the lawful prescription of its controlled, classed, measured, labeled products, rigorously divided into remedies and poisons, seeds of life and seeds of death, good and bad traces, the unity of metaphysics, of technology, of well computed binarism. . . . In other words, what does Platonism signify as repetition?

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (xlix) 20130915 0 -4+ progress/2009/01/notes_for_derrida-of_grammatology.html
Spivak: questions for texts and technology on deconstructive reading exposing grammatological structures of texts: is it the text or the authors ignorance; what of slips of the keyboard, and that which is covered over by error correction tools; can these slips be automatically detected? (xlix) The deconstructive reader exposes the grammatological structure of the text, that is origin and its end are given over to language in general (what Freud would call the unknown world of thought ), by locating the moment in the text which harbors the unbalancing of the equation, the sleight of hand at the limit of a text which cannot be dismissed simply as a contradiction. In the Grammatologyƒs reading of Rousseau, this moment is the double-edged word supplement. In La pharmacie de Platon, it is the double-edged word pharmakon as well as the absence of the word pharmakos. In Derridaƒs brief reading of Aristotleƒs Physics IV, it is the unemphatic word ama, carrying the burden of difference.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (lxxxix) 20130915a 0 -7+ progress/2009/01/notes_for_derrida-of_grammatology.html
Is there any point in reading Derrida without Rousseau, noting irony that Wikipedia notes in the preface to this would-be volume Rousseau wrote that the Essay was originally meant to be included in the Discourse on Inequality but was omitted because it, was too long and out of place, and a frightening web site is reached using Google to find this text, what appears to be a fee-based aid for writing essays on particular topics. (lxxxix) These critical concepts are put to the test in the second part, Nature, Culture, Writing. This is the moment, as it were, of the example, although strictly speaking, that notion is not acceptable within my argument. . . . It is a question of a reading of what may perhaps be called the age of Rousseau. A reading merely outlined; considering the need for such an analysis, the difficulty of the problems, and the nature of my project, I have felt justified in selecting a short and little-known tract, the Essay on the Origin of Languages.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (3) 20130915b 0 -22+ progress/2009/01/notes_for_derrida-of_grammatology.html
Grammatology seeks to liberate thinking from ethnocentrism of logocentrism controlling concept of writing, metaphysics, and science. (3) This triple exergue is intended not only to focus attention on the
ethnocentrism which, everywhere and always, had controlled the concept of writing. . . . logocentrism . . . controlling in one and the same order: 1. the concept of writing . . . 2. the history of (the only) metaphysics . . . 3. the concept of science.
(4) By alluding to a science of writing reined in by metaphor, metaphysics, and theology, this exergue must not only announce that the science of writing -
grammatology - shows signs of liberation all over the world, as a result of decisive efforts. . . . The idea of science and the idea of writing - therefore also of the science of writing - is meaningful for us only in terms of an origin and within a world to which a certain concept of the sign (later I shall call it the concept of sign) and a certain concept of the relationships between speech and writing, have already been assigned.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (9) 20130915c 0 -3+ progress/2009/01/notes_for_derrida-of_grammatology.html
Gramme/grapheme is the basic element/unit revealed by grammatology, not to be ousted by cybernetics until is historico-metaphysical character is exposed. (9) If the theory of
cybernetics is by itself to oust all metaphysical concepts - including the concepts of soul, of life, of value, of choice, of memory - which until recently served to separate the machine from man, it must conserve the notion of writing, trace, gramme [written mark], or grapheme, until its own historico-metaphysical character is also exposed. Even before being determined as human (with all the distinctive characteristics that have always been attributed to man and the entire system of significations that they imply) or nonhuman, the gramme - or the grapheme - would thus name the element.
(10) But beyond theoretical mathematics, the development of the
practical methods of information retrieval extends the possibilities of the message vastly, to the point where it is no longer the written translation of a language, the transporting of a signified which could remain spoken in its integrity.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (11-12) 20130915d 0 -2+ progress/2009/01/notes_for_derrida-of_grammatology.html
Logocentrism also phonocentrism. (11-12) This notion remains therefore within the heritage of that logocentrism which is also a
phonocentrism: absolute proximity of voice and being, of voice and the meaning of being of voice and the ideality of meaning.
(13) The difference between signified and signifier belongs in a profound and implicit way to the totality of the great epoch covered by the history of metaphysics, and in a more explicit and more systematically articulated way to the narrower epoch of Christian creationism and infinitism when these appropriate the resources of Greek conceptuality.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (15) 20130915e 0 -5+ progress/2009/01/notes_for_derrida-of_grammatology.html
Paradox that natural writing is named by a metaphor, and all we have is fallen writing, the dead letter (Phaedrus). (15) all that functions as
metaphor in these discourses confirms the privilege of the logos and founds the literal meaning then given to writing: a sign signifying a signifier itself signifying an eternal verity, eternally thought and spoken in the proximity of a present logos. The paradox to which attention must be paid is this: natural and universal writing, intelligible and nontemporal writing, is thus named by metaphor.
(15) As in the
Phaedrus, a certain fallen writing continues to be opposed to it. There remains to be written a history of this metaphor, a metaphor that systematically contrasts divine or natural writing and the human and laborious, finite and artificial inscription.
(17) Writing in the common sense is the
dead letter, it is the carrier of death.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (24) 20130915f 0 -7+ progress/2009/01/notes_for_derrida-of_grammatology.html
Writing is forgetting of the self, exteriorization, in contrast to interiorizing memory. (24) Writing is that forgetting of the self, that exteriorization, the contrary of the interiorizing memory, of the
Erinnerung that opens the history of the spirit. It is this that the Phaedrus said: writing is at once mnemotechnique and the power of forgetting. Naturally, the Hegelian critique of writing stops at the alphabet. As phonetic writing, the alphabet is at the same time more servile, more contemptible, more secondary . . . but it is also the best writing, the mindƒs writing.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (36-37) 20130915g 0 -7+ progress/2009/01/notes_for_derrida-of_grammatology.html
Language is writing, inverting speech to be its speculum. (36-37) What is intolerable and fascinating is indeed the intimacy intertwining image and thing,
graph, i.e., and phone, to the point where by a mirroring, inverting, and perverting effect, speech seems in its turn the speculum of writing, which manages to usurp the main role. . . . There is an originary violence of writing because language is first, in a sense I shall gradually reveal, writing.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (43) 20130915h 0 -2+ progress/2009/01/notes_for_derrida-of_grammatology.html
Logocentrism as epoch of full speech suppresses reflection on origin and status of writing, leaning on mythology of natural writing, preventing Saussure from determining integral and concrete object of linguistics. (43) This
logocentrism, the epoch of the full speech, has always placed in parenthesis, suspended, and suppressed for essential reasons, all free reflection on the origin and status of writing, all science of writing which was not technology and the history of a technique, itself leaning upon a mythology and a metaphor of a natural writing. It is this logocentrism which, limiting the internal system of language in general by a bad abstraction, prevents Saussure and the majority of his successors from determining fully and explicitly that which is called the integral and concrete object of linguistics.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (62-63) 20130915j 0 -8+ progress/2009/01/notes_for_derrida-of_grammatology.html
Pure trace is difference, conditioning plenitude, permitting articulation of speech and writing; cannot be described by metaphysics. (62-63)
The (pure) trace is difference. It does not depend on any sensible plenitude, audible or visible, phonic or graphic. It is, on the contrary, the condition of such a plenitude. Although it does not exist, although it is never a being-present outside of all plenitude, its possibility is by rights anterior to all that one calls sign (signified/signifier, content/expression, etc.), concept or operation, motor or sensory. . . .

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (63) 20131028 0 -2+ progress/2009/01/notes_for_derrida-of_grammatology.html
Sound-image is what is heard. (63) The
sound-image is what is heard; not the sound heard but the being-heard of the sound. Being-heard is structurally phenomenal and belongs to an order radically dissimilar to that of the real sound in the world.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (68) 20130915k 0 -6+ progress/2009/01/notes_for_derrida-of_grammatology.html
Consider Freud dreamwork: Derrida goal is to make our immediate understanding of presence enigmatic by deconstruction of consciousness. (68)
Arche-writing as spacing cannot occur as such within the phenomenological experience of a presence. It marks the dead time within the presence of the living present, within the general form of all presence.
(68) Perhaps it is now easier to understand why Freud says of the
dreamwork that it is comparable rather to a writing than to a language, and to a hieroglyphic rather than to a phonetic writing.
(70-71) To make enigmatic what one thinks one understands by the words proximity, immediacy, presence (the proximate, the own, and the pre- of presence), is my final intention in this book.
This deconstruction of presence accomplishes itself through the deconstruction of consciousness, and therefore through the irreducible notion of the trace (Spur), as it appears in both Nietzschean and Freudian discourse. And finally, in all scientific fields, notably in biology, this notion seems currently to be dominant and irreducible.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (73) 20130915l 0 -1+ progress/2009/01/notes_for_derrida-of_grammatology.html
Signified always already in position of the signifier. (73) That the signified is originarily and essentially (and not only for a finite and created spirit) trace, that it is
always already in the position of the signifier, is the apparently innocent proposition within which the metaphysics of the logos, of presence and consciousness, must reflect upon writing as its death and its resource.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (81) 20131028a 0 -1+ progress/2009/01/notes_for_derrida-of_grammatology.html
Overtaking of speech by the machine is the technicism of our epoch. (81) The greatest difficulty was already to conceive, in a manner at once historical and systematic, the organized cohabitation, within the same graphic code, of figurative, symbolic, abstract, and phonetic elements.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (86) 20121020 0 -6+ progress/2009/01/notes_for_derrida-of_grammatology.html
War suppressing resistances to linearization; pluri-dimensional mythogram, for example: relate to suspicion by Mcgann of OHCO textuality thesis. (86) these limits came into being at the same time as the possibility of what they limited, they opened what they finished and we have already named them: discreteness, difference, spacing. The production of the linear norm thus emphasized these limits and marked the concepts of symbol and language. . . . If one allows that the linearity of language entails this vulgar and mundane concept of temporality (homogeneous, dominated by the form of the now and the ideal of continuous movement, straight or circular) which Heidegger shows to be the intrinsic determining concept of all ontology from Aristotle to Hegel, the meditation upon writing and the deconstruction of the history of philosophy become inseparable.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (86) 20131028b 0 -4+ progress/2009/01/notes_for_derrida-of_grammatology.html
End of linear writing is end of the book. (86) The end of linear writing is indeed the end of the book, even if, even today, it is within the form of a book that new writings - literary or theoretical - allow themselves to be, for better or for worse, encased. It is less a question of confiding new writings to the envelope of a book than of finally reading what wrote itself between the lines in the volumes.
(87) The meta-rationality or the meta-scientificity which are thus announced within the meditation upon writing can therefore be no more shut up within a science of man than conform to the traditional idea of science. In one and the same gesture, they leave
man, science, and the line behind.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (89) 20131028c 0 -6+ progress/2009/01/notes_for_derrida-of_grammatology.html
Problem of phoneticization of writing calls for privileging psychoanalytic types of research; consider primitive scripts of cultures without writing. (89) Within the structure of a pictographic tale for example, a representation-of-a-thing, such as a totemic blazon, may take the symbolic value of a proper name. From that moment on, it can function as appellation within other series with a phonetic value. Its stratification may thus become very complex and go beyond the empirical
consciousness linked to their immediate usage. Going beyond this real consciousness, the structure of this signifier may continue to operate not only on the fringes of the potential consciousness but according to the causality of the unconscious.
(89) Thus the name, especially the so-called proper name, is always caught in a chain or a system of differences.
(90) We shall now discover the complexity of this structure in the so-called primitive scripts and in cultures believed without writing.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (93) 20131028d 0 -11+ progress/2009/01/notes_for_derrida-of_grammatology.html
Incompetence of science and philosophy: thought means nothing, what we have not begun, broached only in the episteme, walled-in within presence. (93) Indeed, one must understand this
incompetence of science which is also the incompetence of philosophy, the closure of the episteme. . . . this unnameable movement of difference-itself, that I have strategically nicknamed trace, reserve, or difference, could be called writing only within the historical closure, that is to say within the limits of science and philosophy.
(93)
In a certain sense, thought means nothing. Like all openings, this index belongs within a past epoch by the face that is open to view. This thought has no weight. It is, in the play of the system, that very thing which never has weight. Thinking is what we already know we have not yet begun; measured against the shape of writing, it is broached only in the episteme.
(93) Grammato
logy, this thought, would still be walled-in within presence.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (98) 20130915m 0 -10+ progress/2009/01/notes_for_derrida-of_grammatology.html
Derrida positions Rousseau between Plato and Hegel as landmarks in history of logocentrism, where consciousness defined as experience of pure auto-affection. (98) Ideality and substantiality relate to themselves, in the element of the
res cogitans, by a movement of pure auto-affection. Consciousness is the experience of pure auto-affection. . . . From Descartes to Hegel and in spite of all the differences that separate the different places and moments in the structure of that epoch, Godƒs infinite understanding is the other name for the logos as self-presence. . . . That experience lives and proclaims itself as the exclusion of writing, that is to say of the invoking of an exterior, sensible, spatial signifier interrupting self-presence.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (105) 20130915n 0 -5+ progress/2009/01/notes_for_derrida-of_grammatology.html
To Levi-Strauss, Rousseau is the founder of modern anthropology; Derrida emphasizes the eschatology of the proper. (105) he reads Rousseau as the
founder, not only the prophet, of modern anthropology.
(106-107) Ellipsis of the originary writing within language as the irreducibility of metaphor, which it is necessary here to think in its possibility and short of its rhetorical repetition. The irremediable absence of the proper name, Rousseau no doubt believed in the figurative initiation of language, but he believed no less, as we shall see, in a progress toward literal (proper) meaning. Figurative language was the first to be born, he says, only to add, proper meaning was discovered last (
Essay). It is to this eschatology of the proper (prope, proprius, self-proximity, self-presence, property, own-ness) that we ask the question of the graphein.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (168) 20130915p 0 -4+ progress/2009/01/notes_for_derrida-of_grammatology.html
Speech as something whose specificity as one among asymptotically limitless possibilities seems free of gross overdetermination by any feature/cause within its surrounding environment (other, not-itself). (168) Among all these representations, the exteriority of liberty and nonliberty is perhaps privileged. More clearly than others, it brings together the historical (political, economic, technological) and the metaphysical. Heidegger has summarized the history of metaphysics by repeating that which made of liberty the condition of presence, that is to say, of truth. And speech always presents itself as the best expression of liberty.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (168) 20130915q 0 -4+ progress/2009/01/notes_for_derrida-of_grammatology.html
Significance for texts and technology studies: Derrida identifies and helps loosen the bias favoring speech that Ong and others helped reveal in the first place as a component of human communication that can be meaningfully differentiated from literacy. (168)
The Essay on the Origin of Languages opposes speech to writing as presence to absence and liberty to servitude. . . a classicist ideology according to which writing takes the status of a tragic fatality come to prey upon natural innocence, interrupting the golden age of the present and full speech.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (168) 20130915r 0 -3+ progress/2009/01/notes_for_derrida-of_grammatology.html
The historicity of language is but not the favoring of speech shaped Rousseau essay and the modern genealogical form of analysis (not sure what this note intended). (168) Rousseau concludes thus: These superficial reflections, which hopefully might give birth to more profound ones, I shall conclude with the passage that suggested them to me:
To observe in fact and to show by examples, the degree to which the character, customs, and interests of people influence their language, would provide material for a sufficiently philosophical investigation. (Remarks on a General and Reasoned Grammar, by M. Duclos).

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (170) 20130915s 0 -1+ progress/2009/01/notes_for_derrida-of_grammatology.html
Difficulty of pedagogy of language inseparability of signifier and signified. (170) The difficulty of the pedagogy of language and of the teaching of foreign languages is,
Emile will say, that one cannot separate the signifier from the signified, and, changing words, one changes ideas in such a way that the teaching of a language transmits at the same time an entire national culture over which the pedagogue has no control, which resists him like the already-there preceding the formation, the institution preceding instruction.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (170) 20130915t 0 -5+ progress/2009/01/notes_for_derrida-of_grammatology.html
Does rigorous distinctions separating thing, meaning and sigh relate to the discussion of types of hyperlinks taken up by Landow, noting, too, that Rousseau was occupied with the study of music? (170) And this entire theory of the teaching of languages rests on rigorous distinctions separating thing, meaning (or idea), and sign; today we would speak of the referent, the signified, and the signifier. . . . each thing may have a thousand different signs for him; but each idea may have only one form.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (226-227) 20130915u 0 -15+ progress/2009/01/notes_for_derrida-of_grammatology.html
Can there be any parallelism between the representation of computer languages as formatted source code versus their object/machine form or actual physical substrate? (226-227) Cancellation amounts to producing a supplement. But as always, the supplement is incomplete, unequal to the task, it lacks something in order for the lack to be filled, it participates in the evil that is should repair. . . . Writing - here the inscribing of accents - not only hides language under its artifice, it masks the already decomposed corpse of language. . . . Accents are, like punctuation, an evil of writing: not only an invention of
copyists but of copyists who are strangers to the language which they transcribe; the copyist or his reader is by definition a stranger to the living use of language. . . . Especially but not only within the musical order, the moment of transcription is the dangerous moment, as is the moment of writing, which in a way is already a transcription, the imitation of other signs; reproducing the signs, producing the signs of signs, the copyist is always tempted to add supplementary signs to improve the restitution of the original. The good copyist must resist the temptation of the supplementary sign.

3 1 2 (+) [-6+]mCQK derrida-of_grammatology (245) 20130915v 0 -6+ progress/2009/01/notes_for_derrida-of_grammatology.html
No phonemes before the grapheme: typical Derridean gnomic formula. (245) Writing will appear to us more and more as another name for this structure of supplementarity. . . . one should be assured of what Saussure hesitated to say in what we know of the
Anagrams, namely, that there are no phonemes before the grapheme. That is, before that which operates as a principle of death within speech.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (246) 20130915w 0 -11+ progress/2009/01/notes_for_derrida-of_grammatology.html
Eschatological parousia as presence of full speech within consciousness. (246) And when Hegel will proclaim the unity of absence and presence, of nonbeing and being, dialectics or history will continue to be, at least on the level of discourse that we have called Rousseauƒs wishing-to-say, a movement of mediation between two full presences. Eschatological parousia is also the presence of full speech, bringing together all its differences and its articulations within the consciousness (of) self of the logos. Consequently, before asking the necessary questions about the historical situation of Rousseauƒs text, we must locate all the signs of its appurtenance to the metaphysics of presence, from Plato to Hegel, rhythmed by the articulation of presence upon self-presence. . . . All this interplay of implications is so complex. . . . There is not, strictly speaking, a text whose author or subject is Jean-Jacques Rousseau.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (248) 20130915x 0 -2+ progress/2009/01/notes_for_derrida-of_grammatology.html
Child without speech; writing is a second organ so speaking and writing is united, into the order of the supplement, exploiting changing between languages: consider Clark extended cognition. (248) The child will know how to speak when one form of his unease can be substituted for another, then he will be able to slip from one language to another, slide one sign under another, play with the signifying substance; he will enter into the
order of the supplement, here determined as the human order: he will no longer weep, he will know how to say I hurt.
(248) Articulation, wherever one finds it, is indeed articulation: that of the members and the organs, difference (in the) (self-same) [
propre] body.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (249) 20130915y 0 -6+ progress/2009/01/notes_for_derrida-of_grammatology.html
Neume is pure vocalization, according to the dictionary of music. (249) Such a breath cannot have a human origin and a human destination. It is no longer on the way to humanity like the language of the child, but is rather on the way to superhumanity. . . . It is the
neume: pure vocalization, form of an inarticulate song without speech, whose name means breath, which is inspired in us by God and may address only Him.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (250) 20130915z 0 -5+ progress/2009/01/notes_for_derrida-of_grammatology.html
Pleasure as jouissance of self-presence, pure auto-affection: like that which never ceases to not have been writing itself of Lacan, here the neume. (250) The pleasure [
jouissance] of self-presence, pure auto-affection, uncorrupted by any outside, is accorded to God.
(251) The neume, the spell of self-presence, inarticulate experience of time, tantamount to saying:
utopia. Such a language since a language must be involved does not, properly speaking, take place. It does not know articulation, which cannot take place without spacing and without organization of spaces. There is no language before differences of locale.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (257) 20130916 0 -4+ progress/2009/01/notes_for_derrida-of_grammatology.html
Seems to be struggling toward infinite force of logotropos instantiated now in machine language code. (257) A nearly nonexistent force is a nearly infinite force when it is strictly alien to the system it sets going. The system offers it no resistance; for antagonistic forces play only within a globe.
(257) It
certainly concerns God, for the genealogy of evil is also a theodicy. The catastrophic origin of societies and languages at the same time permitted the actualization of the potential faculties that slept inside man.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (259-260) 20130916a 0 -8+ progress/2009/01/notes_for_derrida-of_grammatology.html
Rousseau psychosocial history per Derrida is of civilization and consciousness, connecting, after the continuous festival, age of signs to prohibition of incest, the blank in The Social Contract. (259-260) The supplement can only respond to the nonlogical logic of a game. That game is the play of the world. The world had to be able to play freely on its axes in order that a simple movement of the finger could make it turn upon itself. . . . The consequent luck and evil of writing will carry with them the sense of play. But Rousseau does not
affirm it.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (265) 20130916b 0 -2+ progress/2009/01/notes_for_derrida-of_grammatology.html
Prohibition of incest is hinge between nature and culture. (265) Society, language, history, articulation, in a word supplementarity, are born at the same time as the prohibition of incest. That last is the hinge [
brisure] between nature and culture.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (268) 20130916c 0 -6+ progress/2009/01/notes_for_derrida-of_grammatology.html
Writing is the differance between desire and pleasure. (268) Language, passion, society, are neither of the North nor of the South. They are the movement of supplementarity by which the poles substitute each other
by turn: by which accent is broached within articulation, is deferred through spacing. Local difference is nothing but the differance between desire and pleasure. It does not, then, concern only the diversity of languages, it is not only a criterion of linguistic classification, it is the origin of languages. Rousseau does not declare it, but we have seen that he describes it.
(268) From here on, I shall constantly reconfirm that writing is the other name of this differance.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (287) 20130916e 0 -9+ progress/2009/01/notes_for_derrida-of_grammatology.html
Derrida notes that passing through the logocentric stage was a byproduct of phonetic writing, hinting that it is being surpassed; likewise organization of the textual surface determined by movement of hand, whereas the visual economy of reading could be by furrows. (287) It is a matter of writing by furrows. The furrow is the line, as the ploughman traces it: the road via rupta broken by the ploughshare. The furrow of agriculture, we remind ourselves, opens nature to culture (cultivation). And one also knows that writing is born with agriculture which happens only with sedentarization.
(288) Writing by the
turning of the ox boustrophedon--writing by furrows was a movement in linear and phonographic script. . . . Why did the economy of the writer [scripteur] break with that of the ploughman?

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (288) 20130916f 0 -11+ progress/2009/01/notes_for_derrida-of_grammatology.html
Writing and reading largely determined by movement of hand. (288) Thus, for example, the surface of the page, the expanse of parchment or any other receptive substance distributes itself differently according to whether it is a matter of writing or reading. An original economy is prescribed each time. In the first case, and during an entire technological era, it had to order itself according to the system of the hand. In the second case, and during the same epoch, to the system of the eye. In both cases, it is a matter of a linear and oriented path, the orientation of which is not indifferent and reversible in a homogeneous milieu. In a word, it is more conventional to read than to write by furrows. The visual economy of reading obeys a law analogous to that of agriculture. The same thing is not turn of the manual economy of writing and the latter was predominant during a specific era and period of the great phonographic-linear epoch. The fashion outlives the conditions of its necessity: it continued till the age of printing.
Our writing and our reading are still largely determined by the movement of the hand. The printing press has not yet liberated the organization of the surface from its immediate servitude to the manual gesture, and to the tool of writing.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (289) 20130916g 0 -3+ progress/2009/01/notes_for_derrida-of_grammatology.html
Linear temporality imposed on speech by the form of inscription; other forms of consciousness and subjectivity may arise from acculturation to other forms of writing; the best examples of such transformations, first hinted at by new media like cinema, radio, television, now ubiquitously enabled by computer technologies (see Hayles and Manovich). (289)
It is not enough to say that the eye or the hands speak. Already, within its own representation, the voice is seen and maintained. The concept of linear temporality is only one way of speech.

3 1 2 (+) [-6+]mCQK derrida-of_grammatology (292) 20130916h 0 -13+ progress/2009/01/notes_for_derrida-of_grammatology.html
Rousseau buys into Platonic critique of writing as like painting, as a pharmakon, seeding later work of Derrida. (292) There is never a painting of the thing itself and first of all because there is no thing itself. . . . The original possibility of the image is the supplement, which adds itself without adding anything to fill an emptiness which, within fullness, begs to be replaced. Writing as painting is thus at once the
evil and the remedy within the phainesthai or the eidos. Plato already said that the art or technique (techne) of writing was a pharmakon (drug or tincture, salutary or maleficent). And the disquieting part of writing had already been experienced in its resemblance to painting. . . . Zoography has brought death. The same goes for writing.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (299) 20130916i 0 -10+ progress/2009/01/notes_for_derrida-of_grammatology.html
Birth of graphic order mirrors political, phoneticization using letters with no inherent significant put together according to certain rules. (299) Access to phonetic writing constitutes at once a supplementary degree of representativity and a total revolution in the structure of representation. Direct or hieroglyphic pictography represents the thing or the signified. It already paints language. It is the moment located by all historians of writing as the
birth of phoneticization, through, for example, the picture puzzle [rebus a transfert]; a sign representing a thing named in its concept ceases to refer to the concept and keeps only the value of a phonic signifier. Its signified is no longer anything but a phoneme deprived by itself of all meaning. . . . This synthetic character of representation is the pictographic residue of the ideo-phonogram that paints voices. Phonetic writing works to reduce it.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (300) 20130916j 0 -10+ progress/2009/01/notes_for_derrida-of_grammatology.html
Money and phonetic writing exemplify absolute anonymity of abstraction in which meaning only arises through arrangement of elementary signifiers under regime of certain rules. (300) This movement of analytic abstraction in the circulation of arbitrary signs is quite parallel to that within which money is constituted. . . . The critical description of money is the faithful reflection of the discourse on writing. In both cases an anonymous supplement is substituted for the thing. . . . If the sign has led to the neglect of the thing signified, as
Emile says speaking of money, then the forgetfulness of things is greatest in the usage of those perfectly abstract and arbitrary signs that are money and phonetic writing.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (302) 20130916k 0 -3+ progress/2009/01/notes_for_derrida-of_grammatology.html
Bureaucratic model of political decentralization relying on virtual center in written laws rather than persistence through living voice of citizens. (302) Political decentralization, dispersion, and decentering of sovereignty calls, paradoxically, for the existence of a capital, a center of usurpation and of substitution. In opposition to the autarchic cities of Antiquity, which were their own centers and conversed in the living voice, the modern capital is always a monopoly of writing. It commands by written laws, decrees, and literature.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (306) 20130916l 0 -2+ progress/2009/01/notes_for_derrida-of_grammatology.html
Signifier as death of festival. (306) The signifier is the death of the festival. The innocence of the public spectacle, the good festival, the dance around the water hole, would open a theater without representation.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (307) 20130916m 0 -8+ progress/2009/01/notes_for_derrida-of_grammatology.html
Spectators entertaining themselves: SCA, social networks, role playing games, reversing death of the festival by the entertaining signifier. (307) That festival represses the relationship with death; what was not necessarily implied in the description of the enclosed theater.
(307) And Rousseauƒs text must constantly be considered as a complex and many-leveled structure; in it, certain propositions may be read as interpretations of other propositions that we are, up to a certain point and with certain precautions, free to read otherwise.
(308) But more precisely, the open air is the element of the voice, the liberty of a breath that nothing breaks into pieces. A voice that can make itself heard in the open air is a free voice, a clear voice that the northern principle has not yet muzzled with consonants, not yet broken, articulated, compartmentalized, and which can reach the interlocutor immediately. . . . The winter substitute of the festival is our dance for young brides-to-be.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (312-313) 20130916n 0 -5+ progress/2009/01/notes_for_derrida-of_grammatology.html
Artificiality of algebraic writing consummated in computer languages (perhaps by Ong avoids their study), alienation for Rousseau, which Derrida concludes in his digression on Leibniz universal characteristic represents the very death of enjoyment, recalling Platonic myth of Theuth in Phaedrus. (312-313) This entire digression was necessary in order to mark well that,
unless some extrinsic desire is invested in it, Leibnizƒs universal characteristic represents the very death of enjoyment. It leads the representer to the limit of its excess. Phonetic writing, however abstract and arbitrary, retained some relationship with the presence of the represented voice, to its possible presence in general and therefore to that of a certain passion. A writing that breaks with the phone radically is perhaps the most rational and effective of scientific machines; it no longer responds to nay desire or rather it signifies its death to desire. It was what already operated within speech as writing and machine.

3 1 2 (+) [-4+]mCQK derrida-of_grammatology (314) 20130916o 0 -5+ progress/2009/01/notes_for_derrida-of_grammatology.html
Derrida claims his contribution is showing the interiority of exteriority of system of writing developed by Rousseau and Saussure. (314) As Saussure will do, so does Rousseau wish at once to maintain the exteriority of the system of writing and the maleficent efficiency with which one singles out its symptoms on the body of the language.
But am I saying anything else? Yes, in as much as I show the interiority of exteriority, which amounts to annulling the ethical qualification and to thinking of writing beyond good and evil; yes above all, in as much as we designate the impossibility of formulating the movement of supplementarity within the classical logos, within the logic of identity, within ontology, within the opposition of presence and absence, positive and negative, and even within dialectics, if at least one determines it, as spiritualistic or materialistic metaphysics has always done, within the horizon of presence and reappropriation. Of course the designation of that impossibility escapes the language of metaphysics only by a hairsbreadth. For the rest, it must borrow its resources from the logic it deconstructs.

3 1 2 (+) [-6+]mCQK derrida-of_grammatology (316) 20130916p 0 -9+ progress/2009/01/notes_for_derrida-of_grammatology.html
Metaphysics of presence cannot express the economy of differance or supplementarity, for which Derridean philosophy is required as a starting point, but perhaps what is realized through technology better expresses; subjectivity as at stake, since dreaming and wakefulness also contested through this study of writing. (316) The opposition of dream to wakefulness, is not that a representation of metaphysics as well? And what should dream or writing be if, as we know now, one may dream while writing? . . . Rousseau adds a note [in
Emile]: . . . the dreams of a bad night are given to us as philosophy.

3 1 2 (+) [-4+]mCQK de_lauretis-technologies_of_gender (5) 20130914d 0 -5+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Proposition 1 that construction of gender is product and process of representation: can the same methodological approach be applied to study of machines and programs as entities, as per Bogost, there is no logical necessity to deny their existence. (5) The sex-gender system, in short, is both a sociocultural construct and a semiotic apparatus, a system of representation which assigns meaning (identity, value, prestige, location in kinship, status in the social hierarchy, etc.) to individuals within the society. . . .

3 1 2 (+) [-4+]mCQK de_lauretis-technologies_of_gender (86-87) 20130914l 0 -10+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Cambria may be researching emotional energy women contribute to male thought, but de Lauretis wants to outline new textual pratices for women. (86-87) Who were these women outside of the pale, pathetic hagiography constructed by Gramsciƒs biographers? That is what Adele Cambria set out to investigate. . . . Cambriaƒs purpose throughout was to reconstruct an affective biography of the Schuchts and to discover the sources and modes of that emotional energy Shulamith Firestone identifies as the essential female contribution to male thought. . . . In restoring to Gramsciƒs epistolary monologue its real nature as dialogue, Cambria adds depth to the cultural image of a person whose complex humanity has been expediently stereotyped.

3 1 2 (+) [-4+]mCQK de_lauretis-technologies_of_gender (90) 20130914n 0 -2+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Would/does knowledge of textual editing practices matter to this construction, is Cambria commenting on male scholarly activity? (90) Cambria chose to print portions of the original documents in italics interspersed with passages from Gramsciƒs letters, quotations, statements by friends or others involved in the events, while her own comments link, interpret, and contextualize each passage. The rigorous separation, by different typefaces, between the womenƒs letters and her own commentary explicitly manifests the interpretive nature of the commentary, its tendentiousness, its having a viewpoint, its being sectarian rather than an innocent or objective explanation.

3 1 2 (+) [-4+]mCQK de_lauretis-technologies_of_gender (91) 20120925 0 -3+ progress/2012/03/notes_for_de_lauretis-technologies_of_gender.html
Interdependent conception of historical and theatrical text demonstrates new textual practice enjoining subjects in modes of production (writer, reader, performer, audience), emphasizing historical over mythical, and rejecting novel as single narrative form, articulating subject dialectically at personal and social dimensions, where women are subjects, not commodities; compare to Boal Theater of the Oppressed. (91)
The historical text and the theatrical text were conceived interdependently.
(92) The characteristic features of Cambriaƒs entire work point to a new practice and vision of the
relation between subject and modes of textual production. As for the form of content: historical, not mythical, materials are chosen from a concrete situation and real events.

3 1 2 (+) [-4+]mCQK havelock-muse_learns_to_write (59) 20131031 0 -4+ progress/2012/05/notes_for_havelock-muse_learns_to_write.html
Efficiency and distribution of Greek alphabet; invention of consonant first visual economical and exhaustive representation of linguistic noise. (59) Surely, of all systems of communication used by man, the Greek alphabet has proven to be historically unique in its efficiency and its distribution.
(60) The Greeks did not add vowels (a common misconception: vowel signs had already shown up as in Mesopotamian Cuneiform and Linear B) but invented the (pure) consonant. In so doing they for the first time supplied our species with a visual representation of linguistic noise that was both economical and exhaustive: a table of atomic elements which by grouping themselves in an inexhaustible variety of combinations can with reasonable accuracy represent any actual linguistic noise. The invention also supplied the first and last instrument perfectly constructed to reproduce the range of previous orality.

3 1 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (89) 20130929j 0 -11+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Print bias in notions of textuality manifest by examining William Blake Archive. (89) To explore these complexities, I propose to regard the transformation of a print document into an electronic text as a form of translation - media translation - which is inevitably also an act of interpretation. . . . The challenge is to specify, rigorously and precisely, what these gains and losses entail and especially what they reveal about presuppositions underlying reading and writing. My claim is that they show that our notions of textuality are shot through with assumptions specific to print, although they have not been generally recognized as such.
(90) The issues can be illustrated by the William Blake Archive, a magnificent Web site designed by three of our most distinguished Blake scholars and editors. . . . They thus declare implicitly their allegiance to an idea that Jerome McGann, among others, has been championing: the physical characteristics of a text page size, font, gutters, leading, and so on are bibliographic codes, signifying components that should be considered along with linguistic codes.

3 1 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (90-91) 20130929k 0 -3+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Navigational functions part of signifying structure. (90-91) A momentƒs thought suffices to show that changing the navigational apparatus of a work changes the work. Translating the words on a scroll into a codex book, for example, radically alters how a reader encounters the work; by changing
how the work means, such a move alters what it means. One of the insights electronic textuality makes inescapably clear is that navigational functionalities are not merely ways to access the work but part of a workƒs signifying structure.

3 1 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (92) 20130929l 0 -7+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Definition of text as abstract artistic entity. (92) A work is an abstract artistic entity, the ideal construction toward which textual editors move by collating different editions and copies to arrive at their best guess for what the artistic creation should be (86). It is important to note that the work is ideal not in a Platonic sense, however, for it is understood to be the result of editorial assumptions that are subject to negotiation, challenge, community norms, and cultural presuppositions. . . . Gunder points out the the work as such can never be accessed but through some kind of text, that is, through the specific sign system designated to manifest a particular work (86). Texts, then, are abstract entities from which editors strive to excavate the work.

3 1 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (95) 20130929m 0 -5+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
TEI and OHCO; I experienced this underdetermination implying interpretations of what a text is working on symposia. (95) When texts are translated into electronic environments, the attempt to define a work as an immaterial verbal construct, already problematic for print, opens a Pandoraƒs box of additional complexities and contradictions, which can be illustrated by debates within the community formulating the Text Encoding Initiative (TEI). The idea of TEI was to arrive at principles for coding print documents into electronic form that would preserve their essential features and, moreover, allow them to appear more or less the same in complex networked environments, regardless of platform, browser, and so on. To this end, the community (or rather, an influential contingent) arrived at the well-known principle of OHCO, the idea that a text can be encoded as an ordered hierarchy of content objects. As Allen Renear points out in his seminal analysis of this process, the importation of print into digital media requires implicit decisions about what a text is. Expanding on this point, Mats Dahlstrom, following Michael Sperger-McQueen, observes that the markup of a text is a theory of this text, and a general markup language is a
general theory or conception of text.

3 1 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (95) 20130929n 0 -4+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
The default theories of textuality built from underlying assumptions of practitioners. (95) Although most of these researchers thought of themselves as practitioners rather than theorists, their decisions, as Renear points out, constituted a de facto theory of textuality that was reinforced by their tacit assumption that the Platonic reality of a text really is its existence as an ordered hierarchy of content objects.
(96) My interest in this controversy points in a different direction, for what strikes me is the extent to which all three positions Platonist, pluralist, and antirealist focus almost exclusively on linguistic codes, a focus that allows them to leave the document as a physical artifact out of consideration.
(96-97) Only if we attend to the interrelations of linguistic, bibliographic, and digital codes can we grasp the full implications of the transformations books undergo when they are translated into a digital medium.
(97) Since no print books can be completely encoded into digital media, we should think about correspondences rather than ontologies, entraining processes rather than isolated objects, and codes moving in coordinated fashion across representational media rather than mapping one object onto another.

3 1 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (97-98) 20130929o 0 -5+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
McGann experiments in failure example of software that keeps revising versus static literary texts. (97-98) Whether textual form should be stabilized is a question at the center of
Jerome McGannƒs experiments in failure, which he discusses in Radiant Textuality. . . . the Webƒs remarkable flexibility and radically different instantiation of textuality also draw into question whether it is possible or desirable to converge on an ideal work at all.

3 1 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (98) 20130929p 0 -10+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Deformation as reading practice, emphasizing importance of doing and making. (98) Instead he argues for the practice of what he calls
deformation, a mode of reading that seeks to liberate from the text the strategies by which it goes in search of meaning. . . . Just as textual criticism has traditionally tried to converge on an ideal work, so hermeneutical criticism has tried to converge on an ideal meaning.
(98-99) This kind of argument opens the way for a disciplined inquiry into the differences in materiality between print and electronic textuality. . . . He emphasizes the importance of
doing and making, suggesting that practical experience in electronic textuality is a crucial prerequisite for theorizing about it.

3 1 2 (+) [-6+]mCQK hayles-writing_machines (99) 20130928e 0 -5+ progress/2008/09/notes_for_hayles-writing_machines.html
Evolutionary or cultural value of random access versus sequential access (scroll example). (99) Readers are consequently less likely to read the text cover-to-cover than open it at random and mediate over a few pages before skipping elsewhere or closing it for the day. . . . the [codex] book is the original random access device.

3 1 2 (+) [-4+]mCQK heidegger-nietzsche_vol_4 (42) 20130928j 0 -2+ progress/1995/07/notes_for_heidegger-nietzsche_vol_4.html
Different modes of recording (books for others, dialogue of a thinker with himself) links to handwriting (his was horrible, as was that of Heidegger), as well as paragraph 29 of La Pensee Radicale); see (IV,12) on his language. (42) The sketch that lies before us in this fragment is not a section of a book meant for "publication," nor part of a textbook, but the dialogue of a thinker with himself. Here he is speaking not with his "ego" and his "person" but with the Being of beings as a whole and within the realm of what has already been said in the history of metaphysics.

3 1 2 (+) [-4+]mCQK heim-computer_as_component (316) 20131101b 9 -2+ progress/1995/07/notes_for_heim-computer_as_component.html
Studies by Ong and Havelock provide concrete material for distinguishing epochs in Heidegger history of being. (316) The studies by Ong and Eric Havelock (Preface to Plato) provide concrete material for distinguishing different historical epochs by their characteristic ways of symbolizing, storing, and transmitting truths. The patterns of psychic transformation they trace dovetail nicely with Heideggerƒs history of being.

3 1 2 (+) [-4+]mCQK jameson-postmodernism (302) 20130930h 0 -1+ progress/2012/04/notes_for_jameson-postmodernism.html
Textuality becomes turn into code transformation. (302) The classics of the modern can certainly be postmodernized, or transformed into texts, if not into precursors of textuality.

3 1 2 (+) [-4+]mCQK jameson-postmodernism (314) 20130930n 0 -2+ progress/2012/04/notes_for_jameson-postmodernism.html
Reification not neutral, concretization has unconscious like an individual human though those traces seem to be effaced by flattening industrial processes, like the history of ancient forests in refined petroleum. (314) Postmodern things are in any case not the kind Marx had in mind, even the cash nexus in current banking practices is a good deal more glamorous than anything Carlyle can have libidinally cathected.
(314) The other definition of reification that has been important in recent years is the effacement of the traces of production form the object itself, form the commodity thereby produced.

3 1 2 (+) [-4+]mCQK jameson-postmodernism (317-318) 20130930p 0 -1+ progress/2012/04/notes_for_jameson-postmodernism.html
Do not expect anything fantastic to emerge from playfulness of form. (317-318) A playfulness of form, the aleatory production of new ones or joyous cannibilization of the old, will not put you in so relaxed and receptive a disposition that, by happy accident, great or significant form will come into being anyhow.

3 1 2 (+) [-4+]mCQK jameson-postmodernism (378) 20130930x 0 -1+ progress/2012/04/notes_for_jameson-postmodernism.html
Example of a Latour litany, which Bogost deploys for alien phenomenology, from The Pasteurization of France. (378) Latour has cooked up a wonderful table of the synonyms and disguises of this view of Western exceptionalism, in which a number of old Marxist friends will also be found.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (xiv-xv) 20130930 0 -2+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Audience-centered rather than writer-centered approach to technology informed by Winner, Mitcham, Wacjman. (xiv-xv) I perceive rhetoric as a discipline that, for over twenty-five hundred years, has had a central investment in revealing the unconscious and uncovering the mysterious for the end of transferring knowledge in a democratic and an ethical manner.
(xv) I am arguing for an audience-centered, not a writer-centered approach to technology.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (34) 20120403 0 -3+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Kinneavy rhetorical triangle has for points Reader, Writer, Reality, and Johnson places Text in the center; his version has points Artifact/System, Artisans/Designers, User Tasks/System Actions with Users in the center; compare to Cummings use of rhetorical triangle to discuss machine rhetorics and programming. (34)
Kinneavyƒs triangle changed the terms on the three points from Richardsƒ referent/symbol/thought to reality/reader/writer, and he provided a fourth term that was added to the center of the triangle - text (see Figure 2.5).
(36)(Figure 2.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (59) 20130930h 0 -3+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Compare user as producer to Turkle juxtaposition of postmodernism and the retreat from deep technical understanding. (59) Although I think it important to mourn the loss of generalist skills associated with producing something from scratch, it is more important that we
actively pursue changes to the social order that carefully assess the realities of the present situation.
(59) Instead, we should bemoan the loss of a sense of values related to users as they are involved in the actions of practice and production.
(61) Like the idiots who use technologies, those who hold practical positions in the hierarchy have the least power even if they are, like the litigation workers, actually producing knowledge that turns the literal or metaphorical gears of technology.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (118) 20130930i 0 -3+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Example of Toptech Quality Assurance practices involve only rigorous documentation of test plans, and completely ignore user documentation. (118)
There is, in short, a deeply embedded assumption that instructional materials are adequate merely because the information is there in either print or on-line form. Never mind where or how the instructions will be used, this assumption dictates; the fact that users have a text in front of them is enough. Ironically, almost insidiously, this assumption places virtually the entire burden of comprehending instructional text on the user.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (120) 20130930k 0 -1+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Why does computer documentation lack serious scholarly analysis finds reasons from history of software studies (see footnote on 124), and the devaluation due to conjunction of complexity, ephemerality, and specificity. (120) Fourth, computer documentation is a marginalized text in the sphere of academic research.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (120) 20131103d 0 -7+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Problems with instructional text magnified by personal computer, residing in multiple media, written for online consumption by technical writers regardless of their specialty. (120) First, the problems associated with instructional text have been magnified as a result of the personal computer.
(120) Second, computer documentation resides in more than one medium (print and on-line forms), and thus further complicates the challenge of user-centered theory.
(120) Third, computer documentation writing is arguably the largest source of employment presently for technical communicators. . . . Most technical and scientific writers, regardless of their specialty, write computer-related instructional materials in print and on-line forms because their audiences are increasingly using the computer medium as a text.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (121) 20120906 0 -1+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Suggests reasons to study computer user documentation, including the Barker tutorial genre as cultural lens, aligning with software studies, where I argue FOS cultures provide low hanging fruit. (121) Finally, computer user documentation is a valuable lens, not only for the study of the texts themselves but also for studying the users who use them and the constituent cultures that arise/evolve from the activities associated with computer technology.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (122) 20130930l 0 -4+ progress/2009/01/notes_for_johnson-user_centered_technology.html
UNIX documentation epitomizes system-centered approach, yielding documentation image of system. (122) The documentation in the system-centered approach, as exemplified by the UNIX system, is a literal documenting of the static system: a description of the systemƒs features removed from any context of use.
(123) System-centered documentation places the needs of the technological system at the center and treats the system as the source of all knowledge pertaining to the development of documentation (as the arrow [in Figure 6.2] indicates).
(124) From this designerƒs image follows the documentation image of the system.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (124) 20130930m 0 -1+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Often the most useful parts of man pages are the examples, whereas Internet searches answer most questions of specific use: thus new communication technologies fill in gaps in UNIX (now GNU/Linux) documentation, suggesting the system-centered approach is as much a necessary outcome of social, economic, and technological conditions as a bias perpetrated by its producers (but it is also true that most of the man pages were written by the authors of the software programs themselves). (124) footnote 8) Most system-centered documentation is produced in-house (and thus proprietary) with little or no published material explaining the process.

3 1 2 (+) [-4+]mCQK johnson-user_centered_technology (125) 20130930n 0 -5+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Screen shots and animated sequences convey a learning by doing rubric since they are exact representations of the user interface in the performance of common operations. (125) The user-friendly approach to documentation development is characterized by an emphasis on the clarity of the verbal text, close attention to structured page design, copious use of visuals (often computer screen shots ), and a warm, sometimes even excited tone that invites the user to enjoy learning the new computer system or software application. . . . the system is assumed to be complete in the user-friendly approach, and user-friendly documentation is viewed as the vehicle for carrying the reality of the system image to the user.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (2) 20131005d 0 -4+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Good view of texts and textuality. (2) Reconnecting with certain performative and rhetorical traditions, however, writers like Jarry laid a groundwork for post-romantic procedural writing. They began to make clear once again the constructed character of textuality the fact that texts and documents are fields open to decisive and rule-governed manipulations. In this view of the matter, texts and documents are not primarily understood as containers or even vehicles of meaning. Rather, they are sets of instantiated rules and algorithms for generating and controlling themselves and for constructing further sets of transmissional possibilities.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (3) 20131005e 0 -4+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Use of IT in humanities beginning with Busa. (3) The use of IT in humanities disciplines began in the late 1940s with Father Roberto
Busa SJ, whose work on the corpus of St. Thomas Aquinas set the terms in which humanities computing would operate successfully for more than 40 years. Two lines of work dominate the period: first, the creation of databases of humanities materials almost exclusively textual materials for various types of automated retrieval, search, and analysis; second, the design and construction of statistical models for studying language formalities of many kinds, ranging from social and historical linguistics to the study of literary forms.
(4) To the degree that IT attracted the attention of humanities scholars, the interest was largely theoretical, engaging the subjects of media and culture in either speculative and relatively abstract ways or journalistic treatments.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (4) 20131005f 0 -8+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Signal event of development of TEI. (4) So far as the humanities are concerned, the signal event was the development of
TEI (Text Encoding Initiative).
(4) These dates and events are important because of what happened in the larger world of IT between 1993 and 1994: the definitive appearance of the W3. . . . The scholarly meetings and journal devoted to humanities computing show with unmistakable clarity, however, that few people in those communities registered the importance of W3.
(5) The upside of these events was the coming of a large and diverse population of new people into digital fields previously occupied by small and tightly connected groups. More significantly, they came to build things with digital tools rather than simply to reflect abstractly on the new technologies.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (6) 20131005g 0 -3+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
IATH created at UVA through IBM offer evolving through randomized state of affairs; compare to Hayles account of development of the shape and focus of cybernetics. (6) Later that same year IBM approached UVAƒs computer science department with an offer of $1 million in equipment for educational use over a three-year period. Two CS faculty members, Alan Batson and Bill Wulf, contacted two humanities professors, Ed Ayers and myself, to see if IBMƒs offer might be useful to people in the arts and sciences division of the university.
(6) Because IATH came into being fortuitously, its shape and focus evolved through a randomized state of affairs.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (7) 20131105 0 -5+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Batson wanted IATH to promote specific, demonstrable projects rather than making equipment available as soon as possible. (7) The overwhelming initial answer to the central question was that the equipment should be made available as soon as possible to all arts and sciences departments for as long as possible.
(7)
Batsonƒs model was different: to seek out projects with demonstrable intellectual importance for humanities scholarship and to fund those projects as completely as possible with the technical resources the projects need. His rationale: Educational change at the level of the university is driven by the active research work of the faculty. Changes in pedagogy and classroom dynamics follow from research.
(9) It is a fact that right now one can function most effectively as a university scholar and teacher by working within the parer-based system we inherit.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (11-12) 20131005h 0 -7+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Scholarly editing theory actively evolved working on Rossetti archive; compare to Burnard. (11-12)
The Rossetti Archive was undertaken as a practical effort to design a model for scholarly editing that would have wide applicability and that would synthesize the functions of the two chief models for such works: the critical edition (for analyzing the historical relations of a complex set of descendant texts with a view toward locating accumulated linguistic error); and the facsimile edition (a rigorously faithful reproduction of a particular text, usually a rare work, for scholarly access and study). . . . The theory holds two positions: first, that the apparitions of text its paratexts, bibliographical codes, and all visual features are as important in the textƒs signifying programs as the linguistic elements; second, that the social intercourse of texts the context of their relations must be conceived an essential part of the text itself if one means to gain an adequate critical grasp of the textual situation.
(12) We spent the year from 1992 to 1993 theorizing the methodology of the project and designing its logical structure. Then in 1993 we built the first small demonstration model of
The Rossetti Archive, which at that time I described in the following general terms.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (17) 20120318 0 -9+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Digital humanities scholarship missing depth for not building critical and reflective functions into the deep components; compare to discussions of unknown knowns, Reddell. (17) Works like The Rossetti Archive or The Perseus Project or The Dickens Web are fundamentally archival and editorial. . . . Unlike works imagined and organized in bibliographical forms, however, these new textual environments have yet to develop operational structures that integrate their archiving and editorial mechanisms with their critical and reflective functions at the foundational level of their material form, that is, at the digital/computational level. . . . Thus, however primitive hyperfiction and video games may seem, we recognize their functional relation to their underlying digital processes.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (24) 20131005l 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Wild, putatively incorrect interpretation of a poem breathes new life into otherwise stale interpretation, inspiring The Alice Fallacy. (24) My argument begins, therefore, with a performance definition of the state of my thinking in 1993, just before I undertook
The Rossetti Archive, about problems of scholarly method and aesthetic interpretation. Like its companion dialogues, The Alice Fallacy is an open-ended inquiry into current ideas about textuality, on one hand, and interpretive method, on the other.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (56) 20131005m 0 -3+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Same problem duplication in data structures and programming, which can be a theme linking McGann to code studies. (56) Because the entire system develops through the codex form, however, duplicate, near-duplicate, or differential archives appear in different places. The crucial problem here is simple: The logical structures of the critical edition function at the same level as the material being analyzed.
(56-57) When a book is translated into electronic form, the bookƒs (heretofore distributed) semantic and visual forms can be made simultaneously present to each other.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (57) 20131005n 0 -1+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Hayles may object to his assumptions about embodiment that are based on print culture. (57) Of course, the electronic text will be read in normal space-time, even by its programmers: the mind that made (or that uses) both codex and computer is embodied.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (69) 20131005o 0 -6+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Possibilities of hyperediting themselves create new problems while addressing existing problems. (69) How to incorporate digitized images into the computational field is not simply a problem that hyperediting must
solve; it is a problem created by the very arrival of the possibilities of hyperediting. . . . Those of us who were involved with The Rossetti Archive from the beginning spent virtually the entire first year working at this problem. In the end we arrived a a double approach: first, to design a structure of SGML markup tags for the physical features of all the types of documents contained in The Rossetti Archive (textual as well as pictorial); and second, to develop an image tool that permits one to attach anchors to specific features of digitized images.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (79) 20131005r 0 -5+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Scholarly books as postmodern incunables, like low-level programming languages, beg for poetic theorization of electronic editions, high-level languages. (79) At once very beautiful and very ugly, fascinating and tedious, these books drive the resources of the codex to its limits and beyond. Think of the Cornell Wordsworth volumes, a splendid example of a
postmodern incunable. Grotesque systems of notation are developed in order to facilitate negotiation through labyrinthine textual scenes. To say that such editions are difficult to use is to speak in vast understatement. But their intellectual intensity is so apparent and so great that they bring new levels of attention to their scholarly objects.

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Definition of text as rhetorical sequence organized by page unit with assumed organization. (96) We assume that a text is a rhetorical sequence organized by units of page, with each page centrally structured in terms of a sequence of lines commonly running from top to bottom, left to right, and within some set of margins (which may be reduced to nil [practically] on any side).

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Compare invocation of Hockey to Hayles and Turkles way of casting questions: what does it mean that society asks these questions about technology, rather than about the implications of the answers. (102) The object of critical reflection is not ultimately directed to the sign as such but to the rhetorical scene and its functional (social) operators, not least of all the person(s) engaged in the acts of deformance we commonly locate in a filed headed Interpretation.
(103) Susan
Hockey organized an important occasion for addressing the first question, What is Text? . . . What were the constraints keeping the vast majority of scholars of the book from serious practical engagements with this new medium of textuality?

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How to do humanities with computers? (103) Whereas we thrive in a world of analogues and fuzzy logic, computers exploit a different type of precision. What if the point were not to try to bridge that gap but to feed off and develop it? Meditating
that question is the recurrent object of this bookƒs last five chapters. All move in pursuit of a new ground on which to build computerized tools that generate and enhance critical reflection. . . . Electronic or not, our tools are prostheses for acting at a distance.

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Is this the sort of conclusion apparent from texts and technology studies? (106) To understand a work of art, interpreters try to close with a structure of thought that represents its essential idea(s).
(106) We will argue that concept-based interpretation, reading along thematic lines, is itself best understood as a particular type of performative and rhetorical operation.

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Bogost unit operations. (106) To understand a work of art, interpreters try to close with a structure of thought that represents its essential idea(s).
(106) We will argue that concept-based interpretation, reading along thematic lines, is itself best understood as a particular type of performative and rhetorical operation.

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Dante Convivio as model for hermeneutics, reading backward. (109) Reading backward is a deformative as well as a performative program.
(110) Coming before the historical period when prose gained its scientistic function, the
Convivio is especially important: for it is also the work that models and licenses many of our most basic hermeneutic procedures.

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Forbidden zone of deformative scholarhsip; are Ulmer and OGorman deformative scholars? (114-115) Deformative scholarship is all but forbidden, the thought if it either irresponsible or damaging to critical seriousness. . . . Despite its bad eminence, forgery is the most important type . . .
Sortes Virgilianae and subjective appropriations of poetical works are types of interpretive deformation. So are travesty retextualizations, buth deliberate and unpremeditated.
(115) The reluctance shows, more interestingly, that interpreters even radical ones do not commonly locate hermeneutic vitality in the documentary features of literary works. Because meaning is assumed to develop as a linguistic event, critical deformance plays itself out in the field of the signifieds.

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Operating system metaphor for basic units of language: when language is not artificial, deformative decompositions yield surprises; for artificial languages, it is the basic tenet of epistemological transparency that sustains our faith in their reliable operation. (115) These forms are so basic and conventionally governed they are alphabetical and diacritical; they are the rules for character formation, character arrangement, and textual space, as well as for the structural forms of words, phrases, and higher morphemic and phonemic units that readers tend to treat them as preinterpretive and precritical. In truth, however, they comprise the operating system of language, the basis that drives and supports the front-end software.
(116) The computing metaphor explains why most readers donƒt fool around with these levels of language. To do so entails plunging to deep recesses of textual and artifactual forms. . . . Reading backward is a critical move that invades these unvisited precincts of imaginative works. It is our paradigm model of any kind of deformative critical operation.

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Deformations of software systems are described in Marino and others, such as stepping through processes and otherwise altering their normal temporal behavior, can result in dramatic exposure of subjectivity as lively option for interpretive commentary. (116) For more important is the stochastic process it entails. . . . When we run the deformative program through a particular work we cannot predict the results.
(116) Not the least significant consequence, as will be seen, is the dramatic exposure of
subjectivity as a live and highly informative option of interpretive commentary.

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Della Volpe dialectical criticism different from that of Hegel and Heidegger, who reveal unknown knowns, to imaginations, more like Ulmer heuretics. (128-129) Della Volpe carefully separates his theory of interpretation from the dialectics we associate with Hegel and especially Heidegger. The latter involves a process of thought refinement: Through conversation or internal dialogue, we clarify our ideas to ourselves. We come to realize what we didnƒt know we knew. . . . Interpretvie moments stand in nonuniform relations with each other so that the interpretation unfolds in fractal patterns of continuities and discontinuities. Besides realizing, perhaps, what we didnƒt know we knew, we are also led into imaginations of what we hadnƒt known at all.
(129) Meaning is important not as explanations but as residue. It is what is left behind after the experiment has been run. We develop it not to explain the poem but to judge the effectiveness of the experiment we undertook.

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Usefulness of self parody and irony in interpretations, such as Derrida textual games; the appendix offers deformations of Wallace Steven The Snow Man and Samuel Taylor Coleridge Limbo. (130) Interpretations that parody or ironize themselves become especially apt and useful, as we see in Derridaƒs textual games, in the brilliant philological studies of Randall McLeod, in Barthesƒs S/Z, and in Laura Ridingƒs attitude toward language and understanding: our minds are still moving, and backward as well as forward; the nearest we get to truth at any given moment is, perhaps, only an idea a dash of truth somewhat flavoring the indeterminate substance of our minds. This attitude toward literate comprehension, and the kind of criticism it inspires, gains its power by baring its own devices. We take it seriously because it makes sure we do not take it too seriously.

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Gives detailed elaboration of five ideas about textuality (summarize): privileging visual texts in his frustrated study of encoding images; recall how he divides reality into images and texts on page 88. (137) As we have seen over and over again, complex problems emerge when you try to think about digital media through our inherited codex paradigms or vice versa. The collision of these two marking systems . . . shifted into useful focus when Drucker and I undertook a simple experiment with an OCR scanner. The point of the experiment was to use computer hardware to demonstrate what our thought experiments kept suggesting to us: that the rationale of a textualized document is an
ordered ambivalence and that this ambivalence can be seen functioning at the documentƒs fundamental graphic levels.

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Idea of SGML preposterous for imaginative texts. (140) This traditional community of readers comprises the second group to which our project is critically addressed. For this group textual interpretation (as opposed to text management and organization) is the central concern. In this community of readers, the very idea of a standard generalized markup, which is to say a standard generalized interpretation, is either problematic or preposterous. The issue hangs upon the centrality of the poetical or imaginative text for cultural scholars.
(141) So as we proceeded with the practical construction of the archive we began to see the hidden fault lines of its design structures.

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Also basic premise of software studies as that computer tools reflect conscious and unconscious knowledge, beliefs, preferences, biases, and intentions (in addition to economic, capitalist prerogatives). (143) Because our computer tools are models of what we imagine we know theyƒre built to our specifications when they show us what they know they are reporting ourselves back to us.

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Realization from the experiment that all texts are marked texts. (143) Suppose one were to try to begin a computerized analysis of texted documents at a primitive level. The first move in this case would be to choose to read the document at a presemantic level.
(143) These conversations brought another important realization: that the text primitives we were trying to articulate would comprise an elementary set of markup codes. And that understanding brought out a crucial further understanding about textuality in general: that
all texts are marked texts.
(144) [quoting Drucker] Jerry saw reveal codes as an aspect of deformance and I saw it as a first step in a metalogics of the book.
(145) Several important consequences flowed from these experiments. First, we now possessed a powerful physical argument for a key principle of textual deformance and its founding premise: that no text is self-identical.

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Importance of bibliographical codes in signification. (145) Second, the OCR experiments showed that textual ambivalence can be located and revealed at graphical, presemantic levels. This demonstration is important if one wishes to explore the signifying value of the bibliographical codes of a textual document. For it is a commonplace in both the SGML/TEI and the hermeneutic communities that these codes do not signify in the way that semantic codes do.

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Every text possesses self-parsing markup, but another parsing agent required to read that markup; no unread text. (145-146) Third, as the experiments strongly suggested that while every text possesses, as it were, a self-parsing markup, the reading of that markup can only be executed by another parsing argent. That is to say, there can be no such thing as an unread text.

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Critique of Murrary and Aarseth obscuring issues of cybertext and docutext. (148) Useful as Aarsethƒs study is, however, he too, like Murray, misconstrues ordinary text as linear. . . . C.S. Peirceƒs turn-of-the century effort to replace the alphanumeric text with what he called existential graphs in order to achieve a greater range and clarity of logical exposition is an extremely important event in the history of Western textuality. The graphs were an effort to develop a language for nonlinear relations.

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Important that textual rhetoric operates at material level, making it more like machine executable program than human readable code (using CCS distinction). (149) We think of this as some kind of pagespace or its equivalent, but in fact text can be entertained in spaces whose elements are distributed in linear or nonlinear arrangements, or both. In the case of nonlinear, the topology may be open or closed (a cave wall, say, versus a bowl, a vase, a knife, etc.). Those spaces represent different executable programs for the deployment of text.
(150) In all these cases we are considering what texts are doing in saying what they say.

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Unit analysis view of semantic materials as constitutive of language games, contextually parsed character data. (150) Any textspace can, in the abstract, deploy any lexicon. But in fact any text coded into any textspace brings with it certain discursive instructions, that is, certain rules that delimit the discourse(s) being deployed in the textspace. . . . What is important to remember Wittgenstein forced us to this recolection, remember?--is that semantic materials are not units of atomized meaning. They are parts of a language game more than that, they are instantiated instructions for playing a certain language game in a certain time and place for certain particular purposes.
(153) Both grapheme and phoneme are forms of thought and not facts not character data but parsed character data, or data that already functions within an instructional field.
(153) The elemental scene where those metaphoric transformations expose themselves in the marked field, the graphical or auditional record. Because this will be a record of rule-governed differences, one can extract from that field a dataset of (hypothetical and arbitrary) rules that could replicate analogous differences in comparable fields (including the original record as it might be augmented and transformed by replicant operations).

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Digital age explodes meanings based on variations in material and transmissional forms even when texts remain stable at linguistic level. (158) In all cases, while the linguistic level of the texts remains fairly stable, the material/transmissional forms stand as eloquent witnesses of radical changes in the poemƒs meanings.

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Gamefication of critical analysis has become a new goal of digital humanities, but there are countless other possibilities beyond the statistical and hermeneutical traditions. (159) What critical equivalents might we develop for MUDS, LARPS, and other computer-driven simulation programs? How would one play a game of critical analysis and reflection?

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Compare McGann game rethinking Ivanhoe to Wikipedia. (159-160) The game is to rethink
Ivanhoe by rewriting any part(s) of its codes. Two procedural rules pertain: First, all recastings of the codes must be done in an open-text environment such that those recastings an be themselves immediately rewritten or modified (or unwritten) by others; second, codes can only be recast by identifiable game-players, digital or human, who have specifically assumed a role in the game.
(160) The roles may be played in various forms: in conversation or dialogue, through critical commentary and appreciation, by rewriting any received text, primary or secondary, seen to pertain to Scottƒs work.

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Does his grasping for quantum conception and fractals reflect too much reliance on an analogy to fuzzy physical processes, forgetting that computational objects can operate by their own logics? (164) How: by the operation, and the experience, of what we now know best as Godelƒs theorem.
(164) What we need is a poetics grounded in an epistemology congruent with a quantum conception of phenomena and the critical reflections we construct for studying those phenomena. This would entail a framework for grasping the objective instability of the subjects of our study (the works and their relational fields), of our tools, and of the results (interpretations and meanings) generated through the study processes. Gaining that frame of reference will come along two reciprocal lines: first, by exposing the fault-lines of interpretational methods that implicity or explicitly treat any part of the study process as fixed or self-identical; second, by proposing interpretational methods that operate through different critical protocols.

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The unit analysis as surface bit harboring potential forking paths alludes to the missing appreciation for the depth and structure that is likewise missed in textual analysis that ignores bibliographical codes and materiality in general, focusing on linguistic units as atomic. (164) How: by the operation, and the experience, of what we now know best as Godelƒs theorem.
(164) What we need is a poetics grounded in an epistemology congruent with a quantum conception of phenomena and the critical reflections we construct for studying those phenomena. This would entail a framework for grasping the objective instability of the subjects of our study (the works and their relational fields), of our tools, and of the results (interpretations and meanings) generated through the study processes. Gaining that frame of reference will come along two reciprocal lines: first, by exposing the fault-lines of interpretational methods that implicity or explicitly treat any part of the study process as fixed or self-identical; second, by proposing interpretational methods that operate through different critical protocols.

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New domains of study offered by artificially computed texts extended beyond fantasy to precise, feasible projects (like his archive), simulacral creations of the sciences of the artificial. (164) The second of these goals, which is naturally the more important, emerges at (and perhaps as) the interface of human beings and their
simulacral creations. . . . Models for these kinds of tool descend to us through our culture in games and in role-playing environments. . . . The remarkable ability of computerzied tools for storing, accessing, and transforming unimaginably large bodies of data opens the field of what we know to what we could not otherwise bring to or hold in the field of our disciplined attention literally, not simply to imagine what we donƒt know, but to be able to choose to undertake such imaginings in precise and determinate ways.
(164-165) These chapters therefore culminate the theoretical re-investigation of traditional textual and semiotic forms that grew out of the initial scholarly project begun in 1993,
The Rossetti Archive: to design and build an online model for critically editing multi-media aesthetic materials.
(165) All are creatures of what Herbert
Simon years ago called the sciences of the artificial.
(165) The dialogue we enter at the interface of man and machine sends us out in quest of digitized instruments that promote the kinds of critical reflection we have known for centuries in our ancient dialogue at the interface of man and book.

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Software studies and CCS applies same consideration of social and historical determinations to machine texts and other assemblages. (166) The truth is that all such works are special because they call attention to a crucial general feature of textuality as such: its
social and historical determinations.

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How prevalent is the visual in textualities when also considering machine texts, for example is the Universal Turing Machine fetch operation really visually oriented, or does the analogy break down? (166) As
The Rossetti Archive emerged, however, its virtual form began to expose the visible languages that play in all textual forms, even those that seem without them.

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Informational and aesthetic functions performed by books and hypermedia; book will retain aesthetic while losing informational. (170-171) This situation does not portend the death of the book and its typographical world. It does mean, however, that one heretofore central function of book technology will be taken over by these electronic media. Think about what books do. Like computerized information tools, the book performs two basic functions: It is a medium of data storage and transmission; and it is an engine for constructing simulations. That first is an informational, the second an aesthetic functions. Computers will displace are already displacing most of the information functions of our bibliographical tools. The aesthetic function of books will remain, however, and itƒs clear to me that they will prove indispensable in this respect.

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Already difficult to represent dramatic works in books, recalling Tufte metaquestions about textuality; now sensing difficulty of marking up recursive patterns in poetry and imaginative works by SGML. (171) How do we exploit the aesthetic resources of digital media? The question brings to mind Edward
Tufteƒs work. . . . Nonetheless, his studies underscore an important set of metaquestions that are too rarely asked: What is a page, what is a book, what are their parts, how do they function?
(171) The new engines could handle, in full and unabbreviated forms, vast amounts of data far more than any book or reasonable set of books. They could also handle different kinds and forms of material data not just textual, but visual and audial as well. . . . Digital tools also exposed the critical deficiencies of the paper-based medium as such. Any kind of performative work dramatic works, for example, and pre-eminently Shakespeareƒs dramas gets more or less radically occluded when forced into a bookish representation.

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Questions raised by new media: nature of literary work, it critical representation, functioning thereof. (172-173) Here are the questions. First, what is a literary work, what are its parts, how do they function? . . . Second, what constitutes a critical representation of a literary work, and how does such a representation function? . . . A
hypermedia work by choice and definition, the archive therefore obliged us to integrate in a critical way both textual and visual materials. Our efforts were continually frustrated, however, because while digital texts lie open to automated search and analysis, digital images do not.

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Compare his analysis of Gerard Manley Hopkins As Kingfishers Catch Fire to CCS source code examples. (178) What is this kind of text, really? First of all, it is both and simultaneously a perceptual and a conceptual event.

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Opportunities for nonlexical expression in marked and unmarked spaces of texts and other material characteristics of books. (178) We tend not to notice an elementary fact about printed or scripted texts: that they are constituted from a complex series of marked and unmarked spaces. The most noticeable are the larger regular units the lines, the paragraphs, or (in verse) the stanzas, as well as the spaces between them. Every one of these spatial units, as well as all the others on a page or in a book, offer themselves as opportunities for nonlexical expression.
(179) It is highly significant that readers of books move from recto to verso, that their field of awareness continually shifts from page to opening (i.e., the space made by a facing verso/recto), and that the size of the book length, breadth, and thickness helps to determine our readerƒs perceptions at every point.
(181) Every document, every moment in every document, conceals (or reveals) an indeterminate set of interfaces that open into alternate spaces and temporal relations.

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Radiant textuality defined as indeterminate set of interfaces opening alternate spaces and temporal relations concealed or revealed in every point of every document, revealed through study of books and carried over into electronic media. (181) Traditional criticism will engage this kind of
radiant textuality more as a problem of context than a problem of text, and we have no reason to fault that way of seeing the matter.

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Quantum poetics organizes aesthetic space so identity of elements shift with moving attention, shimmering signifiers. (183) The line [from Keats] exhibits in the clearest way what I mean by a
quantum poetics. Aesthetic space is organized like quantum space, where the identity of the elements making up the space are perceived to shift and change, even reverse themselves, when measures of attention move across discrete quantum levels.
(183) Every feature represents a determinate field of textual action, and while any one field might (or might not) individually (abstractly) be organized in a hierarchical form, the recursive interplay of the fields appears topological rather than hierarchic.
(183) Considered strictly in terms of bibliographical codes, then, poetical works epitomize a crucial expressive feature of textuality in general: that it can be seen to organize itself in terms of various relational segmentations and metasegmentations.
(184)
Every page, even a blank page, even a page of George W. Bushƒs ignorant and vapid prose, is n-dimensional. The issue is, how clearly has that n-dimensional space of the page its multivariate character been marked and released?

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Task for scholars that will default to other actors, like default philosophers of computing arising from industry trends and powerful voices. (184-185) One of the great tasks lying ahead is the critical and editorial reconstitutions of our inherited cultural archive in digital forms. We need to learn to do this because we donƒt as yet know how. Furthermore, we
scholars need to learn because it is going to be done, if not by us, then by others. We are the natural heirs to this task because it is we who know most about books.
(185) If these new machines can deliver stunning images to our view, the only images they understand are their own electronic constructions. Original objects visual, audial remain deeply mysterious to a computer. . . . Even when (some would say if ) that limitation gets transcended, logical ordering through metadata will never
not be a part of computerized scholarship of literary works.

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Criticizes computer-text theorist Steven DeRose. (185) So far as I can see, nearly all the leading design models for the scholarly treatment of imaginative works operate from a na ve distinction between a textƒs form and content.

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Renear famous five theses about textuality: real, abstract, intentional, hierarchical, linguistic; fails for poetry and many philosophers. (187-188) Allen Renear proposed the following five theses about textuality. . . . That clear and succinct statement reflects an intensive involvement, over many years, with the theory of text as it was being engaged by Renear and his colleagues, principally at Brown University, as they were developing TEI as a standard for electronic markup of humanities texts. . . . Renearƒs account of text, while in certain respects a very good one indeed, has serious limitations. And serious competitors ƒ have been around for a long time.

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Non-hierarchical philosophical texts challenge TEI/SGML (see chapter in Burnard on Wittgenstein archive); grateful that computer scientists understand some general problems of textuality. (189) The case of poetry in fact defines a kind of textual ethos, as it were, that may be seen to pervade genres not normally thought of as poetical. Certain kinds of philosophers lend themselves to a hierarchical approach St. Thomas, Kant, Hegel. Otherƒs donƒt.

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Envisions human computer symbiosis in which humans do analog and computers digital thinking, the latter ignorantly performing deformations and submitting results for human consideration; seems to foreclose on notions of emergence and co-constituted subjectivity Hayles suggests. (190-191) An important move will be to exploit the difference between analogue thinking, which we do so well, and digital thinking, which computers do better than their human makers. A new level of computer-assisted textual analysis may be achieved through programs that randomly but systematically deform the texts they search and that submit those deformations to human consideration. Computers are not more able to decode rich imaginative texts than human beings are. What they can be made to do, however, is expose textual features that lie outside the usual purview of human readers.
(191) Nonetheless, even in transacting imaginative texts our desire to close the sympathetic exchange is such that we make decisions about what we are reading, and those decisions occlude other kinds of awareness.
(191) A computer with the same set of reading codes is naturally (so to speak) inclined to be less discriminating. That lack of discrimination in computerized reading is exactly what we want to exploit. We want to see what textual possibilities have been forbidden or made nugatory by the original act of textual encoding that is, by the decisive and particular text that stands before us. The random access procedures of digital technology can bring those possibilities to view. The fact that many will appear to us, at that point, as
impossible nonsense is exactly what holds out such promise, on two counts. First, not everything tossed up by the computer will seem nonsensical, and besides, people will differ. Second, however we judge the results, they will inevitably clarify our own thoughts to ourselves by providing a set of contrasts to throw our thinking into sharper relief.

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Begin thinking about textuality with Dante as in Latour premodern? (194-195) To begin thinking about textuality with Brown, then, letƒs begin again further back, by thinking about textuality with Dante, whose grasp of the subject was acute. His way of thinking is especially useful in this case exactly because it is a premodern way.

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Spatial conception of textual field for Dante book of memory; pagespace elemental. (197) Drawing on the ancient tradition of the Arts of Memory, Danteƒs textual
divisiones point toward the inherently spatial conception he has of his textual field. The Vita Nuova is a book of memory shaped by visible rubrications so as to give a mirror image of the events it aims to recall.
(199) This pagespace is elemental because it replicates at a different scalar level the same kind of distinction marked within the page space by the elementary letter and graphic marks. The relation between the elementary graphic marks and the elemental page space sets the parameters for all types of graphemic directionality. . . . In bookspace, pagespace variances emerge as a set of higher order conventions of three-dimensional relations: between page rectos and versos; between the single page and the page opening; and between sequences of pages gathered together. As more explicit shapes and/or images are introduced into the paperspace, that space will be pushed toward a space governed by rules of collage rather than by rules of textuality.

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Modern aesthetic understanding of literary texts is simulacral. (205) The concept functions reasonable will in analyses focused on informational and nonpoetic texts, but its analytic force dissipates when directed toward poetry. This happens because a modern aesthetic understanding shapes our thought about the literary text. Since poetical works are conceived as communication
sui generis (or language [oriented] toward the message itself [Segre, 28-29], neither affirming nor denying anything beyond their internal relations, reference in the literary text turns (virtually) virtual.

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Plan for a text reading program starting with bibliographical codes. (206) In such circumstances what is needed is a dynamic engagement with text and not a program aimed at discovering the objectively constitutive features of what a text is. That dynamic requirement follows from the laws of form themselves, as Brownƒs work shows. But what equally follows is that the analysis must be applied to the text
as if it is performative.

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Basic forms of digital life correspond to advanced self-conceptions of book culture: this is a description of real virtual production as intended by Castells, situating Mallarme, Blake Rossetti, Sinburne, Morris, Dickinson and Whitman as similar artisans crafting virtual reality machinery, what Murray refers to as the holodeck, in the media available to them, or else their work (texts) manifesting the asymptotic limit of those fantasies symptomatically. (210) The work he [Mallarme] has in mind will only be realized when it is composed in at least three senses simultaneously: a typographical sense, a musical sense, and a poetic sense. The book that emerges is a machine for executing the orders that bring it into existence at each of those three orders.
(210) Within cultures of modernity, Blake was perhaps the first to adopt and execute such a view of text. Born before historical circumstances could provide a clarifying framework for his work, however, he would not become an important cultural presence until the English advent of Mallarmeƒs generation until the coming, that is to say, of D. G. Rossetti, A. C. Swinburne, and William Morris. . . . In the United States, Dickinson and Whitman both in their very different ways were playing with comparable imaginations of books and texts.
(210-211) Take these basic forms of digital life (as Wittgenstein might have called them):
Simulation Medium
Interaction/Interoperability
Accessible Memory
Programs and Protocols
How remarkable that these commonplaces of digital culture should so correspond with the most advanced self-conceptions of book culture.
(212) We have had some centuries with our bookish mirrors mechanisms that simulate with a difference and we arenƒt done with them yet, if we ever shall be.

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The creative limit of programming according to McGann does not reach cyborgs, which he associates with traditional artificial intelligence: Hayles delivers us to possibilities beyond his apparent determination as yielding only output, interpretive forms for human review, rather than thinking itself. (214) How do we we humans exploit this situation
if our interests are primarily intellectual rather than instrumental that is to say, if we want to use these tools the way we use books for critical and reflective purposes?

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (214-215) 20131008b 0 -9+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Examples of creative AI yield weak creativity at best; behavior mistaken index of conscious activity of machine, as Weizenbaum and others express. (214-215) Consider Project BRUTUS, the Storytelling Machine developed by Selmer
Bringsjord and David Ferrucci. This foray into artificial intelligence and literacy creativity was undertaken to examine the possibility of simulating imaginative creativity (rather than computational or problem-solving capabilities). . . . But in all these cases the stories would exhibit only what Bringsjord calls weak creativity.
(215) All of these programs exhibit self-reflection, that is to say they are designed to generate textual forms and transforms by studying and elaborating on their own processes.
Hofstadter isolates four of the most important features of these kinds of programs under the general heading Dynamic Emergence of Unpredictable Objects and Pathways.
(215) Because one doesnƒt know what goes on behind the scenes we are unjustified in imagining what our pleasure and sense of amazement suggest: that this behavior is an index of the machineƒs conscious agency.

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Typical usage of literary AI reflects human directed inquiry; we are not interested in machine embodiment. (216) And the interaction that Hoftadter lays before us is the sign of the simple but clear truth that it is we who want to use these tools and that we want to use them in order to understand ourselves more clearly to understand not how the machines work but how we work when we make, use, and interact with machines of this kind.

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Unrealized critical possibilities concealed in charming surfaces of existing projects. (216-217) Concealed in the cool codes and charming surfaces of projects like AARON, BRUTUS, and RACTER lie our own unrealized critical possibilities. Letƒs try to think about using such creatures that same way we use traditional paper-based instruments as vehicles for self-awareness and self-reflection.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (218) 20131008e 0 -6+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Quantum approach of Ivanhoe Game because each act of interpretation a function rather than view of system. (218) From the start the premise of the game and of our critical ideas in general was (is) that works of imagination contain within themselves, as it were, multiple versions of themselves. . . . Not that in both cases, classical and romantic, either the perceiving subject or the perceived object is artfully stabilized for purposes of an interpretive action. In what I would call a
quantum approach, however, because all interpretive positions are located at an inner standing point, each act of interpretation is not simply a view of the system but a function of its operations.

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Interesting conception of autopoetic phenomena employing Maturana and Varela offers an entity-neutral ground of emergent subjectivity. (218-219) Artifices of reality as they propose to be, imaginative systems simulate what Humberto
Maturana and Francesco Varela call an autopoetic reality that sustains itself by communicating with itself. . . . Understanding the system means operating with and in the system. The more this meaning can be defined, the more capabilities it has for generating different lines that are latent but undeveloped by the system.

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Must live through it, playing with others: is it thus ergodic? (219) That initial game involved replaying the discourse field determined by the book Scott wrote. . . . In contrast to the preponderant body of received literary exegesis, its critical method is procedural rather than expository.

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Basins, strange attractors, field concept of quantum approach: compare his initial game rules to what ludologists depict as typical characteristics of all games. (219) The discourse field of
Ivanhoe Scottƒs romance is itself what topologists call a basin of dynamic order arbitrarily (consciously) taken out of an encompassing and indeterminate social space. That space is pervaded by strange attractors that organize around themselves local dynamic basis of order. . . where the concept work is replaced by a field concept.
(220) This initial set of rules was kept, deliberately, simple.
(1) That all game moves by a player get executed under the auspices of a particular and explicit role to be taken by the player. . . .
(2) That each player keep a player-file . . . . Thus the game involves two lines of material: the line represented by the playerƒs moves (always a fully public line) and the line represented by the player-file, which documents the playerƒs commentaries on the moves being played in the game.
(221) The point of the game is for players to hypothesize and then extrapolate ideas about the discourse field of
Ivanhoe within a performative and dynamic intellectual space.

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Holodeck connection: do with the Macy conferences. (221) A computerized environment could hold the entirety of the gameplay open to random or structured transformations. . . . As in any computer game, the machine would thus be itself an active agent in the gamespace. It could intervene and constrain the human players in various ways and it could as well generate gameplayers of its own.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (222) 20131008j 0 -6+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Self-directed conscious subjectivity improvement: what is new from Socrates is it being truly disciplined in being different, like the OULIPO group; McGann presents his own examples, including The Alice Fallacy, yet he makes the important point of having to modify his approach to deliberately and nontrivially (that is, not as in Socratic dialogue) collaborate with others. (222) The first clear that is to say disciplined and self-conscious revolt against these methods of critical inquiry came at the end of the last century. . . . The program sketched by [Alfred] Jarry would get resurrected more than a half-century later, in our own day, in the work of the OULIPO group, most notably in the writings of Perec, Queneau, Mathews, and Calvino. Two important things to keep in mind are: first, that a science of exceptions must inevitably be related to statistics; second, that ƒpataphysical work has largely assumed imaginative rather than critical forms.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (224-225) 20131008m 0 -5+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
IVANHOE game of interpretation developed to use computational resources on noninformational, aesthetic and rhetorical aspects of texts; see how discussed in Ramsay Reading Machines. (224-225) IVANHOE is being developed to begin such a demonstration [suggested in the preface]. Its purpose is to bring computational resources to bear on elucidating the noninformational the aesthetic and rhetorical aspects of texts. . . .

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IVANHOE game moves employ computer database, public and nonpublic player moves, and computer interventions in MOO and email. (225) In IVANHOE, however, every move, when made, itself gets added to the initial discourse field, which in this case is the computational database. The database therefore grows from three sets of additions: the public moves made by the players, their nonpublic analytic moves located in the player-files, and the computerƒs interventions in the gameplay.
(225) The game space is extended to include a MOO, where the player roles can execute their dialogical moves in real time, a chat room, where the players can discuss the course of the game play, and various other functionalities, including dynamically generated analytical displays of the gameplay as it stands at any point in time.

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IVANHOE dreams at markup as flexible as natural language, although differences between analog and digital mapping protocols constitute part of the critical output. (225) Computational resources alter the gameplay in certain crucial respects, all a consequence of the differences between analogue and digital mapping protocols. . . . To do this the computer will be forced to deliver what it takes to be disambiguated results from a body of inherently ambiguous data.
(226) The ideal of a markup system that would be as flexible as natural language but logically unambiguous is equivalent to the AI dream of creating a true cyborg.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (227) 20131008p 0 -3+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
IVANHOE submerges into software studies considering its fantasized interface. (227) Figure C.2)
Diagram of IVANHOE Functions. This sketch gives an idealized presentation of the general functional elements of IVANHOE as they might appear in framed spaces on a monitor.

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Awareness in axis of software is where I wish to extend McGann, as I sense he does not seek great insights in that region. (228-229) The awareness we are after would move along any or all of the three axes by which the game is ordered: the axis of the literary work (
Ivanhoe, Wuthering Heights, and the data of their discourse fields); the axis of digitization and the tools of analysis, display, and transformation (the software); the axis of the gameplay with its text, sound, and image outputs and their new, second-order data.
(229) But the digital architecture locates a statistical and probabilistic order at the very heart of the game. . . . These are the strange attractors of topology, the systemic elements of a probabilistic universe that simultaneously licenses order and disorder.

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Challenge to expose every scrap of oral or typographical text to critical investigation. (229) But the truth is that even the most pedestrian scrap of prose text oral or typographical might
and should, for critical purposes, be investigated with a passion for fine, for microscopic, for subatomic discriminations.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (230-231) 20131008t 0 -7+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Desire framework that will fracture facticities of gameplay to become refracting mirrors revealing significance. (230-231) The difference between revealing and fixing significance is perhaps the crucial thing. . . . The subject of IVANHOE, after all, is not the subject of (say) physics or computer science the natural world, digital order it is the mind of those who have imagined and created those kinds of intellectual prostheses, the mind of
Ivanhoe and IVANHOE. We want a framework in which such items can be regularly and self-consciously examined as facts that are also consciously seen as illusions of reality. We want a framework that will fracture our facticities in this case, the actual phenomena generated in the gamplay until they become refracting mirrors.

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Discourse field of human cognitive and affective exchange ignores machine component that Hayles embraces. (231) Like art it is a game of mirrors in which (like engineering) actual things get made; but like science it demands that the made things be studied to expose their structure and their laws. The latter must also be
made as artistic, illusionistic forms put into gameplay. What emerges is a discourse field shaped as an evolving scene of human cognitive and affective exchange: a repertory of what we know and think we know and hence also a set of negative images and spaces for imagining what we donƒt know for all that remains still art and part of these processes, though they remain yet to be realized.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (232) 20131008w 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Appendix depicts a round of moves in Ivanhoe Game. (232) The materials here are of two kinds: (1) the actual game moves I made; (2) my player file notes explicating those moves. The moves of the other players can be found online.

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Description of writing as manipulable beyond possibilities of speech demonstrates its similarity to real virtualities Castells argues constitute what follows orality and literacy; no surprise that the next section is titled control. (13) But in order to make this second speech into speech (and to keep it from being writing), Plato must create a time, a place, and a speaker. And that is what he is up to in both the written speech of Lysias and the extemporaneous first speech of Socrates.

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Invokes the image of Plato controlling a writing Socrates. (15) The image from the frontispiece of Matthew Parisƒs
Prognostica Socratis Basilei, made famous in Derridaƒs La carte postale: De Socrate a Freud et au-dela, is inescapable.

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The speech of Lysias by Plato is what I used to call a very stupid phenomenon, demonstrating very complex rhetorical operations made possible by writing. (20) Plato takes over Socratesƒ voice in
Phaedrus in order to destroy the sophistic writing of Lysias, but because Plato himself already wrote the sophistical writing of Lysias, what happens is that Plato gives up his own voice to the dead Socrates in order to destroy his own writing (the forged speech by Lysias), which was written in the first place to be destroyed.
(22) [quoting
Hackforth] he [Socrates] made all his literary predecessors look like very small-fry that is, supposing him to persist in the actual type of writing in which he engages at present still more so, if he should become dissatisfied with such work, and a sublimer impulse lead him to do greater things.
(23) And suddenly
Phaedrus reveals itself not as an attack on Lysias but as an attack on Isocrates. Platoƒs principal rival as an educator in mid-fourth-century Athens.

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Obviously this claim has more impact if we are familiar with the writing of Isocrates. (25) The number of allusions to the writings of Ioscrates in
Phaedrus is so great that Ronna Burger calls it a hidden dialogue with Isocrates which runs through the Phaedrus (p. 152, n. 24). The very fabric of Phaedrus depends on the writing of Isocrates; indeed Phaedrus repeats that writing.
(25) Isocrates lives in the already-completed future that Socrates predicts, a future that has shown him to be a writer and a sophist, not a Socratic philosopher.

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Eternal play of signifiers: no absolute origin. (25-26) By its very nature, writing is replacement. Something has to come before it. And anything not original, anything in fact derivative or repetitive or imitative, cannot be finally authoritative. It is a place in the sequence of discourse; thus, it always owes its motion to something else (sec. 245c).

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Landow inside/outside; no boundaries versus logical time; this was written in the margin years ago and is not understood now. (26) Before writing
Phaedrus, Plato wrote the speech by Lysias that he would later situate inside his own dialogue as its raison dƒetre.
(28) It is a brilliant rhetorical ploy: use a medium against itself so as to debase it and impede its use by all followers. That way, only you can have it in its pristine form.

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Like hypertext entry anywhere into writing makes it meaningful by overall discourse context, logocentrically privileging what reiterates canonical texts. (28) Socrates notes that it is of no consequence what order these lines are spoken in (sec. 264d). And this is writing. Wherever one enters it, there is something before and something after that makes it meaningful.

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Reverses organic (hierarchical) discourse metaphor; compare to Hayles suggesting aliens would find postmodern humans strangely embodied by discourse. (30) You see, Platoƒs Socrates is wrong when he says, Any discourse ought to be constructed like a living creature, with its own body, as it were; it must not lack either head or feet; it must have a middle and extremities so composed as to suit each other and the whole work (Hackforth, secs. 264C-d). Actually, itƒs the other way around: any living creature ought to be constructed like a discourse, with its own language as it were; it must not lack either a preexisting sign system or group of sign users; it must have an infinite series of differences so that it can come to know itself through differing from itself and thus be whole by being part.

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Recall auto-affection from Of Grammatology. (30-31) [quoting Derrida
Writing and Difference] It is speech as auto-affection: hearing oneself speak. . . . In emerging from itself, hearing oneself speak constitutes itself as the history of reason through the detour of writing.

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Ironic that a detailed analysis of Phaedrus is required by Neel to expel it from the recommending reading by others, who are unaware of history of criticism back to Diogenes Laertius, since it is instead treated as a classic, and especially when Derrida too has spent much care reading it: is this position viable, or inconsistent; is Phaedrus more like a dangerous place we all secretly enjoy treading, entering, traversing? (31)
Diogenes Laertius accounts for the failure of Phaedrusƒs structure on the basis of popular notions that Phaedrus was Platoƒs first written work and thus suffers from the excesses of the freshness of youth (p. 311). . . . The assumption that Phaedrus is poorly constructed remains the same; only the explanations change.
(36) If we want to remove
Phaedrus as a hallowed text in the history of writing and rhetorical theory (as I do), we must study it as an origin, not a structure.

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Does Plato really define thinking by replacing it with writing: I have already singled out the Socratic reverse engineering method, as well as the questioning ridiculous unit operation; Neel articulates three rules of discourse on 52: definition, knowledge of truth, and ability to divide and collect. (36) What is at risk in
Phaedrus, however, is not the relative importance or unimportance of structure: what is at risk is the act of thinking, for Plato is defining thinking.

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Dynamic texts confound this characterization separating of act of writing and concretized structure it becomes in its singular, final form. (39) The distinction between structure and origin is crucial because the one thing the
act of writing cannot be is structure. At the moment of structure, writing has ceased to be writing and has become a text to be read because the writer is what must be gone for the reader to take over. As long as the writer is still the writer, any analysis of structure is precluded: what will be the text, the site that will present itself for excavation as structure, is not yet fully itself.
(40)
Phaedrus orients our research and fixes its results by privileging rules over their embodiment.

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Structural analysis is preformationist. (40) Second, structural analysis is problematic because it is, to use Derridaƒs term,
preformationist.
(41) the first word spoken or inscribed is like the first cell formed in a living being, with the complete DNA code and all the instructions necessary for the formation and development of the whole organism.

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Disingenuous of becoming a writer to legitimize thinking based on dynamic spoken dialectic. (55) Doesnƒt the pattern of oppositions in
Phaedrus reveal that sophistry, rhetoric, probability, and writing are absolute necessities for the textƒs structure, for without them philosophy, dialectic, truth, and speaking have no way of knowing themselves? In order to privilege philosophy, dialectic, truth, and speech, didnƒt Plato have to become a sophistical rhetorician who could write a text that would probably persuade his readers? I wish I didnƒt think Plato knew the answers to these questions.

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Quotes Barthes Writing Degree Zero at beginning of many sections in chapter 3 on divided, diseased inscription after Phaedrus. (58)

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No hard mastery in programming written texts; everything bricolage. (61) One does not invent and then arrange. Nor does one arrange already invented without reinventing. Unless the world has changed in an unimaginable way in the last twenty-three centuries, there is no possible way that all of
Phaedrus was invented first and then arranged.
(62) Plato apparently was frightened by the constantly reversing, infinitely open process of composition and thus tried to write in talking.

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Mythic example of multiple versions to complicate textual encoding; see McGann and Burnard. (64-65) Dionysius of Helicarnassus and Diogenes Laertius tell us that Plato worked constantly
revising (Dionysius calls it combing and curling ) his dialogues. When Plato died, they found a tablet in his house with several different beginnings for the Republic.

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Writing is Socrates soul. (75)
Platoƒs writing is Socratesƒ soul and that the fiction of writing is the origin of the Western idea of soul in the first place.
(76) All you have to do is write down what (you say) he in his now-dead position of authority said. Thus what you say differs from what
you say because what you say is merely what he said, and of course now that he is dead (martyred!) what he said defers any possible interrogation by its already gone presence.
(76)
Havelockƒs Preface to Plato argues that Plato is pivotal in Western thought because he provided the means for an oral culture to wake up. . . . After Plato the personality which thinks and knows distinguishes itself from the body of knowledge which is thought about and known.
(78) [quoting Julian Jaynes] Writing proceeds from
pictures of visual events to symbols of phonetic events. And that is an amazing transformation! Writing of the later type, as on the present page, is meant to tell a reader something he does not know. But the closer writing is to the former, the more it is primarily a mnemonic device to release information which the reader already has.

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Not divine pharmakon represents the fallen category, suboptimal examples. (80) No single word in English captures the play of signification of the ancient Greek word pharmakon (with its associated words pharmacia, pharmakeus, and even pharmakos). . . . for pharmakon, as well as all the things it can represent, signifies anything not divine.
(81) Used by the sophists (those fictional villains whom Plato needs to vilify in order to exempt himself), writing is the pharmakon that poisons truth, for psophistry operates as nothing more than the strategy of position taking. . . . The psophist substitutes the ability to convince others for the inability to know what others should be convinced of (in Platoƒs jargon, one would say the psophist substitutes
doxa (itself) for sophia (wisdom).
(82) For Plato, therefore, writing is the replacement of dialectic with its other ; writing is, in fact, dialectic with the self. Thus it must be written on the soul.

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Writing as catachresis is hyperlink, symbol, unit operation. (87-89) A dialectical position always holds itself in question; only a psophistical one claims to be complete, hence the seemingly endless process of deferrals that constitute
Phaedrus. . . . One can choose almost any noun, verb, or modifier in the passage (note the words I have italicized) only to discover that this word in fact conceals a catachresis (the name that is no name) hiding an unending series of questions, uncertainties, replacements, deferrals, differences, and supplements. Defining any of those italicized words would open an unclosable dialectic. . . .

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The danger expressed as danger of driving writing teachers into literary studies. (90) The studentsƒ response is predictable. They have seen enough of Platonic writing to know they are not ready to close down their inquiries and inscribe them. As a way of giving in to the demand for essays, they turn to psophistry, which is the only alternative available in the Platonic frame of reference chosen by the teacher. . . . In effect, they conspire with the teacher in the use of psophistry by replacing the absence of their own knowledge with their ability to generate a desired opinion in someone else. Thatƒs what Plato feared above all else; itƒs what
Phaedrus struggles against. And itƒs what drives most writing teachers into literary studies.

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Always foregrounding what you do not know directs attention, distorting reality around strange attractors. (95) What I did not realize at the time was that my goal was to make both students permanently inadequate. Under my tutelage, they would learn how to remain in a state that would forever foreground what they did not know.

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Pharmakos emphasizes Socrates himself as a scapegoat moreso than a wizard; what does this do to Plato who constructs and controls behavior of Socrates? (96) Derrida argues that the word
pharmakos is as visible in Platoƒs canon through its absence as it would be through its presence.
(98) The Platonic frame of reference has determined English departments since their inception. . . . Three things, according to Hart, do not belong in English departments: logic, rhetoric, and philology.

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Control over the masses, mass control, is the ideal role of the soul. (99) Thus, the true danger posed by sophistry and rhetoric is that they threaten the Platonic soulƒs control over the masses.
(99) But composition studies canƒt survive in Platoƒs academy without some theoretical matrix. That matrix, I believe, is the sophistry that psophistry effectively killed off. Iƒd like to advance it as an alternative theoretical matrix for a rhetoric liberated entirely from philosophy.

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Nonlinear writing captures multipurposive affordances of pluridimensional symbols. (106)
Nonlinear writing, in contrast, spells its symbols pluridimensionally; there the meaning is not subjected to successivity, to the order of a logical time, or to the irreversible temporality of sound. Nonlinear writing, which Derrida also calls mythographic writing, allows a kind of technical, artistic, religious, and economic unity that linear writing disrupts.
(107)
Hartman, writing about Glas, makes the point about writing. Glas itself, he says, questions the ability of linear writing to move toward certain knowledge.

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Speech over writing is the essence of consciousness in classical view of thinking, speaking, writing hierarchy. (107) In
Speech and Phenomena, he argues that the very essence of consciousness and its history, the essence of the West, is that speaking transcends writing.

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Is disruption of presence by play related to Benjamin metaphysics of dialectical images? (107) In
Writing and Difference, Derrida argues that play disrupts presence.

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Truth and meaning as fetishes due to Derridean nature of writing and speaking. (117) Truth and meaning are absences that become objects of desire, one might almost call them
fetishes, because writing and speaking reveal them as always existing absences (Grammatology, pp. 56-57).

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Derrida milieu agree writing created the West. (118) In effect, Derridaƒs deconstructions of Husserl, Rousseau, Levi-Strauss, Saussure, Plato, Freud, and others, work through the same analytical process. . . . Writing, in other words, created the West, not the other way around.
(119) The writer must operate a system while never expecting the system to deliver what it promises; for writing infinitely defers what it promises in order to keep the
promise in motion. Writing will never do what the written text appears to do: fix and communicate closed meaning.

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Formation of I that is the modernist self in voices sustained by semiotic systems of discourses of individual, system, and attending uniting them; relates to Gee and others who believe discourse of self always situated in social contexts. (121) The attending discourse operates as a third discourse that unites the discourses of the I and the system.

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Derridean perspective we are all written: recursive, unfinished, unclear, with margins and unthought as the interwoven discourses trail off from local strange attractors constituting selves. (123) The frightening thing about viewing writing from a Derridean perspective is that the recursive, unfinished, unclear, unsatisfactory, frustrating process of writing describes everything that would like to present itself as prior to and manipulative of writing everything including us.
We are all written.
(124) The act to writing sets up a continuous internal struggle between the I attempting to emerge and consolidate itself in inscription and the you who validates the discourse, determining whether it is acceptable.

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Always networks of discourses, dia-logos, including repressed, unthought discourses: at this juncture of multiply layered discourses mirrors the scientific model of Clark where boundaries of brainbound and extended shimmer. (125) The genuine logos, it turns out, is always a dia-logos (
Saving, pp. 97, 109-110). Every discourse carries another discourse. The I can never separate itself from the you that the I needs to differentiate itself from in the first place in order to allow discourse to begin; nor can it free itself from the discourse of the you, which never finishes interrogating the text and showing its flaws; nor can it free itself from the discourses of the system in which it operates. The silence of the unthought, the repressed, the forgotten, and the implied all attend the discourse of the I (see Margins, p. xxviii).

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Never was a unified, prewriting self. (126-127) As Derrida speculates on Freudƒs analysis of the
fort/da game . . . in fact, he is saying that Freud says. . . . The process of writing reveals that a unified, prewriting self never existed.

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Weaving and splicing texts (Spinuzzi); then there is the Derridean graft exemplified by Glas and Dissemination. (128) Even so, no matter how much a text struggles to keep itself pure and different from other texts, it originates as a weaving of prior texts.
(129) Both Derridaƒs own texts and his descriptions of the way he writes depend on the idea of
graft, that process of inserting something alien into a preexisting host. . . . Derridaƒs texts operate in the rupture created when he inserts hist text into another text, a text that would rather keep Derrida out.

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Hypertext connection, search results related to writing as grafting. (129) Because writing depends on graft, on attaching itself to other texts, writing always disseminates itself, going places, carrying meanings and revealing connections the writer not only does not intend but cannot, in advance, even imagine (
Dissemination, pp. 39-41, n. 39). Everyone who has ever finished a text and given it to someone else knows this feeling of dissemination.

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Writing-in-general precedes speech, thinking, and even perception, so basis of phenomenology. (132) Writing-in-general, Derrida argues, precedes not only speech and thinking, but also perception.

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Derridean reading is deconstructive like evaluation of student writing by composition teachers, always dismembering it, always finding some flaws, seeking to reveal its unit operations, rather than focus on the value of its content. (134-135)
Our resistance to Derridaƒs readings lets us know how the student writer feels about the way we treat student texts. . . . the teacher who writes in the margins of, between the lines of, between (and even inside) the words of, and in the spaces all around the studentsƒ texts sets out from the beginning to show those moments in the texts where the texts do not accomplish their own goals, even though such analyses may be embedded in considerable praise for what the students have accomplished.
(136) The teacherƒs incisions, like Derridaƒs, depend on clipping out examples of the writing, dismembering the text in order to expose its operations (see
Dissemination, p. 305).
(137) He admits all along to a strategy of transgression, of doing what the text would least like to have done to it.

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Writing as process like iterative software development: problem is evacuating meaning and purpose by focusing on flawed structure, always finding the compositional problems. (138) The alternative to teaching psophistry or antiwriting is to teach writing as process. But that alternative too often implies either a neutral or a good pedagogy. Those of us who have adopted it must recognize just how thoroughly that pedagogy commits us to a Derridean philosophical position. And more importantly, we must recognize the degree to which writing as process threatens much of what our students hold dear.

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Review of Derridean lexicon of presence, transcendental signified, trace, absence, differance, supplement, representation, foundation, logocentrism. (141) Derrida says, in effect, that the terms in the group to be discussed cannot be defined: The movement of these marks pervades the whole of the space of writing in which they occur, hence they can never be enclosed within any finite taxonomy, not to speak of any lexicon as such (
Dissemination, p. 25).

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Logic is a trope; think hyperlink, logotropos. (147) Throughout
Speech and Phenomena Derrida tries to show that logic, rather than being a maneuver founded in presence and acquainted with the transcendental signified, is a trope, an effect of rhetoric.
(149) Student writers believe in the transcendental signified.
(150) If Derrida is right, no such transcendental signified exists or could exist outside the presence of God. Thus, when we tell our students to pick a thesis or to discover a central idea and treat it fully, we merely exacerbate their fears of writing.

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No escaping metaphors. (152) In White Mythology, Derrida demonstrates the futility of trying to expunge the trace and reveal the origin behind it. In principle, of course, concepts ought to be separable from the metaphors that express them. In face, however, not only is such an attempt difficult, the terms and procedures to separate the two are themselves metaphorical.
(153) The only difference between the novice and the professional is that the professional has given up on finding a place to begin. The writing process never really starts anywhere.

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Absence enables writing. (154) Rather than the absence of full presence, absence is the prior medium in which the desire for presence can become aware of itself. Because the absence of self-present meaning is the precondition of speaking or writing, absence, instead of opposing or negating presence, precedes and enables it.

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Movement of play in games of supplementarity threatens classical, modernist reason; there is a supplement at the source. (162-163) The sequence of supplements, the forever multiplying chain of supplements and replacements, the effect of writing on thought, thoughtƒs absolute dependence on writing to know itself, all this implies that
everything begins through the intermediary.
(163) This amounts to a profound threat to reason. Reason does not wish to admit that the self-presence where reason itself operates lacks something. Nor does reason wish to acknowledge its own dependence on some sort of written or spoken language to free itself and identify itself.
(164) One wishes to go back
from the supplement to the source: one must recognize that there is a supplement at the source (Grammatology, p. 304).

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Platonic and Nietzschean division of reality degrades mediated thought due to urge to operate according to the reductive, determining logic like a computer algorithm function operation whether procedural or object oriented. (166) There are, Miller explains, two forms of repetition: Platonic and Nietzschean. Each contradicts and yet requires the other. . . . In the Platonic view, the world is icon, in the Nietzschean, simulacra, if not phantasm.

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Terms must remain under erasure; universality of writing-in-general liquidates all terms. (167) As a result, writers must write using terms that remain
under erasure because the terms themselves carry so much excess baggage.
(169) In fact, they [students] do not see their own tests
as texts; they see them as presentations of meaning.

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Starts by trying to speak through Foucault, his master; all writings, especially Glas, appear through commentary, openings, shuffling other texts. (173) Derrida had, in his words, the good fortune to study under Michel Foucault (
Writing, p. 31), yet he presumes to speak using three pages from the middle of Foucaultƒs Madness and Civilization as his point of departure. He explains in detail the discomfort, the unhappy consciousness of the student trying to speak across, or through the voice of his teacher.
(174) All of his writings (
Glas being the most elaborate and complicated example) appear through commentary on, openings in, and shuffling among other texts.

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Hard to take any writing seriously when play and supplement ground all writing activity. (174) Derridean analysis so threatens what is important and what is practical because the discourses of importance and of practicality operate on the assumption that signification can be grounded. As long as writing remains devalued, as long as it is nothing more than the vehicle to carry meaning, this ground remains firm. If, however, writing precedes
and enables all discourse, if in fact all the humanities, the sciences, and the professions are always already writing, never free from the tertiarity and repetition of writing, then the ground of their activity is not signification, but rather play, or supplement, or differance or whichever Derridean term one chooses.

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Logocentric meaning pretends to emanate from speech escaping infinite play of writing. (175)
Logocentric is Derridaƒs shorthand term for any meaning that pretends to emanate from speech, logic, reason, the Word of God, or any other absolute origin that precedes and escapes the infinite play of writing.
(175) First, logic, reason, humanity, and history can present themselves absolutely. . . . Second, within logocentrism the one who thinks can efface the signifier, leaving nothing but the signified in its brilliance and its glory (
Grammatology, p. 286). . . . Speech emanates from the interior, from absolute proximity to meaning; writing merely represents speaking, and corrupts it in representing it (Speech, pp. 75-87).

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Solicitation as deconstructing theological belief in external meaning, back to the point of everything needing to be done under erasure, including instructional examples exercised for the objective of teaching and perhaps learning writing. (178) Not surprisingly, giving in to deconstructionƒs demand to review itself and giving Plato his final say turn out to be the same act. It is an act Derrida frequently calls solicitation. . . . In
Of Grammatology, Derrida uses solicitation more broadly as the name for deconstructing the theological belief in the existence of meaning outside of and prior to signification.

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Threaten Derrida system using same method with which he threatens Plato and Rousseau based systems. (179) To do so [solicit Western logocentrism and texts], however, I must find the keystone, the place where Derridaƒs system of reading (and however cagey he may be about that system) remains liable, where its possibility and fragility lie exposed, where they can be threatened and made to tremble. When Derrida threatens Plato, he focuses his attention on the pharmakon; when he threatens Rousseau, he focuses his attention on the supplement; his own writing process remains liable at its beginning point, at its inauguration.

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Quick, compact passage through basic system operations that iterate in his deconstructions. (180) As he claims to deconstruct the chain of displacements that allows the West to present itself, Derrida uses the term
inaugurate in each of his maneuvers. . . . Thus, speech, the action that institutes the Western speaker as a meaningful being, at the same instant deconstitutes the presence of whatever that meaningful being might mean.
(180) Having overturned the speech-writing opposition, Derrida turns to the notion of self-presence, which, he argues, inaugurates metaphysics by serving as the location for the opposition between form and matter.
(180) Having deconstructed presence, he turns to origins and beginnings.
(181) Next, Derrida shows that everything in the West that attempts to escape and precede writing is in fact writing-in-general, which inaugurates not only repetition, signification, and living speech, but also idealization and even death by making them possibilities whose actuality remains forever excluded by the openness of writing.
(182) The most important claim in Derridaƒs elaborate set of explanations of what inaugurates what and what gets inaugurated how is that his own analysis inaugurates nothing; rather, it inaugurates what he calls the
solicitation of everything that presents itself as original.

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Intellectual dilettantism as necessary as technological per OGorman? (183) this theory is itself inaugurated by a series of oversimplifications. One need do no more than listen to Derridaƒs idea of the history of Western thought and his reading of
Phaedrus to see the stark flimsiness of some of these oversimplifications.

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Derridean logic hinges on acceptance that writing as pharmakon must remain outside, whereas speech can remain inside the subject, consciousness, core of cognitive, thinking being. (183-184) Step one: Platonism, Derrida argues, sets up the whole of Western metaphysics in its conceptuality (
Dissemination, p. 76). . . . Even step two most of us will be willing to grant: The different between signifier and signified is no doubt the governing pattern within which Platonism institutes itself and determines its oppositions to sophistics. . . . The third step, however, begins to stretch credulity: if writing is not debased and speech valorized, Derrida contends, logic no longer works. Because Platonic writing is a pharmakon . . . writing must forever remain outside Should it penetrate to the inside, it would poison that inside. Speech, however, can remain inside.
(184) The fourth step completes the theory.

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Reliance on Plato, Rousseau and Saussure for much of deconstruction theory. (185) The
Plato-Rousseau-Saussure theory appears frequently in Derridaƒs various deconstructions.
(186) Derrida himself gives precious little evidence apart from the Plato-Saussure-Rousseau triad, plus occasional brief notes from the works of Levi-Strauss and Freud and a chapter from Curtius.

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Derrida reads Phaedrus like Saussure, not considering possibility that Plato may be toying with play of meaning himself, as Derrida does. (187) The possibility that Plato
may be playing, may in fact be toying with the play of meaning himself, never seems to cross Derridaƒs mind. Derrida reads Phaedrus exactly the same way he reads Saussure.
(188) After he reads
Phaedrus and The Course in General Linguistics as the univocal voice of the condemnation of writing, Derrida reads Rousseau into the triad.
(189) Derridaƒs close reading of
Phaedrus itself in Dissemination is even more disappointing than the oversimplified history of meaning he offers in Of Grammatology.
(193) Surely Socratesƒ description of the soul makes clear the impossibility of any human beingƒs having the power whether in speaking or writing, simply to
present meaning.
(193) By showing that truth exists only in its absence, that metaphors operate both by representing inexactly and by playing infinitely, in short, by showing the problems that language creates, Derrida hasnƒt deconstructed
Phaedrus.

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Hartman argues Derridean text performs totalization through overdetermination by militant territorialization. (197) Derrida both discovers authorial intention and shows how no system in which authorial intention can occur exists. He can show us what is not there by showing us how what is not there cannot be there.

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Plato as sophisticated as Derrida: can a different trajectory by taken by incorporating a Kittler critique of Plato? (198) Plato was a writer every bit as (p)sophisticated as Derrida. He understood both the forever-playing nature of the search for meaning
and the danger that writing presents in its ability to seem to end that play.
(199) He states his triumph over both by claiming to have shown that there is no difference between grammar and ontology.
(199-200) Having shown the richness of the play of meaning in
Phaedrus, Derrida somehow jumps to the conclusion that he has deconstructed it, leaving Plato baffled as his own text escapes him. . . . is it possible that someone can come along in the twentieth century after two and a half millennia of constant reinterpretation of the Platonic canon and think he has discovered something when he claims to show that Platoƒs texts do not vanish in the presence of truth and that truth itself is what humans by definition cannot know?

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Derrida reduces to example of dialectic, but caught at point of proving that is all humans may accomplish. (200) Derridaƒs most persistent claim in all his texts, and especially in those written before 1974, is that no origin exists. If one tries to work backwards from language to the meaning that language means, what one finds is language. But Derrida catches himself in his own trap with his own word. When he argues, as he does in almost every text before 1974, that Plato inaugurates the West, and that
Phaedrus contains the gesture by which this inauguration occurs, in fact Derrida sets his own discourse up on an origin: the origin of Plato. . . . Derrida, in contrast, really knows the truth, and the truth is writing: recursive, repetitious, never finished, never present; in short, an eternal differance. Hasnƒt Derrida in fact merely described the operation of Phaedrus, the operation of dialectic in general, and then claimed to have defeated it?
(200-201) The difference between the scrutiny inaugurated by Platoƒs Socrates and that inaugurated by Derrida is that Derrida removed the metaphors right, beautiful, and good, and then defined the truth of the truth as
impossibility. Since belief activates both these moments of repetition, the question that remains is which version to choose: Truth as possibility, or its Other. Surely the difference between Plato and Derrida is that Plato demands that we decide what to do now that we know we are human; Derrida, on the other hand, demands that we continue infinitely to prove that we are human.

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Neel goal is to rescue composition studies from dual curse of Plato and Derrida. (202-203) My purpose in working through the long struggle that precedes this chapter has been to clear a space in which composition studies finally can be liberated from philosophy. Plato lays a curse on rhetoric and writing by requiring the rhetor to know the truth before attempting persuasion and by claiming that truth, by definition, cannot occur in writing. Derrida lays a curse on the entire tradition in Western metaphysics
since Plato by showing that philosophy never for one moment escapes writing or rhetoric.
(206) In this history, the sophists are absolutely necessary; they must be defeated and then remain forever available in that defeat. Their silent, marginalized defeat keeps the Platonic quest in motion.
(206) But what would happen if one were to attempt to articulate some principles of the sophistry worked out by Protagoras and Gorgias, that is, the principles of sophistry instead of those of
psophistry?

3 1 2 (+) [-4+]mCQK neel-plato_derrida_writing (207) 20131009n 0 -2+ progress/2009/02/notes_for_neel-plato_derrida_writing.html
Articulates six positive principles of sophistry similar to poststructural tenets that are useful for composition studies whose contemplation are excluded by Platonic defeat of sophists focusing on dealing with probabilities, power of rhetoric and speaking to transcend limits, that believing language at some point is critical to subject formation, and strange way arguments can be pursued; somehow he arrives at their relation to democratic society, which must therefore also be related to composition studies since we are all writers and readers. (207) No, these principles donƒt seem so radical after all, especially in the wake of
poststructural analysis. Once they are extricated from philosophical condemnation, they merely describe the foundation for any democratic society.

3 1 2 (+) [-4+]mCQK ong-orality_and_literacy (2-3) 20080812 0 -3+ progress/2008/08/notes_for_ong-orality_and_literacy.html
Does he really mean that orality could not critique itself, or that critiques only come with literacy? (2-3) Our understanding of the differences between orality and literacy developed only in the electronic age, not earlier. Contrasts between electronic media and print have sensitized us to the earlier contrast between writing and orality. The electronic age is also an age of ƒsecondary oralityƒ, the orality of telephones, radio, and television, which depends on writing and print for its existence.

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Rhetoric as public speaking remained paradigm of all discourse including writing; though he does not emphasize, most writing produced throughout history is likely bureaucratic records rather than literary. (9)
Rhetorike, or rhetoric, basically meant public speaking or oratory, which for centuries even in literate and typographic cultures remained unreflexively pretty much the paradigm of all discourse, including that of writing.

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Oral discourse nonetheless thought as weaving or stitching, and texts always with writing, even as oral performance, which helps promote OHCO thesis, too. (13) Oral discourse has commonly been thought of even in oral milieus as weaving or stitching
rhapsoidein, to ƒrhapsodizeƒ, basically means in Greek ƒto stitch songs togetherƒ. But in fact, when literates today use the term ƒtextƒ to refer to oral performance, they are thinking of it by analogy with writing.

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Wood suggested in 1700s that memory played different role in oral and literate cultures. (19) [Robert] Wood [(
c. 1717-71)] strikingly suggests that memory played a quite different role in oral culture from which it played in literate culture.

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Parry discovered distinctive features of Homeric poetry due to economy enforced by oral composition. (21) Parryƒs discovery might be put this way: virtually every distinctive feature of Homeric poetry is due to the economy enforced on it by oral methods of composition.

3 1 2 (+) [-4+]mCQK ong-orality_and_literacy (22) 20131006i 0 -3+ progress/2008/08/notes_for_ong-orality_and_literacy.html
Homer stitched together prefabricated parts. (22) The meaning of the Greek term ƒrhapsodizeƒ,
rhapsoidein, ƒto stitch song togetherƒ (rhaptein, to stitech; oide, song), became ominous: Homer stitched together prefabricated parts. Instead of a creator, you had an assembly-line worker.
(23) Moreover, the standardized formulas were grouped around equally standardized themes, such as the council, the gathering of the army, the challenge, the despoiling of the vanquished, the heroƒs shield, and so on and on.

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Havelock claims Plato excluded poets because formulaic chiches outmoded and counterproductive under regime of written words. (23-24) Certain of these wider implications remained to be worked out later in great detail by Eric A. Havelock (1963). . . . In an oral culture, knowledge, once acquired, had to be constantly repeated or it would be lost: fixed, formulaic thought patterns were essential for wisdom and effective administrator. . . . Havelock shows that Plato excluded poets from his ideal republic essentially (if not quite consciously) because he found himself in a new chirographically styled poetic world in which the formula or cliche, beloved of all traditional poets, was outmoded and counterproductive.

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Bynum Daemon in the Wood an in depth study of Parry formula; fitting that daemons still figure in software studies. (25) This stratum [of deeper meaning of Parryƒs formula] has been explored most intensively by David E.
Bynum in The Daemon in the Wood.

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Okpewho takes oral culture studies to African epic, leading to study of still active cultures. (28) in his magisterial and judicious work on
The Epic in Africa (1979), Isidor Okpewho brings Parryƒs insights and analyses (in this case as elaborated in Lordƒs work) to bear on the oral art forms of cultures quite different from the European, so that the African epic and the ancient Greek epic throw reciprocal light on one another.

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McLuhan also noted for studying ear-eye, oral-textual contrasts, though in larger context of emerging electric and electronic media. (28-29) Anthropologists have gone more directly into the matter of orality. . . many of the contrasts often made between ƒwesternƒ and other views seem reducible to contrasts between deeply interiorized literacy and more or less residually oral states of consciousness.

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Orally based thought and expression additive, aggregative, redundant, traditionalist, close to lifeworld, agonistic, empathetic and participatory, homeostatic; not suited for geometrical figures, abstract categorizations, formal reasoning and other forms deriving from text-formed thought. (54-55) an oral culture simply does not deal in such items as geometrical figures, abstract categorization, formally logical reasoning processes, definitions, or even comprehensive descriptions, or articulated self-analysis, all of which derive not simply from thought itself but from text-formed thought.

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Interesting flip side is how poorly text-formed machines fare at speech recognition and natural language processing. (54-55) an oral culture simply does not deal in such items as geometrical figures, abstract categorization, formally logical reasoning processes, definitions, or even comprehensive descriptions, or articulated self-analysis, all of which derive not simply from thought itself but from text-formed thought.

3 1 2 (+) [-4+]mCQK ong-orality_and_literacy (70) 20131006r 0 -11+ progress/2008/08/notes_for_ong-orality_and_literacy.html
Ong treats interiority of sound in Presence of the Word; summary is they register interior structure of what produces them, although Sterne complicates by citing shift to models based on how sounds are heard. (70) the unique relationship of sound to interiority when sound is compared to the rest of the senses. . . . I have treated the matter in greater fullness and depth in
The Presence of the Word.
(71) Sounds all register the interior structure of whatever it is that produces them. . . . Vision comes to a human being from one direction at a time: to look at a room or a landscape, I must move my eyes from one part to another. When I hear, however, I gather sound simultaneously from every direction at once: I am at the center of my auditory world, which envelopes me, establishing me at a kind of core of sensation and existence.

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Association of faith and hearing, letter killing spirit; no corresponding word to audience for readers. (74) ƒFaith comes through hearingƒ, we read in the Letter to the Romans (10:17). ƒThe letter kills, the spirit [breath, on which rides the spoken word] gives lifeƒ (2 Corinthians 3:6).

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Roman signum was not lettered, though we complacently think of words as signs. (75) Though the Romans knew the alphabet, this
signum was not a lettered word but some kind of pictorial design or image, such as an eagle, for example.
(75) Our complacency in thinking of words as signs is due to the tendency, perhaps incipient in oral cultures but clearly marked in chirographic cultures and for more marked in typographic and electronic cultures, to reduce all sensation and indeed all human experience to visual analogues.

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Close association of writing with death; Derrida ties archive fever to death drive. (80) One of the most startling paradoxes inherent in writing is its close association with death. . . . the deadness of the text, its removal from the living human lifeworld, its rigid visual fixity, assures its endurance and its potential for being resurrected into limitless living contexts by a potentially infinite number of living readers.

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Landow quotes this passage as example of technology as prosthesis causing interior transformations of consciousness, affecting subjectivity. (82) Technology, properly interiorized, does not degrade human life but on the contrary enhances it. . . . Such shaping of a tool to oneself, learning a technological skill, is hardly dehumanizing. . . . to understand what it is, which means to understand it in relation to its past, to orality, the fact that it is a technology must be honestly faced.

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Script in sense of true writing represents an utterance, not pictures or representations of things. (83) A script in the sense of true writing, as understood here, does not consist of mere pictures, of representations of things, but is a representation of an
utterance, of words that someone says or is imagined to say.
(83) Using the term ƒwritingƒ in this extended sense to include any semiotic marking trivializes its meaning. The critical and unique breakthrough into new worlds of knowledge was achieved within human consciousness not when simple semiotic marking was devised but when a coded system of visible marks was invented whereby a writer could determine the exact words that the reader would generate from the text.
(84) Because it moves speech from the oral-aural to a new sensory world, that of vision, it transforms speech and thought as well. Notches on sticks and other
aides-memoire lead up to writing, but they do not restructure the human lifeworld as true writing does.

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Dismaying number of symbols required by pictographic systems. (86) All pictographic systems, even with ideographs and rebuses, require a dismaying number of symbols.
(87) Many writing systems are in fact hybrid systems, mixing two or more principles. . . . And even alphabetic writing becomes hybrid when it writes 1 instead of
one.

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Major psychological importance of Greek alphabet complete with vowels. (89) the Greeks did something of major psychological importance when they developed the first alphabet complete with vowels. Havelock (1976) believes that this crucial, more nearly total transformation of the word from sound to sight gave ancient Greek culture its intellectual ascendancy over other ancient cultures. . . . Semitic writing was still very much immersed in the non-textual human lifeworld. The vocalic Greek alphabet was more remote from that world (as Platoƒs ideas were to be). It analyzed sound more abstractly into purely spatial components. It could be used to write or read words even from languages one did not know. . . . The Greek alphabet was democratizing in the sense that it was easy for everyone to learn. It was also internationalizing in that it provided a way of processing even foreign tongues.

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Korean alphabet deliberately devised in three years by assembly of scholars: crossing toward boundary of designed grammar of computer languages? (91) Perhaps the most remarkable single achievement in the history of the alphabet was in Korea, where in AD 1443 King Sejong of the Yi Dynasty decreed that an alphabet should be devised for Korean. . . . Sejongƒs assembly of scholars had the Korean alphabet ready in three years, a masterful achievement, virtually perfect in its accommodation to Korean phonemics and aesthetically designed to produce an alphabetic script with something of the appearance of a text in Chinese characters.

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Craft literacy of early scribal culture tied to physical properties of writing materials; compare to difficulty of using early mechanical and electronic computers. (93) shortly after the introduction of writing a ƒcraft literacyƒ develops.
(93) The physical properties of early writing materials encouraged the continuance of scribal culture.
(94) Longstanding oral mental habits of thinking oneƒs thoughts aloud encourage dictation, but so did the state of writing technology.

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Texts are thing like versus process like; Goody backward scanning of immobilized horizontal and vertical text. (98) Texts are thing-like, immobilized in visual space, subject to what Goody calls ƒ
backward scanningƒ.
(99) The significance of the vertical and the horizontal in texts deserves serious study.
(99) The extensive use of lists and particularly of charts so commonplace in our high-technology cultures is a result not simply of writing, but of the deep interiorization of print.

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Written language requires planning, removal of existential context, restricted codes; oral noetic situation produces bricolage, elaborated codes (Guxman). (102-103) To make yourself clear without gesture, without facial expression, without intonation, without a real hearer, you have to foresee circumspectly all possible meanings a statement may have for any possible reader in any possible situation, and you have to make your language work so as to come clear all by itself, with no existential context.
(103) With writing, words once ƒutteredƒ, outered, put down on the surface, can be eliminated, erased, changed. There is no equivalent for this in an oral performance, no way to erase a spoken word: corrections do not remove an infelicity or an error, they merely supplement it with denial and patchwork. The
bricolage or patchwork that Levi-Strauss finds characteristic of ƒprimitiveƒ or ƒsavageƒ thought patterns can be seen here to be due to the oral noetic situation.
(105) Bernsteinƒs ƒrestrictedƒ and ƒelaboratedƒ linguistic codes could be relabeled ƒoral-basedƒ and ƒtext-basedƒ codes respectively.

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Dominance of Greek rhetoric informed literary style through nineteenth century with exception of female authors. (109-110) From Greek antiquity on, the dominance of rhetoric in the academic background produced throughout the literate world an impression, real if often vague, that oratory was the paradigm of all verbal expression, and kept the agonistic path of discourse exceedingly high by present-day standards.
110) Into the nineteenth century most literary style throughout the West was formed by academic rhetoric, in one way or another, with one notable exception: the literary style of female authors.

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Learned Latin a direct result of writing, completely controlled by writing, with no connection to unconscious of mother tongues. (110) Learned Latin was a direct result of writing.
(111) By prescription of school statutes Latin had become Learned Latin, a language completely controlled by writing, whereas the new Romance vernaculars had developed out of Latin as languages had always developed, orally Latin had undergone a sound-sight split.
(111) It had no direct connection with anyoneƒs unconscious of the sort that mother tongues, learned in infancy, always have.
(111-112) There were no purely oral users. But chirographic control of Learned Latin did not preclude its alliance with orality. Paradoxically, the textuality that kept Latin rooted in classical antiquity thereby kept it rooted also in orality, for the classical ideal of education had been to produce not the effective writer but the
rhetor, the orator, the public speaker. The grammar of Learned Latin came from this old oral world.
(112) It has been suggested that Learned Latin effects even greater objectivity by establishing knowledge in a medium insulated from the emotion-charged depths of oneƒs mother tongue, thus reducing interference from the human lifeworld and making possible the exquisitely abstract world of medieval scholasticism and of the new mathematical modern science which followed on the scholastic experience.

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Words are made of units; print suggests words are things; first assembly line produced books. (116) Words are made out of units (types) which pre-exist as units before the words which they will constitute. Print suggests that words are things for more than writing ever did.
(116-117) It embedded the word itself deeply in the manufacturing process and made it into a kind of commodity. The first assembly line, a technique of manufacture which in a series of set steps produces identical complex objects made up of replaceable parts, was not one which produced stoves or shoes or weaponry but one which produced the printed book. . . . Despite the assumptions of many semiotic structuralists, it was print, not writing, that effectively reified the word, and, with it, poetic activity.

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Early printed title pages reflect auditory dominance. (117-119) Auditory dominance can be seen strikingly in such things as early printed title pages, which often seem to us crazily erratic in their inattention to visual word units. . . . Evidently, in processing for meaning, the sixteenth century was concentrating less on sight of the word and more on its sound than we do.
(119) Writing moves words from the sound world to a world of visual space, but print locks words into position in this space.
(120) The effects of the greater legibility of print are massive. The greater legibility ultimately makes for rapid, silent reading. Such reading in turn makes for a different relationship between the reader and the authorial voice in the text and calls for different styles of writing.

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Novel bears textual organization of experience, intertextuality. (131)
Intertextuality refers to a literary and psychological commonplace: a text cannot be created simply out of lived experience. A novelist writes a novel because he or she is familiar with this kind of textual organization of experience.
(131) Print creates a sense of closure not only in literary works but also in analytic philosophical and scientific works.

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Ramus produced paradigms of textbook genre. (132) Peter
Ramus (1515-1572) produced the paradigms of the textbook genre: textbooks for virtually all arts subjects (dialectic or logic, rhetoric, grammar, artithmetic, etc.) that proceeded by cold-blooded definitions and divisions leading to still further definitions and more divisions, until every last particle of the subject had been dissected and disposed of.
(132) A correlative of the sense of closure fostered by print was the fixed point of view, which as Marshall McLuhan pointed out, came into being with print.

3 1 2 (+) [-4+]mCQK ong-orality_and_literacy (133-134) 20131007n 0 -1+ progress/2008/08/notes_for_ong-orality_and_literacy.html
Is electronics to be Ongs term for what follows literacy, noting at the conclusion of the book (page 174) he refers to the sequels of literacy as print and the electronic processing of verbalization. (133-134) the sequential processing and spatializing of the word, initiated by writing and raised to a new order of intensity by print, is further intensified by the computer, which maximizes commitment of the word to space and to (electronic) local motion and optimizes analytic sequentiality by making it virtually instantaneous.

3 1 2 (+) [-4+]mCQK ong-orality_and_literacy (134) 20131007o 0 -3+ progress/2008/08/notes_for_ong-orality_and_literacy.html
Secondary orality with telephone, radio, television, tape recording: sharing participatory mystique, but more deliberate and self-conscious, based on use of writing and print essential for its manufacture. (134) At the same time, with telephone, radio, television and various kinds of sound tape, electronic technology has brought us into the age of ƒsecondary oralityƒ. This new orality has striking resemblances to the old in its participatory mystique, its fostering of a communal sense, its concentration on the present moment, and even its use of formulas. But it is essentially a more deliberate and self-conscious orality, based permanently on the use of writing and print, which are essential for the manufacture and operation of the equipment and for its use as well.

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Secondary orality generates McLuhan global village, turned outward because already turned inward. (134) secondary orality generates a sense for groups immeasurably larger than those of primary oral culture -- McLuhanƒs ƒglobal villageƒ. . . Unlike members of a primary oral culture, who are turned outward because they have had little occasion to turn inward, we are turned outward because we have turned inward. . . . We plan our happenings carefully to be sure that they are thoroughly spontaneous.
(135) Electronic media do not tolerate a show of open antagonism. Despite their cultivated air of spontaneity, these media are totally dominated by a sense of closure which is the heritage of print: a show of hostility might break open the closure, the tight control.

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Oral memory starts in the middle of things; contrast climactic linear plot of detective story. (141) Starting in ƒthe middle of thingsƒ is not a consciously contrived ploy but the original, natural, inevitable way to proceed for an oral poet approaching a lengthy narrative. If we take the climactic linear plot as the paradigm of plot, the epic has no plot. Strict plot for lengthy narrative comes from writing.
(141) The climactic linear plot reaches a plenary form in the detective story -- relentlessly rising tension, exquisitely tidy discovery and reversal, perfectly resolved denouement. The detective story is generally considered to have begun in 1841 with Edgar Allen Poeƒs
The Murders in the Rue Morgue.
(143) The oral song (or other narrative) is the result of interaction between the singer, the present audience, and the singerƒs memories of songs sung. In working with this interaction, the bard is original and creative on rather different grounds from those of the writer.

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Example of Jolly Green Giant as flat, heavy, type character in regressive genres. (150) Late high-technology, electronic cultures still produce type characters in regressive genres such as Westerns or in contexts of self-conscious human. The
Jolly Green Giant works well enough in advertising script because the anti-heroic epithet ƒjollyƒ advertises to adults that they are not to take this latterday fertility god seriously. The story of type characters and the complex ways they relate written fiction to oral tradition has not yet been told.

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Personality structure modeled after round character of fiction, or coextensive. (151) Since Freud, the psychological and especially the psychoanalytic understanding of all personality structure has taken as its model something like the ƒroundƒ character of fiction. . . . It would appear that the development of modern depth psychology parallels the development of the character in drama and the novel, both depending on the inward turning of the psyche produced by writing and intensified by print.
(152) The present-day phenomenological sense of existence is richer in its conscious and articulate reflection than anything that preceded it. But it is salutary to recognize that this sense depends on the technologies of writing and print, deeply interiorized, made a part of our own psychic resources.

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Plato phonocentrism textually contrived and defended, ambiguous relationship to orality: thus Derrida Postcard. (164) Platoƒs relationship to orality was thoroughly ambiguous.
(165) Platoƒs phonocentrism is textually contrived and textually defended.
(166) There are no closed systems and never have been. The illusion that logic is a closed system has been encouraged by writing and even more by print.

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Communication is intersubjective, media model is not; media model reflects chirographic conditioning. (173) Communication is intersubjective. The media model is not.
(173-174) Willingness to live with the ƒmediaƒ model of communication shows chirographic conditioning. First, chirographic cultures regard speech as more specifically informational than do oral cultures, where speech is more performance-oriented, more a way of doing something. Second, the written text appears
prima facie to be a one-way informational street, for no real recipient (reader, hearer) is present when the texts come into being.

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Awareness that evolution of consciousness depended on writing. (174) Since at least the time of Hegel, awareness has been growing that human consciousness evolves. . . . Modern studies in the shift from orality to literacy and the sequels of literacy, print and the electronic processing of verbalization, make more and more apparent some of the ways in which this evolution has depended on writing.

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Like post-structuralist and postmodern critique, precedence of theory over tutor texts; focus is abundant use of narrative concepts via metaphors and myths. (581-582) If we compare the field of digital textuality to other areas of study in the humanities, its most striking feature is the precedence of theory over the object of study. . . . In this article I would like to investigate one of the most important forms that this advance theorizing of digital textuality has taken, namely, the use of narrative concepts to advertise present and future product.
(582) To promote the narrative power of the computer, theorists of digital media have either implicitly or explicitly relied on myths and metaphors.

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Metaphor transfers concepts from one domain to another; myth offers idealized representation of genre it describes, which is appropriate for incunabular digital forms of narrative. (583)
Metaphor is generally defined as the transfer of a concept from one domain to another. . . . By myth, on the other hand, I understand a theoretical model borrowed from fiction that describes the artistic potential of a digital form of narrative. This model is a myth not only because it is an imaginary construct but also because it offers an idealized representation of the genre it describes.

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Does definitional constraint of mental representation preordain the trajectory, if not the conclusions, of the study? (583) Before moving on with my discussion, let me sketch some of my positions on the nature of
narrative: [bullets] Narrative is not coextensive with literature, fiction, or the novel. Narrativity is indedpendent of tellability. Narrative is not limited to written or oral storytelling. It is a mental representation that can be evoked by many media and many types of signs. Narrativity is a matter of degree: postmodern novels are not nearly so narrative as those of the nineteenth century. As a mental representation, narrative consists of a world (setting), populated by individuals (characters), who participate in actions and happenings (events, plot), through which they undergo change (temporal dimension).

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Desktop interface metaphors conceal computer true nature. (584) But the desktop metaphor has the unfortunate side effect of limiting the computer to the role of a business machine. The next logical step in the concealment of the computerƒs true nature is therefore the development of interface metaphors that suggest play and entertainment, even when the actual function of the software is the performance of professional tasks. All this explains the popularity of narrative metaphors with software designers and Web page authors.

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Laurel narrative interface: phenomenon in mind of spectator, as interpretation of experience, mimetic. (584) The concept of
narrative interface was introduced in a handful of articles gathered in a collection edited by Brenda Laurel, The Art of Human-Computer Interface Design (1990). . . . Narrative comes into existence not by being told but by being enacted. More precisely, it comes into existence in the mind of the spectator as an interpretation of what is seen or heard.
(585-586) Yet there is a limit to the analogy. By casting the user as audience, the storyteller metaphor ignores the dialogic nature of human/computer interaction. . . . To be truly pleasurable to the user, this plot should be carefully scripted by the system. . . . But she remains suspiciously vague on the question of the practical implementation of her concept of plot as well as on the kinds of application that lend themselves to a dramatic experience.

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Create a character or create a setting are designs inspired by narrative metaphor. (586) At the present time the narrative metaphor has inspired two types of design. One involves the creation of a character and the other the creation of a setting.

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As narrative interface element, Office Assistant character implies at best a user-hero fairy tale accomplishing tasks, and movie-making setting of Director also banal but effective; the narrative is seldom the goal unless the work really intends to be electronic literature, for which Hayles and others provide examples. (586) Though a single character does not make a story, the figure of the [Microsoft] Office Assistant suggests an implicit scenario that puts the user in the role of a hero of a Proppian fairy tale: as the user-hero I have a task to accomplish; in order to do so, I must take a mean machine; but along the way, I meet a friendly character who helps me conquer the villainous system and fulfill the mission.
(586-587) The other concretization of the concept of narrative interface is the design of a setting that encourages make-believe. This type of metaphor places users in a role that conceals what they are actually doing and dictates a scenario that gives them a sense of purposeful action. My example of narrative setting is the movie-making metaphor of the program Director. . . . As a Director user, I can personally attest that I experienced an exhilarating feeling of power as the thought that I had become a filmmaker, able to summon actors on the stage and dictate their behavior.
(587) In the design of software, narrative is not an end in itself but a means toward a goal, and this goal is to facilitate the operation of the program. Interface metaphors, not unlike poetic ones, fulfill their rhetorical and pedagogical functions by relating a strange new world to a familiar one.

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Aleph object expands into infinity of spectacles, unraveling stories endlessly, as articulated by Landow, Bolter, Joyce for hypertext matrix. (587) The Aleph is a small, bound object that expands into an infinity of spectacles. The experiencer could therefore devote a lifetime to its contemplation. Through they did not explicitly invoke the model of the Aleph, the pioneers of hypertext theory conceived the new literary genre in strikingly similar terms. For theorists such as George P.
Landow, Jay David Bolter, and Michael Joyce, hypertext is a textual object that appears bigger than it is because readers could spend hours ideally, their entire lifetimes unraveling new stories from it.
(588) This conception of hypertext as a matrix that contains an infinite number of narratives is particularly prominent in the work of George Landow.

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Landow on hypertext challenging Aristotelean plot form. (588) But this rather tame interpretation of reconfiguring narrative is not what Landow (1997: 181) has in mind: Hypertext, which challenges narrative and all literary forms based on linearity, calls into question ideas of plot and story current since Aristotle.
(589) In this interpretation, every traversal yields a possible story, in the semantic sense, because it is the reader who constructs the story out of the textual segments. Hypertext is like a construction kit: it throws lexias at its readers, one at a time, and tells them: make a story with this.

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Fallacious analogy by Landow of generating infinite sentences out of finite grammar (Chomsky) because reader must create the story on the move in hypertext lexias, not knowing what will come next. (589) Landow compares this situation to the mental activity of the speaker of a language who forms an infinite number of sentences out of finite grammar. . . . I find this analogy fallacious, because it hides an important difference: the linguistic competence of the speaker if an internalized knowledge of the syntactic rules and lexicon of a language. To make a sentence, the speaker selects patterns and words from a knowledge base more or less completely available to the mind
before the speaker begins the sentence. But in hypertext, lexias come one at a time; and the reader must create a story on the move, without knowing what lexia will come next.

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Jigsaw puzzle analogy refines myth of Aleph for hypertext reading global representation. (590) Just as we can work for a time on a puzzle, leave it, and come back to it later, readers of hypertexts do not start a new story from scratch every time they open the program but, rather, construe a
global representation over many sessions, completing or amending the picture put together so far.

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Holodeck as narrative source proposed by Muray, Lanier, Heim. (590) My second myth, the Holodeck has been proposed by theorists as a model of what narrative could become in a multisensory, three-dimensional, interactive virtual environment. Its main proponent is Janet
Murray in her well-known book Hamlet on the Holodeck (1997). But the concept of the Holodeck has also been invoked by Jaron Lanier, the visionary developer of VR technology (mentioned in Ditlea 1998) and my Micheal Heim (1993), its no less visionary theorist.
(591) The viability of the concept of the Holodeck as a model of digital narrative is questionable for a number of reasons: technological, algorithmic, but above all psychological.

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Entertainment value of experience depends on relation to avatars; questionable whether interactors play roles or really get involved (Gee). (592) The entertainment value of the experience depends on how the interactors relate to their avatars. Will interactors be like actors playing a role, innerly distanced from their characters and simulating emotions they do not really have, or will interactors experience their character as their own self, actually feeling the love, hate, fears, and hopes that motivate the characterƒs behavior or the exhilaration, triumph, pride, melancholy, guilt, or despair that may result from the characterƒs actions?

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What stories would we want to be part of, as a first person role: Ryan cannot find any examples for existing literature, and considers this immersion more appropriate to computer games and literary narratives; consider Boal and other purposes of theater for alternative responses. (593) Interactors would have to be out of their minds literally and figuratively to want to live these plots in the first-person mode.
(593) By maintaining a safe distance between reader and characters, literature has been able to explore the whole spectrum of human emotions without inflicting intolerable suffering on the reader. Any attempt to turn empathy, which relies on mental simulation, into emotions felt from the inside would in the vast majority of cases cross the fragile boundary that separates pleasure from pain.

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Other option is to pick flat character and explore the virtual world. (594) If we pick a character from the second list, this means that we prefer becoming a rather flat character whose involvement in the plot is not affective but a matter of exploring a world, solving problems, performing actions, competing against enemies, and above all dealing with objects in a concrete environment. This kind of involvement is much closer to playing a computer game than to living a Victorian novel or a Shakespearean drama.

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Essence of language has nothing to do with phonic nature of linguistic sign. (7) The essence of a language, as well shall see, has nothing to do with the phonic nature of the linguistic sign.

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Speech is never a function of the collective; execution is always individual act of will and intelligence. (13) The executive side of it plays no part, for execution is never carried out by the collectivity; it is always individual, and the individual is always master of it. This is what we shall designate by the term
speech.

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Language never a function of individual speaker. (14) The language itself is not a function of the speaker. It is the product passively registered by the individual. It never requires premeditation, and reflection enters into it only for the activity of classifying to be discussed below.
(14) Speech, on the contrary, is an individual act of the will and the intelligence, in which one must distinguish: (1) the combinations through which the speaker uses the code provided by the language in order to express his own thought, and (2) the psycho-physical mechanism which enables him to externalize these combinations.

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Linguistics is a branch of semiology, general science of signs; at general level subsumes distinction between natural and artificial languages so important to Ong for excluding programming languages (see Floridi, Tanaka-Ishii, likely Chomsky, too). (15-16) It is therefore possible to conceive of a science
which studies the role of signs as part of social life. It would form part of social psychology, and hence of general psychology. We shall call it semiology (from the Greek semeion, ƒsignƒ). . . . Linguistics is only one branch of this general science.

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Definition of language as system of signs for expressing ideas, comparable to writing. (15) A language is a system of signs expressing ideas, and hence comparable to writing, the deaf-and-dumb alphabet, symbolic rites, forms of politeness, military signals, and so on. It is simply the most important of such systems.

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The linguistic sign is arbitrary is the first principle, demonstrated by differences between and very existence of different languages; symbol an awkward term since they are never entirely arbitrary; finally, arbitrary does not mean free choice of speaker. (67)
the linguistic sign is arbitrary.
(68) This is demonstrated by differences between languages, and even by the existence of different languages.
(68) This use of the word
symbol is awkward, for reasons connected with our first principle. For it is characteristic of symbols that they are never entirely arbitrary.
(68) The word
arbitrary also calls for comment. It must not be taken to imply that a signal depends on the free choice of the speaker.

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Texts as inscriptions functioning as boundary objects belonging to genres. (148) So texts are
inscriptions that represent phenomena, belong to genres that construct relatively stable relationships, and function as boundary objects that bridge among different activities. Texts create circulating rerepresentations: representations that themselves become represented by other representations (Latour, 1999b).

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Long quotation from page 9 of Derrida Grammatology ends with the statment entire field covered by the cybernetic program will be the field of writing; here writing in computer technology is completely alien to the order of the voice, besides the simplified communication models used to describe them. (9) Derrida notes that all the revolutions in philosophy, science, and literature during this century can be interpreted as shocks that are gradually destroying the linear model.
(9) The resurgence of the graphic element, escaping from the domination of the spoken word, is a symptom of the end of the metaphysical era.

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Define how other writing can function as knowledge without being theoretical. (12) The challenge of an applied grammatology is to define how this other writing can function as knowledge without being theoretical.

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Derrida strategy of parodic repetition to let the book be thought as such, to get beyond the book. (16) To pass through the book, repeating the lure at every point along the way, changes everything without anything having budged - such is the enigmatic power of repetition to expose the derived status of origins. This repetition refers to the fact that the closure of the book occurs when the book lets itself be thought as such (Writing, 296), a moment emblematized in Mallarmeƒs project for The Book. This strategy of (parodic) repetition will play an important role in Derridaƒs texts.

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Hieroglyphic writing model to produce cubist distortions in philosophy, deconstructing the look of logocentrism. (18) Theoretical grammatology adopts hieroglyphic writing as a model, translating it into a discourse, producing thus in philosophy distortions similar to those achieved in those movements, labeled cubist and primitivist which drew on the visual arts of non-Western cultures in order to deconstruct the look of logocentrism.

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Cartouche signing principle for studying author-text relation, scrutinizing images punning name of author to reveal motivated relationship between the name and the text. (21) Briefly stated, the cartouche principle is used as a mode of analysis (a literalization of analysis, after all, which term means the breakup or dissolution of something) for studying the author-text relation, first by locating in the text the images whose terms pun in some manner on the authorƒs name, and then by scrutinizing these concrete elements to the fullest extent, unlimited by notions of context or intention, for their theoretical potential. Such interrogation invariably reveals (and here lies much of the importance of the technique) that the name and the text do stand in a motivated relationship one to the other.

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The study of plant fecundation by Derrida is a terminal exercise, a metaphor (container, crutch, substitute) for another operation, anthonymy (combining study of flowers and anthology), which he reached via portmanteau. (24) Since the proper-common shift in Genetƒs text always involves the names of flowers, Derrida states that in
Glas he will replace antonomasia with anthonymy, a portmanteau word combining authography - the study of flowers - and anthology - itself extended to identify a collection of verse from the original reference to a collection of flowers.
(24) Having educated his reader in the terminology of
plant fecundation, Derrida declares, One is not going to produce here the theory of pollen and of seed scattering [dissemence] (Glas, 283). The botanical information, rather, as the vehicle of the analogy between flowers and rhetoric, constitutes a didactic model in a textual seminar.

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Botanical information vehicle for didactic model in textuality study; recent reading recommending distinguishing vehicle and contents Clark highlights. (25) The homophonic resemblance between to sign (
ensigner) and to teach (enseigner) reveals the import of the entire demonstration, for in grammatology the theory of signing is also a theory of teaching.

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Dehiscence limits what it makes possible without absolute rigor and purity. (25)
Dehiscence (like iterability) limits what it makes possible, while rendering its rigor and purity impossible. . . . Thus is the oval enclosure of the cartouche, separating the name from the text, broken, producing not denotation but detonation.

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Applied grammatology generalizes cartouche principle of signature to concept formation. (26) The premise of applied grammatology is that the cartouche principle of the signature, directing the relation of the proper name to common nouns (the images generated by anthonomasic dissemination), may be generalized to include the process of concept formation - the relation of an abstract term to the metaphors from which the term is derived.

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Example of Derrida White Mythology as Bachelard psychoanalysis of objective knowledge, dialectical surrationalism in which noumenon explains phenomenon: theoretical fictions organized into a pedagogy. (26) In White Mythology , Derrida allies his operation with
Bachelardƒs psychoanalysis of objective knowledge. . . . Keeping in mind that light is the philosophic metaphor, any change in our understanding of its nature should affect its analogical extensions in such concepts as form and theory.
(27) Dubbed dialectical surrationalism, defined as the realm in which the scientific mind dreams, Bachelardƒs method does not abandon, but reorients, the theory of representation away from empirical or experiential reality. . . . In short, the traditional order of realist or empirical experimentation is inverted, so that the noumenon now explains the phenomenon (No, 53). Derridaƒs conceptual experiments function in a similar way, involving the movements of thought and language in a formal space entirely free of phenomenal, perceptual, or commonsensical reality. . . . theoretical fictions organized into a pedagogy that would collapse the distinctions separating teaching, research, and art might have also the power to guide transformations of the lived, social world.

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Derrida alternative onomastics opens world of machine language. (28) Against Aristotleƒs influential doctrine that in non-sense, language is not yet born, Derrida builds an alternative onomastics based precisely on what Aristotle excludes from metaphor.
(28) Derrida, with his interest in discerning and then transgressing the limits of philosophical discourse, takes his cue from Aristotle and builds an entire philosophical system on the basis of the homonym (and homophone).

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Derrida system is built on the remainder of legitimate, sensible language as defined by Aristotle, exploring frivolities of chance, interval of the gap itself, dehiscence of iteration; is there any reason in taking it seriously beyond its exemplifying a method? (28) The philosopher, and especially the teacher of applied grammatology, must learn like poets and revolutionary scientists to explore the
frivolities of chance. The dehiscence of iteration, an economimesis that redistributes the property or attributes of names, is exemplified in its generalized mode is Dissemination, an essay that, as Derrida explains, is a systematic and playful exploration of the interval of the gap itself, leading from ecart (gap) to carre, carrure, carte, charte, quatre, trace. He calls this play of the interval, set to work within the history of philosophy.

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Concept of limits fundamental issue to poststructuralists. (30) The concept of limit is one of the fundamental issues, not only for Derrida, but for that group of writers currently identified as poststructuralists.
(31) The machinery of this power of appropriation is the Hegelian
Aufhebung, the dialectical sublation that permits philosophy to talk about itself and its other in the same language, essentializing the accidental and sensible into the substantial and intelligible.

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Generative power metaphorical, not actual. (31) With this homohymic relationship (in the word
sens) between the sensible and the intelligible in mind, we may understand the phrase placed at the opening of Tympan which, Derrida says, is capable of generating all the sentences of the book: lƒetre a la limite.

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Moire analysis sounds like Nietzsche philosophizing with a hammer. (38) In terms of the homonymic event (dehiscence of iterations or articulations), the destiny of language, its relation to
Moira and the Moirae, may be solicited in the same way that structural engineers, using computer analyses of moire patterns, examine buildings (or any structure) for defects. The cracks and flaws in the surface of philosophy may thus be located.
(39) The experimental production of optical illusion directly in abstract forms (rather than indirectly, as in the mimetic tradition, in forms subordinated to representational demands), is relevant to an understanding of Derridaƒs attempt to identify the illusory effects of grammar in a similarly pure way.
(40) The moire effect alone serves not only as a didactic model for solicitation, but constitutes by virtue of its peculiar feature of being a static form that produces the effect of motion an emblem of
Moira, destiny, whose nature is to be at once the motion of Becoming and the rest of Being.

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Center of structure not fixed focus but a function, evident from features and history of ornament. (40) Derridaƒs interest in the features and history of ornament is evident in his concern for everything marginal, supplementary, everything having to do with borders rather than centers. . . . Derrida proposes that our era is beginning to think of the structurality of structure, realizing that the center is not a natural or fixed locus but a function.
(43) Op writing exploits for its effects the tendency to receive concepts in terms of presuppositions and the encoded habits of expectation, in the same way that op art exploits the fact that the eye is good in recognizing continuities and redundancies, but bad in ƒlocking inƒ on a particular feature of repeated elements. Thus, an art or a philosophy of writing
based on repetition will cause problems for the habits of seeing or thinking.
(44) Op writing has available in the history of ornament an index of devices all potentially translatable from geometry to the graphics of grammatology.

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Systematic exploitation of puns, especially antonomasia, as nondialectical entry points for deconstruction of philosophemes. (44-45) Derrida gets his ideas from the systematic exploitation of puns, used as an
inventio to suggest nondialectical points of entry for the deconstruction of the philosophemes. His best-known version of this strategy involves the deflation of proper names into common nouns (antonomasia), as in Glas, in which Genetƒs texts are discussed in terms of flowers (the flowers of rhetoric), beginning with genet (a broomflower).
(46) Derridaƒs deconstruction of
theoria reveals what Moirae-moire knows.

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Science of old names (paleonymy) highlights rhythm of multiple meanings and spellings like flicker of moire effect. (47) The strategy of
paleonymy (the science of old names) extends this beat, or rhythm, set in motion by the proximity of two meanings, two spellings, that are the same and different, offset, like the two overlapping but not quite matching grids that generate the flicker of the moire effect.
(48) Derrida is particularly interested in the way the shuttle motion (the soliciting vibration, whose homophonically overlapping terms offer an alternative metaphorics that challenges the logocentric structure of concept formation), is manifested in other systems of thought, especially in psychoanalysis (the science, along with geometry, that Derrida uses to think his way toward grammatology).

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New mimesis based on homophonic resemblance, replacing traditional concept formation with epithymics and moira. (51) Derrida is redefining idea, working on its image of the wheel of fortune. Derrida is redefining, working on its root metaphor of sight and light, analyzing it no longer in terms of its effect (the light bulb that lights up when we have an idea in cartoons and advertisements) but in terms of its physics, energy waves (the vibrations mediated by the air, the level at which light and sound are equivalent, identified in relation to the body in terms of the objective senses of sight and hearing). What electricity is to light,
Moira is to language.

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Decomposition continues by seeking analogy for thought that does not depend on touch, sight or hearing. (51) The second step in Derridaƒs solicitation of the founding metaphors of Western thought (the philosophemes upon which are based our notion of theory, idea, concept, and of metaphor itself)--decomposition--extends articulation to the chemical senses by finding an analogy for thought that does not depend on touch, sight, or hearing.

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Experimental conceptualization via taste, fart, vomit as challenges for ontology. (55) A logical place to begin the deconstruction of the logocentric privilege of speech is to take note of the other function performed by the same organs that make speech possible to explore the surplus of operations excluded from the philosopheme. . . . [quoting Glas, 69-70] How could ontology get hold of a fart? . . . The larger issue, relevant to the entire tradition of Western thought, concerns the consequences of the rigid spearation of the intelligible from the sensible.
(57) The effect of the
vomi is the destruction of representation and the pleasure associated with it, exposing one instead to the experience of jouissance (beyond pleasure). . . . The vomi, in its essence, then, is the effacement of the distinction between the fictional and the real, between art and life. And it is also the gag alluding to the tongue-in-cheek bit of this alternative voice.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (57-58) 20131014v 0 -11+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Decomposition via morceau releasing versus concept referenced in Landow also has great relevance to my interest in citing program source code as well as basic comparison to subroutines and similar machine operations. (57-58) The first step in decomposition is the bite. To understand the rationale for all the interpolations, citations, definitions used in
Glas, Derrida says, one must realize that the object of the present work, its style too, is the ƒmorceauƒ [bit, piece, morsel, fragment; musical composition; snake, mouthful]. Which is always detached, as its name indicates and so you do not forget it, with the teeth (Glas, 135). The teeth, as Derrida explained in an interview, refer to quotation marks, brackets, parentheses: when language is cited (put between quotation marks), the effect is that of releasing the grasp or hold of a controlling context. With this image of biting out a piece, Derrida counters the metaphor of concept grasping, holding (Begriff).
(58) I see rather (but it is perhaps still a matrix or a grammar) a kind of dredging machine (Glas, 229).
(58)
Decomposition, then, is another version of what Derrida describes as the most fundamental feature of language iterability, the principle shared by both speech and writing. . . . The grapheme the restance, or nonpresent remainder of the differential mark inaccessible to any experience, cut off from the origins of a receiver or ends of a referent, from a signified or a context remains iterable and still functions as sense (because language is a system).

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (59) 20131014w 0 -9+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Iterability as collage, which makes creative unconscious writing possible. (59) Derrida in fact takes this possibility of cutting free and regrafting as his (de)compositional principle. Iterability, as a mode of production, may be recognized as
collage.
(59) The efffectiveness of collage is that, like metaphor, the piece, displaced into a new context, retains associations with its former context. The two operations constituting the collage technique selection and combination are the operations characteristic of all speaking and writing. . . . Derridaƒs grammatology is to the collage what Aristotleƒs poetics was to Greek trajedy. The comparison is also a contrast, since decomposition (deconstruction extended from a mode of criticism to a mode of composition) as a practice relies on the very elements Aristotle excluded from metaphor articulation and the homonym.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (62) 20131014x 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Challenge philosophemes by taking founding ideas literally; I feel a connection to technological instantiation noted by Turkle. (62) Epithymics, that is, challenges the catachreses of the philosophemes by taking the metaphors of the founding ideas literally.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (65) 20131014y 0 -4+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Theoretical foundation for new set of techniques leveraging machine cognition and Hayles style intermediation: see page 107. (65) The idea put to work hypomnetically . . . is not the signified concept, then, but the letters/phonemes of the word itself, which are set free to generate conceptual material
mechanically (without the intention or presence of the subject) by gathering into a discourse terms possessing these letters (often using the pun or homophone).

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (65) 20131014z 0 -3+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Unity of signified dissolved into component usages, chemical rationale of grotesquery, linguistic symptoms of schizophrenia exploited by applied grammatology. (65) The unity of a signified (whether of a proper name, or the name of a concept) is
dissolved into its component usages.
(66) The capacity for metamorphosis within words may also be recognized as the chemical rationale of grotesquery.
(67) The loss of subject and of identity in schizophrenia (and its linguistic symptoms) provide a further model foreclosure as dehiscence which an applied grammatology can exploit in its search for a new writing.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (69) 20131019 0 -2+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
For using hypomnesis Plato condemning whole theory of relation of memory to thought through example of writing as he does also with pharmakon. (69) A review of Derridaƒs argument in Platoƒs Pharmacy reveals that Plato is condemning writing not just as writing-down but as a whole theory of the relation of memory to thought.
(70) It is worthwhile, then, to review some of the features of the history of artificial memory before discussing the function of mnemonics in grammatology.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (71) 20131019a 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Goal of grammatology to reverse phoneticization that privileges ideographic via transduction to visual program; rebus writing principle model. (71) The reversal of phoneticization the reduction of the phonetic in favor of the ideographic element in writing which is the goal of grammatology, takes as its model the principle of
rebus writing, both as it appears in the historical analysis of nonphonetic scripts and (as we shall see) as it is theorized in psychoanalysis.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (71) 20131019b 0 -6+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Ancient artificial memory procedure based on locus as similar technique as Derrida rebus and cartouche writing: use autobiography as contextual, situated thought constituent. (71) The only full account of the technique is that given in the
Rhetorica ad Herennium, a textbook compiled in Rome (86-82 B.C.--long thought to be the work of Cicero, though now attributed to the otherwise unknown Cornifucius and dedicated to one Herennius), and which was enormously influential throughout the Medieval and Renaissance periods. It contains what became the stock definition of artificial memory, a procedure for relating places to images.
(72) In short,
one used oneƒs autobiography to think and write with.
(73) The images for a word or term were generated by techniques similar to those Derrida uses for his rebus or cartouche writing antonomasia, puns, paragrams.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (81) 20131019d 0 -2+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Writing secondary as logic of simulacrum. (81) For a sign to be a sign, in other words, it must be repeatable, must already be a repetition (hence the mystery of the origin, the paradox of the first sign). Retracing the historical and structural nature of this mystery, grammatology sets up writingƒs secondarity as the logic of the simulacrum, of the originary ersatz.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (81) 20131019e 0 -7+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Mystic pad model tied to Freud autobiography. (81) Part of the interest of Freudƒs theory of memory for grammatology is his very use of a model (the model as prosthesis for the mind)--both that he uses a model and the specific nature of the model (the Mystic Writing-Pad, like the bobbin of the
fort-da scene, is a toy). . . . The functioning of the analogy of the memory to a toy slate, in other words, opens up the entire problematic of how any knowledge achieves presence.
(82) Derridaƒs analysis of the metaphorics in philosophical writing points out that this reversibility or defamiliarization (akin to Max Blackƒs interaction ) is a potential inherent in the structure of metaphor, a potential that Derrida intends to radicalize.
(88) We encounter here one of the chief reasons why, not just in Derrida but in poststructuralist and deconstructionist writing in general, there has been a resurgence of interest in allegory.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (89) 20131019f 0 -2+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Resurgence of interest in allegory by poststructuralists, deconstructionists, postmoderns; coming from other direction is Tanaka-Ishii. (89) Nonetheless, allegory is the mode of representation most adaptable to Derridaƒs purposes, especially when one realizes that the essential linguistic structure of allegory, according to recent studies, is the pun.
(89-90) Not the metaphor of plot (and even less what such a plot might symbolize), but the language itself in terms of sounds and spellings, contains the key to meaning.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (90) 20131019g 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Pun strategy to liberate allegorical narrative from ontotheological ideology, since the foundation of analogy for sustaining reasoning is in question. (90) Here Derridaƒs use of the punning strategy departs from the intention of the genre, for grammatology pushes beyond the polysemies displayed in Quilliganƒs analysis to dissemination in order to liberate the allegorical narrative from its ontotheological ideology.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (94) 20131019h 0 -2+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Parergon as structure can be transported across fields mechanically, without self-presence of living memory: sounds like a basis of arbitrary unit operations; will still permit focus on uniquely human operations in writing in the midst of fashioning human machine symbioses. (94) The
parergon that supplemental out work --is itself just such a relational structure, designating a general, formal predicative structure, which one can transport intact or regularly deformed, reformed, into other fields, to submit it to new content (Verite, 64). Derridaƒs experiment with an epistemology of Writing, based necessarily on hypomnesis rather than anamnesis, working mechanically without the self-presence of living memory, depends upon the relational capacities of items like the parergon and on the history of research into ungraspable experience like that of Kant on the sublime or Freud on the fetish for its enabling operations.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (95) 20131019i 0 -3+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Maintain focus on irreducibly human components of intellection along with overall growth of knowledge areas associated with smart computers. (95) While such an approach obviously is in sympathy with the developments of mental prostheses such as
smart computers, it also assumes that Writing continues as a human operation and the the goal of education in a man-machine symbiosis is to explore the specific and irreducibly human resources of intellection needed to direct our technological-scientific ecology.
(95-96) Although smells are symbols par excellence, giving rise to thoughts of something other than themselves, they have been ignored as a model for a theory of symbol because semiology cannot deal with that which cannot be coded (the very reason for its appeal to Derridaƒs search for a nonsemiotic epistemology). Rather, the smell functions as a means of
individual symbolism (similar to the necessity in mnemonics to select loci from oneƒs autobiography), evoking recollections and sentiments that are withheld from social communication.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (96) 20131019j 0 -7+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Sperber bricoleur of the mind cognitive evocation treats ideas as evocative objects for olfactory response rather than encyclopedic recall, leading to bite based epistemology: again, computational unit operations from databases, protocols, down to assembly code exemplify this contextual, situational, nonconceptual component of cognition. (96) Part of the interest of
Sperberƒs argument is his depiction of ideas or theories as themselves symbolic the statement of a doctrine or hypothesis (Sperber uses Lacanƒs The Unconscious is structured like a language as his example) is received symbolically, not epistemically, and hence works by processes of evocation (setting in action metonymic chains of association, for which the response to smell is the chief model) rather than by direct invocation of the concepts of the encyclopedia, which alone are empirically verifiable.
(97) For Sperber, the symbolic mechanism is the bricoleur of the mind working with the debris of concept formation, saving the remains of information not for decoding but for elaboration.
(97) Grammatology, I suggest, works in a similar manner, is a strategy of cognitive evocation, modeled on the effect of olfaction, which, as Sperber describes the operation, puts the elements of the encyclopedia in quotation marks. . . . Such is the function of the bite, the tenterhooks of citation, fundamental to Derridaƒs principle of iteration or articulation described in the previous chapter as the epithymics of taste.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (98) 20131019k 0 -6+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Graphic rhetoric trying to establish contact qualities in audio-visual media. (98) The program of applied grammatology which I am outlining takes as its point of departure Derridaƒs deconstruction of the Book. Derridaƒs antibooks, at the same time that they work theoretically and thematically to subvert the final obstacle to grammatology the metaphysics of logocentrism also demonstrate a certain graphic rhetoric, the essence of which is a double-valued Writing, ideographic and phonetic at once, which puts speech back in its place in relation to nonphonetic elements. . . . As we shall see, audio-visual productions may be written within the enframing of a sensorium reorganized to reflect the contact qualities of the chemical senses.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (99) 20131019m 0 -4+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Interested in invention of intermedia Writing, pointing toward The Post Card. (99) such works he does not deconstruct but translates, looking toward the discovery of an
intermedia Writing.
(99) Derridaƒs innovation is to expand this band, giving it at least equal status with the conventionally discursive portions.
(100) In this chapter I shall review the lessons of Derridaƒs theory and practice for this grafting of discourse to exemplary and pictorial material. This will be followed in the next chapter by a reading of Derridaƒs most elaborate composite production to date
The Post Card.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (102) 20131019o 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Framing component of radicalized homonym doing ontological bricolage producing subjectless mechanisms of cognitive evocation. (102) The problematic of the narrator in literature, as we shall see, applies equally to the author-narrator in academic discourse, making the frame and the signature the same question.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (104) 20131019p 0 -17+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Invaginated analogy deconstructs language as container for ideas. (104) The bridge and its potential collapse that concerns Derrida, of course, is the
bridge of analogy, as discussed in Kantƒs aesthetic of the Sublime. . . . But Derrida is interested in a discontinuous model of innovation and change. . . . The homonym, to be sure, is the most frivolous relation of all because it produces a crossing with the least quantity of connection, being an empty repetition of the signifier.
(105)
Iterability, the sheer possibility of quotation, of repeating, creates the catastrophic fold in any text, giving it the structure of a Klein bottle . . . by opening the inside to the outside. . . . The invaginated analogy, in short, is a deconstruction of the notion of language as a container for ideas.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (106) 20131019q 0 -2+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Ulmer plays upon Derrida critique of Lacan famous discussion of Poe as foundation to his erroneous trajectory. (106) Thus, the enfolding that most interests Derrida is precisely the interlacing chiasmus of the narrator and the narrative with the content of his story or discourse the very liaison of form and content missing from Lacanƒs discussion of The Purloined Letter.
(106) His procedure will be, he says, to endeavor to create an effect of superimposing, of super imprinting one text on the other, a version of the double band or ƒdouble bindƒ of double proceedings used in Glas, for example, which breaks with the conventional assumption of pedagogy.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (106) 20131019r 0 -10+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Grafting experiments of superimposing encounters with other texts, Derrida Glas and Sollers Numbers, like a dramatic performance of them, so that others texts are models to think with rather than to exhaustively interpret. (106) The alternative with which Derrida experiments is that of writing as grafting, as demonstrated in
Dissemination, in which Derridaƒs discourse is interlaced with frequent citations from Sollersƒs Numbers.
(107) Numbers is a model to think with rather than a work to be deconstructed, and as such displays and explains itself, thus rendering interpretation and formal description superfluous. . . . The strategy, that is, is not hermeneutic or semiotic, but dramatic, a performance of a certain kind. . . . Writing in the hypomnemic mode, we recall, can only mime knowledge (its monuments and archives); or it need only mime it in order to generate, by means of translation, something other, the new.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (108) 20131019s 0 -2+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Passe-partout collection is passkey serving auto interrogation as another form of agentless, subjectless concretization of sense. (108) Derridaƒs strategy (similar to that used to deal with the flowers of rhetoric ) is to examine the vocabulary or terminology or painting, indeed all words associated with painting (titles of pictures, letters written by painters, catalogs, notebooks, aesthetic philosophy the archives of painting), as a
passkey to the art of painting itself.
(108) The first word-thing he interrogates is the idiom passe-partout, reflecting the criticƒs inclination to seek a universal method or passkey that might open every question.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (109) 20131019t 0 -5+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Example function of matting and framing is anasemic metaphor of Heideggerian enframing. (109) Derridaƒs technique is to investigate the function or features of matting, not as an illustration but as a model, to discover in framing an anasemic metaphor of enframing. . . . The example, that is, rests in its discourse like a picture in its matting (with both circumstances subject to further framing).

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (120) 20131019w 0 -7+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Transduction also a central concept to Sterne for historicizing sound studies. (120) Derridaƒs science employs neither deduction nor induction, but transduction.
(121) Motivated by Adamiƒs drawings addressed to Glas, Derrida sets out, as he terms it, to translate (transduct) Adamiƒs drawings in turn.
(122) The principle of the anagram or paragram is, in fact, the mode of transduction Derrida uses to invent a simulacrum of the drawings. . . . To transduct line to letter, Derrida proposes to adopt the rhythm of the tr phonex in order to write about Adami in the same way that he used the gl phonex in
Glas.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (134) 20131019y 0 -8+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Model and example selection autobiographical, which Ulmer develops as a pedagogical tool in Internet Invention. (134) The use of the post card is the most elaborate instance yet of the incorporation of the pictographic element in Derridaƒs Writing. What remains to be clarified in the following discussion is the relationship of Derrida himself to the examples he chooses. . . . Like the images in mnemonics, the pictorial element in Writing is autobiographical --the examples choose the writer but then are remotivated as models of the exemplification process as such. They demonstrate, in the maternal position, what Derrida is unable to say in his discourse, showing en abyme that back side. Just how Derrida signs his models will be the subject of the next chapter.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (144-145) 20131020 0 -5+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Sabotage method shifts teleology from destiny to luck, simulacrum generating new insights from repetition. (144-145) Novelty in this conception is negentropic, counters the tendency to run down, ear out. But in Derridaƒs practice of the simulacrum, sheer repetition itself generates the new, opens the gap of novelty. To transform the postal principle there is no need to find some original or novel position outside, elsewhere. Following the steps of deconstruction, rather, Derrida shifts the polarity of teleology as a concept, replacing destiny with chance the luck, for example, that brought to his attention Matthew Parisƒs fortune-telling book. His strategy in general is
sabotage learning on a well-placed lever to force a disconnection, derailment, a ringing off, to play with the switching and to send elsewhere, to reroute (Carte, 174).

3 1 2 (+) [-6+]mCQK ulmer-applied_grammatology (147) 20131020a 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Changing assumptions quoted by Landow, who suggests hypertext also concretizes certain political assumptions. (147) the use of communications technology is a
concretization of certain metaphysical assumptions, consequently that it is by changing these assumptions (for example, our notion of identity) that we will transform our communicational activities.

3 1 2 (+) [-6+]mCQK ulmer-applied_grammatology (168) 20131020c 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Facilitate postmodernized education by retracing paths broached by experimental arts like Beuys. (168) Briefly put, the emergence of a postmodernized education (the entry of education into the contemporary paradigm) can be facilitated by a retracing of the paths (facilitations) already breached by the experimental arts of this century.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (169) 20131020d 0 -5+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Reference to Bourdieu and Passeron analysis of education as instrument of class power. (169) One of the most concise analyses of education as an instrument of class power (the kind of strategy with which Derrida is willing to temporarily ally himself) is
Reproduction in Education, Society, and Culture by Pierre Bourdieu and Jean-Claude Passeron. . . . The error of the avant-garde, Derrida says, is to imagine that the system has an outside.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (187) 20131020e 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Relationship between idiom (unique individual situation) and general principles of science, for example Wittgenstein temptation to commit suicide. (187) Grammatology, then, is interested in the relationship between idiom, the unique situation of the individual (Wittgensteinƒs life situation, which included the temptation to commit suicide), and the general principles of a science with which the individual chooses to interact.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (189-190) 20131020f 0 -3+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Use Lacan presentational mode for technological poetics: retaining structure while abandoning reference. (189-190) a grammatologist could use Lacanƒs technique the way Mallarme, according to Derrida, used mimesis: retaining its structure while abandoning its reference. In fact, Derrida Writes the way Lacan lectured, with the double science and the contra-band being a version of Lacanƒs double inscription --both address and draw on the resources of the conscious (secondary process, discursive, logical) and the unconscious (primary process, non-sense) mind, combining in one operation the scientific with the poetic.
(191) That Lacan managed to satisfy both groups (he comments at one point that nothing he could do seemed to scare them off) establishes his presentational mode as a laboratory for developing a discourse that is at once popular and learned a major goal of grammatology.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (192) 20131020g 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Compare grammatological evocation of unknowledge to McGann learning what he did not know. (192) The pedagogical effect Lacan himself wishes to achieve corresponds to the grammatological evocation of unknowledge.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (193-194) 20131020h 0 -5+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Hypomnesis versus anamensis for finding truth in body as monument, archival documents, semantic evolution, tradition, traces. (193-194) These resonances may be evoked in two ways, at least, one being by means of the sound of language itself (the exploitation of homophones, the level at which Lacan prefers to work, to be discussed later with respect to
lalangue), and the other the presentation of nonverbal materials (relevant to Lacanƒs pedagogical, if not to his clinical practice). . . . All of these external resources may be drawn on-- mimed, Derrida would say in a double inscription in order to say something else, to provoke the desire to know and the desire to investigate this desire itself.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (194) 20131020i 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Resemblance of Lacan presentation to Derrida picto-ideo-phonographic Writing. (194) Keeping in mind that the book to which I refer is the transcript of a seminar, we can see that Lacanƒs presentation bears a significant resemblance to Derridaƒs picto-ideo-phonographic Writing.

3 1 2 (+) [-4+]mCQK ulmer-applied_grammatology (314) 20121111a 0 -2+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Insight that verbal images line every discourse further confounds good old fashioned AI epistemological assumptions about language and thought. (314) AG as a methodology works in accordance with the situation Eco describes, operating on every manner of inscription, circulating in the universe of discourse as an interruption, a disturbance that excites (incites, not insights), generating information. The initial move is to examine the metaphors (verbal images) lining every discourse, in order to decompose or unfold and redirect the possibilities of meaning inherent in the material.

--3.1.3+++ {11}

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Compare this to Ryan myth of the Aleph, and Castells invoking the Aleph from Borges for the totalizing submergence of prior discrete media into digital processing, the real virtualities in which we now live much of our perceptual lives: this is really a description of how running software may be understood as texts, along with images, too, going far beyond the zoographia grammata unit operation of antiquity through postliteracy. (765) In this sense,
a text or film is like a limited language in which all the parts are known, but the full potential of their combinations is not.

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Thus texts and technology studies emphasizes ethnography over textual anthropology, primarily operating in text, hypertext, and cybertext investigations. (778) This empirical evolution makes possible a shift in method from a philological to an anthropological approach in which the object of study is a process (the changing text) rather than a project (the static text). On-line phenomena and particularly MUDs, with their fluid exchanges of textual praxis, offer unique opportunities for the study of rhetoric, semiotics, and cultural communication in general.

3 1 3 (+) [-4+]mCQK barthes-myth_today (85) 20131024f 0 -1+ progress/2011/07/notes_for_barthes-myth_today.html
Functional equivalence of all media as constitutive of language-objects because myths are second-order semiological systems. (85) This is why the semiologist is entitled to treat in the same way writing and pictures: what he retains from them is the fact that they are both
signs, that they both reach the threshold of myth endowed with the same signifying function, that they constitute, one just as much as the other, a language-object.

3 1 3 (+) [-4+]mCQK barthes-myth_today (106) 20131024n 1 -2+ progress/2011/07/notes_for_barthes-myth_today.html
Mythical significations epiphenomena of consumer capitalism; tie to Johnson cultural studies cycle. (106) One can therefore imagine a diachronic study of myths, whether one submits them to a retrospection (which means founding an historical mythology) or whether one follows some of yesterdayƒs myths down to their present forms (which means founding prospective history). If I keep here to a synchronic sketch of contemporary myths, it is for an objective reason:
our society is the privileged field of mythical significations.

3 1 3 (+) [-3+]mCQK baudrillard-transparency_of_evil (174) 20140421j 0 -1+ progress/1994/06/notes_for_baudrillard-transparency_of_evil.html
Other as sustaining discourse so human does not have to repeat voice for ever strongly connects to Derrida archive and Kittler on recording media and his merciless roast of Lacan. (174) The Other is what allows me not to repeat myself for ever.

3 1 3 (+) [-4+]mCQK bogost-persuasive_games (19) 20131026a 0 -6+ progress/2012/12/notes_for_bogost-persuasive_games.html
Importance of enthymeme and example as rhetorical figures that will be applied to new media. (19) The
enthymeme and the example offer instances of a broad variety of rhetorical figures developed by and since Aristotle. Like procedural figures, rhetorical figures define the possibility space for rhetorical practice. . . . Combining these with the structural framework of introduction, statement, proof, and epilogue, Aristotle offers a complete process for constructing oratory.

3 1 3 (+) [-4+]mCQK bogost-unit_operations (10) 20131026 0 -6+ progress/2012/01/notes_for_bogost-unit_operations.html
Badiou application of set theory to ontology, whom Zizek also invokes. (10) Perhaps the closest philosophical precedent for unit operations is contemporary philosopher Alain Badiouƒs application of set theory to ontology.
(11) Badiouƒs philosophy offers a concept of multiplicity that simultaneously articulates coherent concepts and yet maintains the unitarity of their constituents. . . . This concept of membership, borrowed from set theory, forms the basis of Badiouƒs ontology: To exist is to be an element of.

3 1 3 (+) [-4+]mCQK bogost-unit_operations (23) 20131026a 0 -6+ progress/2012/01/notes_for_bogost-unit_operations.html
Need to develop understanding of tension between unit and system operations; Saussure parole versus langue as example. (23) The tension between Aristotelian dualism and final causality offers an instructive model for the tension between unit and system operations. . . . For Saussure (and Lacan, Derrida, and others after him), signs bear the fruit of meaning only in a play of relations within a larger system. Semiotics grounds the evolution of both structuralist and poststructuralist models of literary and social analysis as trends toward unit operations.

3 1 3 (+) [-4+]mCQK bogost-unit_operations (32) 20131026d 0 -7+ progress/2012/01/notes_for_bogost-unit_operations.html
Examples of unit operations in Lacan and Zizek, dealing with threat of returning to systematicity; Harman criticizes Zizek for restricting causality to human perception. (32) The Freudian tension between unit operations and system operations is magnified in Lacan, both through the use of mathemes and the inherent return of the system to a state of predictable compunction.
(33-34) While his rich, creative work certainly exceeds this simple characterization, Slavoj
Zizek has made his name by invoking and using the discrete principles of Lacanian psychoanalysis as unit operations. . . . Does the critic seek to illuminate the subject of criticism, or merely the act of criticism itself?
(34) Graham
Harman argues that the problem with Zizekƒs retroactive causality is not this tension itself, but Zizekƒs strict restriction of causality to human perception.

3 1 3 (+) [-4+]mCQK bogost-unit_operations (79) 20131026h 0 -8+ progress/2012/01/notes_for_bogost-unit_operations.html
Unit analysis of Baudelaire through Bukowski poem. (79) In the time between the two poemsƒ writing, the figure that fascinates has become an effective unit operation, a tool for engaging modern life. . . . What is important about Bukowsiƒs representation of the figure that fascinates ins not that it could be construed as a software system, but rather that Bukowskiƒs poem relies on a consolidated version of Baudelaireƒs figure, that it enacts this figure by playing by its rules.
(80) But the unit-operational logic of the chance encounter becomes more visible when it starts to break down.
(81) Amelie shows us that the chance encounter is such a replete structure that it can be acted out as a unit operation. She has become the programmer of her own procedural urban encounters.

3 1 3 (+) [-4+]mCQK bogost-unit_operations (113) 20130910u 0 -4+ progress/2012/01/notes_for_bogost-unit_operations.html
Benjamin Arcades Project as intentional unit operational pseudo code calls for language machines to experiment with it, which fits McGann deformation prerogative. (113) Some presume that the manuscript was merely a collection of notes and citations, a kind of notebook for a book to be written. But given his affinity for units of structural meaning, it is reasonable to conclude that Benjamin had this very structure in mind, an experiment in a text of reconfigurable, unit-operational aphorism.
(114) Buck-Morss calls these images politically charged monads, a merger of Leibnizian unary being and discursive cultural production.
(114) As procedural systems, videogames extend Benjaminƒs unit-operational logic of film games create abstract representations of precise units of human experience.

3 1 3 (+) [-4+]mCQK bolter-writing_space (13) 20130910a 0 -1+ progress/2008/09/notes_for_bolter-writing_space.html
Is Heim naive in assuming that word processing relieves the writer of the materiality of writing? (13) Writing, even writing on a computer screen, is a material practice, and it becomes difficult for a culture to decide where thinking ends and the materiality of writing begins, where the mind ends and the writing space begins.

3 1 3 (+) [-4+]mCQK bolter-writing_space (15) 20131026 0 -5+ progress/2008/09/notes_for_bolter-writing_space.html
Writing as technology for arranging verbal ideas in visual space. (15) There are good historical (as well as etymological) reasons, however, for broadening the definition of technology to include skills as well as machines. . . . Ancient and modern writing are technologies in the sense that they are methods for arranging verbal ideas in a visual space.

3 1 3 (+) [-4+]mCQK bolter-writing_space (23) 20131026a 0 -3+ progress/2008/09/notes_for_bolter-writing_space.html
Remediation when new media takes place of older one while borrowing and reorganization many characteristics. (23) We might call each such shift a remediation, in the sense that a newer medium takes the place of an older one, borrowing and reorganizing the characteristics of writing in the older medium and reforming its cultural space.
(24) digital technology changes the look and feel of writing and reading.
(25) Each medium seems to follow this pattern of borrowing and refashioning other media, and rivalry as well as homage seems always to be at work.

3 1 3 (+) [-4+]mCQK bolter-writing_space (25) 20131026b 0 -5+ progress/2008/09/notes_for_bolter-writing_space.html
Hypermediacy intense awareness of medium. (25) In one sense the goal of representation has been transparent presentation. . . . [On the other hand,] Instead of transparency, they strive for hypermediacy, an intense awareness of and even reveling in the medium.

3 1 3 (+) [-4+]mCQK bolter-writing_space (52) 20131026c 0 -3+ progress/2008/09/notes_for_bolter-writing_space.html
USA Today bar chart of safety razors example of visual metaphor. (52) This [USA Today USA Snapshot] is a bar chart, and yet the bars are drawn as safety razors - apparently to convince the viewer that the graph is really about shaving.
(55) It is not only newspapers and magazines that are renegotiating the verbal and the visual. Other forms, including serious and popular fiction and academic prose, are also changing, and in all cases verbal text seems to be losing its power to contain and constrain the sensory.

3 1 3 (+) [-4+]mCQK bolter-writing_space (56) 20130910b 0 -6+ progress/2008/09/notes_for_bolter-writing_space.html
Ekphrasis and reverse ekphrasis manifest desire for natural sign. (56) Ekphrasis sets out to rival visual art in words, to demonstrate that words can describe vivid scenes without recourse to pictures. . . . Today, when neither the written nor the spoken word seems able to exert such power, ekphrasis may be too ambitious. Instead, as we have seen in digital media and even in print, we get a reverse ekphrasis in which images are given the task of explaining words.

3 1 3 (+) [-4+]mCQK bolter-writing_space (63-64) 20131026d 0 -6+ progress/2008/09/notes_for_bolter-writing_space.html
Pictorial and verbal space common in Chinese landscape and Greek vase painting remediated in electronic picture writing. (63-64) Pictorial space and verbal space are therefore apparent opposites: the one claims to reflect a world outside of itself, and the other is arbitrary and self-contained. The situation becomes more complex when painters put words into the space of their pictures - an intermittent practice in Western art, although common in both Chinese landscape and ancient Greek vase painting. . . . The word seems to be trying to transform the world of the picture into a writing space, while at the same time the picture invites the viewer to consider the words as images or abstract shapes rather than signs.

3 1 3 (+) [-4+]mCQK bolter-writing_space (69) 20130910e 0 -4+ progress/2008/09/notes_for_bolter-writing_space.html
The progress of HTML and other hypermedia languages is tied to culture, corporations, and their values; for example, the unreflective, default approach or best tool for the job versus crafting web pages that render well in a heterogeneity of systems. (69) The original HTML tags did not afford the designer much control over the visual layout of the page: they provided for text that flowed in one dimension down the page, as it had in word processors. Images were simply inserted into this unidimensional flow. Graphic designers, however, have insisted on controlling the horizontal placement of images and texts, not just the vertical flow. They have exploited the HTML tags available and campaigned for new tags, and indeed whole new formats, in order to obtain that control.

3 1 3 (+) [-4+]mCQK bolter-writing_space (70) 20130910f 0 -6+ progress/2008/09/notes_for_bolter-writing_space.html
Virtual reality and dynamic content generation in general represents a new form that does more than remediate statically produced media, even if they are moving (Manovich). (70) Animation, streaming audio and video, and multimedia-style programmed interaction are all finding their way into Web pages. The Web also remediates photography, film, radio, and television, and each of these technologies of representation have their cultural constructions and their own design principles - principles that Web designers will necessarily refashion as they incorporate these media in their pages and sites. . . . All of their remediations will be in pursuit of the same goal:
greater authenticity and immediacy of presentation.

3 1 3 (+) [-4+]mCQK bolter-writing_space (99) 20131026e 0 -13+ progress/2008/09/notes_for_bolter-writing_space.html
Written text structures space while implying a structure in time; significance of spatial structure in medieval codex, printed books and computer windows as part of thorough reading. (99) A written text is a structure in space that also implies a structure in time: in some sense writing turns time into space, with a written text being like a musical score. . . . Those who can only read music by playing it are like people who read verbal texts by saying the words aloud: they are almost entirely absorbed by the unfolding temporal structure of the music. . . . A thorough reading of text or music may require attention to the space as well as the time of the writing. . . . In a medieval codex the
spatial structure is the pattern of rubrication and various sizes of letters; in a printed book it is the arrangement into paragraphed pages; in todayƒs computers it is the pattern of text windows and images on the screen.

3 1 3 (+) [-4+]mCQK bolter-writing_space (105) 20130910h 0 -7+ progress/2008/09/notes_for_bolter-writing_space.html
The network structure as well as the linear-hierarchical order enforced by the underlying computer code and organization lends additional credibility to the authors work by fulfilling these layouts and not merely presenting words that, if read in a certain way, represent such structures; however, as Heim points out, these gains are accompanied by losses. (105) All scholarly research is expected to culminate in writing. . . . In order to be taken seriously, both scholarly and scientific writing must be nonfiction in a hierarchical-linear form.
(106) If linear and hierarchical structures dominate current writing, our cultural construction of electronic writing is now adding a third: the network as a visible and operative structure.
(106) The computer can not only represent associations on the screen; it can also grant these associations the same status as the linear-hierarchical order.

3 1 3 (+) [-4+]mCQK bolter_and_gromala-windows_and_mirrors (45) 20130908 0 -3+ progress/2011/03/notes_for_bolter_and_gromala-windows_and_mirrors.html
Compare Laurel lack of single essence to essence of technology theorized by Heidegger, then variable ontology of Smith, Bogost. (45) But Laurel put too much emphasis on one rather specialized media form, the theater. In fact, the computer is not only a new stage for theatrical performance; it can also be a new cinema, a new television, and a new kind of book. The computer does not fuse all its representations into a single form, but presents them in great variety.

3 1 3 (+) [-4+]mCQK bork-journal 20130307 TAPOC_20130307 0 -3+ journal_2013.html
Finding in Kemeny recognition of historical rupture with earlier forms of business machines through instantiation of features generating cognition, intelligence, and species of computers in symbiosis with humans. He refers to the von Neumann architecture without specifically mentioning unique feature of being the only texts that are executable, that embody their self reflection. Yet digital texts should still be historicized along an evolutionary continuum reaching back to Plato at least, and passing through modernist, structuralist, poststructuralist, postmodern, into protocological periods.

3 1 3 (+) [-4+]mCQK brown_duguid-social_life_of_information (xii) 20120316 0 -2+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Recent hype at THATCamp of the next version of Apple electronic book software for transforming reading in education, for example. (xii) The complementarity of bots and humans emphasizes a more general point about technological innovation. Pundits often talk in terms of replacement, but as often as not new technologies augment or enhance existing tools and practices rather than replace them.

3 1 3 (+) [-4+]mCQK derrida-archive_fever (23) 20121126 0 -1+ progress/2012/04/notes_for_derrida-archive_fever.html
Primary entry point, use, function, interaction with Derrida runs through the fact that he thinks about his thinking with the little portable Macintosh in which he stores his work by pressing a button, juxtaposed with the storing of the Freud family Bible. (23) Arch-archive, the book was stored with the arch-patriarch of psychoanalysis.

3 1 3 (+) [-4+]mCQK derrida-archive_fever (30-31) 20121130 0 -15+ progress/2012/04/notes_for_derrida-archive_fever.html
Derrida feels this study of Freud is universally applicable to all historiography: what is erased, was missing in analytic philosophy, the unknown knowns being realized in all disciplines; compare this example of extremely discursive subjectivity to accounts offered by embodied cognition theorists, especially Hayles and Clark. (30-31) 3. Freudian impression also has a third meaning, unless it is the first: the impression left by Sigmund Freud, beginning with the impression left in him, inscribed in him, from his birth and his covenant, from his circumcision, through all the manifest or secret history of psychoanalysis, of the institution and of the works, by way of the public and private correspondence, including this letter from Jakob Shelomoh Freid to Shelomoh Sigmund Freud in memory of the signs or tokens of the covenant and to accompany the new skin of a Bible. I wish to speak of the impression left by Freud . . . the history of texts and of discourses . . . in particular the history of this institutional and scientific project called psychoanalysis. Not to mention the history of history, the history of historiography. In any given discipline, one can no longer, one should no longer be able to, thus one no longer has the right or the means to claim to speak of this without having been marked in advance, in one way or another, by this Freudian impression. . . . This, then, is perhaps what I heard without hearing, what I understood without understanding, what I wanted obscurely to overhear, allowing these words to dictate to me over the telephone, in Freudian impression.

3 1 3 (+) [-4+]mCQK derrida-archive_fever (63) 20130915u 0 -6+ progress/2012/04/notes_for_derrida-archive_fever.html
A long parenthesis that extends not merely to the next page 64 but all the way to the top of 67 in which we reading trust the Derrida knows what he is doing, allowing putatively correct code to be concealed. (63) (I shall have to limit myself to this formality, renouncing the detailed discussion of the content of the analyses.
(64-65) How can he [Yerushalmi] claim to prove an absence of archive? . . . how can one not, and why not, take into account unconscious, and more generally virtual archives?

3 1 3 (+) [-4+]mCQK derrida-archive_fever (67-68) 20130915w 0 -14+ progress/2012/04/notes_for_derrida-archive_fever.html
Notice the argument for why Yerushalmi subsides into Freud corpus an example of inclusion of large bodies of working code as in line units within another: Derrida calls this programmed, determinate machine operation a door, dreaming of Benjamin, forcing the question of whether we not him writerly readers have to reread or read for the first time not the text of Benjamin we are used to reading. (67-68) There is no meta-archive. Yerushalmiƒs book, including its fictive monologue, henceforth belongs to the corpus of Freud (and of Moses, etc.), whose name it also
carries. The fact that this corpus and this name also remain spectral is perhaps a general structure of every archive. . . . The archivist produces more archive, and that is why the archive is never closed. It opens out of the future.
(68) The same affirmation of the future to come is repeated several times. It comes back at least according to three modalities, which also establish three places of opening. Let us give them the name of
doors.
(69) In naming these doors, I think or rather I dream of Walter Benjamin. In his
Theses on the Philosophy of History, he designates the narrow door for the passage of the Messiah, at each second.

3 1 3 (+) [-4+]mCQK derrida-archive_fever (78) 20130915y 0 -6+ progress/2012/04/notes_for_derrida-archive_fever.html
Does the economy of encoding in French include the italic and underlining, do readers in translation miss the point? (78) As soon as there is the One, there is murder, wounding, traumatism. . . . Self-determination as violence.
LƒUn se garde de lƒ autre pour se fair violence (because it makes itself violence and so as to make itself violence).

3 1 3 (+) [-4+]mCQK derrida-archive_fever (91-92) 20130916c 0 0+ progress/2012/04/notes_for_derrida-archive_fever.html
Compare three bids and iterative analogy to Hayles game point analogy in Print is Flat. (91-92)

3 1 3 (+) [-4+]mCQK derrida-dissemination (63) 20121211 0 -2+ progress/2012/02/notes_for_derrida-dissemination.html
It is no surprise that the beginning of Platos Pharmacy contains hyperlink residue of starting with Kolaphos as if continuing after a jump from another text, remembering the appearance of the title page italic HORS LIVRE, diminishing size words to the asterisk of the hyperlink coming back in tiny PREFACING. (63) (note 1) TN. It should be noted that the Greek word kslaphos, which here begins the essay on Plato, is the last word printed in Littr ƒs long definition of the French word coup, with which the Hors-livre has just playfully left off.

3 1 3 (+) [-4+]mCQK derrida-dissemination (71) 20130113 0 -1+ progress/2012/02/notes_for_derrida-dissemination.html
Socrates moved by software, programming, preferring to execute object code than hear an extemporaneous, admittedly inferior paraphrasing. (71) The leaves of writing act as a
pharmakon to push or attract out of the city the one who never wanted to get out, even at the end, to escape the hemlock.

3 1 3 (+) [-4+]mCQK dyson-the_ear_that_would_hear_sounds_in_themselves (378) 20130916a 0 -3+ progress/2011/11/notes_for_dyson-the_ear_that_would_hear_sounds_in_themselves.html
Introduce quasi-objects as another writerly concept; replace piano with virtual reality production studio. (378) Only through the abstracted space of technology can the ontological void that sound/object/spirit suggests double as an opening, providing a locus for the aural/object thus reconfigured. Cage explores this transformative space in
Living Room Music (1940), a percussion and speech quartet using instruments to be found in a living room: furniture, now vacated of the petit-bourgeois piano, is presented as a site for musical production rather than mere reception. In contemplating a possible music of the living room it is difficult, however, not to consider also those sounds originating from other, quasi-object, in fact technological, sources television, radio, and the phonograph which have traditionally inhabited the living room and which would presumably form part of its new instrumentality.

3 1 3 (+) [-4+]mCQK floridi-philosophy_and_computing (24) 20130919g 0 -2+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Convergence based on construction of modern computer. (24) To begin with, bits can equally well be represented logically (true/false), mathematically (1/0) and physically (transistor = on/off, switch = open/closed, electric circuit = high/low voltage, disc or tape = magnetized/unmagnetized, CD = presence/absence of pits, etc.), and hence provide the common ground where mathematical logic, the logic of circuits and the physics of information can converge.

3 1 3 (+) [-4+]mCQK floridi-philosophy_and_computing (83) 20130919w 0 -2+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Paradox of digital prehistory; see others on Internet Wayback Machine. (83) Our digital memory seems as volatile as our oral culture but perhaps even more unstable, as it gives us the opposite impression. This
paradox of a digital prehistory will become increasingly pressing in the near future.

3 1 3 (+) [-4+]mCQK frasca-simulation_versus_narrative (221-222) 20120308 0 -10+ progress/2012/03/notes_for_frasca-simulation_versus_narrative.html
Compare the seriousness of his concepts to silly Ulmer terms. (221-222) The central argument I will explore is that, unlike traditional media, video games are not just based on representation but on an alternative semiotical structure known as simulation. . . . More importantly, they offer distinct rhetorical possibilities. . . . I will explore how the concept of authorship fits within two different genres of simulation, paidia and ludus. In order to accomplish this, it will be necessary to introduce some concepts of ludology, the still nascent formal discipline of game studies.

3 1 3 (+) [-4+]mCQK frasca-simulation_versus_narrative (223) 20130921a 0 -1+ progress/2012/03/notes_for_frasca-simulation_versus_narrative.html
Electronic texts as cybernetic systems, language machines (Aarseth). (223) In the late 1990s, Espen
Aarseth revolutionized electronic text studies with the following observation: electronic texts can be better understood if they are analyzed as cybernetic systems.

3 1 3 (+) [-4+]mCQK frasca-simulation_versus_narrative (223) 20130921b 0 -5+ progress/2012/03/notes_for_frasca-simulation_versus_narrative.html
Defines simulation with emphasis on behavior, to differentiate from representation. (223) Therefore: to simulate is to model a (source) system through a different system which maintains to somebody some of the behaviors of the original system. The key term here is behavior. Simulation does not simply retain the generally audiovisual characteristics of the object but it also includes a model of its behaviors. This model reacts to certain stimuli (input data, pushing buttons, joystick movements), according to a set of conditions.
(224) games are just a particular way of structuring simulation, just like narrative is a form of structuring representation.

3 1 3 (+) [-4+]mCQK gane-computerized_capitalism (433) 20130921 0 -1+ progress/2012/08/notes_for_gane-computerized_capitalism.html
Lyotard as a new media theorist. (433) But this popular interest in ƒpostmodernismƒ had drawbacks, one being that it led to the neglect of other important aspects of Lyotardƒs work, including its critical approach to the study of new media.

3 1 3 (+) [-4+]mCQK hayles-electronic_literature (70) 20130924o 0 -6+ progress/2010/02/notes_for_hayles-electronic_literature.html
Ulmer electracy represents shift from print bound alphabetic language to web syntheses of image and text, comparable to prior historical shift from lyric poem to novel. (70)
Gregory Ulmer relates it to the shift from a novel-based aesthetic to a poetics akin to the lyric poem. He also relates it to a change from literacy to electracy, arguing that its logic has more in common with the ways in which image and text come together on the Web than to the linearity of alphabetic language bound in a print book. . . . The leap from afternoon to Twelve Blue demonstrates the ways in which the experience of the Web, joining with the subcognitive ground of intelligent machines, provides the inspiration for the intermediating dynamics through which the literary work creates emergent complexity.

3 1 3 (+) [-4+]mCQK hayles-electronic_literature (138-139) 20130928m 0 -9+ progress/2010/02/notes_for_hayles-electronic_literature.html
This may be an antidote to the suggestion that all narrative themes have been exhausted except science fiction by escaping print into electronic media forms. (138-139) Electronic literature can tap into highly charged differentials that are unusually hetergeneous, due in part to uneven developments of computational media and in part to unevenly distributed experiences among users. . . . These differences in background correlated with different kinds of intuitions, different habits, and different cognitive styles and conscious thoughts. . . . Only because we do not know what we already know, and do not yet feel what we know, are there such potent possibilities for intermediations in the contemporary moment.

3 1 3 (+) [-4+]mCQK hayles-electronic_literature (162) 20130928r 0 -13+ progress/2010/02/notes_for_hayles-electronic_literature.html
Characteristics of computer-mediated texts: imitating, layered, multimodal, storage separated from performance, fractured temporality; excellent example is the futz time required to adequately see (run) Lexia to Perplexia. (162)
imitating electronic textuality through comparable devices in print, many of which depend on digitality to be cost effective or even possible; and intensifying the specific traditions of print, in effect declaring allegiance to print regardless of the availability of other media.
(163-164)
Computer-mediated text is layered. . . . the layered nature of code also inevitably introduces issues of access and expertise.
(164) Computer-mediated text tends to be multimodal.
(164)
In computer-mediated text, storage is separate from performance. . . . code can never be seen or accessed by a user while it is running.
(164)
Computer-mediated text manifests fractured temporality.

3 1 3 (+) [-4+]mCQK hayles-electronic_literature (166) 20130928t 0 -7+ progress/2010/02/notes_for_hayles-electronic_literature.html
Justified gimmick of Foer numerical code illustrating breakdown of language under trauma. (166) Why write it
[numerical code in Jonathan Safran Foerƒs Extremely Loud and Incredibly Close] in code? Many reviewers have complained (not without reason) about the gimmicky nature of this text, but in this instance the gimmick can be justified. It implies that language has broken down under the weight of trauma and become inaccessible not only to Thomas but the reader as well.
(169) The text, moving from imitation of a noisy machine to an intensification of ink marks durably impressed on paper, uses this print-specific characteristic as a visible indication of the trauma associated with the scene, as if the marks as well as the language were breaking down under the weight of the charactersƒ emotions. At the same time, the overlapping lines are an effect difficult to achieve with letter press printing or a typewriter but a snap with Photoshop, so digital technology leaves its mark on these pages as well.
(170) The novel remediates the backward-running video in fifteen pages that function as a flipbook, showing the fantasized progression Oskar has imagined (327-41).
(172) Further complicating the ontology implicit in the bookƒs materiality is the partitioning of some chapters into parallel columns, typically with three charactersƒ stories running in parallel on a page spread, as if imitating the computerƒs ability to run several programs simultaneously.

3 1 3 (+) [-4+]mCQK hayles-electronic_literature (173) 20130928s 0 -3+ progress/2010/02/notes_for_hayles-electronic_literature.html
What ontological levels are available for metafictional play in the genres of electronic literature Hayles has introduced can be related to Foucault meditation upon what is an author. (173) Within the narrative world, however, this apparent imitation of computer codeƒs hierarchical structure is interpreted as the babyƒs ability to hide his thoughts from the reader as well as from Saturn, an interpretation that locates the maneuver within
the print novelƒs tradition of metafiction by playing with the ontological levels of author, character, and reader.
(175) In a now-familiar pattern, a technique that at first appears to be imitating electronic text is transformed into a print-specific characteristic, for it would, of course, be impossible to eradicate a word from an electronic text by cutting a hole in the screen.
(175) In
House of Leaves, the recursive dynamic between strategies that imitate electronic text and those that intensify the specificities of print reaches an apotheosis, producting complexities so entangled with digital technologies that it is difficult to say which medium is more important in producing the novelƒs effects.

3 1 3 (+) [-4+]mCQK hayles-how_we_became_posthuman (9) 20130924g 0 -1+ progress/2010/03/notes_for_hayles-how_we_became_posthuman.html
Thus the texts and technology position emerged from the same intellectual soil as cybernetics. (9) It is only a slight exaggeration to say that contemporary literary theory is produced by the reflexivity that it also produces (an observation that is, of course, also reflexive).

3 1 3 (+) [-4+]mCQK hayles-how_we_became_posthuman (82) 20130928j 0 -3+ progress/2010/03/notes_for_hayles-how_we_became_posthuman.html
Word play of Janet Freed as Freud generating thought points; compare to Kittler double inscription discussion in Draculas Legacy. (82) What are we to make of Janet F., this sign of the repressed, this Freudian slip of a female who, with a flick of a u (the U-shaped table at which she sits?), goes from Freed to Freud, Freud to Freed?

3 1 3 (+) [-4+]mCQK hayles-how_we_became_posthuman (189) 20130929h 0 -3+ progress/2010/03/notes_for_hayles-how_we_became_posthuman.html
Literary examples from Dick illustrate points made about reflexivity. (189) Thus Dick uses the inclusion of the observer to opposite effect. Whereas Maturana and Varela use the domain of the observer to recuperate everyday notions like cause and effect, Dick uses it to estrange further consensus reality.
(191) Only a modest accommodation has been reached, infused with multiple ironies, that emphasizes survival and the mixed condition of humans who are at their best when they show tolerance and affection for the creature, biological and mechanical, with whom they share the planet.

3 1 3 (+) [-4+]mCQK hayles-how_we_became_posthuman (195) 20130929j 0 -1+ progress/2010/03/notes_for_hayles-how_we_became_posthuman.html
Tie unreflective male embodiment to later when introducing Mark Johnson importance of erect posture. (195) Even those philosophers who do take embodiment seriously tend unreflectingly to take the male body as the norm, as [Elizabeth] Grosz shows in discussing a range of theorists, including Merleau-Ponty, Freud, Lacan, Nietzsche, Foucault, and Deleuze and Guattari.

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Body versus embodiment is like Gallagher body image versus body schema distinction: must every example be analyzed in its specific milieu, including technological environment, or will Gallagher be seen as trending towards normalized body with his choice of examples in early development and pathology as Malabou believes happens with Darwinian arguments for brain flexibility? (196) Embodiment differs from the concept of the body in that the body is always normative relative to some set of criteria. . . . In contemporary scientific visualization technologies such as positron-emission tomography (PET), for example, embodiment is converted into a body through imaging technologies that create a normalized construct averaged over many data points to give an idealized version of the object in question. In contrast to the body, embodiment is contextual, enmeshed within the specifics of place, time, physiology, and culture, which together compose enactment.
(197) Experiences of embodiment, far from existing apart from culture, are always already imbricated within it.

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Embodiment destabilizes body, as opposed terms like inscription and incorporation: are theories of embodiment paradoxical, since every one is unique; do the experiments and research Gallagher cites attempt to transcend culture by focusing on pathological cases like Ian Waterman? (197) Theories, like numbers, require a certain level of abstraction and generality to work. A theory that did not generalize would be like the number scheme that Jorge Luis
Borges imagines in Fumes the Memorious.

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Inscription and incorporation are terms she turns into operators powering semiotic square, so when considering ECM, if there is embodiment, again she leads us to the sensibility of adopting her line of argumentation whose heads, axes, as in a semotic square, are now inscription and incorporation; any point to look at incorporation in code world, where inscription seems to be the norm, perhaps as any particular system an assemblage of certain versions of a multiplicity of software sources? (199) Embodiment cannot exist without a material structure that always deviates in some measure from its abstract representations; an incorporating practice cannot exist without an embodied creature to enact it, a creature who always deviates in some measure from the norms.

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Bourdieu and Connerton performance transmits knowledge without symbolization; a central concept in EL to reduce emphasis on symbolic information conveyed by alphabetic encoding. (203) In
How Societies Remember, Paul Connerton links embodiment with memory. He points out that rituals, commemorative ceremonies, and other bodily practices have a performative aspect that an analysis of the content does not grasp.

3 1 3 (+) [-4+]mCQK hayles-how_we_became_posthuman (205) 20130929x 0 -3+ progress/2010/03/notes_for_hayles-how_we_became_posthuman.html
Mark Johnson vertical stance and other details of embodiment reflected in language, layout of world reflects this embodiment; think of humans in the movie Wall-E. (205) He [Mark
Johnsonƒs The Body in the Mind] shows that the bodyƒs orientation in time and space, deriving from such common experiences as walking upright and finding a vertical stance more conducive to mobility than a horizontal position, creates a repository of experiences that are encoded into language through pervasive metaphoric networks.
(206) Of the theorists discussed here, Johnson launches perhaps the most severe attack on objectivism. Thus it is ironic that he reinscribes objectivist presuppositions in positing a universal body unmarked by gender, ethnicity, physical disability, or culture.

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Triangulation method at emergence of new technology beats discourse analysis by itself. (206-207) Although [Mark] Johnson does not develop this implication, his analysis suggests that when people begin using their bodies in significantly different ways, either because of technological innovations or other cultural shifts, changing experiences of embodiment bubble up into language, affecting the metaphoric networks at play within the culture. At the same time, discursive constructions affect how bodies move through space and time, influence what technologies are developed, and help to structure the interfaces between bodies and technologies. By concentrating on a period when a new technology comes into being and is diffusing throughout the culture, one should be able to triangulate between incorporation, inscription, and technological materiality to arrive at a fuller description of these feedback loops than discursive analysis alone would yield.

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Hayles recognizes the importance of looking at code beyond extravagant Fredkin claims of cosmic computer, hinting at epistemological transparency, and will continue in 2008 Electronic Literature. (233) Information technologies seem to realize a dream impossible in the natural world the opportunity to look directly into the inner workings of reality at its most elemental level. . . . Rather, the gaze is privileged because the observer can peer directly into the elements of the world before the world cloaks itself with the appearance of complexity.
(235) What theoretical biology looks for, in this view, are similarities that cut across the particularities of the media. In Beyond Digital Naturalism, Walter Fontana and his coauthors lay out a research agenda ultimately motivated by a premise: that there exists a logical deep structure of which carbon chemistry-based life is a manifestation. The problem is to discover what it is and what the appropriate mathematical devices are to express it. Such a research agenda presupposes that the essence of lie, understood as a logical form, is independent of the medium.

3 1 3 (+) [-4+]mCQK hayles-how_we_became_posthuman (249-250) 20130930i 0 -13+ progress/2010/03/notes_for_hayles-how_we_became_posthuman.html
Methodology of dialectics expressed in semiotic squares, yielding synthetic terms materiality, information, mutation, and hyperreality, with tutor texts committed to the model. (249-250) On the top horizontal, the synthetic term that emerges from the interplay between presence and absence is materiality. I mean the term to refer both to the signifying power of materialities and to the materiality of signifying processes. On the left vertical, the interplay between presence and randomness gives rise to mutation. Mutation testifies to the mark that randomness leaves upon presence. . . . On the right vertical, the interplay between absence and pattern can be called, following Jean
Baudrillard, hyperreality. . . . Finally, on the bottom horizontal, the interplay between pattern and randomness I will label information, intending the term to include both the technical meaning of information and the more general perception that information is a code carried by physical markers but also extractable from them. The schematic shows how concepts important to the posthuman materiality, information, mutation, and hyperreality can be understood as synthetic terms emerging from the dialectices between presence/absence and pattern/randomness.

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Computation as attaching significance to external marks echoes Plato, but with performative function built into utterance. (275) Whereas in performative utterances saying is doing because the action performed is symbolic in nature and does not require physical action in the world, at the basic level of computation doing is saying because physical actions also have a symbolic dimension that corresponds directly with computation.

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Each tutor text is associated with one of the synthetic terms. (280) One way to think about the transformation of the human into the posthuman, then, is as a series of exchanges between evolving/devolving
inscriptions and incorporations. Returning to the semiotic square, we can map these possibilities (see figure 5).
(281) Significantly, all of these texts are obsessed, in various ways, with the dynamics of evolution and devolution.

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Significance of embodiment is blind spot in literary studies. (284) literary studies share with Moravec a major blind spot when it comes to the significance of embodiment. This blind spot is most evident, perhaps, when literary and cultural critics confront the fields of evolutionary biology.

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Evaluating Bateson cybernetic epistemology, attention is the new scarce commodity, where it used to be money, what Ulmer means by time replacing money as the fetish. (287) To explore these resources, let us return to Batesonƒs idea that those organisms that survive will tend to be the ones whose internal structures are good metaphors for the complexities without. . . . the scarce commodity is human attention. . . . An obvious solution is to design intelligent machines to attend to the choices and tasks that do not have to be done by humans.
(287) If we extrapolate from these relatively simple programs to an environment that, as Charles Ostman likes to put it, supplies synthetic sentience on demand, human consciousness would ride on top of a highly articulated and complex computational ecology in which many decisions, invisible to human attention, would be made by intelligent machines.

3 1 3 (+) [-4+]mCQK hayles-how_we_think (4-5) 20131101 0 -5+ progress/2012/07/notes_for_hayles-how_we_think.html
Comparative Media Studies exemplifies collaboration among scholars, students. (4-5) Graphics, animation, design, video, and sound acquire argumentative force and become part of the researchƒs quest for meaning. As a scholar confronts these issues, sooner or later she will likely encounter the limits of her own knowledge and skills and recognize the need indeed, the necessity for collaboration.
(5) Working collaboratively, the digitally based scholar is apt to enlist students in the project, and this leads quickly to conceptualizing courses in which web projects constitute an integral part of the work. Now the changes radiate out from an individual research project into curricular transformation and, not coincidentally, into different physical arrangements of instruction and research space.
(7) Needed are approaches that can locate digital work within print traditions, and print traditions within digital media, without obscuring or failing to account for the differences between them.

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Examples of Comparative Media Studies cross into Software Studies, Critical Code Studies and Platform Studies. (7-8) Examples of Comparative Media Studies include research that combines print and digital literacy productions, such as Matthew Kirschenbaumƒs (2007) concepts of formal and forensic materiality, Loss Glazierƒs (2008) work on experimental poetics, John Cayley (2004, 2002) on letters and bits, and Stephanie Strickland (Strickland 2002; Strickland and Lawson 2002) on works that have both print and digital manifestations. Other examples are theoretical approaches that combine continental philosophy with New Media content, such as Mark Hansenƒs
New Philosophy for New Media (2006b). Still others are provided by the MIT series on platform studies, codirected by Nick Montfort and Ian Bogost (Montfort and Bogost 2009), which aims to locate specific effects in the affordances and constraints of media platforms such as the Atari 5600 video game system, in which the techniques of close reading are applied to code and video display rather than text. Also in this grouping are critical code studies, initiated by Wendy Hui Kyong Chum (2008, 2011) and Mark Marino (2006) among others, that bring ideology critique to the rhetoric, form, and procedures of software. . . . Diverse as these projects are, they share an assumption that techniques, knowledges, and theories developed within print traditions can synergistically combine with digital productions to produce and catalyze new kinds of knowledge.

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Expanding textuality beyond printed page likely retains fascism of semiotics, eliding differences in media. (68) Lulled into somnolence by five hundred years of print, literary studies have been slow to wake up to the importance of media-specific analysis. Literary criticism and theory are shot through with unrecognized assumptions specific to print. Only now, as the new medium of electronic textuality vibrantly asserts its presence, are these assumptions clearly coming into view.

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Materiality reconceptualized as interplay of physical characteristics and signifying strategies. (72) The crucial move is to reconceptualize materiality as
the interplay between a textƒs physical characteristics and its signifying strategies. This definition opens the possibility of considering texts as embodied entities while still maintaining a central focus on interpretation. In this view of materiality, it is not merely an inert collection of physical properties but a dynamic quality that emerges from the interplay between the text as a physical artifact, its conceptual content, and the interpretive activities of readers and writers.

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Construct typology of electronic hypertext by considering the medium and extent to which its effects can be simulated in print. (73) The point here is to explore what Bolter and Grusin call reverse remediation, the simulation of medium-specific effects in another medium, as when Voyager Expanded Books simulated turning down page corners and marking passages with paper clips. My technique, then, amounts to constructing a typology of electronic hypertext by considering both the medium in itself (its instantiation in digital computers) and the extent to which its effects can be simulated in print (the reverse remediation that blurs the boundary between electronic media and print).

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Point 1: electronic hypertexts are dynamic images. (75) Code always has some layers that remain invisible and inaccessible to most users. From this we arrive at an obvious but nevertheless central maxim: print is flat, code is deep.

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Point 2: electronic hypertexts include analog resemblance and digital coding. (76) Print books and digital computers both use digital and analog modes of representation, but they mobilize the two modes differently.

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Point 3: electronic hypertexts generated through fragmentation and recombination. (77) With digital texts, the fragmentation is deeper, more pervasive, and more extreme than with the alphanumeric characters of print. Moreover much of the fragmentation takes place on levels inaccessible to most users.

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Point 4: electronic hypertexts have depth and operate in three dimensions. (78-79) To distinguish between the image the user sees and the bit strings as they exist in the computer, Espen Aarseth (1997) has proposed the terminology
scripton (the surface image) and texton (the underlying code). . . . With electronic texts there is a clear distinction between scriptons that appear on screen and the textons of underlying code, which normally remain invisible to the casual user.
(79) In reverse remediation, some books play with this generalization by making print pages inaccessible.

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Point 5: electronic hypertexts are bilingual. (79-80) Typically, natural language appears at the top (screenic) level, although it is also frequently found at lower coding levels in
comment lines. More subtly, it serves as ground for the syntax and grammar of computer languages, which are specifically permeated, as Rita Raley (2001) has argued, with the linguistic structures and grammar of English. . . . Rigorously speaking, an electronic text is a process rather than an object, although objects (like hardware and software) are required to produce it. Moreover, an algorithm is normally considered to be a procedure defined by explicit rules that can be specified precisely.

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Point 6: electronic hypertexts are mutable and transformable. (81) The layered coding levels thus act like
linguistic levers, giving a single keystroke the power to change the entire appearance of a textual image.
(81-82) Print books can simulate the mutability of electronic texts through a variety of strategies, from semitransparent pages that overlay onto other pages to more elaborate strategies.
(82) Although this book [
A Humument] is not dynamic in the same sense as Javascript, the hypertextual effects it achieves through mutation and transformation are complex and dynamically interactive.

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Point 7: electronic hypertexts are navigable spaces. (84)

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Point 8: electronic hypertexts are written and read in distributed cognitive environments. (84) It is not longer a question of whether computers are intelligent. Any cognizer that can perform the acts of evaluation, judgment, synthesis, and analysis exhibited by expert systems and autonomous agent software programs should prima facie be considered intelligent. Books also create rich cognitive environments, but they passively embody the cognitions of writer, reader, and book designer rather than actively participate in cognition themselves.

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Point 9: electronic hypertexts initiate and demand cyborg reading practices. (85) Because electronic hypertexts are written and read in distributed cognitive environments, the read necessarily is constructed as a cyborg, spliced into an integrated circuit with one or more intelligent machines. . . . To be positioned as a cyborg is inevitably in some sense to become a cyborg, so electronic hypertexts, regardless of their content, tend toward cyborg subjectivity.

3 1 3 (+) [-4+]mCQK hayles-writing_machines (24) 20131101 0 -2+ progress/2008/09/notes_for_hayles-writing_machines.html
Computer as inscription technology as long as it instantiates material changes that can be read as marks. (24) The computer also counts as an inscription technology, because it changes electric polarities and correlates these changes with binary code, higher-level languages such as C++ and Java, and the phosphor gleams of the cathode ray tube.
To count as an inscription technology, a device must initiate material changes that can be read as marks.

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Technotexts interrogate inscription technology. (25-26) When a literary work interrogates the inscription technology that produces it, it mobilizes reflexive loops between its imaginative world and the material apparatus embodying that creation as a physical presence. . . .
the physical form of the literary artifact always affects what the words (and other semiotic components) mean. Literary works that strengthen, foreground, and thematize the connections between themselves as material artifacts and the imaginative realm of verbal/semiotic signifiers they instantiate open a window on the larger connections that unite literature as a verbal art to its material forms. To name such works, I propose technotexts, a term that connects the technology that produces texts to the textsƒ verbal constructions. Technotexts play a special role in transforming literary criticism into a material practice, for they make vividly clear that the issue at stake is nothing less than a full-bodied understanding of literature.

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Distinguish hypertext and and cybertext from technotext. (28) These developments have invested hypertext and cybertext with connotations that make them useful relatives to technotext but also significantly different from what I have in mind when I use that term. Hypertext connotes an emphasis on links. . . . Cybertext connotes a functional and semiotic approach that emphasizes a computational perspective .. an emphasis on computer games as paradigmatic examples of ERGODIC texts, which Aarseth defines as those literary systems that require nontrivial effort to allow the user to traverse them.

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Do not restrict hypertext to digital media; can we do this all the way back to ancient Greek literature? (31) If we restrict the term hypertext to digital media, we lose the opportunity to understand how a rhetorical form mutates when it is instantiated in different media. The power of MSA comes from holding one term constant across media (in this case, technotexts) and varying the media to explore how medium-specific possibilities and constraints shape texts.
(32) With significant exceptions, print literature was widely recognized as not having a body, only a speaking mind.

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Parts of the Phaedrus explicitly address (as artistic strategies) the materiality of the text as something to carry around, as an object that from which a whole new interpretation can be derive merely by negating, and whose composition displays interesting combinatorial properties such as the Midas epitaph; Symposium is another such text ready for exploration. (33) Materiality thus emerges from interactions between physical properties and a workƒs artistic strategies.
(33) Print books are far too hardy, reliable, long-lived, and versatile to be rendered obsolete by digital media. Rather, digital media have given us an opportunity we have not had for the last several hundred years: the chance to see print with new eyes, and with it, the possibility of understanding how deeply literary theory and criticism have been imbued with assumptions specific to print.

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First-generation electronic literature typically maintain unconscious reading assumptions; Jackson Patchwork Girl heralded second generation. (37) Despite the hoopla,
first-generation works left mostly untouched the unconscious assumptions that readers of books have absorbed through centuries of print.
(37-38) The text that heralded the transition to second-generation electronic literature for Kaye was
Shelley Jacksonƒs Patchwork Girl. . . . Navigation was envisioned as taking place not only between lexias but between images and words, and more profoundly between the text and the computer producing it.

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Compare this position to Heim Electric Language. (43) the literary community could no longer afford to treat text on screen as if it were print read in vertical position. Electronic text had its own specificities, and a deep understanding of them would bring into view by contrast the specificities of print, which could again be seen for what it was, a medium and not a transparent interface.

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House of Leaves communications circuit model for subjectivity over discrete individual. (130) The implication for studies of technology and literature is that the materiality of inscription thoroughly interpenetrates the represented world. Even when technology does not appear as a theme, it is woven into the fictional world through the processes that produce the literary work as a material artifact.
House of Leaves provides a powerful example showing why a fully adequate theory of semiotics must take into account the materiality of inscription technologies as well as a material understanding of the signifier. . . . House of Leaves suggests that the appropriate model for subjectivity is a communication circuit rather than discrete individualism, for narration remediation rather than representation, and for reading and writing inscription technology fused with consciousness rather than a mind conveying its thoughts directly to the reader.
(131) The writing machines that physically create fictional subjects through inscriptions also connect us as readers to the interfaces, print and electronic, that transform us by reconfiguring our interactions with their materialities.

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This is a common assessment of science fiction. (146) Narratives are sometimes used to convey morals, but complex literary narratives such as those discussed here are not easily recuperated back into a cultureƒs received views. They do not so much articulate meaning as go in search of it.

3 1 3 (+) [-4+]mCQK jameson-postmodernism (6) 20130929h 0 -11+ progress/2012/04/notes_for_jameson-postmodernism.html
OGorman residue of scholarship linked to new media; new depthlessness. (6) The postmodern is, however, the force field in which very different kinds of cultural impulses what Raymond Williams has usefully termed residual and emergent forms of cultural production must make their way.
(6) The exposition will take up in turn the following constitutive features of the postmodern: a new depthlessness . . . a consequent weakening of historicity . . . a whole new type of emotional ground tone what I will call intensities . . . the deep constitutive relationships of all this to a whole new technology.

3 1 3 (+) [-4+]mCQK jenkins-convergence_culture (233) 20130929n 0 -7+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Image texts as important to citizenship as letters to the editor: Ulmer connection. (233) Yet, I would also suggest that crystallizing oneƒs political perspectives into a photomontage that is intended for broader circulation is no less an act of citizenship then writing a letter to the editor or a local newspaper that may or may not actually print it. For a growing number of young Americans, images (or more precisely the combination of words and images) may represent as important a set of rhetorical resources and texts. . . . What changes, however, is the degree to which amateurs are able to insert their images and thoughts into the political process and in at least some cases, these images can circulate broadly and reach a large public.
(233-234) A politics based on consumption
can represent a dead end when consumerism substitutes for citizenship (the old clich of voting with our dollars), but it may represent a powerful force when striking back economically at core institutions can directly impact their power and influence.

3 1 3 (+) [-4+]mCQK jenkins-convergence_culture (254) 20130929r 0 -9+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Compare paradigm shift of convergence to Ulmer AG shift; consciousness changes whether the public pushes for more participation or settles into new modes of consumption, noting emphasis on collective changes rather than individual. (254) Rather, convergence represents a paradigm shift a move from medium-specific content toward content that flows across multiple media channels, toward the increased interdependence of communications systems, toward multiple ways of accessing media content, and toward ever more complex relations between top-down corporate media and bottom-up participatory culture. . . . Yet, whatever its motivations, convergence is changing the ways in which media industries operate and the ways average people think about their relation to media. . . . The question is whether the public is ready to push for greater participation or willing to settle for the same old relations to mass media.

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From individual to collective, networked consumption practices. (255) Betsy Frank and other industry thinkers still tend to emphasize changes that are occurring within individuals, whereas this bookƒs argument is that the greatest changes are occurring within consumption communities. The biggest change may be the shift from individualized and personalized media consumption toward consumption as a networked practice.

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The basic conception of media convergence in contrast to which Jenkins carves his niche. (5-6) If the historical synchronicity of film, phonograph, and typewriter in the early twentieth century separated the data flows of optics, acoustics and writing and rendered them autonomous, current electronic technologies are bringing them back together; in the future a total connection of all media on a digital base will erase the very notion of a medium.

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The fifteen year span will expire soon, so it is time to rigorously theorized DN 2000. (6) However, methodological constraints determine that an event inaugurating another discourse network can only be identified retrospectively. Despite intriguing possibilities raised by the current telecommunications assemblage and computer chip architectures, Kittler must therefore remain silent about DN 2000.

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Consider Turkle assessment on blindspots of poststructuralism. (8) Indeed, what is perhaps most striking and useful in Kittlerƒs work is how fundamental postructuralist concepts and assumptions are deployed to revitalize and update media and literary theory, while implicitly raising the question of the degree to which technology was always the
impense or blindspot of poststructuralism itself.

3 1 3 (+) [-4+]mCQK kahn-noise_water_meat (4-5) 20130908 0 -11+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Technological advances of modernism created new ways to experience and think about sound. (4-5) The historiographic interruption of the sound is due in part to technical difficulties. . . . Nevertheless, the mere existence of phonography its ability to hold any one sound in time and keep all sounds in mind produced a new status for hearing, which was energetically entered into libraries, laboratories, literature, artistic ideas, and philosophies.
(7) Thus, the voice in its production in various regions of the body is propelled through the body, its resonance is sensed intracranically. A fuller sense of presence is experienced as the body becomes attached to thought as much as the generation of speech is attached to thought. . . . Thus, the presence produced by the voice will always entail a degree of delusion because of a difference in the texture of the sound the speaker hears one voice, others hear it deboned.

3 1 3 (+) [-4+]mCQK kahn-noise_water_meat (8) 20130930a 0 -5+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Bone to air to writing transformations of voice. (8) The voice no longer occupied its own space and time. It was removed from the body where, following Derrida, it entered the realm of writing and the realm of the social, where one loses control of the voice because it no longer disappears. From bone to air to writing, permanence outside the subject invites greater mutability, where the primacy and purity of the voice are subjected to the machinations and imaginations of culture and politics.
(8-9) Humans had always been able to see their own faces, see their own seeing ever since the moment of species consciousness when some very distant relative looked into a pool. But it was not until the late nineteenth century with the phonograph that people could hear their own voices (or reasonable facsimiles thereof), if not hear their own hearing.

3 1 3 (+) [-4+]mCQK kahn-noise_water_meat (9) 20130930b 0 -8+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Listening changes with phonography both the experience of hearing ones voice and the range of things heard. (9) Because phonography did not just hear voices it heard everything sounds accumulated across a discursive diapason of
one sound and all sound, from isolation to totalization. It wrenched the voice from its cultural preeminence and inviolable position in the throat and equalized it with all other sounds amid exchange and inscription. . . . Modernism thus entailed more sounds and produced a greater emphasis on listening to things, to different things, and to more of them and on listening differently.
(10) Phonography, therefore, existed discursively and most evidently in the idea of all-sound, even as it abandoned any immediate technological association. In this way, at the minimum, it influenced the arts long before actual technological realization could be entertained.

3 1 3 (+) [-4+]mCQK kahn-noise_water_meat (10) 20130930c 0 -13+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Traumatic global events in twentieth century stunted growth of consistent audio arts. (10) Some of the most provocative uses of sound occurred during the heyday of the avant-garde, primarily because artists were not hampered by the problems of technological realization. By the latter half of the 1920s, the arts were suddenly better equipped, due to an audiophonic-led revolution in communications technologies involving radio, sound film, microphony, amplification, and phonography. . . . What did occur with audiophonic experimentation, however, never grew to the level of consistent practice, primarily because technology was not the only thing experienced during that time.
(11) Cinema, on the other hand, was more amenable and less defensive. . . . When the principles of montage were applied within the context of asynchronous sound film, sound once it was no longer tied directly to visual images, speech, and story was able to exist in a more complex relationship with them. In turn, once sound was no longer tied to cinema, a radical form of sound and radio art was implied. Sound also became radical once it was tightly tied to cinema in the form of animated cartoons.

3 1 3 (+) [-4+]mCQK kahn-noise_water_meat (13) 20130930d 0 -3+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Importance of John Cage, acknowledged bias of study on Euro-American males through late 1950s. (13) John Cage appears throughout the book and is the subject of an entire section. He would occupy a central position within any discussion of sound and art in this century because of the importance and influence across the arts of his music, writings, and ideas about sound throughout his long and prolific career.
(13) By ending in the late 1950s and making only scattered forays into the early 1960s, the book produces an imbalance weighted on the side of Euro-American males.

3 1 3 (+) [-4+]mCQK kahn-noise_water_meat (16) 20130930e 0 -2+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Inscription and transmission so crucial to Hayles (add incorporation). (16) Technologically, the book concentrates primarily on ideas of phonography, by which I mean all mechanical, optical, electrical, digital, genetic, psychotechnic, mnemonic, and conceptual means of sound recording as both technological means, empirical fact, and metaphorical incorporation, including nineteenth-century machines prior to the invention of the phonograph. Moreover, I approach phonography primarily in terms of inscription.

3 1 3 (+) [-4+]mCQK kahn-noise_water_meat (61-62) 20130930g 0 -1+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Compare balloon vantage point to decontextualization of foreshortening of hypertext. (61-62) Another new technology of modern warfare was the observation balloon equipped with wireless telegraphy, both the vantage point of the balloon and the collapsing of distance in telegraphy having the same capacity for foreshortening and abstraction.

3 1 3 (+) [-4+]mCQK kahn-noise_water_meat (64) 20130930h 0 -1+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Benjamin wooing of the cosmos involved in sounds of modern warfare. (64) The experience of combat engenders a new relationship a person has with the earth, animals, other humans, as well as what Walter Benjamin called the unwitting
wooing of the cosmos involved in modern warfare.

3 1 3 (+) [-6+]mCQK kirschenbaum-extreme_inscription (92) 20131103 0 -4+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Extreme inscription as limit case. (92) The hard drive and magnetic media more generally are mechanisms of extreme inscription that is, they offer a practical limit case for how the inscriptive act can be imagined and executed. . . Here we will follow the bits all the way down to the metal.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (50) 20131001 0 -1+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Lacan reading transcribed notes before a microphone addressed media and future listeners, not his immediate human audience. (50) Only tape heads are capable of inscribing into the real a speech that passes over understanding heads, and all of Lacanƒs seminars were spoken via microphone onto tape.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (51) 20131001b 0 -2+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Hypomnesis versus synthesis as a new opposition, where formerly anamesis. (51) It requires a special gift to be able to play back this chain of signifiers without a technical interface. What the master speaks off-the-cuff and that means to and about women is received only by women.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (52) 20131001c 0 -3+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Interesting trail through Freud daughter, Lacan daughter, to feed back through Jacques-Alain Miller. (52) Even if this daughter (as Anna Freud did) defines her activity as the restoration of the unity of the Ego. In actuality she only makes certain that an intact Moebius loop known as text is produced from the ventriloquism of the master. Speech has become, as it were, immortal.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (52) 20131001d 0 -6+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Electronic communications metaphor; later he mentions studies in alternating current. (52) The discourse of psychoanalysis runs through two parallel-switched feedback loops, one feminine and one mechanical. . . . It is well known that Jacques-Alain Miller directs the media chain that transcribes and puts into text Lacanƒs seminars, one after the other.
(52) After the fact, these re-lectures indicate that what he said off-the-cuff was not so stupid after all.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (54) 20131001g 0 -3+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Nice Derridean/Ulmerian word play on discourse that portends the oscillation between Lacan and Dracula. (54) If from now on we were to write instead of disque-oucourant or discourse-recording (with a pitiful German play on words) disc(ourse) [Disku(r)s], then Lacanƒs discourse on disc(ourse) runs more or less like this: The contemporary disc(ourse), in other words the record, spins and spins, to be precise, it spins around nothing. This disc(ourse) appears precisely in the area from which all discourses are specified and into which all again disappear, where one discourse can speak exactly like any other.
(55) People who cannot bear these provocations will simply stop listening to the drone of the record, and most certainly put a different one, called
Encore, onto the turntable.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (55) 20131001h 0 -10+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Beginning of pleasurably clever parallel, oscillating, spinning narrative to Dracula that puts postmodern criticism in overdrive (Kellner). (55) We are bringing the plague, and they donƒt even know it, said Freud to Jung, as their ship moved into New York harbor. . . . Only the analytic discourse on Lacan if only because of its name
Wunderblock (mystic writing-pad)--is protected from the danger of forgetting mystic writing-pads, typewriters, systems, and discourses, as the very name Wunderblock brings these things into play.
(56) And even if the guest of the Count did not visit Freud on his journey, at least poetic justice has spread the rumor that the novelist of the Count had been initiated into the new system of knowledge.
(56) In order to replace the Id with the Ego, to replace violence with technology, it is necessary that one first fall into the clutches of this violence.
(57) The legal assistant of a lawyer from Exeter is supposed to provide the Transylvanian territorial lord with advice and data, which are necessarily missing from his imported and out-of-date reference works.
(58) Dracula, until his dying breath, a double counterfeit between east and west, was never the vampire Dracula.
(58) And Arminius Vambery (1832-1913), the adventurer and professor from Budapest, actually was a sort of vampire.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (60) 20131001j 0 -9+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Technology of symbols defeats fantasy terrors. (60) Like Vambery, who wrote his secret travel notes in Hungarian and sewed them into his dervish robes, Harker writes all of his travel journal in stenography. The eye of the Count, however red it may glow through the night, cannot read shorthand. Imaginary terrors pale before this technology of symbols, developed by the most economical of centuries.
(62) This is how it goes when someone reaches the heart of darkness. Conradƒs novella, Copollaƒs film, Stokerƒs novel they all lead to that point where the power of the Other or Stranger would become decipherable as their own colonialism, if it were not so unbearable to read the writing on the flesh.
(62-63) Draculaƒs project, which (in the opinion of a critic who is, not coincidentally, Anglo-Saxon) anticipated Operation Sea Lion, is shattered by women of a sort never before seen in the history of Western discourse formation. . . .

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (63) 20131001k 0 -7+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Democracy needs media machines, for which steno-typists epitomize the human version. (63) whatever democracy may be, it is supported by the mechanical processing of anonymous discourses (if only because there is no social record apart from discourses). Without the armies of women steno-typists (as women have been called for the last 90 years, who, like Mina, are proficient in both stenography and typing), Houses of Commons and Bundestage would fall apart.
(64) Things went much more smoothly: two weeks of intensive typewriter instruction made seven years of schooling obsolete. . . . Remingtonƒs production departments and advertising agencies only needed to discover women in the noteworthy year of 1881, in order to make typewriters into a mass commodity.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (68) 20121121 0 -8+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Examples from real and fictional knowledge workers of clues gathering scientific paradigm implies problem orientation, to the extent that clues are registered as phenomena made possible by technical reproduction; recall the clever suggestion that Harker may have rode the same train as Freud. (68) Edison and Freud, Sherlock Holmes and Van Helsing they all institute, according to Ginzburgƒs apt expression, a new paradigm of science: the
gathering of clues.
(70) According to the discourse-technological conditions of 1890 women have two options: typewriter or vampirism. . . . The two options are thus no longer simply mother or hysteria, as the dispositive sexuality had established them in classical-romantic times. Since our culture has begun to allow women into the sacred halls of word processing, far worse things are possible.
(71) But after the symbol of male productivity was replaced by a machine, and this machine was taken over by women, the production of texts had to forfeit its wonderful heterosexuality.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (71-72) 20131001l 0 -6+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Vampirism as a metaphor for condition of human machine symbiosis; now zombies. (71-72) And this is a good thing. Even under the conditions of mechanical discourse processing, a balance of terror is maintained. . . . Vampirism is a chain reaction, and can therefore only be fought with the techniques of mechanical text reproduction.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (73) 20131001m 0 -16+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Dracula as bureaucratization narrative. (73) According to the conditions of 1890, all that matters is the technological ordering of all previous discourse. . . . In this way the typewriter, as only it can, drives all of the remaining hysteria out of the scientific discourse. . . . Stokerƒs Dracula is no vampire novel, but rather the written account of our bureaucratization.
(74) But since the invention of the typewriter, fire and sword are obsolete. What the distressed counterattack does not reckon with is Mina Harkerƒs clever forethought. . . . Secretaries do not merely collate and distribute information, each evening they bring the neutralizing and annihilating signifiers together into safety.
(75-76) Only after the power of professors has gone to engineers, and the power of teachers to medical doctors, does the greatest wisdom become foolishness.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (79) 20131001n 0 -3+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Connect to Sterne as why speech synthesis may be shunned due to its simulacral shortcomings, forever missing the supplemental content of uninterpreted noise. (79) Only machines are capable of storing the real of and beyond all speech white noise, which surrounds the Count in his Yellow Submarine.
(79) Wireless data transmission functions even before Marconiƒs discovery electrified all of the worldƒs battle ships. Hypnosis, as the analytic discourse can call it forth, achieves physiologically what engineers will later implement technically.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (80) 20131001o 0 -11+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Recall initial double inscription feedback loop between Lacan, his daughter, and her husband. (80) What was formerly transcribed in the unconscious, is now permanently accessible in typescript. Mina Harker herself reads and writes what she received in the place of the Other. Double inscription in hysteria and typewriter is the historical trick that can only be accomplished with the inclusion of women in the sphere of knowledge.
(80) After this brilliant deduction by the feminine secret agent, the actual Search and Destroy (as it was called in Vietnam) is only childƒs play.
(81) Precisely because the discourse of the novel has killed him, the Other, which we can only identify with feminine desire, experiences a resurrection in other discourses.
(81) But Salomes and Lucys are rare. What they attempted to do, all those brave people in the epoch of Van Helsing and Stoker, Charcot and Freud, was as quickly as possible, and that means as scientifically as possible, to trace the origins of that other desire back to dirty stories. It is no wonder then, that Abraham Stoker kills the Count twice: once with the Kukri knife of his fictional counterpart, and again with the very fictionalization of an historical despot.
(81) It is also no wonder that Freud took back his hypothesis of seduction in the same year in which the novel was published.
(82) Stoker and his novel, Freud and the novel he ascribed to his patients the liquidation of the discourse of the master is achieved by means of other discourses.
(82) But since the Other alone constitutes our desire, Dracula interpretations are forgetfulness itself.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (83) 20131001p 0 -4+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Motion pictures accomplish phantomizing of Dracula, as Romanyshyn argues television instantiates the waking dream of oral consciousness; next stage is Lacan being processed by computer software, bringing to life the possibility of self conscious machine subjectivity. (83) The phantomizing of Dracular has been accomplished through motion pictures.
(83) What never comes onto the screen, are Mina Harkerƒs typewriter and Dr. Sewardƒs phonograph. This is how closely connected they are with the film projector.

3 1 3 (+) [-4+]mCQK kittler-draculas_legacy (83) 20131001q 0 -1+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Disappearance of literature under conditions of technology into undeath of endless ending. (83) Under the conditions of technology, literature disappears (like metaphysics for Heidegger) into the un-death of its endless ending.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (xl) 20110907 0 -5+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Psychoanalytic analysis of books about media: this is where the music enters finally after being rejected by default logic since Plato. (xl) This book is a story made up of such stories. . . . Those early and seemingly harmless machines capable of storing and therefore separating sounds, sights, and writing ushered in a technologizing of information that, in retrospect, paved the way for todayƒs self-recursive stream of numbers.

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (xxxix-xl) 20131001 0 -9+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
A pessimism that the thought world of the machines is beyond human reach, somehow related to Ong rejecting the study of programming languages and their texts; nonetheless, by a putatively psychoanalytic styled method media situations can be discerned from other media, yielding stories and myths, the stuff of humanities. (xxxix-xl) The present situation is more obscure. First, the pertinent files are kept in archives that will all remain classified for exactly as many years as there remains a difference between files and facts, between planned objectives and their realization. Second, even secret files suffer a loss of power when real streams of data, bypassing writing and writers, turn out merely to be unreadable series of numbers circulating between networked computers. Technologies that not only subvert writing, but engulf it and carry it off along with so-called Man, render their own description impossible. Increasingly, data flows once confined to books and later to records and files are disappearing into black holes and boxes that, as artificial intelligence, are bidding us farewell on their way to nameless high commands. In this situation, we are left only with reminiscences, that is to say, with stories. How that which is written in no book came to pass may still be for books to record. Pushed to their margins even obsolete media become sensitive enough to register the signs and clues of a situation. Then, as in the case of the sectional plane of two optical media, patterns and moires emerge: myths, fictions of science, oracles.

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (xl) 20131001a 0 -2+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Heidegger confused writing with textbook writing, unable to perform the exploratory psychoanalysis of media themselves that Kittler does here as well as in DN. (xl) Heidegger said as much with his fine statement that technology itself prevents any experience of its essence. However, Heideggerƒs textbook-like confusion of writing and experience need not be; in lieu of philosophical inquiries into essence, simple knowledge will do.

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (xli) 20131001e 0 -2+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
If by this statement Kittler does invite study of technological circuits, it necessarily extends beyond physical configurations into software, and, following Sterne, social and cultural practices (medium is a recurring set of contingent social relations and social practices); it is just that the machines themselves may have evolved or necessitated their own equivalents of social and cultural practices, so can settle for sensing the circuits of an electronic pinball machine. (xli) Whosoever is able to hear or see the circuits in the synthesized sound of CDs or in the laser storms of a disco finds happiness. A happiness beyond the ice, as Nietzsche would have said.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (xli) 20131001f 0 -3+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
War spawns technological media inventions: like the selfish meme, the unconscious of technology and the unconscious and consciousness of all artificial intelligence. (xli) In 1945, in the half-burned, typed minutes of the Army High Commandƒs final conferences, war was already named the father of all things: in a very free paraphrase of Heraclitus, it spawns most technological inventions. And since 1973, when Thomas Pynchonƒs
Gravityƒs Rainbow was published, it has become clear that real wars are not fought for people for fatherlands, but take place between different media, information technologies, data flows. Patterns and moires of a situation that has forgotten us .

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (1) 20131001g 0 -5+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Any machine including writing and sounds can exist on optical fiber networks. (1)
Optical fiber networks. People will be hooked to an information channel that can be used for any medium for the first time in history, or for its end. Once movies and music, phone calls and texts reach households via optical fiber cables, the formerly distinct media of television, radio, telephone, and mail converge, standardized by transmission frequencies and bit format. The optoelectric channel in particular will be immune to disturbances that might randomize the pretty bit patterns behind the images and sounds. Immune, that is, to the bomb.

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (1) 20131001h 0 -5+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Consumer media consumption is pleasurable byproduct of warfare media control, though possibly planned that way, spawning discussions about unintended uses that are popular to critics of technological determinism; must Kittler be read as either a psychoanalyst or a determinist? (1) The Pentagon is engaged in farsighted planning: only the substitution of optical fibers for metal cables can accommodate the enormous rates and volumes of bits required, spent, and celebrated by electronic warfare. . . . In the meantime,
pleasure is produced as a by-product: people are free to channel-surf among entertainment media.

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (1-2) 20131001i 0 -5+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Taken to its extreme where all media converge in machine intelligence networks, the pursuit becomes pointless; media cannot be identified in the homogeneity of converged media, a different convergence that Henry Jenkins conceives it. (1-2) Sound and image, voice and text are reduced to surface effects, known to consumers as interface. . . . a total media link on a digital base will erase the very concept of medium.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (2) 20110928 0 -5+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
This enumeration of storage media, writing, film, and photography, map on typewriter and film, which implies gramophone, giving reason for the title of the book, as the basic containers of intelligence that govern things beyond and including the military usage. (2) Todayƒs standard comprises partially connected media links that are still comprehensible in McLuhanƒs terms. . . . Accordingly, the large media networks, which have been in existence since the thirties, have been able to fall back on all three storage media writing, film, and photography to link up and send their signals at will.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (2-3) 20131001k 0 -4+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Telegenic face, radiogenic voices made for mass media, although media had to link up in uncanny Lacanian way. (2-3) A composite of face and voice that remains calm, even when faced during a televised debate by an opponent named Richard M. Nixon, is deeped telegenic and may win a presidential election, as in Kennedyƒs case. Voices that an optical close-up would reveal as treacherous, however, are called radiogenic and rule over the VE 301, the
Volksempfanger of the Second World Ware. For, as the Heidegger disciple among Germanyƒs early radio experts realized, death is primarily a radio topic.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (3) 20131001l 0 -4+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Ears and eyes become autonomous; media always already beyond aesthetics, defining what really is. (3) Ever since that epochal change we have been in possession of storage technologies that can record and reproduce the very
time flow of acoustic and optical data. Ears and eyes have become autonomous. And that changed that state of reality more than lithography and photograph, which (according to Benjaminƒs thesis) in the first third of the nineteenth century merely propelled the work of art into the age of its technical reproducibility. Media define what really is ; they are always already beyond aesthetics.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (3) 20131001m 0 -1+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Acoustic is unthought; optical has been divided into noein and legein, the all-at-once and sequential forms of totalities. (3) What phonographs and cinematographs, whose names not coincidentally derive from writing, were able to store was time: time as a mixture of audio frequencies in the acoustic realm and as the movement of single-image sequences in the optical.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (4) 20131001n 0 -6+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Bottleneck of signifier in media systems fundamental to alphabetic writing systems. (4) Texts and scores Europe had no other means of storing time. Both are based on a writing system whose time is (in Lacanƒs term) symbolic. Using projections and retrievals, this time memorizes itself like a chain of chains. Nevertheless, whatever ran as time on a physical or (again in Laanƒs terms) real level, blindly and unpredictably, could by no means be encoded. Therefore, all data flows, provided they really were streams of data, had to pass through the
bottleneck of the signifier. Alphabetic monopoly, grammatology.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (5) 20131001o 0 -10+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Thus the translators subtitle their introduction Friedrich Kittler and Media Discourse Analysis to signal the need to iterate upon discourse analysis as media discourse analysis. (5) And Foucault, the last historian or first archaeologist, merely had to look things up. The suspicion that all power emanates from the returns to archives could be brilliantly confirmed, at least within the realms of law, medicine, and theology. . . . Even writing itself, before it ends up in libraries, is a communication medium, the technology of which the archaeologist simply forgot. . . . Discourse analysis cannot be applied to sound archives or towers of film rolls.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (5-6) 20131001p 0 -1+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Everything used to be communicated via writing; thus its unconscious is also instructive of questions it never answers, such as this kind of thought about capabilities of different media from written archives to optical fiber networks: is it similar that orality does not question itself, whereas literacy can question itself as a memory technic, but not at the level Kittler claims occurs naturally now as electronic media proliferate? (5-6) More simply, but no less technically than tomorrowƒs fiber optic cables, writing functioned as a universal medium in times when there was no concept of medium.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (6-7) 20131001q 0 -11+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
A psychoanalytic approach methodologically, but opens to sound studies (Sterne). (6-7) Such research [Ong] remained unthinkable as long as the opposite of history was simply termed (again following Goethe) legend. Prehistory was subsumed by its mythical name; Goetheƒs definition of literature did not even have to mention optical or acoustic data flows. . . . However, since it has become possible to record the epics of the last Homeric bards, who until recently were wandering through Serbia and Croatia, oral mnemotechnics or cultures have become reconstructable in a completely different way. . . . Primary orality and oral history came into existence only after the end of the writing monopoly, as the technological shadows of the apparatuses that document them.
(7) Writing, however, stored writing no more and no less.

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Reign of writing, which only stored writing, since Plato until fantasy machines come into being, was hallucination of virtual realities in human bodies described by Hegel, Novalis and Schlegel. (8-9) Silhouettes or pastel drawings fixed facial expressions, and scores were unable to store noise. But once a hand took hold of a pen, something miraculous occurred: the body, which did not cease not to write itself, left strangely unavoidable traces. [shame of handwriting in Botho Strauss fiction] . . . Before their [phonography and cinema] invention, however, handwriting alone could guarantee the perfect securing of traces. . . . As Hegel so correctly observed, the alphabetized individual has his appearance and externality in this continuous flow of ink or letters.
(9) If one reads in the right way, Novalis wrote, the words will unfold in us a real, visible world. And his friend Schlegel added that one believes to hear what one merely reads. . . . Effort had been removed from writing, and sound from reading, in order to naturalize writing. The letters that educated readers skimmed over provided people with sights and sounds.

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (9) 20131001t 0 -4+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Living writing realized as hallucinations of sights and sounds. (9) Aided by compulsory education and new alphabetization techniques, the book became both film and record around 19800 not as a media-technological reality, but in the imaginary of readersƒ souls. As a surrogate of unstorable data flows, books came to power and glory.
(10) Once storage media can accommodate optical and acoustic data, human memory capacity is bound to dwindle. Its literation is its end.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (11-12) 20131001u 0 -4+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Grid of symbolic required by arts to pass through human users and maintain their being: these technologies store reality directly, and break Cartesian (and the whole modern philosophy period) doubt of sensation because media guarantee representation being mechanically produced by their objects. (11-12) In contrast to the arts, media do not have to make do with the grid of the symbolic. That is to say, they reconstruct bodies not only in a system of words or colors or sound intervals. Media and media only fulfill the high standards that (according to Rudolf Arnheim) we expect from reproductions since the invention of photography: They are not only supposed to resemble the object, but rather guarantee this resemblance by being, as it were, a product of the object in question, that is, by being mechanically produced by it just as the illuminated objects of reality imprint their image on the phonographic layer, or the frequency curves of noises inscribe their wavelike shapes on to the phonographic late.
(13) The realm of the dead is as extensive as the storage and transmission capabilities of a given culture.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (14) 20131001v 0 -8+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Edison/Jobs, Gates: unlike mythical Theuth, media are now on course from differentiation to convergence where everything abides in fiber optic networks. (14) Thus, there was no Marvelous One from whose brow sprang all three media technologies of the modern age. On the contrary, the beginning of our age was marked by separation or differentiation.
(14) In standardized texts, paper and body, writing and soul fall apart. . . . The historical synchronicity of cinema, phonography, and typewriting separated optical, acoustic, and written data flows, thereby rendering them autonomous. That electric or electronic media can recombine them does not change the fact of their differentiation.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (15) 20131001w 0 -3+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Lacan real, imaginary, symbolic symptoms of differentiation of modern, postliterate media technologies: literation is the symbolic, cinema the imaginary. (15) Lacanƒs methodological distinction among the real, the imaginary, and the symbolic is the theory (or merely a historical effect) of that differentiation. The symbolic now encompasses linguistic signs in their materiality and technicity.
(15) Thus, the imaginary implements precisely those optical illusions that were being researched in the early days of cinema.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (15-16) 20131001x 0 -1+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Where does phonography manifest itself, you guessed it, the real, the cool place Zizek likes, too; but what of the symbolic owned by machine communication? (15-16) Finally, of the real nothing can be brought to light than what Lacan proposed that is, nothing.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (16) 20131001y 0 -10+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Evidence of his psychoanalytic approach in addition to invocation of Lacan. (16) The methodological distinctions of modern psychoanalysis clearly coincide with the distinctions of media technology.
(16) Thus, the symbolic has the status of block letters. . . . Thus, the imaginary has the status of cinema. . . . Thus, the real especially in the talking cure known as psychoanalysis has the status of phonography.

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (16-17) 20131103c 0 -12+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Markoff chain view of consciousness; Nietzsche wondered about programmed nature of humans. (16-17) Thought is replaced by a Boolean algebra, and consciousness by the unconscious, which (at least since Lacanƒs reading) makes of Poeƒs Purloined Letter a
Markoff chain. And that the symbolic is called the world of the machine undermines Manƒs delusion of possessing a quality called consciousness, which identifies him as something other and better than a calculating machine. For both people and computers are subject to the appeal of their signifier ; that is, they are both run by programs. Are these humans, Nietzsche already asked himself in 1874, eight years before buying a typewriter, or perhaps only thinking, writing, and speaking machines?
(17) Alternate translation they are not human beings but only flesh-and-blood compendia and as it were abstractions made concrete (85-86) for or perhaps only thinking, writing, and speaking machines?
(18) Thatƒs all. But no computer that has been built or ever will be built can do more. Even the most advanced Von Neumann machines (with program storage and computing units), though they operate much faster, are in principle no different from Turingƒs infinitely slow model. . . . And with that the world of the symbolic really turned into the world of the machine.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (24) 20131002b 0 -16+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
The real takes place of symbolic that cannot extend into alien temporalities meaningfully for humans; historical example of belt driven, five key mouth sculptures sound producing instrument. (24) The measure of length is replaced by time as an independent variable. It is a physical time removed from the meters and rhythms of music. It quantifies movements at are too fast for the human eye, ranging from 20 to 16,000 vibrations per second. The real takes the place of the symbolic.
(26) The synthetic production of frequencies is followed by their analysis. Fourier had already provided the mathematical theory, but that theory had yet to be implemented technologically. In 1830, Wilhelm Weber in Gottingen had a tuning fork record its own vibrations. He attached a pigƒs bristle to one of the tongues, which etched its frequency curves into sooty glass. Such were the humble, or animal, origins of our gramophone needles.
(28) A telegraph as an artificial mouth, a telephone as an artificial ear the stage was set for the phonograph. Functions of the central nervous system had been technologically implemented. . . . Helmholtz, as the perfecter of vowel theory, is allied with Edison, the perfecter of measuring instruments. Which is why sound storage, initially a mechanically primitive affair on the level of Weberƒs pig bristle, could not be invented until the soul feel prey to science.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (29) 20131002c 0 -1+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Suggests models of brain developed reciprocally with invention of phonograph; Kittler includes long passages by Guyau, Rilke, Renard, Friedlaender as tutor texts. (29) Thanks to the invention of the phonograph, the very theories that were its historical a priori can now optimize their analogous models of the brain.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (33) 20131002d 0 -4+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Reading and writing as indispensable operations of any universal machine, including the brain. (33) Unlike Gutenbergƒs printing press or Ehrlichƒs automatic pianos in the brain metaphors of Taine and Spencer, it [the phonograph] alone can combine the two actions indispensable to any universal machine, discrete or not: writing and reading, storing and scanning, recording and replaying.
(36) Voices that start to migrate through frequency spectra do not simply continue old literary word-game techniques such as palindromes or anagrams.
(37) Songs become part of their acoustic environment. And lyrics fulfilled what psychoanalysis originating not coincidentally at the same time saw as the essence of desire: hallucinatory wish fulfillment.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (70-72) 20131002e 0 -18+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Friedlaender story plays on idea of recording residual vibrations of Goethe voice; answers question from the future: how we experience machine consciousness, where do we find it is in these literary works and in physical devices that interact with humans. (70-72) As a modern engineer who wants to spread his knowledge using everyday language, Professor Pschorr minces no words: Whenever Goethe spoke, his voice produced vibrations as harmonious as, for example, the soft voice of your wife, dear Reader. However, the fact that what Goethe had to say was meaningful enough to fill the 144 volumes of the Grossherzogin-Sophien edition is irrelevant. Once again notions of frequency are victorious over works, heartfelt melodies, and signifieds. . . . [quoting Rudolph Lothar
The Talking Machine: A Technical-Aesthetic Essay] The unit of measurement for all wave motions is the meter, the unit of time is the second. . . . Sound vibrations exhibit significantly lower frequencies than those described above. . . . But engineers like Pschorr are ahead of other people, even radio wave poets: their spirits hail --to quote the engineer-poet Max Eyth-- not from the world that was but from the one that will be. . . .

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (80) 20131002f 0 -5+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Automatic action of repeated hearings replace memorization; technology helps forgetful living, inviting audio version of Plato critique of writing. (80) Illiterates in particular are their prime consumers, because what under oral conditions required at least some kind of mnemotechnology is now fully automatized. The more complicated the technology, the simpler, that is, the more forgetful, we can live. Records turn and turn until phonographic inscriptions inscribe themselves into brain physiology. We all know hits and rock songs by heart precisely because there is no reason to memorize them anymore.
(83) The wheel of media technology cannot be turned back to retrieve the soul, the imaginary of all Classic-Romantic poetry.

3 1 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (85-86) 20131002g 0 -10+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Epoch of nonsense begins with mechanical recording and reproduction (nod to Draculas legacy), inviting psychanalysis by turning ears into similar technical apparatus, like a telephone receiver. (85-86) Thanks to the phonograph, science is for the first time in possession of a machine that records noises regardless of so-called meaning. Written protocols were always unintentional selections of meaning. . . . Mechanization relieves people of their memories and permits a linguistic hodgepodge hitherto stifled by the monopoly of writing. . . . The epoch of nonsense, our epoch, can begin.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (94) 20131002h 0 -5+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
The famous passage that establishes Kittler as technological determinist reducing everything to military operations, contrast historical developments by Sterne and Hayles. (94) Berlinerƒs gramophone record of 1887, which no longer allowed consumers to make their own recordings but which since 1893 has allowed producers infinite reproductions of a single metal matrix, became the prerequisite of the record mass market, with a return that exceeded the 100 million dollar mark before the advent of radio.
(96-97) The entertainment industry is, in any conceivable sense of the word, an
abuse of army equipment.
(97) For the simple purpose of avoiding the anarchistic abuse of military radio equipment, Germany received its entertainment radio network.
(99) In order to locate Cocteauƒs submarine ghosts, a world war, the second one, had to break out.
(103) Survivors and those born later, however, are allowed to inhabit stereophonic environments that have popularized and commercialized the trigonometry of air battles.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (109) 20131002i 0 -9+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Collage using sound addressed in Hayles as aspect of posthuman; Pink Floyd welcome to the machine appropriate. (109) Editing and interception control make the unmanipulable as manipulable as symbolic chains had been in the arts. . . . Welcome to the machine, Pink Floyd sang, by which they meant, tape for its own ends a form of collage using sound.
(111) Rock songs sing of the very media power which sustains them.
(114) Before Hendrix, the paratrooper of the 101st Airborne, cuts his machine-gun-like guitar to the title song, tape technology operates for its own sake: tympana, jet engines, pistol shots. Writing can write nothing of that. The
Songbook for Electric Ladyland notes the tapeƒs forward and backward motion as well as its changing speed and the test points of a blind but manipulable time.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (153) 20131002j 0 -7+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Theory of unconscious crosses cinematic cutting technologies. (153) Only in the competition between media do the symbolic and the imaginary bifurcate. Freud translates the uncanny of the Romantic period into science, Melies, into mass entertainment. It is precisely this fantasizing, anatomized by psychoanalysis, that film implements with powerful effect. This bilateral assault dispels doppelgangers from their books, which become devoid of pictures. On-screen, however, doppelgangers or their iterations celebrate the theory of the
unconscious as the technology of cinematic cutting, and vice versa.
(155) Books (since Moses and Mohammed) have been writing writing; films are filming filming. Where art criticism demands expressionism or self-referentiality, media have always been advertising themselves.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (186) 20131002k 0 -2+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Repeats topic of Discourse Networks that German literature was targeted to women. (186) The literal meaning of text is tissue. Therefore, prior to their industrialization the two sexes occupied strictly symmetrical roles: women, with the symbol of female industriousness in their hands, wove tissues; men, with the symbol of male intellectual activity in their hands, wove tissues of a different sort called text.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (189) 20131002m 0 -4+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Language as feedback loop reflexively desexed like handwriting by type machines; the control system model of human being traces farther back than cybernetics, connect to Hayles study of the formation of the posthuman. (189) When, from the point of view of brain physiology, language works as a feedback loop of mechanical relays, the construction of typewriters is only a matter of course. Nature, the most pitiless experimenter, paralyzes certain parts of the brain through strokes and bullet wounds to the head; research (since the Battle of Solferino in 1859) is only required to measure the resulting interferences in order to distinguish the distinct subroutines of speech in anatomically precise ways. Sensory aphasia (while hearing), dyslexia (while reading), expressive aphasia (while speaking), agraphia (while writing) bring forth machines in the brain.
(189-190) What therefore became part of the wish list were writing instruments that could coincide with the operating speed of nervous pathways.

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Doyle publication of A Case of Identity year zero for typewriter literature. (206) 1889 is generally considered the year zero of typewriter literature, that barely researched mass of documents, the year in which Conan Doyle first published A Case of Identity.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (243) 20131002q 0 -3+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Transition to discussion of electronic computers following Schmitt Buribunk story about diary-typing machines, foreshadowing social networking. (243) World history comes to a close as a global typewritersƒ association. Digital signal processing (DSP) can set it. Its promotional euphemism, posthistory, only barely conceals that war is the beginning and end of all artificial intelligence.

3 1 3 (+) [-4+]mCQK kittler-gramophone_film_typewriter (244) 20121126 0 -6+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Diagrams of Z80 microprocessor circuit and standard CPU accompany brief description of stored program electronic computer, which now captures every possible medium, fulfillment of determinism of Laplacian universe in finite-state machines; also promises illuminations beyond human manipulation (fortuitous deformations), that inaugurate post postmodern subjectivity. (244) And since, from the microprocessor to large processing networks, everything is nothing but a modular vice, the three basic functions of storage/transferring/processing are replicated on internal levels no longer accessible to programmers. For its part, the CPU includes (1) an arithmetic logic unit (ALU), (2) several RAMs or registers to store variables and a ROM to store microprograms, and (3) internal busses to transfer data, addresses, and control commands to the systemƒs busses.
(244) Thatƒs all. But with sufficient integration and repetition, the modular system [of the microprocessor] is capable of processing, that is, converting into any possible medium, each individual time particle of the data received from any environment.
(245) The hypothetical determinism of a Laplacian universe, with its humanist loopholes (1795), was replaced by the factual predictability of finite-state machines.
(247) Every microprocessor implements through software what was once the dream of the cabala; namely, that through their encipherment and the manipulation of numbers, letters could yield results or illuminations that no reader could have found.

3 1 3 (+) [-4+]mCQK kittler-optical_media (32) 20131103 0 -2+ progress/2012/01/notes_for_kittler-optical_media.html
Kittler diverges from culture studies based media studies by invoking requirement of understanding design; at the same time, he later reaches (in 2008 Code) a resigned position suggesting avoidance. (32) The only thing that remains is to take the concept of media from there in a step also beyond McLuhan to where it is most at home: the field of physics in general and telecommunications in particular.
(32) Second, the consequence of employing the media concept of telecommunications is that media studies cannot be limited solely to the study of media that (to be brief and clear) have a public, civilian, peaceful, democratic, and paying audience.

3 1 3 (+) [-4+]mCQK kittler-optical_media (33) 20131103a 0 -6+ progress/2012/01/notes_for_kittler-optical_media.html
Include technical knowledge in literary studies bordering history of science and technology with sensitivity to level of complexity. (33) I will therefore focus on the history of technology and will not exclude comments on patent specifications if only, at the very least, to convey a certain know-how. . . . For didactic reasons, it is advisable to present solutions to complicated technical problems at the moment they first emerged, as they are therefore in a condition where they are still easily comprehensible and apperceptible basic circuits, which the inventors themselves must first convert from everyday language into sketches of technical plans, so to speak. In contrast, a television appliance in its contemporary, practically finished form has been through so many development teams and laboratories that it is impossible for anyone to account for all of its individual parts any more.

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How does media provide models and metaphors for smell, or is that why we lack knowledge of it? (34) First, technology and the body: the naked thesis, to place it immediately up front, would read as follows: we knew nothing about our senses until media provided models and metaphors.
(34) And lo and behold: a definition of the soul was immediately offered by the wax slate, that
tabula rasa upon which the Greeks etched their notes and correspondence with their slate pencils.

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The easy reach is that today the it is a computer, as souls and everything else converges digitally. (35) In any case, it is evident: in 1900, the soul suddenly stopped being a memory in the form of wax slates or books, as Plato describes it; rather, it was technically advanced and transformed into a motion picture.
(36) In other words, technical media are models of the so-called human precisely because they were developed strategically to override the senses.

3 1 3 (+) [-4+]mCQK kittler-optical_media (38) 20131103d 0 -2+ progress/2012/01/notes_for_kittler-optical_media.html
Illusions of art versus simulations of technical media an important thesis for texts and technology studies: would Hayles agree with this point even though she disagrees with what Kittler does with it? (38) The thesis would thus be that traditional arts, which were crafts according to the Greek concept, only produced illusions or fictions, but not simulations like technical media. Everything that was style or code in the arts registered a distinction that is quite the opposite of technical standards.

3 1 3 (+) [-4+]mCQK kittler-optical_media (41-42) 20131103e 0 -5+ progress/2012/01/notes_for_kittler-optical_media.html
Blame Virilio for Kittler focus on war steering all things. (41-42) In other words, the concept of information itself has a military, strategic component. . . . French architecture and military theorist Paul Virilio has made this point quite clearly, especially in the case of optical media.

3 1 3 (+) [-4+]mCQK kittler-optical_media (44) 20131103f 0 -2+ progress/2012/01/notes_for_kittler-optical_media.html
Just as identity of senders and receivers irrelevant (humans, gods, technical devices, how about animals), Shannons generic treatment of media, and therefore also of all media content, from holy writings to philosophy to pornography to encoded sound recording to program source code. (44) According to the mathematical theory of communication, it is completely unimportant what kinds of entities serve as data sources that transmit a message and data sinks that receive a message, which has humans or gods or technical devices.
(46) What one sees in the end is therefore only the outer onion skin of an entire series of conjuring tricks that must first be invented, calculated, and optimized, and Shannon drew up formulas for precisely these calculations, which can be applied to absolutely all technical media in general.

3 1 3 (+) [-4+]mCQK kittler-optical_media (49) 20131103h 0 -5+ progress/2012/01/notes_for_kittler-optical_media.html
Ontology influenced by popular culture practices, what will become media technologies: wax writing slate, camera obscura onward. (49) Because moving images could not be stored in his own time, Plato equated the immortal and therefore self-storing soul with a wax writing slate, the medium of his own philosophy.
(60) The answer, which resolves all three of these questions at the same time, is that Brunelleschi employed a camera obscura. He was therefore the missing link between Roger Bacon in the fourteenth century and Leonardo da Vinci in the sixteenth.
(61) But the painters of the Quattrocento and the following centuries were very frequently ordered to paint what did not exist: God, saints, and the beauty of earthly rulers. The simple question for Brunelleschiƒs successors, therefore, was how to take the geometrical automatism of the
camera obscura and transfer it to other media.

3 1 3 (+) [-4+]mCQK kittler-optical_media (190-191) 20131103i 0 -7+ progress/2012/01/notes_for_kittler-optical_media.html
Credit Wagner for darkening auditorium and noise-like music: by technological principle of continuous, seamless transition from one dominant technology to another, for example from light bulb to CRT to LCD, made possible through designed compatibilities (for example, sharing common protocol definitions in /etc/services from TCP/IPv4 through HTTP, HTML, XML, and so on, and common languages like C, C++, Perl, PHP, shell). (190-191) Wagner not only invented the darkening of the auditorium, but also a kind of music that was itself noise. . . . In a word: World War I transformed Edisonƒs simple light bulb into the electron tube, which made the live musical accompaniment of [this technical wonder] silent films obsolete. I am interested in the historical development of this technical wonder because the tube allowed for the possibility of synchronized film soundtracks and television up to the present day. It was not replaced until the development of contemporary LCD displays and other semiconductor technologies.

3 1 3 (+) [-4+]mCQK kittler-optical_media (191-192) 20120109 0 -8+ progress/2012/01/notes_for_kittler-optical_media.html
Kittler sees inevitable submersion of human being into machine operation; see GFT and Code for other allusions to this technological determinism depicting the type of operations possible to thought (machinic and human) as another unknown known we can learn. (191-192) He [Ferdinand Braun] deflected the electron beam inside the tube with electromagnets, which were in turn attached to general alternating voltage of the Strasbourg power grid, and sent it to a phosphorescent screen. The controlled beam the last and most precise variant of the actively armed eye the inscribed the visible graphic sine wave of an alternating power supply on the screen. Braun had invented the oscilloscope. . . . You will notice that the television played back equations rather than film characters when it first began with Ferdinand Braun. It will possibly do so again at the end.

3 1 3 (+) [-4+]mCQK kittler-optical_media (192) 20131103j 0 -20+ progress/2012/01/notes_for_kittler-optical_media.html
Electronic control by Braun tube leading to triode, artificial of Greek of technology: consider thyristor. (192) Braunƒs tube was not crucial for film and radio technology, however, but rather another tube variant: the so-called triode. . . . Two inputs were needed along with a general ground return, and it was therefore called a triode or three-way in the artificial Greek of technology. . . control. . . . Thus, the electron tube first decoupled the concept of power from that of physical effort. . . . negative feedback can be generated by leading the output signal, which for physical reasons is always delayed for fractions of a microsecond, back to the control circuit. . . . In other words, it becomes a high-frequency transmitter, which must then only be couple with a low-frequency amplifying tube in order to send radio or television signals.

3 1 3 (+) [-4+]mCQK kramer-cultural_techniques_of_time_axis_manipulation (93 endnote 1) 20131002 0 -3+ progress/2012/08/notes_for_kramer-cultural_techniques_of_time_axis_manipulation.html
Begins with quote from German version of Draculas Vermachtnis saying only that which can be encoded exists, alluding to the future when everything is computed, happens via machine control; that implies a deterministic outcome of possible object phenomena loosely equivalent to that which exists, exists because it is computable, that is why it happens, because it happens in machine intelligence. (93 endnote 1) A key axiom of Kittlerƒs ƒinformation-theoretical materialismƒ that literally translates as ƒOnly that which is switchable is at all.ƒ
(93) The task here is to reconstruct an ingenious discovery without, however, disputing the fundamental core of Kittlerƒs notion of media. This breakthough can be found in Kittlerƒs linking of media with the technique of time axis manipulation.

3 1 3 (+) [-4+]mCQK kramer-cultural_techniques_of_time_axis_manipulation (93) 20131002a 0 -1+ progress/2012/08/notes_for_kramer-cultural_techniques_of_time_axis_manipulation.html
Kittler definition of media as culture techniques allowing selection, storage and production of data and signals. (93) ƒmediaƒ are first and foremost cultural techniques that allow one to select, store, and produce data and signals.

3 1 3 (+) [-4+]mCQK kramer-cultural_techniques_of_time_axis_manipulation (94) 20121126 1 -11+ progress/2012/08/notes_for_kramer-cultural_techniques_of_time_axis_manipulation.html
Default media epochs alphabet, press, computer map onto orality, literacy, electronic (still do not like this selection); getting to the core: analog versus technological media, autoproduction versus symbolic reminiscent of external marks of Phaedrus, Lacanian real versus symbolic, but technological media still have contours (Manovich, Sterne). (94) Our traditional conception of media is based on the stereotype which appears to be almost a belief that media history is made up of three marked phrases: the invention and dissemination (1) of the alphabet; (2) of the printing press; and, finally (3) of the computer. . . . Analog media and optical-technological media in particular (Kittler, 2002) mark the beginning of a development that ends with digitization and the computer. In the age of handwriting and the printing press, all forms of writing are bound up in a symbolic universe which in its most basic variant is that of everyday speech to select, store, and produce the physical realities themselves. Here, Kittler adopts the term ƒrealƒ from Jacques Lacanƒs distinction between the symbolic and the real. . . . Technological media allow one to select, store, and produce precisely the things that could not squeeze through the bottleneck of syntactical regimentation in that they are unique, contingent, and chaotic.

3 1 3 (+) [-4+]mCQK kramer-cultural_techniques_of_time_axis_manipulation (94) 20131002b 0 -5+ progress/2012/08/notes_for_kramer-cultural_techniques_of_time_axis_manipulation.html
What of Harman glorification of aesthetics, is Kittler missing on human side of phenomenology? (94) This is precisely the point where the media-historical and hermeneutic-critical aspects of Kittlerƒs thought come together: his concept of media continually attempts to speak about the realm of literary studies in a way that avoids using distinctions such as ƒunderstandingƒ, ƒinterpretationƒ, ƒmeaningƒ, ƒreferentƒ, or ƒrepresentationƒ, terms that are integral to the vocabulary of literary studies. . . . Kittler is thus concerned not with a media analysis that is diametrically opposed to meaning, but rather with a practice of writing about media in which concepts such as sense and sensibility are no longer relevant.

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Excludes human embodiment, perhaps to study machines first. (95) The first problem is his exclusion of the body as a medium and his omission of human perception. . . . The inattention to the dimension of ƒthose things that cannot be switchedƒ, or in other words to a corporeality that has not yet been transformed into a mechanical apparatus, should not be seen as an oversight but rather as an intentional act on Kittlerƒs part. . . . At this point, it suffices to note the unique condition that humans are excluded as a medium from a historical analysis of media.

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Shannon emphasis downplays cybernetic writing, so look at von Neumann. (95) The second difficult that one faces is the canonical status of Claude
Shannonƒs communications theoretical writings in Kittlerƒs texts. . . . In the realm of cybernetics, by contrast, the theories of automation and of self-organization were central to shaping the perspective on development and on computer design.

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Compare to Thomson interpretation of Heidegger, where for Kittler the founding philosopher is Lacan: media alters experience of flow of time in virtual realities; dynamism of symbolic time of literature towards living writing, extra-symbolic reality recording and reproduction; storing time and the real makes manipulable in unique ways the creations of computer systems, exemplifying surprising, unexpected emergence as Maner argues computing inspires unique ethical questions. (96) Indeed, the explanation of the technological as a modality of time management is precisely the ƒmain pointƒ. . . . In media technology, time itself becomes one of several variables that can be manipulated. In the age of writing and of the book, symbolic time, by being fixed in space with linear syntactical structures, becomes repeatable and, to some extent, also moveable. What is unique about the technological era (from the gramophone to the computer) is that they technologies allow one to store ƒreal timeƒ . . .

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Foucault archive limits; dare cross through Derrida? (97) this is the system that magnetizes the influences of the eras, which Foucault terms the ƒarchiveƒ, and which epitomizes the systems of expression that can be documented.
(97) As soon as the monopoly is broken that writing and the book hold on processes of storing and processing, and as soon as other types of discourse networks emerge with technological, analog media, then an archeology of present forms of knowledge can no longer be practiced by discourse analysis but must rather be taken over by technological media analysis. . . . His historical approach transforms discourse analysis into the reflex and symptom of a specific and since ended media epoch. With this move, Kittler takes up technological media as the focal point around which everything is arranged that can even be registered as an analyzable fact after Foucault.

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Change in operation of media to performative, autonomous, autopoietic (Hayles): makes more obvious that media are production sites of data overdetermining what may come to presence, a presence traces of symptoms of which can be detected in discourse systems, as Kittler masterfully demonstrates. (97) The operations of media structure the terrain of data processing: they select, store, and produce signals.
(98) It is far more the case that media are the production sites of data. These production sites are discourse systems, the networks of techniques and institutions that preprocess what will even be considered data in a given epoch.

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The symbolic, not speech, is content of written media, adjusting the sense of McLuhan. (98) Of course, Kittlerƒs most recent works have shown that in its origins, the Greek alphabet transcribed speech, music, and numbers. . . . The content of written media and precisely this is Kittlerƒs purpose in emphasizing the transcription of speech in writing is the symbolic.
(98) For Lacan, a symbol is not something that stands for an extra-symbolic entity, but rather is primarily something that can be substituted for another symbol.
(99) The connection between the symbolic and time is what is at stake here: by referring to the symbolic, written media adhere to a specific temporal order.

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Time axis manipulation has its origin in going beyond logical time implied by symbolic to techniques of representing temporal relations spatially in data structures. (99) Kittler considers alphabetical writing, however, as the technique of ƒassigning a space to each element in the temporal series of the chain of speechƒ (1993b: 182) together with the invention of blanks. This approach creates the necessary precondition for a method that Friedrich Kittler terms ƒtime axis manipulationƒ.

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Affects of time of storage retrieval learned from studying machine operations, whereas not captured in print reading practices, cannot be firmly grounded without excluding oral language and unrecorded voice. (99) The first peculiarity is his consequent exclusion of oral language and of the (unrecorded) voice as media. . . The only techniques that can be considered data processing are those that use a spatial means to create possibilities of ordering the things differently that are etched into this spatial ordering. This notion carries specific consequences for Kittlerƒs concept of storage. Storing is not merely a means of preserving but is also intrinsically connected to spatial order. Wherever something is stored, a temporal process must be materialized as a spatial structure.

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Significance of printing press diminished in favor of codex over scroll for its addressing and random access capabilities implicitly transforming consciousness and subjectivity of souls traveling through the technical epoch. (100) The other anomaly concerns Kittlerƒs revision of the media-historical meaning of the printing press. In contrast to traditional references to the epochal break in the Gutenberg Galaxy that can be found in almost all media-historical analyses, Kittler regards the true, significant break as being not so much the invention of the printing press, but rather the transition from the scroll to the codex. . . . The codex in which one can leaf through the text first transforms the temporal spaces of the material into individuated and traceable spaces in the text (Kittler, 1993b).

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Transductions by operations of technological media afford new media effects like reversing temporally sequenced events, which, as others point out, affects pitch among other things impossible to convey by manipulating text: such are possibilities when the real is saved in the age of technical reproduction even before computers. (100-101) Technological media are the very media that make the data-producing processes of storage and manipulation accessible, processes that were previously unwritten and thereby fell through the ƒgrid of the symbolicƒ (Kittler, 1999, 11). Textual media transform the linguistic-symbolic into an operable code; technological media, by contrast, transform the contingency-based, material, real itself into a code that can be manipulated (see Kittler, 2002: 37). This type of manipulation creates the possibility of
reversing temporally-sequenced events. . . . Then Edison begins the experiment with his phonographs and discovers the possibility of playing musical numbers in reverse, which affects precisely the actual tonal characteristics of the individual sounds.
(101) The real itself is saved by phonograph, by photography, and by cinematography, it is transmitted by radio and television, and it is at least in part also even produced.

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Fourier method does for real of signals what Greek alphabet did for symbolic of language. (101) The significant point in the calculability of the contingent is that the ƒpurely unrepeatableƒ (Kittler, 1993b: 196) become visible as the sum of decimals, and thereby also become repeatable. The
Fourier Method makes this possible. . . . The Fourier Method accomplishes for the material realm of signals what the Greek alphabet achieved for the symbolic realm of language.

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Decoding the real with machines releases from discursive subject Hayles feels postmodernism too rigidly adheres. (101-102) The unforeseeable thereby becomes foreseeable; the real, in the Lacanian sense, is transformed into a code that can be manipulated. . . . Shannonƒs communications technology attempts to process contingency. . . . the relation between signals and noise can also be interpreted as that between a coded signal and its deciphering by enemy intelligence. . . . This type of analysis, in contrast to that of
Foucaultƒs theories, no longer refers to the realm of the symbolic but rather operates in the material world of the real. This perspective transforms nature into an encoded text, albeit a text that no longer needs to be interpreted but must rather be decoded with machines.

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Enigma example redeems hermeneutics. (102) A peculiar metamorphosis emerges in this projection of the real as
enigma cryptography, which when brought to a technological stand is almost a rehabilitation of the hermeneutic project of ƒnature as a textƒ. . . . This notion also explains Kittlerƒs fascination with Alan Turingƒs, Claude Shannonƒs and Norber Winerƒs work, who with their crypto-analytic, communications-theoretical, and communications-technological ambitions achieve precisely what will prove to be the computerƒs unique accomplishment: making chance sequences calculable.

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Media convergence explained. (102-103) The binary system provides a universal key that allows one not only to translate each of the numerous formats of image, sound, and textual media reciprocally, but also, and at the same time, to traverse the symbolic-technological boundaries of the epoch of alphabetic writing. . . . The computer connects all of these media, in that it incorporates their input and output into a mathematical procedure of digitalized signal processing with microsecond rhythms (Kittler, 1993a: 187).

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Using technology without understanding how or why it works suggests terrain for philosophers of computing that Kramer argues Kittler does not appreciate; consider Derrida with his Macintosh. (104) We can use technology without needs to understand how, and especially why, it works. In practice, Kittler also refuses to make his distinction. . . . Kittlerƒs leap from methods of operation that are far removed from the sensory to a process of making something useable that marginalizes the sensory thus falls short.
(105) The assumption presents itself that a
theoretical-strategic consideration outweighs Kittlerƒs factual arguments. Kittler develops his concept of media with, but especially in latent opposition to, the father of contemporary media debates, Marshall McLuhan (Kittler, 2002: 24f.).
(105) In other words, McLuhanƒs theories reflect the aspect of the escalating drive of media to surpass that is so crucial to Kittler in a way that does not exclude but rather incorporates man and the organization of his senses into this self-dynamism without thereby needed to fossilize man as the intentional subject of this wave of technologization.

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New media theory as bastion of poststructuralism and critical theory. (xiii) Whereas hypertext and other forms of digital media have experienced enormous growth, poststructuralism and other forms of critical theory have lost their centrality for almost everyone, it seems, but theorists of new media.

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Ideal textuality described by Barthes matches computer hypertext. (2) In
S/Z, Roland Barthes describes an ideal textuality that precisely matches that which has come to be called computer hypertext text composed of blocks of words (or images) linked electronically by multiple paths, chains, or trails in an open-ended, perpetually unfinished textuality described by the terms link, node, network, web, and path.
(2-3) Like almost all structuralists and poststructuralists, Barthes and Foucault describe text, the world of letters, and the power and status relations they involve in terms by the field of computer hypertext. . . .
Hypertext, as the term is used in this work, denotes text composed of blocks of text what Barthes terms a lexia and the electronic links that join them.

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New form of textuality and writing in Bush trails of hyperlinks. (11) The essential feature of the memex, however, lies not only in its capacities for retrieval and annotation but also in those involving associative indexing --what present hypertext systems term a
link-- the basic idea of which is a provision whereby any item may be caused at will to select immediately and automatically another (34). . . . Bushƒs remarkably prescient description of how the memex user creates and then follows links joins his major recognition that trails of such links themselves constitute a new form of textuality and a new form of writing.
(12) In As We May Think and Memex Revisited Bush proposed the notion of blocks of text joined by links, and he also introduced the terms
links, linkages, trails, and web to describe his new conception of textuality.

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Presents forms of linking: unidirectional, bidirectional, string to lexia, string to string, one to many, many to one linking, typed, on-demand links with advantages and disadvantages. (15) The anchor feature in HTML, which is created by the <a name> tag, thus permits authors to link to a specific section of long documents.
(15) A fully hypertextual system (or document) therefore employs a seventh form,
one-to-many linking linking that permits readers to obtain different information from the same textual site.

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Typed links: this is where him not going farther either invites further study by others making their niche, or (retreat into the) default; see notes in early February 2009. (18) Typed links, our ninth category, take the form of limiting an electronic link to a specific kind of relationship.
(19) The advantage of typed links includes the fact that, when clearly labeled, they offer a generalized kind of previewing that aids reader comfort and helps navigating information space.
(19-20) A potential disadvantage for readers of the typed link might be confusion produced when they encounter too many different actions or kinds of information; in fact, I have never encountered hypertexts with these problems, but Iƒm sure some might exist.

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Viewing an image map of the cybersage workstation Heim imagines, complete with video screens, book shelves, the large writing area Heim recommends, and open book holders potentially created with the journal software inside tapoc shows how on demand links can simulate one to many linking by working with the user to hone in on desire or radically reconfigure the browser field. (20) An equally basic form of linking involves the degree to which readers either activate or even create links. . . . Most writing about hypertext from Bush and Nelson to the present assumes that someone, author or reader functioning as author, creates an electronic link, a so-called hard link. . . . This [new] approach takes the position that the readerƒs actions can create on-demand links. . . . Although some authors, such as the philosopher Michael Heim, perceived the obvious connection between the active reader who uses search tools to probe an electronic text and the active reader of hypertext, the need of the field to constitute itself as a discrete specialty prompted many to juxtapose hypertext and information retrieval in the sharpest terms.

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Easy to compare to postmodern challenge of traditional authorship. (22) The final forms of linking action links, warm links (or reader-activated data-exchange links), and hot linking (automatic data-exchange links) represent, in contrast, kinds that carry the hard, author-created link in other directions.

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Always losses with gains in media change is a point made by Heim, Benjamin, Eisenstein. (29) In fact, letƒs propose a fundamental law of media change: no free lunch; or, there is no gain without some loss.

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Landow does a quick history from orality to literacy to hypermedia, arriving at critique of Baudrillard and praise for Derrida, decentering the book and discovering it as technology. (30) Digital information technology certainly begins with the electronic digital computer, but information technology itself has been around for millennia.
(31) These are not the only advantages and disadvantages of spoken language, for as Derrida (following Plato) urges, it is fundamentally a technology of
presence.
(31) Absence, in other words, also has great value in certain communicative situations, a crucial factor to take into account when considering the gains and losses involved in writing.
(32) Writing, printing, cinema, and video are all forms of asynchronous communication, which, as McLuhan points out in
The Gutenberg Galaxy, permits reflection, abstraction, and forms of thought impossible in an oral culture.
(32) Interword spacing, like the codex (what we generally call a book), eventually changed reading from a craft skill to an ordinary one required of every citizen.
(33) Printing, which thus exemplifies asynchronous, silent communication, provides the conditions for the development of a humanistic and scientific culture dependent on the ability to cite and discuss specific details of individual text. And of course it drastically changes the nature of education, which moves from dictating primary texts to the student to teaching the student modes of critical analysis.
(33) it still, as Bush and Nelson emphasize, confronts the knowledge worker with the fundamental problem of an information retrieval system based on physical instantiations of text namely, the preserving information in a fixed, unchangeable linear format makes information retrieval difficult.

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Soft text is a fundamental change. (34) Computing produces
soft text, and this fundamental change, like all developments in infotech, comes with gains and losses.
(35) First of all, since electronic text processing is a matter of manipulating computer codes, all texts that the reader-writer encounters on the screen are virtual texts. . . . In computing, the virtual refers to something that is [following OED]
not physically existing as such but made by software to appear to do so from the point of view of the program or user (emphasis added).
(36) We must, for example, come to the absolutely necessary recognition that the physical, material conditions of computer devices we use affect our experience of virtual text. . . . Computer text may be virtual, but we who read it are still physical, to read it we rely on physical devices, and it has effects on the physical world.
(37) Digital text can be infinitely duplicated at almost no cost or expenditure of energy.
(38) Networked electronic communication has both dramatically speeded up scholarly communication and created quickly accessible versions of older forms of it, such as online, peer-reviewed scholarly journals, and new forms of it, such as discussion lists, chat groups, blogs, and IRC.

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Baudrillard criticized for neglecting verbal text and emphasizing binarity. (43) Unlike Derrida, who emphasizes the role of the book, writing, and writing technology, Baudrillard never considers verbal text, whose absence glaringly runs through his argument and reconstitutes it in ways he obviously did not expect.
(44) In concentrating on nonalphanumeric media, and in apparently confusing analog and digital technology, Baudrillard misses the opportunity to encounter the fact that digitalization also has the potential to prevent, block, and bypass linearity and binarity, which it replaces with multiplicity, true reader activity and activation, and branching through networks.
(45) The
manipulability of the scholarly text, which derives from the ability of computers to search databases with enormous speed, also permits full-text searches, printed and dynamic concordances, and other kinds of processing that allow scholars in the humanities to ask new kinds of questions.
(46) Book, which now define the scholarƒs tools and end-products, will gradually lose their primary role in humanistic scholarship.

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The fact of hypertext reveals materiality of print; Hayles media specific analysis. (52) Its [electronic linking/hypertext] effects are so basic, so radical, that it reveals that many of our most cherished, most commonplace, ideas and attitudes toward literature and literary production turn out to be the result of that particular form of information technology and technology of cultural memory that has provided the setting for them. This technology that of the printed book and its close relations, which include the typed or printed page engenders certain notions of authorial property, authorial uniqueness, and a physically isolated text that hypertext makes untenable.
The evidence of hypertext, in other words, historicizes many of our most commonplace assumptions, thereby forcing them to descend from the etherality of abstraction and appear as corollary to a particular technology rooted in specific times and places.

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Extravagant claims by Derrida of openness, intertextuality, discrete reading units instantiated in basic nature of electronic forms, as articulated by Ulmer and Bogost; cryptic concepts of Barthes, Deleuze and Guattari also realized in hypertext. (53) Like Barthes, Foucault, and Mikhail Bakhtin, Jacques Derrida continually uses the terms
link (liasons), web (toile), network (reseau), and interwoven (sƒy tissent), which cry out for hypertextuality; but in contrast to Barthes, who emphasizes the writerly text and its nonlinearity, Derrida emphasizes textual openness, intertextuality, and the irrelevance of distinctions between inside and outside a particular text. These emphases appear with particular clarity when he claims that like any text, the text of ƒPlatoƒ couldnƒt not be involved, or at least in a virtual, dynamic, lateral manner, with all the worlds that composed the system of the Greek language (Dissemination, 129). Derrida in fact here describes extant hypertext systems in which the active reader in the process of exploring a text, probing it, can call into play dictionaries with morphological analyzers that connect individual words to cognates, derivations, and opposites. Here again something that Derrida and other critical theorists describe as part of a seemingly extravagant claim about language turns out precisely to describe the new economy of reading and writing with electronic virtual, rather than physical, forms.

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Decentering for Derrida transforms subjectivity, similar to Zizek on Lacanian nature of reality. (57) As Derrida points out in Structure, Sign, and Play in the Discourse of the Human Sciences, the process or procedure he calls decentering has played an essential role in intellectual change. . . . [responding to Serve Doubrovsky] I believe that the center is a function, not a being - a reality, but a function.

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He mentions LANs, Ethernet, WANs, TCP/IP while citing Derrida extensively. (63) Network in this fullest sense refers to the entirety of all those terms for which there is no term and for which other terms stand until something better comes along, or until one of them gathers fuller meanings and fuller acceptance to itself:
literature, infoworld, docuverse, in fact, all writing in the alphanumeric as well as Derridean senses.

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Making links between hypertext concepts, structuralist, and poststructuralist concepts of text go accompany link to postmodernism, invoking Barthes, Derrida, Bakhtin, Foucault, later Levi-Strauss. (63) The analogy, model, or paradigm of the network so central to hypertext appears throughout structuralist and poststructuralist theoretical writings.
(63) The general importance of non- or antilinear thought appears in the frequency and centrality with which Barthes and other critics employ the terms link, network, web, and path. More than almost any other contemporary theorist, Derrida uses the terms link, web, network, matrix,and interweaving associated with hypertextuality; and Bakhtin similarly employs links, linkage, interconnectedness, and interwoven.
(63) Like Barthes, Bakhtin, and Derrida, Foucault conceives of text in terms of the network, and he relies precisely on this model to describe his project, the archaeological analysis of knowledge itself.
(64) The model of the network has captured the imaginations of those working on subjects as apparently diverse as immunology, evolution, and the brain.

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Mentions conversations with Ulmer about Derrida gram equaling link. (67-68) In conversation with me, Ulmer mentioned that since Derridaƒs gram equals link, grammatology is the art and science of linking the art and science, therefore, of hypertext.

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Could argue against objectivity of poem markup even though full-text search systems yield similar results, since its assumptions built into the searches represent particular analytical strategies. (75) Using the capacities of Intermedia and Storyspace to join an indefinite number of links to any passage (or block) of text, the reader moves through the poem along many different axes. . . . its use of link paths that permit the reader to organize the poem by means of its network of leitmotifs and echoing sections. . . . Although Lanestedt, various students, and I created these links, they represent a form of objective links that could have been created automatically by a full-text search in systems such as Microcosm.

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Blogging craze exemplifies active reader-author of Nelson and others. (78) Blogging, the latest Internet craze, has major importance for anyone interested in hypertext because one form of it provides the first widely available means on the Web of allowing the
active reader-author envisaged by Nelson, van Dam, and other pioneers.

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Example of Gyford online scholarship that students are likely to use that emerged from outside the academy. (80) Gyford has not only made an appropriate Web translation of a classic text [Samuel Pepysƒs diary] but he has also contributed importantly to the creation of a new form of public, collaborative online scholarship. . . . This elaborate scholarly project, which one expects that any Web-savvy undergraduate or graduate student will use, exists completely
outside the Academy.
(81) In fact, one of the most interesting effects of blogging lies in the way it unsettles our accustomed borders between the private and public spheres.

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Derrida visual element for pictographic writing transcendence of logocentrism answered in hypertext. (84) Derrida argues for the inclusion of visual elements in writing as a means of escaping the constraints of linearity. . . . Derrida, who asks for a new pictographic writing as a way out of logocentrism, has to some extent had his requests answered in hypertext.
(85) The cursor, which the user moves either from the keypad by pressing arrow-marked keys or with devices like the mouse, rollerball, or trackpad, provides a moving intrusive image of the readerƒs presence in the text. . . . In a book one can always move oneƒs finger or pencil across the printed page, but oneƒs intrusion always remains physically separate from the text.

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Treating visual aspects of texts, materiality, reveals preconceptions of late age of print, which Joyce and McGann take much farther. (89) This blindness to the crucial visual components of textuality not only threatens to hinder our attempts to learn how to write in electronic space but has also markedly distorted our understanding of earlier forms of writing. . . . Once again, as with the scholarly editing of medieval manuscripts and nineteenth-century books, digital word and digital image provide lenses through which we can examine the preconceptions the blinders of what Michael Joyce calls the late age of print (
Of Two Minds, 111).

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Nelson stretchtext produces reader-activated shimmering signifiers. (93) Ted Nelsonƒs stretchtext, which he advances as a complement to the by-now standard node-and-link form, produces a truly reader-activated form.
(93) Stretchtext, which takes a different approach to hypertextuality, does what its name suggests and stretches or expands text when the reader activates a hot area.
(97) This form of stretchtext, which Lyons created for writing poetry, obviously draws attention to the experience of text itself, intentionally preventing the reader from reading
through the text, from too readily taking the text as transparent.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (99) 20131003t 0 -3+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Unitary textuality, versus dispersed and multiple, may already not be a core belief for many digital natives, but still colors scholarship in its unanalyzed state as manuscript example demonstrates. (99) Loss of a belief in unitary textuality could produce many changes in Western culture, many of them quite costly, when judged from the vantage point of our present print-based attitudes.
(100-101) Presenting the history and relation of texts created within a manuscript culture in terms of the unitary text of modern scholarship certainly fictionalies and falsifies their intertextual relations.
(101) A new conception of text is needed by scholars trying to determine not some probably mythical and certainly long-lost master text but the ways individual readers actually encountered Plato, Vergil, or Augustine in a manuscript culture.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (108) 20131003u 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Problem that hierarchical structures for text markup such as TEI can be completely subverted by hypertext. (108) Hypertext subverts hierarchy in text and in so doing might seem to subvert markup languages and call into question their basic usefulness.
(109) This textual polymorphism in turn suggests that in such environments text is alive, changing, kinetic, open-ended in a new way.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (113) 20131003v 0 -3+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Hypertext helps escape fetishism of work as closed object and forces rethinking centrality. (113) Hypertext redefines not only beginnings and endings of the text but also its borders its ides, as it were. Hypertext thus provides us with a means to escape what Gerard
Genette terms a sort of idolatry, which is no less serious, and today more dangerous than idealization of the author, namely, the fetishism of the work conceived of as a closed, complete, absolute object (Figures, 1470).
(114) Hypertext therefore undergoes what Derrida describes as a sort of overrun [
debordement] that spoils all these boundaries and divisions ( Living On, 83).

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Problem of hierarchy exercised in Barthes S/Z. (120) The entire procedure or construction of
S/Z, for example, serves as a commentary on the political relationships among portions of the standard scholarly text, the problem of hierarchy.
(122) In hypertext, the main text is that which one is presently reading. So one has a double revaluation: with the dissolution of this hierarchy, any attached text gains an importance it might not have had before.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (140) 20131004a 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Ede and Lunsford dialogic mode of collaboration. (140) After arguing against univocal psychological theories of the self (132) and associated notions of an isolated individualism, Ede and Lunsford call for a more Bakhtinian reconception of the self and for what they term a
dialogic, rather than hierarchical, mode of collaboration.
(140) As McLuhan and other students of the cultural influence of print technology have pointed out, modern conceptions of intellectual property derive both from the organization and financing of book production and from the uniformity and fixity of text that characterizes the printed book.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (151) 20131004b 0 -7+ progress/2011/07/notes_for_landow-hypertext_3_0.html
What are the material specific aspects of hypertext apparatus: consider McGann giving attention to bibliographic codes. (151) If to communicate effectively, hypermedia authors must employ devices suited to their medium, two questions arise. First, what are the defining characteristics or qualities of hypertext as reading and writing medium? Second, to what extent do they depend on specific hardware and software? What effect, for example, does the presence of absence of color, size of oneƒs monitor, and the speed of oneƒs computer have on reading hypertext?
(152) First, what must one do to orient readers and help them read efficiently and with pleasure? Second, how can one help readers retrace the steps in their reading path? Third, how can one inform those reading a document where the links in that document lead?

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (153) 20131004c 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Distance and cost of traversing links could be depicted in the link, but the default form is homogeneous. (153) Because hypertext linking takes relatively the same amount of time to traverse, all linked texts are experienced as lying at the same distance from the point of departure.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (157) 20131004d 0 -7+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Dynamic tracking map an intermedia feature not present in current web browsers. (157) The most important Intermedia feature that current systems, particularly web browsers, lack is its system-generated dynamic tracking map, whose basic idea evolved through three stages.
(159) IRIS next developed the Local Tracking Map, a
dynamic hypergraph whose icons represented the destinations of all the links in the current document. Upon opening a new lexia or activating a previously opened one, this graphic navigational tool morphed, informing readers where links in the new lexia would bring them. This dynamic hypergraph, which did much to prevent disorientation, became even more useful in its third and final version, the Web View, with the addition of two more features: a graphic representation of the readerƒs history and transformation of the icons into links.
(159) Although this feature succeeded well in orienting the reader, it worked even better when combined with author-generated concept maps, such as the overviews (sitemaps) I have employed on systems including Intermedia, Interleaf World View, Storyspace, Microcosm, MacWeb, and the World Wide Web.
(160) Unfortunately, current World Wide Web browsers are very disorienting because they provide no overall view of materials and neither do they indicate to readers where links will take them. The use of sitemaps, HTML documents that list or graphically display destinations of links, have greatly contributed to web usability, and many sites now include them.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (160) 20131004e 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
What does the absence of dynamic hypergraphing as standard web browsing reflect about this apparently ideal feature? (160) Intermediaƒs dynamic hypergraph proved so valuable as a means of disorientation and navigation that I hope someone will develop an equivalent application either as part of widely used World Wide Web viewers or as an add-on that will function with them.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (177) 20131004f 0 -5+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Believes one-to-many linking could alter reading expectations; another ideal feature that has not been implemented, although Engelbart hyperscope includes them. (177) Such careful linking becomes especially important in writing hypertext for the World Wide Web, since current browsers lack one-to-many linking, and it does not seem likely after more than a decade that they will ever incorporate it. . . . I find that the effect of being reminded of branching possibilities produces a different way of thinking about text and reading than does encountering a series of one-to-one links sprinkled through a text.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (184) 20131004g 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Consideration given to representing annotations when converting footnotes and endnotes. (184) Perhaps the most elegant solution employs Java scripts to create small pop-up windows for each note.
(184) Wherever possible, the best and most obvious solution to the problem of representing annotations in Web documents involves concerting all bibliographical notes to the current Modern Language Association (MLA)
in-text citation form, whether one links all such citations to a list of references or just includes the relevant bibliographical items in each lexia.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (186) 20131004h 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
He uses the term dynamic differently than as instantaneous generation of a new text. (186) Such dynamic data place the reader in a relatively passive role and turns hypermedia into a broadcast, rather than an interactive, medium.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (187) 20131004i 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Could criticize this on points of openness of protocol and implementations, as well as basic problem McGann had with markup. (187) The one digital form that does not create problems for hypermedia is the fundamentally controllable multimedia document created by Appleƒs Quicktime VR (Virtual Reality) or rival software like Ipix and Live Picture.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (195) 20131004j 0 -9+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Reading requires attention to surrounding text and bibliographic codes as writing has become more visual in addition to alphanumeric, collage; digital text always virtual. (195) First, we realize that such collage writing produces a new kind of reading in which we must take into account not only the main text but also those that surround it. Second, this emphasis on the increasing importance of the spatial arrangement of individual lexias leads to the recognition that writing has become visual as well as alphanumeric.
(195-196) Digital text is virtual because we always encounter a virtual image, the simulacrum, of something stored in memory rather than encounter any so-called text itself or physical instantiation of it.
(196) The collage of collage cubism therefore depends for its effect on a kind of juxtaposition not possible (or relevant) in the digital world that between physical and semiotic.
(197)
montage might be a better term than collage. . . . one nonetheless always experiences a hypertext as a changeable montage.

3 1 3 (+) [-6+]mCQK landow-hypertext_3_0 (201) 20131004k 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Another plug for one-to-many linking. (201) Unfortunately, the World Wide Web, which at present allows only links from a word or phrase to a single destination, does not offer one of the most useful kinds of linking the one-to-many or branching link that offers the reader a choice of destinations at the point of departure.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (219) 20131004l 0 -3+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Using hypertext as lens to reveal previously unnoticed features of textuality, as in Hayles MSA. (219) This approach therefore uses hypertext as a lens, or new agent of perception, to reveal something previously unnoticed or unnoticeable, and it then extrapolates the results of this inquiry to predict future developments.
(220) One interesting approach to discussing hypertextual narrative involves deducing its qualities defining characteristics of hypertext its non- or multilinearity, its multivocality, and its inevitable blending of media and modes, particularly its tendency to marry the visual and verbal. Most who have speculated on the relation between hypertextuality and fiction concentrate, however, on the effects it will have on linear narrative.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (229) 20131004n 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Still writing for finite readers, although machine reading becoming sizable component of scholarship (Manovich). (229) Coover proclaims that endings will and must occur even in infinitely expandable, changeable, combinable docuverses.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (232) 20131004o 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
New bricolage unity in hypertext through reader action analyzing Joyce afternoon, making more like bard than audience of listeners. (232) Such
bricolage, I suggest, provides a new kind of unity, one appropriate to hypertextuality.
(234) Although the reader of hypertext fiction shares some experiences, one supposes, with the audience of listeners who heard oral poetry, this active reader inevitably has more in common with the bard, who constructed meaning and narrative from fragments provided by someone else, by another author or by many other authors.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (243) 20131004p 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Software studies connection: Guyer design, interface and software choice reflect intentional feminist ideology. (243) Guyerƒs emphasis on an active reader, as opposed to simply a responsive, attentive one, relates directly to her conception of hypertext as a form of feminist writing.

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Stories overlay and augment reality. (247) Whereas virtual reality (VR) immerses the user within a world of represented data,
augmented reality overlays information on top of the physical world in which one lives.
(247-248) The very idea of augmented reality prompts one to observe that stories always overlay and thus augment reality. . . . Like David Yunƒs Web-based
Subway Story, 34 North 118 West uses a map of a city as an overview that permits access to many narratives.
(249) In the storyworld and noncombative adventure game, reader-viewers assume the positions of protagonist and their reward comes in the form of experience, not as a reward one might attain. . . . But this form of hypertext narrative does not so much do away with climaxes as emphasize multiple ones.

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Counter Murray, Mateas and others who try to fit games into traditional literary and cinematic studies, new group of ludologists see simulation as hermeneutic Other of narrative, but Landow rejects as informative for hypertext; nonetheless, promise in the proximity of storyworlds and virtual environments for electronic literature like my Macy Conference game, clues in his analysis of film theory suggest unthought connections. (251) In contrast to the self-proclaimed Aristotelians, who argue that literary and cinematic studies of narrative have much to tell us about games, another group led by Espen Aarseth, Markku Eskelinen, and Raine Koskimaa argue that computer and other games require a new discipline ludology.
(252) [quoting Aarseth Genre Trouble in
First Person, 52] Simulation is the hermeneutic Other of narratives: the alternative mode of discourse, bottom up and emergent where stories are top-down and preplanned.
(254) In conclusion, although computer games have something to tell us of relevance to digital text and art, virtual reality, and educational simulations, they do not seem closely enough related to hypertext to tell us much about it.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (264-265) 20131004r 0 -7+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Lukacs proposition that each age has a chief narrative form; will ours become branching story lines, so that poetry is reified links? (264-265) Georg Lukacsƒs
Theory of the Novel (1923) proposed that each age has its own chief narrative form. . . . Looking back at the brief history of hyperfiction, one is surprised to note how few works have accepted the challenge of Michael Joyceƒs afternoon to create branching story lines.
(265-266) Since the characterizes hypertext, and links are reified associations, a poetic mode or form seems especially suited to hypertext. Looking at a range of digital works, we see that much hyperfiction actually takes the form of hyperpoetry.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (277) 20131004s 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Like software reusability, Landow envisions synergistic integration and reuse of all teaching materials, as well as scholarly works. (277) All the qualities of connectivity, preservation, and accessibility that make hypertext an enormously valuable teaching resource also make it equally valuable as a scholarly tool. The mediumƒs integrative quality, when combined with its ease of use, offers a means of efficiently integrating oneƒs scholarly work and work-in-progress with oneƒs teaching.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (281) 20131004t 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Avoiding phonocentrism is another way hypertext instantiates theories of Derrida. (281) By giving an additional means of expression to those people shy or hesitant about speaking up in a group, electronic conferencing, hypertext, and other similar media shift the balance of exchange from speaking to writing, thus
addressing Derridaƒs calls to avoid phonocentricism in that eccentric, unexpected, very literal manner that, as we have seen before, characterizes such hypertext instantiations of theory.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (283) 20131004u 0 -5+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Altered sense of time, desegregating academic temporal units; asynchronous communication. (283) Two of the most exciting and objectively verifiable effects of using educational hypertext systems involve the way the change the limiting effects of time. . . . The division segregation, really of individual weeks into isolated units to which we have all become accustomed has the unfortunate effect of habituating students to consider in isolation the texts and topics encountered during these units.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (291) 20131004v 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Example of hypertext exercises may seem quaint now, the coding subsumed by social media cultural software such as blogs. (291) Each week, when the question sets arrive, I respond to them by return email, often adding interlinear comments, after which I place the reading question in a previously prepared template, and upload it to the relevant section of the website. Starting with the second week of the course, I teach the class HTML tags that create paragraphs, indented passages, and various forms of emphasis, so after the first few weeks the students become HTML experts and I have to do little formatting.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (295) 20131004w 0 -5+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Works must be teachable (Ohmann); consider to OGorman scholarly remainder, Ulmer mystories. (295) Within academia, however, to come under the gaze, works must be teachable.
(299) As Richard
Ohmann has so chillingly demonstrated in The Shaping of a Canon: U.S. Fiction, 1960-1975, the constraints of the marketplace have even more direct control of recent fiction, both bestsellers and those few books that make their way into the college curriculum.
(302) Such an enterprise, which encourages student participation, draws upon all the capacities of hypertext for team teaching, interdisciplinary approaches, and collaborative work and also inevitably redefines the educational process, particularly the process by which teaching materials, so called, develop.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (307) 20131004x 0 -9+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Ulmer mystory as exemplary educational hypermedia. (307) Many student-created webs exemplify that new form of discourse proposed in Gregory Ulmerƒs
Teletheory. . . . This genre, which Ulmer terms mystory, combines autobiography, public history, and popular myth and culture. . . . Ulmerian mystory provides us with a first, possibly preliminary, model of how to write hypermedia.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (308) 20131004y 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Return to Pack for electronic texts reflecting on experience of a digital native. (308) Jeffrey Packƒs
Growing Up Digerate, which now forms a part or subweb of the Cyberspace, Virtual Reality, and Critical Theory Web, combines theory, here chiefly relating to cyberspace, and autobiography of someone who grew up ƒdigitally literate,ƒ that is, having a familiarity with computers.

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Relate losses and gains to Manovich technical cultural elements in NMR introduction. (309) Experiences with these different systems revealed several important points of interest to anyone working with educational hypermedia, the first of which is that the apparently most minute technological change, such as system speed or screen size, can have unexpected, broad effects on reading, writing, and learning with hypertext.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (322) 20131005c 0 -8+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Lovink sees governmental and commercial interference ending short summer of the internet. (322) [Geert]
Lovink, one of many who believe that it is time to say goodbye to the short summer of the internet (19), fears that governmental and commercial interference with the Internet threatens to choke off its potential for political good.
(323) Chinaƒs decade-long efforts to censor the Internet, the U.S. governmentƒs tracking Internet users, and Microsoftƒs continuing attempts to control the consumer and business market exemplify narrowing the possibilities of Internet freedoms.
(325) The notorious failure of push media, I would argue, demonstrates that users believe that user-centered hypermedia best serves their needs and that networked computer environments do in fact empower users to act as more than mere consumers.
(325) The most extreme doubters include those like Espen Aarseth, who denies the possibility that hypertext in any way empowers or liberates its users. . .

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (356) 20131005g 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Hypertext as way of thinking about postcolonial issues. (356) The value of hypertext as a paradigm exists in its essential multivocality, decentering, and redefinition of edges, borders, identities. As such, it provides a paradigm, a way of thinking about postcolonial issues, that continually serves to remind us of the complex factors at issue.

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Fails to mention that Slashdot is a news aggregator whose content is determined by user postings of stories, echoing previous democratization examples. (362)
Slashdot, the famous multiuser site that uploaded almost 13,000 blogs in 2003, represents an important experiment in online democracy and large-scale collaboration because it uses its readers to moderate submissions.
(363)
Slashdot represents a fascinatingly successful experiment in large-scale online collaboration and reader empowerment. It does not, however, embody cyber-utopian Internet anarchy, for, as Maldaƒs history of the site reveals, he quickly discovered that Slashdot needed a moderator to protect it from vandals.

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To Romanyshyn and Ulmer, mode of vision characteristic of television challenges culture of book. (24) According to [Robert D.]
Romanyshyn, we stand today at a crossroads. Until recently, modernity was determined by the hegemony of a literate vision, the vision that created and reproduced the culture of the book. . . . This historically new mode of vision, immediate, emotionally engaged, participatory, rooted in the body of experience, no longer confined to the metaphysical dualisms of modernity (subject-object, center-periphery, foreground-background), is a way of looking and seeing the corresponds to the omnipresence of television, and it challenges the older mode of vision that corresponds to the modern culture of the book.
(24) For Romanyshyn, television is the shadow side of a book consciousness that he identifies with the history of modernity. . . . as the shadow of the book, television makes visible the pathology of verbo-ocular-ego-consciousness by challenging its values of linear rationality, contextual coherence, focused concentration . . . and neutral objectivity.

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Visual Esperanto fulfilled by computer technology. (xv) In this respect, the computer fulfills the promise of cinema as a visual Esperanto a goal that preoccupied many film artists and critics in the 1920s, from Griffith to Vertov.

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Cinema is primary perspective of digital materialism; compare to Hayles MSA, which seems to privilege literature, and imagine beginning with software some day in the future. (9-10) The theory and history of cinema serve as the key conceptual lens through which I look at new media. . . . Its overall method could be called digital materialism.

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Kittler makes same convergence argument translating all existing media to numerical data; five principles: numerical representation, modularity, automation, variability, and cultural transcoding. (19) today we are in the middle of a new media revolution the shift of all culture to computer-mediated forms of production, distribution, and communication. . . . In contrast [to photography], the computer media revolution affects all stages of communication, including acquisition, manipulation storage, and distribution; it also affects all types of media texts, still images, moving images, sound, and spatial constructions.
(20) The translation of all existing media into numerical data accessible through computers. . . . This list reduces all principles of new media into five numerical representation, modularity, automation, variability, and cultural transcoding.

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Good reason to examine early texts such as those of von Neumann, although Manovich invokes Zuse for using discarded film as his tape. (25) Zuseƒs computer was the first working digital computer. One of his innovations was using punched tape to control computer programs. The tape Zuse used was actually discarded 35mm movie film.
(25) In a technological remake of the Oedipal complex, a son murders his father. The iconic code of cinema is discarded in favor of the more efficient binary one. Cinema becomes a slave to the computer.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (78) 20131005t 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Language of cinema is moving images rather than print text. (78) This is consistent with a general trend in modern society toward presenting more and more information in the form of time-based audiovisual moving image sequences, rather than as text. As new generations of both computer users and computer designers grow up in a media-rich environment dominated by television rather than by printed texts, it is not surprising that they favor cinematic language over the language of print.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (112-113) 20131006 0 -7+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Study fresco and mosaic versus Renaissance painting to analyze different logics of hardwired, in place versus mobile virtual spaces. (112-113) The fact that the fresco and mosaic are hardwired to their architectural setting allows the artist to create a continuity between virtual and physical space. In contrast, a painting can be put in an arbitrary setting, and therefore, such continuity can no longer be guaranteed. . . . Therefore, if in the simulation tradition, the spectator exists in a single coherent space the physical space and the virtual space that continues it in the representational tradition, the spectator has a double identity. She simultaneously exists in physical space and in the space of representation.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (113) 20131006a 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Amusement ride as another example of transition from panorama to VR. (113) In this respect, the nineteenth-century panorama can be thought of as a transitional form between classical simulations (wall paintings, human-size sculpture, diorama) and VR.
(114) Eventually, the VR apparatus may be reduced to a chip implanted in the retina and connected by wireless transmission to the Net. From that moment on, we will carry our prisons with us.
(115) Rather than disappearing, the screen threatens to take over our offices and homes. Both computer and television monitors are getting bigger and flatter; eventually, they will become wall-sized.

3 1 3 (+) [-6+]mCQK manovich-language_of_new_media (115) 20131006b 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Still looking at flat, rectangular surface in body space acting as window into another space. (115) Dynamic, real-time, and interactive, a screen is still a screen. Interactivity, simulation, and telepresence: As was the case centuries ago,
we are still looking at a flat, rectangular surface, existing in the space of our body and acting as a window into another space.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (125) 20131006c 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Critique by Gombrich and Barthes of romantic ideal of artist creating totally from scratch; electronic art began from new principle of modifying already existing signals. (125) Ernst
Gombrich and Roland Barthes, among others, have critiqued the romantic ideal of the artist creating totally from scratch, pulling images directly from his imagination, or inventing new ways to see the world all on his own.
(126) In contrast, electronic art from its very beginning was based on a new principle:
modification of an already existing signal.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (187-188) 20120828 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Compare his use of three approaches to studying cinema to techniques in the history of software and the software industry. (187-188) While for Bazin realism funcitons as an Idea (in a Hegelian sense), for Comolli it plays an ideological role (in a Marxist sense); for David Bordwell and Janet Staiger, realism in film is connected first and foremost with the industrial organization of cinema. . . . One of the advantages of adopting an industrial model is that it allows the authors to look at specific agents manufacturing and supplying firms and professional associations (250). The latter are particularly important, since it is in their discourses (conferences, trade meetings, and publications) that the standards and goals of stylistic and technical innovations are articulated.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (xii) 20121105 0 -7+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Hypermedia are profane resurrection of once-sacred models of communication; the medium is the message. (xii) However toddling they appear, contemporary instruments of hyper- and multimedia constitute a profane resurrection of those once-sacred models of communication. . . . In the rediscovered Grotesque art of the Middle Ages was heard the metaphor is deliberately mixed the first premonition of the famous proverb that would define the coming of the digital age a century later: the medium is the message.
(xiii) Recall that even before we began creating formal systems of visual signs systems that generate this very sentence-object you are now reading the language we use is woven from audible and visible elements.
(xiv) Computational systems are not designed like the first sentence of the previous paragraph.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (xiv) 20131005c 0 -5+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Print is flat but expresses human complexities requiring quantum models; code is deep but based on von Neumann architecture designed to negotiate disambiguated, fully commensurable signifying structures. (xiv) The empirical data of consciousness are texts and semiotic phenomena of all types - autopoetic phenomena, in the terms of Humberto Maturana and Francesco Varela. This book will argue that our classical models for investigating such data are less precise than they might be and that quantum dynamical models should be imagined and can be built.
(xv) Quantum poetics in this study does not signify certain figures and tropes that stimulated the practices of a certain group of historically located writers. On the contrary, it comprises a set of critical methods and procedures that are meant to be pursued and then applied in a general way to the study of imaginative work.
(xv) We propose to build it in the hope that it may stimulate others to develop and build more adequate critical tools.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (56) 20120909 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Expands on claim by Kittler that it is challenging to study media because the study itself takes place with and through media. (56) Their problems arise because they deploy a book form to study another book form. This symmetry between the tool and its subject forces the scholar to invent analytic mechanisms that must be displayed and engaged at the primary reading level for example, apparatus structures, descriptive bibliographies, calculi of variants, shorthand reference forms, and so forth.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (81) 20131005t 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Finally his point about what makes electronic texts special. (81) In a certain sense all editions end up doing that. Shakespeare and the Bible and our entire archive of textual works undergo repeated re-editing because we respond to the inadequacies and limits of previous editions.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (82) 20131005u 0 -1+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Ong and McLuhan make this point that only through study of new media systems are the limits and affordances of older media systems revealed. (82) We began our work of building the archive under an illusion or misconception in any case, a transparent contradiction: that we could know what was involved in trying to imagine what we didnƒt know.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (85) 20131005w 0 -6+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Gives example of making crucial design discoveries by playing with Photoshop deformations: does this relate to Hayles notions of transformations of subjectivity? (85) What is important and new about our electronic deformations, however, is their arbitrary character. . . . The deformed images suggest that computerized art editing programs can be used to raise our perceptual grasp of aesthetic objects.
(85) There are critical opportunities to be exploited in the random use of these kinds of deformation.

3 1 3 (+) [-6+]mCQK mcgann-radiant_textuality (86) 20131005x 0 -10+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Compare to Alice Fallacy and Ulmer mystory random connections: although I thought it would be about developing the system itself, he is focusing on great insights via poiesis-as-theory resulting from Photoshopping Rossetti images, thus more like 404 errors and gliches in Hayles, behind the blip of Fuller. (86) But that revelation was unusual, and it seemed clear to me that the deformations largely functioned in a pedagogical way. Insofar as these images brought an imagination of the unknown, they were pointing to the
image editor as a critical and interpretive tool.
(86) The critical force of the Photoshop deformations develops from their ability to expose matters that will be generally recognized, once they are seen.
(86) Strange images evoke our interest exactly because they donƒt pretend to supply us with a generic response to the picture.
(86-87) Distortion and original stand in immediately dialectical relation to each other. . . . This is an ancient way of engaging art that was revised in symbolist and surrealist practice. Not surprisingly, it is a view that Rossetti shared.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (89) 20120920 0 -9+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Image/text another expression of surface/depth; he invokes the Unix Mac split, and claims consciousness of this division is built into his project: putting aside his critical, his instrumental engagement with technology through texts if visual, oriented to sight rather than sound, although he does mention the audial a few times; mump down to his description of Mallarme equivocating digital and book characteristics, and the concept of the Ivanhoe Game as a model for future virtual reality digital humanities scholarship projects. (89) The computerized imagination is riven by this elementary split, as everyone knows. It replicates the gulf separating a Unix from a Mac world. It also represents the division upon which
The Rossetti Archive was consciously built.
(89) We arrived at two schemes for achieving what we wanted. One involved a piece of original software we would develop, now called Inote. The other plan was to develop an SGML markup design that would extend well beyond the conceptual framework of TEI, the widely-accepted text markup scheme that had spun off from SGML.
(89) The overlapping structures of literary works and their graphical design features are not easily addressed by TEI markup.
(90) Texts have bibliographical and linguistic structures, and those are riven by other concurrencies: rhetorical structures, grammatical, metrical, sonic, referential. The more complex the structure the more concurrencies are set in play.

3 1 3 (+) [-4+]mCQK mcluhan-understanding_media (58) 20120927 0 -3+ progress/1994/08/notes_for_mcluhan-understanding_media.html
East-side story quoted in Landow, though he misses the following West-side story that seems appropriate to effect of hypermedia on subjectivity. (58) That is only the East-side story, for the electric implosion now brings oral and tribal ear-culture to the literate West. Not only does the visual, specialist, and fragmented Westerner have now to live in closest daily association with all the ancient oral cultures of the earth, but his own electric technology now begins to translate the visual or eye man back into the tribal and oral pattern with its seamless web of kinship and interdependence.
(59) The oral manƒs inner world is a tangle of complex emotions and feelings that the Western practical man has long ago eroded or suppressed within himself in the interest of efficiency and practicality.

3 1 3 (+) [-4+]mCQK mcluhan-understanding_media (210) 20120926 0 -15+ progress/1994/08/notes_for_mcluhan-understanding_media.html
Easy to connect games to media and literary, dramatic, and oral performance: computer games instantiate the artificial paradise McLuhan describes; see Frasca, Murray, Hayles, Gee, Turkle, and many others who connect games to literature. (210) Games are a sort of artificial paradise like Disneyland, or some Utopian vision by which we interpret and complete the meaning of our daily lives.
(211) A game is a machine that can get into action only if the players consent to become puppets for a time. . . . Our games help both to teach us this kind of adjustment and also to provide a release from it. . . . Already the Freudian patterns of perception have become an outworn code that begins to provide the cathartic amusement of a game, rather than a guide to living.
(211-212) When cultures change, so do games. Baseball, that had become the elegant abstract image of an industrial society living by split-second timing, has in the new TV decade lost its psychic and social relevance for our new way of life.
(212) In contrast [to baseball], American football is nonpositional, and any or all of the players can switch to any role during play.
(212-213) Art and games need rules, conventions, and spectators. They must stand forth from the over-all situation as models of it in order for the quality of play to persist.

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Is McLuhan characterization of television theory skeumorphic, or does it merely echo prior concretized materialities? (27) As Marshall McLuhan mused, the scanning finger of the TV screen is at once the transcending of mechanism and a throwback to the world of the scribe.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (9) 20131006 0 -2+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Anticipates new storyteller who is both hacker and bard; has the hacker motivation been shunted by availability of cultural software tools? (9) As I watch the yearly growth in ingenuity among my students, I find myself anticipating a new kind of storyteller, one who is half hacker, half bard. The spirit of the hacker is one of the great creative wellsprings of our time, causing the inanimate circuits to sing with ever more individualized and quirky voices; the spirit of the bard is eternal and irreplaceable, telling us what we are doing here and what we mean to one another.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (15) 20131006a 0 -1+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Universal fantasy machine of Star Trek holodeck to go with Bush memex, Nelson Xanadu and other imagined equipment. (15) The
Star Trek holodeck is a universal fantasy machine, open to individual programming: a vision of the computer as a kind of storytelling genie in the lamp.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (18) 20131006b 0 -4+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
The fear accompanying new representational technologies. (18) The paralyzing alien kiss is the latest embodiment of the fear with which we have greeted every powerful new representational technology from the bardic lyre, to the printing press, to the secular theater, to the movie camera, to the television screen.
(18) Aldous Huxleyƒs
Brave New World (1932), set six hundred years from now, describes a society that science has dehumanized by eliminating love, parenthood, and the family in favor of genetic engineering, test-tube delivery, and state indoctrination.
(21) For Huxley and Bradbury, the more persuasive the medium, the more dangerous it is. As soon as we open ourselves to these illusory environments that are as real as the world or even more real than reality, we surrender our reason and join with the undifferentiated masses, slavishly wiring ourselves into the stimulation machine at the cost of our very humanity.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (21-22) 20131006c 0 -5+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Frightening future not of technologized docility but violent fragmentation; compare to Edwards cyborg narratives. (21-22) Starting in the 1970s and 1980s, the same fears provoked by the advent of film and television began to be expressed against videogames, which added interactivity to the sensory allures of sight, sound, and motion. . . . The nightmare vision of a future totalitarian state has been replaced by the equally frightening picture of a violently fragmented world organized around cyberspace, where ruthless international corporations, secret agencies, and criminal conspiracies struggle for control.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (30) 20131006d 0 -4+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Multiform story presenting single situation in multiple versions has many examples prior to electronic versions. (30) I am using the term
multiform story to describe a written or dramatic narrative that presents a single situation or plotline in multiple versions, versions that would be mutually exclusive in our ordinary experience. Perhaps the best-known example of a multiform plot is Frank Capraƒs beloved Christmas story, Itƒs a Wonderful Life (1946).
(30) But for many postmodern writers, the quintessential multiform narrative is the much darker story in Jorge Borgesƒs The Garden of Forking Paths (1941).
(34) Part of the impetus behind the growth of the multiform story is the dizzying physics of the twentieth century, which has told us that our common perceptions of time and space are not the absolute truths we had been assuming them to be.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (41) 20131006e 0 -1+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Jenkins prosumer texual poaching makes global fanzine of WWW. (41) This textual poaching, as media critic Henry
Jenkins has called it, has become even more widespread on the World Wide Web, which functions as a global fanzine.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (44) 20131006f 0 -1+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Turkle MUD studies reveal evocative environments; one day do a study of the SCA. (44) As the social psychologist Sherry
Turkle has persuasively demonstrated, MUDs are intensely evocative environments for fantasy play that allow people to create and sustain elaborate fictional personas over long periods of time.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (53-54) 20131006g 0 -6+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Strategic use of sound and music to achieve immersion in games to be like movie amusement rides. (53-54) On the other hand, some game designers are making good use of film techniques in enhancing the dramatic power of their games. For instance, the CD-ROM game
Myst (1993) achieves much of its immersive power through its sophisticated sound design. . . . The music shapes my experience into a dramatic scene, turning the act of discovery into a moment of dramatic revelation.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (59) 20131006i 0 -13+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Examples of virtual reality installations, AI experiments, interactive narrative demonstrate storytelling by computer scientists (Laurel and Strickland). (59) Researchers in fields like virtual reality and artificial intelligence, who have traditionally looked to the military for technical challenges and funding, have recently turned from modeling battlefields and smart weapons to modeling new entertainment environments and new ways of creating fictional characters.
(59-60) The bicycle interface [at Mitsubishi Electronics Research Laboratory] acts like the vehicles in a movie-ride in that it makes the distances seen on the screen seem much more concrete by tying the visual movement to a kinetic environment. However, here the world is not built for adrenaline rushes but for socializing exploration.
(60-61) One of the most intriguing such installations is the
Placeholder world created by Brenda Laurel and Rachel Strickland for Interval Research Corporation in California. Laurel, who holds the worldƒs first Ph.D. in interactive narrative, has been designing games and user interfaces since the 1970s. . . . Once inside the Placeholder world, they can enter the bodies of virtual animals and move as they move.
(61) Perhaps the least encumbered holodeck experience available right now is in front of the twelve-foot computer screen set up by the ALIVE project of MITƒs Media Lab as a magic mirror in which interactors see their own reflection placed beside the cartoon images of virtual characters designed in the lab.
(62) When the Media Lab setup is not in use for these advanced projects, graduate students play
Doom by projecting its cavelike landscape on the screen and standing in front of it holding a plastic gun.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (72) 20131006j 0 -3+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Weizenbaum ELIZA demonstrated procedural property of digital environments. (72) Weizenbaum stands as the earliest, and still perhaps the premier, literary artist in the computer medium because he so successfully applied procedural thinking to the behavior of a psychotherapist in a clinical interview.
(73-74) The lesson of ELIZA is that the computer can be a compelling medium for storytelling if we can write rules for it that are recognizable as an interpretation of the world. The challenge for the future is how to make such rule writing as available to writers as musical notation is to composers.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (76) 20131006k 0 -7+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Differences between compiled and interpreted code to introduce participatory property of digital environments. (76) Compiling your code before running it is like writing a book and then hiring someone to translate it for your readers. Using an interpreter is the equivalent of giving a speech with simultaneous translation. It provides more direct feedback from the machine and a more rapid cycle of trail and revision and retrial. . . . Running LISP on a time-sharing system meant that its dynamic interpreter could immediately return an evaluation of any coded statement you typed into it.

3 1 3 (+) [-6+]mCQK murray-hamlet_on_the_holodeck (76-77) 20131006l 0 -6+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Comparison between conversation in ELIZA and programming in Zork as reflecting human-computer relationships. (76-77) Whereas ELIZA captured the conversational nature of the programmer-machine relationship,
Zork transmuted the intellectual challenge and frustrations of programming into a mock-heroic quest filled with enemy trolls, maddening dead ends, vexing riddles, and rewards for strenuous problem solving. . . . In order to succeed, you must orchestrate your actions carefully and learn from repeated trial and error. In the early versions there was no way to save a game in midplay, and therefore a mistake meant repeating the entire correct procedure from the beginning.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (78) 20131006m 0 -3+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Object orientation implicit in LISP facilitated the game design; also discusses demon processes. (78) Because LISP programmers were among the first to practice what is now called object-oriented software design, they were well prepared to create a magical place like the world of
Zork. That is, it came naturally to them to create virtual objects such as swords or bottles because they were using a programming language that made it particularly easy to define new objects and categories of objects, each with its own associated properties and procedures.
(78) In fact, most interactive narrative written today still follows a simple branching structure, which limits the interactorƒs choices to a selection of alternatives from a fixed menu of some kind.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (79) 20131006n 0 -5+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Narrative constraints scripting the player necessary to create a virtual world with the available resources; Wardrip-Fruin, Bogost and many other depart from this early conclusion. (79) The lesson of
Zork is that the first step in making an enticing narrative world is to script the interactor. . . . By using these literary and gaming conventions to constrain the playersƒ behaviors to a dramatically appropriate but limited set of commands, the designers could focus their inventive powers on making the virtual world as responsive as possible to every possible combination of these commands.

3 1 3 (+) [-6+]mCQK murray-hamlet_on_the_holodeck (80) 20131006o 0 -6+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Spatial characteristic of digital environments due to both screen display and interactor navigation. (80) The computerƒs spatial quality is created by the interactive process of navigation.
(82) The computer screen is displaying a story that is also a place.
(83) The interactorƒs navigation of virtual space has been shaped into a dramatic enactment of plot. We are immobilized in the dungeon, we spiral around with the insomniac, we collide into a lexia that shatters like a bomb site. These are the opening steps in an unfolding digital dance. The challenge for the future is to
invent an increasingly graceful choreography of navigation to lure the interactor through ever more expressive narrative landscapes.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (84-85) 20131006p 0 -3+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Encyclopedic characteristic of digital environments evidenced by fan culture. (84-85) One early indication of the suitability of epic-scale narrative to digital environments is the active electronic fan culture surrounding popular television drama series. As an adjunct to the serial broadcasting of these series, the Internet functions as a giant bulletin board on which long-term story arcs can be plotted and episodes from different seasons juxtaposed and compared.
(85) But as the Internet becomes a standard adjunct of broadcast television, all program writers and producers will be aware of a more sophisticated audience, one that can keep track of the story in greater detail and over longer periods of time.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (88) 20131006q 0 -10+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Authority of constraints bestowed by programmed environment create illusion of complete coverage, but hide political and design assumptions as SimCity critics point out. (88) Simulations like these take advantage of the authority bestowed by the computer environment to seem more encyclopedically inclusive than they really are. As its critics pointed out, the political assumptions behind
SimCity are hidden from the player. . . . Nevertheless, the basic competitive premise of the game is not emphasized as an interpretive choice.
(89-90) But the encyclopedic capacity of the computer can distract us from asking why things work the way they do and why we are being asked to play one role rather than another. . . .

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (91) 20131006r 0 -6+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Rehearses the story of Bush Memex and Nelson Xanadu. (91) This earliest version of hypertext reflects the classic American quest a charting of the wilderness, an imposition of order over chaos, and the mastery of vast resources for concrete, practical purposes.
(91) He [Nelson] sees associated organization as a model of his own creative and distractible consciousness, which he describes as a form of hummingbird mind. . . . Nelsonƒs vision of hypertext is akin to William Faulknerƒs description of novel writing as a futile but noble effort to get the entire world into one sentence.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (93) 20131006s 0 -8+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Eliot objective correlative for capturing emotional experience in cluster of events in literary works; how this operates in hypermeida an gamelike features of simulation remains unstudied and incunabular. (93) T.S. Eliot used the term objective correlative to describe the way in which clusters of events in literary works can capture emotional experience. . . . The more we see life in terms of systems, the more we need a system-modeling medium to represent it and the less we can dismiss such organized rule systems as mere games.
(93) Current narrative applications overexploit the digressive possibilities of hypertext and the gamelike features of simulation, but that is not surprising in an incunabular medium.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (98-99) 20131006t 0 -6+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Learning to swim in participatory immersive environments. (98-99) The experience of being transported to an elaborately simulated place is pleasurable in itself, regardless of the fantasy content. We refer to this experience as immersion. . . . But in a participatory medium, immersion implies learning to swim, to do the things that the new environment makes possible.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (122) 20131006v 0 -4+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Discussion of LARP mechanics regulating arousal suggest study the SCA as real virtual reality. (122) In live-action role-playing games, the narrative conventions that control the boundary between the real world and the illusion are called mechanics.
LARP mechanics are a kind of abstract mimicry for behaviors that would otherwise require props, danger, or physical involvement.
(125) The computer is providing us with a new stage for the creation of participatory theater. We are gradually learning to do what actors do, to enact emotionally authentic experiences that we know are not real.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (128-129) 20131006w 0 -4+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Aesthetic pleasure of agency, pleasures of navigation, story in mazes (Borges pullulating web), rapture of rhizome are characteristics of electronic narratives and games. (128-129) Agency, then, goes beyond both participation and activity. As an aesthetic pleasure, as an experience to be savored for its own sake, it is offered to a limited degree in traditional art forms but is more commonly available in the structured activities we call games. Therefore, when we move narrative to the computer, we move it to a realm already shaped by the structures of games. Can we imagine a compelling narrative literature that builds on these game structures without being diminished by them?

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Games as symbolic dreams include interesting interpretation of Tetris as enactment of overtasked American lives and rain dance of postmodern psyche. (144) Tetris allows us to symbolically experience agency over our lives. It is a kind of rain dance for the postmodern psyche, meant to allow us to enact control over things outside our power.
(144-145) The violence and simplistic story structure of computer skill games are therefore a good place to examine the possibilities for building upon the intrinsic symbolic content of gaming to make more expressive narrative forms.

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Constructivism exemplar MMORPGs virtually instantiate the well-run LARP game; how does her prediction fit with decline in popularity of Second Life and rise of casual construction games? (151) Perhaps the most successful model for combining player agency with narrative coherence is a well-run LARP game.
(152) Producing such systems will require the union of computer science expertise with participatory storytelling artistry.

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Attribution of procedural authorship by interactor mistakes agency in digital narrative for content and game mechanics creation. (152-153) Authorship in electronic media is procedural.
Procedural authorship means writing the rules by which the texts appear as well as writing the texts themselves. . . . The procedural author creates not just a set of scenes but a world of narrative possibilities.
(153) Contemporary critics are attributing authorship to interactors because they do not understand the procedural basis of electronic composition. The interactor is not the author of the digital narrative, although the interactor can experience one of the most exciting aspects of artistic creation - the thrill of exerting power over enticing and plastic materials. This is not authorship but agency.

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Kaleidoscopic subjectivity may be emerging transformation facilitated by computer media experience from print based single perspective fixity. (161-162) We no longer believe in a single reality, a single integrating view of the world, or even the reliability of a single angle of perception. Yet we retain the core human desire to fix reality on one canvas, to express all of what we see in an integrated and shapely manner. The solution is the kaleidoscopic canvas that can capture the world as it looks from many perspective complex and perhaps ultimately unknowable but still coherent.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (170-171) 20131007 0 -7+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Compare transformative power of enactment in virtual realities to Gee projective identity. (170-171) Enacted events have a transformative power that exceeds both narrated and conventionally dramatized events because we assimilate them as personal experiences. The emotional impact of enactment within an immersive environment is so strong that virtual reality installations have been found to be effective for psychotherapy. . . . The inner changes brought on by such experiential learning then allow them to apply the same behaviors to the real world.
(173) The goal of mature fictional environments should not be to exclude antisocial material but to include it in a form in which it can be engaged, remodeled, and worked through.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (178) 20131007a 0 -3+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Can there be sense of tragic inevitability in digital narrative, Eco sense of destiny, thinking of Ryan? (178) Could a digital narrative offer a higher degree of agency while still preserving the sense of tragic inevitability? Can we have an interactive story that still retains what Umberto Eco calls its sense of destiny?
(179-180) What is more, a digital narrative could capture something we have not been able to fix as clearly in linear formats: not just a tragic hero or a tragic choice but a tragic process.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (194) 20131007b 0 -3+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Bardic recreations from underlying pattern better model for cybertexts than fixed work model of print texts; authorship also shifts from individual performer, as IT integration, to milieu of working code. (194) But what it conserves is not a single particular performance but the underlying patterns from which the bards can create multiple varied performances. Their success in combining the satisfactions of a coherent plot with the pleasures of endless variation is therefore a provocative model of what we might hope to achieve in cyberspace. To do so we must reconceptualize authorship, in the same way Lord did, and think of it not as the inscribing of a fixed written text but as the invention and arrangement of the expressive patterns that constitute a multiform story.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (202) 20131007c 0 -1+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
CMU Oz group envisioned by Stephenson in Diamond Age. (202) The Oz group [at CMU] is attempting to create a system that a writer could use to tell stories that would include an interactor, a story world with its own objects, computer-based characters who act autonomously, and a story controller that would shape the experience from the perspective of the interactor.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (207) 20131007d 0 -7+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Computer is performance instrument expertly manipulated by cyberbard following moral physics, not autonomous source of plot. (207) Since plot is a function of causality, it is crucial to reinforce the sense that the interactorƒs choices have led to the events of the story. . . . Stories have to have an equivalent moral physics, which indicates what consequences attach to actions, who is rewarded, who is punished, how fair the world is.
(207-208) By generating multiple stories that look very different on the surface but that derive from the same underlying moral physics, an author-directed cyberdrama could offer an encyclopedic fictional world whose possibilities would only be exhausted at the point of the interactorƒs saturation with the core conflict. The plots would have coherence not from the artificial intelligence of the machine but from the conscious selection, juxtaposition, and arrangement of elements by the author for whom the procedural power of the computer makes it merely a new kind of performance instrument.

3 1 3 (+) [-6+]mCQK murray-hamlet_on_the_holodeck (240) 20131007e 0 -4+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Cybernetic paradigms from central command, finite state automata, to decentered emergent systems require shifting paradigms of analysis. (240) In the first cybernetic models, systems were thought of as being under a central command structure, like a thermostat, and computer programs were built in simple hierarchies with one master program that controlled other programs, or subroutines. Later systems were often based on the notion of a finite state automaton that chugged from one complex state to another in sequences that could be charted in an neat map of circles connected by lines. But as our models of the world have become more complex, systems have become decentered: their processing operations are distributed among many entities, none of which is in central control, and the possible states of the system as a whole are no longer thought of as finite. The new emergent systems have reached such a degree of intricacy that they are their own description; there is no other way to predict everything they are likely to do than to run them in every possible configuration.

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (271-272) 20131007f 0 -5+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Over a decade later this prediction has not been realized; instead, non-immersive social media forms an accompaniment rather than replacement reality. (271-272) As the virtual world takes on increasing expressiveness, we will slowly get used to living in a fantasy environment that now strikes us as frighteningly real. But at some point we will find ourselves looking through the medium instead of at it. . . .

3 1 3 (+) [-4+]mCQK murray-hamlet_on_the_holodeck (280-281) 20120925 0 -16+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Her vision of Hamlet on the holodeck is stories emerging from whole system simulation. (280-281) The most ambitious promise of the new narrative medium is its potential for telling stories about whole systems. The format that most fully exploits the properties of digital environments is not the hypertext or the fighting game but the simulation: the virtual world full of interrelated entities, a world we can enter, manipulate, and observe in process. We might therefore expect the virtuosos of cyberdrama to create simulated environments that capture behavioral patterns and patterns of interrelationships with a new clarity.
(281) But twentieth-century science has challenged our image of ourselves and has perhaps outrun our ability to imagine our inner life. A linear medium cannot represent the simultaneity of processing that goes on in the brain the mixture of language and image, the intimation of diverging possibilities that we experience as free will.
(282) The narrative imagination has the power to play leapfrog with analytical modes of understanding. . . . the coming cyberdrama may help us reconcile our subjective experience of ourselves with our rapidly expanding scientific knowledge of biology. . . . A computer-based literature might help us recognize ourselves in the machine without a sense of degradation.
(283) Finally, the experience of the Habitat community described in chapter 9 suggests that the collective virtuosity of the role-playing worlds may provide a tradition of stories around the themes of violence and community.
(284) But it is first and foremost a representational medium, a means for modeling the world that adds its own potent properties to the traditional media it has assimilated so quickly.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (xiii) 20131006 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Born from Frankfurt school; compare E-Crit interdisciplinary program architected by OGorman combining English, Communications, CIS, and Fine Art to DH programs Hayles surveys in How We Think. (xiii) E-Crit is an interdisciplinary program that combines English, Communications, Computer Information Systems, and Fine Art.
(xiii) (endnote 1) the term ƒnew mediaƒ is historically determined.
(xiii-xiv) E-Crit was born out of the Frankfurt School / poststructuralism sensibility of two of my colleagues and their students, who positioned resistance and vigilant critique as the cornerstones in a new media studies curriculum that opposes the compartmentalization of knowledge. . . . The goal, then, is to position discourse in such a way that it can play a formative role in reshaping the academic apparatus.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (xv) 20131006b 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Failure of theory; recall the readings for A Companion to Digital Humanities. (xv) One way of explaining this sense of disappointment in the ƒfailure of theoryƒ is to investigate how attempts to apply deconstruction toward the materialization of revolutionary scholarly practices have been largely ineffectual. . . somewhere in the early 1990s, the major tenets of deconstruction (death of the Author, intertextuality, etc.) were displaced into technology, that is, hypertext. Or to put it another way, philosophy was transformed, liquidated even, into the materiality of new media. This alchemical transformation did not result in the creation of new, experimental scholarly methods that mobilize deconstruction via technology, but in an academic fever for digital archiving and accelerated hermeneutics, both of which replicate, and render more efficient, traditional scholarly practices that belong to the print apparatus.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (4) 20131006c 0 -4+ progress/2008/09/notes_for_ogorman-ecrit.html
Remainder is other of scholarly language, deemed cute, junvenile, like Pataphysics, unstylish poststructual writing, what I call VSP. (4) All of the linguistic tools that account for the poetics of this study - a poetics I have called hypericonomy - might be classified under what Jean-Jacques Lecercle has termed ƒthe remainderƒ of language. Puns, anagrams, false etymologies, macaronics, and metaphor of all breeds fall into this repressed category, this ƒother of languageƒ (99). More importantly here, the remainder is the ƒotherƒ of academic or scholarly language. It is deemed as nonsense or rubbish, classified as ƒcuteƒ or juvenile, the stuff of childrenƒs literature, fantasy, and folklore, and lately, as unstylish poststructural writing.

3 1 3 (+) [-6+]mCQK ogorman-ecrit (5) 20131006d 0 -4+ progress/2008/09/notes_for_ogorman-ecrit.html
To Guillory canon debate always history of writers, not writing. (5) While Guillory focuses primarily on the permutations of the category of ƒliterature,ƒ this study is more concerned with the category of ƒacademic writing,ƒ which is the primary vehicle for mediating the ƒimaginary structuresƒ of higher education. As Guillory suggests, the ideology of literary tradition that is at the root of the canon debate is always ƒa history of writers and not of writingƒ (63). Guillory is interested, therefore, in how writing becomes literature. This study, however, asks how writing becomes scholarship, and it does so not only by examining the practices and structures of the academic apparatus, but also by imagining a new method of scholarly writing (hypericonomy) and a new curricular strategy (Electronic Critique).

3 1 3 (+) [-4+]mCQK ogorman-ecrit (6) 20131006e 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Material, representational, pictorial remainder of scholarly discourse includes rejected submissions to refereed journals and conferences, yet must eventually distinguish between misunderstood and junk. (6) Since the essay I submitted to the journal was non-traditional from an academic perspective, the refereeƒs comments, as reproduced here, should act as a sort of warning for the inventors of new modes of academic discourse, namely, this is what to expect when you submit ƒremainder-workƒ to a traditional journal. . . . The first type of remainder is taken directly from Lecercle and Deleuze/Guattari, and it relates to the rhizomatic principle of structure disdained by traditional, rigorous humanities scholars: the structural remainder. The second type is more grammatological in nature; it concerns the repressed technological element of humanities scholarship, and the resistance of scholars to certain communications technologies: the material remainder. The third type of remainder, which is closely allied to the second, accounts for a great deal of the theoretical writing in this book: the representational remainder of scholarly discourse, which might also be termed the pictorial remainder.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (8) 20131006f 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Attempt to write Manovich language of new media. (8) My submission was, to borrow Lev Manovichƒs term, an attempt to write (in) the language of new media. The suggestion that it should be ƒput into conventional essay form . . . . before it goes deconstructiveƒ is indicative of the refereeƒs oppressive print-centricity.
(9) As I will argue throughout this book, it is a definitive characteristic of traditional scholars to reject any mode of discourse that diverges from the path of the conventional, hierarchical essay format.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (14) 20131006h 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
This good sense of nonsense of Deleuze seems like a special kind of intellectual, intentional nonsense rather than the ramblings of a drug-crazed, street corner schizophrenic; I think of a certain story by Paul Auster. (14) sense, according to
Deleuze, is present in every utterance, even in so-called nonsense, which should not be understood as lack of sense (or direction) at all, but as an overproduction of sense (indirection=too many directions at once, no single direction). . . . It is in this sense that the language of new media, with its multi-discursive, diachronic structure, is nonsensical.
(16) The
who of good sense is obvious, then, and the why might be answered by pointing to the history and tradition of scholarly discourse, with its roots in early print technology and the structure of the first universities. But there are other, more political, more confrontational answers to this why of scholarly discourse, which have to do with the unlikely coupling of traditionalists who seek to maintain a certain complacent, bourgeois, academic status quo, and techno-bureaucratic university administrators seeking to run a viable business.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (20) 20131006j 0 -3+ progress/2008/09/notes_for_ogorman-ecrit.html
What Heidegger dreaded as a technological language machine taking over all discourse including the repose of poetry and scholarship, namely Kittler Republic of Scholars. (20) This is the episteme of what Friedrich
Kittler has called the Republic of Scholars, a republic entirely committed to ƒendless circulation, a discourse network without producers or consumers, which simply heaves words aroundƒ (Kittler 1990: 4). It is this form of scholarly discourse, this discursive circuit, which renders itself visible through the production of banal treatises and dissertations.
(21) To put it in the bluntly economic terms of Katherine
Hayles, we are in a situation of ƒtoo many critics, too few texts,ƒ and the result has not been innovation, but repetition, recycling, and reduction.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (21) 20131106a 0 -4+ progress/2008/09/notes_for_ogorman-ecrit.html
Definition of heuretics. (21) (endnote 5) a
definition of heuretics . . . ƒWithout relinquishing the presently established applications of theory in our disciplines (critique and hermeneutics), heuretics adds to these critical and interpretive practices a generative productivity of the sort practiced in the avant-gardeƒ (Ulmer 1994a: xii).

3 1 3 (+) [-6+]mCQK ogorman-ecrit (24) 20131006m 0 -5+ progress/2008/09/notes_for_ogorman-ecrit.html
Writing under aegis of electracy but still playing language games of Republic of Scholars. (24) I am writing under the aegis of
electracy (elec-trace-y). . . . This Republic of Scholars, with its faith in transparent language, scientific proof, and the text-based, linear, sequential essay, provides the methodology and discourse for all who wish to maintain affiliation within the academic apparatus.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (25) 20131106 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
Ulmer electracy introduced in endnote. (25) (endnote 8) Gregory Ulmer, who coined the term ƒelectracy,ƒ explains it in the following manner: ƒIn the history of human culture there are but three
apparatuses: orality, literacy, and now electracy. We live in the moment of the emergence of electracy, comparable to the two principle moments of literacy (The Greece of Plato, and the Europe of Galileo)ƒ.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (25) 20131006n 0 -1+ progress/2008/09/notes_for_ogorman-ecrit.html
This as any classicist will tell you is an incorrect plural form of the fourth-declension noun apparatus: does it matter that OGorman circulates this error? (25) (endnote 8) Gregory Ulmer, who coined the term ƒelectracy,ƒ explains it in the following manner: ƒIn the history of human culture there are but three
apparatuses: orality, literacy, and now electracy.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (26) 20131006o 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
You have to be familiar with them in order to visualize the graph, and still may be a flaw of picture theory. (26) imagine the various intersections, linkages, and lines of flight incited by the following plotting of points on a graph: from Jonathan Craryƒs historical evalution of ƒScopic Regimesƒ to W.J.T. Mitchellƒs identification of a ƒpictorial turnƒ; from E.H. Gombrichƒs theory of the ƒmental setƒ to Rosalind Krausƒs ƒoptical unconscious.ƒ
(26) There is no print-based artifact so accommodating that it could represent the complex network of possibilities posed by the intersection of the various texts that I wish to gather here under the aegis of picture theory.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (29) 20131006p 0 -5+ progress/2008/09/notes_for_ogorman-ecrit.html
Under Gombrich mental set inidividual vision form of projection attempting to match shapes in field of vision to mental schemata. (29) Gombrichƒs crucial theoretical contribution to this study is the ƒmental set,ƒ a subjective ƒhorizon of expectationƒ (60) that guides an individualƒs optical impressions. Vision, in Gombrichƒs model, is a form of projection, and each individual possesses mental schemata against which s/he attempts to match the shapes in her/his field of vision. Thus, that which ƒwe call reading an image,ƒ Gombrich suggests, ƒmay perhaps be better described as testing it for its potentialitiesƒ (227).
(30) There are, however, certain methods of classification within ƒthe filing systems of our mindƒ (Gombrich 1969: 105) that are not culturally determined, but that are entirely personal and subjective, the result of an individualƒs psychic experience. These mental images may not even be recognized by the individual herself, although they may have radical effects on the way she organizes visual stimuli.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (31) 20131006q 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
Recall Hayles attack on Shannon model of communication where neither the sender nor the receiver play any role in massaging the medium or the message: of course this model exists for the sake of emphasizing the external, material, technological components of the system that is the object of electrical engineering. (31) In order to withstand the image bombardment being deployed in the current mediascape, readers and viewers must possess a means of filtration that will allow them to consciously organize visual information and arrange it into manageable patterns. But in order to develop such an apparatus, it seems that a reader must dismiss the notion of transparent communication, and accept the impossibility of a universal perspective, or of ƒa purely responsive act of reading - an act which will decode the transmission in precisely the way that the sender desiresƒ (McGann 1991: 37).

3 1 3 (+) [-4+]mCQK ogorman-ecrit (33) 20131006r 0 -3+ progress/2008/09/notes_for_ogorman-ecrit.html
Barthes claims image always subordinated to encapsulating written text. (33) The image, he [
Barthes] insists, is always subordinated to the message imposed upon it by the written text, whether it is a caption, a headline, or some other written form.
(34) Despite the apparent ingenuousness of Magritteƒs painting [
La trahison des images], Foucault identifies it as a dialectical enigma, a scene of seduction into which the viewer is irresistibly drawn.
(34) When, years after painting
La trahison des images, Magritte moved his pipe and caption to a blackboard mounted on an easel, it is as if he was directly targeting the academic apparatus, taunting it with a form of discourse which it could not possibly accommodate.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (34) 20131006s 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Mitchell metapicture exemplified by Foucault not a pipe essay, instructing us about relation between image and text, also hypericon. (34) According to W.J.T.
Mitchell, Foucaultƒs short essay [ƒCeci nƒest pas une pipeƒ] demonstrates that La trahison des images is not only a metapicture, a picture about pictures that instructs us on the ƒinfinite relationƒ between image and text; it is also a hypericon that ƒprovides a picture of Foucaultƒs way of writing and his whole theory of the stratification of knowledge and the relations of power in the dialectic of the visible and the sayableƒ (1994: 71).
(37) what I am seeking in the development of a new mode of academic discourse lies between Druckerƒs ƒseriousƒ theoretical work and her artistsƒs books.
(39) At the beginning of each chapter of
The Optical Unconscious, we find an icon - a detail from a painting, drawing, or photograph - that serves as the title. The title of each chapter, then, is represented by a pictorial mise en abyme, a conceptually - and ideologically - loaded image that captures the central argument of each chapter.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (49) 20131006w 0 -5+ progress/2008/09/notes_for_ogorman-ecrit.html
Rather than allow the default to prevail in humanities scholarship, invent new methods to shape the digital apparatus as did the scholarly method of Ramus for print apparatus. (49) New media have done little to alter the practices of humanities scholars, except perhaps by accelerating - by means of more accessible databases - the rate at which hermeneutics can be performed. . . . Just as Ramusƒs scholarly method had a great influence in shaping a print apparatus that has persisted for five centuries, might it not be possible to invent scholarly methods to shape the digital apparatus?

3 1 3 (+) [-6+]mCQK ogorman-ecrit (49) 20131006x 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
Possible to do with Thomas Murner wat Breton did with Freud is task of E-Crit project. (49) Ulmer cites Andre Bretonƒs co-option of Freud to invent surrealism. Since my goal is to invent a mode of discourse that challenges Ramist, print-based methods, I might very well co-opt a pre-Ramist methodology and ask the following question:
Is it possible to do with Thomas Murner what Andre Breton did with Freud?

3 1 3 (+) [-4+]mCQK ogorman-ecrit (74) 20131007d 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
That this figure occurs in a text means, minimally, a picture (ta zoographia) is involved. (74) figure 4.1) Wendy and Michael Magnifier, 1998: McDonaldƒs
Peter Pan Happy Meal toy.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (76) 20131007e 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
Heim historical drift and gains and losses expressed as shifts in hierarchy of cognitive processes; relate to decline of symbolic cognitive in favor of iconic and visual noted by Manovich. (76) My argument, then, is not that visual media have made us, or our children, more intelligent than our predecessors, but that development in the materiality of media lead to shifts in the hierarchy or matrix of cognitive processes.
(77) The
camera obscura, as described by Krauss, might serve as a convenient hypericon for encapsulating the classical understanding of visuality which the avant-garde challenged.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (78) 20131007f 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
Influence of Lacan in Krauss Optical Unconscious? (78) In
The Optical Unconscious, Krauss relies heavily on the work of Max Ernst in order to demonstrate the surrealistsƒ undoing of the figure/ground binary.
(80) the contemporary popularity of surrealist imagery which stunned and baffled its initial audience, demonstrates the advanced level of optical sophistication possessed by the average contemporary consumer.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (86) 20131007l 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Semiotic square too rigid for 1/0 example, use Ulmer choral square popcycle. (86) The semiotic square, employed on its own, is a much too rigid and positivist apparatus. For this reason, 1\0 relies heavily on a more pliable apparatus known as the ƒchoral square.ƒ The choral square, which first appears in Ulmerƒs Heuretics, is a descendant of Platoƒs notion of chora, which was picked up by Jacques Derrida. Like the mnemonic strategy of classical rhetoric or oratory, chorography relies upon the generative potential of a specific place. In Ulmerƒs chorography, the subject provides the place of invention, with the intention of generating a poetics. The term place here is somewhat inadequate, however, since it actually refers to the space of a quadripode graph which Ulmer calls the popcycle, and within which the chorographer (or mystorian) plots him/herself by filling in the following coordinates or slots: ƒFamily, Entertainment, School, Discipline.ƒ
(86-87) What really matters for the sake of mystory, however, is that the categories are filled in before the project actually begins, and they are pursued faithfully as if they formed a set of rules for the deployment of the project.

3 1 3 (+) [-6+]mCQK ogorman-ecrit (87) 20131007m 0 -5+ progress/2008/09/notes_for_ogorman-ecrit.html
Seems Ulmer language is intended to be silly in the sort of indirectional nonsense that is like Blakes childrens works. (87)
The popcycle first appeared in Ulmerƒs Teletheory as a set of guidelines employed in the creation of a mystory, a new critical genre which adds autobiography and pop culture to the scholarly mix. . . . What remains essential in any case is that: (a) the academic category is forced to collide with other influential aspects of an individualƒs life; and (b) the categories are staged around the resolution of a specific problem.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (90) 20131007p 0 -9+ progress/2008/09/notes_for_ogorman-ecrit.html
This is the connection between OGorman avant-garde method and science of Freud and Lacan, which poststructuralists will endorse, stating like a political ad, I am poststructuralism, and I approve of this message. (90) Lacan frequently employed images to instill this ƒ
sublime of stupidityƒ in his audience. On the cover of each volume of his seminars, for example, is a hypericonic image taken from classical painting - an ƒorganizing image of the discourse, not to be interpreted but to serve as a point of departure for working through a theoretical problemƒ (Ulmer 1989: 194). . . . In Lacanƒs mnemonic technique, we have the precursor, the theoretical bud, of which hypericonomy is indeed in full bloom.
(94) Could it be that to produce a hypericonomy of this sort is to place oneself in the presence of a sublime object? An object which, in the Kantian/Derridean sense, invokes a ƒviolence done to the sensesƒ (Derrida 1987: 130)? An object beyond the grasp of comprehension, beyond calculation and without end?

3 1 3 (+) [-6+]mCQK postman-technopoly (16) 20131227h 0 -1+ progress/2013/12/notes_for_postman-technopoly.html
Media at war with each other symptomatic of conflicting collective world views. (16) When media make war against each other, it is a case of world views in collision.

3 1 3 (+) [-6+]mCQK reddell-social_pulse_of_telharmonics (221) 20131008g 0 -6+ progress/2011/11/notes_for_reddell-social_pulse_of_telharmonics.html
There should be no surprise Baudrillard, who flourished in the pre-Internet electrified print culture, completely misses take on this that is analogous to arguing why mutual preparation of meals is an example where a culture of consumption sustains exchange between reciprocating cooks and diners. (221) In his sobering account of mediaƒs tendency to hinder social transformation, 1972ƒs Requiem for the Media, Jean
Baudrillard (2003) discusses the collapse of communication into a closed loop, a systematic failure that he characterizes in terms of information consumption. There is no exchange in consumption, and when communication transforms into the digestion of media objects, social life ceases. . . . The challenge in the Internet Download Sound series is to remain open to fortuitous accidents of random juxtaposition while using file-processing software that essentially eats away at the performance.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (XIII) 20131008a 0 -5+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Foreword: Ulmer sums up term cool as chorally defined. (XIII) Analogy in this case is filled with an array of the creative practices that Rice summarizes in the term
cool, defined, as he notes, chorally (that is, using every meaning of the term). . . . At one level the approach reminds us of one of the peculiarities of our discipline, which is that we study about our inventors but rarely consider learning anything from them with respect to our own practices.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (8) 20131008b 0 -1+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Rice admits to be inventing a new media writing that advances the agenda he and Ulmer care about. (8) With cool, I find that chora, appropriation, juxtaposition, commutation, nonlinearity, and imagery are the rhetorical moves that comprise a specific new media writing I am inventing.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (13) 20131008c 0 -8+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
McLuhan use of cool for high-participatory nature of media forms like television, telephone, comic books joined with detached, calm African-American reaction to white authority: both moments excluded from historical narrative of composition studies. (13) Marshall
McLuhan employed cool to describe the high-participatory nature of certain media forms (TV, the telephone, comic books) as opposed to the low-participatory characteristic of other forms he called hot (film, radio, print). At the same time, in Blues People, Amiri Baraka used cool to describe the African-American reaction to a white, oppressive authority as calm, noninvolved, detached. Meanwhile, Robert Farris Thompson, working in West Africa and later recording his observations in Flash of the Spirit, discovered that African-American terms like cool have their origins in indigenous, African societies such as the Yoruba, who use it as a form of visual writing in order to express in art and aesthetics a lifestyle characteristic of appeasement, conciliation, and calmness. Together, these writers discover cool as something beyond its immediate and established connotations of popularity or personality. . . . Yet why have these moments found themselves excluded from composition studiesƒ historical narrative?

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (14) 20131008d 0 -2+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Digital problem version of Havelock oral problem is importance of rhetorics of digital culture despite lack of attention by composition studies. (14) What Havelock calls the oral problem (the importance of orality and its history to literacy and meaning making), I call the digital problem, the understanding that rhetorics of digital culture have been circulating and discussed since the fieldƒs rebirth even if composition studies has not paid attention to these rhetorics in a significant way.
(16) Iƒm not critiquing North when I problematize the grand narrative; I am critiquing how that narrative remains unchallenged and accepted as de facto history, how its recitation continues to be sounded out in our conferences, journals, and work, how it has become, in Foucaultƒs language, the permanence of a theme.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (23) 20131008e 0 -4+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Important 1963 works by Weaver, Booth and Corbett on composition research that seemed to miss technological, visual, and cultural influences surrounding their claims. (23) Basing their studies on the concept of the student as variable, these texts
[Research in Written Composition and Themes, Theories, and Therapy], which have become two of the most influential 1963 theoretical works on composition pedagogy, attempt to transfer composition pedagogy from a hodgepodge collection of anecdotes and teaching stories to the clear and coherent reasoning of how classroom practice can best succeed. They keyword in this kind of research is control, control over who and what are being studied, and control over how these studies are employed to maintain some degree of standardized practice.
(25) I am curious as to how those individuals writing in 1963 could have missed the technological, visual, or cultural influences occurring around them
as they made their claims.
(27) The unification of theory and practice is a widely circulated trope seldom acted upon in the manner I am attempting: to write both a textbook and a theoretical book on the same subject.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (28-29) 20131008f 0 -6+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Follow Manovich drawing attention to general tendencies of computerized culture by introducing six rhetorical principles conductive to cool. (28-29) Like Lev
Manovich in his influential text The Language of New Media, I want to draw attention to specific rhetorical features conducive to new media what Manovich calls the general tendencies of a culture undergoing computerization (27). In place of Manovichƒs interests in databases, variability, transcoding, and other applications, I discuss these six rhetorical principles I have found conducive to cool. . . . To produce knowledge in what McLuhan names The Gutenberg Galaxy, we are obligated to learn the rhetoric of a newly emerging electronic apparatus centered in acts of appropriation, sampling, hacking, and other related moves.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (33) 20131008g 0 -5+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Danger in dependence on topoi, which served print-based writing instruction well, in age of new media. (33) The topoi have served print-based writing instruction by allowing students (and often instructors) the ability to work from a common repository of ideas. . . . But, as I will show, the danger might be more with our dependence on the topoi in the age of new media.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (33-34) 20131008h 0 -9+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Chora is Ulmer inspired hyper-rhetoric practice updating topoi: associative, engaged meanings, discovering juxtapositions, hyperlinked, performative. (33-34) Cool as cultural studies, cool as technology, and cool as visual writing all individually operate from different topos-based positions. My usage of all these positions at once is associative, not categorical or permanent, as the Aristotelean method demands. Gregory
Ulmer names this strategy I employ chora, a hyper-rhetoric practice that updates the topoi for new media. . . . Ulmer names this electronic writing practice chorography and offers a set of instructions for how to be a chorographer: do not choose between the different meanings of key terms, but compose by using all the meanings (Heuretics 48).
(35) Cool media operate by a choral logic: Users of a given termƒs various meanings must actively engage with those meanings in rhetorical ways, discovering unfamiliar and unexpected juxtapositions of these meanings as they compose. Readers, too, respond to chora in a participatory manner unlike typical definitions of meaning or analytical understandings.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (42) 20131008i 0 -9+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Ironically, his map of cool/ituti is all made of words rather than images. (42) Cool, or
ituti, indicates a form of visual writing employed in order to express in art and aesthetics a lifestyle characteristic of appeasement, conciliation, and calmness. Yoruban culture articulated cool as a visual aesthetic in sculpture, weaving, and dance. . . . Any kind of computer-oriented rhetoric must account for the iconic display of information. . . .

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (43-44) 20131008j 0 -6+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Ramist handbook hinders inventive rhetorical moves: what did Foucault say about the specificity of Greek hypomnemata? (43-44) Too concerned with the division and arrangement of separate and distinct categories to study (which we can today recognize as modes, process, punctuation, or types of grammatical error), the Ramist tradition hinders the handbookƒs potential to voice inventive rhetorical moves and gestures. . . . Both McLuhan and Burroughs situate the handbook as a new media collection whose role is to demonstrate and teach rhetorical production.
(44) The focus of these assignments is the exploration of a given term (which is up to the studentƒs discretion) relevant to the studentƒs area of study (Nursing, Education, Accounting, Biology, etc.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (96) 20120824 0 -2+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
All meaning exchangeable like memory in a computer, thus the importance of the dynamically redrawn video screen supplanting the teletype and static, printed page: connection to Baudrillard cool discourse, which no doubt connects to McLuhan as well. (96) Cool discourse, as Baudrillard defines it, challenges writing instruction to reimagine the notion of a permanent writing space based on a fixed (and real) experience.
(97)
Rolling Stoneƒs point is that cool is allusive and indefinable, yet even so, the magazineƒs arbitrary categories and ability to shift selections from one list to another indicates that cool is an exchangeable rhetorical act.

3 1 3 (+) [0+]mCQK rushkoff-program_or_be_programmed (53) 20140105f 0 -2+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Analog recording based on physical inscription, digital series of choices via engineered transduction into discreet differences. (53) The analog recording is a physical impression, while the digital recording is a series of choices.
(54) In the digital recording, however, only the dimension of the sound can be measured and represented in numbers are taken into account.

3 1 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (54-55) 20140105g 0 -1+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Digital recording fundamentally different phenomenon than analog; like virtual communication of last chapter and formant synthesis. (54-55) But the problem is not that the digital recording is not good enough it is that itƒs a fundamentally different phenomenon from the analog one.

3 1 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (77-78) 20140107d 0 -5+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Reliance on familiar brands, trusted authorities, generic symbols to gain bearings due to abstraction and lack of local interaction. (77-78) On a more subtle level, the abstraction intrinsic to the digital universe makes us rely more heavily on familiar brands and trusted authorities to gain our bearings. . . . Learning, orienting, and belonging online depend on universally accepted symbols or generically accessible institutions.

3 1 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (78) 20140107e 0 -1+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
All media are biased toward abstraction, representing other media. (78) In fact, all media are biased toward abstraction in one way or another.

3 1 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (80) 20140107f 0 -4+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Hypermedia disconnection from author and context, forming nexus of abstracted connections, a world of symbols about symbols; think in terms of Benjamin aura and postmodern simulacrum. (80) Finally, the digital age brings us hypertext the ability for any piece of writing to be disconnected not just from its author but from its original context.
(80) But from a practical and experiential perspective, we are not talking about the real world being so very connected and self-referential, but a world of symbols about symbols. Our mediating technologies do connect us, but on increasingly abstracted levels.
(81) The original painting, hanging in the very cathedral for which it was painted perhaps, has what Benjamin called an aura, which is at least partly dependent on its context and location.

3 1 3 (+) [-5+]mCQK rushkoff-program_or_be_programmed (83-84) 20140107g 0 -6+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Digital simulations are simulacra, abstracted representations of games and math; postmodern fear of entrancing simulation resulting in disconnection from people and places, culminating in Turkle robotic moment. (83-84) While games and math might be abstracted representations of our world, our digital simulations are abstracted representations of those games and mathematics. . . . As the postmodernists would remind us, we have stuff, we have signs for stuff, and we have symbols of signs. What these philosophers feared was that as we came to live in a world defined more by symbols, we would lose touch altogether with the real stuff; we would become entranced by our simulated reality, and disconnect from the people and places we should care about.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (594) 20131009p 0 -1+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Look for media-specific plot types distinctive for digital media. (594) The answer to this question is crucially dependent on what constitutes the truly distinctive resource of digital media, namely, the ability to respond to changing conditions in the global state of the computer.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (595) 20131009q 0 -2+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Four forms of interactivity based on Aarseth typology of user functions in cybertexts from two by two matrix internal/external interactivity and exploratory/ontological interactivity yielding four genres with different narrative possibilities, although often conflated. (595) For the purpose of my argument I would like to distinguish four strategic forms of interactivity on the basis of two binary pairs: internal/external and exploratory/ontological. These two pairs are adapted from Espen
Aarsethƒs (1997: 62-65) typology of user functions and perspectives in cybertexts, which is itself part of a broader cybertext typology.

3 1 3 (+) [-6+]mCQK ryan-beyond_myth_and_metaphor (595) 20131009r 0 -2+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Internal mode users project themselves as member of fictional world; external mode users are controlling god or navigating a database. (595) In the
internal mode, users project themselves as members of the fictional world, either by identifying with an avatar or by apprehending the virtual world from a first-person perspective. In the external mode, users, are situated outside the virtual world.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (596) 20131009s 0 -6+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Exploratory mode users navigate but do not alter virtual world; ontological mode users alter history, often into different forking paths: compare to McHale distinction between epistemological and ontological dimensions of modernist and postmodernist periods. (596) In the
exploratory mode, users navigate the display, move to new observation points, alter their perspective, or examine new objects in order to learn more about the virtual world. But this activity does not make fictional history, nor does it alter the plot; users have no impact on the destiny of the virtual world. In the ontological mode, by contrast, the decisions of the users send the history of the virtual world on different forking paths.
(596) My dichotomy also bears some resemblance to Brian
McHaleƒs (1987: 9-11) distinction between an epistemological dimension, dominant in modernist literature, and an ontological one, dominant in the postmodernist era.
(596) The cross-classification of the two binaries leads to four combinations. Each of them is characteristic of different genres and affords different narrative possibilities.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (596-597) 20131009t 0 -5+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
External-exploratory interactivity involves choice of routes across textual space, but does not affect physical space of narrative setting: narrative possibilities involve different ways of putting together pieces of already determined puzzle. (596-597) Interactivity resides in the freedom to choose routes across a textual space, but this space has nothing to do with the physical space of a narrative setting. . . . The only way to preserve narrative coherence under such conditions is to regard the text as a scrambled story that the reader puts back together, one lexia at a time.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (597) 20131009u 0 -6+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Mystery plot, parallel plot, spatial narrative, and narrative of place are types of plot afforded by internal-exploratory interactivity in which user has virtual body in fictional world but limited to inconsequential actions like the Golden Ass of Apuleius. (597) In the texts of this category, the user takes a virtual body with her into the fictional world - to paraphrase Brenda Laurel (1993: 14) - but her role in this world is limited to actions that have no bearing on the narrative events.
(598) This type of interactivity lends itself to several types of plot: [bullets] The mystery plot, in which two narrative levels are connected: one constituted by the actions of the detective, the other by the story to be reconstructed. The parallel plot, or soap opera type, in which a large cast of characters acts simultaneously in different locations, so that it is necessary for the user to move from one location to another to another to follow every thread in the plot. The spatial narrative, whose main theme is travel and exploration. The narrative of place, which is a combination of parallel plot and spatial narrative. The purpose of the narrative space is not to travel across vast expanses, as does the narrative of space, but rather, to explore in depth a specific location, to look at all the objects contained in it, and to meet all of its inhabitants.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (598-599) 20131009v 0 -5+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
External-ontological interactivity provides gratification of contemplation of whole field of possibilities with little stake in any particular branch. (598-599) Holding the strings of the characters, from a position external to both the time and the space of the fictional world, the user specifies their properties, makes decisions for them, throws obstacles in their way, and creates different destinies for them by altering their environment. . . . Since the operator of the narrative system is external to the fictional world, he or she has no strong interest at stake in any particular branch of its virtual history; gratification resides in the contemplation of the whole field of possibilities.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (604) 20131010 0 -10+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
If skill development was also built into games, then they could have other confluences between contemplation and action. (604) The two other genres, computer games and hypertext, stand at the opposite ends of the cultural spectrum: one a widely popular form of entertainment consumed for its own sake, especially by teenage males, the other an arcane academic genre read mostly by theorists and prospective authors by people more interested in writing about it than in reading it. . . . On the shelves of computer stores, there is only room for the gaming equivalent of John Grisham and Stephen King narratives. What is needed for computer games to fulfill their artistic potential (and of course will not happen in todayƒs society) is an emancipation from the tyranny of the market. . . . The
competitive involvement of the game player is basically incompatible with the detached contemplation of the aesthetic experience, and my proposal will only be viable if the works I am imagining are able to foster a new attitude in the user, namely, the willingness to switch back and forth between the contemplative and the active stance.

3 1 3 (+) [-6+]mCQK ryan-beyond_myth_and_metaphor (604) 20131009y 0 -1+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Predicts virtual genre instantiated as movies with heightened sense of presence. (604) If digital narrative is going to become a significant, and reasonably popular, art form in the twenty-first century, it will be as a movie that creates a heightened sense of presence by opening its world to the body of the spectator and by letting this body watch the action from various perspectives.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (605) 20131010a 0 -6+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Hypertext authors aim for high end of literary culture, entering contemporary culture in conceptual art; raises Eco concern that reading no longer necessary after feeling basic concept grasped. (605) Since most hypertext authors aim at the high end of literary culture, they take a deliberately experimental approach to the new writing technology. . . . It is indeed as conceptual art that hypertext has carved out for itself a modest place in contemporary literary culture. The danger with the conceptual route has been clearly seen by Umberto
Eco (1989: 170-71): once readers have grasped the basic concept, they may feel that reading is no longer necessary.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (605-606) 20131010b 0 -13+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Disagrees with Coover that golden age of digital literature already passed; future of digital narrative in multimedia enhancement of verbal storytelling, such as artists books and other engagements of text and picture with small stories. (605-606) Here I must fundamentally disagree with Robert
Coover (2000), who thinks that the golden age of digital literature came to an end when hypertext ceased to be purely verbal. To me the future of digital narrative or more broadly, the future of digital textuality lies in the enhancement of verbal storytelling with visual and audio documents. . . . The literary model for this new type of digital narrative is not the multicursal novel, such as Mark Saportaƒs Composition No. 1 (1961) or Milorad Pavicƒs Dictionary of the Khazars (1988), but the artistƒs book, such as Tom Phillipsƒs A Humument, or recent literary works that propose an original dialogue between text and picture, such as The Emigrants (1996) by the German author W. G. Sebald. . . . From a cognitive point of view, small stories are more efficient than large narrative patterns that need to be chunked up, because this chunking necessitates constant interruptions and digressions that make it very difficult for the reader to hold onto a thread.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (607-608) 20131010d 0 -11+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Ideal of garden with many carefully designed paths combining designed space and serendipitous discovery over becoming lost in wilderness of Aleph and sucked onto freeway. (607-608) Narrative will have to learn to share the spotlight with other types of sensory data; to accept a subordinate role, as in games, or limit itself to certain plot types. Conversely, the medium will have to give up some of its fluidity to allow narrative meaning to solidify in the mind of the reader. . . . To borrow a metaphor from Mark Bernstein of Eastgate Systems (1998), the compromise between being lost in the wilderness and being sucked onto the freeway is to be invited into a garden with many carefully designed paths. . . . This combination of designed space and serendipitous discovery, mapped trails and surprise attractions, contained area and expanding vista make the garden look much bigger than it really is. This may be the closest one gets to the mythical Aleph, without entering a jungle where narrative meaning chokes in the brambles of uncontrollable multiplicity.

3 1 3 (+) [-4+]mCQK saussure-general_course_in_linguistics (x) 20131009 0 -2+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
Translator Introduction: Saussure committed to distinction between diachronic evolutionary and synchronic static linguistics, necessarily privileging the latter because of position that linguistic sign intrinsically arbitrary. (x) It was a position which committed Saussure to drawing a radical distinction between
diachronic (or evolutionary) linguistics and synchronic (or static) linguistics, and giving priority to the latter. For words, sounds and constructions connected solely by processes of historical development over the centuries cannot possibly, according to Saussureƒs analysis, enter into structural relations with one another more than Napoleonƒs France and Caesarƒs Rome can be structurally united under one and the same political system.

3 1 3 (+) [-7+]mCQK sterne-audible_past (182) 20111007 0 -8+ progress/2011/09/notes_for_sterne-audible_past.html
A commanding definition of medium as recurring set of contingent social relations and practices, focused on drama, reading texts, but there are still practices of technological skills determined by the built environment; ours has long surpassed games as virtual realities approaching living writing ancient Greek ideal by programming. (182) A medium is a recurring set of contingent social relations and social practices, and contingency is the key here. As the larger fields of economic and cultural relations around a technology or technique extend, repeat, and mutate, they become recognizable to users as a medium. A medium is therefore the social basis that allows a set of technologies to stand out as a unified thing with clearly defined functions. . . . To use Lukacƒs language, social relations take on a phantom objectivity ; over time, they become associated with technology itself in the minds and practices of users. This is readily apparent today, to offer an oversimplified illustration: casual users associate sound recording with music and entertainment, radio with broadcasting, and telephony with point-to-point communication.

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Many historical accounts of the development of literacy, print, and electronic forms of communication present similar narratives, stepping through nearly identical sequences of inventions, canonical examples, and social adaptations to them, from early forms of picture writing, alphabets, manuscript, mechanical printing, electrified mass production, to the digital codes, virtual environments, and Internet based media.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (34-35) 20131014m 0 -4+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Applied grammatology informed by chemical senses of contact that link Derrida to Einstein and electronics to guide writing with video (ironically, since there could be tactile and other language machines), as visual and aural senses link Kant and Hegel to Newton: electronics worth studying to help with this understanding. (34-35) Derridaƒs move is simply to hypothesize a thinking, an intelligibility, that would function in terms of that part of the sensible excluded from consideration the chemical senses ( why not? ).
(35) Derrida, interested in the
techne as enframing (the essence of technology, which is not itself technological but artistic), examines the science of electronics, which reveals that a major difference between Newtonian and Einsteinian physics is that the former is a theory of action at a distance, while the latter is a theory of action by contact, based on the experiments of Faraday and Maxwell in electromagnetism.
(35) Derridaƒs conceptualization of the chemical or contact senses, then, correlates with Einsteinƒs physics just as Kantƒs and Hegelƒs idealizations based on the objective senses correlate with Newtonƒs.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (157) 20121101 2 -2+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
What are pedagogic principles associated with poststructuralist epistemology: television-centric rather than ECT because he is writing in early years of personal computer revolution/commodification. (157) The question to be posed has to do with the pedagogical rationale for the Writing described in part I, a rationale more accurately termed post(e)-pedagogical, in order to indicate that it is both a move beyond conventional pedagogy and a pedagogy for an era of electronic media (with poste meaning in this context television station or set). My purpose in this chapter is to open the question of the nature of the educational presentation (the manner of the transmission of ideas) adequate to a poststructuralist epistemology and to air some of the rhetorical and polemical notions relevant to a pedagogy of general writing.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (223-224) 20131020j 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Use of models of pictures and puns to provoke thought: Lacan as shaman. (223-224) The lesson of Lacanƒs seminar for applied grammatology is just this use of models of pictures and puns to provoke thought, working through a double intervention.

3 1 3 (+) [-6+]mCQK ulmer-applied_grammatology (226) 20131020k 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Beuys is for performance what Derrida is in philosophy, so select as classroom ideal along with Lacan for lecture. (226) Working in the spirit of Foucaultƒs observation that in our era the interrogation of limits has replaced the search for totality I find in Beuys someone who is as extreme, as singular, as exemplary in the field of performance art as Derrida is in philosophy.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (264) 20131020m 0 -2+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Besides displacement of root metaphors of Western thought, stimulate desire to create in lived, sociopolitical world. (264) The method of grammatology, then, shared by Derrida and Beuys, is the display and displacement of the literal sense of the root metaphors of Western thought dialectic and rhetoric, science and art. At the same time that this analytical function is at work, a further pedagogy of creativity is also set in motion, intended not only to show people the principles of creativity and how to put them into practice but also and here is the particular power of the new pedagogy, beyond deconstruction to stimulate the
desire to create (not necessarily in art, but in the lived, sociopolitical world).

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (265-266) 20131020n 0 -7+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Language continuously exposed to cinema and television means heavily influenced by word-things and images, for which multimedia writing becomes the natural context, just as Turkle finds computers the natural context for instantiating postmodern ideas. (265-266) Film and video (audio-visual writing) are in fact the media in which the word-things of AG seemingly so bizarre in Derridaƒs books, Lacanƒs seminars or Beuysƒs performances find a natural context. The pedagogy of grammatology is, finally, an
educational discourse for an age of video. Its instructional procedures are the ones appropriate for students (for a culture), whose experience of language is largely shaped by continuous exposure to cinema and television. . . . That Eisenstein first worked out his theory of montage using analogies drawn from hieroglyphics in general, and Japanese ideograms in particular, makes his work a good point of departure for this articulation.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (266) 20131020o 0 -5+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Imagines film essay maturing an intellectual medium like philosophy out of myth: what has happened with digital media, can software be the site for the double inscription? (266) AG assumes that teachers-scholars will not only perform the double inscription in the classroom but that they will turn to film/video as the means most adequate for a postmodernized academic essay (in any case, video makes the teaching performance publishable). . . . The second phase marks the maturing of film into an intellectual medium capable of carrying out the work of the disciplines of knowledge (rehearsing thus something similar to the emergence of philosophy out of myth).

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (269) 20131020p 0 -5+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Kristeva semanlysis seeks to dissolve the sign as basic culture thinking unit. (269) Julia
Kristeva helps explain the importance of Eisensteinƒs theories of montage is ideogrammatic and hieroglyphic writing as an example of grammatology (a theory itself formulated as a repetition of the history of writing) when she defines the fundamental task for semanalysis as the investigation of the constitutional kernel element of semiotics the sign in a way that would dissolve it, thus breaking with the Stoic notion of the sign which has dominated Western thinking. . . . AG, of course, proposes to extend the semanalytic intervention in the history of the sign to the discourse of the school.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (271-272) 20131020q 0 -4+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Video-text as performance of Marx suggesting other translations projects of written works to multimedia as tasks for AG; compare to McGann call for digital editions. (271-272) One of the most interesting ideas of the twentieth century, from the perspective of AG, is Eisensteinƒs project to make a film of Marxƒs
Capital. This project is at least as fecund as Saussureƒs hints about the possibility of a science of signs, although it is only now beginning to find its practice. This film was intended to be a popularization of the central theoretical work of the Russian revolution, and as such it suggests what might be the first task for a pedagogy of the video age the translation (transduction) of the principal intellectual works of Western civilization into the language of cinema/television.
(273) In terms of its content, Capital would have been something like a filmed version of Roland Barthesƒs Mythologies; that is, a collection of essays exposing the myths (ideologies) of bourgeois society.

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Foregrounding homonyms, homophones and puns anticipating everyday computational phenomena doing work formerly attributed to rich subjectivity. (285) The point to be emphasized is that the aspect of Eisensteinƒs experiments which has been renewed his use of filmic meatphors, the montage imagery of the gods sequence is precisely the dimension of his work most relevant to AG. The most innovative or experimental feature of grammatology the foregrounding of the homonym, homophone, or pun may be recognized in this context as the enabling device for the rhetoric of filmic writing.
(289) Eisenstein was interested in a kind of arche-writing, then (to use Derridaƒs term). Joyce, in
Ulysses and Finnegans Wake, had developed the double method, combining subjective and objective presentation as far as it could go in literature.

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Barthes S/Z connection to develop inner voice developed through verbal images. (295) The practical value of inner speech may be better appreciated when it is realized that Roland Barthesƒs
S/Z expounds a version of this theory. In this context, S/Z may be recognized as a useful text for AG in that its theory of codes is as applicable to pedagogical narratives as it is to literary and cinematic ones. It suggests how the psychoanalytic dimension (the symbolic code) interacts with the Cultural or referential code (the domain of inner speech).
(296) What we hear, therefore, is the
displaced voice which the reader lends, by proxy, to the discourse: the discourse is speaking according to the readerƒs interests. Whereby we see that writing is not the communication of a message which starts from the author and proceeds to the reader; it is specifically the voice of reading itself: in the text only the reader speaks (151).
(299) The key signifiers organizing a film-essay, as opposed to a narrative film, will, of course, be theoretical terms, philosophemes, concepts or proper names treated as literalisms.

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See Ong Interfaces of the Word for open-system models. (304) Walter Ongƒs observation that our culture is now drawn to open-system models for conceptual representation, which he links to our new orality, identifies what is at stake in AG. . . . Ong adds that open-system thinking, defined as being interactional, transactional, development, process-oriented, has already deeply affected the university curriculum in the form of interdisciplinary courses of study and open classroom procedures.

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Replace hope that media specific affordances for deep processing of thought can be discerned for television with wholly new media types, such as Internet technologies that leverage writerly reading. (305) Another point in [Gavriel] Salomon relevant to AG is that the new media should not be used (or are ineffective when used) for purposes originally devised for other media. Rather, new ends that exploit the strengths of the new media should be developed. . . . television has the potential for deep processing of thought, but for this potential to be realized new compositions must be devised that make use of the specific capacities of the medium for cognitive ends.
(307-308) Although Jacquinot points out that there are almost no available examples of modernist educational films, she mentions Eisensteinƒs intellectual montage and Brechtƒs learning plays as possible models for a practice, with the theories of Levi-Strauss and Umberto
Eco offering a rationale for the project. It may be useful to conclude my study with a discussion of Eco, since he has explored most fully the openness that must inform the new pedagogy.

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Eco interpretant related to Pierce dynamic object, in which reality is result rather than datum; also fits Suchman and Gee situated knowledge; important for rethinking subjectivity in age of ECT. (311-312) One consequence of the open aesthetic on which the open pedagogy is based is a new definition of form -- form as a field of possibilities (
Obra, 156). . . . In Pierceƒs pragmatism, Eco notes, reality is a result, not a datum. To understand a sign amounts to learning what to do in order to gain acquaintance with the object of the term. This object is not the item itself in reality, however, but is the dynamic object, constituted by all the information available about the object, the semantic spectrum through which many possible paths may be taken. A term entails the globality of information about it (Role, 188). The interpretant is that part of the global possibilities activated or selected by the knower.
(312-313) The notion of the interpretant, as Eco explains, solves all the problems of meaning raised by the spectrum of positions from subjectivist psychologism to behaviorism. . . . [quoting] Once the interpretant is equated with any coded intentional property of the content, since these properties cannot be isolated but under the form of the other signs, the elements of the content become something physically testable (
Role, 197). . . . Moreover, these interpretants require a combination of word and thing presentations. . . . In short, Ecoƒs account of the interpretant indicates how the principle of inner speech connected with montage imagery might be extended into a new, heterogeneous construction. These constructions, built in terms of the open aesthetic, offer a clue to the pedagogy of grammatology.
(313) AG proposes to supplement the conventional means by which scholarship works this knowledge with strategies derived precisely from the history of hypomnesis (from the
Ad Herennium to the computer).

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EmerAgency, linked to Florida Research Ensemble that pays homage to Beuys Free International University, with accompanying mystory popcycle risks rejection at border of seriousness. (21) The EmerAgency is a virtual consultancy whose purpose is to deconstruct instrumental consulting by using the Internet to bring to bear arts and letters knowledge and method to public policy formation. For its contribution to the consultancy, the Florida Research Ensemble (FRE a faculty group at the University of Florida) selected Miami in general, and the Miami River in particular, as the community wound to address in its experimentation with a new mode of inquiry called choragraphy (Ulmer 1994).

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Compare FRE to Underacademy and Platform Studies, among other collectives of variable substantiality. (21) Part of this documentation should include a genealogy of the FRE itself as an example of collaborative inquiry. . . . The rationale goes back to my encounter with the work of Joseph Beuys and his Free International University (FIU), which was a conceptual institution. . . . He used the publicity generated by his provocative installations and performances as a means to disseminate his ideas about the practical relevance of art to politics and policy formation. . . . The FRE in Miami is in homage to the FIU.

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Heuretics as a response to Nietzschean metaphysics? (22) Our [Robert Ray and Ulmer] discussions of
heuretics (treating theory not as a content or object of study but as a creative or generative poetics) influenced our seminars as well as our research.

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Though it could be argued that Plato and Aristotle were inventors exploring heuretic potentials of their new medium; feel comparison between Ulmer macaronic, emergent language creations and spaghetti code and object conglomerations. (22) William Bartramƒs descriptions of the underground rivers, springs, and prairies of North Central Florida in his Travels found their way into this poem whose legendary city lent its name to the visionary network of the man who invented the term hypertext (Ted Nelson), not to mention the homes of the real Bill Gates and the fictional Citizen Kane. . . . The Florida School does not want to follow in the footsteps of Plato and Aristotle, the inventors of literacy, but to seek the equivalent of literacy for digital technology electracy.

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Imagine consultation as tourist guide description. (23) One way to imagine the consultation is as an unpacking of the tourist guide description, or as a tour of that part of downtown considered irrelevant to the guide.

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Chaos theory strange attractor. (24-25) The FRE premise, however, is that problems are emergent phenomena in a quantum world picture, such that they must be addressed holistically: to analyze the river into its elements is to make problem disappear, its qualities being not parts (the properties of a conceptual description) but a localized manifestation of a global condition. . . . The EmerAgency attempts not to confuse holism with totalization. The river itself, as it flowed around the hull of a barge pushing upstream, provided an image of what was needed to grasp the zone as a whole (a
strange attractor).

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Poetic encounter attunement via photography reaching to reach metonym. (26-27) The FRE constituted itself as a theoria --after the institution created by ancient city-states; a group of citizens sent to the site of a rumored disturbance in order to determine what had happened, whose task was to render a true account. The challenge was to find a holistic approach to the river, beginning with a way to bring the zone into representation. This representation, given our commitment to finding a specifically electrate mode of reason, had to be an image: a photograph in this case. . . . Out of thirty rolls of film and twenty hours of videotape, a pattern emerged that, through group work, produced an illumination (epiphany). This fragment of a June 1998 interview with Simon Lubin, a Haitian owner of one of the boats caught in Operation Safety Net, is a metonym for the condition of Haitians working in the zone.

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Chora contains sorting principles of the civilization. (28-29) The river for an egent (consultant for the EmerAgency) is not addressed as an object of study, and certainly not as a problem to be solved, but as a chora or sacred space (the usage based on Derridaƒs reading of Platoƒs
Timaeus) within which may be experienced the agentƒs situation. . . . The intractability of problems is due to the fact that the conditions manifested in the social breakdowns are in us as well, not external but extimate (outside within, figured in Lacanƒs topology as a moebius strip). . . . Chora contains the sorting principles of a civilization (how that society sorts chaos into the kings of being).

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Mystory popcycle genre for holistic simultaneous writing with all individual interpellated discourses; lends itself to interactive networked multimedia. (30) The mystory is a genre created to write holistically or simultaneously with all the discourses into which an individual has been interpellated, the core discourses being those of family, entertainment, school (community history), and career (disciplinary field).
(30-31) Mystory assumes that alienation as an experience of dissociation and reification may be overcome in electracy by a practice adopted to the digital capacities of multimedia. This practice is fundamentally aesthetic. Following Lacanƒs reading of Joyce, mystory brings the discourses into correspondence (uniting them into a popcycle ) by means of signifiance ( signifierness )--the repetition of a signifier through the details of each discourse, the circulating prop that organizes any well-made narrative, like the letter that passes from character to character in Poeƒs Purloined Letter. . . . The prop that circulated through Barbara Jo Revelleƒs popcylce was a mattress.

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Lacan/Zizek quilting point. (32) The quilting points for a collective order are embodied in certain scapegoat figures, whose exclusion sutures the gap in the mythological system, fills the hole of incompleteness that prevents any identity from coinciding with itself. The quilting point for America, at least as manifested in the river zone, is the Haitian.

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Murray: pullulating consciousness of print culture challenged by content and metabook navigability; humanists less hopeful than engineers. (4) The problem that preoccupies all of the authors in this volume is the pullulating consciousness that is the direct result of 500 years of print culture.
(4) The engineers articulate a vision of a new metabook, a navigable collection of books that will carry us gracefully to the next level of information control and systematic thought, just as the invention of print did 500 years ago. The humanist voices in this survey start off at a greater distance from the material basis of the new medium, and they are often much less hopeful.

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Murray: in 1980s practice became self-conscious for serious discourse about digital artifacts. (7) But it was not until the 1980s that practice became self-conscious enough to allow for a serious discourse about digital artifacts. . . . Newer media such as photography, radio, film, and television could now be seen in the longer history that stretched back beyond the printing press to oral composition and the invention of writing.
(7) Surveillance can now be extended not just inside the walls of our houses but inside our brain where we can witness the retrieval of a memory almost neuron by neuron.
(8) All was ideology, and at the bottom of these vast nested pyramids of ideological representation was language itself, which was left to point at nothing real beyond our own consciousness, nothing external beyond our shared hallucinations.
(8) For the computer scientists, on the other hand, the 1970s were a time of great earnestness and exhilarating possibilities as the computer was coming into its own as a new medium of representation.

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Murray: rhizome network pattern familiar to computer scientists formed way out of pullulating paralysis of print, beyond subverting hierarchies. (9) The new ideal of form was the
rhizome an erudite word for a very down to earth thing: a potato root system. . . . It forms a pattern familiar to computer scientists: a network with discrete interconnected nodes. Here was a way out of the pullulating paralysis, one that went beyond the subversion of all existing hierarchies.

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Manovich: famous eight propositions of new media: not cyberculture, distributed, software controlled, mix of conventions, early aesthetics, faster execution, encoding avante garde, parallel articulation. (16)

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Manovich: Differentiation of cultural and software conventions can be fine tuned by critical analysis of software creation and use cultures; insights come from working code, and are essential to critical programming studies. (18) It is not hard to understand why automation in computer games is much more advanced than in cinema. Computer games are one of the few cultural forms native to computers; they began as singular computer programs (before turning into a complex multimedia productions which they are today) rather than being an already established medium (such as cinema) which is now slowly undergoing computerization.
(18) Given that the principles of modularity, automation, variability and transcoding are tendencies that slowly and unevenly manifest themselves, is there a more precise way to describe new media, as it exists today? . . . on the one hand, the conventions of already mature cultural forms (such as a page, a rectangular frame, a mobile point of view) and, on the other hand, the conventions of computer software and, in particular, of HCI, as they have developed until now.
(19) To sum up: new media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The old data are representations of visual reality and human experience, i.e., images, text-based and audio-visual narratives what we normally understand by culture. The new data is numerical data.

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Manovich: does this mean that all new media go through the same stages, certain identifiable patterns of expression? (19) some authors have suggested that every modern media and telecommunication technology passes through is new media stage. . . . This perspective redirects our research efforts: rather than trying to identify what is unique about digital computers functioning as media creation, media distribution and telecommunication devices, we may instead look for certain aesthetic techniques and ideological tropes which accompany every new modern media and telecommunication technology at the initial stage of their introduction and dissemination.

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Manovich: examples of aesthetic strategies based on media affordances include documentary style film and moving images on computer desktop; Engelbart did the equivalent of a 120 minute DV tape. (19-20) two examples of aesthetic strategies . . . documentary style . . . a filmmaker can keep shooting for a whole duration of a 60 or 120 minute DV tape as opposed to the standard ten-minute film roll.
(20) [Second] the development of moving image technology throughout the nineteenth century and the development of digital technologies to display moving images on a computer desktop during the 1990s.

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Manovich: assume all algorithms commensurable between humans and machines; I disagree, there are types of computing activity humans must train themselves to approximate in order to try to understand. (20) Digital computers execute most algorithms very quickly however in principle an algorithm, since it is just a sequence of simple steps, can also be executed by a human, although much more slowly.

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Manovich: nothing has existed like high speed electronic computing machinery, whose physical world manifestations include things like pinball machines, automotive control systems, laser printers, and so on. (21) This realization gives us a new way to think about both digital computing, in general, and new media in particular as a massive speed-up of various manual techniques that all have already existed.

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Manovich: not just faster calculator, but cybernetic control device: we reach them directly rather than through Manovich asymptotic approach from how it would be done by humans by hand, which I argue humans cannot really apprehend, when the control operations like TCP/IP stream control in electronic circuits are easier for humans to understand than momentary solenoid, switch matrix, lamp, and seven-digit numeric segment displays. (22) So while it is important to remember that, on one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device.

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Manovich: new media encoding modernist avant-garde in metamedia; compare to Misa. (22) [citing his book] The techniques invented by the 1920s Left artists became embedded in the commands and interface metaphors of computer software. In short, the avant-garde vision became materialized in a computer.
(23) the key role played by the material factors in the shift towards postmodernist aesthetics; the accumulation of huge media assets and the arrival of new electronic and digital tools which made it very easy to access and re-work these assets.

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Manovich: likely parallels between the Baroque and new media as example of cultural periods generating relevant ideas, like avant-garde of 1920s. (23) Along with the 1920s, we can think of other cultural periods that generated ideas and sensibilities particularly relevant to new media. In the 1980s a number of writers looked at the connections between Baroque and post-modern sensibilities; given the close link between post-modernism and new media I just briefly discussed, it would be logical if parallels between the Baroque and new media can also be established.

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Kluver: perhaps a way to think about computer-generated art such as experiences within games and virtual realities: yes, people take screenshots of their Farmville plots; however, the artistic experience is really in the direct connection between the user interacting as creating and the system. (213) Just as in every moment we see and experience a new and changing world, Jeanƒs [Tinguely] machine created and destroyed itself as a representation of a moment in our lives. The art of the museum is related to a past time that we cannot see and feel again. The artist has already left his canvas behind. This art then becomes part of our inherited language, and thus has a relation to our world different than the reality of the immediate now.
Lƒart ephemere, on the other hand, creates a direct connection between the audience, between the construction and the destruction.
(219) [
Yvonne Ranierƒs remote-controlled dance] This part will consist of sequential events that will include movie fragments, slide projections, light changes, TV monitored close-ups of details in the dance-proper, tape recorded monologues and dialoges, and various photo-chemical phenomea, several involving ultra-violet light.

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Boal: spectator encouraged to intervene in action and assume role of subject; contrast to Ryan. (341) The spectator is encouraged to intervene in the action, abandoning his condition of object and assuming fully the role of subject.

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Picking out Adorno helps link Zizek to the background of texts and technology. (85) Where does the necessity of these repeated lapses into vulgar sociologism come from? Far from attesting to Adornoƒs theoretical weakness, they present the way thoughtƒs constitutive limit is inscribed within the thought itself.

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Another example tying texts and technology is investigating how to comport with unknown knowns of technology. (88) In other words,
rational totality clings to an inert piece of the real precisely insofar as it is caught in a vicious circle. For that reason, Hegel converts the Fichtean I = I into the absolute contradiction Spirit = Bone, i.e., into the point of absolute nonmirroring, the identity of the subject qua void with the element in which he cannot recognize his mirror image, with the inert leftover, the bone, the rock, the hindrance which prevents the absolute self-transparency of the pure performative: the subject is posited as correlative to an object which precisely cannot be conceived as the subjectƒs objectivization.

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How this does work with the identity of technology, following the examples of the state and dialectical analysis, how might this conception alter the trajectory of AI research and development? (89) Thereby we reach the paradox of a universal feature (quality) the suspension of which maintains its field the paradox which is ultimately that of identity itself: the identity of a state resides in the monarch, this irrational supplement which sticks out and suspends its essential quality (its rational character); the identity of a dialectical analysis resides in the vulgar lapses which suspend its essential quality (the delicacy of dialectical stratagems) . . . . Therein consists the crucial shift that has to be made with reference to the deconstructionist commonplaces about identity.

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Just as today we transpose onto Islamic extremists the role of terrorists also played by members of our own society, bolstering the fantasy image of an America united against terrorism: save for a footnote in the dissertation. (90) by transposing onto the Jew the role of the foreign body which introduces in the social organism disintegration and antagonism, the fantasy-image of society
qua consistent, harmonious whole is rendered possible.

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Apply postmodern criticism to estrangement of identity for electronics and computer technology. (91) Therein consists one of the tasks of the postmodern criticism of ideology: to designate the elements within an existing social order which in the guise of fiction, i.e., of the utopian narratives of possible but failed alternative histories point toward its antagonistic character and thus estrange us to the self-evidence of its established identity.

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Focus on tension in gap separating explicit narrative from diffused message between the lines. (197) This tension between the two levels is what I want to focus on: the gap that separates the explicit narrative line from the diffused threatening message delivered between the lines of the story.

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Web cam sites realizing Truman Show reflect need for fantasmatic Others gaze to guarantee being of subject. (203) Does not the recent trend of web cam sites that realize the logic of
The Truman Show display this same urgent need for the fantasmatic Otherƒs gaze serving as the guarantee of the subjectƒs being?
(203) And Hitchcock is at its most uncanny and disturbing when he engages us directly with the poitn of view of this external fantasmatic gaze.

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A digital media studies link in Hitchcock in implicit resonance of multiple endings. (204) There is yet another, third, aspect that adds a specific density to Hitchcockƒs films: the implicit resonance of multiple endings.
(205) This feature allows us to insert Hitchcock into the series of artists whose work forecasts todayƒs digital universe.
(206) This perception of our reality as one of the possible often even not the most probable outcomes of an open situation, this notion that other possible outcomes are not simply cancelled out but continue to haunt our true reality as a specter of what might have happened, conferring on our reality the status of extreme fragility and contingency, implicit clashes with the predominant linear narrative forms of our literature and cinema, they seem to call for a new artistic medium in which they would not be an eccentric excess, but its proper mode of functioning. The notion of creation also changes with this new experience of the world: it no longer designates the positive act of imposing a new order, but rather the negative gesture of choice, of limiting the possibilities, of privileging one option at the expense of all others. One can argue that the cyberspace hypertext is the new medium in which this life experience will find its natural, more appropriate objective correlative, so that, again, it is only with the advent of cyberspace hypertext that we can effectively grasp what Altman and Kieslowski -and, implicity, also Hitchcock were effectively aiming at.

--3.1.4+++ {11}

3 1 4 (+) [-4+]mCQK black-ibm_and_the_holocaust (422) 20140712k 2 -7+ progress/2013/10/notes_for_black-ibm_and_the_holocaust.html
Reduction to researchable punch card data shapes thinking. (422)
(422) Supreme Headquarters Allied Expeditionary Force (SHAEF) was the Allied high command in Europe under General Eisenhower. SHAEF had established a classified statistical analysis office in Bad Nauheim, which in summer 1945 was serving the United States Strategic Bombing Survey (USSBS). Roosevelt had established the Bombing Survey in November 1944 to evaluate the devastating effects of Allied bombing on Germany. This was to include the effects of civilian morale and whether bombs hardened the national will to fight, or collapsed it.
(422) The Bad Nauheim site was completely dependent upon Hollerith machines and Dehomag operators for its numerous calculations of bomb destruction and predictions of the resulting social disruption. The so-called Morale Division, staffed with a platoon of social scientists, psychologists, and economists relied upon the machines to quantify public reaction to severe bombing. Regular debriefing of civilians and experienced Gestapo agents regarding the dimensions of political dissension, as well as survey questionaires, were all reduced to researchable punch card data.

3 1 4 (+) [-4+]mCQK castells-rise_of_network_society_second_edition (4) 20130913g 0 -1+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Rejects technological determinism, highlighting importance of social contexts and (human) search for identity. (4) To take some first steps in this direction: we must treat technology seriously, using it as the point of departure of this inquiry; we need to locate the process of revolutionary technological change in the social context in which it takes place and by which it is being shaped; and we should keep in mind that the search for identity is as powerful as techno-economic change in charting the new history.

3 1 4 (+) [-4+]mCQK castells-rise_of_network_society_second_edition (17) 20120722 0 -1+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Or is it still profit and power maximization? (17) While higher levels of knowledge may normally result in higher levels of output per unit of input, it is the pursuit of knowledge and information that characterizes the technological production function under informationalism.

3 1 4 (+) [-4+]mCQK conley-rethinking_technologies (xi) 20131205f 0 -5+ progress/2013/12/notes_for_conley-rethinking_technologies.html
Humanities philosophy of technology raises ethical question about being in the world; try to shift to situated actions of humans and machines, not exclusively human focus. (xi) As intellectuals, we must ask: What interpretations about the condition of everyday life can we offer that will not simply revert to other technologies of application that try to cast a grid over the objects they wish to control? . . . How do we exit from a simple dialectic and enter into a changing world, yet in such a way that
becoming remains a term reserved to humans and/in the world?

3 1 4 (+) [-7+]mCQK feenberg-transforming_technology (138) 20130917h 0 -2+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Determinism is dominant view of modernization: technical progress is fixed; social adaptation fits underlying technical necessity. (138) The dominant view of modernization is based on the deterministic assumption that technology has its own autonomous logic of development. According to this view, technology is an invariant element that, once introduced, bends the recipient social system to its imperatives.

3 1 4 (+) [-4+]mCQK floridi-philosophy_and_computing (11) 20130919f 0 -4+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Obligatory Swift reference for automation of reproduction of knowledge, looking forward to Bush but awaiting electronics. (11) In the end, the printed medium showed itself capable of coping with the extension of knowledge only vertically, by producing increasingly specialized guides and then further guides to guides, in an endless hierarchy. So much so that, soon after Gutenberg, the development of new, automatic methods to manipulate, access and control the encyclopedic domain became first critical, then indispensable. As a consequence, the history of modern technology is full of attempts to reproduce, at the level of the automation of the information process, the same mechanical improvements already achieved by the press and movable type at the level of the reproduction of knowledge. Johathan Swiftƒs description of the work done in the grand Academy of Lagado, in
Gulliverƒs Travels, is a classic parody of such efforts.

3 1 4 (+) [0+]mCQK heilbroner-do_machines_make_history (29) 20140418 0 -4+ progress/2014/04/notes_for_heilbroner-do_machines_make_history.html
Effect of technology in determining the socioeconomic order is the question of whether machines make history, allowing empirical tests of the idea of technological determinism. (29) The question we are interested in, then, concerns the effect of technology in determining the nature of the socioeconomic order. In its simplest terms the question is: did medieval technology bring about feudalism? Is industrial technology the necessary and sufficient condition for capitalism? Or, by extension, will the technology of the computer and the atom constitute the ineluctable cause of a new social order?

3 1 4 (+) [-4+]mCQK heilbroner-do_machines_make_history (35) 20140418b 0 -1+ progress/2014/04/notes_for_heilbroner-do_machines_make_history.html
Society of computer leads to increased technocratic bureaucracy in either capitalism or communist form. (35) We cannot say whether the society of the computer will give us the latter-day capitalist or the commissar, but it seems beyond question that it will give us the technician and the bureaucrat.

3 1 4 (+) [-4+]mCQK heilbroner-do_machines_make_history (38-39) 20140418c 0 -4+ progress/2014/04/notes_for_heilbroner-do_machines_make_history.html
Combination of high capitalism and low socialism in a certain historical epoch seems to produce sense of technological determinism to the powerless, although low socialism should be interpreted as low regulation; the future will be more organized and deliberately controlled. (38-39)
Technological determinism is thus peculiarly a problem of a certain historical epoch specifically that of high capitalism and low socialism in which the forces of technical change have been unleashed, but when the agencies for the control or guidance of technology are still rudimentary.
(39) From what we can foretell about the direction of this technological advance and the structural alterations it implies, the pressures in the future will be toward a society marked by a much greater degree of organization and deliberate control.




Heilbroner, Robert L. Do Machines Make History?

3 1 4 (+) [-6+]mCQK ihde-philosophy_of_technology (53-54) 20130929x 0 -2+ progress/2012/06/notes_for_ihde-philosophy_of_technology.html
Include Clark extended mind and Hayles examples for explicit connection to texts and technology. (53-54) If all technologies, ancient or modern, minimal or maximal, have implications for some range of environmental territory, the philosophical problem will be to isolate what are the variable and the invariable features of these transformations. Moreover, the analysis must be one which takes into account, not one, but several dimensions of the phenomenon: (a) the nature of the various technologies involved, (b) the relation or range of relations to the humans who use (and design or modify or even discard) them, and (c) the cultural context into which ensembles fit and take shape.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (ix) 20120619 0 -2+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Work declaring itself critical introduction to the philosophy of technology situated in postmodern late capitalist information society. (ix) This work aspires to be a critical introduction to the philosophy of technology. It might serve as a textbook, but I also hope to make a general contribution to the interpretation of what have been termed postmodern ways of life of the world of high-intensity artifice.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (ix) 20120619a 0 -3+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Succinct overview of two parts certainly sets stage for my work. (ix) Part 1 provides a historicophilosophical overview, arguing the need to distinguish two traditions:
engineering philosophy of technology, which emphasizes analyzing the internal structure or nature of technology, and humanities philosophy of technology.
(ix) Part 2 supplies a foundation for bridging these traditions by undertaking a humanities analysis of the broad spectrum of engineering and technology. The argument is that humanities philosophy of technology is the most philosophical tradition, but that it has failed to pay sustained or detailed attention to what really goes on in engineering and technology.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (ix) 20140310a 0 -2+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Stepping into postmodern academic discourse from another field; connect to suggestion to argue how theories from other disciplines can frame and shape our understanding of computers and their limits, roles, or functions in society. (ix) This work aspires to be a critical introduction to the philosophy of technology. It might serve as a textbook, but I also hope to make a general contribution to the interpretation of what have been termed postmodern ways of life of the world of high-intensity artifice.

3 1 4 (+) [0+]mCQK mitcham-thinking_through_technology (ix) 20140310c 0 -3+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Humanities philosophy of technology, while from more philosophical traditions is ignorant of the operations and practices that really go on in technology engineering, setting the stage for influx from mixed humanities, media, scientific disciplines studying texts and technology. (ix) Part 1 provides a historicophilosophical overview, arguing the need to distinguish two traditions:
engineering philosophy of technology, which emphasizes analyzing the internal structure or nature of technology, and humanities philosophy of technology.
(ix) Part 2 supplies a foundation for bridging these traditions by undertaking a humanities analysis of the broad spectrum of engineering and technology. The argument is that humanities philosophy of technology is the most philosophical tradition, but that it has failed to pay sustained or detailed attention to what really goes on in engineering and technology.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (1-2) 20140310d 0 -5+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Morality of modern autonomous technological project lurking behind optimistic proposals about what to do with technology as suggested by survey of disasters from first atomic bomb and electronic computer through autonomous, remote control and manned space exploration to moratoriums on DNA engineering to massive telephone switch failures and superconducting supercollider projects. (1-2) In the background of virtually all science and technology studies there lurks an uneasiness regarding the popular belief in the unqualified moral probity and clarity of the modern technological project. . . . all of us have been forced in divisive circumstances to address ethical issues associated with nuclear weapons and power plants, developments in information technologies from telegraphs to computers, biomedical technologies, space exploration, technological disasters, and environmental pollution.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (13) 20140310e 0 0+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Multiple pages of surveys of conferences that fit the profile of philosophy of technology. (13)

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (13) 20140310f 0 -1+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Philosophical history and interpretation of chronology and concepts are aim of this form of philosophy of technology. (13) My aim is philosophical history and substantive indication of issues, an illumination and interpretation of the chronology and concepts therein.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (14) 20140310g 0 -1+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Two communities of discourse EPT and HPT, trying not to prejudge their content. (14) The terminology here-- engineering philosophy of technology versus humanities philosophy of technology, which will on occasion be abbreviated EPT and HPT is chosen to emphasize two communities of discourse without prejudging the content of that discourse.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (15) 20140310i 0 -2+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Conceptual distinctions between tools and machines with distinctive epistemology commending study of engineering design lead toward concerns for history of philosophy and ethical issues. (15) Conceptual distinctions are drawn between tools and machines; engineering knowledge is identified as entailing a distinctive epistemology; and engineering design is put forth as an activity worthy of distinctive analysis. Analysis of technology as volition returns once again to historicophilosophical considerations, while at the same time pointing toward ethical issues.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (17) 20140310j 0 -3+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Philosophies subject to life cycles like everything else; philosophy of technology very young. (17) Philosophies do not spring full grown into consciousness as Pallas Athena was born from the head of Zeus. They suffer a natural and historical, not to say psychological and sociological, growth; only slowly do they develop to maturity. Even in maturity philosophies undergo change and alteration, advance and decay.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (17) 20140310k 0 -2+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Competing twin interpretations of philosophy of technology referring to position in humanities and engineering disciplines. (17) When of technology is taken as a subjective genitive, indicating the subject or agent, philosophy of technology is an attempt by technologists or engineers to elaborate a technological philosophy. When of technology is taken as an objective genitive, indicating a theme being dealt with, then philosophy of technology refers to an effort by scholars from the humanities, especially philosophers, to take technology seriously as a theme for disciplined reflection.

3 1 4 (+) [-4+]mCQK mitcham-thinking_through_technology (17) 20140310l 0 -2+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Is this confusion over provenance of philosophy of technology merely a side effect of affordances, limitations, and ambiguities of English? (17) When of technology is taken as a subjective genitive, indicating the subject or agent, philosophy of technology is an attempt by technologists or engineers to elaborate a technological philosophy. When of technology is taken as an objective genitive, indicating a theme being dealt with, then philosophy of technology refers to an effort by scholars from the humanities, especially philosophers, to take technology seriously as a theme for disciplined reflection.

3 1 4 (+) [-4+]mCQK postman-technopoly (19) 20131227l 0 -1+ progress/2013/12/notes_for_postman-technopoly.html
Practical technological questions imply acceptance of status quo. (19) In other words, in asking their practical questions, educators, entrepreneurs, preachers, and politicians are like the house-dog munching peacefully on the meat while the house is looted.

3 1 4 (+) [-4+]mCQK saussure-general_course_in_linguistics (7) 20131009k 0 -1+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
Technology now, or still language of greatest importance, or is technology language in sense of protocols and other machine communications? (7) In the lives of individuals and of societies, language is a factor of greater importance than any other.

3 1 4 (+) [-4+]mCQK scharff_and_dusek-philosophy_of_technology (172) 20131130 0 0+ progress/2007/06/notes_for_scharff_and_dusek-philosophy_of_technology.html
Bunge: tasks of the philosophy of technology. (172)

3 1 4 (+) [-4+]mCQK scharff_and_dusek-philosophy_of_technology (175) 20131130a 0 0+ progress/2007/06/notes_for_scharff_and_dusek-philosophy_of_technology.html
Bunge: epistemology of technology. (175)

3 1 4 (+) [-4+]mCQK scharff_and_dusek-philosophy_of_technology (176) 20131130b 0 0+ progress/2007/06/notes_for_scharff_and_dusek-philosophy_of_technology.html
Bunge: metaphysics of technology. (176)

3 1 4 (+) [-4+]mCQK scharff_and_dusek-philosophy_of_technology (191) 20131130c 0 0+ progress/2007/06/notes_for_scharff_and_dusek-philosophy_of_technology.html
Jonas: major themes are formal dynamics and substantive content of technology. (191)

3 1 4 (+) [-6+]mCQK seneca-letter_90 (229) 20120322a 0 -10+ progress/1995/07/notes_for_seneca-letter_90.html
Difference between practical ingenuity that produced technological innovations and the philosophical mind; service of goods equals dominion of beings. (229) Each was the invention of an alert and sharp, but not of a great or lofty, mind, and so were other appliances which are worked at with body stooped and mind directed earthward. . . . Which do you consider a sage, the man who thought up the saw, or the man who took his cup from his wallet and smashed it as soon as he saw a boy drinking water out of the hollow of his hand? . . . the cook is as superfluous as the soldier. The men whose physical needs were simple were sages or very like sages.

3 1 4 (+) [-4+]mCQK seneca-letter_90 (234) 20120322e 5 -5+ progress/1995/07/notes_for_seneca-letter_90.html
Rejection of practical invention as function of wisdom, hinting at closure of ontological questioning under sway of Nietzschean Overman completely given over to calculative thinking. (234) My own position is that Anacharsis was not the author, and if he was, then it was indeed a sage who invented the [potterƒs] wheel, but not in his capacity as sage, just as philosophers do many things not qua philosophers but qua men. . . . These things were invented after we ceased to discover wisdom.


select Chapter, Heading, SubHeading, InterstitialSequence, RelevanceLevel, TextName, PositionStart, TimestampBookmarkExtra, CitationOffset, CitationSentences, Path, Lexia from Notes where Chapter=3 and (Heading=0 or Heading=1) and ((RelevanceLevel=0 or RelevanceLevel>2) and RelevanceLevel<10) and (InterstitialSequence=0 or InterstitialSequence=100) order by Heading, SubHeading, InterstitialSequence desc, TextName, cast((trim(leading '(' from substring_index(PositionStart, '-', 1))) as unsigned)

TOC 3.1 critical theory, textuality studies, media studies, philosophy of technology+

3.2 social construction of technology, ensoniment, histories of computing networking and software, psycho-social studies of computer programmers

--3.2.0+++ {11}

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (IX) 20150219 0 0+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
Levy hints at potential for virtual aura through feedback recovering art and observer from withered condition brought on by commodification. (IX)

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (XIII) 20130910h 0 -5+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
Extreme closeup and other techniques are ways perceptions change through technology moreso than society, although Dumit discusses the social aspects; recall comparison to magician and surgeon, link to NMR. (XIII) With the close-up, space expands; with slow motion, movement is extended. . . . The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xliv) 20140303k 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Apply their methodology by opening black box of computer technology, which includes examining social groups, emerging digital humanities scholarship including Edwards, Ensmenger, Golumbia, Mackenzie, and so on layering on critical programming. (xliv)

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK bork-journal 20061209 TAPOC_20061209 0 -8+ journal_2006.html
Copeland seems oblivious to what I have called default metaphysics of computing. When by abiding with the assumption that "The Turing machine is an idealization of a human computer" (2004), he implicitly commits himself to an anthropomorphized conception that inevitably emphasizes performing arithmetic operations within deadlines, the traditional work of human computers, ignoring what I have called shortlines and the study of true parallel processing. These are phenomena not always reducible to Turing machine constraints. Maner, for instance, acknowledges; Aloisio, too, notes that in the history of the word compte was French for very short periods of time. Such alternate systems are commonplace; cyberspace is constituted by the coordinated effort a distributed network of Turing machines, perhaps what some guy at CAP meant by the term supercomputing. Do we want to spend much time with a philosophy of computing that could not come up with a means to operate a switch matrix since it has no sense of time, no appreciation for many things at once? What other all too human qualities lurk in our actual technological apparatus as a result of default metaphysics holding sway over production? Perhaps if nobody is working on metaphysics in the philosophy of computing, it could proceed using methodologies borrowed from the philosophy of technology.

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK bork-journal 20121222 20121222 0 -3+ journal_2012.html
Notes made last night in Burks, Goldstine, von Neumann as one of the essential texts of electronic computer technology, laying out in detail what Turing describes abstractly, pseudo design. Then a chapter of the latest book by Hayles, as if to confirm the course set by these early theorists of human computer symbiosis. She criticizes Manovich for claiming that database paradigms compete with narrative, as if to supplant the form so characteristics of humanity; consider them instead as symbiants, components.

3 0+ 0+ 1 2 3 4 (+) [-6+]mCQK bork-journal 20130428 TAPOC_20130428 0 -2+ journal_2013.html
The framework needs to be named; I currently call it a synchronic processes in many orders of magnitude layer model, articulated in pinball platform studies. The idea to be captured is of multiple layer, multiple temporal order of magnitude concurrent amalgamated synchronic processes.

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK bork-journal 20141209 20141209 0 -5+ journal_2014.html
Despite their unique computing capabilities, post-postmodern network dividual cyborgs are also themselves or descendants of the dumbest generation, emerging at the turn of the century in the western world with personal computers and flourishing in the present second decade Internet milieu, which includes machinery and other technology systems along with humans, for there are dumb devices along with dumb people, with banality of Microsoft Bob hiding family resemblance with concentration camp equipment. Treat gigantic underwater book as limit of natural automata and mechanical media along with table size pages or lights on a moutainside shimmering text and images. Should replace engineers with architects for first half of chapter four along with calling chapter six advertisement short for animadvertPHI. Hallucinate, noting both imagine and fantasize have visual bias, habitual use of ensoniment to rethink experience of ancient philosophy through software development work. Chapter three takes theories from as is situation, and adds tech-savvy layer to SCOT through software studies, critical software, and platform studies approaches.

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK bork-journal 20150218 20150218 0 -2+ journal_2015.html
An example of synaptogenesis is multidimensional close reading including visual focus on small text at close distance, plus other activities like using pointing devices. Time to think about table of contents level reading of chapter two, for it is currently not even a good Latour list as ecample of Bogost Latour litany software artifact examples change to domain range of operator operation third order logic unit phenomenon run time instance PHI.

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK horkheimer_adorno-dialectic_of_enlightenment (18-19) 20130929e 0 -11+ progress/2011/06/notes_for_horkheimer_adorno-dialectic_of_enlightenment.html
Mathematics reified thought as a machine process; compare analysis to Hayles. (18-19) In the preemptive indentification of the thoroughly mathematized world with truth, enlightenment believes itself safe from the return of the mythical. It equates thought with mathematics. The latter is thereby cut loose, as it were, turned into absolute authority. . . . Thought is reified as an autonomous, automatic process, aping the machine it has itself produced, so that it can finally be replaced by the machine. . . . Despite its axiomatic self-limitation, it installed itself as necessary and objective: mathematics made thought into a thing a tool, to use its own term.

--3.2.1+++ {11}

3 2 1 (+) [-4+]mCQK bijker_hughes_pinch-social_construction_of_technological_systems (3) 20130901 0 -2+ progress/2013/09/notes_for_bijker_hughes_pinch-social_construction_of_technological_systems.html
Seamless web of society and technology. (3) Authors have been concerned with moving away from the individual inventor (or genius ) as the central explanatory concept, from technological determinism, and from making distinctions among technical, social, economic, and political aspects of technological development. The last point has been aptly summarized by using the metaphor of the seamless web of society and technology.

3 2 1 (+) [-6+]mCQK bijker_hughes_pinch-social_construction_of_technological_systems (4-5) 20130901a 2 -5+ progress/2013/09/notes_for_bijker_hughes_pinch-social_construction_of_technological_systems.html
Three approaches of social constructivism, systems metaphor, actor networks. (4-5) Key concepts within this approach are interpretative flexibility, closure, and relevant social groups. . . . The second approach, stemming largely from the work of the historians of technology Thomas Hughes, treats technology in terms of a
systems metaphor.

3 2 1 (+) [-4+]mCQK bijker_hughes_pinch-social_construction_of_technological_systems (18) 20130905a 0 -3+ progress/2013/09/notes_for_bijker_hughes_pinch-social_construction_of_technological_systems.html
Parallel shift in subject of analysis of programmers and managers from norms, career patterns everyday practice (Rosenberg, Mackenzie). (18) We are concerned here with only the recent emergence of the sociology of scientific
knowledge. Studies in this area take the actual content of scientific ideas, theories, and experiments as the subject of analysis. This contrasts with earlier work in the sociology of science, which was concerned with science as an institution and the study of scientistsƒ norms, career patterns, and reward structures.

3 2 1 (+) [-4+]mCQK bijker_hughes_pinch-social_construction_of_technological_systems (22-24) 20130905 4 -5+ progress/2013/09/notes_for_bijker_hughes_pinch-social_construction_of_technological_systems.html
Compare to Manovich on why there are no studies of cultural software, implying asymmetry between state of the art and prior versions in addition to commercial failures. (22-24) Historians of technology often seem content to rely on the manifest success of the artifact as evidence that there is no further explanatory work to be done [for example, Bakelite plastic]. . . . However, a more detailed study of the development of plastic and varnish chemistry, following the publication of the Bakelite process in 1909 (Baekland 1909c,d), shows that Bakelite was at first hardly recognized as the marvelous synthetic resin that it later proved to be.

3 2 1 (+) [-4+]mCQK bijker_hughes_pinch-social_construction_of_technological_systems (28) 20131025 0 -7+ progress/2013/09/notes_for_bijker_hughes_pinch-social_construction_of_technological_systems.html
Multidirectional model by studying development process as alternation of variation and selection; bicycle study reveals linear development a retrospective distortion. (28) In SCOT the developmental process of a technological artifact is described as an alternation of variation and selection. This results in a multidirectional model, in contrast with the linear models used explicitly in many innovation studies and implicitly in much history of technology.
(28) Let us consider the development of the bicycle. . . . It is only by retrospective distortion that a quasi-linear development emerges.

3 2 1 (+) [-4+]mCQK bijker_hughes_pinch-social_construction_of_technological_systems (40) 20131025a 0 -2+ progress/2013/09/notes_for_bijker_hughes_pinch-social_construction_of_technological_systems.html
Interpretative flexibility in design as well as reception and use. (40) In SCOT, the equivalent of the first stage of the EPOR would seem to be the demonstration that technological artifacts are culturally constructed and interpreted; in other words, the interpretative flexibility of a technological artifact must be shown. By this we mean not only that there is flexibility in how people think of or interpret artifacts but also that there is flexibility in how artifacts are
designed.

3 2 1 (+) [-4+]mCQK bijker_hughes_pinch-social_construction_of_technological_systems (44) 20130905b 0 -2+ progress/2013/09/notes_for_bijker_hughes_pinch-social_construction_of_technological_systems.html
Example of advertised computer security solutions like virus scanners and firewalls to insecure operating environments as rhetorical closure. (44) The key point is whether the relevant social groups
see the problem as being solved. In technology, advertising can play an important role in shaping the meaning that a social group gives to an artifact.

3 2 1 (+) [-4+]mCQK black-ibm_and_the_holocaust (9) 20131020c 0 -2+ progress/2013/10/notes_for_black-ibm_and_the_holocaust.html
Custom-designed complex devices and specialized applications sanctioned by IBM New York bases argument that IBM knew what the Third Reich was doing with its machines and services. (9) IBM Germany, known in those days as Deutsche Hollerith Maschinen Gesellschaft, or Dehomag, did not simply sell the Reich machines and then walk away. IBMƒs subsidiary, with the knowledge of its New York headquarters, enthusiastically custom-designed the complex devices and specialized applications as an official corporate undertaking.

3 2 1 (+) [-4+]mCQK black-ibm_and_the_holocaust (10) 20131020d 1 -7+ progress/2013/10/notes_for_black-ibm_and_the_holocaust.html
IBM Germany racial census operations and people counting technologies produced lists Nazis used to round up Jews and others for deportation via train to camps. (10) IBM was founded in 1896 by German inventor Herman Hollerith as a census tabulating company. . . . IBM Germany invented the racial census listing not just religious affiliation, but bloodline going back generations. This was the Nazi data lust. Not just to count the Jews but to
identify them.

3 2 1 (+) [-6+]mCQK black-ibm_and_the_holocaust (10) 20131020e 0 -4+ progress/2013/10/notes_for_black-ibm_and_the_holocaust.html
High-speed data sorting via punch cards used by Nazi Germany for people and asset registration, food allocation, slave labor identification, tracking, and managing, and most notably rail scheduling. (10) People and asset registration was only one of the many uses Nazi Germany found for high-speed data sorters. Food allocation was organized around databases, allowing Germany to starve the Jews. Slave labor was identified, tracked, and managed largely through punch cards. Punch cards even made the trains run on time and cataloged their human cargo.

3 2 1 (+) [-4+]mCQK black-ibm_and_the_holocaust (11) 20131020f 0 -7+ progress/2013/10/notes_for_black-ibm_and_the_holocaust.html
Confrontation with IBM Hollerith D-11 at US Holocaust Museum, which only mentioned IBM role in 1933 census. (11) I confronted the reality of IBMƒs involvement one day in 1993 in Washington at the United States Holocaust Museum. There, in the very first exhibit, an IBM Hollerith D-11 card sorting machine riddled with circuits, slots, and wires was prominently displayed. Clearly affixed to the machineƒs front panel glistened an IBM nameplate. . . . The exhibit explained little more than that IBM was responsible for organizing the census of 1933 that first identified the Jews.

3 2 1 (+) [-4+]mCQK black-ibm_and_the_holocaust (12) 20131020g 0 -5+ progress/2013/10/notes_for_black-ibm_and_the_holocaust.html
Narrative of how the research commenced and expertise required, noting degree of difficulty without initial cooperation from IBM. (12) In 1998, I began an obsessive quest for answers. Proceeding without any foundation funds, organizational grants, or publisher dollars behind me, I began recruiting a team of researchers, interns, translators, and assistants, all on my own dime.
(13) Ultimately, I assembled more than 20,000 pages of documentation from fifty archives, library manuscript collections, museum files, and other repositories.
(13) Complicating the task, many of the IBM papers and notes were unsigned or undated carbons, employing deliberate vagueness, code words, catchphrases, or transient corporate shorthand. I had to learn the contemporaneous lexicon of the company to decipher their content.

3 2 1 (+) [-4+]mCQK black-ibm_and_the_holocaust (16) 20131020h 0 -3+ progress/2013/10/notes_for_black-ibm_and_the_holocaust.html
Reexamine Holocaust scholarship with contemporary sensitivity to how technology can be utilized in war and peace, examining precursor to modern computing in the process. (16) The formative years for most Holocaust scholarship was before the computer age, and well before the Age of Information. Everyone now possesses an understanding of how technology can be utilized in the affairs of war and peace. We can now go back and look at the same documentation in a new light.

3 2 1 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xiv) 20140118f 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Analysis of the French case to limit scope of details and for lack of resources; compare to later discussion of asymmetry of Latour calculation centers. (xiv)

3 2 1 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xxxv) 20140118s 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Operates in same milieu provoking Latour to announce why critique has run out of steam and need to update analytical tools. (xxxv)

3 2 1 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xli) 20140303f 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Interesting that technical specialists form large percentage of these positions yet are putatively seldom studied such that they are only now being noticed as important (Ensmenger). (xli)

3 2 1 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xliv) 20140303i 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
History as tool for denaturalizing the social. (xliv)

3 2 1 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (3) 20140304 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Construe ideology nonreductively following Dumont as set of anchored, shared beliefs inscribed in institutions. (3)

3 2 1 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (3) 20140104b 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Study proposes theoretical framework for alteration of ideologies associated with economic activity. (3)

3 2 1 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (4) 20140304a 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Notion of spirit of capitalism essential to articulate dynamic relation between capitalism and critique. (4)

3 2 1 (+) [-4+]mCQK bowker_and_star-sorting_things_out (5-6) 20130912a 0 -6+ progress/2011/07/notes_for_bowker_and_star-sorting_things_out.html
Moral and ethical agenda in querying classifcatory systems; Heim and Feenberg discuss gains and losses. (5-6) We have a moral and ethical agenda in our querying of these systems. Each standard and each category valorizes some point of view and silences another. . . . We are used to viewing moral choices as individual, as dilemmas, and as rational choices.

3 2 1 (+) [-4+]mCQK bowker_and_star-sorting_things_out (9-10) 20130912 0 -9+ progress/2011/07/notes_for_bowker_and_star-sorting_things_out.html
Baudrillard ignores details of constructing simulations to which Manovich seems attentive. (9-10) It is easy to get lost in Baudrillardƒs (1990) cool memories of simulacra. . . . At the same time, he pays no attention to the work of constructing the simulations, or the infrastructural considerations that underwrite the images or events (and we agree that separating them ontologically is a hopeless task). . . . But there is more at stake epistemologically, politically, and ethically in the day-to-day work of building classification systems and producing and maintaining standards than in abstract arguments about representation.

3 2 1 (+) [-4+]mCQK bowker_and_star-sorting_things_out (32) 20120906 0 -2+ progress/2011/07/notes_for_bowker_and_star-sorting_things_out.html
Interesting appeal to the hypertextual world as a place where hybrid approaches are deployed for analysis. (32) We intuit that a mixture of scientific, poetic, and artistic talents, such as that represented in the hypertextual world, will be crucial to this task. We will demonstrate the value of a mixture of formal and folk classifications that are used sensibly in the context of peopleƒs lives.

3 2 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (62) 20130912i 0 -2+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Look to reliability of machines in the institutions and organizations they represent rather than the technological artifact itself. (62) Indeed, for most people a particular ATM isnƒt transparent enough for us to judge whether it is instrumentally reliable or not. Instead, we look for reliability, both instrumental and moral, in the organizations represented by the ATM and by the institutions regulating those organizations.

3 2 1 (+) [-6+]mCQK brown_duguid-social_life_of_information (77) 20130912j 0 -6+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Office life reveals combination of technological frailty and social resourcefulness; a different explanation of why telecommuting has not supplanted the traditional office setting than Castells. (77) Most systems, amalgams of software and hardware from different vendors, rely on social amalgams of this sort keep everything running. . . . In this way,
the facts of office life reveal a combination of technological frailty and social resourcefulness. Infoenthusiasts, however, tend to think of these the other way around, missing the role of the social fabric and assuming that individuals in isolation can do it all.

3 2 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (85) 20130912k 0 -2+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Classic designer view versus user-centric, task-oriented bases argument for failure of technology driven designs and productivity paradox. (85) Our argument, in the course of this chapter, by contrast, is that technology design has not taken adequate account of work and its demands but instead has aimed at an idealized image of individuals and information.
(86) But this was a matter not of society catching up with technology, but of society adjusting technology to its needs.

3 2 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (93) 20130912l 0 -3+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Importance of knowledge in organizations, which no doubt has social characteristics, must be considered with process reengineering. (93) Did the focus on process, perhaps, overlook the increasing demand for knowledge in modern organizations? We suspect it did. Consequently, looking at reengineering in the light of knowledge, as we do here, may help reveal both the strengths (often hidden between catcalls) and the weaknesses (equally hidden behind cheerleading) or reengineering.

3 2 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (98) 20130912m 0 -5+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Local workplace cultures, chatting, discouraged by process reengineers because they do not see the value of their linkages. (98) And fourth, business process reengineers tend to discourage exactly the sort of
lateral links that people pursue to help make meaning. . . . Encouraging cross-functional links between occupations, business process reengineering tends to see the contrasting links within occupational groups as non-value adding.

3 2 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (110) 20130912n 0 -2+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Innovations often hidden due to processes and forms; much can be learned from improvisations. (110) So, by subordinating practice to process, an organization paradoxically encourages its employees to mislead it. Valuing and analyzing their improvisations, by contrast, can be highly informative.

3 2 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (122) 20130912o 0 -1+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Loss of collective memory from downsizing because organizational knowledge more in people than databases. (122) Similarly, the sort of blind downsizing produced by business process reengineering has caused organizations to lose collective memory.

3 2 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (126) 20120924 0 -3+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Gee also emphasizes community of practice for situated learning. (126) Learning a practice, they [Lave and Wegner] argue, involves becoming a member of a community of practice and thereby understanding its work and its talk from the inside. Learning, from this point of view, is not simply a matter of acquiring information; it requires developing the disposition, demeanor, and outlook of the practitioners.
(127) In particular, it notes now, in getting the job done, the people involved ignored divisions of rank and role to forge a single group around their shared task, with overlapping knowledge, relatively blurred boundaries, and a common working identity.

3 2 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (134) 20130912p 0 -6+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Polanyi explicit and tacit dimensions reinforce need for practice within community of practitioners to produce actionable knowledge in people. (134) The explicit dimension is like the strategy book. But it is relatively useless without the tacit dimension. This,
Polanyi argues, allows people to see when to apply the explicit part.
(135) Information, all these arguments suggest, is on its own not enough to produce actionable knowledge. Practice too is required. And for practice, itƒs best to look to a community of practitioners.

3 2 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (143) 20130912q 0 -6+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Division into broad networks of practice and close communities of practice detail does not seem present in Castells network concept; check Spinuzzi. (143) You can only work closely with so many people. On the other hand, reciprocity is strong. . . . These groups allow for highly productive and creative work to develop collaboratively.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (83) 20140412 0 -11+ progress/2014/04/notes_for_callon-society_in_the_making.html
Turn study of technology into sociological tool by examining hypotheses and arguments made by engineer-sociologists; I suggest studying philosophical programmers. (83) Social scientists, whether they are historians, sociologists, or economists, have long attempted to explain the scope, effects, and conditions of the development of technology. . . . But at no point have they judged that the study of technology itself can be transformed into a sociological tool of analysis. The thesis to be developed here proposes that this sort of reversal of perspective is both possible and desirable. . . . To bring this reversal about, I show that engineers who elaborate a new technology as well as all those who participate at one time or another in its design, development, and diffusion constantly construct hypotheses and forms of argument that pull these participants into the field of sociological analysis. Whether they want to or not, they are transformed into sociologists, or what I call engineer-sociologists.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (83-84) 20140412a 0 -5+ progress/2014/04/notes_for_callon-society_in_the_making.html
Challenge ability to distinguish the distinctly technical from economic, cultural and commercial logics affecting technological change. (83-84) What I am questioning here is the claim that it is possible to distinguish during the process of innovation phases or activities that are distinctly technical or scientific from others that are guided by an economic or commercial logic. . . . Sociological, technoscientific, and economic analyses are permanently interwoven in a seamless web.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (84) 20140412b 0 -1+ progress/2014/04/notes_for_callon-society_in_the_making.html
Case study of VEL electric car initiative in France highlighting contested designs and visions between engineers at EDF and Renault, as well as impact of non-human network actors like battery components. (84) EDFƒs engineers presented a plan for the VEL that determined not only the precise characteristics of the vehicle it wished to promote but also the social universe in which the vehicle would function.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (84-85) 20140412c 0 -10+ progress/2014/04/notes_for_callon-society_in_the_making.html
EDF depicted social position of urban post-industrial consumers turning away from internal combustion engine and downgrading the status of private automobile as a consumer object. (84-85) First, the EDF defined a certain history by depicting a society of urban post-industrial consumers who were grappling with new social movements. . . . The Carnot cycle and its deplorable by-products were stigmatized in order to demonstrate the necessity for other forms of energy conversion. . . . electric propulsion would render the car commonplace by decreasing its performance and reducing it to a simple, useful object. The electric car could lead to a new era in public transport in the hands of new social groups that were struggling to improve conditions in the city by means of science and technology.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (86) 20140412d 0 -6+ progress/2014/04/notes_for_callon-society_in_the_making.html
Hint that actor networks contain human and nonhuman elements that are difficult to place in neat hierarchies, a lesson social scientists should learn from thoroughness of engineers. (86) The ingredients of the VEL are the electrons that jump effortlessly between electrodes; the consumers who reject the symbol of the motorcar who are ready to invest in public transport; the Ministry of the Quality of Like, which imposes regulations about the levels of acceptable noise pollution; Renault, which accepts that it will be turned into a manufacturer of car bodies; lead accumulators, whose performance has been improved; and post-industrial society, which is on its way. None of these ingredients can be placed in a hierarchy or distinguished according to its nature. The activist in favor of public transport is just as important as a lead accumulator, which can be recharged several hundred times.
(86) This case shows that the engineers left no stone unturned. They went from electrochemistry to political science without transition.
(87) Could not social sciences in some way or another make use of the astonishing faculty engineers possess for conceiving and testing sociological analyses at the same time as they develop their technical devices?

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (87-88) 20140412e 0 -24+ progress/2014/04/notes_for_callon-society_in_the_making.html
Touraine argues that in post industrial society key class conflict between technocrats and consumers, whereas for Bourdieu consumption the key facet upper and lower class competition. (87-88) [Alain]
Touraine is part of a sociological tradition that emphasizes the role of class conflict in making society function and in producing its history. Unlike Marxists, he believe that the central conflict of Western society is no longer the struggle between the working class and the bourgeoisie. Technological development has brought new factors into play. On one side now there are large concerns (big corporations, research and development agencies) that orient scientific research as well as define and control the application of technology. On the other side we find the consumer, whose needs and aspirations are manipulated by the technocrats who run the large concerns. . . . This new type of class conflict defines what Touraine calls post-industrial society.
(88) [Pierre]
Bourdieuƒs vision of society can be arrayed point for point against Touraineƒs. . . . The confrontation is fragmented between various specialist spheres (the field of politics, the field of science, the field of consumption, etc.) that maintain mutual relationships of exchange and subordination. . . . But these different fields, which in their multiplicity embrace the diversity of social practice and express increasing differentiation of societies, are caught in a group logic that lends cohesion to society. This unification is organized around a dominant cultural model, that of the upper classes, in relation to which the other social classes define and orient themselves. . . . This competition is nowhere more apparent and nowhere more lively than in the field of consumption.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (88-89) 20140412f 0 -12+ progress/2014/04/notes_for_callon-society_in_the_making.html
Future of automobile in terms of Touraine versus Bourdieu identifiable positions taken by VEL and Renault engineers. (88-89) Although they attribute to consumption the same strategic value, these two analytic schemas lead to two radically different interpretations of its evolution. The automobile and its future provide particularly salient illustrations of this evolution. . . . In the Tourainian schema the technocrats/decision makers design products to meet these demands in order to use them for support: This double game, whereby popular protest is used by technocrats to serve their own ends, is the driving force of history.
(89) In Bourdieuƒs perspective the future of the automobile is inscribed in a different logic. The total banalization of an object of consumption, which plays a central role in struggles for distinction, seems highly improbable. . . . the only realistic strategy is to transform it gradually through progressive introduction of technical improvements enabling it to respond to new user demands.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (90) 20140412g 0 -13+ progress/2014/04/notes_for_callon-society_in_the_making.html
Reverse salients turning favor away from VEL due to both technical problems with catalysts and rhetoric by Renault engineers. (90) EDFƒs engineers did not have to defend their ideas in an academic arena. Any brilliance or originality in the analysis they developed was of little import. For them the analysis was a question of life and death because the economic future of their project was at stake.
(90-91) Slowly but surely the tide in favor of the VEL and its society was beginning to turn, or, to use the terms so aptly coined by Hughes (1983),
reverse salients began to appear. . . . Fairly quickly, the catalysts refused to play their part in the scenario prepared by EDF: Although cheap (unlike platinum), the catalysts had the unfortunate tendency of quickly becoming contaminated, rendering the fuel cell unusable. The mass market suddenly disappeared like a mirage. . . . In contrast to the optimistic view of technological innovation taken by EDF, Renault engineers painted a gloomy picture of uncertain strategies and rival industrial groups with conflicting interest.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (91) 20140412h 0 -8+ progress/2014/04/notes_for_callon-society_in_the_making.html
Remarkable similarity between EDF Renault controversy and Touraine Bourdieu. (91) The Renault engineers did not stop there. They took their criticism further by showing that what EDF detected as signs of the coming of a post-industrial age was in fact only minor technical difficulties in the current age. . . . Recession was looming large and talk was more of reindustrialization than of post-industrial society.
(92) This was a remarkable controversy. The engineer-sociologists of EDF were matched by Renaultƒs engineer-sociologists, who developed a sociology that in its arguments and its analyses was close to Bourdieuƒs.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (92) 20140412i 0 -2+ progress/2014/04/notes_for_callon-society_in_the_making.html
Engineer-sociologists make heterogeneous associations ranging over actor networks, where classical sociologists remain too narrowly focused contributions of human actors. (92) What is the particular faculty that engineers have (which sociologists in this case lack) of being able to evaluate the comparative merits of contradictory sociological interpretations? In order to answer this question, I briefly consider the notion of the actor network, which allows the characterization of the original contribution of the engineer-sociologist: the idea of heterogeneous associations.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (93) 20140412j 0 -8+ progress/2014/04/notes_for_callon-society_in_the_making.html
Actor networks as irreducible heterogeneous associations whose dynamics are explainable by mechanisms of simplification and juxtaposition. (93) The proposed associations, and by consequence the project itself, would hold together only if the different entities concerned (electrons, catalysts, industrial firms, consumers) accepted the roles that were assigned to them.
(93) The actor network is reducible neither to an actor alone nor to a network. Like networks it is composed of a series of heterogeneous elements, animate and inanimate, that have been linked to one another for a certain period of time. . . . An actor network is simultaneously an actor whose activity is networking heterogeneous elements and a network that is able to redefine and transform what it is made of. I show in the case of the VEL that this particular dynamic can be explained by two mechanisms:
simplification and juxtaposition.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (93) 20140412k 0 -4+ progress/2014/04/notes_for_callon-society_in_the_making.html
Simplification of infinite reality to limited associations of discrete entities; also a principal activity in computing (Chun, Tanaka-Ishii). (93) In theory reality is infinite. In practice actors limit their associations to a series of discrete entities whose characteristics or attributes are well defined. The notion of simplification is used to account for this reduction of an infinitely complex world.
(94) So far as EDF engineers were concerned, however, towns could be reduced to city councils whose task is the development of a transport system that does not increase the level of pollution.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (94) 20140412l 0 -8+ progress/2014/04/notes_for_callon-society_in_the_making.html
Simplification masks unknown sets of entities drawn together by known entities in the network; often revealed only if brought into controversy by a trial of strength. (94) Behind each associated entity there hides another set of entities that it more or less effectively draws together. We cannot see or know them before they are unmasked. . . . The catalyst gave way and the fuel cell broke down, thus causing the downfall of the EDF. As for the catalysts, the electrolytes can be decomposed into a series of constituent elements: the electrons in the platinum and the migrating ions. These elements are revealed only if they are brought into a controversy, that is, into a
trial of strength in which the entity is under suspicion.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (95) 20140412m 0 -20+ progress/2014/04/notes_for_callon-society_in_the_making.html
Juxtaposition of heterogeneous elements that guarantee proper functioning of objects transcend restricted analytic categories; in this integrator perspective, black boxes abound. (95) The set of postulated associations is the context that gives each entity its significance and defines its limitations. It does this by associating the entity with others that exist within a network. There is thus a double process: simplification and juxtaposition. The simplifications are only possible if elements are juxtaposed in a network of relations, but the juxtaposition of elements conversely requires that they be simplified.
(95) These juxtapositions define the condition of operation for the engineersƒ construction. . . . One must abandon the conventional sociological analysis that tries to adopt the easy solution of limiting relationships to a restricted range of sociological categories. . . . How can one describe the relationships between fuel cells and the electric motor in terms other than those of electric currents or electromagnetic forces? Not only are the associations composed of heterogeneous elements but their relationships are also heterogeneous. Whatever their nature, what counts is that they render a sequence of events predictable and stable. . . . Each element is part of a chain that guarantees the proper functioning of the object. It can be compared to a
black box that contains a network of black boxes that depend on one another both for their proper functioning as individuals and for the proper functioning of the whole.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (96) 20140412n 0 -11+ progress/2014/04/notes_for_callon-society_in_the_making.html
Extremely complex, cascading operations yield durability of simplifications sustaining the actor network at each point; this latent instability provides conditions leading to transformations, which can be discerned by testing resistances. (96) Therefore the operations that lead to changes in the composition and functioning of an actor network are extremely complex. . . . The simplifications that make up thee actor network are a powerful means of action because each entity summons or enlists a cascade of other entities. . . . Thus a network is durable not only because of the durability of the bonds between the points (whether these bonds concern interests or electrolytic forces) but also because each of its points constitutes a durable and simplified network. It is this phenomenon that explains the conditions that lead to the transformation of actor networks.
(96) Transformation thus depends on testing the resistance of the different elements that constitute our actor network.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (97) 20140412o 0 -12+ progress/2014/04/notes_for_callon-society_in_the_making.html
Sociologists unable to take heterogeneous associations into account, thus both Touraine and Bourdieu susceptible, and Bourdieu interpretation only right about VEL by chance. (97) The actor network describes the dynamics of society in terms totally different from those usually used by sociologists. If car users reject the VEL and maintain their preferences for different types of the traditional motorcar, this is for a whole series of reasons, one of which is the problem of the catalysts that turn poisonous. It is these heterogeneous associations that sociologists are unable to take into account and yet that are responsible for the success of a particular actor network. . . . Tourainian sociological theory,m as with most other sociological theories, remains a clever and sometimes perspicacious construction; but it is bound to remain hypothetical and speculative because it simplifies social reality by excluding from the associations it considers all those entities electronics, catalysts that go to explain the coevolution of society and its artifacts. This criticism applies equally well to Bourdieuƒs interpretation of society. . . . Although Bourdieu happens to be right and Touraine wrong, this is quite by chance.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (98) 20140412p 0 -9+ progress/2014/04/notes_for_callon-society_in_the_making.html
Follow the innovators in a concrete analysis, for they often develop their own sociological theories, and they are evaluated by empirical outcomes like market share and profits. (98) Another way of learning about society, as shown in this chapter, is to follow innovators in their investigations and projects. This method is particularly effective in cases in which, because they are working on radical innovations, engineers are forced to develop explicit sociological theories.
(98-99) In effect, the sociology developed by the engineer-sociologists is concretely evaluated in terms of market share, rate of expansion, or profit rate. With the failure of the VEL, EDFƒs theories about French society and its future collapsed (although perhaps only provisionally). . . . The case under discussion happens to show a complete reversal of fortune. But in other situations engineers may arrive at a compromise solution and progressively change their sociological interpretations, that is, their associations, and consequently change the shape of the technological devices they develop.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (99) 20140412q 0 -4+ progress/2014/04/notes_for_callon-society_in_the_making.html
Actor network as style of sociological study giving maneuver and freedom engineers enjoy. (99) Instead of being someone whose ideas and experiments can be turned to the advantage of the sociologist, the engineer-sociologist becomes the model to which the sociologist turns for inspiration. The notion of the actor network then becomes central, for it recognizes the particular sociological style of the engineer-sociologist. To transform academic sociology into a sociology capable of following technology throughout its elaboration means recognizing that its proper object of study is neither society itself nor so-called social relationships but the very actor networks that simultaneously give rise to society and to technology.
(100) It furnishes sociological analysis with a new analytic basis that at a stroke gains access to the same room to maneuver and the same freedom as engineers themselves employ.

3 2 1 (+) [-4+]mCQK callon-society_in_the_making (100) 20140412r 0 -4+ progress/2014/04/notes_for_callon-society_in_the_making.html
Actor network over system perspective because engineers must permanently combine scientific, technical and sociological analyses without clean distinction between system and environment. (100) If, however, we prefer the idea of actor network to that of system, it is essentially for two reasons.
(100) First, the engineers involved in the design and development of a technological system, particularly when radical innovations are involved, must permanently combine scientific and technical analyses with sociological analyses: The proposed associations are heterogeneous from the start of the process.
(100) The systems concept presupposes that a distinction can be made between the system itself and its environment. In particular, certain changes can, and sometimes must, be imputed to outside factors.

3 2 1 (+) [-4+]mCQK castells-rise_of_network_society_second_edition (xxiv) 20131027a 0 -2+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Resembles Latour and Johnson STS methodology. (xxiv) In sum, the occupational structure of our societies has indeed been transformed by new technologies. But the processes and forms of this transformation have been the result of the interaction between technological change, the institutional environment, and the evolution of relationships between capital and labor in each specific social context.

3 2 1 (+) [-4+]mCQK castells-rise_of_network_society_second_edition (222) 20130914 0 -5+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Must separate structural logic of production system and social structure for evidence of a specific techno-economic paradigm inducing development of social structure; compare to Manovich analysis of media. (222) Only if we start from the analytical separation between the structural logic of the production system of the informational society and its social structure can we observe empirically if a specific techno-economic paradigm induces a specific social structure and to what extent. . . . To do so, I have followed the well-known typology of service employment constructed by Singelmann more than 20 years ago.

3 2 1 (+) [-6+]mCQK castells-rise_of_network_society_second_edition (404) 20120825 0 -2+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Reality fully captured in multimedia medium, precession of simulacra: interesting Dan Quayle/Murphy Brown example, Aleph, Caprica V-World. (404)
It is a system in which reality itself (that is, peopleƒs material/symbolic existence) is entirely captured, fully immersed in a virtual image setting, in the world of make believe, in which appearances are not just on the screen through which experience is communicated, but they become the experience. All messages of all kinds become enclosed in the medium because the medium has become so comprehensive, so diversified, so malleable that it absorbs in the same multimedia text the whole of human experience, past, present, and future, as in that unique point of the Universe that Jorge Luis Borges called Aleph.

3 2 1 (+) [-4+]mCQK castells-rise_of_network_society_second_edition (448) 20130914l 0 -6+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Begins architecture of the end of history section with Bofill quote Nomada, sigo siendo un nomada; thinking of Deleuze nomadism, welcome to the desert of the real, for social analysis of built environment. (448) Panosfky on Gothic cathedrals, Tafuri on American skyscrapers, Venturi on the surprisingly kitsch American city, Lynch on the city images, Harvey on postmodernism as the expression of time/space compression by capitalism, are some of the best illustrations of an intellectual tradition that has used the forms of the built environment as one of the most signifying codes to read the basic structures of societyƒs dominant values.
(449) Because the spatial manifestation of the dominant interests takes place around the world, and across cultures, the uprooting of experience, history, and specific culture as the background of meaning is leading to the generalization of ahistorical, acultural architecture.
(449) Yet, in fact what most postmodernism does is to express, in almost direct terms, the new dominant ideology: the end of history and the supersession of places in the space of flows.
(450) The meaning of its messages will be lost in the culture of surfing that characterizes our symbolic behavior. This is why, paradoxically, the architecture that seems most charged with meaning in societies shaped by the logic of the space of flows is what I call the
architecture of nudity. That is, the architecture whose forms are so neutral, so pure, so diaphanous, that they do not pretend to say anything.

3 2 1 (+) [-4+]mCQK castells-rise_of_network_society_second_edition (456) 20130914m 0 -2+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Displays figures of street layouts and land use of Paseo de Gracia in Barcelona, and a business complex in Irvine, California to illustrate self-contained, functional spaces. (456) In Belleville, its dwellers, without loving each other, and while certainly not being loved by the police, have constructed throughout history a meaningful, interacting space, with a diversity of uses and a wide range of functions and expressions. They actively interact with their daily physical environment.

3 2 1 (+) [-4+]mCQK castells-rise_of_network_society_second_edition (492) 20130914r 0 -6+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Non-sequential time of cultural products based on desire and computability, thus timeless; connect to Manovich development of the history of cinema into new media software and Kittler. (492) The timelessness of multimediaƒs hypertext is a decisive feature of our culture, shaping the minds and memories of children educated in the new cultural context. History is first organized according to the availability of visual material, then submitted to the computerized possibility of selecting seconds of frames to be pieced together, or split apart, according to specific discourses. School education, media entertainment, special news reports, or advertising organize temporality as it fits, so that the overall effect is a non-sequential time of cultural products available from the whole realm of human experience. . . .

3 2 1 (+) [-4+]mCQK deleuze_guattari-what_is_philosophy (54) 20130915k 0 -1+ progress/2013/06/notes_for_deleuze_guattari-what_is_philosophy.html
Fourth example alludes to Latour hybrids. (54) When the distribution of what is due to thought by right changes, what changes from one plane of immanence to another are not only the positive and negative features but also the ambiguous features that may become increasingly numerous and that are no longer restricted to folding in accordance with a vectorial opposition of movements.

3 2 1 (+) [-4+]mCQK du_gay-doing_cultural_studies (23) 20131028a 0 -4+ progress/2012/03/notes_for_du_gay-doing_cultural_studies.html
Media technologies have practices associated with them, producing little cultures around them. (23) Today, the production and consumption on a global scale of ƒcultural goodsƒ represents one of the most important economic activities. In addition, each of these new media technologies has a particular set of practices associated with it a way of using them, a set of knowledges, or ƒknow-howƒ, what is sometimes called a social technology. Each new technology, in other words, both sustains culture and produces or reproduces cultures. Each spawns, in turn, a little ƒcultureƒ of its own.

3 2 1 (+) [-6+]mCQK edwards-closed_world (1-2) 20130821a 0 -12+ progress/2013/08/notes_for_edwards-closed_world.html
Cyborg discourse obvious tie to Golumbia. (1-2) Both the engineering and the politics of closed world discourse centered around problems of
human-machine integration. . . . As symbol-manipulating logic machines, computers would automate or assist tasks of perception, reasoning, and control in integrated systems. Such goals, first accomplished in World War II-era anti-aircraft weapons, helped form both cybernetics, the grand theory of information and control in biological and mechanical systems, and artificial intelligence (AI), software that simulated complex symbolic thought. At the same time, computers inspired new psychological theories built around concepts of information processing. . . . Cyborg discourse, by constructing both human minds and artificial intelligence as information machines, helped to integrate people into complex technological systems.
(2) They cyborg figure defined not only a practical problem and a psychological theory but a set of
subject positions.

3 2 1 (+) [-4+]mCQK edwards-closed_world (2-3) 20130821b 1 -13+ progress/2013/08/notes_for_edwards-closed_world.html
Three theses, three scenes: Operation Igloo White, Turing machines, the Terminator. (2-3) First, I will argue that the historical trajectory of computer development cannot be separated from the elaboration of American grand strategy in the Cold War. . . . Second, I will link the rise of cognitivism, in both psychology and artificial intelligence, to social networks and computer projects formed for World War II and the Cold War. . . . Finally, I will suggest that cyborg discourse functioned as the psychological/subjective counterpart of closed-world politics. . . . Cyborgs, with minds and selves reconstituted as information processors, found flexibility, freedom, and even love inside the closed virtual spaces of the information society.

3 2 1 (+) [-4+]mCQK edwards-closed_world (12-13) 20130821c 0 -12+ progress/2013/08/notes_for_edwards-closed_world.html
Literary criticism origin of closed world and green world. (12-13) The term descends from the literary criticism of Sherman
Hawkins, who uses it to define of the the major dramatic spaces in Shakespearean plays. Closed-world plays are marked by a unity of place, such as a walled city or the interior of a castle or house. Action within this space centers around attempts to invade and/or escape its boundaries.
(13) The alternative to the closed world is not an open world but what Northrop
Frye called the green world. The green world is an unbounded natural setting such as a forest, meadow, or glade. . . . Green-world drama thematizes the restoration of community and cosmic order through the transcendence of rationality, authority, convention, and technology. . . .

3 2 1 (+) [-4+]mCQK edwards-closed_world (38) 20130821h 0 -11+ progress/2013/08/notes_for_edwards-closed_world.html
Foucault support as object studied and invented by surrounding discourse applied to computers. (38) The sense of a constantly regenerated and changing discourse differentiates Foucaultƒs concept from the more monolithic stability of Wittgensteinƒs forms of life. . . . The
support is the object at once studied and invented by the discourse that surrounds it. I will use this concept to describe the role of computers in closed-world and cyborg discourses.
(39) Such figures as the electronic control center (the War Room, for example) and the cyborg solider are
supports, in this sense, for closed-world discourse.
(39) The metaphor of a discursive economy also ties the self-elaborating logic of discourse to the reality of social power. . . .

3 2 1 (+) [-4+]mCQK edwards-closed_world (153-154) 20130829d 0 -8+ progress/2013/08/notes_for_edwards-closed_world.html
Lakoff and Johnson master tropes. (153-154) The linguist George
Lakoff, working with the philosopher Mark Johnson, has been the foremost recent exponent of the view that language and thought are essentially structured by metaphor. . . . A unique feature of their theory is that it does not picture conceptual structure as a reflective representation of external reality. Instead, it views concepts as essentially structured by human life and action, and especially by the human body in its interaction with the world.
(158) Some metaphors become entrenched so deeply that they guide and direct many other systems of description. These
master tropes provide what amount to basic structures for thought and experience.

3 2 1 (+) [-4+]mCQK edwards-closed_world (184 footnote 33 20130830c 0 -2+ progress/2013/08/notes_for_edwards-closed_world.html
Serres effect of heterogenous list. (184 footnote 33) Cybernetics purposively casts itself as a metathoery, an explanation of how everything is connected to everything else. To do so it made extensive use of a literary device Geoffrey Bowker calls the Serres effect, namely the heterogeneous list.

3 2 1 (+) [-4+]mCQK edwards-closed_world (196) 20130830d 0 -2+ progress/2013/08/notes_for_edwards-closed_world.html
Compare to discussion of contested narratives by Hayles, who emphasizes rejected recommendations by Kubie and others. (196) He [Kubie] conjectured that the central nervous system acts like a computer using a periodic scanning mechanism, possibly based on the brainƒs alpha rhythm.
(198) Like Kubie, Kluver downplayed the significance of the new metaphors by reading them as disguised or rephrased versions of traditional problems in psychological theory.

3 2 1 (+) [-4+]mCQK edwards-closed_world (220) 20130830e 0 -4+ progress/2013/08/notes_for_edwards-closed_world.html
Psychological laboratory as Latour obligatory passage point. (220) Thus in less than four years, the Harvard Psycho-Acoustic Laboratory created a number of innovations that proved vital for the future of cognitive theory. First, its psychoacoustic studies created a background for an emerging psycholinguistics. Second, it helped to construct visions of human-machine integration as problems of psychology. Third, it established the psychological laboratory as what Bruno
Latour has called an obligatory passage point in the study of human-machine systems.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (652) 20120315 0 -4+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Democracy overshadowed by corporate and military leaders in control of technical systems, requiring technical and political change. (652) So far as decisions affecting our daily lives are concerned, political democracy is largely overshadowed by the enormous power wielded by the masters of technical systems: corporate and military leaders.
(652) Yet today we do not appear to be much closer to democratizing industrialism than in Marxƒs time.
(652-653) The qualification concerns the role of technology, which I see as
neither determining nor as neutral. I will argue that modern forms of hegemony are based on the technical mediation of a variety of social activities, whether it be production or medicine, education or the military, and that, consequently, the democratization of our society requires radical technical as well as political change.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (653) 20120315a 0 -1+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Flaw of dystopianism is equivocating technology in general with the specific technologies that developed in the West under capitalism. (653) I will concentrate on the principal flaw of dystopianism, the identification of technology in general with the specific technologies that have been developed in the last century in the West.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (653) 20120315b 0 -3+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Determinism founded on assumption that technology resembles science and mathematics, independent of social world, only social for its purposes served. (653) Determinism rests on the assumption that technologies have an autonomous functional logic that can be explained without reference to society. Technology is presumably social only through the purpose it serves, and purposes are in the mind of the beholder. Technology would thus resemble science and mathematics by its intrinsic independence of the social world.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (654) 20120315c 0 -3+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Theses of unilinear progress and determination by base present decontextualized, self-generating technology. (654) These I will call the thesis of unilinear progress, and the the these of determination by base.
(654) social institutions must adapt to the imperatives of the technological base.
(654) These two theses of technological determinism present decontextualized, self-generating technology as the unique foundation of modern society.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (654) 20120315d 0 -3+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Constructivists include Hayles, Sterne, du Gay along with Pinch and Bijker argue underdetermination of scientific and technical criteria. (654) Recent constructivist sociology of technology grows out of new social studies of science.
(654) Constructivism argues that theories and technologies are underdetermined by scientific and technical criteria.
(654) Two sociologists of technology, Trevor Pinch and Wiebe Bijker, illustrate it with the early history of the bicycle.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (655) 20120315e 0 -3+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Looks at changing attitudes over length of workday and child labor to illustrate indeterminism. (655) For now, let us consider the remarkable anticipation of current attitudes in the struggle over the length of the workday and child labor in mid-nineteenth-century England.
(655-666) This example shows the tremendous flexibility of the technical system. It is not rigidly constraining but, on the contrary, can adapt to a variety of social demands.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (656) 20120315f 0 -3+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Technology parliament of things where civilizational alternatives contend, making indeterminism political. (656) In a society where determinism stands guard on the frontiers of democracy, indeterminism cannot but be political. If technology has many unexplored potentialities, no technological imperatives dictate the current social hierarchy. Rather, technology is a scene of social struggle, a parliament of things, on which civilizational alternatives contend.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (656) 20120315h 0 -11+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Decontextualized temporal development of object under functionalist view fails to note contestations and unpredictable attitudes crystallizing and influencing design changes that forms their social meaning; the latter evident in computers, for example his own study of the French videotex Teletel system. (656) The functionalist point of view yields a decontextualized temporal cross-section in the life of the object. . . . But in the real world all sorts of unpredictable attitudes crystallize around technical objects and influence later design changes.
(656) These facts are recognized to a certain extent in the technical fields themselves, especially in computers.
(657) I have studied a particularly clear example of the complexity of the relation between the technical function and meaning of the computer in the case of French videotex.
(657) Those applications, in turn, connoted the
Minitel as a means of personal encounter, the very opposite of the rationalistic project for which it was originally created. The cold computer became a hot new medium.
(657)
What the object is for the groups that ultimately decide its fate determines what it becomes as it is redesigned and improved over time. If this is true, then we can only understand technological development by studying the sociopolitical situation of the various groups involved in it.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (657) 20120315i 0 -2+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Hegemony is form of domination so deeply rooted it seems natural, distribution of social power with the force of culture behind it. (657) As I will use the term, hegemony is a form of domination so deeply rooted in social life that it seems natural to those it dominates. One might also define it as that aspect of the distribution of social power which has the force of culture behind it.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (657) 20120315j 0 -6+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Modern hegemonies of rationalization as modern cultural horizon based on power of technological design. (657) The term horizon refers to culturally general assumptions that form the unquestioned background to every aspect of life. . . . Rationalization is our modern horizon, and technological design is the key to its effectiveness as the basis of modern hegemonies.
(657)
Marcuse shows that the concept of rationalization confounds the [Weberian] control of labor by management with control of nature by technology.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (658) 20120315k 0 -2+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Marcuse rationalization confounding managerial control of labor should be traceable in design of production technology; machine design mirros back operative social factors: now do with history of computing. (658) If Marcuse is right, it ought to be possible to trace the impress of class relations in the very design of production technology, as has indeed been shown by such Marxist students of the labor process as Harry Braverman and David Noble.
(658) Machine design mirrors back the social factors operative in the prevailing rationality.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (658) 20120315l 0 -8+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Social meaning and functional rationality are double aspects of technical object; bias of technology is material validation of cultural horizon. (658) The argument to this point might be summarized as a claim that social meaning and functional rationality are inextricably intertwined dimensions of technology. . . . they are double aspects of the same underlying technical object, each aspect revealed by a specific contextualization.
(658) Once introduced, technology offers a material validation of the cultural horizon to which it has been pre-formed. I call this the bias of technology: apparently neutral, functional rationality is enlisted in support of a hegemony.
(658) So long as the contingency of the choice of truth remains hidden, the deterministic image of a technically justified social order is projected.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (658) 20120315m 0 -2+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Calls for Foucaultian recontextualizing critique of contingency of truth to uncover horizon. (658) The legitimating effectiveness of technology depends on unconsciousness of the cultural-political horizon under which it was designed. A recontextualizing critique of technology can uncover that horizon, demystify the illusion of technical necessity, and expose the relativity of the prevailing technical choices.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (659) 20120315n 0 -3+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Syntheses are needed instead of dilemmas presented by trade-off model; design as ambivalent cultural process instead of zero-sum game. (659) The trade-off model confronts us with dilemmas environmentally sound technology vs. prosperity, workersƒ satisfaction and control vs. productivity, etc.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (659) 20120315o 0 -2+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Beginning of technology regulation in United State for steamboat boilers. (659) Steamboat boilers were the first technology regulated in the United States.
(660) What a boiler is was thus defined through a long process of political struggle culminating finally in uniform codes issued by the American Society of Mechanical Engineers.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (660) 20120315p 0 -6+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Technical code of the object mediates the process; illusion of technical necessity when code is cast in iron into the product, especially to Lessig on legal codes embedded in software. (660) What I call the technical code of the object mediates the process. That code responds to the cultural horizon of the society at the level of technical design. . . . The illusion of technical necessity arises from the fact that the code is thus literally cast in iron, at least in the case of boilers.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (660) 20120315q 0 -3+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Lack of interest opening the black box leads to treating code as fixed input. (660) In theory one can decompose any technical object and account for each of its elements in terms of the goals it meets, whether it be safety, speed, reliability, etc., but in practice no one is interested in opening the black box to see what is inside.
(660) The code is not varied in real-world economic calculations but treated as a fixed input.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (661) 20130916 0 -1+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Technical standards define portions of social environment, now becoming clear from software studies (Kitchin and Dodge). (661) Technology is thus not merely a means to an end; technical design standards define major portions of the social environment, such as urban and built spaces, workplaces, medical activities and expectations, life patterns, and so on.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (662) 20120315s 0 -4+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Modern technology could gather its multiple contexts as Heidegger did philosophically if under different organizational forms; autonomy of the enterprise is the culprit, not a metaphysical condition. (662) Given a different social context and a different path of technical development, it might be possible to recover these traditional technical values and organizational forms in new ways in a future evolution of modern technological society.
(662) Indeed, there is no reason why modern technology cannot also gather its multiple contexts, albeit with less romantic pathos than jugs and chalices.
(663) It is the autonomy of the enterprise that makes it possible to distinguish so sharply between intended and unintended consequences, between goals and contextual effects, and to ignore the latter.
(663) The narrow focus of modern technology meets the needs of a particular hegemony; it is not a metaphysical condition.

3 2 1 (+) [-6+]mCQK feenberg-democratic_rationalization (663) 20130916b 0 -3+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Importance of incorporation into technical networks to resist and influence a positive aspect of dividual; his examples are Minitel and AIDS patient networks, which focus on communication. (663) As these controversies become commonplace, surprising new forms of resistance and new types of demands emerge alongside them. Networking has given rise to one among many such innovative public reactions to technology. Individuals who are incorporated into new types of technical networks have learned to resist through the Net itself in order to influence the powers that control.

3 2 1 (+) [-4+]mCQK feenberg-democratic_rationalization (664) 20130916c 0 -2+ progress/2012/03/notes_for_feenberg-democratic_rationalization.html
Goal of socialist societies to design different technologies under different cultural horizons recycled in micropolitics of networks operating within confines of capitalist economies. (664) The implication that socialist societies might design a very different technology under a different cultural horizon was perhaps given only lip service, but at least it was formulated as a goal.
(664) Technology can support more than one type of technological civilization, and may someday be incorporated into a more democratic society than ours.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (xiv) 20120925a 0 -4+ progress/2009/11/notes_for_feenberg-questioning_technology.html
The democratic position of sharing a role on the design process accommodates subordinate, in the sense of illiterate, non-engineer, users so their experience of technologies is not simply that of an indifferent consumer. (xiv) Real change will come not when we turn away from technology toward meaning, but when we recognize the nature of our subordinate position in the technical systems that enroll us, and begin to intervene in the design process in the defense of the conditions of a meaningful life and a livable environment.
(xv) Obscured in the identitarian classification of the new social movements is the potentially unifying articulation supplied by technology, which is often the states in their struggles.
(xv) But the limitation of technology to production in Marxƒs day has long since been transcended. Only through a generalization of the political question of technology to cover the whole surface of society does it again become relevant to our time.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (4) 20130917 0 -2+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Technocracy as administrative system legitimated by scientific expertise over tradition, law, popular will. (4) By technocracy I mean a wide-ranging administrative system that is legitimated by reference to scientific expertise rather than tradition, law, or the will of the people.
(4) That those consequences were political was due to the intellectual arrogance of the Kennedy and Johnson administrations.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (5) 20120925b 0 -3+ progress/2009/11/notes_for_feenberg-questioning_technology.html
The situation is much different today in the technical realm of banking and economics; the emergency bailout that just emerged from democratic control is seen as the intellectual arrogance of the Bush administration to rescue the world from financial crisis just as it tried to rescue the world from radical Islamic terrorism. (5) The left in this period called for democratic control over the direction and definition of progress, and reformulated socialist ideology on these terms.
(5) The French May Events was the culminating new left movement.
(6) I analyze in some detail the debate between Paul Ehrlich and Barry Commoner that divided environmentalists in the early 1970s.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (7) 20131029 0 -11+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Frankfurt School viewed technology as materialized ideology. (7) The Frankfurt School expressed a similar view in claiming that technology is materialized ideology. . . . Habermas, for example, treats technology as a general form of action that responds to the generic human interest in control. . . . Technology only acquires a political bias when it invades the communicative sphere.
(8) For Marcuse, technology is ideological where it imposes a system of domination, and forces extrinsic ends on human and natural materials in contradiction with their own intrinsic growth potential.
(8) He [Foucault] explores the subjugated knowledges that arise in opposition to a dominating rationality.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (7) 20120925c 0 -6+ progress/2009/11/notes_for_feenberg-questioning_technology.html
In his next book Transforming Technology a whole part is devoted to the ambiguity of the computer. (7) The left dystopians reject essentialism and argue for the possibility of radical change in the nature of modernity. . . . I call the availability of technology for alternative developments with different social consequences, its ambivalence. At stake in the ambivalence of technology is not merely the limited range of uses supported by any given technical design, but the full range of effects of whole technological systems.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (17) 20130917a 0 -5+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Instrumentalization theory engages Heidegger and Habermas building social account to enlarge democratic concerns. (17) I propose an account in which social dimensions of technological systems belong to the essence of technology as well. This essence includes such features as the impact of these systems on workersƒ skills and the environment, their aesthetic and ethical aspects, and their role in the distribution of power.
This instrumentalization theory attempts to embrace the wide variety of ways in which technology engages with its objects, its subjects, and its environment. A social account of the essence of technology enlarges democratic concerns to encompass the technical dimension of our lives. It offers an alternative to both the ongoing celebration of technocracy triumphant and the gloomy Heideggerian prediction of technocultural disaster.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (43) 20120925f 0 -2+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Feenberg views May Events as stimulus to changes reducing the dominion of capitalist technocracy that have occurred since. (43) While the May Events did not succeed in overthrowing the state, they accomplished something else of importance, an
anti-technocratic redefintion of the idea of progress that continues to live in a variety of forms to this day.
(43) Without the struggles of those years in the background it is difficult to imagine the growth of client-centered professionalism, changed medical practices in fields such as childbirth and experimentation on human subjects, participatory management and design, communication applications of computers, and environmentally conscious technological advance.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (63) 20120925g 0 -7+ progress/2009/11/notes_for_feenberg-questioning_technology.html
When it comes to the spiritual pollution of using technology systems that do not offer freedom, or only narrow degrees of freedom within fixed configuration options, both workers and consumers suffer. (63) Workersƒ objective position with respect to the environment is quite different because for them
pollution is not an exogenous but an endogenous factor.
(64) When he wrote
The Closing Circle Commoner was convinced that the intensified class conflict generated by the ecological crisis would be a great school in environmental policy. . . . In fact, labor environmentalism never played the central role he predicted. The failure of his strategy raises serious questions about his whole approach.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (76) 20120925h 0 -5+ progress/2009/11/notes_for_feenberg-questioning_technology.html
This ambivalence of technology plays out in his differentiation of primary and secondary instrumentalizations. (76) The
ambivalence of technology can be summarized in the following two principles.
1. Conservation of hierarchy: social hierarchy can generally be preserved and reproduced as new technology is introduced.
2. Democratic rationalization: new technology can also be used to undermine the existing social hierarchy or to force it to meet needs it has ignored.

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Findings in sociology undermine unilinear progress, historical precedents repudiate determination by base; constructivism argues choices depend on fit between devices and interests and beliefs of social groups influencing design process. (78) contemporary sociology undermines the idea of unilinear progress while historical precedents are unkind to determination by base.
(79) underdetermination means that technical principles alone are insufficient to determine the designs of actual devices.
(79)
Constructivism argues, I think correctly, that the choice between alternatives ultimately depends neither on technical nor economic efficiency, but on the fit between devices and the interests and beliefs of the various social groups that influence the design process.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (79) 20120925i 0 -1+ progress/2009/11/notes_for_feenberg-questioning_technology.html
The importance of fit developed by Pinch and Bijker is evident in the selection of electronic technologies such as personal computers, their operating systems and software, mobile electronic devices, automobiles, and so on. (79) Pinch and Bijker illustrate this approach with the early evolution of the bicycle (Pinch and Bijker, 1987).

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (80) 20120925j 0 -2+ progress/2009/11/notes_for_feenberg-questioning_technology.html
With software the embodiments of political implications is very rich while at the same time concealed by familiarity and the sense of necessity when engaging in them by users already constrained by their overall computing environments, for instance, having to agree with a EULA or other click-through agreements in order to enable use commodity applications and websites that are now part of everyday life, made clear by Lessig; here Latour idea that technical devices embody norms that serve to enforce obligations literally enforce them, arriving at Feenberg notion of technological hegemony. (80) But what if the various technical solutions to a problem have different effects on the distribution of power and wealth? Then the choice between them is political and the political implications of that choice will be embodied in some sense in the technology.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (90) 20120925k 0 -1+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Ironically, reflexive design takes calculative thinking to its logical conclusion, being as inclusive and comprehensive as possible in the analysis of requirements so that the social dimensions are necessarily part of design. (90) A reflexive design process could take into account the social dimensions of technology at the start instead of waiting to be enlightened by public turmoil or sociological research.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (92) 20130917c 0 -2+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Rational dread public response to imponderable risks. (92) I call the publicƒs response to new and imponderable risks it is not equipped to evaluate rational dread.
(93) Fear usually does not kill new technology; for the most part, it simply changes the regulatory environment and the orientation of development.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (97) 20130917d 0 -8+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Fetishism of efficiency. (97) Non-economic values intersect the economy in the technical code. . . . The legal standards that regulate workersƒ economic activity have a significant impact on every aspect of their lives. In the child labor case, regulation widened educational opportunities with consequences that are not primarily economic in character.
(97) The economic significance of technical change often pales beside its wider human implications in framing a way of life. In such cases, regulation defines the cultural framework
of the economy; it is not an act in the economy.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (98) 20130917e 0 -3+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Suboptimizations rooted in technical code where there is systematic underemployment of major resources on part of cultural hegemonies. (98) Where
suboptimizations are rooted in the technical code, we are dealing not with a specific or local failure but with the generalized wastefulness of a whole technological system. In economic terms, unrealized civilizational potentialities appear as systematic underemployment of major resources due to the restrictions the dominant economic culture places on technical and human development.
(98) The speculative claims of morality become ordinary facts of lie through such civilizational advances.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (105) 20120925l 0 -2+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Feenberg talks about soviet rationalizations in Transforming Technology; here micropolitics are the domains where individuals can make changes by selecting, voting, commenting, and participating, which is the sort of activism that powers the FOS movement, and it is greatly aided by the Internet. (105) What we have learned is that even if no totalizing approach makes sense, the tensions in the industrial system can be grasped on a local basis from within, by individuals immediately engaged in technically mediated activities and able to actualize ambivalent potentialities suppressed by the prevailing technological rationality.
(105) I call this democratic rationalization.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (110) 20130917f 0 -8+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Counter-hegemony revision of critical theory based on Foucault, de Certaeu and Latour detailing regimes of truth of subjugated knowledges. (110) The middle writings of Michel Foucault and two other French thinkers, Michel de Certeau and Bruno Latour offer fruitful starting points for this revision of Critical Theory.
(111) To regimes of truth correspond subjugated knowledges that express the point of view of the dominated. Subjugated knowledges are situated in a subordinate position in the technical hierarchy. They lack the disciplinary organization of the sciences, and yet they offer access to an aspect of the truth that is the specific blind spot of these sciences. . . . Logically implied but insufficiently elaborated, this notion of counter-hegemony offers the hope of radical change without reliance on traditional agent-based models such as the class struggle, which Foucault believes have outlived their usefulness.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (113) 20120925m 0 -7+ progress/2009/11/notes_for_feenberg-questioning_technology.html
An example of margin of maneuver in many businesses is the use of telephones, email and instant messaging to conduct business communications, while at the same time offering workers an outlet to gossip, chat with distant friends, and otherwise recover a social dimension that had been repressed by the cubicle office design; possible that the proliferation of cross-functional teams and other subordinates initiatives owe some of their success to such maneuvering. (113) That power expresses itself in plans which inevitably require implementation by those situated in the tactical exteriority. But no plan is perfect; all implementation involves unplanned actions in what I call the
margin of maneuver of those charged with carrying it out.
(114) Successful administration today consists in suppressing those dangerous potentials in the preservation of operational autonomy. . . . In this context, the claim that the technical base of the society is ambivalent means that it can be modified through tactical responses that permanently open the strategic interiority to the flow of subordinatesƒ initiatives.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (114-115) 20130917g 0 -6+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Machines inscribe stories in actor network theory. (114-115) Machines are comparable to texts because they too inscribe a story, i.e. a prescribed sequence of events which the user initiates and undergoes. This analogy then authorizes a semiotics of technology drawing on concepts developed in linguistics, several of which play an important role in the theory.
(115) In the first place, Latour adapts the concept of shifting out, or change of scene, to describe the process of delegating functions to humans or nonhumans through technological design.
(115) Secondly, he adapts the distinction between the syntagmatic and paradigmatic dimensions of the phrase to sociotechnical networks.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (123) 20130917h 0 -6+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Heterogeneous engineers from micropolitical boundary of innovative dialogue and participatory design that extends to general public of users enabling democratic rationalizations. (123) Specific intellectuals constitute a new class of heterogeneous engineers whose tactical labors extend the recognized boundaries of networks, often against the will of managers, through initiating innovative dialogues with a public audience.
(125) Innovative dialogue and participatory design promise a fundamental solution to the conflict between lay and expert. . . . In the long run, a technology continually revised and advanced through innovative dialogue would incorporate different values reflecting a broader range of interests and a more democratic vision.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (128) 20120925n 0 -2+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Favored examples of the French Minitel system and the Internet itself have been eclipsed by the activities of the FOS movement, especially the proliferation of GNU/Linux in government and business computing environments; furthermore, these development communities foreground the underdetermination of technical codes and devices in their largely transparent, easily reviewed transactions and toolsets. (128) the role of communication in design can serve as a touchstone of democratic politics in the technological age. This is why I have been at pains to work out the relation between my position and Habermasƒs communication theory, despite the fact that he ignores technology.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (131) 20120925o 0 -6+ progress/2009/11/notes_for_feenberg-questioning_technology.html
To a large extent we do apply democratic standards, such as in the selection of open document formats; nonetheless, just as in normal politics, those initiatives are influenced by lobbies from powerful corporations like Microsoft. (131) technology should be considered as a new kind of legislation, not so very different from other public decisions (Winner, 1995). . . . But if technology is so powerful, why donƒt we apply the same democratic standards to it we apply to other political institutions? By those standards the design process as it now exists is clearly illegitimate.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (139) 20130917i 0 -9+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Passage from open direct democracy of technique to covert representative form. (139) the differentiation of specializations gives specialists the illusion of pure, rational autonomy. This illusion makes a more complex reality. In reality, they represent the interests which presided over the underdetermined technical choices that lie in the past of their profession. The results are eventually embodied in technical codes which in turn shape the training of technical personnel. We have, in a sense,
passed from an open direct democracy of technique to a covert representative form. . . . Is there an equivalent in the technical domain of the global/local dichotomy and the associated notion of testimony?

3 2 1 (+) [-6+]mCQK feenberg-questioning_technology (162) 20131029d 0 -2+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Technical code. (162) A plausible interpretation of what Marcuse meant by his term technological rationality would be the most fundamental social imperatives
in the form in which they are internalized by a technical culture. This is what, in a constructivist framework, I have called the technical code.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (164) 20131029e 0 -3+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Vogel built environment domain of normative relations to the objective world. (164) This is the argument of Steven
Vogel, who points out that Habermasƒs chart omits an obvious domain of normative relations to the objective world: the built environment.
(165) nature would be treated as another subject where humans took responsibility for the
well-being of the materials they transform in creating the built environment. The values in terms of which this well-being is defined, such as beauty, health, free expression and growth, may not have a scientific status and may not be the object of universal agreement, but neither are they merely personal preferences as modern value nihilism would have it.

3 2 1 (+) [-6+]mCQK feenberg-questioning_technology (176) 20120925r 0 -3+ progress/2009/11/notes_for_feenberg-questioning_technology.html
A fundamental insights of Feenberg approach, also apparent to Drucker and McVarish in their study of the history of graphic design. (176) We are unaccustomed to the idea that institutions based on system rationality realize objectified norms in devices and practices, and not merely in the individual beliefs or shared assumptions.
(177) By contrast, the hermeneutic approach distinguishes system and lifeworld not as matter and spirit, means and ends, but in terms of the different ways in which fact and value are joined in different types of social objects and discourses. From this standpoint, there is no need for an unconvincing notion of pure rationality.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (178-179) 20131029g 0 -5+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Critical theory of technology possible at concrete level by analyzing social dimensions of technology. (178-179) Is it possible to develop a critique of technical rationality at that concrete level while avoiding the pitfalls of Marcuseƒs theory? I believe this can be done through analysis of the social dimensions of technology discussed in earlier chapters. These include delegated norms, aesthetic forms, work group organization, vocational investments, and various relational properties of technical artifacts. In chapter 9, I call these
secondary instrumentalizations by contrast with the primary instrumentalizations that establish the basic technical subject-object relation. Their configuration, governed by specific technical codes, characterizes distinct eras in the history of technical rationality.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (187) 20120925t 0 -1+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Recall Heim claim that scholarship needs a cybersage, not more Heideggers resigned to the nostalgia of hunching over writing tables in their mountain huts leading to high level of abstraction blind to details. (187) Unfortunately, Heideggerƒs argument is developed at such a high level of abstraction he literally cannot discriminate between electricity and atom bombs, agricultural techniques and the Holocaust.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (197) 20131029i 0 -10+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Place of meaning is in lifeworld of technology; get off forest path. (197) Heideggerƒs modern technology is seen from above. This is why it lacks the pathos of gathering and disclosing. The official discourse of a technological society combines narrow functionalism with awe in the fact of the technological sublime.
(197)
This lifeworld of technology is the place of meaning in modern societies. Our fate is worked out here as surely as on Heideggerƒs forest paths.
(198-199) The problem with Heideggerƒs critique is his unqualified claim that modern technology is essentially unable to recognize its limit. That is why he advocates liberation from it rather than reform of it. . . .

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This brief return to Heidegger sets the stage for Feenberg synthesis of all of the positions he has reviewed so far, as well as his initial discussions about the May Events and the environmental debate; gathering aspect of technology in secondary instrumentalizations integrate it into surrounding world. (199) Beyond those boundaries we discover that
technology also gathers its many contexts through secondary instrumentalizations that integrate it to the surrounding world. . . . When modern technical processes are brought into compliance with the requirements of the environment or human health, they incorporate their contexts into their very structure as truly as the jug, chalice, or bridge that Heidegger holds out as models of authenticity. Our models should be such things as reskilled work, medical practices that respect the person, architectural and urban designs that create humane living spaces, computer designs that mediate new social forms.
(199) These promising innovations are the work of human beings intervening in the design of the technical objects with which they are involved. This is the only meaningful encounter between global technology and modern man.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (202) 20130917k 0 -1+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Two level theory of primary and secondary instrumentalization needs to be considered as layer model along with others. (202) On this account, the essence of technology has not one but two aspects, an aspect which explains the
functional constitution of technical objects and subjects, which I call the primary instrumentalization, and another aspect, the secondary instrumentalization, focused on the realization of the constituted objects and subjects in actual networks and devices.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (203) 20131029j 0 -1+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Four reifying moments of technical practice in primary instrumentalism: decontextualization, reductionism, autonomization, positioning. (203) The primary instrumentalization consists in four reifying moments of technical practice.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (205) 20131029k 0 -2+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Underdetermining moments of secondary instrumentalization: systematization, mediation, vocation, initiative. (205) The underdetermination of technological development leaves room for social interests and values to participate in this process. As decontextualized elements are combined, these interests and values assign functions, orient choices and insure congruence between technology and society.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (207) 20131029l 0 -3+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Reflexive meta-technical practice of secondary instrumentalization treats functionality as raw material for technical action. (207) The secondary instrumentalization constitutes a
reflexive meta-technical practice which treats functionality itself as raw material for higher-level forms of technical action.
(207) Substantivism identifies technology as such with a particular
ideology hostile to reflection.
(208) In contrast with Heidegger, I distinguish premodern from modern historically, rather than ontologically and I break with Habermas as well in arguing that the differentiation of modern technology from other world orientations is relatively superficial and does not reveal the truth of the technical.

3 2 1 (+) [-6+]mCQK feenberg-questioning_technology (211) 20120925v 0 -4+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Perception of technology oriented toward a use feeds back into the notion of reified value (price) based on the extent to which use is met. (211) What explains the persistent self-evidence of the reified concept of technology?
In everyday practical affairs, technology presents itself to us first and foremost through its function. We encounter it as essentially oriented toward a use.
(211) Thus an initial abstraction is built into our immediate perception of technologies.

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Fetishistic perception of technology masks relational character as node in social network. (211) What explains the persistent self-evidence of the reified concept of technology?
In everyday practical affairs, technology presents itself to us first and foremost through its function. We encounter it as essentially oriented toward a use.
(211) Thus an initial abstraction is built into our immediate perception of technologies.
(212) Both users and technologists act against a background of assumptions that belong to a lifeworld of technology which need not be thematized in the ordinary course of events.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (216) 20120925w 0 -5+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Selection of simple examples such as hammers and jugs as leading to oversimplified analyses of technical objects and their situation within complex networks for which the division into primary and secondary instrumentalizations makes sense; likewise, the complex, multilayered supply chains that make up typical technologically-oriented business processes differ radically with the simple, two-step movement between technically-oriented producer and non-technically-oriented consumer, where there is normally a number of intermediaries in the movement between producers and consumers: in intermediary positions, technologists work together, albeit in producer/consumer roles. (216) Although philosophy of technology has often attacked the narrow horizons of engineering from a humanistic standpoint, paradoxically, its concept of technology is equally narrow. Its key mistake has been to assume that technical disciplines reveal the nature of their objects, not just in a certain respect for certain purposes, but generally, fundamentally. . . .

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (217) 20120925x 0 -5+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Associating Simondon concretization, elegance, and multipurposiveness. (217)
Simondon calls the fundamental law of development concretization, by which he means something like what technologists themselves call elegance. By contrast with a design restricted to a single function, an elegant design serves many purposes at once.
(217) According to Simondon technology evolves through such elegant condensations aimed at achieving functional compatibilities.
Concretization is the discovery of synergisms between the functions technologies serve and between technologies and their environments. Here the functionalization of the object is reconciled with wider contextual considerations through a special type of technical development.

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Democratic rationalization way to introduce Simondon concretization to Ihde technical pluricultures. (218) Ihde proposes the concept of technical pluriculture as an alternative to the notion that development leads inevitably to a unique planetary technoculture. . . . The theory of
democratic rationalization suggests a way of introducing Simondonƒs concept of concretization into the pluricultural model.

3 2 1 (+) [-4+]mCQK feenberg-questioning_technology (223) 20130917l 0 -6+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Possibility of alternatives in social systems that restore role of secondary instrumentalizations must address claims of more systematic hegemony in closed world discourses (Edwards) and computational culture (Golumbia). (223) A different type of social system that restored the role of the secondary instrumentalizations would determine a different type of technical development in which these traditional technical values might be expressed in new ways. Thus social reform involves not merely limiting the reach of the media, as Habermas advocates, but building a different technology based on a wider range of human and technical potentials.
(224) For the most part the socialist movement has failed in this task. It has focused on the crude opposition of market and plan, rich and poor, and overlooked the question of technology.
(224) It is this capitalist technical rationality that is reflected unwittingly in the essentialism of Heidegger and Habermas.
(224) But unexpected struggles over issues such as nuclear power, access to experimental treatment, and user participation in computer design remind us that the technological future is by no means predetermined.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (49) 20130917 0 -3+ progress/2009/11/notes_for_feenberg-transforming_technology.html
David Noble believes numerically controlled machine tools triumphed because they reduced need for skilled labor on shop floor, and management ideology drove innovation: refutes instrumentalist neutrality of technology. (49) Managers found the prospect of gaining total control so attractive that a consensus quickly formed in favor of the digital systems, long before these were proven and even after it had become apparent that they could not offer all the promised cost savings and productivity increases.
(49) [David] Nobleƒs argument refutes the instrumentalist notion of the neutrality of technology by displaying the actual workings of a major choice that defies conventional economic and technical logic. Instead, Noble demonstrates the powerful role of what he calls management ideology, which orients development toward the technical alternative that promises to enhance managerial power regardless of its social consequences and even despite significant economic liabilities.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (63) 20130917a 0 -3+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Reject instrumentalist theory of technology because subjects and means are intertwined; due to bias of technology towards particular hegemony, all action tends to reproduce the hegemony. (63) If this is true, sociotechnical transformation cannot be conceived in terms of instrumental categories because the very act of using technology reproduces what is supposed to be transformed. Hence the well-known limitations of liberal management techniques such as job enrichment and quality circles. This is the paradox of reform from above: since technology is not neutral but fundamentally biased toward a particular hegemony, all action undertaken within its framework tends to reproduce that hegemony.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (76) 20130917b 0 -4+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Capitalist metagoal is reproducing operational autonomy through technical decisions; technical code of capitalism. (76) Capitalism is unique in that its hegemony is largely based on reproducing its own operational autonomy through technical decisions.
(76) Capitalist social and technical requirements are condensed in a technological rationality or a regime of truth that brings the construction and interpretation of technical systems into conformity with the requirements of a system of domination. I will call this phenomenon the social code of technology or, more briefly, the technical code of capitalism. Capitalist hegemony, on this account, is an effect of its code.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (79) 20131030h 0 -2+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Technical code required because science and technique can be used otherwise, especially through tactical responses until ruling hegemony strategically encoded; clear examples developed by Lessig concerning code as law. (79) a technical code is needed to bind applications to hegemonic purposes since science and technique can be integrated to serve different hegemonic orders. That is also why new technology can threaten the hegemony of the ruling groups until it has been strategically encoded.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (87) 20131030i 0 -5+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Struggles over control as tactical responses in margin of maneuver of the dominated; multistable, ambivalent system tilting between capitalist and socialist poles of power as ideal-types. (87) Struggles over control of technical activities can now be reconceptualized as tactical responses in the margin of maneuver of the dominated.
(87) In sum, modern technology opens a space within which action can be functionalized in either one of two social systems, capitalism or socialism. It is an ambivalent or multistable system that can be organized around at least two hegemonies, two poles of power between which it can tilt (Ihde, 1990: 144). From this standpoint the concepts of capitalism and socialism are no longer mutually exclusive modes of production, nor is their moral significance captured in the manichean conflict between a prisonlike society and the individual in revolt. They are, rather, ideal-types lying at the extremes of a continuum of changes in the technical codes of advanced societies.

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Computer is an ambivalent technology because it can be used to further enforce control or foster flexibility so that worker adaptability becomes central (Hirschhorn and Zuboff). (96) Although Hirschhorn and Zuboff do not blame capitalism for the problems they discuss, their critique of the high cost of authoritarian management generally parallels that of Marx. They show that the computer is an ambivalent technology available for alternative developments. Automation increases managementƒs autonomy only at the expense of creating new problems that justify workersƒ demands for an enlarged margin of maneuver. That margin may be opened to improve the quality of self-directed activity or it may remain closed to optimize control. As Zuboff writes, Technological design embodies assumptions that can either invite or extinguish a human contribution (Zuboff, 1988: 182).

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (100) 20130917d 1 -3+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Heidegger discussion group arose unexpectedly in VAX Notes community originally designed for networked project groups by engineers seeking deeper cultural insight for more realistic design approaches. (100) The contradiction between automatism and communication built into computer practitionersƒ daily experience offered a certain margin of maneuver that they were able to use to modify their social insertion and activities. One of the many VAX Notes conferences was especially symptomatic of these contradictions: a discussion of Heideggerƒs philosophy. A leading design engineer and his coworkers started the conference because they had lost faith in their rationalistic assumptions about human beings.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (106) 20130917e 0 -12+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Leave AI for new paradigm machines for acting in language from Winograd and Flores; rise of collaborative technologies. (106) Winograd and Flores argue that computers are not automata, artificial intelligences, but machines for acting in language (Winograd and Flores, 1987: 178). AI needs to lower its sights considerably if this is true. . . . It makes more sense to compare expert systems to word processing than to treat them as mental prostheses.
(106) This view leads to a revalorization of communicative functions of computers. A new field of collaborative technologies has emerged to adapt computer programs to the needs of work groups. . . . The social and technical dimensions of computerized activity are integrated here in a way that recalls Hirschhornƒs communication theory of automated machinery and Zuboffƒs discussion of the textualization of work.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (107) 20130917f 0 -6+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Ontological designing is also political. (107) The design of computers is thus humanly significant as well as instrumentally important, for in designing tools we are designing ways of being (Winograd and Flores, 1987: xi). Winograd and Flores call this ontological designing. . . . That discourse, I would add, is also political.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (143) 20130917i 0 -2+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Nondeterministic position that prevailing hegemony affects technical and social criteria of progress; technology changes based the social institutions. (143) Thus, technology does not pose an insuperable obstacle to the pursuit of humanistic values. There is no reason why it could not be reconstructed to conform to the values of a socialist society.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (146) 20130917c 0 -5+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Suboptimizations are unrealized potentialities as judged from next stage. (146) In economic terms, unrealized potentialities appear as vast suboptimizations, systematic underemployment of major resources, as judged from the standpoint of the next stage. These suboptimizations are due to the restrictions placed on technical and human development by the dominant economic culture. Only a new culture that shifts patterns of investment and consumption can shatter the economic premises of the existing civilization and yield a better way of life.
(147) This approach to the concept of progress opens up a nondeterministic way of thinking about the connection between economic and cultural change. The generalized concept of suboptimization explains how powerful ideological motivations can anticipate a new economic order and aid in bringing it into being, even if it be through means that would be evaluated as uneconomic on the terms of the existing system.

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Phenomena indicating transition to socialism and civilizational change. (148) The transition to socialism can be identified by the presence of phenomena that, taken separately, appear economically irrational or administratively ineffective from the standpoint of capitalist technological rationality, but that together initiate a process of civilizational change.
(148) A contemporary list of measures capable of setting in motion such a process [transition to socialism] would include extensive (if not universal) public ownership, the democratization of management, the spread of lifetime learning beyond the immediate needs of the economy, and the transformation of techniques and professional training to incorporate an ever wider range of human needs into the technical code.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (149-150) 20131030d 0 -6+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Reformulation hinges on conditions for requalification of labor force; democracy as productive force for shaping innovative as twist on traditional Marxism. (149-150) The reformulation hinges on the cultural and technological conditions for the requalification of the labor force. . . . But where traditional Marxism assumed that workers would be guided by objectively ascertainable interests in transforming technology, I will argue that
democratic control of technically mediated institutions is a condition for generating an interest in a new direction of technological progress. In other words, democracy itself is a productive force of a new type, shaping innovation in a future socialist society.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (151) 20131030l 0 -2+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Socialization. (151) an expanded role for knowledge, skill, and democratic participation rather than state control of industry defines a comparably significant difference between socialism and all present-day modern societies, including communist ones.
(153) The socialist labor process will be based on a synergism of the demand for skilled labor and the growth of human powers of leisure.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (153) 20130917j 0 -2+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Education essential to democratization. (153) Clearly, education is essential to democratization. Social ownership must extend beyond machines, buildings, and land to include the monopolized knowledge required for the management of industry.

3 2 1 (+) [-6+]mCQK feenberg-transforming_technology (157) 20130917k 0 -4+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Soviet rationalizations. (157) Workers were offered a means of claiming authorship and receiving bonuses for useful ideas. To promote worker participation in innovation, ƒcomplex brigadesƒ of workers, engineers, and others were assembled to draft blueprints, test solutions, and refine original ideas. Several mass organizations mobilized large voluntary support networks to help worker-innovators overcome the bureaucratic obstacles to success.
(158) There are interesting similarities between these experiments and attempts to promote innovation in certain large, high-technology capitalist firms.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (159) 20130917l 0 -4+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Technical and administrative middle strata workers must take on more managerial roles; organizational change and broad education required to help deep democratization. (159) Managersƒ actual authority must be accommodated to the gradual enlargement of workersƒ margin of maneuver. This
deep democratization implies significant changes in the structure and knowledge base of the various technical and administrative specializations.
(160) the middle strata are defined by their
place in organization rather than by an economic function. The fragility of their social identity is due to the instrumental character of the organizations that support it.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (170) 20131030g 0 -3+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Nonontological critical theory grown from Marcuse potentiality but avoiding equivocating natural science, rationality and capitalism; compare to Malabou. (170) Marcuseƒs theory of potentiality implies a participatory epistemology and a holistic ontology.
(175) A nonontological formulation of a critical theory of technology is possible on terms that leave natural science out of account. I believe this is the best way to counter the undifferentiated defense of technoscience in the writings of the many philosophers and social theorists who see a threat to rationality as a whole in any critique of technology.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (177) 20131030e 0 -6+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Secondary instrumentalizations at intersection of technical and social actions; compare to Spinuzzi and Latour. (177) Secondary instrumentalizations lie at the intersection of technical action and the other actions with which technique is inextricably linked insofar as it is a social enterprise. . . . But capitalism has a unique relation to these aspects of technique. Because its hegemony rests on formal bias, it strives to reduce technique to the primary level of decontextualization, calculation, and control.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (177) 20131030f 0 -8+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Capitalism short circuits dialectic of technology by technical managerial control of labor force creating obstacles to secondary instrumentalization. (177) The dialectic of technology is short-circuited under capitalism in one especially important domain: the technical control of the labor force. Special obstacles to secondary instrumentalization are encountered wherever integrative technical change would threaten that control. . . . Although the actors may rationalize the technologies they employ, the larger system in which these technologies are embedded [e.g., nuturing or aesthetic practices] resists rationalization and does not fall under the norm of efficiency.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (178) 20130917m 0 0+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Four reifying moments of technical practice: decontextualization and systematization, reductionism and mediation, autonomization and vocation, positioning and initiative. (178)

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (183) 20131030b 0 -7+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Enlarging margin of maneuver in socialist trajectory. (183) Capitalist management and product design aims to limit and channel the little initiative that remains to workers and consumers. Their margin of maneuver is reduced to occasional tactical gestures. But the enlargement of margin of maneuver in a socialist trajectory of development would lead to voluntary cooperation in the coordination of effort. . . . In modern societies collegiality is an alternative to traditional bureaucracy with widespread, if imperfect, applications in the organization of professionals such as teachers and doctors.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (186-187) 20130909 0 -3+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Simondon associated milieu is exactly what a computer operating systems and networks seek to embody. (186-187) The most sophisticated technologies employ synergies between their various milieus to create a semiartificial environment that supports their own functioning. Simondon calls the combined technical and natural conditions these technologies generate an
associated milieu. It forms a niche with which the technology is in continue recursive causal interaction.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (186) 20130917n 0 -1+ progress/2009/11/notes_for_feenberg-transforming_technology.html
The FOS development model is a good example of an alternate to the reified, default design process. (186) it will take technical progress to reform the technology inherited from capitalism.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (186) 20131030a 0 -8+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Simondon concretization. (186) That progress can be theorized in terms of Gilbert Simondonƒs concept of the concretization of technology (Simondon, 1958: chap. 1). Concretization is the discovery of synergisms between technologies and their various environments. . . . In the course of technical progress, parts are redesigned to perform multiple functions and structural interactions take on fundamental roles. These integrative changes yield a more concrete technical object that is in fact a system rather than a bunch of externally related elements.

3 2 1 (+) [-4+]mCQK feenberg-transforming_technology (187) 20131030 0 -7+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Organic concreteness when technology generates environmental conditions, complementing rather than conquering nature and overcoming reified heritage of capitalist industrialism. (187) The higher level of organic concreteness is achieved where the technology itself generates the environmental conditions to which it is adapted, as when the heat generated by a motor supplies a favorable operating environment.
(187) The idea of a concrete technology, which includes nature in its very structure, contradicts the commonplace notion that technical progress conquers nature. . . .
The passage from abstract technical beginnings to concrete outcomes is a general integrative tendency of technological development that overcomes the reified heritage of capitalist industrialism.
(188) The argument shows that socialist demands for environmentally sound technology and human, democratic, and safe work are not extrinsic to the logic of technology but respond to the inner tendency of technical development to construct synergistic totalities of natural, human, and technical elements.

3 2 1 (+) [-4+]mCQK foucault-birth_of_biopolitics (36-37) 20130728 0 -3+ progress/2013/07/notes_for_foucault-birth_of_biopolitics.html
Suggests political significance to historical analysis; transition to regime of veridiction applied to history of computing. (36-37) What is important is the determination of the
regime of veridiction that enabled them to say and assert a number of things as truths that it turns out we now know were perhaps not true at all. This is the point, in fact, where historical analysis may have a political significance. It is not so much the history of the true or the history of the false as the history of veridiction which has a political significance.

3 2 1 (+) [-4+]mCQK foucault-discipline_and_punish (168-169) 20130919s 0 -6+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
Differentiation between strategy and tactics, the latter maintaining civil society (see also Feenberg); again, similar to creation of modern technological systems. (168-169) If there is a politics-war series that passes through strategy, there is an army-politics series that passes through tactics. It is strategy that makes it possible to understand warfare as a way of conducting politics between states; it is tactics that makes it possible to understand the army as a principle for maintaining the absence of warfare in civil society. . . . Historians of ideas usually attribute the dream of a perfect society to the philosophers and jurists of the eighteenth century; but there was also a military dream of society; its fundamental reference was not to the state of nature, but to the meticulously subordinated cogs of a machine, not to the primal social contract, but to permanent coercions, not to fundamental rights, but to indefinitely progressive forms of training, not to the general will but to automatic docility.

3 2 1 (+) [-4+]mCQK foucault-discipline_and_punish (186-187) 20130919x 0 -5+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
Epistemological thaw of medicine through disciplines of examination (Sterne begins listening practices in medical contexts). (186-187) Similarly, the school became a sort of apparatus of uninterrupted examination that duplicated along its entire length the operation of teaching. . . . And just as the procedure of the hospital examination made possible the epistemological ƒthawƒ of medicine, the age of the ƒexaminingƒ school marked the beginnings of a pedagogy that functions as a science.

3 2 1 (+) [-4+]mCQK foucault-discipline_and_punish (190) 20130919y 0 -2+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
Importance of record keeping techniques in epistemological thaw of the sciences of the individual, procedures of objectification, a historical reversal from heroization. (190) The other innovations of disciplinary writing concerned the correlation of these elements, the accumulation of documents, their seriation, the organization of comparative fields making it possible to classify, to form categories, to determine averages, to fix norms. The hospitals of the eighteenth century, in particular, were great laboratories for scriptuary and documentary methods.

3 2 1 (+) [-6+]mCQK foucault-discipline_and_punish (203-204) 20130921 0 -6+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
Panopticon as mechanism for social laboratory, diagram of power mechanism reduced to its ideal form, control by knowledge of constant, asymmetrical surveillance: compare to workplace Internet monitoring. (203-204) But the Panopticon was also a laboratory; it could be used as a machine to carry out experiments, to alter behavior, to train or correct individuals. . . . The Panopticon may even provide an apparatus for supervising its own mechanisms.
(205) But the Panopticon must not be understood as a dream building: it is the diagram of a mechanism of power reduced to its ideal form; its functioning, abstracted from any obstacle, resistance or friction, must be represented as a pure architectural and optical system: it is in fact a figure of political technology that may and must be detached from any specific use.

3 2 1 (+) [-6+]mCQK foucault-discipline_and_punish (220) 20130921e 0 -2+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
Compare to disciplines as ensemble of minute technical inventions to multiplicity of electronics. (220) In a word, the disciplines are the ensemble of minute technical inventions that made it possible to increase the useful size of multiplicities by decreasing the inconveniences of the power which, in order to make them useful, must control them. A multiplicity, whether in a workshop or a nation, an army or a school, reaches the threshold of a discipline when the relation of the one to the other becomes favorable.

3 2 1 (+) [-4+]mCQK foucault-discipline_and_punish (306) 20130921u 1 -1+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
Interesting argument for revealing by tracing counters of other phenomena, like Zizek deploying curvature of space analogy. (306) The first is that which reduces the utility (or increases its inconveniences) of a delinquency accommodated as a specific illegality, locked up and supervised; thus the growth of great national or international illegalities directly linked to the political and economic apparatuses (financial illegalities, information services, arms and drugs trafficking, property speculation) makes it clear that the somewhat rustic and conspicuous work force of delinquency is proving ineffective.

3 2 1 (+) [-4+]mCQK foucault-discipline_and_punish (307-308) 20130921v 0 -8+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
Field effect model of societal control with good juxtaposition of carceral city and body of the condemned to enclose the book; still distant roar of battle, discontentment of repressed human animality. (307-308) the model of the carceral city [by correspondent in La Phalange article, like a blog] is not, therefore, the body of the king . . . but a strategic distribution of elements of different natures and levels. . . . In this central and centralized humanity, the effect and instrument of complex power relations, bodies and forces subjected by multiple mechanisms of ƒincarcerationƒ, objects for discourses that are in themselves elements for this strategy, we must hear the distant roar of battle.

3 2 1 (+) [-6+]mCQK foucault-discipline_and_punish (308) 20130921w 0 -1+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
Does this require us, docilely, to therefore study the book as a sort of procedural rhetoric? (308) At this point I end a book that must serve as a historical background to various studies of the power of normalization and the formation of knowledge in modern society.

3 2 1 (+) [-4+]mCQK gates-road_ahead (xii) 20140418b 0 -7+ progress/2014/04/notes_for_gates-road_ahead.html
Social construction of technology acknowledged by one of its primary architects affirms Callon. (xii) The revolution in communications is just beginning. It will take place over several decades, and will be driven by new applications --new tools, often meeting currently unforeseen needs. During the next few years, major decisions will have to be made by governments, companies, and individuals. These decisions will have an impact on the way the highway will roll out and how much benefit those deciding will realize. It is crucial that a broad set of people not just technologists or those who happen to be in the computer industry participate in the debate about how this technology should be shaped. If that can be done, the highway will serve the purposes users want. Then it will gain broad acceptance and become a reality.

3 2 1 (+) [-4+]mCQK heidegger-science_and_reflection (179) 20121122 0 -6+ progress/2012/11/notes_for_heidegger-science_and_reflection.html
Is this a criticism of science studies? (179) The inconspicuous state of affairs conceals itself in the sciences. But it does not lie in them as an apple lies in a basket. Rather we must say: The sciences, for their part, lie in the inconspicuous state of affairs as the river lies in its source.
(177) It remains the case, then, that the sciences are not in a position at any time to represent themselves to themselves, to set themselves before themselves, by means of their theory and through the modes of procedure belonging to theory.
(178) Today we philosophize about the sciences from the most diverse standpoints. Through such philosophical efforts, we fall in with the self-exhibiting that is everywhere being attempted by the sciences themselves in the form of synthetic resumes and through the recounting of the history of science.

3 2 1 (+) [-4+]mCQK heim-metaphysics_of_virtual_reality (142) 20130908 0 -2+ progress/1998/05/notes_for_heim-metaphysics_of_virtual_reality.html
Acknowledging self criticality of VR points to special reflexive version of social construction of technology approach. (142) The West Coast wants VR to serve as a machine-driven LSD that brings about a revolution in consciousness; the East Coast wants a new tool for supporting current projects and solving given problems.
(143) VR is the first technology to be born socially self-critical.

3 2 1 (+) [-4+]mCQK ihde-philosophy_of_technology (116) 20130930h 0 -4+ progress/2012/06/notes_for_ihde-philosophy_of_technology.html
Is the designer fallacy a shortcoming of hermeneutic phenomenology when it comes to understanding ensembles (networks)? (116) Nor can one philosophically be restricted to some simple set of objective classifications of technologies as to type. This is particularly the case with respect to what I have sometimes called the
designer fallacy. Only sometimes are technologies actually used (only) for the purposes and the specified ways for which they were designed.
(117) To control technologies, particularly in the ensemble, is much more like controlling a political system or a culture then controlling a simple instrument or tool, again, particularly in a contemporary high technology setting.

3 2 1 (+) [-4+]mCQK jenkins-convergence_culture (3) 20130929 0 -2+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Focus is on cultural shift in consumer behavior rather than functions of technological devices. (3) I will argue here against the idea that convergence should be understood primarily as a technological process bringing together multiple media functions within the same devices. Instead, convergence represents a cultural shift as consumers are encouraged to seek out new information and make connections among dispersed media content.

3 2 1 (+) [-4+]mCQK jenkins-convergence_culture (28-29) 20121113 0 -8+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Compare Levy to Feenberg, suggesting that while essential to democratic citizenship, consumer-oriented knowledge communities, even when spoiling the government rather than television networks, are suboptimal in comparison to producer developer communities, because expert paradigm restricts critique whereas well organized, distributed production can leverage many well-informed dilettantes (OGorman). (28-29) We are experimenting with new kinds of knowledge that emerge in cyberspace. Out of such play, Pierre L vy believes, new kinds of political power will emerge which will operate alongside and sometimes directly challenge the hegemony of the nation-state of the economic might of corporate capitalism. L vy sees such knowledge communities as central to the task of restoring democratic citizenship.
(29) Imagine the kinds of information these fans could collect, if they sought to spoil the government rather than the networks. . . . I would argue that one reason more Americans do not participate in public debates is that our normal ways of thinking and talking about politics require us to buy into what we will discuss later in this chapter as the expert paradigm: to play the game, you have to become a policy wonk, or, more accurately, you have to let a policy wonk do your thinking for you.

3 2 1 (+) [-4+]mCQK jenkins-convergence_culture (252) 20121112 0 -6+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Cable news network Current demonstrates trouble with television as pedagogical tool implicit in Ulmer Applied Grammatology mitigated by Internet, which is only one of four senses of democratization Jenkins enumerates; BBC example frees broadcast content and meta-information for mashup, and contrast position Lessig depicts concerning copyrighted media, also whether Feenberg makes such differentiations. (252) Was Current going to be democratic in its content (focusing on the kinds of information that a democratic society needs to function), its effects (mobilizing young people to participate more fully in the democratic process), its values (fostering rational discourse and a stronger sense of social contract), or its process (expanding access to the means of media production and distribution)?
(253) The network defended itself as a work in progress one that was doing what it could to democratize a medium while working under market conditions.
(253-254) By 2005, the BBC was digitizing large segments of its archive and making the streaming content available via the Web. The BBC was also encouraging grassroots experimentation with ways to annotate and index these materials. Currentƒs path led from the Web where many could share what they created into broadcast media, where many could consume what a few had created. The BBC efforts were moving in the other direction, opening up television content to the more participatory impulses shaping digital culture.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (11-12) 20140725k 0 -7+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Focus on novelty bolsters impression that technologies developed in isolation and introduced to the market fully formed, though the social context is paramount, and a long history of missteps and chance happenings often shape it as SCOT theorists insist. (11-12) When we focus on IT when it is new, we tend to think of the technology as arriving intact and being plopped into society where it is taken up and has an impact. This suggests that the technology came out of nowhere, or that it was developed in isolation from society and then introduced. . . . What a product or tool looks like the features it includes, make it makes possible has everything to do with the social context in which it was created and the context
for which it was created.
(12) More often than not, successful technologies have gone through a long period of development with many missteps and unexpected turns along the way.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (11-12) 20140729a 0 -7+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Contrast STS and SCOT model to decontextualized analysis epitomized by critique of writing in Phaedrus. (11-12) When we focus on IT when it is new, we tend to think of the technology as arriving intact and being plopped into society where it is taken up and has an impact. This suggests that the technology came out of nowhere, or that it was developed in isolation from society and then introduced. . . . What a product or tool looks like the features it includes, make it makes possible has everything to do with the social context in which it was created and the context
for which it was created.
(12) More often than not, successful technologies have gone through a long period of development with many missteps and unexpected turns along the way.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (13) 20140803 0 -1+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Two claims of technological determinism are that it develops independently of society but then determines character of society once adopted. (13) technological determinism fundamentally consists of two claims: (1) technology develops independently from society, and (2) when a technology is taken up and used in a society, it determines the character of that society.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (13) 20140727d 0 -2+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Science and technology studies corrects three mistakes made when thinking about technology, rejecting determinism, material object, neutrality with coshaping, sociotechnical systems, value infused. (13) To provide a quick overview of the core ideas in STS, we can think of STS as identifying three mistakes that should be avoided in thinking about technology. Parallel to each of the three mistakes is a recommendation as to how we should think about technology and society.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (13) 20140803a 0 -4+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
STS reveals social factors influencing development in addition to natural constraints: government agency decisions, social incidents, market forces, legal environment, cultural sensibilities. (13) The character and direction of technological development are influenced by a wide range of social factors.
(14) Nature cannot be made to do just anything that humans want it to do. Nevertheless, nature does not entirely determine the technologies we get. Social factors steer engineers in certain directions and influence the design of technological devices and systems.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (14) 20140727e 0 -9+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Stirrup claim leading by feudal society by Lynn White exemplifies second sense of technological determinism, echoed by McLuhan; recent version is that Internet adoption leads to democracy. (14) Perhaps the most famous statement of this was historian Lynn Whiteƒs claim (1962) that from the invention of the stirrup came feudal society. . . . Certain writers have suggested that when countries adopt the Internet, it is just a matter of time before democracy will reign. . . . This is an expression of technological determinism in the sense that it implies that a technology will determine the political structure of a country.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (14) 20140727f 0 -6+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Social factors affect design, use and meaning, making a position of cocreation more appropriate than determinism; compare to Hayles intertwining technogenesis and synaptogenesis. (14) Social factors affect the design, use, and meaning of a technology, and in this respect society can push back and reconfigure a technology, making it into something its designers never intended.
(15) In effect, the STS counter to each tenet of technological determinism is the same; society influences technology. . . . The postive recommendation emerging out of this critique of technological determinism is that we acknowledge that technology and society cocreate (coshape; coconstitute) one another.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (15) 20140727g 0 -6+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Artifacts only have meaning when embedded in social practices, thus technology is a social product involving network of communities and activities, Hughes sociotechnical systems; compare to analysis of ensoniment by Sterne. (15) To be sure, artifacts (human-made material objects) are components of technology, but artifacts have no meaning or significance or even usefulness unless they are embedded in social practices and social activities. . . . Producing a computer involves the organization of people and things into manufacturing plants, mining of materials, assembly lines, distribution systems, as well as the invention of computer languages, education and training of individuals with a variety of expertise, and more. In other words, technology is a social product.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (17) 20140727h 0 -4+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Same STS/SCOT idea that extends technology beyond artifacts gives matter to code. (17) The material world powerfully shapes what people can and cannot do. However, we will be misled if we look only at artifacts. In fact, it could be argued that it is impossible to understand a technology by looking at the artifact alone. This would be like trying to understand the chess piece called the rook without knowing anything about the game of chess (the rules of the game, the goal, or other chess pieces).

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (17) 20140727i 0 -5+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
To Winner technology is never neutral, as adoption implies adopting a particular social order, and then enforcing it, such as hierarchical decision making system with nuclear power; compare to Edwards closed world, Golumbia cultural logic of computation, Lessig embedded laws, and Lanier siren servers. (17) Perhaps the most influential work on this topic is Langdon
Winnerƒs 1986 piece, Do artifacts have politics? Winner draws attention to the relationship between technology and systems of power and authority, arguing that particular technologies cannot exist or function without particular kinds of social arrangements. He argues that adoption of a particular technology means adoption of a particular social order. His example is that of nuclear power.
(17) In explaining this relationship between technologies and patterns of authority and decision making (which may seem quite deterministic), Winner provides a powerful example of how an artifact can enforce social biases and privilege individual agendas.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (18) 20140727j 0 -2+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Johnson argues Winner goes too far and slips back into technological determinism in arguing against neutrality. (18) Winner can be interpreted as slipping into the mistake of technological determinism. He seems to be suggesting that a technology the bridges of Long Island determined the social order.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (18) 20140727k 0 -18+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
STS recommendations found sociotechnical computer ethics, using story of Facebook to exemplify each point: its situated development by Zuckerberg, coconstitution of human and nonhuman components, and embedded values of various stakeholders. (18) The three STS recommendations provide the foundation of what we will call
sociotechnical computer ethics.
(18) The story of Facebookƒs development goes right to the heart of the first STS theme in the sense that Facebook was not the next logical development in the natural evolution of IT ; Facebook didnƒt come out of nowhere. It was created by Mark Zuckerberg while he was at Harvard and thought it would be fun to create something that would support social interactions among students.
(18-19) Perhaps the second STS lesson not to think of technology as material objects doesnƒt even need emphasizing to Facebook users because they think of the site not just as a material object or piece of software, but as a social networking site. . . . So, users were confronted with the fact that the system is not simply lines of code; it is partly lines of code, but the lines of code are written and maintained by programmers who take directions from administrators who respond to a variety of stakeholders, including users. Facebook is a sociotechnical system with many human and nonhuman components.
(19) As a social networking site, Facebook is far from neutral. . . . Although the system makes individuals quite transparent to their friends, the Beacon schema bumped up against many usersƒ desire for some sort of privacy about shopping. . . . Changes in the architecture change the values embedded in the system.

3 2 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (19) 20140727l 0 -11+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
STS perspective gives richer and more accurate understanding of situations in which moral questions arise or may be discovered as unknown knowns; Johnson returns to scenario of whether to insert RFID chip in elderly parent to illustrate unavoidability of having to take into account more factors to make better decisions. (19) The short answer is that the perspective gives us a fuller, more accurate, and richer understanding of situations in which moral questions and dilemmas arise. We can illustrate this by focusing on Scenario 1.3 in which an individual must make a decision about whether to have an RFID device implanted in her mother.
(19) The first step is to keep in mind that RFID is a sociotechnical system, not simply a material object. . . . The system is a combination of material chips together with social practices involving implantation of the tag, display of the data produced by the tag, interpretation of the data, and responses to the data.
(20) Yes, the sociotechnical systems perspective seems to generate more questions than someone without the perspective would have thought to ask. Although this may seem a burden, it is unavoidable that better decisions involve taking into account more factors. Yet the sociotechnical system perspective doesnƒt just expand the rage of factors to be taken into account; it helps in identifying or articulating particular kinds of concerns, and reveals new opportunities for resolution or intervention.

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Sociotechnical systems perspective draws more attention to macro level issues, but in the process enhances analysis of micro level issues. (21) Because the sociotechnical perspective frames technology as a system, it seems to draw more attention to macro-level issues. However, as we saw in our analysis of Kathyƒs situation, macro analysis enhances micro-level analysis. Thus, the sociotechnical systems perspective is compatible with, and useful to, both levels of analysis.

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De Certeau recovering mundane subverted beneath discourse of expertise. (10-11) In essence, users understand technology from a unique perspective constructed from knowledge of practice within certain contexts. Yet, as
de Certeau and a few others claim, this type of knowledge is subverted beneath a discourse of expertise, and thus has been rendered invisible to the modern eye. We take for granted that which we do and unwittingly surrender knowledge and power due to our lack of reflection on our mundane interactions with technology.
(11) In so doing, we also surrender fundamental democratic rights and responsibilities.
(11) Users of a culture, in other words, often
are the better judges, but if they are silent or invisible then they (we) have little power to affect the decision-making processes.

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Encompass discursive, nonmaterial aspects of technology beyond engineering perspective, sensitive to cognizance of cultural ambivalence and historical context. (12) This theory of users and technology also must be cognizant of the social context - the cultural ambiance - that ultimately situates the user and the technology.
(13) I emphasize that the problems associated with technological use are, literally, ancient. Historical context, in other words, is lacking in most user-centered research. The ancient Greeks, from whom I draw a number of concepts regarding technology and use, treated technology as an
art was in the use of the product, not in the design or making of the product itself.

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Surprising that Johnson does not invoke, along with Prometheus, Odysseus for his cunning use of language to trick the cyclops angers the gods that embodies metis discussed later. (18) Prometheus had given humans the power of knowledge, and one of the strongest forms of this crafty knowledge was language.
(19) the
power of language and other technologies is useful, but with that power comes responsibility for, and a respect of, the powerfulness.

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User as practitioner, producer and citizen displace designer perspective they are mindless. (46) The first of these aspects is
user as practitioner. . . . when users are viewed as only the mere implementors of technology, there is little room for a user epistemology other than as an idiot who receives technology and then puts it to use. . . . there is a cunning intelligence involved with practice that has been virtually overlooked.
(46) The second aspect . . . is the
user as producer. . . . users as producers are capable of being designers and maintainers of technology: humans who are important factors in technological decision making (as opposed to the unfortunate human factors we will see exemplified in traditional human factors research in chapter 4).
(46) The third area . . . is the
user as citizen. We will investigate how users, particularly in a democracy, can serve as active participants in the larger technological order.

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Besides obvious nod towards FOSS practices, consider IDEX Voice of the Customer as a business practice that tries to involve the user in iterative design efforts. (48) Removed from the decision-making processes and design stages of how the tool will be constructed and what purposes it might serve, the user as tool user is a knowledgeless puppet whose only claim to epistemic status is the prescriptive knowledge he or she has of the use of the tool.
(52) techne represents the human force, the human knowledge that permits control
through technology - whether the technology is a basic hand tool or an intertwined network of information services.

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The user-as-victim and developer-as-hero narrative that is overcome by FOS development communities and even commercial programs like the IDEX Voice of the Customer. (119) User beware! is the appropriate slogan. The user is relegated to the position of a one-way receiver who has little knowledge of the technology itself or how the technological system might be refigured through an active negotiation of designers, producers, and users. Instead, the situated activities associated with use are supplanted in favor of the static,
correct description of technology, ala the knowledge of the expert who designed and developed the artifact. Thus instructional materials have, innocently or not, played a significant role in the continuation of the modern technology myth that the role of experts is to invent, while the role of novices is to await, with baited breath, the perfectly designed artifact.

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User-centered approach be reflected back on technology studies in SCOT. (129) The core of the user-centered view, then, is the
localized situation within which the user resides.
(131) The user-centered view continues outward by taking into account the
tasks and actions the user will be performing as a result of the usersƒ situation.
(131) Based upon a rational description of how the user
should act, traditional task analysis merely reflects the anticipated actions of an idealized, logical user.
(131) Second, the tasks in traditional task analysis are still dictated by the system.
(132) Instead, the analysis attempts to understand the irrational or contingent occurrences that users experience within their local, everyday spaces. For instance, it is important in user-centered documentation to illuminate fundamental characteristics of usersƒ situations to describe those
cunning solutions that users have developed for dealing with technology. . . . These moments of metis or articulation work depict users producing knowledge, or at least displaying that they themselves have constructed/produced in the past and are now using to perform in the present situation. Such localized, domain knowledge is unaccounted for through most computer documentation development processes, and, subsequently, the localized cunning knowledge of the work environment fails to surface in the written texts themselves.

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The choice of medium extends beyond print/electronic, and is especially important when it is desired that users be involved in producing documentation. (133) it is important in user-centered design to determine which medium will best fit the particular user situation and tasks.
(133) In addition to a choice of medium, the type of activity that the user is engaged in must be assessed. . . . In the context of computer documentation,
doing describes activities where users are not reflecting upon their actions for the sake of long-term retention.
(133-134) The term
learning, in the computer documentation realm, is revised to learning through doing.

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Johnson uses the File Maker Pro 2-1 for Macintosh documentation to illustrate this transformation of the tutorial. (141) There is no reason, however, that tutorial documents could not perform a broader array of functions for users. First, however, the genre tutorial will have to be redefined. The concept of tutorials as
learning through doing documents offers one perspective on how this can be accomplished.

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Thus the ability to display multiple shell sessions to include the built in help (man pages) advantages UNIX-like environments for keeping the user in the midst of the activity at hand rather than launching a complex online help system. (146) The very presence of documents, whether print or on-line, presents the danger of users becoming disengaged from the learning/doing processes, because the documents can draw the attention away from the activity at hand.
(146) the issue of empowering writers within their workplace contexts looms large in the domain of instructional text.

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Are we back to Feenberg with solution to coax more support for empowering technical writers from businesses and institutions, mainly through education, noting the final chapter is on curricula, an answer the operates within the traditional logic of capitalist production? (150) A recasting of the technical writer, though, will ultimately call for an increased role in the decision-making processes of technological development.

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Critique as alchemy for producing useful knowledge by stealing useful elements and rejecting the rest, for which Janz has cautioned philosophy demands deeper interrogation of inconsistencies. (38) A codification of methods or knowledges (instituting them, for example, in formal curricula or in courses on methodology ) runs against some main features of cultural studies as a tradition: its openness and theoretical versatility, its reflexive even self-conscious mood, and, especially, the importance of critique. . . . Critique involves stealing away the more useful elements and rejecting the rest.

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Literary criticism applied to everyday life and post-WWII social history of Maxism. (38) In the history of cultural studies, the earliest encounters were with
literary criticism. Raymond Williams and Richard Hoggart, in their different ways, developed the Leavisite stress on literary-social evaluation, but turned the assessments from literature to everyday life. Similar appropriates have been made from history. The first important moment here was the development of the post-war traditions of social history with their focus on popular culture, or the culture of the people especially in its political forms. The Communist Party Historiansƒ Group was central here, with its 1940s and early 1950s project of anglicizing and historicizing old marxism.
(39) Central in both literary and historical strands was the
critique of old marxism.

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Philosophical influences compare epistemological concerns with empiricism, realism and idealism to culture theory concerns with economism, materialism, and cultural specificity. (39) Other critiques have been distinctly
philosophical. . . . There is a very close cousinhood between epistemological problems and positions (e.g. empiricism, realism and idealism) and the key questions of cultural theory (e.g. economism, materialsm, or the problem of cultureƒs specific effects).

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Importance of critiques deriving from womens movement and struggles against racism (add postcolonialism). (40) More important in our recent history have been the critiques deriving from the
womenƒs movement and from the struggles against racism.

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Knowledge-power Foucault and Bourdieu; OGorman Republic of Scholars academic knowledge-forms part of the problem. (40-41) Recognition of the forms of power associated with knowledge may turn out to be one of the leading insights of the 1970s. . . .
Academic knowledge-forms (or some aspects of them) now look like part of the problem, rather than part of the solution.

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Definition of cultural studies enters dangerous interdisciplinary places such as where texts and technology studies operate. (41-42)
Cultural studies can be defined as an intellectual and political tradition, in its relation to the academic disciplines, in terms of theoretical paradigms, or by its characteristic objects of study.
(42-43) Cultural processes do not correspond to the contours of academic knowledges, as they are. No one academic discipline grasps the full complexity (or seriousness) of the study. Cultural studies must be
inter-disciplinary (and sometimes anti-disciplinary) in its tendency.

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Importance of starting from concrete cases as done by SCOT theorists as literary critics cite specific texts (Hayles). (43) In teaching situations or similar interchanges, theoretical discourse may seem, to the hearer, a form of intellectual gymnastics. . . . This is one set of reasons why many of us now find it useful to
start from concrete cases, either to teach theory historically, as a continuing, contextualised debate about cultural issues, or to hook up theoretical points and contemporary experiences.
(43) The key questions are: what is the characteristic
object of cultural studies?

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Culture studies keenly interested in consciousness and subjectivity, defined as imaginary life with unconscious determinants (the subject aspect of consciousness). (43-44)
For me cultural studies is about the historical forms of consciousness or subjectivity, or the subjective forms we live by, or, in a rather perilous compression, perhaps a reduction, the subjective side of social relations. . . . I think of consciousness, first, in the sense in which it appears in The German Ideology. . . . [Marx] distinguishes the worst architect from the best bee . . . human beings are characterized by an ideal or imaginary life, where will is cultivated, dreams dreamt, and categories developed.
(44) Subjectivity includes the possibility, for example, that some elements or impulses are subjectively active they
move us without being consciously known. It highlights elements ascribed (in the misleading conventional distinction) to aesthetic or emotional life and to conventionally feminine codes.

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Need more complex, layered model. (45) So we need, first, a much more complex model, with rich intermediate categories, more layered than the existing general theories.

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Apply cultural circuit model to cyberspace like Johnson does with Mini-Metro: look for comparisons in software studies and critical code studies. (48) We can, for example, whiz a
Mini-Metro car around it. . . . this raises interesting questions too about what constitutes the text (or raw material for such abstractions) in these cases. . . . Shouldnƒt we include, indeed, the Metroƒs place in discourses upon national economic recovery and moral renaissance?
(48) What was
made of the Metro phenomenon, more privately, by particular groups of consumers and readers?

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Process of public-action from design to consumption. (49) To draw out more general points, three things occurred in the process of public-action. First, the car (and its texts) became
public in the obvious sense: it acquired if not a universal at least a more general significance. . . . Second, at the level of meaning, publication involved abstraction. The car and its messages could now be viewed in relative isolation from the social conditions that formed it. Thirdly, it was subjected to a process of public evaluation (great public issue) on many different scales: as a technical-social instrument, as a national symbol, as a stake in class war, in relation to competing models, etc. . . . Note, however, in the moment of consumption or reading, represented here by the woman and her children (who have decided views about cars), we are forced back again to the private, the particular and concrete, however publicly displayed the raw materials for their readings may be.
(49) I want to suggest that these processes are intrinsic to cultural circuits under modern social conditions, and that they are produced by, and are productive of,
relations of power.

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Shop floor culture example, then try on TV program. (51) An even more striking case is the
working-class culture of the shop floor. As Paul Willis has shown there is a particularly close relationship here between the physical action of labor and the practical jokes and common sense of the workplace.
(51) Compared with the thick, conjoined tissue of face-to-face encounters, the television program going out on the air seems a very abstracted, even ethereal product. For one thing it is so much more plainly a
representation of real life (at best) than the (equally constructed) narratives of everyday life.

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Construction of public/private division; culture studies deeply implicated in relations of power. (53) One further general mechanism is the construction, in the public sphere, of
definitions of the public/private division itself. Of course, these sound quite neutral definitions: everyone agrees that the most important public issues are the economy, defense, law and order and, perhaps, welfare questions, and that other issues family life, sexuality for example are essentially private. The snag is that the dominant definitions of significance are quite socially specific and, in particular, tend to correspond to masculine and middle-class structures of interest (in both meanings of the term).
(53) Whether it takes its main object the more abstracted public knowledges and their underlying logics and definitions, or it searches out the private domains of culture, cultural studies is necessarily and deeply implicated in relations of power. It forms a part of the very circuits which it seeks to describe.

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Econonism skews cultural production by its function unit operations of capitalist logic; productivism skews cultural product by conditions of production: consider Feenberg and Adorno versus Benjamin on creative potential inherent in the commodified, advertising culture. (55) The second difficulty is not economism but what we might call
productivism. . . . The problem here is the tendency to infer the character of a cultural product and its social use from the conditions of its production, as though, in cultural matters, production determines all.

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Famous criticism of Lukacs What We Want is Watneys concrete example. (56) The conflations and reductions that result are well illustrated on one of his [Lukacsƒ] few concrete examples: his analysis of the British brewerƒs slogan -
What We Want is Watneys. [quoting] The brand of the beer was presented like a political slogan. Not only does this billboard give an insight into the nature of the up to date propaganda, which sells its slogans as well as its wares . . . the type of relationship which is suggested by the billboard, by which the masses make a commodity recommended to them the object of their own action, is in fact found again in the pattern of reception of light music. They need and demand what has been palmed off on them. The actual differentiated drinkers of Watneys and readers of the slogan are assumed to act also as the brewerƒs ventriloquistsƒ dummy, without any other determinations intervening.

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Decentering text as object of study, to consider social life of subjective forms, including technologies and devices. (62) More generally, the aim is to
decentre the text as an object of study. The text is no longer studied for its own sake, nor even for the social effects it may be thought to produce, but rather for the subjective or cultural forms which it realizes and makes available. . . . But the ultimate object of cultural studies is not, in my view, the text, but the social life of subjective forms at each moment of their circulation, including their textual embodiments.

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How is the subject found: account of reading positions, treating reading as production, promiscuous encounter, intertextuality, context crucial. (66) A careful, elaborated and hierarchised account of the
reading positions offered in a text (in narrative structure or modes of address for instance) seems to me the most developed method we have so far within the limits of text analysis.
(66-67) There is only room to stress a few difficulties in treating reading, not as reception or assimilation, but as itself an act of production. . . . The isolation of a text for academic scrutiny is a very specific form of reading. More commonly texts are encountered
promiscuously; they pour in on us from all directions in diverse, coexisting media, and differently-paced flows. . . . The combinations stem, rather, from more particular logics the structured life-activity in its objective and subjective sides, of readers or groups of readers: their social locations, their histories, their subjective interests, their private worlds.
(67)
Context determines the meaning, transformations or salience of a particular subjective form as much as the form itself. Context includes the cultural features described above, but also the contexts of immediate situations (e.

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What stories and interpellations are already in place implicit in formalist analysis but not foregrounded: no subject because no object specified ahead of time for processual theory. (68) One lack in these accounts is an attempt to describe more elaborately the surface forms the flows of inner speech and narrative which are the most empirically obvious aspect of subjectivity. . . . Perhaps all this is simply pre-supposed in formalist analysis, yet to draw it into the foreground seems to have important implications. It makes it possible to recover the elements of self-production in theories of subjectivity. It suggests that before we can gauge the productivity of new
interpellations, or anticipate their like popularity, we need to know what stories are already in place.
(68) There is no real theory of subjectivity here, partly because the
explanandum, the object of such a theory, remains to be specified. In particular there is no account of the carry-over or continuity of self-identities from one discursive moment to the next, such as a re-theorisation of memory in discursive terms might permit.

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Ethnography represents culture of others, already a power relation. (70) The practice, like the word [
ethnography], already extends social distance and constructs relations of knowledge-as-power. To study culture forms is already to differ from a more implicit inhabitation of culture which is the main commonsense mode in all social groups.
(70) Since fundamental social relations have not been transformed, social inquiry tends constantly to return to its old anchorages, pathologizing subordinated cultures, normalizing the dominant modes, helping at best to build academic reputations without proportionate returns to those who are represented.

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Cool studies, theories of texts and technology: look at popularity of cultural forms and outcomes of cultural forms. (72) The second set of questions concerns the
outcomes of cultural forms. Do these forms tend to reproduce existing forms of subordination or oppression? Do they hold down or contain social ambitions, defining wants too modestly? Or are they forms which permit a questioning of existing relations or a running beyond them in terms of desire? . . . Judgments like these cannot be made on the basis of the analysis of production conditions or texts alone; they can best be answered once we have traced a social form right through the circuit of its transformations and made some attempts to place it within the whole context of relations of hegemony within the society.

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Ethnographic studies typically concern appropriation of elements of mass culture and transformation by specific social groups. (72) Typically, studies have concerned the
appropriation of elements of mass culture and their transformation according to the needs and cultural logics of social groups. Studies of the contribution of mass cultural forms (popular music, fashion, drugs or motor bikes) or sub-cultural styles, of girlsƒ use of popular cultural forms, and of the ladsƒ resistance to the knowledge and authority of school are cases in point. In other words the best studies of lived culture are also, necessarily, studies of reading. It is from this point of view the intersection of public and private forms that we have the best chance of answering the two key sets of questions to which cultural studies rightly continually returns.
(72) The first set concerns popularity, pleasure and the
use value of cultural forms. Why do some subjective forms acquire a popular force, become principles of living?

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Different approaches to politics of culture, but cannot just add the three approaches together to use his model: best when group is the analyst, and attention to concrete text-like structures forming discourse network, which Dumit uses group of PET pioneers, Hayles of cybernetics, so try for software studies. (73-74) Those concerned with production studies need to look more closely, for example, at the specifically cultural conditions of production. . . . Similarly, we need to develop, further, forms of text-based study which hook up with the production and readership perspectives. . . . The problem with both models [of the critical reader] is that by de-relativising our acts of reading they remove from self-conscious consideration (but not as an active presence) our common sense knowledge of the larger cultural contexts and possible readings. . . . The difficulties are met best, but not wholly overcome, when
the analyst is a group.
(74) Finally, those concerned with concrete cultural description cannot afford to ignore the presence of the text-like structures and particular forms of discursive organization.

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Nervensprache discourse network similar to Sterne on extending sound studies from discrete artifacts to auditory culture. (10) In other words, on the basis of this particular selection of data not only perceptions, ideas, and concepts all that is coded as meaningful in short but also a system authorizing certain subjects as senders and others as receivers of discourse is instituted.

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Latour will call these hybrids and argue that they result from trying to adhere to the so-called modernist principles; the facts, the deferral of explanation defying accepted theories multiply with even more hybrids and anomalies receiving special explanations, like programming hacks, reveal that we have never been modern. (58)

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New literary style aimed to remove some mystery of the social bond by including objects in humanities studies, and sociology in engineering. (viii) I have sought to offer humanists a detailed analysis of a technology sufficiently magnificent and spiritual to convince them that the machines by which they are surrounded are cultural objects worthy of their attention and respect. Theyƒll find that if they add interpretation of machines to interpretation of texts, their culture will not fall to pieces; instead, it will take on added density. I have sought to show technicians that they cannot even conceive of a technological object without taking into account the mass of human beings with all their passions and politics and pitiful calculations, and that by becoming good sociologists and good humanists, they can become better engineers and better-informed decisionmakers. . . .

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Hybrid genre devised for task of scientification, whose tutor object is Aramis and organization RATP. (ix) The hybrid genre I have devised for a hybrid task is what I call
scientification.
(ix) For such a work, I needed a topic worthy of the task. Thanks to the Regie Autonomie des Transports Pariesiens (RATP), I was able to learn the story of the automated train system known as Aramis.

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Draws heavily on sociologists of technology Akrich, Bijker, Bowker, Cambrosio, Callon, Law, MacKenzie, although too soon for Richard Powers. (x) This book, despite its strange experimental style, draws more heavily than the footnotes might suggest on the collective work of the new sociologists of technology. Particularly relevant has been the work of Madeleine
Akrich, Wiebe Bijker, Geoffrey Bowker, Alberto Cambrosio, Machel Callon, John Law, and Donald MacKenzie. Unfortunately, the book was published too soon for me to use the treasure trove of narrative resources developed by Richard Powers, the master of scientification and author of Galatea 2.2, whose Helen is Aramisƒ unexpected cousin.

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Tool use of philosophy; compare to software studies and critical code studies. (ix) I have abstained from giving empirical examples in order to retain the speculative and, I am afraid, very Gallic! - character of this essay. Many case studies, including several by myself, will be found in the bibliography. Having written several empirical books, I am trying here to bring the emerging field of science studies to the attention of the literate public through the philosophy associated with this domain.

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How does this grouping of collectives affect unit operations? (4) Here is the second misunderstanding. If the facts do not occupy the simultaneously marginal and sacred place our worship has reserved for them, then its seems that they are immediately reduced to pure local contingency and sterile machinations. . . . None of our studies can reutilize what the sociologists, then psychologists or the economists tell us about the social context or about the subject in order to apply them to the hard sciences and this is why I use the word ƒcollectiveƒ to describe the association of humans and nonhumans and ƒsocietyƒ to designate one part only of our collectives, the divide invented by the social sciences.
(5) This is the third misunderstanding. . . . Yet rhetoric, textual strategies, writing, staging, semiotics all these are really at stake, but in a new form that has a simultaneous impact on the nature of things and on the social context, while it is not reducible to the one or the other.
(5) In the eyes of our critics the ozone hole above our heads, the moral law in our hearts, the autonomous text, may each be of interest, but only separately. That a delicate shuttle should have woven together the heavens, industry, texts, souls and moral law this remains uncanny, unthinkable, unseemly.

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Wilson, Bourdieu and Derrida as representatives of naturalization, socialization and deconstruction; crisis of critical stance is lack of tolma to think all at once. (5-6) The critics have developed three distinct approaches to talking about our world: naturalization, socialization and deconstruction. Let us use E.O. Wilson, Pierre Bourdieu, and Jacques Derrida a bit unfairly as emblematic figures of these three tacks. . . . Each of these forms of criticism is powerful in itself but impossible to combine with the other two. . . . We may glorify the sciences, play power games or make fun of the belief in a reality, but we must not mix these three caustic acids.
(6) Is it our fault if the networks are
simultaneously real, like nature, narrated, like discourse, and collective, like society?

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Modern designates translation and purification, operations which cannot combine, which is why we have never been modern; uses a confusing diagram to illustrate this in Figure 1-1. (10-11) The hypothesis of this essay is that the word ƒmodernƒ designates two sets of entirely different practices which must remain distinct if they are to remain effective, but have recently begun to be confused. The first set of practices, by ƒtranslationƒ, creates mixtures between entirely new types of beings, hybrids of nature and culture. The second, by ƒpurificationƒ, creates two entirely distinct ontological zones: that of human beings on the one hand; that of nonhumans on the other.

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Anthropological and ethnological methods tackle everything at once; compare his study of Boyle and Hobbes, the air pump, to Hayles of the Macy Conferences neuron model. (15) I have chosen to concentrate on an exemplary situation that arose at the very beginning of its drafting, in the middle of the seventeenth century, when the natural philosopher Robert Boyle and the political philosopher Thomas Hobbes were arguing over the distribution of scientific and political power.

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Experimental with instruments and implied computation to generate indisputable facts. (19) In this new regime in which Knowledge equals Power, everything is cut down to size: the Sovereign, God, matter, and the multitude. Hobbes even rules out turning his own science of the State into an invocation of transcendence. He arrives at all his scientific results not by opinion, observation or revelation but by a mathematical demonstration, the only method of argument capable of compelling everyoneƒs assent; and he accomplishes this demonstration not by making transcendental calculations, like Platoƒs King, but by using a purely computational instrument, the
Mechanical Brain, a computer before its time.

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Compare instrumental science to making software work, the practice of fabricating objects. (20) For the first time in science studies, all ideas pertaining to God, the King, Matter, Miracles and Morality are translated, transcribed, and forced to pass through the practice of making an instrument work.

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Trace development of personal computer from cumbersome to cheap black box for standardization of what Hayles calls the Regime of Computation following Latour lead with air pump. (24) How does it become as universal as ƒBoyleƒs lawsƒ or ƒNetwonƒs lawsƒ? The answer is that it never become universal not, at least, in the epistemologistsƒ terms! Its network is extended and stabilized. . . . By following the reproduction of each prototype air pump throughout Europe, and the progressive transformation of a piece of costly, not very reliable and quite cumbersome equipment, into a cheap black box that gradually becomes standard equipment in every laboratory, the authors bring the universal application of a law of physics back within a network of standardized practices.

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Adjust valuation of Western innovations; compare field of nonmodern worlds to Neel retrospective of sophists for benefit of freeing compositions studies from philosophy. (48) The antimoderns, like the postmoderns, have accepted their adversariesƒ playing field. Another field much broader, much less polemical has opened up before us: the field of nonmodern worlds. It is the Middle Kingdom, as vast as China and as little known.

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Quasi-objects between natural and social. (54-55) By treating the ƒharderƒ parts of nature in the same way as the softer ones that is, as arbitrary constructions determined by the interests and requirements of a
sui generis society the Edinburgh daredevils deprived the dualists and indeed themselves, as they were soon to realize of half of their resources. Society had to produce everything arbitrarily including the cosmic order, biology, chemistry, and the laws of physics. The implausibility of this claim was so blatant for the ƒhardƒ parts of nature that we suddenly realized how implausible it was for the ƒsoftƒ ones as well. Objects are not the shapeless receptacles of social categories neither the ƒhardƒ ones nor the ƒsoftƒ ones.
(55) Quasi-objects are much more social, much more fabricated, much more collective than the ƒhardƒ parts of nature, but they are in no way the arbitrary receptacles of a full-fledged society. On the other hand they are much more real, nonhuman and objective than those shapeless screens on which society for unknown reasons needed to be ƒprojectedƒ.

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Barthes Empire of Signs is difficult reduction of all phenomena, especially when dealing with science and technology (see Hayles How We Became Posthuman). (63) Language has become a law unto itself, a law governing itself and its own world. The ƒsystem of languageƒ, the ƒplay of languageƒ, the ƒsignifierƒ, ƒwritingƒ, the ƒtextƒ, ƒtextualityƒ, ƒnarrativesƒ, ƒdiscourseƒ these are some of the terms that designate the
Empire of Signs to expand Barthesƒs title.
(64) When we are dealing with science and technology it is hard to imagine for long that we are a text that is writing itself, a discourse that is speaking all by itself, a play of signifiers without signifieds. It is hard to reduce the entire cosmos to a grand narrative, the physics of subatomic particles to a text, subway systems to rhetorical devices, all social structures to discourse.
(64) The postmodern condition has recently sought to juxtapose these three great resources of the modern critique nature, society and discourse without even trying to connect them.

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Even computational objects are not pure simulacra. (66) Who has forgotten Being? No one, no one ever has, otherwise Nature would be truly available as a pure ƒstockƒ. Look around you: scientific objects are circulating simultaneously as subjects objects and discourse. Networks are full of Being. As for machines, they are laden with subjects and collectives.

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Invocation of Nietzsche, Heidegger, Heraclitus on inability to really forget being. (67) No one can forget Being, since there has never been a modern world, or, by the same token, metaphysics. We have always remained pre-Socratic, pre-Cartesian, pre-Kantian, pre-Nietzschean. No radical revolution can separate us from these pasts, so there is no need for reactionary counter-revolutions to lead us back to what has never been abandoned. Yes, Heraclitus is a surer guide than Heidegger: ƒ
Einai gar kia entautha theous.

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Things have a history is from where Bogost launches unit operations and alien phenomenology, leading to secularized transcendental technological history. (70) The idea of radical revolution is the only solution the moderns have imagined to explain the emergence of the hybrids that their Constitution simultaneously forbids and allows, and in order to avoid another monster: the notion that things themselves have a history.
(71) From now on there will thus be two different histories: one dealing with universal and necessary things that have always been present, lacking any historicity but that of total revolution or epistemological breaks; the other focusing on the more or less contingent or more or less durable agitation of poor human beings detached from things.
(71) On each occasion time will be reckoned starting from these miraculous beginnings, secularizing each incarnation in the history of transcendent sciences. People are going to distinguish the time ƒBCƒ and ƒACƒ with respect to computers as they do the years ƒbefore Christƒ and ƒafter Christƒ.
(71)
The asymmetry between nature and culture then becomes an asymmetry between past and future. The past was the confusion of things and mean; the future is what will no longer confuse them.

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Example of a Latour list that Bogost loves to invoke, exemplifying proliferation of things with histories, leading to importance of sorting decisions typically made by small groups of agents in defining historical periods as well as ontologies. (74) No one can now categorize actors that belong to the ƒsame timeƒ in a single coherent group. No one knows any longer whether the reintroduction of the bear in Pyrenees, kolkhozes, aerosols, the Green Revolution, the anti-smallpox vaccine, Star Wars, the Muslim religion, partridge hunting, the French Revolution, service industries, labor unions, cold fusion, Bolshevism, relativity, Slovak nationalism, commercial sailboats, and so on, are outmoded, up to date, futuristic, atemporal, nonexistent, or permanent.

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Sorting makes the times. (76) We have always actively sorted out elements belonging to different times. We can still sort.
It is the sorting that makes the times, not the times that make the sorting. Modernism like its anti- and post-modern corollaries was only the provisional result of a selection made by a small number of agents in the name of all. If there are more of us who regain the capacity to do our own sorting of the elements that belong to our time, we will rediscover the freedom of movement that modernism denied us a freedom that, in fact, we have never really lost.

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Nuance between mediators and intermediaries; compare to Hayles intermediation. (78) If we simply restore this mediating role to all the agents, exactly the same world composed of exactly the same entities case being modern and become what it has never ceased to be that is, nonmodern. How did the modern manage to specify and cancel out the work of mediation both at once?
By conceiving every hybrid as a mixture of two pure forms. . . . The critical explanation always began from the poles and headed toward the middle, which was first the separation point and then the conjunction point for opposing resources the place of phenomena in Kantƒs great narrative. In this way the middle was simultaneously maintained and abolished, recognized and denied, specified and silenced. This is why I can say without contradicting myself that no one has ever been modern, and that we have to stop being so. . . . The whole difference hinges on the apparently small nuance between mediators and intermediaries (Hennion, 1991).

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Reversed reversal like Clark rethinking cognition from the middle out to the pure extremes of mind and body. (79) I call this reversed reversal or rather this shift of the extremes centerward and downward, a movement that makes both object and subject revolve around the practice of quasi-objects and mediators a Copernican counter-revolution. We do not need to attach our explanations to the two pure forms known as the Object or Subject/Society, because these are, on the contrary, partial and purified results of the central practice that is our sole concern. . . . At last the Middle Kingdom is represented.

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History of natural things; need to account for how objects construct the subject. (81-82) By offering to all the mediators the being that was previously captive in Nature and in Society, the passage of time becomes more comprehensible again. . . . All the essences become events, the airƒs spring by the same token as the death of Cherubino. History is no longer simply the history of people, it becomes the history of natural things as well.

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Mapping longitude between event and essence for objects along with latitude between natural to social in variable ontologies, depicted in another complex diagram. (85) Mixing my metaphors, I would say that it has to be defined
as a gradient that registers variations in the stability of entities from event to essence. . . . We still need to be told whether what is at stake is the air pump as a seventeenth-century event or the air pump as a stabilized essence of the eighteenth century or the twentieth century. The degree of stabilization the latitude is as important as the position on the line that runs form the natural to the social the longitude (see Cussins, 1992, for antoher and more precise mapping device).

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Quasi-objects of real, narrated, collective, and existential trace discursive networks of autonomous actants, which supporting liaison of four repertoires can house the nonmodern Middle Kingdom, allowing us to become amoderns. (89) Of quasi-objects, quasi-subjects, we shall simply say that they trace
networks. They are real, quite real, and we humans have not made them. But they are collective because they attach us to one another, because they circulate in our hands and define our social bond by their very circulation. They are discursive, however; they are narrated, historical, passionate, and people with actants of autonomous forms. They are unstable and hazardous, existential, and never forget Being. This liaison of the four repertoires in the same networks once they are officially represented allows us to construct a dwelling large enough to house the Middle Kingdom, the authentic common home of the nonmodern world as well as its Constitution.
(90) Real as Nature, narrated as Discourse, collective as Society, existential as Being: such are the quasi-objects that moderns have caused to proliferate. As such it behooves us to pursue them, while we simply become once more what we have never cased to be:
amoderns.

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Callon principle of generalized symmetry needs applied to natures-cultures. (95-96) It has to absorb what Michel
Callon calls the principle of generalized symmetry: the anthropologist has to position himself at the median point where he can follow the attribution of both nonhuman and human properties.
(96) Everything changes when, instead of constantly and exclusively alternating between one pole of the modern dimension and the other, we move down along the nonmodern dimension. . . . No longer unthinkable, it becomes the terrain of all the empirical studies carried out on the networks.
(96) But if we superpose the two positions the one that the ethnologist occupies effortlessly in order to study cultures and the one that we have made a great effort to define in order to study our own nature then comparative anthropology becomes possible, if not easy. . . .
It compares natures-cultures. Are they comparable? Are they similar? Are they the same? We can now, perhaps, solve the insoluable problem of relativism.

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New scientific knowledge, conflated with nature, lies outside culture. (98) For Levi-Strauss (as for Canguilhem, Lyotard, Girard, Derrida, and the majority of French intellectuals), this new scientific knowledge lies entirely outside culture. It is the transcendence of science conflated with Nature that makes it possible to relativize all cultures, theirs and ours alike with the one caveat, of course, that it is precisely our culture, not theirs, that is constructed through biology, electronic microscopes and telecommunication networks. . . . The abyss that was to supposed to be narrowing opens up again.
(99-100) So the Internal Great Divide accounts for the External Great Divide: we are the only ones who differentiate absolutely between Nature and Culture, between Science and Society, whereas in our eyes all the others whether they are Chinere or Amerindian, Azande or Barouya cannot really separate what is knowledge from what is Society, what is sign from what is thing, what comes from Nature is it is from what their cultures require. . . . Even though we might still recognize in our own societies some fuzzy areas in madness, children, animals, popular culture and womenƒs bodies (Haraway, 1989), we believe our duty is to extirpate ourselves from those horrible mixtures as forcibly as possible by no longer confusing what pertains to mere social preoccupations and what pertains to the real nature of things.

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Move from cultural relativism to natural relativism. (106) All natures-cultures are similar in that they simultaneously construct humans, divinities and nonhumans. None of them inhabit a world of signs or symbols arbitrarily imposed on an external Nature known to us alone. None of them and especially not our own lives in a world of things. All of them sort out what will bear signs and what will not. . . . From cultural relativism we move on to ƒnaturalƒ relativism.

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Toward alien phenomenology paying attention to nonhumans; air pump must accompany Leviathan. (108) The collectives are all similar, except for their size, like the successive helixes of a single spiral. . . . If you want Hobbes and his descendants, you have to take Boyle and his as well. If you want the Leviathan, you have to have the air pump too.

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Sciences and technologies multiply nonhumans enrolled in manufacturing collectives; see Aramis. (108-109) Sciences and technologies are remarkable not because they are true or efficient they gain these properties in addition, and for reasons entirely different from those the epistemologists provide (Latour, 1987) but because they multiply the nonhuman enrolled in the manufacturing of collectives and because they make the community that we form with these beings a more intimate one. . . . Modern knowledge and power are different not in that they would escape at least the tyranny of the social, but in that
they add many more hybrids in order to recompose the social link and extend its scale. Not only the air pump but also microbes, electricity, atoms, stars, second-degree equations, automatons and robots, mills and pistons, the unconscious and neurotransmitters.

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Empirical relativism must be cognizant of instrumental mediation. (113-114) The relativist relativists, more modest but more empirical, point out what instruments and what chains serve to create asymmetries and equalities, hierarchies and differences (Callon, 1992). Worlds appear commensurable or incommensurable only to those who cling to measured measures. Yet
all measures, in hard and soft science alike, are also measuring measures, and they construct a commensurability that did not exist before their own calibration. Nothing is, by itself, either reducible or irreducible to anything else. Never by itself, but always through the mediation of another. . . .

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Modernist confusion of products with process, dreaming of norm as Engelbart type C behavior. (115-116) The moderns confused products with processes. They believed that the production of bureaucratic rationalization presupposed rational bureaucrats; that the production of universal science depended on universalist scientists; that the production of effective technologies led to the effectiveness of engineers; that the production of abstraction was itself abstract; that the production of formalism was itself formal. We might just as well say that a refinery produces oil in a refined manner, or that a dairy produces butter in a buttery way! . . . Science does not produce itself scientifically any more than technology produces itself technologically or economy economically.

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Turkle Second Self is good attempt at learning more about ourselves, the railroad model, easy to enter via technological systems, as is recent science of team science. (117) The
railroad model can be extended to all the technological networks that we encounter daily.
(118) It seems, then, that ideas and knowledge can spread everywhere without cost. . . . If we had had only the world-economies of the Venetian, Genoan or American merchants, if we had had only telephones and television, railroads and sewers, Western domination would never have appeared as anything but the provisional and fragile extension of some frail and tenuous networks.

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Use digital communication networks as tutorial for rethinking products, processes, and networks. (121-122) Yet there is an Ariadneƒs thread that would allow us to pass with continuity from the local to the global, from the human to the nonhuman. It is the thread of networks of practices and instruments, of documents and translations. . . . It is a skein of somewhat longer networks that rather inadequately embrace a world on the basis of points that become centers of profit and calculation. In following it step by step, one never crosses the mysterious
limes that should divide the local from the global. . . . The two extremes, local and global, are much less interesting than the intermediary arrangements that we are calling networks.

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Defense of marginality popular in postmodernism perverse as it implies totalitarian center. (124) The defense of marginality presupposes the existence of a totalitarian center. But if the center and its totality are illusions, acclaim for the margins is somewhat ridiculous. . . . It is admirable to seek to save Being, with a cry of desperation, at the very moment when technological
Ge-Stell seems to dominate everything, because ƒwhere danger is, grows the saving power alsoƒ. But it is rather perverse to seek to profit brazenly from a crisis that has not yet commenced!

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Delegation is transcendence that lacks a contrary, makes it possible to remain in presence, starting from the vinculum itself. (129) I call this transcendence that lacks a contrary ƒ
delegationƒ. The utterance, or the delegation, or the sending of a message or a messenger, makes it possible to remain in presence that is, to exist. . . . We start from the vinculum itself, from passages and relations, not accepting as a starting point any being that does not emerge from this relation that is at once collective, real and discursive. . . . What sort of world is it that obliges us to take into account, at the same time and in the same breath, the nature of things, technologies, sciences, fictional beings, religions large and small, politics, jurisdictions, economies and unconsciousnesses? Our own, of course. That world ceased to be modern when we replaced all essences with the mediators, delegates and translators that gave them meaning.

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Redistribute humanism for philosophers of machinery, animals, facts. (136) Where are the Mouniers of machines, the Levinases of animals, the Ricoeurs of facts? Yet the human, as we now understand, cannot be grasped and saved unless that other part of itself, the share of things, is restored to it. So long as humanism is constructed through contrast with the object that has been abandoned to epistemology, neither the human nor the nonhuman can be understood.
(137) The scale of value consists not in shifting the definition of the human along the horizontal line that connects the Object pole to the Subject pole, but in sliding it along the vertical dimension that defines the nonmodern world. . . . The expression ƒanthropomorphicƒ considerably underestimates our humanity. We should be talking about morphism. . . . A weaver of morphisms isnƒt that enough of a definition?

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Nonmodern constitution first guarantee: nonseparability of quasi-objects and quasi-subjects, revealing the networks; immoral to interfere with work of mediation. (139) In order to sketch in the nonmodern Constitution, it suffices to take into account what the modern Constitution left out, and to sort out the guarantees we wish to keep. We have committed ourselves to providing representation for quasi-objects. It is the third guarantee of the modern Constitution that must therefore be suppressed, since that is the one that made the continuity of their analysis impossible. Nature and Society are not two distinct poles, but one and the same production of successive states of societies-natures, of collectives. The first guarantee of our new draft thus becomes the nonseparability of quasi-objects, quasi-subjects. Every concept, every institution, every practice that interferes with the continuous deployment of collectives and their experimentation with hybrids will be deemed dangerous, harmful, and we may as well say it immoral. The work of mediation becomes the very center of the double power, natural and social. The networks come out of hiding.

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Nonmodern constitution second guarantee: progressive objectivization of Nature and subjectivization of Society; immoral to not make sense of networks. (140) All concepts, all institutions, all practices that interfere with the progressive objectivization of Nature incorporation into a black box and simultaneously the subjectivization of Society freedom of maneuver will be deemed harmful, dangerous and, quite simply, immoral. Without this second guarantee, the networks liberated by the first would keep their wild and uncontrollable character.

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Nonmodern constitution third guarantee: freedom of sorting; fourth, democracy of things themselves. (141-142) The third guarantee, as important as the others, is that we can combine associations freely without ever confronting the choice between archaism and modernization, the local and the global, the cultural and the universal, the natural and the social. Freedom has moved away from the social pole it had occupied exclusively during the modern representation into the middle and lower zones, and becomes a capacity for sorting and recombining sociotechnological imbroglios. . . . The fourth guarantee perhaps the most important is to replace the clandestine proliferation of hybrids by their regulated and commonly-agreed-upon production. It is time, perhaps, to speak of democracy again, but of a democracy extended to things themselves.

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Natures are present with scientists who speak in their name; neither are naked truths. (144) Let us again take up the two representatives and the double doubt about the faithfulness of the representatives, and we shall have defined the Parliament of Things. In its confines, the continuity of the collective is reconfigured. There are no more naked truths, but there are no more naked citizens, either. The mediators have the whole space to themselves. The Enlightenment has a dwelling-place at last. Natures are present, but with their representatives, scientists who speak in their name. Societies are present, but with the objects that have been serving as their ballast from time immemorial.
(144) Half of our politics is constructed in science and technology. The other half of Nature is constructed in societies. Let us patch the two back together, and the political task can begin again.

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Call for Parliament of Things grounds software studies, platform studies, Bogost alien phenomenology. (145) I have done my job as philosopher and constituent by gathering together the scattered themes of a comparative anthropology. Others will be able to convene the Parliament of Things.

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Question of knowledge a question of government because legitimacy of science linked to right to decide what is just; science never neutral. (8) The question of the legitimacy of science has been indissociably linked to that of the legitimation of the legislator since the time of Plato. From this point of view, the right to decide what is true is not independent of the right to decide that is just, even if the statements consigned to these two authorities differ in nature. . . . the choice called the Occident.
(9) In the computer age, the question of knowledge is now more than ever a question of government.

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Technical projects of Renaissance court system conceptual key. (x) The Renaissance court system was the conceptual key. . . . The technical projects they commissioned from the Florence cathedral to the mechanical robots for courtly entertainment, as well as the printed works on science, history, philosophy, religion, and technology, created and themselves constituted Renaissance culture.

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Contrast Misa sociocultural approach to Kittler whom Hayles criticizes for emphasizing military technologies; we are in the age where electronic technologies are now central to interpretation. (x-xi) There are good reasons to see the industrial revolution as a watershed in world history, but our time-worn inclination to seize on industrial technologies as the only ones that really matter has confounded a proper understanding of the great commercial expansion that followed the Renaissance. . . . I began not only to think of technologies as located historically and spatially in a particular society and shaped by that societyƒs ideas of what was possible or desirable, but also to see how these technologies evolved to shape the societyƒs social and cultural developments. To capture this two-way influence, I look up the notion of distinct eras of technology and culture as a way of organizing the material for this book.

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The participant culture, in principle, although the default comportment of consumer (spectator) is justified by Zizek. (xi) If technologies come from outside, the only critical agency open to us is slowing down their inevitable triumph a rearguard action at best. By contrast, if technologies come from
within society and are products of on-going social processes, we can, in principle alter them at least modestly even as they change us.
(xii) Beyond Britain, commentators and technologist sometimes looked to copy British models of industry but more frequently adapted industrial technologies to their own economic and social contexts. The result was a variety of paths through the industrial revolution.
(xii) The legacy of the industrial revolution, it seemed, was not a single industrial society with a fixed relationship to technology but rather a multidimensional society with a variety of purposes for technology.

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He gives interesting accounts of British empire building in India but little detail about American internal activity. (xii) The first of these technology-intensive activities to fully flower was empire building, the effort by Europeans and North Americans to extend economic and political control over wide stretches of land abroad or at home.
(xiii) A second impulse in technology gathering force from the 1870s onward lay in the application of science to industry and the building of large systems of technology.

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Is Beck reflexive modernization on the same level as Lacan: McLuhan, Ong, and others recognized this quickening of awareness. (xvii) These eras appear to be shortening: the Renaissance spanned nearly two centuries, while the twentieth century alone saw the eras of science and systems, modernism, war, and global culture. It is worth mentioning a quickening also in the
self-awareness of societies our capacities to recognize and comprehend change are themselves changing. . . . This self-awareness of major historical change is clearly an instance of reflexive modernization in sociologist Ulrich Beckƒs sense. In this way, then, these eras do capture something real in our historical experience.

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We already are clever enough to examine Internet history in light of the triangle: Hayles develops are more nuanced and less deterministic narrative than Kittler whom she criticizes for focusing on war determining technological development. (3) Even the well-known history of movable-type printing needs to be reexamined in the light of pervasive court sponsorship of technical books and surprisingly wide court demand for religious publications.

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Link Leonardo fascination with autonomous artificial automata to von Neumann. (10) His fascination with self-acting mechanisms is also evident in Leonardoƒs many sketches of textile machines found in the surroundings of Milan.
(13) The special character of technological creativity in the Renaissance resulted from one central fact: the city-states and courts that employed Leonardo and his fellow engineers were scarcely interested in the technologies of industry or commerce. Their dreams and desires focused the eraƒs technologists on warfare, city building, courtly entertainments, and dynastic displays. . . . The intellectual resources and social dynamics of this technological community drew on and helped create Renaissance court culture.
(13) Foremost among these intellectual resources was the distinctive three-dimensionality and depth of Renaissance art and engineering.
(14) Leading Florentine artists such as Massaccio were already practicing something like linear perspective a decade or more before Albertiƒs famous treatise
On Painting (1436).

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Leonardo extensively copied Alberti; researchers attribute too much to Leonardo in part due to volume of notebooks. (16) Leonardo even copied may of Albertiƒs distinctive phrases. It is Albertiƒs ideas we are reading when Leonardo writes that the perspective picture should look as thought it were drawn on a glass through which the objects are seen.
(17) Close study of the two menƒs notebooks has revealed that Francesco was one source of designs for machines and devices that had previously been attributed to Leonardo alone.
(17-18) In a curious way, the presence of Leonardoƒs voluminous notebooks has helped obscure the breadth and depth of the Renaissance technical community, because researchers overzealously attributed all the designs in them to him. . . . Scholars believe that about one-third (6000 pages) of Leonardoƒs original corpus has been recovered; these papers constitute the most detailed documentation we have on Renaissance technology.

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Compare praise of printing press to Busa praise of magnetic tape. (22-23) The printing press made a little-known German theology professor named Martin Luther into a best-selling author and helped usher in the Protestant Reformation. . . . Yet printers sensed a huge market for his work and quickly made bootleg copies in Latin, German, and other vernacular languages to fill it. It was said that Lutherƒs theses were known across Germany in two weeks and across Europe in a month. . . . Eventually, Luther himself hailed printing as Godƒs highest and extremest act of grace, whereby the business of the Gospel is driven forward.

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Importance of having technological tools to reflect upon technology differentiates Chinese and Renaissance engineering. (26) Yet these pioneering Chinese technologies were not reliably recorded with the rigorous geometrical perspective that allowed Renaissance engineers to set down their ideas about the crucial workings of machines.
(27) Eugene Ferguson, a leading engineer-historian, has brilliantly shown how quickly technical drawings might be corrupted, even in the West.
(28) In these terms a permanent and cumulative tradition in technology, enabled by the invention of printing and perspective, appeared first in central Europeƒs mining industry.

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Value of open standards, technologies and licenses at opening of scientific revolution. (29) Each of these three authors [Bringuccio, Agricola, Ercker] praised the values of complete-disclosure, precise description, and openness often associated with the scientific revolution. These books detailed the processes of mining, smelting, refining, founding, and assaying. Biringuccio and Agricola used extensive illustrations to convey the best technical practices of their time.
(31) The scientific revolution was also surprisingly dependent on printing technology and courtly patronage networks.

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Manovich two cultures; consider microcomputer revolution as desires and dreams of late American capitalism. (32) The desires and dreams of Renaissance courts and city-states defined the character of the eraƒs technology and much of the character of its culture.

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Interesting, unexpected etymology of factories with traders. (48) On the southeast coast of India and on the innumerable islands of what is now Indonesia, each of the trading countries sought to establish trading alliances; and when these alliances were betrayed, they tried unarmed trading factories (warehouse-like buildings where factors - traders did business).

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Little mention of the ethics of slave trade: see multimedia production The Corporation; more interested in the difference between overall technological modes, ways of being, Tarts states, major alterations in the way the mind functions. (49) While the VOC [Verenigde Oostindische Compagnie] dealt with spices and cotton, the West India Company traded in slaves and sugar.

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Consider alongside his evaluation of Renaissance era technology: does Misa apply Kuhn methodology to technology? (57) While choosing, developing, and using technologies with the aim of creating wealth had been an undercurrent before, this era saw the flourishing of an international (if nonindividual) capitalism as a central purpose for technology. It is really a
set of wealth-creating technologies and techniques that distinguishes the Dutch commercial era.

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An amusing fact about porter vat sizes, limited by spill: compare to Feenberg on technical codes for boilers. (66) The competition between brewers to build ever-larger vats waned after 1814, however, when a 7,600-barrel vat at the Horse Shoe Brewery burst open and flooded the neighborhood, killing eight persons by drowning, injury, poisoning by the porter fumes or drunkenness.
(67) The porter brewers pioneered industrial scales of production and led the country in the capitalization of their enterprises.
(68) Brewers indirectly fixed a key term of measurement born in the industrial era, since Watt had the strong drayhorses of London breweries in mind when he defined horsepower at 33,000 foot-pounds per minute.

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Misa lays out opportunities for future scholarship of ancillary industries, part of the value of this work. (69) These ancillary industries have not received the attention they deserve, for they are key to understanding how and why industrial changes became self-sustaining and cumulative.
(70) By the early nineteenth century perhaps half of all London pubs were tied to brewers through exclusive deliveries, financing, or leasing.
(73) By 1825 Maudslay and Bramah were among the London engineers hailed for their use of specialized machine tools to replace skilled handcraftsmanship.

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In addition to ruthless protection of competitive advantage by restricting licenses: an early Microsoft? (77) Early Arkwright machines were small, handcranked devices with just four spindles. The death blow to home spinning came when Arkwright restricted licenses for his water-frame patent to mills with 1,000 or more spindles. . . . Artkwrightƒs mills with their low wages and skills, their high-volume production of lower-grade goods, and their extensive mechanization embodied core features of the industrial era.
(79) While the first generation of them had built textile machines and managed textile factories, the midcentury machine builders the generation of London transplants focused on designing, building, and selling machine tools.
(82) For Engels, Manchester was ground zero for the industrial revolution (he wrote specifically of industriellen Umw
lzung ).

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Horrible living conditions real subject of Engels research. (82) His real object was to shock his readers with visceral portraits of the cityƒs horrible living conditions.
(83) Marx, with no firsthand industrial experience of his own, took Engelsƒ description of Manchester as the paradigm of capitalist industry. Neither of them noticed a quite different mode of industry forming in Sheffield.

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Sheffield like the idealized network of small businesses, but then corrupted by scale: nice to see remediated in Wired magazine stories. (84) Sheffield was internationally known as a center for high-quality steel and high-priced steel products. . . . Not Manchester-style factories but networks of skilled workers typified Sheffieldƒs industry.
(86) It is crucial to understand that the factory system so important in Manchester was absent in Sheffield.
(87) Some firms did nothing but coordinate such hire-work and market the finished goods, at home or overseas. These firms had the advantages of low capital, quick turnover, and the flexibility to pick and choose to fit things in with whatever you were doing.
(87-88) In the latter part of the nineteenth century these large steel mills and oversize forging shops symbolized a second generation of Sheffieldƒs heavy industry.

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The indirect danger of steam technology: would realization of this kill bourgeois interest in Steampunk as form of colonialism? (91) Steam not only directly killed many grinders, through dangerous working conditions, but also indirectly brought the deaths of many who crammed themselves and their families into the poorest central districts of industrial cities.
(91) Sheffieldƒs dire sanitary conditions resembled those of London or Manchester for much the same reason: the cityƒs densely packed population lacked clean water.
(92) The geographies of industry surveyed in this chapter multidimensional urban networks in London, factory systems in Manchester, and sector-specific regional networks in Sheffield clinch the argument that there were many paths to the industrial revolution.
(93) Workers in steam-driven occupations, whether in London, Manchester, Sheffield, or the surrounding regions, were less likely to be in the country, to eat fresh food, to drink clean water, and (especially if female) to be skilled and have reasonable wages.

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Telegraphs built ahead of railway lines recognizing importance for imperial communication while colonizing India. (105) Telegraph lines were so important for imperial communication that in India they were built in advance of railway lines.
(107) Quick use of the telegraph saved not merely the British in Punjab but arguably the rest of British India as well. Most dramatic was that the telegraph made possible a massive troop movement targeted at the most serious sites of rebellion.

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Compare the above narrative about the British telegraph system to a recent public radio reception: the logical structure of the radio text seems a much richer critical narrative, and has shimmering in auditory fields like shimmering video fields called shimmering signifiers by Hayles. (108-109) By the time of the 1857 Mutiny, British rule in India had become dependent on telegraphs, steamships, roads, and irrigation works; soon to come was an expanded campaign of railway building prompted by the Mutiny itself. . . . The colonial government in India had no choice but to begin large-scale educational programs to train native technicians.

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Important for our definition of technology to include set of devices, industry complex, and social forces. (128) By transforming curiosities of the laboratory into consumer products, through product innovation and energetic marketing schemes, science-based industry helped create a mass consumer society. A related development was the rise of corporate industry and its new relationships with research universities and government bureaus.
(129) In these same decades
technology took on its present-day meaning as a set of devices, a complex of industry, and an abstract society-changing force in itself.

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Complicity of chemical industry with Third Reich echoed by Black study of IBM. (135) The entanglement of the German chemical industry with the Third Reich also has much to do with the system-stabilizing innovation and the corporate and political forms needed for its perpetuation. . . . With all these heavy investments, Farbenƒs executives felt they had little choice but to conform with Hitlerƒs mad agenda after he seized power in 1933. Not Nazis themselves one-forth of the top-level supervisory board were Jews, until the Aryanization laws of 1938 they nevertheless became complicit in the murderous regime.

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System originating and system stabilizing inventions demonstrated in Edison career. (136) The singular career of Thomas Edison aptly illustrates the subtle but profound difference separating system-originating inventions from system-stabilizing ones.
(139) Edison wanted his electric lighting system to be cost competitive with gas lighting and knew that the direct-current system he envisioned was viable only in a densely populated urban center. Using Ohmƒs and Jouleƒs laws of electricity allowed Upton and Edison to achieve these techno-economic goals.
(140) When Edison tested his system in January 1881 he used a 16-candlepower bulb at 104 volts, with resistance of 114 ohms and current of 0.9 amps. The U.

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Hazen work on network analyzer analog computer example of distinctive artifact of science-and-systems era. (155) Hazenƒs work on the network analyzer began with his 1924 bachelorƒs thesis under Vannevar Bush. Bush, a pioneer in analog computing, was working for [Dugald] Jacksonƒs consulting firm studying the Pennsylvania-based Superpower scheme. . . . By 1929 the measuring problems were solved and GEƒs Doherty approved the building of a full-scale network analyzer.
(155) Built jointly by GE and MIT and physically located in the third-floor research laboratory in MITƒs Building 10, the network analyzer was capable of simulating systems of great complexity.

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Underlying sociotechnical innovations of research labs, patent litigation, capital-intensive corporation, science-based industry crucial sociotechnical innovations: contrast British textile and German synthetic dye industries. (156-157) Synthetic dyes, poison gases, DC light bulbs, AC systems, and analog computers such as Hazenƒs network analyzer constituted distinctive artifacts of the science-and-systems era. . . . The most important pattern was the underlying sociotechnical innovations of research laboratories, patent litigation, and the capital-intensive corporations of science-based industry.
(157) A neat contrast can be made of the British cotton-textile industry that typified the first industrial revolution and the German synthetic dye industry and American electrical industry that together typified the second.

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System-stabilizing mode of technical innovation eschewed flash of genius in favor of mass market creation. (157) The presence of the financiers, corporations, chemists, and engineers produced a new mode of technical innovation and not coincidentally a new direction in social and cultural innovation. The system-stabilizing mode of technical innovation - nowhere any trace of a flash of genius - was actively sought by financiers. . . . The system-stabilizing innovations, with the heavyweights of industry and finance behind them also created new mass-consumer markets for electricity, telephones, automobiles, household appliances, home furnishings radios, and much else.

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Steel, glass and concrete materials of modernism but not new. (160) The materials that modernists deemed expressive of the new era steel, glass, and concrete were not new.
(163) Glass through most of the nineteenth century was in several ways similar to steel before Bessemer. It was an enormously useful material whose manufacture required much fuel and many hours of skilled labor and whose application was limited by its high cost.

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Misa focuses on what Manovich calls cultural conventions, saying little even in the final chapters of technological aesthetics that Manovich attributes to the conventions of software. (189) In examining how technology changes culture we see that social actors, often asserting a technological fundamentalism that resonates deeply in the culture, actively work to create aesthetic theories, exemplary artifacts, pertinent educational ventures, and broader social and political movements that embed their views in the wider society.

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Prevalence of military; interesting position on technological determinism in which military options overshadowed compelling upstarts like analog computers and solar power. (190) No force in the twentieth century had a greater influence in defining and shaping technology than the military. . . . Lamenting the decline of classic profit-maximizing capitalism, industrial engineer Seymour Melman termed the new economic arrangement as contract-maximizing Pentagon capitalism. During these years of two world wars and the Cold War, the technology priorities of the United States, the Soviet Union, and France, and to a lesser extent England, China, and Germany, were in varied ways oriented to the means of destruction.
(191) Such promising technologies as solar power, analog computers, and machinist-controlled computer machine tools languished when (for various reasons) the military back rival technical options nuclear power, digital computers, and computer controlled devices of many types that consequently became the dominant designs in their fields.

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Blitzkrieg a strategic synthesis of mobility technologies. (193) Not merely a military tactic,
blitzkrieg was more fundamentally a strategic synthesis that played to the strength of Germanyƒs superior mobility technologies, especially aircraft and tanks, while avoiding the economic strain and social turmoil of a sustained mobilization.
(195) Germany had neither the enriched uranium, the atomic physicists, nor the governmental resources to manufacture an atomic bomb.

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Divergence hypothesis stronger than convergence: example of different paths taken by US and Japan. (229) The divergence hypothesis is also consistent with what we have learned from earlier eras.

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CCITT success setting standards for creative cultural uses, including fax machines. (234) The CCITT, or Comite Consultatif International Telegraphique et Telephonique, was the leading international standards-setting body for all of telecommunications beginning in the 1950s. Its special strength was an remains standards setting by committee.
(235) It was CCITTƒs success with the 1980 standards that made facsimile into a global technology and relocated the industry to Japan. . . . The achievement of worldwide standards, digital compression, and flexible handshaking, in combination with open access to public telephone systems, created a huge potential market for facsimile.

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Example of fax technology for culture-making. (236) This network of students and teachers, along with some journalists and government officials, is notable not only for creatively using fax technology but also for explicitly theorizing about their culture-making use of technology.
(236) The idea of using fax machines for building European identity and youth culture originated with the Education and Media Liaison Center of Franceƒs Ministry of Education, which was in the middle of a four-year project to boost public awareness of telematics and videotext. (Franceƒs famous Minitel system came out of this same context of state support for information technology.

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McDonaldization spreads predictability, calculability and control yet embraces corporate strategy of localization. (238) McWorld epitomizes the cultural homogenization and rampant Americanization denounced by many critics of globalization. McDonaldization refers to a broader process of the spread of predictability, calculability, and control with the fast-food restaurant as the present-day paradigm of Max Weberƒs famous theory of rationalization.
(240) The presence of McDonaldƒs in the conflict-torn Middle East is good news to Tom Friedman, the author of
The Lexus and the Olive Tree (1999). In his spirited brief on behalf of globalization, Friedman frames the golden arches theory of conflict prevention.
(245) McDonaldƒs corporate strategy of localization not only accommodates local initiatives and sensibilities but also, as the company is well aware, blunts the arguments of its critics.

3 2 1 (+) [-4+]mCQK misa-leonardo_to_the_internet (270) 20131007v 0 -3+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Displacement of alternatives or open discussion by technology decisions raises questions of technological mobilization by non-dominant groups. (270) Can technologies be used by nondominant actors to advance their alternative agendas?
(271) A second reason for looking closely at the technology-power nexus is the possibility that
non-dominant groups in society will effectively mobilize technology.
(272) The new diagnosis coming from ecological modernization is that dealing effectively with the environmental crisis will require serious engagement with technology.

3 2 1 (+) [-4+]mCQK misa-leonardo_to_the_internet (273) 20131007w 0 -2+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Misa main point, countering a naive perspective of technological determinism, is that technology is product of social change as much as cause of it; also need to broaden understanding of how modern technology interacts with other cultures. (273) Nevertheless, it is a mistake to follow the commonplace conviction that technology by itself causes change, because technology is not only a
force for but also a product of social and cultural change.
(274) This internal disjunction is compounded by the external
division between the Moslem-Arab worldview and the Western worldview, made evident by the September 11 attacks.

3 2 1 (+) [-4+]mCQK misa-leonardo_to_the_internet (275) 20131007x 0 -2+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Western scholars need to learn details of how modern technologies are interacting with traditional social forms, especially in Middle East but also natives of North and South America. (275) It is an especially pressing concern that scholars and citizens in the West know all too little about the details and dynamics of how modern technologies are interacting with traditional social forms. This is true not only for the Middle East, Asia, and Africa but also for native peoples in North and South America.

3 2 1 (+) [-4+]mCQK ogorman-ecrit (57) 20131006y 0 -5+ progress/2008/09/notes_for_ogorman-ecrit.html
Compare Blake techniques to the free, open source software movement as a response to the dehumanizing potential of closed-source, cathedral software epitomized by Microsoft. (57) Unlike other Romantics, such as Rousseau, Blake was not an outright anti-technologist; his critique targets the mechanistic techniques tied into the apparatus, and not the apparatus itself. Rather than rejecting the apparatus of print production, then, he chose to invent his own, based on techniques that subverted the dehumanizing potential of mechanical reproduction.
(58) As [Morris] Eaves suggests [in
The Counter-Arts Conspiracy: Art and Industry in the Age of Blake], ƒdigitization is not a notion confined to electronic devices but a technological norm that operates across a spectrum of materials and processes. As a rule of thumb, the more deeply digitization penetrates, the more efficient the process becomesƒ (186).
(58) At the heart of digitization is a praxis of ƒdivisionƒ that Blake strived to denounce through his ƒchaosethetics.

3 2 1 (+) [-4+]mCQK ucf-core_exam_for_john_bork (1) 20121029a 0 0+ progress/2012/10/notes_for_ucf-core_exam_for_john_bork.html
Noted that a rhetorical question about the unintended consequences of seeming autonomous technologies setting up the explicit question of how to better philosophize about technology dialectically. (1)

---3.2.2+++ {11}

3 2 2 (+) [-6+]mCQK bork-journal 20131013 20131013 0 -1+ journal_2013.html
Sterne should be positioned with Edwards in drawing out computing as an evolving nexus of social acts like techniques of listening rather than monolithic, clearly demarcated ones easily reducible to boolean logic or arithmetic.

3 2 2 (+) [-6+]mCQK edwards-closed_world (14) 20130821d 0 -2+ progress/2013/08/notes_for_edwards-closed_world.html
Rhetorical importance of simulations. (14) Inside the closed horizon of nuclear physics, simulations became more real than the reality itself, as the nuclear standoff evolved into an entirely abstract war of position. Simulations computer models, war games, statistical analyses, discourses of nuclear strategy had, in an important sense, more political significance and more cultural impact than the weapons the could not be used.

3 2 2 (+) [-4+]mCQK spinuzzi-network (2) 20131010 0 -3+ progress/2009/01/notes_for_spinuzzi-network.html
Research question how do genres circulate in a complex organization shifted to basic question of how the company works at all. (2)
Few of these groups actually understand each otherƒs work. When I began researching Telecorp, my research question was: How do genres circulate in a complex organization? By the end of the project, I inflected the question somewhat differently: How on earth does this company function when its right hand often doesnƒt know what its left hand is doing?

3 2 2 (+) [-4+]mCQK spinuzzi-network (5) 20131010a 0 -4+ progress/2009/01/notes_for_spinuzzi-network.html
Latour claims term network has lost cutting edge and meaning by series of transformations to activity systems and tool use; apply understanding of physical telecommunications network made of wires, wood, plastic, glass. (5) Bruno
Latour declares that the term network has lost is cutting edge and in the process has lost its meaning as a series of transformations translations, transductions which could not be captured by any of the traditional terms of social theory (1999a, p. 15).
(7) Activity networks are
linked activity systems human beings laboring cyclically to transform the object of their labor, drawing on tools and practices to do so.
(8) I want to exploit the tensions among these different understandings of network, and I want to apply them to a third understanding of network: a physical telecommunications network made of wires, wood, plastic, and glass.

3 2 2 (+) [-6+]mCQK spinuzzi-network (16) 20131010b 0 -5+ progress/2009/01/notes_for_spinuzzi-network.html
Activity theory and actor-network theory provide grounding around objects and recruiting allies in net working. (16)
Activity theory provides a cultural-historical, developmental view of networks grounded in the orientation of particular activities toward particular objects. . . . Actor-network theory provides a political and rhetorical view of networks and foregrounds the continual recruiting of new allies both human and nonhuman to strengthen the Telecorp network.

3 2 2 (+) [-4+]mCQK spinuzzi-network (17) 20131010c 0 -5+ progress/2009/01/notes_for_spinuzzi-network.html
Genres as rhetorical responses to recurring social situations function in assemblages and hold network together. (17) Genres which can be glossed as typified rhetorical responses to recurring social situations (Miller, 1984) do much of the enacting that holds a network together. . . . Genres typically function in assemblages, as Iƒve discussed elsewhere (Spinuzzi, 2004), and their compound mediation enables complex activities such as the ones weƒve seen in this chapter.

3 2 2 (+) [-6+]mCQK spinuzzi-network (17) 20131010d 0 -3+ progress/2009/01/notes_for_spinuzzi-network.html
Texts weave networks together; inscriptions vital role in actor-network theory to transform unmanageable phenomena into mobile texts (Latour). (17) The word
text comes from the root word textere, to weave together, and I suggest thatƒs exactly what texts do: weave together these networks. In actor-network theory, inscriptions play a vital role in constructing networks. They transform complex, unmanageable, immobile phenomena into manageable, transformable, combinable, mobile texts (Latour, 1990).

3 2 2 (+) [-4+]mCQK spinuzzi-network (21) 20131010e 0 -7+ progress/2009/01/notes_for_spinuzzi-network.html
Controlling behavior from outside via mediation leads to internalization of work. (21)
mediation involves controlling oneƒs own behavior from the outside, as it were, through physical and psychological tools (Vygotsky, 1978, p.40). . . . As as workers mediate their work with these artifacts, they internalize the work.
(23) Genre supplies an account of stability-with-flexibility that is more fleshed out than fluids, modes of coordination, and regimes and at the same time leverages the notion of inscription that is so important in actor-network theory.

3 2 2 (+) [-4+]mCQK spinuzzi-network (26) 20131010f 0 -7+ progress/2009/01/notes_for_spinuzzi-network.html
Social languages develop around particular activities enacted by particular groups as different logics, not just lists of terms; language not abstract system but rather concrete heteroglot conception of the world (Bakhtin). (26) The term
social languages is drawn from the work of language philosopher Mikhail Bakhtin, whose work has often been paired with activity theory. Social languages develop around particular activities enacted by particular groups of people. They are not simply lists of terms; they are actually different logics (again, on the sense of logos, word). . . . For any individual consciousness living in it, language is not an abstract system of normative forms but rather a concrete heteroglot conception of the world.

3 2 2 (+) [-4+]mCQK spinuzzi-network (27) 20131010g 0 -2+ progress/2009/01/notes_for_spinuzzi-network.html
Connect social languages to Gee situated, embodied language. (27) Learning a social language means joining, sharing, and coconstructing the
logos constituted by it; it means joining a community and learning (if not necessarily accepting) that communityƒs ideology or ideologies. And, as Bakhtin says, it also means differentiating oneself from others who have not learned the social language.

3 2 2 (+) [-4+]mCQK spinuzzi-network (30) 20131010h 0 -3+ progress/2009/01/notes_for_spinuzzi-network.html
Trajectory of book is to show how activity theory can learn from actor-network theory to reach potential for study of knowledge work. (30) Activity theory is well positioned to study knowledge work, probably better positioned than actor-network theory for reasons that will become clear in Chapter 6. But in its present third-generation stage, it needs to develop in specific ways to reach its potential. It could learn more from actor-network theory than it has.

3 2 2 (+) [-4+]mCQK spinuzzi-network (32) 20131010i 0 -1+ progress/2009/01/notes_for_spinuzzi-network.html
Activity theory interested in how people work, actor-network theory how power works. (32) Activity theory is interested in how
people work; actor-network theory is interested in how power works.

3 2 2 (+) [-4+]mCQK spinuzzi-network (33) 20131010j 0 -5+ progress/2009/01/notes_for_spinuzzi-network.html
Tracing is like tracing through schematics or wire traces, which may be useful for finding breaks but very awkward for discerning the function of complex assemblies. (33) two very different understandings of sociotechnical networks: the
woven, cultural-historical and developmental understanding afforded by activity theory and the spliced, political-rhetorical, negotiated understanding afforded by actor-network theory. . . . Think of this work as tracing through schematics to find design flaws or tracing through a circuit to find loose wires or damaged connections, but in this case weƒre looking at heterogeneous elements such as people, practices, and texts.

3 2 2 (+) [-4+]mCQK spinuzzi-network (38-39) 20131010n 0 -2+ progress/2009/01/notes_for_spinuzzi-network.html
Latour found complexity of system black box hidden behind interface such as phone company. (38-39) The technical, organizational, disciplinary, political and economic complexity of the system was
black-boxed or hidden behind a simple interface (Latour, 1987); customers just saw the phone company. The black box was maintained through thousands of daily, localized, often ad hoc connections, including genres such as checklists, electronic notes, and immense stacks of marked and highlighted printouts.

3 2 2 (+) [-4+]mCQK spinuzzi-network (53) 20131010x 0 -2+ progress/2009/01/notes_for_spinuzzi-network.html
Examines five events at Telecorp that demonstrate most activity systems massed at border, permeable edge of organizational black box. (53) the activity systems were almost all massed on Telecorpƒs border, at the very permeable edge of the black box, and any one of them could take initial input such as a call about interrupted service.
Telecorp was almost all border.

3 2 2 (+) [-4+]mCQK spinuzzi-network (56) 20131010y 0 -3+ progress/2009/01/notes_for_spinuzzi-network.html
Splicing events hindered weaving by communal operationalizing and cross-training. (56)
Cross-training might indeed help spread understanding about how Telecorpƒs heterogeneous parts work, but Telecorp is becoming more complicated by the day, and local knowledge has a short shelf life.
(57) Splicing events such as turnover, acquisitions, cross-training, and regulative changes meant that workers could not close the black boxes themselves by
operationalizing (to use activity theoryƒs term) their routine actions. The weaving activity that would allow for communal operationalizing - the formation of shared tricks, habits, and genres, the sorts of things that make black boxes possible - was difficult to sustain because the activities of the different activity systems were weaving too rapidly, diverging too quickly, converging too chaotically, splicing across heterogeneous fields too frequently, and losing too many individuals too quickly.

3 2 2 (+) [-4+]mCQK spinuzzi-network (146) 20131011o 0 -7+ progress/2009/01/notes_for_spinuzzi-network.html
Texts belong to genres providing developmental influence on human activity, woven over time and spliced as hybrids in intersecting activities; offers methodology of tracing circulation of genres building networks of activity. (146) Texts belong to
genres.
(146) Types of inscription tend to develop over time within particular activities to meet recurrent needs. These
genres provide a developmental, stabilizing influence on human activity. . . . Genres are, then, woven or developed over time to respond to recurrent situations but also spliced or hybridized to adapt to local conditions and intersecting activities.

3 2 2 (+) [-4+]mCQK spinuzzi-network (149) 20131011q 0 -1+ progress/2009/01/notes_for_spinuzzi-network.html
It is obviously tempting to try redeveloping these cases of net work with examples from my own workplace: following an order, money, substitutions, and workers. (149) Letƒs follow an order to get a sense of how texts circulate as inscriptions and as genres and to see how circulating rerepresentations, or series of transformations, weave and splice together Telecorpƒs activities.

3 2 2 (+) [-4+]mCQK spinuzzi-network (195-196) 20131011w 0 -6+ progress/2009/01/notes_for_spinuzzi-network.html
In summary Telecorp performed net work well but not net learning and training measures, which were tactical and reactive rather than strategic and productive. (195-196) So Telecorp, although it performed net work well, had not achieved net
learning to the extent necessary. . . . Informally, Telecorpƒs learning and training measures were better suited to a smaller organization with less turnover and consequently stressed contingencies rather than principles. The result was an organization whose learning was tactical rather than strategic and reactive rather than proactive.

3 2 2 (+) [-4+]mCQK spinuzzi-network (197) 20131011x 0 -1+ progress/2009/01/notes_for_spinuzzi-network.html
Seeking synchretism of activity theory and actor-network theory rather than synthesis. (197) How to take the two perspectives and put together a reasonable settlement, a
synchretism rather than a synthesis.

3 2 2 (+) [-3+]mCQK spinuzzi-network (202) 20131011y 0 -1+ progress/2009/01/notes_for_spinuzzi-network.html
The Toptech Change Request process reflects the tension between the well intentioned desire to increase agility by paying attention to decentralized, cross-functional, project-oriented work processes while confounding this effort by inaugurating successive new regimes of inflexible, form-based controls. (202) Trying to force net work into a modular work configuration tends to sharply reduce agility.

3 2 2 (+) [-4+]mCQK spinuzzi-network (205-206) 20131011z 0 -7+ progress/2009/01/notes_for_spinuzzi-network.html
Final judgment is that most promise with activity theory, especially underdeveloped adoption of Bakhtin dialogism to better deal with rhetoric of net work; need synchretism of activity theory and actor-network theory. (205-206) Some of activity theoryƒs more forward-looking theorists have begun to leverage nondialectical ways of describing interactions in networks. The most important development in this direction, although currently underdeveloped, is activity theoryƒs adoption of M. M.
Bakhtinƒs dialogism.
(206) Rhetoric, as I argued in Chapter 2, has been a weak spot for activity theory due to its reliance on dialectic, so bringing in dialogism provides a way to better acknowledge and deal with rhetoric in net work.
(206) We need a more flexible, more associational activity theory with a stronger splicing account if weƒre going to analyze net work properly. We need activity theory to be dialogical and more rhetorical.

3 2 2 (+) [-4+]mCQK sterne-audible_past (22) 20131013d 0 -10+ progress/2011/09/notes_for_sterne-audible_past.html
Transducers as the basis of defining sound-reproduction technologies, focus on physical and cultural aspects, tympanic principle. (22) So let us take a ride on Ockhamƒs razor and work from a simpler definition of sound-reproduction technology, one that does not require us to posit a transcendental subject of hearing: modern technologies of sound reproduction use devices called
transducers, which turn sound into something else and that something else back into sound.
(22) Even though transducers operate on a very simple set of physical properties, they are also cultural artifacts. This is where
The Audible Past begins its history of sound.
(22) The ear phonautograph used an excised human middle ear as a transducer, and the functioning of the tympanic membrance (also known as the diaphragm or the eardrum) in the human ear was the model for the diaphragms in all subsequent sound-reproduction technologies. As a result, I call the mechanical principle behind transducers
tympanic.
(23) Prior to the nineteenth century, philosophies of sound usually considered their object through a particular, idealized instance such as speech or music. . . . In contrast, the concept
frequency previously developed by Descartes, Mersenne, and Bernoulli offered a way to think about sound as a form of motion or vibration.

3 2 2 (+) [-6+]mCQK sterne-audible_past (34) 20131013e 0 -8+ progress/2011/09/notes_for_sterne-audible_past.html
Tympanic is key to Sterne approach: from functional description of a region implicit in hearing to pure function for sound reproduction. (34) I use the word
tympanic deliberately: its linguistic evolution reflects the same cultural movements that I describe below. . . . Following the etymology, the word moves from connoting a region, to a functional description of the region, to a pure function. This is the history of hearing itself during the nineteenth century.
(34-35) It is still impossible to think of a configuration of technologies that makes sense as sound reproduction without either microphones or speakers.
(35) Since physics and mechanics are so often mistaken for transcendent, a priori, causal conditions of technological history, it makes sense to begin with a cultural, intellectual, and social history of the tympanic mechanism.

3 2 2 (+) [-4+]mCQK sterne-audible_past (36) 20131013f 0 -6+ progress/2011/09/notes_for_sterne-audible_past.html
Scott phonautograph made speech visible without reference of positions of the mouth producing it; Bell suggested delegation of hearing to machine by isolating tympanic principle as function of ear. (36) Scott, who was a typesetter, came on the idea for the phonautograph when proofreading drawings of the anatomy of the ear for a physics textbook.
(38) Since Bellƒs ultimate goal was training the deaf to speak, he began to seek alternatives to the methods of visible speech. Scottƒs phonautograph presented itself as one such alternative because it rendered speech visible through a representation of the waveforms produced by speech, rather than through a representation of positions of the mouth. In other words, it treated sound reproduction as a problem of reproducing effects, rather than reconstructing causes. The phonautograph sought to imitate the activity of the middle ear, not the positions of the mouth.
(38) Bellƒs use of the phonautograph suggested instead the
delegation of hearing to a machine and the isolation of the tympanic principle as the basic mechanical function of the ear.

3 2 2 (+) [-6+]mCQK sterne-audible_past (56) 20131013h 0 -3+ progress/2011/09/notes_for_sterne-audible_past.html
Dissection as physical ground for philosophical move abstracting ear from rest of body. (56) Blakeƒs aestheticization of dissection served very important professional and intellectual purposes: it is a lot easier to think of hearing abstractly if you can physically abstract the ear from the rest of the body. Dissection was the physical ground for this philosophical move.
(57) The connection between instrumentation and mechanical models of human hearing is particularly acute, however, in the development of auditory physiology and physiological understandings of hearing.

3 2 2 (+) [-4+]mCQK sterne-audible_past (58) 20131013i 0 -9+ progress/2011/09/notes_for_sterne-audible_past.html
Instrument-based physiological research prelude to Hayles how we became posthuman. (58) Through instrument-based physiological research, the human senses came to be understood as mechanisms themselves.
(59) The modern physiologists advanced a doctrine of the separation of the senses, according to which the same stimulus could excite different effects in different senses. At the same time, they developed the peculiar mechanical theory of hearing that would be embodied in tympanic sound-reproduction devices.
(61) Not only are the senses separate and mechanical, but they are also almost purely indexical. That is to say,
any stimulus of the nerves of sensation can register as a sense datum. . . . Whatsoever stimulated the nerve could cause the sensation.

3 2 2 (+) [-4+]mCQK sterne-audible_past (66) 20131013j 0 -3+ progress/2011/09/notes_for_sterne-audible_past.html
Hemholtz upper partials and overtones lead to functionalist theory of sound and hearing. (66) Essentially, Helmholtz argued that the tiny hairs inside the cochlea were like the strings of a piano, each tuned to perceive a particular frequency.
(67) Despite the resolutely sober tones of the scientific and medical texts that we have been examining, science and medicine were eminently social and political practices. This is to say that the theoretical, practical, and physical abstraction and extraction of the ear from the rest of the human body has a distinctly political valence a valence rendered most clearly in the history of dissection.

3 2 2 (+) [-4+]mCQK sterne-audible_past (69) 20131013k 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Political and social aspects of science and medicine: bodies of poor raw material for medical knowledge, to be met again in Nazi experiments. (69) Both the British and the American [anatomy] acts made the bodies of the poor the raw material for medical knowledge.
(69) All achievement in history is piled up on top of anonymous bodies; the ear phonautograph is rare in that it gives us a glimpse of what lies beneath it.

3 2 2 (+) [-6+]mCQK sterne-audible_past (83-94) 20131013p 0 -7+ progress/2011/09/notes_for_sterne-audible_past.html
Tympanic function based on family resemblance rather than deep structure or ideal type. (83-94) The tympanic construct, the abstraction of hearing into a mechanism, cut across social relations and social contexts; it became a method for organizing people, forces, matter, and ideas. Yet it is
not a deep structure in Levi-Straussƒs sense of enduring structural relations lying dormant beneath a society that are then carried out through social activity. The tympanic is also not an ideal type derived through analysis of a normative structure by which to consider a range of multiple and differing practices. . . . While, in its formal characteristics, each sound-reproduction technology exhibited a family resemblance to the others through the tympanic function, the function was itself a variable.

3 2 2 (+) [-4+]mCQK sterne-audible_past (88-89) 20131013q 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Kittler and others adapt the Foucault archaeology to appreciate details of specific technologies, here the fun term mediate auscultation the double inscription of listening techniques that technologically reproduced sound, suggesting the same kind of precision (sagacity in age of American Socrates) for knowing. (88-89) At that earlier moment, listening was first being articulated to newly emergent notions of science and rationality through its use in doctorsƒ medical examinations of patients. Over the course of a century, this practical orientation would move from the specialized province of physicians diagnosing their patients to the much larger context of
listening to technologically reproduced sound.

3 2 2 (+) [-4+]mCQK sterne-audible_past (90) 20131013r 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Mediate auscultation, listening to patient body through stethoscope, launched techniques of listening from Laennecs vast Treatise. (90)
Mediate auscultation is the act of listening to a patientƒs body through a stethoscope. Laennecƒs lengthy Treatise is a fascinating document because it explains to physicians why they would want to listen to patientsƒ bodies, how to listen to patients with the stethoscope properly, and how to interpret the sounds thus heard.

3 2 2 (+) [-6+]mCQK sterne-audible_past (92) 20131013s 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Technique as learned skill connoting contextually bound repeatable activities, virtuosity, possibility of failure. (92)
Technique connotes practice, virtuosity, and the possibility of failure and accident, as in a musicianƒs technique with a musical instrument. It is a learned skill, a set of repeatable activities within a limited number of framed contexts.

3 2 2 (+) [-4+]mCQK sterne-audible_past (92) 20131013t 0 -6+ progress/2011/09/notes_for_sterne-audible_past.html
Hayles also introduces Bourdieu habitus when describing forms of cognition and communication transcending interpretations and, in the age of technical reproduction, recordings. (92) Follow Pierre Bourdieu,
habitus denotes a set of dispositions, what he calls a feel for the game. The habitus is socially conditioned subjectivity: it combines all those forms of informal knowledge that make up social life.
(93) Listening becomes a technical skill, a skill that can be developed and used toward instrumental ends.
(93) audile technique is oriented toward a faculty of hearing that is separated from the other senses.
(93) The space occupied by sounds becomes something to be formed, molded, oriented, and made useful for the purposes of listening techniques. It can be segmented, made cellular, cut into little pieces, and reassembled.

3 2 2 (+) [-4+]mCQK sterne-audible_past (96) 20131013u 0 -4+ progress/2011/09/notes_for_sterne-audible_past.html
Audile implies acculturated practices as distinguished from inherent capacities, emergent sensorial and conscious forms. (96) I use
audile to connote hearing and listening as developed and specialized practices, rather than inherent capacities.
(97) There are a number of extant cultural histories of listening that aim to recount changes in practices of listening. In these histories, technique often appears as a tangent to the main narrative.
(98) Medicine and telegraphy were two fields where techniques of listening provided professional ethos and prestige.

3 2 2 (+) [-4+]mCQK sterne-audible_past (100) 20131013v 0 -10+ progress/2011/09/notes_for_sterne-audible_past.html
Mediate auscultation example of mediated listening. (100) The phrase
mediate auscultation was coined by R. T. H. Laennec, who is credited with inventing the stethoscope and the techniques to go with it. . . . In other words, although the term mediate was dropped from the phrase, it remains the default category for medical listening, down to the present. So a discrete form of listening as mediated, skilled, and technologized became centrally important to the construction of modern medical knowledge and its application.
(103) Laennecƒs
Treatise [on the Diseases of the Chest and on Mediate Auscultation] is a crucial document because it explains in great detail why doctors should use stethoscopes to listen to their patients, how they should use their stethoscopes, and how to understand what they hear through the tube.

3 2 2 (+) [-4+]mCQK sterne-audible_past (106) 20131013w 0 -10+ progress/2011/09/notes_for_sterne-audible_past.html
Fetishization of hearing loss, or prostheses: becoming cyborg. (106) As it would come to be with the ear phonautograph, the telephone, and the phonograph, so it was with the stethoscope: mediate auscultation fetishized the cultural status and trappings of hearing loss. . . . Even the doctorƒs trained ear could never hear enough without the stethoscope.
(107) A century before Brandes headphones, it is all there in the
Treatise: the separation of hearing from the other senses, the production of noises otherwise inaudible to the naked ear, the demarcation of interior and exterior sounds, and the drive for true fidelity. . . . he is very much concerned with an epistemology of mediation (and mediation through the use of technology), but there is also an important relation between physical distance between doctor and patient and social distance.

3 2 2 (+) [-4+]mCQK sterne-audible_past (130) 20131013y 0 -4+ progress/2011/09/notes_for_sterne-audible_past.html
Laennec sought Pierce indexical connections between sonic signs and illnesses; other theorists invoke Pierce, some, as if the sole philosopher worth studying in place of their own trajectories. (130) To use the language of Charles Sanders
Peirce, Laennec sought to posit indexical connections between sonic signs and illnesses.
(131) But, here, Laennecƒs ambitions collided with the acoustic properties of sound: any single sound could be caused by many different things.
(133) Thus, another discourse accompanies and quickly overtakes the lexicography of mediate auscultation: a discourse of clinical experience and refinement of technique.
(135) As mediate auscultation became institutionalized, as it became a regular practice in medicine, instruction in listening moved from attention to the pathological to attention to the normal.

3 2 2 (+) [-4+]mCQK sterne-audible_past (137) 20131013z 0 -1+ progress/2011/09/notes_for_sterne-audible_past.html
Sound telegraphy further generalizes notion of technicized listening; positioned Sterne with Edwards as complicating trajectory in drawing out computing as an evolving nexus of social acts like techniques of listening rather than monolithic, clearly demarcated one easily reducible to boolean logic or arithmetic. (137) If mediate auscultation is significant because of doctorsƒ systematic attempts to elaborate a hermeneutics and pedagogy of listening, sound telegraphy both further generalized a notion of technicized listening and brought it for the first time into the realm of mediated communication, mass culture, and everyday life.

3 2 2 (+) [-4+]mCQK sterne-audible_past (141) 20131014a 0 -6+ progress/2011/09/notes_for_sterne-audible_past.html
Semaphoric telegraphy long before electric telegraphy: in the former, humans to the signification decoding; in the latter, machines transduce although for some time (until Kittler notes software takes command) humans still decode and consume its content. (141) What we now commonly call
telegraphy is really electric telegraphy, which is a comparatively recent development in a longer history of telegraphy. An older form of telegraphy, now called semaphoric telegraphy, can be traced back to the Greeks and the Old Testament. . . . This basic system of semaphoric telegraphy would remain in place for about two thousand years.

3 2 2 (+) [-4+]mCQK sterne-audible_past (141-142) 20131014b 0 -5+ progress/2011/09/notes_for_sterne-audible_past.html
Visual-tactile telegraphy relied on human sight. (141-142) Semaphoric and mechanical-semaphoric telegraphic were visual-tactile media: they relied on the sense of sight for the transmission of information over a distance. . . . For the purposes of this chapter, I will use
sound telegraphy to refer to a specific set of practices involved in telegraph operators listening to the Morse-based electric system.

3 2 2 (+) [-4+]mCQK sterne-audible_past (142) 20131014c 0 -18+ progress/2011/09/notes_for_sterne-audible_past.html
Ontological fallacy by Rick Altman, representing philosophy in general, viewing things as essentially either visual or auditory due to historical practices, great for thinking about HCI; Sterne focuses on cultural and historical details. (142) Rather, unlike many other media, the electric telegraph spent time as both an apparently visual medium and an apparently acoustic medium. Historians of the senses often tend to think in terms of binary logics: thinking, practice, or technology is either visual or auditory. Rick
Altman has called this the ontological fallacy, where scholars extrapolate from historically specific practices to make transhistorical claims about the nature of a medium. . . . While the senses are technically interchangeable in telegraphy, vision and hearing play very distinct roles in its cultural and industrial history. . . . Telegraphic listening actually consisted of many learned practices that developed over time. . . . While the senses are technically interchangeable in telegraphy, vision and hearing play very distinct roles in its cultural and industrial history.
(143) At its very outset, there is a sensory interchangeability in electric telegraphy: sheets of paper or tuned bells produce the same effect as far as the author [C.M. in 1753
Scotsƒ Magazine] is concerned.

3 2 2 (+) [-4+]mCQK sterne-audible_past (151) 20131014e 0 -3+ progress/2011/09/notes_for_sterne-audible_past.html
Small front spaces and large back spaces incubate mass media according to Giddens and Thompson. (151) Giddens and John Thompson both argue that the rise of the mass media has coincided with the growth of forms of communication that entail very small front spaces (relatively little available information) in relation to relatively large back spaces (lots of unknown factors). The telegraph is a good example of this phenomenon since the clicks of the sounder are the only information available about what is happening at the other end of the line.
(153) In sound telegraphy, distant events became audible purely through a sonic trace, even if this audition had to carry a huge burden of social knowledge with it.

3 2 2 (+) [-6+]mCQK sterne-audible_past (153-154) 20131014f 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Sound telegraphy as listening in an media context: compare to writing as vision in a media context. (153-154) The cultural and technical dominance of sound telegraphy is probably the first major example of listening in a media context in American history. Sound telegraphy does not reproduce sound so much as link it, enmesh it in a relation of correspondences, and organize it according to the logic of an indexical code a particular kind of signification.

3 2 2 (+) [-4+]mCQK sterne-audible_past (154-155) 20131014g 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Three aspects of audile technique in history of headset culture: idealization of technicized hearing, construction of private acoustic space, commodification and collectivization of individuated listening; does this transformation echo in other media? (154-155) Three aspects of audile technique are especially salient for the images that I consider below: the separation and idealization of technicized hearing; the construction of private acoustic space; and the subsequent commodification and collectivization of individuated listening.
(155) By connecting each ear with a slightly different sound source, the listener would get a three-dimensional sense of the auditory field: what is now called the
stereo image.

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Mediated listening environment. (158) Beyond its privileging of sonic details, audile technique is based on the
individuation of the listener. . . . From the bedside physician in the hospital to the railway telegraph operator in the passenger car: through technology and technique listeners could transcend the immediate acoustic environment to participate in another, mediated linkage.
(160) The space of the auditory field became a form of private property, a space for the individual to inhabit alone.

3 2 2 (+) [-4+]mCQK sterne-audible_past (161) 20131014j 0 -5+ progress/2011/09/notes_for_sterne-audible_past.html
See A Place for Hearing for iconography of collective listening: like social contract, commodity sound arrives with private acoustic property. (161) We see a similar trend with the gradual silencing of later audiences for vaudeville and film: as a form of expression becomes more legitimate and more prestigious, its audience quiets down. This quieting has the effect of atomizing an audience into individual listeners.
(161) The whole process of technicization operated to a logic somewhat analogous to a bastardized version of social contract mythology: economic, social, and cultural forces produced property-owning individuals who, then perceive themselves as voluntarily entering into a collective and later participating in a general will. The iconography of collective listening embodied this kind of reasoning: the individuated listener comes before the collective sonic experience.
(162) The phonograph parlor also handily demonstrates the connection between the construction of a private auditory space and the commodification of sound itself.

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Audiences immersed alone together in world of sound, per Kenney; compare to latest Turkle. (163) These audiences are immersed - alone together, to use William
Kenneyƒs phrase in a world of sound. The message is one of mediation: listeners isolate themselves in order to have a collective experience through the gramophone.
(168) This was Kenneyƒs original point: standardized, commodified music allowed people separated by expanses of time and space to hear the same thing. The same principle works for telephony.

3 2 2 (+) [-4+]mCQK sterne-audible_past (173-174) 20131014l 0 -3+ progress/2011/09/notes_for_sterne-audible_past.html
Visual vocabulary of auditory immediacy by early 1920 captured by headphones, but articulation in networks of new industries and middle class practices required for sound technologies to transform into sound media. (173-174) By the early 1920s, a visual vocabulary of auditory immediacy had been established. Headphones could appear in almost any situation, as much a symbol of connection to a common commodity culture and of that cultureƒs integration into both domestic and public life as of anything specific about listening.
(177) For sound technologies to become sound media, they would have to be articulated together in networks through the organization of new media industries and new middle-class practices.

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Asexual birth of Artemis a detail not present in Leonardo to the Internet, but which itself foreshadows Sterne following other critical theorists in recognizing a shift from the genius inventor to the large bureaucracy; see notes at end of chapter for big picture integration Grajeda seeks. (181) The odd figure of male birth allows for an historical sleight of hand. In addition to fitting well with the vanities of patent law then and now, it allows for a kind of naturalization, a mystification of technology and the institutions and practices that surround it. . . . The critical task, always, is to restore to these machines their greater humanity, their entanglement with the human even at their most mechanical moments.

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Articulation a concept like interpellation and my word for becoming free, open source software or documentation, eventually named flossification. (183) This is a story of articulation, the process by which different phenomena with no necessary relation to one another are made into a social unity . . . . Each machine embodied a whole set of articulations; in turn, it was articulated to larger economic, technical, and social functions and relations among many other possible and actual uses.
(183) The features of modern sound culture explored in this book plasticity, contingency, objecthood, supplementation make sense only in the larger contexts of industrial capitalism, middle-class culture, enlightenment science, and colonialism from which they emerged.

3 2 2 (+) [-4+]mCQK sterne-audible_past (183-184) 20131014p 0 -5+ progress/2011/09/notes_for_sterne-audible_past.html
Contrast with Kittler who credits war as the origin of all causes, including comment below on elite direction of technological development: how does FOSS look from this perspective, emerging out defining itself in contrast to the accepted collective action of large corporations and institutions but not networked human collectives that create the software themselves under their own direction? (183-184) This chapter examines the immediate social field within which the telephone, phonograph, radio, and other related sound-reproduction technologies were invented and then considers their development in the United States in the context of the changing middle class at the turn of the twentieth century. . . . My point is not to catalog all the concurrent developments in order to establish a hierarchy of importance, but rather to establish the conditions under which a given set of practices and possibilities has emerged.

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Kittler blames Edison for rejecting the gramophone for this divided, segmented condition. (184) Although these facts are well documented in the existing media histories, telephony, sound recording, and radio are still largely treated as separate social and cultural phenomena.

3 2 2 (+) [-4+]mCQK sterne-audible_past (188-189) 20131014r 0 -3+ progress/2011/09/notes_for_sterne-audible_past.html
Compare Gates, Stallman, Torvalds, Jobs to Bell and Edison as examples of the small, elite group of people contingently, sometimes accidentally, directing technological development; contrast the guy who invented delay wipers. (188-189) As Susan Douglas has suggested, the entire period can in fact be characterized by its cultural and commercial fixation on inventors and the cult of invention; the personalities of the inventors thus became important currency for promoting the inventions.
(189) There was a great deal of technical cross-fertilization among technologies as well.
(189) As the industries grew, these connections moved from the personal and the technical to the industrial.

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Interesting example of telephone as broadcast medium to support his argument that social configurations interacted with experimental applications of a new medium such as telephone broadcasting, which later reappears as the convergence of voice, data, and television media channels. (192) One of the most striking examples in this respect was the use of the telephone as a broadcast medium in various parts of Europe and the United States.
(194) As Carolyn Marvin argues, these anecdotes demonstrate the cultural and commercial feasibility of broadcast media long before radio broadcasting was even a possibility.

3 2 2 (+) [-4+]mCQK sterne-audible_past (195) 20131014u 0 -4+ progress/2011/09/notes_for_sterne-audible_past.html
Answer to Kittler is continually evolving and transforming media beyond domains in which military would even be interested: does this work? (195) While early users of telephones and phonographs experimented with alternatives to their eventually dominant form than that which it would finally take: point-to-point radio accounted for most of its commercial, military, and amateur use into the 1920s. Even then, the nature of broadcasting itself had to be developed. Early broadcasts used certified amateur operators at the receiving end. Only later would broadcasters come to understand reception as an unsupervised activity.

3 2 2 (+) [-4+]mCQK sterne-audible_past (196) 20131014v 0 -10+ progress/2011/09/notes_for_sterne-audible_past.html
Malware today violates ethics government expects for advertisements. (196) While radio executives mulled over the possibilities of broadcasting, AT&T and other telecommunications companies had trouble conceiving of different roles for wired and wireless communication. Essentially, executives saw broadcasting as an event-specific practice, tied to important events only, not as a regular, everyday occurrence. . . . Moreover, this form of broadcasting still was based on an economic relation where the event itself is sold to an audience for profit. . . . The gradual inclusion of advertisements in radio programming initially drew strident outcries from even the most industry-friendly periodicals.

3 2 2 (+) [-4+]mCQK sterne-audible_past (197) 20131014w 0 -7+ progress/2011/09/notes_for_sterne-audible_past.html
An argument discouraging social conversation based on scarcity that later becomes the basis of profitable new markets: same argument can be applied to commercial development of Internet, those using it for paid services are the new talkative housewives. (197) until the 1920s, Bell Telephone openly discouraged social conversation on the telephone, considering it trivial and frivolous. . . . Yet the corporate opposition did little to curb socialization by telephone.
(198) Lana Rakowƒs interviews with women in a small rural Midwestern community similarly suggest that, although official sources derided womenƒs uses of the telephone, their talk was in fact central to maintaining community life and was, therefore, intimately connected with other kinds of social activities.
(198) If gender codes helped shape telephone conduct, conceptions of class helped shape accessibility to the telephone.

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He understands enough about nature of medium to point out problem with unshielded lines predating remote electrification. (201) Promoters of both the telephone and the phonograph encountered problems with business users. In addition to meeting resistance from stenographers rightly fearing for their jobs, the early phonographs were not particularly well designed for office use. They did not have an efficient start/stop mechanism (essential for transcribing) and were difficult to listen to. Early telephones often had unbearable levels of interference, especially after the introduction of electric systems in cities.

3 2 2 (+) [-4+]mCQK sterne-audible_past (201) 20131014z 0 -5+ progress/2011/09/notes_for_sterne-audible_past.html
Opportunities in coin operated amusements as new use for phonographs after failure in business; first jukebox in 1927. (201) Already in 1890, frustrated phonograph merchants were turning away from business uses and toward the growing coin-in-the-slot business. . . . Coin-in-the-slot machines persisted into the 1910s and 1920s, when new developments allowed the invention of the first machine that would be called a
jukebox in 1927.

3 2 2 (+) [-4+]mCQK sterne-audible_past (202) 20131015 0 -3+ progress/2011/09/notes_for_sterne-audible_past.html
Compare Edison offering of phonograph applications to Theuth myth in Phaedrus. (202) Any discussion of the phonographƒs possibilities would be incomplete without the list of potential applications offered by Edison in an early publication on the potential of the phonograph.
(203) Technological change is shaped by cultural change. If we consider early sound-recording devices in their contemporary milieu, the telos toward mass production of prepackaged recordings appears as only one of many possible futures.

3 2 2 (+) [-4+]mCQK sterne-audible_past (203-204) 20131015a 0 -7+ progress/2011/09/notes_for_sterne-audible_past.html
Photography, circuit boards, master disks complicated, resource and labor intensive; software systems, on the other hand, are now easy to implement locally at home. (203-204) The making of a master disk for stamping, however, was somewhat complicate and labor-intensive, involved etching and acid baths for the first copy and the matrix that would be used to stamp subsequent copies. As a result, gramophone records were easier to mass produce but much harder for people to make in their own homes.
(205) Berlinerƒs uncertain futurology offered a rich brew of potential media systems for the gramophone. . . . Berlinerƒs gramophone office nicely hybridizes Victorian domesticity with the new culture of going out, to use David Nasawƒs phrase.

3 2 2 (+) [-4+]mCQK sterne-audible_past (206) 20131015b 0 -4+ progress/2011/09/notes_for_sterne-audible_past.html
Berliner broadcast indicated plasticity of sound event over time and space: new potential for dissemination comparable to writing? (206) Berlinerƒs
broadcast indicated the dispersal of sound events over time and space. When we refer to radio or telephone broadcasting, we think only of dispersal over space. We can read into Berlinerƒs usage, then a sense of the plasticity of the sound event over time and space so central to modern sound culture. This potential for dissemination was perhaps the most salient quality of new sound technologies as they were being shaped into media.

3 2 2 (+) [-4+]mCQK sterne-audible_past (206) 20131015c 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Berliner pope over Warner Reagan: power lies in placing trace of ruler within larger network of communication rather than image of ruler; why pace James Carery? (206) His [Michael Warner] example was Ronald Reagan on television, but Berlinerƒs pope suggests that the power lies, not in the
image of the ruler, but in placing a trace of the ruler image, voice, writing within a larger network of communication in order to bring people together. Pace James Carey, an authoritarian streak may cut across models of communication that are based on community, ritual, and communing.

3 2 2 (+) [-4+]mCQK sterne-audible_past (206) 20131015d 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
The Socratic turning away does not occur: Berliner did not think about technology with consideration of radical transformation by unplanned uses. (206) Clearly, even when Berliner conceives of the mass production and dissemination of recordings, he does not necessarily envision a mass market for prepackaged music. That construct of recording would develop later.

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Is the Internet facilitating the same way: the comparisons to personal computer proliferation are inviting. (208) In a fashion similar to telegraphy (discussed in the last chapter), the telephone, organized as a medium, facilitated intimately personal connection
because it was a massive network of connections. It was simultaneously intensely public and intensely private.

3 2 2 (+) [-6+]mCQK sterne-audible_past (208-209) 20131015f 0 -5+ progress/2011/09/notes_for_sterne-audible_past.html
His comparison of early consumer radio use to home computer needs updating to Internet age. (208-209) The home radio set (first providing only Morse code, then later allowing for the broadcast of speech and music) has more in common with the present-day home computer and modem than it does with the phonograph in the parlor. . . . The image of the family of the late 1920s, listening to a broadcast program while gathered around the radio was an extension of this new form of middle-class belonging.

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Great conceptual development of agency to interpret the Bell ad, strategic demystification via reification in reverse, good distinction between technology and media: should speak of Internet as media, not just combination of technologies, but still important to understand the underlying technologies linked via social relations. (210) But this Bell ad also points to the difference between technologies and media a technology is simply a machine that performs a function; a medium is a network of repeatable relations. The telephone was, thus, not simply a technology, but a shorthand name for a whole assemblage of connections, functions, institutions, and people. In fact, this campaign for Bell is pretty explicit the agency offered by the telephone comes from the corporation conceived as a network. Here, we see a version of
reification in reverse to coin a phrase, a strategic demystification where an advertisement highlights the relations embedded in a medium in order to promote the power that it presumably conveys to its users.

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Imagine Edison infomercial interpreted by Zizek. (212) In 1904, Edison produced a ten-minute film that, from todayƒs perspective, can only be considered an infomercial for the business phonograph.

3 2 2 (+) [-4+]mCQK sterne-audible_past (213-214) 20131015j 0 -4+ progress/2011/09/notes_for_sterne-audible_past.html
Placing development of sound reproduction technologies among whole range of social transformations another way around Kittler military archaeology: appeals to both the contingency of social response to new media possibilities, and that the technologies that eventually crystallized into widespread proliferation of consumer media may represent substantial transformations of military and institutional applications. (213-214) The development of sound reproduction into recognizable media occupies a place among a whole range of social transformations in turn-of-the-century America. It was not, as inventors and their idolators would have it, a matter of birth. The very possibility of sound media was strucured by the changing economics and social organization of invention, the growth of corporate-managerial capitalism, and the concurrent move from Victorian to consumerist forms of middle-class everyday life. Moreover, if the new sound technologies were not the products of some convoluted male birth scenario, neither did they arrive in the world fully formed.

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Imagined medium precedes technology itself: place this apparatus on emerging media facilitated by personal computers. (214) In this way, we might say that, insofar as sound technologies are
ever organized into sound media, the medium or at least, an imagined medium precedes even the technology itself.

3 2 2 (+) [-4+]mCQK sterne-audible_past (220) 20131015m 0 -9+ progress/2011/09/notes_for_sterne-audible_past.html
Basis of his argument is that sound production practice and therefore technologies shaped by sound reproduction (recording, storage, transmitting, transcoding, transducing): clearly Sterne is in the realm of transduction, and transcoding belongs to the programming paradigm, and what he says about traditional media technologies can be applied to computer-mediated media technologies. (220) Aura is the object of a nostalgia that accompanies reproduction. . . . the possibility of reproduction transforms the practice of production. . . . authenticity and presence become issues only when there is something to which we can compare them.

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Any medium of sound reproduction is a network apparatus encompassing whole set of relations, practices, people, technologies, never a singular device: likewise, does the very producibility of computer-mediated virtual reality emerge from the character and connectedness of the medium of TCP/IPv4 internetworked binary, stored program integrated electronic circuit controlled computing machinery? (225-226) Any medium of sound reproduction is an apparatus, a network a whole set of relations, practices, people, and technologies. The very possibility of sound reproduction emerges from the character and connectedness of the medium. . . . The medium does not mediate the relation between singer and listener, original and copy. It
is the nature of their connection. . . .

3 2 2 (+) [-4+]mCQK sterne-audible_past (225-226) 20131015p 0 -10+ progress/2011/09/notes_for_sterne-audible_past.html
Important point about creative expression: the performance is now for the medium itself, singing to the network, as Benjamin pointed out in cinema. (225-226) Any medium of sound reproduction is an apparatus, a network a whole set of relations, practices, people, and technologies. The very possibility of sound reproduction emerges from the character and connectedness of the medium. . . . The medium does not mediate the relation between singer and listener, original and copy. It
is the nature of their connection. . . .

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Both copy and original are products of reproduction process: thus I have to sit here and type; I cannot compose this while not taking on the complexion of the dead. (241) Therefore, we can no longer argue that copies are debased versions of a more authentic original that exists either outside or prior to the process of reproduction. Both copy and original are products of the process of reproducibility.

3 2 2 (+) [-4+]mCQK sterne-audible_past (246-247) 20131015r 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Inversion of Latour delegation thesis when sound reproduction technologies barely worked, like early personal computing. (246-247) That is to say, when sound-reproduction technologies barely worked, they needed human assistance to stitch together the apparent gaps in their abilities to make recognizable sounds. This is something of an inversion of Bruno Latourƒs delegation thesis.

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If same can be said of when free, open source operating environments barely worked, people had to led them their intelligibility, then does it also invert Latour? (249) The marvel of the machine was not that it reproduced sound well (of course it didnƒt) but that it reproduced sound at all; this was cause for applause in and of itself: here was an aesthetic of function.

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Compare phonograph inspectors manual to Laennec treatise, striving for Hegel vanishing mediator. (269) The [phonograph] inspectorƒs manual reads like Laennecƒs
Treatise on Mediate Auscultation, this time abridged and for machines. Not only were the sounds of the apparatus cataloged; they were medicalized like the sounds of the body. The goal was to eliminate the tones of the machine except for those deemed preferable and, therefore, labeled transparent (or, more likely, easier to ignore). A working phonograph for the Edison Company was like Hegelƒs vanishing mediator : it organized sonic relations and faded away into nothingness.
(272) In essence, the joke tells the truth that nobody wanted to hear but everybody knew sound reproduction shaped the sounds that went through the network.

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Is this an attack on philosophy, advertising his own approach? (286) Accounts of reproduction that presuppose an ontological split between original and copy offer only a negative theory of soundƒs reproducibility, where reproduction can reference only that what is not reproduced. Like advertising, philosophy promised a synthesis that the thing itself could never deliver.

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Beautiful story of ephemerality of sound recordings. (287) If there was a defining figure in early accounts of sound recording, it was the possibility of preserving the voice beyond the death of the speaker. If there was a defining characteristic of those first recording devices and the uses to which they were put, it was the ephemerality of sound recordings.

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Since Sterne works with very early electrical devices, he finds evidence of misaligned views of permanence of the technology you just whittled away your fortune to purchase and the results it achieved (the wax cylinders were never played because each playing deteriorated (degraded) them (themselves, middle voice)). (288) From the moment of its public introduction, sound recording was understood to have great possibilities as an archival medium. . . . Yet the early practice of sound recording was significantly different the first recordings were essentially unplayable after they were removed from the machines. . . . Sound recording did as much to promote ephemerality as it did to promote permanence in auditory life.

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Ghosts before cyborgs. (289) The logic is impeccable if sound reproduction simply stratifies vibration in new ways, if we learn to hear other areas of the vibrating world, then it would only make sense that we might pick up the voices of the dead. The writer simply failed to mention that the frequency of the deadƒs vibrations approaches zero, thereby rendering them difficult to hear. In this formulation, the medium is the metaphysics. The metaphorization of the human body, mind, and soul follows the medium currently in vogue.
(289) The sounds of many dead musicians and singers have casually graced my ears in the time spent writing this book they commingle with recorded music made by artists still living. If this experience is unremarkable today, it seems as thought it
demanded commentary one hundred years ago. . . . The change to hear the voices of the dead as a figure of the possibilities of sound recording appears with morbid regularity in technical descriptions, advertisements, announcements, circulars, philosophical speculations, and practical descriptions.

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Recorded sound as exteriority, resonant tomb lacking interior self-awareness as various AI systems exhibiting external intelligent behavior lack interior self-awareness. (290) In contrast, the voices of the dead no longer emanate from bodies that serve as containers for self-awareness. The recording is, therefore, a resonant tomb, offering the exteriority of the voice with none of its interior self-awareness.
(290) The telephone facilitated the hearing of a voice physically
absent to the listener. The phonograph took this a step further by dramatically facilitating the audition of voices absent to themselves. This made it special in the minds of its first auditors and philosophers.
(290-291) To understand the cultural significance of the voices of the dead, we must question the meaning of death itself.

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Recording a product of Victorian death culture of preservation that learned to can and embalm. (292)
Recording was the product of a culture that had learned to can and to embalm, to preserve the bodies of the dead so that they could continue to perform a social function after life. The nineteenth centuryƒs momentous battle against decay offered a way to explain sound recording. The ethos of preservation described and prescribed the cultural and technical possibilities of sound recording.

3 2 2 (+) [-4+]mCQK sterne-audible_past (292) 20131018c 0 -3+ progress/2011/09/notes_for_sterne-audible_past.html
Canning developed during Civil War as efficient means of distributing food, pace Kittler. (292) During the Civil War, canning business thrived through U.S. government patronage, as canning was the only efficient means of providing large quantities of food to large numbers of soldiers in the field.

3 2 2 (+) [-4+]mCQK sterne-audible_past (293) 20131018d 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Sousa disdain for canned music. (293) As I discussed in the previous chapter, experiencing live music and experiencing recorded music were not even initially comparable practices for many listeners. But the metaphor is actually quite apt: in canning, the food is preserved through a chemical transformation; in recording, the sound performance is preserved through a practical transformation.

3 2 2 (+) [-5+]mCQK sterne-audible_past (293-294) 20131018e 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Need to teach desire to hear voices of the dead; similar cultural basis for teaching need to surf information networks, or perhaps program? (293-294) Changing practices of preserving the bodies of the dead prior to the invention of the phonograph laid a foundation for the trope of the voices of the dead. The desire to hear these voices had to be learned: it was not a given.

3 2 2 (+) [-5+]mCQK sterne-audible_past (294) 20131018f 0 -4+ progress/2011/09/notes_for_sterne-audible_past.html
Modification of relations between life and death as example of Foucault biopower. (294) Fantasies of speaking to the not yet born and hearing the dead cast phonography as a species of biopower, a modification of the relations between life and death.
(295) Embalming specifically for funeralization, however, was a new practice in the nineteenth century, one that had been popularized only recently when sound recording was introduced to the public.
(295) Between 1856 and 1869, eleven major patents were granted for fluids, processes, and media for chemical embalming.
(296) Government interest helped build the industry for the next half century: many of the best-known undertakers of the period got their start working for the federal government.

3 2 2 (+) [-4+]mCQK sterne-audible_past (296) 20131018g 0 -1+ progress/2011/09/notes_for_sterne-audible_past.html
His argument turns on this point that widespread acceptance of improvements in funerary embalming practices led to more widespread acceptance; changing American death habits mirror changing listening habits. (296) Ultimately, its effectiveness at preserving the body for transport and at cosmetic modification led to its more widespread acceptance.

3 2 2 (+) [-4+]mCQK sterne-audible_past (297) 20131018h 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Disregard for voice in original form in favor of form suitable for performing social function. (297) The implied logic in preserving the voices of the dead through sound recording follows an identical path to this new approach to preserving the dead in general: a disregard for the preservation of the voice in its original form, instead aiming for the preservation of the voice in such a form that it may continue to perform a social function.
(297) Perhaps the frightening aspect of this process, then, was that, in recording, the performers felt obliged to contemplate their own deaths.

3 2 2 (+) [-4+]mCQK sterne-audible_past (298) 20131018i 0 -1+ progress/2011/09/notes_for_sterne-audible_past.html
Voices of dead not part of apparatus of self-awareness: sound recording end of era of writing for Derrida. (298) Yet this peculiar construct of sound recording did not simply allow speech to live forever: it essentially embalmed the voice.

3 2 2 (+) [-4+]mCQK sterne-audible_past (298-299) 20131018j 0 -10+ progress/2011/09/notes_for_sterne-audible_past.html
Early phonographs only preserved voices of dead for a short time, so did not radically alter cultural status of speech. (298-299) In point of fact, the early phonograph did not preserve the voices of the dead, except for a short time. The machine itself recorded sound onto tinfoil. Given the fragility of the recording medium, the moment the record left the machine, it was essentially destroyed. Early wax cylinders could be taken off the phonograph and put back on, but they did wear out, sooner rather than later. Recordings were ephemera. . . . This is why we cannot accurately claim that sound recording radically altered the cultural status of speech. It would, therefore, be more accurate to effect an inversion of the usual wisdom on the voice and the phonograph: the cultural status of the voice transformed sound recording.

3 2 2 (+) [-4+]mCQK sterne-audible_past (306) 20131018k 0 -11+ progress/2011/09/notes_for_sterne-audible_past.html
A medium is born at this point where its content is irrelevant: other media, context of reproducibility, interiority dessicated (Adorno). (306) Theodor Adorno saw Nipper as an emblem of self-importance in listeners, as a hinge into identification with the image. . . . Adornoƒs man listens to the gramophone to hear the possibility of himself being heard after death: a truly convoluted scenario. But this is essentially the future hailed in
Scientific American: the fantasy is as much about speaking to the not yet born as it is about hearing the voices of the dead. . . . In other words, it was the context of reproducibility itself that mattered; the specifics of speech and voice itself did not even really matter. The inside of sound was transformed so that it might continue to perform a cultural function.

3 2 2 (+) [-4+]mCQK sterne-audible_past (308) 20131018l 0 -9+ progress/2011/09/notes_for_sterne-audible_past.html
Serial monologue of greatness across the ages in oratory constructed for audience that is the medium itself. (308) Nietzsche once referred to history as a dialogue of greatness across the ages. Sound recordings promised its Victorian beholders at least a serial monologue.
(308-309) Here, sound recording is understood as an extension of the art of oratory a set of practices that depended heavily on the persona and style of the speaker and relations between speaker and audience. But, in
this oratory, the construct of audience undergoes a wild permutation the medium itself is the audience. Phonography marks both a sociospatial network and a sociotemporal network, where one time could potentially speak to (if not with) another. . . . The message to the future requires two kinds of faith: that the audience is at the other end of the phonographic network and that the embalming of the voice promises sufficient durability to fulfill a social function indefinitely into the future.

3 2 2 (+) [-4+]mCQK sterne-audible_past (309) 20131018m 0 -2+ progress/2011/09/notes_for_sterne-audible_past.html
Contrast talking tombstone to accidental recordings that get posted on the web. (309) More often, the voices of the dead were taken from the living, whose words were specifically targeted toward the horn of a recording phonograph and implicitly targeted toward an imagined future audience.
(310) Gumpertƒs trope of the talking tombstone suggests a certain continuity between present and past in attitudes toward sound recording the resonant tomb.

3 2 2 (+) [-4+]mCQK sterne-audible_past (310-311) 20131018n 0 -12+ progress/2011/09/notes_for_sterne-audible_past.html
Storing time: Attali stockpiling by bourgeois modernity, Benjamin memories; fragmented time an ephemeral medium vs what we could imagine in 1990s vs what we can do now. (310-311) The technology of sound reproduction fits oddly into this description of modernity as a form of at once hypertemporalized and detemporalized social consciousness.
In bourgeois modernity sound recording becomes a way to deal with time. . . . As Jacques Attali puts it, sound recordings allow for the stockpiling of other peoplesƒ time. For Attali, this is a matter of property, of owning another moment of labor. For others, it could be distilled into a simple fact: sound recording stores time. In addition, this time is also something more, the retention of a certain sequence, isolation, and repeatability of moments a fragmented consciousness of time. These two temporalities are then set into play with a third, physical temporality: the decay of the recording itself, the ephemerality of the medium. The bourgeois modernity of sound recording is polyrhythmic: it becomes an interplay of telos and cycle shaped by the physical possibilities and limits of materials; it moves between the ephemerality of moments and the possibility of an eternal persistence.
(311) The phonograph did not introduce a jarring new temporality into the culture; on the contrary, this bourgeois modern sensibility was a means by which phonography was introduced.

3 2 2 (+) [-4+]mCQK sterne-audible_past (314) 20131018o 0 -10+ progress/2011/09/notes_for_sterne-audible_past.html
Voices of dying cultures collected by early anthropologists like Boas motivated by ethos of preservation, reattributed to machine itself. (314) Because they are artifacts of this strange mix, early anthropological and folkloric recordings are perhaps the quintessential example of the intertwined phonographic tropes of voices of the dead and messages to the future, except that, in this case, it was voices of a dying
culture that the anthropologists hoped to save. . . . The willful destruction of Native American culture undertaken by whites throughout the late eighteenth century and the nineteenth became an impersonal, immutable force of history in ethnographic writing at the turn of the twentieth century.
(315) By considering the processes through which these early recordings were made alongside the incredibly nostalgic language of anthropological mourning that accompanied them, we can catch a glimpse of a long cultural-historical process of crystallization. Sound recording came to take on a whole set of temporal and cultural valences specific to a particular time and place in this case, the ethos of preservation in the late nineteenth century that would in turn be reattributed to the machine itself.
(315-316) Between the two trips, Fewkes recorded over forty cylinders of Passamaquoddy and Zuni music and speech. Those recordings, soon deposited at the Peabody Museum at Harvard, provided the basis for a series of articles that demonstrated to anthropologists the utility of sound recording in their work.
(317) Put simply, Fillmore argued that the transcriptions were too detailed; phonography had facilitated a mode of listening too technical and too focused to be of true ethnological use.

3 2 2 (+) [-4+]mCQK sterne-audible_past (317) 20131018p 0 -13+ progress/2011/09/notes_for_sterne-audible_past.html
Anthropology changed by adding recording and including music in ethnographic research; logic of Symposium finally overcome, inviting another shift in post-literate consciousness that actually enhanced literary acumen. (317) Leaders of the field like Franz Boas advocated the use of recording and the inclusion of music as essential to ethnographic research, although Boas too was critical of the comparative method advocate by Stumpf and Fillmore. The task of repetition and memorization had been delegated from anthropologists and subjects to the machine, which allowed the anthropologists to transcribe at a more leisurely pace and check their work more frequently. Fewkesƒs famous
Journal of American Folklore piece takes this approach, and the vast majority of the essay is devoted to explaining the contents of several cylinders to readers. Of course, this approach in part reflected the scarcity of phonographs at the time and the relative impossibility of mass-producing the recordings.
(318-319) The dominant paradigm in this moment of American ethnology was very much focused on the collection of texts and artifacts. . . . Although anthropologists retained a certain antimodernism because of their interest in and affection for native cultures, this impulse still enacted a denial of coeval existence since it cast the force of modernity as ultimately undoing native life ways. . . . We do know that the desire to artifactualize native cultures themselves understood as
acutely ephemeral was a central motif in early writing about phonographic ethnography.

3 2 2 (+) [-4+]mCQK sterne-audible_past (320) 20131018q 0 -18+ progress/2011/09/notes_for_sterne-audible_past.html
Dominant paradigm of collecting texts and artifacts; performance transformed in order to be reproduced. (320) The thing itself as we imagine it was never there at the moment of the recording; the recording is less a memory and more a mnemonic. The
performance itself was transformed in order to be reproduced. . . . Although written transcriptions can bear the same mark of abstraction, it takes more effort to mistake a written description of a Snake Dance song for the song itself.
(321) far from being an external reported of Native American culture and history, the phonograph becomes part of the history.
(322) Rather than the anthropologist going into the field essentially defined as someone elseƒs culture or native territory and bringing back samples, she [Alice Fletcher] was able to user her location in the nationƒs capital as a way to catch Native Americans on their travels through the anthropologistƒs own native territory. . . . Her recordings were even more clearly based on the artifice of the studio and practices specific to sound recording, although they were certainly no more constructed than Fewkesƒs. . . . As a result, her recording technique embodied not a pristine native culture about to be touched by modernity, but a living native culture in continuous contact with white culture.
(324) Its goal was not to capture the music as it is but to present the music as it might be for study and careful analysis.
(324) Yet, without some kind of standardization or guide to recording speed, the accuracy supposedly gained by using a phonograph instead of manually transcribing could be practically lost.

3 2 2 (+) [-4+]mCQK sterne-audible_past (326-327) 20131018r 0 -10+ progress/2011/09/notes_for_sterne-audible_past.html
Texts and technology perspective: material form of recorded sound still another form of ephemerality, as said of digital media as well. (326-327) Far from being a transparent echo of the past, its perfectly preserved remainder, the process of preservation and the historicity of the medium itself right down to the aging of the wax and where the cylinders were stored shaped the history that remained audible after the fact. . . . The material form of recorded sound the record itself is still another form of ephemerality.
(327) The largest early sound-recording archives date from the founding of the major record companies. . . . The first archives existed not for purposes of preserving history or communing with the not yet living, but rather for very basic commercial purposes: keeping the prototype of a product at hand.

3 2 2 (+) [-4+]mCQK sterne-audible_past (332-333) 20131018t 0 -5+ progress/2011/09/notes_for_sterne-audible_past.html
Still function of technologies; audible past is staged. (332-333) Recording is a form of exteriority: it does not preserve a preexisting sonic event as it happens so much as it creates and organizes sonic events for the possibility of preservation and repetition. . . . If the past is, indeed, audible, if sounds can haunt us, we are left to find their durability and their meaning in their exteriority.

3 2 2 (+) [-4+]mCQK sterne-audible_past (336) 20131018u 0 -7+ progress/2011/09/notes_for_sterne-audible_past.html
Doxic positions behind pieties. (336) In these remaining pages, I scrutinize some of these pieties about the impact of new technologies, the self-evidence of historical periods, and the centrality of the speaking and listening subject for theories of communication. Behind each piety lies a
doxic position worth questioning. . . . So this conclusion aims to present some of the central themes in sound studies embodying choices, not imperatives, for scholars.
(337) It is not the breaking down of borders between sound and not-sound that should fascinate us but rather the continuous constitution and transformation of the two.

3 2 2 (+) [-4+]mCQK sterne-audible_past (337-338) 20131018v 0 -7+ progress/2011/09/notes_for_sterne-audible_past.html
Sound technologies are social artifacts all the way down, parts of networks; we should expect the same for microprocessors and hard drives (Mackenzie). (337-338) It does not matter whether the machine in question uses magnetic particles, electromagnetic waves, or bits to move its information: sound technologies are social artifacts all the way down. . . . They are parts of networks or assemblages. The ear on Bell and Blakeƒs phonautograph marked the collision of acoustics, physiology, otology, the pedagogy of the deaf, the stateƒs relation to the poor, and Western Unionƒs research agenda. Why should we expect any less of our microprocessors and hard drives?

3 2 2 (+) [-4+]mCQK sterne-audible_past (342) 20131018y 0 -3+ progress/2011/09/notes_for_sterne-audible_past.html
Audiovisual litany carries conservative assumptions about shape of human societies, as if sound theory scientifically based on physiology. (342) The audiovisual litany, in turn, carries with it deeply conservative ruminations about the shape of human societies.
(342) In locating the transhistorical basis of historical formations in static sensory capacities, the audiovisual litany claims that it has named all that we can become. Walter Ong is the clearest advocate of a return to past forms of social organization since he makes his nostalgia programmatic.

3 2 2 (+) [-4+]mCQK sterne-audible_past (342-343) 20131018z 0 -5+ progress/2011/09/notes_for_sterne-audible_past.html
Example of authoritarian preference for voice in Schafer hi-fi soundscape. (342-343) Sound theory offers a unique purchase on the philosophical privilege of speech because of its sometimes excessive literalism when dealing with the faculties of speech and hearing or the physics of sound. . . . Schaferƒs definition of a hi-fi soundscape conceals a distinctly authoritarian preference for the voice of the one over the noise of the many.

3 2 2 (+) [-4+]mCQK sterne-audible_past (346) 20131019c 0 -5+ progress/2011/09/notes_for_sterne-audible_past.html
Audiovisual litany declares speaking good, silence bad, deafness antisocial: Augustinian baggage scholars need to give up. (346) In the audiovisual litany, speaking is generally a good thing, silence is a bad thing, and deafness is an antisocial thing. If these were caricatures of a gender, a race, or an ethnic group, they would long since have disappeared from serious scholarship.
(347) Scholars and activists have challenged these caricatures of the deaf and their calamitous effects on the rights, the culture, and the education of the deaf for almost two centuries now. It is time for scholars of sound to recognize this work, engage its spirit and substance, and let go of the Augustinian baggage that we have been carrying around with our theories of speech and hearing.
(347-348) By providing alternatives to our most comfortable ways of thinking about and describing sound and hearing,
The Audible Past casts the relative status of speech, hearing, silence, and deafness as matters worthy of philosophical, historical, political, and ethical reflection.

---3.2.3+++ {11}

3 2 3 (+) [-4+]mCQK abbate-inventing_the_internet (2) 20130907a 0 -1+ progress/2013/08/notes_for_abbate-inventing_the_internet.html
Practice and meaning of computing redefined by Internet long distance interaction, as Manovich argues emergence of personal computers led to cultural software. (2) By making long-distance interaction among different types of computers common-place reality, the Internet helped redefine the practice and the meaning of computing.

3 2 3 (+) [-4+]mCQK abbate-inventing_the_internet (2) 20130907b 2 -2+ progress/2013/08/notes_for_abbate-inventing_the_internet.html
Social construction: curious alliance of military and civilian interests, like taking a tank for a joyride. (2) My curiosity about the Internet grew out of my experiences as a computer programmer in the mid 1980s, when few people outside the field of computer science had heard of this network. I was aware that the Internet had been built and funded by the Department of Defense, yet here I was using the system to chat with my friends and to swap recipes with strangers rather like taking a tank for a joyride!

3 2 3 (+) [-4+]mCQK abbate-inventing_the_internet (5) 20130907c 0 -1+ progress/2013/08/notes_for_abbate-inventing_the_internet.html
Decentralized paradigm for proposing new features. (5) Their dual role as users and produces led the ARPANETƒs builders to adopt a new paradigm for managing the evolution of the system: rather than centralize design authority in a small group of network managers, they deliberately created a system that allowed any user with the requisite skill and interest to propose a new feature.

3 2 3 (+) [-6+]mCQK aloisio-calculation_of_easter_day (42-43) 20061206 0 -2+ progress/2012/12/notes_for_aloisio-calculation_of_easter_day.html
Jokes about the lack of planning by the Nicene council in creating such a confusing definition of Easter Day aiding the development of computing, curious parallel to need for ballistic tables aiding development of electromechanical computers. (42-43) The probable reason why computus acquired widespread use has to do with ecclesiastical history, that relating to Easter. When the Nicene council, convened by Constantine in AD 325, laid down the rules (actually just adopted an already established method) for determining the date of Easter, it certainly did not anticipate the confusion that would ensue for centuries to follow.

3 2 3 (+) [-4+]mCQK aloisio-calculation_of_easter_day (42) 20130909 0 -1+ progress/2012/12/notes_for_aloisio-calculation_of_easter_day.html
Computer a suitable word for a Heideggerian hermeneutic phenomenological account, complemented by rigorous etymological and historical accounts like this one, noting this study does not stretch back to classical Latin usage. (42) Like so many English words,
computer derives from Latin and therefore traces its origins back many centuries.

3 2 3 (+) [-4+]mCQK aloisio-calculation_of_easter_day (44) 20130909a 0 -2+ progress/2012/12/notes_for_aloisio-calculation_of_easter_day.html
First English use made up from French to denote measurements of short time intervals. (44) In his time, many new English words were made up, and the use of the modern English word compute is probably no exception. It goes back to Chaucerƒs time, when the French word
compte was used in an English text to denote the measurements of short time intervals.

3 2 3 (+) [-4+]mCQK aloisio-calculation_of_easter_day (44-45) 20130909b 5 -2+ progress/2012/12/notes_for_aloisio-calculation_of_easter_day.html
First machine computer a fictional fantasy in Swift Gullivers Travels. (44-45) In part III of
Gulliverƒs Travels, Swift refers to another computer with the aid of which anyone would be able to master all the arts and sciences. This must be one of the earliest instances when the word was used by the same author and in a short space of time to refer both to a machine and a person.

3 2 3 (+) [-4+]mCQK aloisio-calculation_of_easter_day (45) 20130909c 1 -1+ progress/2012/12/notes_for_aloisio-calculation_of_easter_day.html
Logarithms, and calculating machines, likely developed for trigonometry for navigation, especially determining longitude, and compound interest for accounting (see Campbell-Kelley and Aspray). (45)
(45) For a long time, the calculatorsƒ main calculating aids remained the logarithms (and, for less exact work, the slide rules), for although a number of machines had been conceived and built, none was practical and reliable.

3 2 3 (+) [-4+]mCQK aloisio-calculation_of_easter_day (46) 20130909d 0 -3+ progress/2012/12/notes_for_aloisio-calculation_of_easter_day.html
Divide and conquer and division of labor becoming key characteristic of computing; see citation by Kittler of Hasslacher on discretization. (46) The
divide-and-conquer strategy and the division-of-labor principle had shown their worth. Moreover, as a result, the words calculator and computer became firmly established. For a good two centuries their meaning remained synonymous, referring only to the human being.

3 2 3 (+) [-4+]mCQK berry-philosophy_of_software (28) 20130910l 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Why this is philosophy of computing: role is to grasp the ontic and ontological. (28)
If code and software is to become an object of research for the humanities and social sciences, including philosophy, we will need to grasp both the ontic and ontological dimensions of computer code. Broadly speaking, then, this book takes a philosophical approach to the subject of computer code, paying attention to the broader aspects of code and software, and connecting them to the materiality of this growing digital world.

3 2 3 (+) [-4+]mCQK berry-philosophy_of_software (47) 20131025q 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Progress timeline: basic mechanical process, to which stored program computer is next stage, then multiprocessing and internetworking, then Web 2-0. (47) The designs generated by Babbage were inspired by the use of cards to ƒprogramƒ mechanical looms such as the Jacquard loom developed in 1801 to program woven patterns in power looms. This notion of computation through mechanical processes was further embedded in cultural representations by the use of a variety of mechanical devices.

3 2 3 (+) [-4+]mCQK berry-philosophy_of_software (47-48) 20131025r 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Shifting notion of calculation and computation from engine to symbolic processing: what is its current trajectory? (47-48) Whilst there were a number of key innovations in this field, finally with theoretical contributions from Alan Turing (1936), Emil Post (1936), and Claude Shannon (1938) the notion of calculation moved from a problem of arithmetic to that of logic, and with it the notion the ƒinformation can be treated like any other quantity and be subjected to the manipulations of a machineƒ (Beniger 1986: 406).

3 2 3 (+) [-4+]mCQK bogost-unit_operations (26) 20131026b 0 -1+ progress/2012/01/notes_for_bogost-unit_operations.html
Von Neumann architecture beginning of unit versus system operational computation; why not consider both concurrently, following Suchman the plan (system) and situtated action (unit) or units are concurrent processes or threads in multiprocessing von Neumann architecture networks? (26) The von Neumann architecture marked the beginning of computationƒs status as unit operational, rather than system operations.

3 2 3 (+) [-4+]mCQK bogost-unit_operations (38) 20131026e 0 -7+ progress/2012/01/notes_for_bogost-unit_operations.html
Component objects developed to address growing mass of software libraries to encapsulate intellectual capital in black boxes. (38) To negotiate the conflicting demands of protecting proprietary symbolic code and leasing that code to thousands of independent developers, the notion of component objects was born.
(38-39) This method of encapsulating intellectual capital in human-machine accessible black boxes characterizes the software development practice known as object technology (OT), also called object-oriented programming (OOP). . . . OT attempts to close the gap between human experience, its programmatic representation, and its computational execution. Computational systems thus strive to create more successful implementations of automated human needs.

3 2 3 (+) [-4+]mCQK bogost-unit_operations (174) 20131026s 0 -10+ progress/2012/01/notes_for_bogost-unit_operations.html
Web services exemplify original goal of interoperability of object technologies via defined unit operations using XML and SOAP forming network of networks. (174) Recently, a technology standard called Web services has emerged that claims to offer a solution to the problem of interoperability. . . . The standardization of the data format and the transfer protocol represents a radical break from the traditional foundational concepts of jargon and intellectual property discussed earlier.
(175) Web services transmit data in two common formats, XML and SOAP. . . . The primary benefit of Web services is that two computers with nothing in common architecturally can mutually invoke software routines and share the results.

3 2 3 (+) [-4+]mCQK bork-exam3_question3 (95) 20130228 0 0+ progress/2013/02/notes_for_bork-exam3_question3.html
Galloway fills in some of the ambiguity of what is meant by materiality, although his aesthetic (phenomenological?

3 2 3 (+) [-3+]mCQK bork-journal 20060421 20060421 0 -5+ journal_2006.html
The only time you pick up the routers is when you are a student. The rest of the time and for everyone else they are in racks. As a student you may interface via their console ports; at all other times and for everyone else they are never accessed via those TCP/IP ports. You guys (all people female and male) do not know what you are talking about, and I approach it by criticizing you. Cyberspace is TCP/IP digital communications networking.

3 2 3 (+) [-6+]mCQK brooks-mythical_man_month (164) 20130415 0 -5+ progress/2013/04/notes_for_brooks-mythical_man_month.html
Definition of program/programming invicts materiality of programming, noting category mistake to cycle around code this good description sets stage for later thought in philosophy of computing see how we are going tapoc into working code trance knowledge state cycling through systems of machine and human conspiracy, for example C and English, C++ and ancient Greek, Perl and Latin, and so on; I suggest today that in the complexity of program products as deployed solutions we miss communicating with the machine as programmers, exemplified by workplaces lacking weekly seminars on deployed solutions products. (164) A computer program is a message from a man to a machine. The rigidly marshaled syntax and the scrupulous definitions all exist to make intention clear to the dumb engine.
(164) But a written program has another face, that which tells its story to the human user. For even the most private of programs, some such communication is necessary; memory will fail the author-user, and he will require refreshing on the details of his handiwork.
(164) For the program product, the other face to the user is fully as important as the face to the machine.

3 2 3 (+) [-4+]mCQK buck_morss-dream_world_of_mass_culture (310-311) 20121020 0 -6+ progress/2012/11/notes_for_buck_morss-dream_world_of_mass_culture.html
Public access to urban brilliance and luxury via Paris arcades, in which crowd itself became spectacle; tempting link to Internet. (310-311) Urban brilliance and luxury were not new in history, but secular, public access to them was. . . . The City of Light, it erased nightƒs darkness first with gas lanterns, then with electricity, then neon lights in the space of a century. The City of Mirrors in which the crowd itself became a spectacle it reflected the image of people as consumers rather than producers, keeping the class relations of production virtually invisible on the looking-glassƒs other side.

3 2 3 (+) [-4+]mCQK burks_goldstine_von_neumann-logical_design_of_electronic_computing_instrument (1) 20131026a 0 -3+ progress/1998/01/notes_for_burks_goldstine_von_neumann-logical_design_of_electronic_computing_instrument.html
Control to autonomously automatically execute orders stored in memory like a reader to a book or player piano to scroll. (1) 1.4 If the memory for orders is merely a storage organ there must exist an organ which can automatically execute the orders stored in the memory. We shall call this organ the Control.

3 2 3 (+) [-4+]mCQK burks_goldstine_von_neumann-logical_design_of_electronic_computing_instrument (1) 20131026n 0 -7+ progress/1998/01/notes_for_burks_goldstine_von_neumann-logical_design_of_electronic_computing_instrument.html
Arithmetic organ as the physical instantiation of basic logical operations grounding mathematics, representing unavoidable materiality of electronic circuits performing the work of imagined code. (1) 1.5 Inasmuch as the device is to be a computing machine there must be an arithmetic organ in it which can perform certain of the elementary arithmetic operations.
(1) The operations that the machine will view as elementary are clearly those which are wired into the machine. . . . In general, the inner economy of the arithmetic unit is determined by a compromise between the desire for speed of operation a non-elementary operation will generally take a long time to perform since it is constituted of a series of orders given by the Control and the desire for simplicity, or cheapness, of the machine.

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Input and output organs permitting machine signaling to and manipulation by humans final constituent of stored program computer. (1) 1.6 Lastly there must exist devices, the input and output organ, whereby the human operator and the machine can communicate with each other.

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Basic sequential program counter operation from current place adding one. (3) 3.4 the control will be so constructed that it will normally proceed from place n in the memory to place (n+1) for its next instruction.

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Introduction of conditional and unconditional transfers as basic control structures besides sequential processing. (3)
(4) 3.5 The utility of an automatic computer lies in the possibility of using a given sequence of instructions repeatedly, the number of times it is iterated being either preassigned or dependent upon the results of the computation. . . . we introduce an order (the conditional transfer order) which will, depending on the sign of a given number, cause the proper one of two routines to be executed. . . . This unconditional transfer can be achieved by the artificial use of a conditional transfer or by the introduction of an explicit order for such a transfer.

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Parallel memory storage an aspect of von Neumann architecture maintained today for RAM but abandoned for other storage devices like secondary storage (SATA hard drives). (5) 4.3 We accordingly adopt the parallel procedure and thus are led to consider a so-called parallel machine, as contrasted with the serial principles being instituted for the EDVAC.

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Key decision to use binary number system instead of traditional decimal system, as well argued design affordance that requires an alien perspective; contrast to Babbage decimal machinery, which for its own part introduced the strange system of differential arithmetic retained by these newer binary devices. (7) 5.2 In spite of the longstanding tradition of building digital machines in the decimal system, we feel strongly in favor of the binary system for our device.
(8) Now logics, being a yes-no system, is fundamentally binary.

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Suggestion that technologists will train themselves to use base 2, 8 or 16 numbers points out entrenchment of decimal system in our culture. (8) We feel, however, that the base 10 may not even be a permanent feature in a scientific instrument and consequently will probably attempt to train ourselves to use numbers base 2 or 8 or 16.

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Positional symbolism exemplified by automatic telephone exchange foreshadows supernumerical uses of machinery; compare to existing Hollerith punch card technologies. (42) A new symbolism, probably positional, must apparently precede the reduction of mathematical transformations to machine processes.
(42) The prime action of use is selection, and here we are halting indeed.
(43) There is another form of selection best illustrated by the automatic telephone exchange.
(44) To be able to key one sheet of a million before an operator in a second or two, with the possibility of then adding notes thereto, is suggestive in many way.

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Bush did not consider the cloud aspect of information storage, although he did adhere to sense ensuring disciplines of intellectual property. (45) Most of the memex contents are purchased on microfilm ready for insertion.

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The action Bush describes may be like those who create input for expert systems; trail blazers are also like news aggregators with community-generated commentary such as Slashdotters, bloggers, tweeters. (46) There is a new profession of trail blazers, those who find delight in the task of establishing useful trails through the enormous mass of the common record.
(46-47) All our steps in creating or absorbing material of the record proceed through one of the senses the tactile when we touch keys, the oral when we speak or listen, the visual when we read. Is it not possible that some day the path may be established more directly?

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Books of this genre, serious attempts at narrating minimally biased history of evolution of state of the art best practices, form the foundation of critical programming and philosophy of computing studies; follow them with insider perspective of software management and software architect informed by substantial professional experience, including Brooks and Lammers. (vii) Technology is the application of science, engineering, and industrial organization to create a human-built world.
(vii) The aim of the series is to convey both the technical and human dimensions of the subject: the invention and effort entailed in devising the technologies and the comforts and stresses they have introduced into contemporary life.

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Packet switching resembles telegraphy system of sorters, pigeon holes, and messengers; does Hayles discuss in How We Think? (18-19) Row upon row of telegraphists communicated messages with all parts of the nation and abroad. Messenger boys constantly scuttled through the rows of telegraphists collecting telegrams as they arrived, delivering them to a team of women sorters. The
sorters placed the telegrams in pigeon holes one for each of the hundreds of destination towns.

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Hollerith census machines used tabulator and sorter for punched cards. (24-25) Each census machine consisted of two parts: a tabulating machine, which could count the holes in a batch of cards, and the sorting box, into which cards were placed by the operator ready for the next tabulating operation. . . . When the press was forced down on the card, a pin meeting the solid material was pushed back into the press and had no effect. But a pin encountering a hole passed straight through, dipped into a mercury cup, and completed an electrical circuit. This circuit would then be used to add unity to one of forty counters on the front of the census machine. The circuit could also cause the lid of one of the twenty-four compartments of the sorting box to fly open into which the operator would place the card so that it would be ready for the next phase of the tabulation.
(25) As each card was read, the census machine gave a ring of a bell to indicate that it had been correctly sensed.

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Hollerith machines sabotaged by workers to provide a break. (26) The trouble was usually that somebody had extracted the mercury from one of the little cups with an eye-dropper and squirted it into a spittoon, just to get some un-needed rest.

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Social need for adding machines with progressive, withholding tax law, as Social Security Act would require punched-card machinery. (39) A major impetus to development of the U.S. adding machine industry occurred in 1913 with the introduction of a new tax law that adopted progressive tax rates and the withholding of tax from pay.
(39) Between the two world wars Burroughs moved beyond adding machines and introduced full-scale accounting machines.

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Is the dark age of mechanical digital computing attributed to failure of Babbage the historical fictional pivot for Steam Punk? (59-60) As it was, Babbageƒs failure undoubtedly contributed to what L. J. Comrie called the dark age of digital computing. Rather than follow where Babbage had failed, scientists and engineers preferred to take a different, nondigital path a path that involved the building of models, but which we now call analog computing.

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First book on digital computing by Aiken on Mark I, although Mauchly memorandum credited as real starting point, and von Neumann the first on the stored-program computer. (74) After the dedication and the press coverage, there was intense interest in the Harvard Mark I from scientific workers and engineers wanting to use it. This prompted Aiken and his staff to produce a 500-page
Manual of Operation of the Automatic Sequence Controlled Calculator, which was effectively the first book on digital computing ever published.

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Must appreciate how beliefs about likely processing speeds influence speculation on design and uses of computer technologies. (86) By August 1942 [John]
Mauchlyƒs ideas on electronic computing had sufficiently crystallized that he wrote a memorandum on The Use of High Speed Vacuum Tubes for Calculating. In it he proposed an electronic computer that would be able to perform calculations in 100 seconds that would take a mechanical differential analyzer 15 to 30 minutes, and that would have taken a human computer at least several hours. This memorandum was the real starting point for the electronic computer project.

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Invitation to study contested history of development of electronic computer as Hayles does cybernetics. (93) During these meetings, Eckert and Mauchlyƒs contributions focused largely on the delay-line research, while von Neumann, Goldstine, and Burks concentrated on the mathematical-logical structure of the machine. Thus there opened a schism in the group between the technologists (Eckert and Mauchly) on the one side and the logicians (von Neumann, Goldstine, and Burks) on the other, which would lead to serious disagreements later on.
(93) Von Neumann designated these five units as the central control, the central arithmetic part, the memory, and the input and output organs.
(93) Another key decision was to use binary to represent numbers.
(94) By the spring of 1945, the plans for EDVAC had evolved sufficiently that von Neumann decided to write them up. His report, entitled
A First Draft of a Report on the EDVAC, dated 30 June 1945, was the seminal document describing the stored-program computer. . . .

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Compare urge to disseminate bootstrapping knowledge to create computers as will of technological unconscious to later cycle in which money making trumped openness that made corporations and wealthy individuals rivaling the largest established human and machine ensembles; today an intellectual deoptimization settled on path of least resistance default philosophies of computing dominate. (95) Although originally intended for internal circulation to the Project PY group, the
EDVAC Report rapidly grew famous, and copies found their way into the hands of computer builders around the world. This was to constitute publication in a legal sense, and it eliminated any possibility of getting a patent. For von Neumann and Goldstine, who wished to see the idea move into the public domain as rapidly as possible, this was a good thing; but for Eckert and Mauchly, who saw the computer as an entrepreneurial business opportunity, it was a blow that would eventually cause the group to break up.

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Hopper foremost female computer professional and promoter of advanced programming techniques. (121) The programming team was initially led by Mauchly, but was later run by a programmer recruited from the Harvard Computation Laboratory, Grace Murray
Hopper, who would become the driving force behind advanced programming techniques for commercial computers and the worldƒs foremost female computer professional.

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Election night role of mock up UNIVAC predicting outcome for Eisenhower was key introduction of computers to general public. (123) The appearance of the UNIVAC on election night was a pivotal moment in computer history. Before that date, while some people had heard about computers, very few had actually seen one; after it, the general public had been introduced to computers and had seen at least a mock-up of one.

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Mastery of marketing and long term planning by IBM through dissemination of their computers in higher education to produce the next generation of workers trained on them; good example of social factor influencing history more so than the technological capabilities of the devices, a topic developed with respect to real time processing. (127) With an astute understanding of marketing, IBM placed many 650s in universities and colleges, offering machines with up to a 60 percent discount provided courses were established in computing. The effect was to create a generation of programmers and computer scientists nurtured on IBM 650s, and a trained workforce for IBMƒs products. It was a good example of IBMƒs mastery of marketing, which was in many ways more important than mastery of technology.

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Lack of time-sharing support in System/360 major design flaw. (145) Perhaps the most serious design flaw in System/360 was its failure to support time-sharing the fastest-growing market for computers which enabled a machine to be sued simultaneously by many users.

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Distributed control with SAGE Direction Centers; subindustry grew to develop and implement its basic technologies. (167) The SAGE system that was eventually constructed consisted of a network of twenty-three Direction Centers distributed throughout the country.
(168) The real contribution of SAGE was thus not to military defense, but through technological spin-off to civilian computing. An entire subindustry was created as industrial contractors and manufacturers were brought in to develop the basic technologies and implement the hardware, software, and communications.

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Technology intercept strategy joined system planning and expected advances; compare to military planning of scheduled breakthroughs discussed by Edwards. (172-173) Simultaneously an idealized, integrated, computer-based reservation system was planned, based on likely future developments in technology. This later become known as a
technology intercept strategy. The system would be economically feasible only when reliable solid-state computers with core memories became available. Another key requirement was a large random-access disk storage unit, which at that time was a laboratory development rather than a marketable product.
(175) The airline reservations problem was unusual in that it was largely unautomated in the 1950s and so there was a strong motivation for adopting the new real-time technology.

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Fascinating to find Hopper simultaneously crossing philosophy of computing and feminist discourse where she is explicitly grouped among those not claiming to be a feminist. (187) Probably no one did more to change the conservative culture of 1950s programmers than Grace Hopper, fist programmer for the Harvard Mark I in 1943, then with UNIVAC. For several years in the 1950s she barnstormed around the country, proselytizing the virtues of automatic programming at a time when the technology delivered a good deal less than it promised.
(191) COBOL was particularly influenced by what one critic described as Hopperƒs missionary zeal for the cause of English language coding.

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Importance of early computer games producing a new generation of programmers who developed understanding of HCI (Gee). (250)
Computer games are often overlooked in discussions of the personal-computer software industry, but they played an important role in its early development. Programming computer games created a corps of young programmers who were very sensitive to what we now call human/computer interaction. The most successful games were ones that needed no manuals and gave instant feedback.

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GUI user-friendliness was the next step in broadening computer use following Kemeny vision of BASIC programming on time-sharing systems. (264) For the personal computer to become more widely accepted and reach a broader market, it had to become more user-friendly. During the 1980s user-friendliness was achieved for one-tenth of computer users by using a Macintosh computer; the other nine-tenths could achieve it through Microsoft Windows software. Underlying both systems was the concept of the
graphical user interface.

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Product differentiation marketing strategy by Apple may have contributed to shift toward postmodern preferences Turkle articulates. (274) John Sculley recognized that Apple had a classic business problem that called for a classic solution: product differentiation.

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Chapter 1 is prefaced with an American Airlines advertisement touting the SABRE airline reservation system as inaugurating modern commercial software; thus an aspect of studying software includes its advertising rhetoric along with other sources. (1)

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After noting absence of popular press interest in the software industry before 1980, divides into three sectors: contracting, corporate, and mass-market products. (3) The software industry can be divided into three sectors: software contracting, corporate software products, and mass-market software products.

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First software products are packaged programs 1965 Autoflow and 1967 Mark IV. (6)
Two packaged programs, Applied Data Researchƒs Autoflow and Informaticsƒ Mark IV (announced in 1965 and 1967, respectively), are generally agreed to be, if not the first, certainly the most influential of the early software products.

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Predicts free, open source software will be next important scholarly topic beyond book cutoff of 1995. (10-11) A second limitation of this book is the cutoff date of 1995. . . . I donƒt know what it is, but I bet there is something much more important going on right now than Java, Linux, or
open-source software, and that it will be 2010 before it becomes fully apparent.
(11) In
Secrets of Software Success, Detley Hoch and his co-authors project the Internet Era, a new period in the development of the software industry, and suggest boundary dates of 1994 and 2008.

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Rarity of public domain scientific information of the software industry; industry analysts provide most information. (13) Table 1.1 presents data on the US software market in the period 1970-2000. I believe this is the only 30-year time series for the software industry in the public domain, and it appears here courtesy of the
industry analyst INPUT.

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Note that online FOSS communities provide historically unprecedented access to the equivalent of corporate archives of a very large number of software projects. (23) Since the present book does not focus on any one firm, heavy use of corporate archives was not appropriate, nor indeed was it possible. Instead, it is based largely on monographic studies of the software industry, the periodical literature, and reports by industry analysts.
(23) In discussing the monographic literature, one should perhaps begin with the bad news. There are more books written about Microsoft and Bill Gates than about the rest of the industry put together.
(24) The best sources for the broader industrial scene are the reports resulting from government-sponsored software policy studies, a few academic monographs, and the publications of market-research organizations.
(25) The periodical literature of the software industry comprises, in order of usefulness, the trade press, general business periodicals, and newspapers. . . .
Datamation is the only periodical to span almost the entire history of the software industry.
(26) In the general business press, the best sources on the history of the software industry are
Business Week and Fortune.

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SDC only major corporate archive available to scholars; makes interesting point that archivization usually does not consciously begin by corporations until contemplating their silver anniversary, a twist on answering question by Derrida about the time of the archive. (26) Indeed, the only major corporate archive available to scholars is that of SDC, now housed by the Charles Babbage Institute at the University of Minnesota. The SDC Collection covers the period from 1956 to 1981, when SDC was acquired by the Burroughs Corporation.

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Subscriber-only reports scarce in public domain; Software History Center current locus of preservation and dissemination. (27) Industry and market-research reports were produced for subscribers only (primarily software firms and large users), and few have migrated to the public domain. . .

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Chapter 2 begins with System Development Corporation advertisement of a Senior Computer Systems Specialist depicted as deeply contemplating computer programming. (29) All the pioneers of computers, and all the firms that built the first commercial models, greatly underestimated how difficult it would be to get programs to work and how much code would be needed.

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Sharing programs was one of the original practices, so important to Stallman. (29) In the first half of the 1950s, there were three main sources of software: users could write it for themselves, could obtain programs from a computer manufacturer, or could share programs among themselves.
(29) For example, IBMƒs first production computer, the 701, came with little more than a userƒs manual.

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Software terminology and classification framework established by SHARE group, making user group as primary social interface. (33) At a time when the cost of programming ran as high as $10 an instruction, dramatic savings could be achieved through cooperation. . . . In all, approximately 300 programs had been distributed to the membership. Besides organizing a library of programs, SHARE established a terminology and a classifactory framework for software, vestiges of which persist today.
(34) The user group remains the preeminent way for computer users to interact with one another and with computer manufacturers.

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Programming languages FORTRAN and COBOL improved productivity first by generating multiple machine instructions per line of code. (34) The crucial breakthrough in programmer productivity was the development of programming languages in the second half of the 1950s. In a programming language, a single line of code could generate several machine instructions, improving productivity by a factor of 5 or 10.
(34) The most important early development in programming languages was FORTRAN for the IBM 704. The FORTRAN project took place in IBMƒs Technical Computing Bureau under the leadership of John
Backus, a 29-year-old mathematician and programmer.
(35) The responses from users was immediate and ecstatic. . . . Backus and his team refined the system in response to feedback from users and released a new version in 1959. FORTRAN II contained 50,000 lines of code and took 50 programmer-years to develop.

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Network effects popularized FORTRAN more so than help from IBM. (35) There was no conspiracy: FORTRAN was simply the first efficient and reliable programming language. What economists later called
network effects made FORTRAN a standard language with little or no help from IBM.

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US DoD pushed industry to agree on standard business language, from which COBOL arose; FORTRAN and COBOL garnered two-thirds of application programming activity for next twenty years. (35) In April 1959, the US Department of Defense convened a meeting of computer manufacturers and major computer users with the aim of agreeing on a standard business language.
(36) During 1962 and 1963, COBOL became the standard language for business applications, which it remained for the next quarter-century.
(36) The twin peaks of FORTRAN and COBOL were to account for two-thirds of the applications programming activity of the 1960s and the 1970s. . . . This was softwareƒs first example of lock-in.

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SAGE example of rhetoric of Licklider human machine symbiosis. (37) The new system was called SAGE, for Semi-Automatic Ground Environment. The term semi-automatic emphasized the interaction of man and machine: the computers would perform high-speed data processing, while humans would be responsible for high-level information processing.

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Challenge of real-time teleprocessing pushed limits of early commercial technology. (41) However, real-time projects pushed the technology to its limit. They required a computer to respond instantaneously to external inputs and to process many transactions simultaneously, a requirement for which IBM used the term
teleprocessing. Examples included airline reservations, bank automation, and retail systems.

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Waterfall software development technique diffused into civil computing from military applications. (47) Other software technologies developed for military applications did, however, diffuse into civil computing. . . . [quoting TRW historian] The
waterfall technique, for example, provided for comprehensive reviews at key points in the development of the software as it proceeded from requirements analysis and definition through coding to test and evaluation.

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Chapter 3 begins with verbose text advertisement for the Independent Software Houses. (57)

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Four sectors of computer services and software industry: programming services, processing services, facilities management, teleprocessing services. (57) The computer services and software industry constituted four main sectors: programming services, processing services, facilities management, and teleprocessing services. By the end of the 1960s, however, the term software industry had largely taken on its present-day meaning, signifying commercial organizations engaged in the production of programming artifacts.

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Few early software firms left a historical trace; then there were too many to analyze individually. (58) they [ACT, ADR, Informatics] were rather good at getting their stories in the media or because they took the trouble to preserve their history. In contrast, the great majority of software firms vanished, barely leaving a historical trace.

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Role of industry analysts in organizing and creating historical sources in place of scholars. (59) Indeed, if anything, the problem is that there are
too many firms to analyze individually. . . . Hence, probably the best one can do is select a group of firms and let them stand as proxy for the rest. This was, in fact, the approach taken by contemporary analysts. Table 3.1, taken from what is perhaps the earliest surviving analystsƒ report on the consumer software and services industry, presents data on 17 firms. The analyst never explained how the table was derived, and some prominent players (including CUC and CAI) are missing.

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Familiar sequence of tasks for programming projects arose in 1956 lecture and diffused from SAGE project programmer exodus, which became the waterfall model; should be topic of critical programming studies for its reflection of social and cognitive norms, social construction, as well as likely reflexive relationship to the evolution of technological systems along with human thinking. (67-69) During the 1960s, managing software projects was something of a black art. He [John F. Jacobs] described these techniques in a seminal lecture at the Lincoln Labs in November 1956. . . . In the seminar, Jacobs divided the programming project into a sequence of consecutive tasks (figure 3.2). . . . This development technique set the pattern for all the programming activities of the SAGE project. The exodus of programmers from the SAGE project in the late 1950s caused this project management style to diffuse through the software industry.

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Failure of computer utility as forerunner of cloud model before the infrastructure was in place overcome by arrival of minicomputers. (83) The reason the computer utility market never materialized to the extent anticipated was the arrival of small-business systems and minicomputers in 1969 and 1970.
(85) By 1971, half of the estimated 3,000 computer software and services firms that had been in business at the height of the 1966-1969 stock market boom had gone out of business or simply faded away.

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Chapter 4 begins with Autoflow advertisement as a Christmas gift for a wife. (91)

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Striking claim that graphs depicting computing costs seldom based on empirical data, often plagiarized and embellished, as if no oversight in analyst community. (91) For more than 15 years, one of the most persistent beliefs of the software community was that there would be a dramatic shift in the balance of hardware and software costs of running a computer installation. The graphs in figure 4.2 all tell much the same story: In the mid 1950s, 80 percent of the cost of running a computer had been for hardware, 20 percent for programming; at some point in the future, it would be 20 percent for hardware and 80 percent for software. Few of these graphs were based on empirical data, and they were plagiarized, with random embellishments from one author to the next, well into the 1980s.

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Recommendation by SPREAD Task Group for single series of machines with compatible software led to System/360. (96) The [SPREAD Task Group] report recommended replacing IBMƒs existing computer models with a single series of machines, software compatible throughout the range from the smallest to the largest. The recommendation was adopted, and the announcement of System/360 in April 1964 was a watershed in the software industry.

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Autoflow, the first software product, was designed for software development to automatically produce flowcharts for documentation, very early automatic writing; likewise Engelbart intelligence augmentation focused on improving programmers. (100) The most prominent if not actually the first program to meet all the criteria of a software product was Applied Data Researchƒs Autoflow. . . . RCA wanted a software package that would enable programmers to produce flowcharts mechanically as a by-product of punching their decks of program cards, thus minimizing the documentation chore for the programmer and maximizing the chance it would get done.

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Ontic status of software became an open question once IP protection was sought. (107) The law offered several forms of intellectual property protection: patents, copyright, trade secrets, and trademarks. . . . Exactly what kind of an artifact software represented was an open question.
(107-108) Copyright law also had significant limitations for protecting software. . . . Informatics decided to rely on trade secret law for protection. It required its customers and its employees to sign non-disclosure agreements.

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Unbundling stopped at the operating system, raising suspicion that its inefficiency forced users to lease more powerful computers than necessary; obvious connection to Microsoft Windows/Intel era. (111) The decision not to charge separately for the operating systems the most controversial of the unbundling outcomes maintained IBMƒs operating-system monopoly into the late 1970s, when at last the operating systems were priced separately. Critics argued that bundling discouraged innovation in operating systems and made it difficult for manufacturers of IBM-compatible equipment to compete. There was also suspicion of a darker motive: that IBM benefited from an inefficient operating system because it forced users to lease more powerful computers than they would otherwise need.
(113) Seventeen products were initially announced, including language processors (Assembler, FORTRAN, COBOL, and PL/I), the GIS file-management system, the IMS database, and the CICS data communications program.

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Chapter 5 begins with SyncSort advertisement. (121)

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Failure of COSMIC early free software mechanism even without original development cost due to poor products, documentation, and lack of customer support offerings. (130) COSMIC was established in 1966 still in the era of free software to make programs that had been developed for NASA at public expense available as a national resource for industry and education. . . . COSMIC was a spectacular failure. A contemporary report commented: [COSMICƒs] major problem like any giveaway program has been in giving it away. Generally the programs were so poorly documented and productized that they could not be used without major investments in programming time.

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Unix the only significant cross platform operating system in period studied. (134) With the important exception of Unix, users had the choice of exactly one operating system for any particular computer configuration and application.

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Chapter 6 begins with advertisement for Software News promoting itself as news service for the fastest-growing industry. (165)

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Suggest a cultural/linguistic analysis to probe why the various countries did or did not participate in the software products market, with a stereotypical nod to the disciplinarity of the German programming milieu with respect to the success of SAP R/2. (166) Overall, the United States had two-thirds of the worldƒs software market. But because most overseas activity was in custom programming and in computer services, the United States supplied at least 95 percent of the software products market. . . . In fact, Germany was the only country besides the United States to have a significant player in software products [Software AG and SAP].

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IBM SAA story waiting to be told well. (178) The solution was SAA, a set of rules and interfaces that enabled a program written for one platform to be easily ported to another. This sounds easy, but in effect it took 3 years of negotiation between IBMƒs globally distributed software and hardware development centers. The SAA story-- IBMƒs Moment of Truth --is, in its way, as compelling as the development of System/360 or that of the PC, but it has never been told well.

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Relational database a disruptive technology, enough so that a code snippet is given. (186) The invention of the relational database was a classical example of what some Harvard economists have called a
disruptive technology.
(187) In brief, the underlying mathematic basis for the relational database was developed by Edgar F. Codd, an IBM research scientist, in 1970. The particular advantage the relational database offered was its ability to handle complex queries.

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SAP spread via Trojan horse effect via German subsidiaries of multinationals, entering US after IPO. (194) The Trojan Horse effect of R/2ƒs having been installed in the offices of German subsidiaries of multinational firms was probably a more effective sales device. . . . Thus, the SAP package was completely generalized, and was tailored to an individual country and firm by setting thousands of parameters and switches. . . . Its 1988 IPO in Germany provided the capital for entry into the United States, the worldƒs biggest software market.

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SAP R/3 critical to Western industrial economies, and irreplaceable in short term; too big to fail? (197) If overnight R/3 were to cease to exist (say, if its licenses were made intolerably expensive), the industrial economy of the Western world would come to a halt, and it would take years for substitutes to close the breach in the networked economy. Were Microsoftƒs products to vaporize overnight, it would take only days or weeks to find substitutes, and the economic disruption would be modest.

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Chapter 7 begins with Visicalc advertisement, emblematic of personal computer software industry. (201)

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Computer industry did not perceive microprocessor-based stand-alone devices as threat because they were developed in the electronics industry. (201) The microprocessor contained all the essential parts of a processor on a single chip, and, when combined with memory chips and peripheral equipment, was capable of performing as a stand-alone computer. However, because the microprocessor had been developed in the electronics industry, the computer industry did not perceive it as a threat to its products.

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Bricoleur, dilettante origins of microcomputer software development practices; examine emergence of Altair 8800 and folk history of PC. (202) Although some professional software development practices diffused into microprocessor programming, much of the software technology was cobbled together or re-invented, an amateurish legacy that the personal computer software industry took several years to shake off.
(202) The first microprocessor-based computer (or certainly the first influential one) was the Altair 8800, manufactured by Micro Instrumentation Telemetry Systems (MITS). This machine was sold in kit form for assembly by computer hobbyists, and its appearance one the cover of
Popular Electronics in January 1975 is perhaps the best-known event in the folk history of the personal computer.
(202) The transforming event for the personal computer was the launch of the Apple II in April 1977.
(203) The launch of these genuine consumer products created a significant consumer market for personal computer software.

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Unacknowledged role of software distributor, with focus usually on developer as creative force, ignoring importance of marketing efforts; nice link for humanities comparing to publisher. (210) Perhaps the most interesting revelation was that marketing consumed 35 percent of costs.

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Killer app hypothesis mixes social constructionism and critique into technology studies. (212) The killer app hypothesis argues that a novel application, by enabling an activity that was previously impossible or too expensive, causes a new technology to become widely adopted. . . . Outside the realm of computers,
The Jazz Singer has been credited with establishing sound cinema in the late 1920s.
(214) By late 1983, an astounding 700,000 copies of VisiCalc had been sold.

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Chapter 8 begins with 1-2-3 spreadsheet advertisement for maturing personal computer software industry. (232)

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Difficulty of getting access to corporate archives; Autodesk an exception. (243) But until Microsoft opens its archives to independent scholars, we have only some tantalizing hints of the companyƒs strategic thinking and the extent to which Gates was responsible for it.
(243) In the meantime, another firm, Autodesk has made its early strategic thinking publicly available in a book titled
The Autodesk File.

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Conflation of multitasking with user friendliness. (247) As a result of the rise of the graphical user interface, multitasking became conflated with the secondary issue of user friendliness.

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Suggestion of religious rather than rational preference for programming languages links to social construction of technological systems. (260) A second way of coexisting with Microsoft has been to occupy niche markets where Microsoft has no presence. A classic example of this was Borland, which introduced Turbo Pascal in 1982. It happens that developers prefer particular programming languages for reasons that are more religious than rational. Pascal was an elegant programming language, favored by academics and by idiosyncratic firms like Apple Computer, whereas Microsoft and most software developers preferred the more prosaic BASIC or C programming language.

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Chapter 9 begins with Sonic the Hedgehog advertisement, which is mostly image, very few words compared to all previous ads. (269-272)

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Efforts of private citizens and societies have preserved early videogames far better than early corporate software artifacts. (272) Unlike the early corporate software artifacts discussed in this book, most of which have evaporated into the mists of time, early videogames have been well preserved through the curatorial efforts of private citizens and preservation societies.

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Nod to Turkle for noticing new aggressive form of play inspired by videogames; can statistics of pinball machine production refute claim that videogames largely displaced them starting in 1974? (273) By 1974 there were 100,000 Pong-type machines around the world. They largely displaced pinball machines, diverting the flow of coins from an old technology to newer one without much increasing the overall take.
(273-274) The devotees of Space Invaders were 90 percent male and 80 percent teenage, and the new aggressive form of play attracted the attention of Sherry
Turkle and other social theorists.

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Connect this brief history of videogame consoles to Montfort and Bogost. (276) Videogame software cartridges, largely ignored by software industry analysts, became a huge business. It was estimated that five games were sold each year for every one of the millions of videogame consoles in existence.

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Bedroom coder phenomenon fueled by popular magazines; odd not to mention any Apple computer magazines. (276-277) The most successful home computers sold in the millions, spawning huge user communities, mostly young male hobbyists. There was a vibrant newsstand literature, with titles such as
Power/Play (for Commodore users), 99 Home Computer Magazine (for users of the Texas Instruments 99/4), Antic (for Atari 800 users), and Hot CoCo (for users of the TRS 80 Color Computer). These magazines typically sold 50,000-150,000 copies a month.
(277) No additional software development system was needed, there were no proprietary trade secrets to unlock, and programs could be duplicated on the computer itself, with no need for access to a third-party manufacturing plant. The lack of significant barriers to entry led to the phenomenon of the
bedroom coder.

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Texts and technology link concerning videogames as cultural phenomenon. (288) Today videogaming is an exploding cultural phenomenon with particular appeal to people under 30. Some authors believe that its longterm significance will one day rival that of movies or recorded music.

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Cultural diffusion of programming compared to diffusion of writing as publishing industry 150 years ago. (301) Programming broadly interpreted to include development of video games, creation of templates for spreadsheets, visual programming, and database design is becoming a widely diffused skill. Indeed, it may be as widely diffused today as writing was 150 years ago. One does not speak of a writing industry ; one speaks of a multi-sector publishing industry whose only point in common is putting ink on paper. In 20 years, we will likely think of the software industry in the same way.

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Chapter 10 begins with image of 60,000 punched cards for SAGE master program to reflect on US software industry success. (303)

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Castells connection on difficulty of reproducibility of US software success in other cultures. (303) In the last 20 or 30 years, in Europe and many other parts of the world, planners have attempted to reproduce the success of Silicon Valley in their local economies.
(303) The cultural factors are usually the hardest to reproduce.

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Network effects on knowledge and business interactions; firm clusters and social networks result in information assymmetry and advantage Silicon Valley and other centers (Castells). (306-307) A complex network of social relationships, consolidated in professional meetings, bars, and health clubs, enables individuals working in different firms to know in what direction the market is moving and to develop the right product at the right time. This information asymmetry is what makes it so difficult for firms outside the network to compete. . . . The firm cluster allows technical specialists to move from one firm to another with better prospects almost overnight without breaking up their social networks or uprooting their families.
(307) Perhaps the only well-studied example of clustering in the software industry is that of the relationship of Northern California, home to Oracle, Sybase, and Informix.

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Corporate software research and development less disciplined than in other industries. (308) The importance of R&D in the success of the software industry is little understood. Software companies typically spend 10-15 percent of the revenues on R&D, well above the percentage in most other industries.

3 2 3 (+) [-4+]mCQK campbell_kelly-from_airline_reservations_to_sonic_the_hedgehog (311) 20130914z 0 -1+ progress/2012/08/notes_for_campbell_kelly-from_airline_reservations_to_sonic_the_hedgehog.html
Manpower training as universal programming instruction in public schools may represent lost generations. (311) Among the things a government can do to foster a software industry, manpower training may be the most beneficial and may create the least market distortion.

3 2 3 (+) [-4+]mCQK castells-rise_of_network_society_second_edition (xxiv) 20130913a 0 -2+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Specific mention of OSS (versus proprietary technological artifacts) credits radical transformation of communication through expansion and generalization of the Internet; is this an old myth or another useful argument for the free, open source option as ethic needs checked in empirical research (Feller). (xxiv) Perhaps the most apparent social change taking place in the years since this book was first researched is the
transformation of communication, a trend that I analyzed in chapter 5 of this volume.
(xxv) Computer networking,
open source software (including Internet protocols), and fast development of digital switching and transmission capacity in the telecommunication networks led to the expansion of the Internet after its privatization in the 1990s and to the generalization of its use in all domains of activity.

3 2 3 (+) [-6+]mCQK chun-programmed_visions (29) 20131028e 0 -3+ progress/2013/07/notes_for_chun-programmed_visions.html
Gendered, military history of computing: shift from commanding a female computer to commanding a machine. (29) This conflation of instruction with result stems in part from softwareƒs and computingƒs gendered, military history: in the military there is supposed to be no difference between a command given and a command completed especially to a computer that is a girl.
(29) One could say that programming became programming and software became software when the command structure shifted from commanding a girl to commanding a machine.
(29-30) Software languages draw from a series of imperatives that stem from World War II command and control structures.

3 2 3 (+) [-4+]mCQK copeland-what_is_computation (337-338) 20130913 0 -11+ progress/2012/12/notes_for_copeland-what_is_computation.html
Labeling scheme formalizes architecture specifications to constitute code. (337-338) Support one has a formal specification of the architecture in question and of the algorithms
, call it SPEC. For definitions, let SPEC take the form of a set of axioms, although nothing in what follows turns on the use of the axiomatic method as opposed to some other style of formalization. . . . How do we bridge the gap and say that e is such a machine (at the time in question)? The bridge is effected by means of a system of labeling for e. . . . Thus a labeling scheme for an entity consists of two parts: (1) the designation of certain parts of the entity as label-bearers, and (2) the method for specifying the label borne by each label-bearing part at any given time.

3 2 3 (+) [-4+]mCQK copeland-what_is_computation (340) 20130913a 0 -6+ progress/2012/12/notes_for_copeland-what_is_computation.html
Provides axiomatic specification of a machine architecture, raising question whether such approaches still possible in massively distributed networks full of shoddy code (Mackenzie). (340) This section explains by means of an example what is meant by an
axiomatic specification of a machine architecture. I will consider a simple machine M whose central processor consists of three eight-bit registers: an instruction register I, a data buffer D and an accumulator A. . . . M is a von Neumann machine (i.

3 2 3 (+) [-4+]mCQK copeland-what_is_computation (350-351) 20130913c 0 -4+ progress/2012/12/notes_for_copeland-what_is_computation.html
Conditions for honesty of axiomatic computational model: labeling scheme not ex post facto, must secure truth of counterfactuals concerning machine behavior. (350-351) In summary, I suggest two necessary conditions for honesty. First, the labeling scheme must not be ex post facto. This requirement guards the class of honest models from intruders that fail to respect the intended meanings of the terms of the axiomatic theory in ways of the sort outlined in the first and second of the above three criticisms. Second, the interpretation associated with the model must secure the truth of appropriate counterfactuals concerning the machineƒs behavior.

3 2 3 (+) [-6+]mCQK deleuze_guattari-thousand_plateaus (215) 20130510 0 -2+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Four errors and dangers ultimately attributed to Nietzsche Zarathustra and Casteneda Don Juan are dangers discussed by Harper in explication of critical importance of free (as in libre) open source practice. (215) Four errors concerning this molecular and supple segmentarity are to be avoided.
(227) According to Nietzscheƒs Zarathustra and Castanedaƒs Indian Don Juan, there are three or even four dangers: first, Fear, then Clarity, then Power, and finally the great Disgust, the longing to kill and to die, the Passion for abolition.

3 2 3 (+) [-4+]mCQK du_gay-doing_cultural_studies (3) 20131028 0 -7+ progress/2012/03/notes_for_du_gay-doing_cultural_studies.html
Apply the Johnson circuit analysis to philosophy in popular digital culture or computing devices; see Frieberger and Swaine, Levy, and other popular books on personal computers. (3) The mode of production of a cultural artefact was assumed to be the prime determinant of the meaning which that product would or could come to possess. This book breaks with this logic in that it analyses the biography of a cultural artefact in terms of a theoretical model based on the
articulation of a number of distinct processes whose interaction can and does lead to variable and contingent outcomes.
(3) The five major cultural processes which the book identifies are:
Representation, Identity, Production, Consumption and Regulation. . . . Taken together, they complete a sort of circuit what we term the circuit of culture through which any analysis of a cultural text or artefact must pass if it is to be adequately studied (a similar approach has been developed by the cultural theorist Richard Johnson, 1986).

3 2 3 (+) [-4+]mCQK edwards-closed_world (50-51) 20130821i 0 -11+ progress/2013/08/notes_for_edwards-closed_world.html
Serial processing of instruction stream key component of von Neumman architecture. (50-51) The great mathematician John von Neumann became involved with the ENIAC project in 1944, after a chance encounter with Herman Goldstine on a train platform. By the end of the war, with Eckert, Mauchly, and others, von Neumann had planned an improved computer, the EDVAC. The EDVAC was the first machine to incorporate an internal stored program, making it the first true computer in the modern sense. (The ENIAC was programmed externally, using switches and plugboards.) The plan for the EDVACƒs logical design served as a model for nearly all future computer control structures often called von Neumann architectures --until the 1980s.
(51 footnote 20) Goldstine distributed this plan, under von Neumannƒs name but unbeknownst to him, as the famous and widely read Draft Report on the EDVAC. Because von Neumannƒs name was on its cover, the misunderstanding arose that he was the reportƒs sole author. . . . The most essential feature of the so-called von Neumann architecture is serial (one-by-one) processing of the instruction stream.

3 2 3 (+) [-4+]mCQK edwards-closed_world (70) 20130824 0 -2+ progress/2013/08/notes_for_edwards-closed_world.html
Pinch and Bijker closure not reached for digital computers during their first decade, but then they took command, as Manovich now claims has occurred with software. (70) Clearly, in the decade following World War II digital computers were a technology at the early phase of development that Trevor Pinch and Wiebe Bijker describe as, in essence, a solution in search of a problem. The technology of digital computation had not yet achieved what they call
closure, or a state of technical development and social acceptance in which large constituencies generally agree on its purpose, meaning, and physical form.

3 2 3 (+) [-4+]mCQK edwards-closed_world (81) 20130825 0 -5+ progress/2013/08/notes_for_edwards-closed_world.html
Compare language of self-representation of the Whirlwind project to that of Linux kernel as indexical icon by MacKenzie. (81) From this point on, Forresterƒs commitment to the goal of real-time military control systems increasingly differentiated Whirlwind from other digital computer projects. . . . These commitments were realized not only in Whirlwindƒs technical efforts, but in the language of its self-representation.

3 2 3 (+) [-4+]mCQK edwards-closed_world (100) 20130825a 0 -3+ progress/2013/08/notes_for_edwards-closed_world.html
Social construction of technology illustrated in reliability, speed, and networking of military equipment. (100) Many of Whirlwindƒs technical achievements bear the direct imprint of the military goals of the SAGE project and the political environment of the postwar era. As a result, despite their priority of invention, not all of these technologies ultimately entered the main stream of computer development via Whirlwind and SAGE. Some, such as core memory, almost immediately made the transition to the commercial world.

3 2 3 (+) [-6+]mCQK edwards-closed_world (103-104) 20130825b 0 -4+ progress/2013/08/notes_for_edwards-closed_world.html
Legacy of Foucaultian support for closed-world politics. (103-104) Despite these many technical and corporate impacts, I would argue that the most essential legacy of SAGE consisted in its role as a support, in Michel Foucaultƒs sense, for closed-world politics. For SAGE set the key pattern for other high-technology military enclosures for global oversight and control. It silently linked defense- and offense-oriented strategic doctrines often portrayed as incompatible opposites around centralized computer systems. It provided the technical underpinnings for an emerging dominance of military managers over a traditional experience- and responsibility-based authority system.

3 2 3 (+) [-4+]mCQK edwards-closed_world (131) 20130829 0 -5+ progress/2013/08/notes_for_edwards-closed_world.html
Command, control, communications and information also merge in modern computer operating systems (Chun). (131) Computerization supported this flattening by automating many tasks and permitting rapid, accurate, and detailed central oversight. . . . A decade later, command, control, communications, and information (C
3I) had become a single unified process.

3 2 3 (+) [-4+]mCQK edwards-closed_world (134) 20130829a 0 -5+ progress/2013/08/notes_for_edwards-closed_world.html
Mutual orientation of discourses. (134) As with SAGE, the McNamara era reflects a discourse process of
mutual orientation in which computers played a key part. Civilians, in this case data-oriented managers and economists, sought using computers to implement the PPBS and the OSA to institutionalize systems analysis to centralize and rationalize DoD procurements. Their discursive categories systems, options, data, flexibility, limited war required the development of program choices that linked strategy with technology and cost. The military, in response to these essentially managerial requirements as well as to rapidly evolving technology, constructed strategic options that depended upon increased centralization of command. The discursive categories of command and control, in turn, motivated the increasing sweep of automated, computerized command systems.

3 2 3 (+) [-4+]mCQK edwards-closed_world (138-139) 20130829b 0 -9+ progress/2013/08/notes_for_edwards-closed_world.html
Gibson technowar. (138-139) In his meticulous study of Vietnam,
The Perfect War, James William Gibson argues that the institutions responsible for the war conceived the problem it was supposed to solve in the mechanistic terms of physical science. Metaphors of falling dominoes, popping corks, and chain reactions were used to describe the diplomatic situation. Communist governments and armies were depicted as demoniac machines, conscripting their people as parts and consuming their energy; Gibson calls this imagery mechanistic anticommunism. The entire transaction was understood as an accounting procedure in which capitalists scored credits and communists debits. Thus its planners were managers who saw the war as a kind of industrial competition. . . . Counterinsurgency, the new technology of limited war, would allow the prosecution of technowar in the revolutionary jungles of the Third World.

3 2 3 (+) [-4+]mCQK edwards-closed_world (144-145) 20130829c 0 -11+ progress/2013/08/notes_for_edwards-closed_world.html
Zuboff Information panopticon. (144-145) The political purpose of the electronic battlefield was to build a deadly version of what Shoshana
Zuboff has called an information panopticon. . . . On the pseudo-panoptic battlefields of the Vietnam War, soldiers subjected to panoptic control managed by computers did exactly what workers in panoptic factories often do: they faked the data and overrode the sensors.
(145) Pure information, light without heat, would illuminate future war. . . . Political leaders could achieve the ideal of American antimilitarism: an armed force that would function instantly and mechanically, virtually replacing soldiers with machines. The globe itself would become the ultimate panopticon, with American soldiers manning its guard tower, in the final union of information technology with closed-world politics.

3 2 3 (+) [-4+]mCQK edwards-closed_world (171) 20130830b 0 -1+ progress/2013/08/notes_for_edwards-closed_world.html
Manageable complexity of microworlds. (171) What gives the computer this holding power, and what makes it unique among formal systems, are the simulated worlds within the machine: what AI programmers of the 1970s began to call
microworlds, naming computer simulations of partial, internally consistent but externally incomplete domains.

3 2 3 (+) [-4+]mCQK edwards-closed_world (200) 20131029b 0 -1+ progress/2013/08/notes_for_edwards-closed_world.html
Shannon as American counterpart to Turing. (200) In many ways Shannon was the American counterpart to Turing: a mathematician, interested in what would soon be called digital logic, whose wartime contributions involved him in cryptology.

3 2 3 (+) [-4+]mCQK edwards-closed_world (244) 20130831a 0 -2+ progress/2013/08/notes_for_edwards-closed_world.html
Nested levels from hardware electronics, digital logic, machine language, assembly language, high level languages, to user interfaces and operating systems. (244) The operation of computing machinery can be described at a number of levels.
(245) Each level is
conceptually independent of the ones below and above, while remaining practically dependent on the lower levels.

3 2 3 (+) [-4+]mCQK edwards-closed_world (247) 20130901a 0 -10+ progress/2013/08/notes_for_edwards-closed_world.html
Short Code first interpreted assembly language. (247) In 1949 Eckert and Mauchly introduced Short Code (for the ill-fated BINAC). Employing alphanumeric equivalents for binary instructions, Short Code constituted an assembly language that allowed programmers to write their instructions in a form somewhat more congenial to human understanding. . . . A separate machine-language program called an
interpreter translated Short Code programs into machine language, one line at a time. . . . But instructions still had to be entered in the exact form and order in which the machine would execute them, which frequently was not the conventional form or order for composing algebraic statements.

3 2 3 (+) [-4+]mCQK edwards-closed_world (247) 20131029c 0 -12+ progress/2013/08/notes_for_edwards-closed_world.html
Earliest programmers were mathematicians and engineers who were close to the hardware; higher-level languages and compilers were needed for nonexperts, requiring more memory and machine time to support their execution. (247) The earliest programmers were primarily mathematicians and engineers who not only programmed but also designed logic structures and/or built hardware. . . . Short, efficient algorithms and highly mathematical code rules this cultureƒs values. . . . Somewhat ironically, perhaps, programming a computer became a kind of art form.
(247-248) But in order for nonexperts to write computer programs, some representation was required that looked much more like ordinary mathematical language. Higher-level languages, in turn, required
compilers able not merely to translate statements one-for-one into machine code, as interpreters did, but to organize memory addressing, numerical representation (such as fixed- or floating-point), and the order of execution of instructions. .

3 2 3 (+) [-4+]mCQK edwards-closed_world (253) 20130901c 0 -3+ progress/2013/08/notes_for_edwards-closed_world.html
Very ambitious goals by McCarthy for an artificial language for the two month conference. (253) McCarthyƒs own goal for the summer was to attempt to construct an artificial language which a computer can be programmed to use on problems requiring conjecture and self-reference. It should correspond to English in the sense that short English statements about the given subject matter should have short correspondents in the language and so should short arguments or conjectural arguments. I hope to try to formulate a language having these properties and in addition to contain the notions of physical object, event, etc.

3 2 3 (+) [-4+]mCQK edwards-closed_world (257-258) 20130901e 0 -9+ progress/2013/08/notes_for_edwards-closed_world.html
Like Netflix network usage, symbolic processing as a resource hog. (257-258) By 1960, courses in computing thesis work, data reduction, and numerical processing devoured most of the available computer time. Yet symbolic processing such as virtually all the work McCarthy, Minsky, and their AI group wanted to do required an increasingly large proportion (in 1960, 28 percent of total research computing time). . . . By early 1961 an MIT report on computer capacity . . . recommended acquiring an extremely fast computer with a very large core memory and a time-sharing operating system as the solution to the time bottleneck.

3 2 3 (+) [-4+]mCQK edwards-closed_world (258-259) 20130901f 0 -7+ progress/2013/08/notes_for_edwards-closed_world.html
McCarthy thinking aids as subjective environment required interactive time sharing, shifting social structure as well every from batch processing priesthood towards personal, private encounter. (258-259) McCarthy needed time-sharing to
provide the right subjective environment for AI work. . . . McCarthy and many of his coworkers wanted not simply to employ but to interact with computers, to use them as thinking aids (in their phrase), cyborg partners, second selves. They wanted a new subjective space that included the machine.
(259) Through McCarthyƒs work, AI became linked with a major change not only in computer equipment but in the basic social structure and the subjective environment of computer work.

3 2 3 (+) [-4+]mCQK edwards-closed_world (266) 20130901g 0 -2+ progress/2013/08/notes_for_edwards-closed_world.html
Licklider a key text in philosophy of computing. (266) Man-Computer Symbiosis rapidly achieved the kind of status as a unifying reference point in computer science (and especially in AI) that
Plans and the Structure of Behavior, published in the same year, would attain in psychology. It became the universally cited founding articulation of the movement to establish a time-sharing, interactive computing regime.

3 2 3 (+) [-4+]mCQK edwards-closed_world (272) 20130901h 0 -6+ progress/2013/08/notes_for_edwards-closed_world.html
Heterogeneous discourse around Foucaultian support of electronic digital computer rather than deliberate plan. (272) Academic psychologists and computer scientists generally did not understand the major role they played in orienting the military toward automation, symbiosis, and artificial intelligence as practical solutions to military problems. . . . They could do so precisely because for the most part there
was no scheme, in the sense of some deliberate plan or overarching vision. Instead, this larger pattern took the form of a discourse, a heterogeneous, variously linked ensemble of metaphors, practices, institutions, and technologies, elaborated over time according to an internal logic and organized around the Foucaultian support of the electronic digital computer.

3 2 3 (+) [-4+]mCQK edwards-closed_world (287) 20130901i 0 -9+ progress/2013/08/notes_for_edwards-closed_world.html
Failure of Ada as universal language to address proliferation of computer languages. (287) Similarly, software problems caused by the proliferation of computer languages had reached an acute stage. . . . Simply maintaining existing programs, in the face of rapidly changing hardware and increased interlinkage of software systems, had become a monumental task. In 1975 the DoD called for proposals for a new, universal computer language in which all future programs would be written. By 1983, the department had frozen specifications for the new language, known as Ada. As might have been expected, though, Adaƒs very universality proved problematic. Many within the computer science community proved problematic.

3 2 3 (+) [-4+]mCQK edwards-closed_world (292) 20130901j 0 -5+ progress/2013/08/notes_for_edwards-closed_world.html
Flawless specifications required closed system assumption. (292) New techniques, such as artificial intelligence-based automatic programming from system specifications and automated program-proving procedures, were proposed as ways of eliminating human error and speeding the coding process, but few if any software engineers believed such methods would completely eradicate mistakes.
(292) Even if they did work, nothing could prevent errors
in the specifications themselves. Every possible contingency would have to be anticipated and accounted for. The program would have to respond correctly to a virtually infinite set of possible conditions. It would, in other words, have to capture the whole world within its closed system.

3 2 3 (+) [-4+]mCQK edwards-closed_world (298) 20130901k 0 -2+ progress/2013/08/notes_for_edwards-closed_world.html
MITI challenge in fifth generations of hardware and software systems. (298) (Like almost everyone else, DARPA planners knew nothing of the SDI until Reagan announced it on television.) Instead, they were responding largely to the Fifth Generation Computer program launched by the Japanese Ministry of International Trade and Industry (MITI) in 1981.

3 2 3 (+) [-4+]mCQK edwards-closed_world (298 footnote 51 20131029d 0 -6+ progress/2013/08/notes_for_edwards-closed_world.html
Five generations of hardware and software systems: vacuum tube, transistor, IC, VLSI, imagining decentralized parallel architectures matched by machine code, assembly, symbolic, structured, imagining intelligent knowledge-based languages. (298 footnote 51) In a generally accepted genealogy of hardware and software, the first four generations of digital computers were constituted, in essence, by successive hardware innovations leading to order-of-magnitude reductions of scale. Vacuum tube, transistor, integrated circuit (IC), and very-large-scale integrated circuit (VLSI) technologies superseded each other at roughly ten-year intervals. Machine code, assembly languages, symbolic languages (such as FORTRAN or COBOL), and structured programming languages (Pascal) represented software innovations roughly corresponding to these stages. The fifth generation, as envisioned in the early 1980s, would involve machines built around decentralized parallel architectures, which execute numerous instructions simultaneously. The equivalent software innovation would be intelligent knowledge-based systems descended from the expert-systems branch of AI. The new generation was expected to understand natural language, reason like human beings within limited domains of knowledge, see with excellent acuity and comprehension, and command other intelligent processes.

3 2 3 (+) [-4+]mCQK edwards-closed_world (310) 20130901m 0 -4+ progress/2013/08/notes_for_edwards-closed_world.html
Green versus closed worlds in terms of my favorite 1980s computer games: Ultima III and Castle Wolfenstein. (310) Green-world drama contrasts with closed-world drama at every turn, as shown in table 10.1.
(311) Green-world drama has the character of a heroic quest rather than that of a siege; its archetype is the Odyssey.
(311) Green-world powers are dangerous because they exceed human understanding and control, not because they are evil.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (ix-x) 20121213 0 -2+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Reaching for philosophy of information/ICT rather than computing or programming, despite control system frontispiece; admits to logocentric bias and to impose as discussion topic later in the book. (ix-x) It is easier to be intellectually neutral when talking about different types of data storage than when dealing with the concept of text or the possibility of artificial intelligence. By the time the reader has reached Chapter 5, I can only hope that my logocentric or neo-Cartesian views (both labels with negative connotations for many philosophers who write about the topics covered in this book) will be sufficiently clear to allow an open discussion of their value.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (x-xi) 20130919 0 -11+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Pragmatic approach to AI, for example value of speech recognition, recalls Licklider. (x-xi) My aim here is not to debunk them but rather to redirect our philosophical interest in them. . . . We have stopped interacting audibly with our information systems sometime after Augustine. . . . A speech-recognition, hands-free application is not necessarily useful per se, especially if it is not mobile as well.
(xi) I argue that a LAI [light AI] approach is the most promising strategy in many areas of AI application. The second half of the chapter is dedicated to the introductory analysis of these areas: fuzzy logic systems, artificial neural networks, parallel computing, quantum computing, expert systems, knowledge engineering, formal ontologies, robotics, cybernetics and artificial agents.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (xi) 20130919a 0 -4+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Appealing to collectively sensed philosophical problems arising in information culture, promoting critical constructionism as new perspective to investigate. (xi) There are philosophersƒ problems, which people often find uninteresting and are glad to leave to the specialists, and there are philosophical problems, problems about which any educated person will usually feel the urge to know and understand more. The development of an information culture, a digital society and a knowledge economy poses problems of the second kind. They may not yet have gained their special place in the philosophersƒ syllabus, but this does not make them any less important. I suggest that they open up a whole new area of philosophical investigation, which I have labeled the philosophy of information, and promote the development of a general new philosophical perspective, which I define as
critical constructionism.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (2) 20130919c 0 -7+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Conflates Moore law with similarly improving usability; surprisingly, no references to Castells, who differentiates informational and information societies. (2) If Mooreƒs famous law is still true fifty years after he proposed it and there is currently no reason to think that it will not be then at the beginning of the 2020s microprocessors may well be as much as 1000 times computationally more powerful than the Pentium III chip we were so proud of only yesterday, yet a child will be able to use them efficiently.
(2) What we call the information society has been brought about by the fastest growing technology in history. . . . Total pervasiveness and high power have raised ICT to the status of the characteristic technology of our time, but rhetorically and iconographically.
(3) The real point is that technological determinism is unjustified and that work organization and the quality of working life depend much more on overall managerial philosophies and strategic decisions than on the simple introduction of a particular type of technology.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (4) 20130919d 0 -2+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
ICT changes in social standards; compare to Manovich. (4) In the information society, changes in social standards are ever more deeply and extensively ICT-driven or induced. Such modifications in the growth, the fruition and the management of information resources and services concern four main sectors: computation, automatic control, modeling, and information management.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (7) 20130919e 0 -6+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Instrumentation and technological nonconscious; embodied epistemology. (7) The ultimate goal is authenticity, understood as a virtual hyper-realism. . . . Indeed, every are of human knowledge whose models and entities whether real or theoretical no longer matters can be translated into the digital language of bits is, and will inevitably be, more and more dependent upon ICT capacity to let us perceive and handle the objects under investigation, as if they were everyday things, pieces on a chess board that can be automatically moved, rotated, mirrored, modified, combined and subjected to the most diverse transformations and tests.
(8) After a long period in which there has been a prevailingly Cartesian view of knowledge and rational thinking as a series of intuitions enjoyed by a disembodied mind and chiefly brought about by a flow of algebraic equations and analytic steps, we are witnessing the revaluation of the sensorially-enriched (visual and tactile and synthetic) epistemology so dear to Greek and Renaissance philosophers.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (36) 20130919h 0 -9+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
General-purpose, rule-based transformation is the key concept of computability. (36) Since there are discrete dynamical systems (including parallel systems, see below) that can have super-Turing capacities, the distinction between
effective computability and calculability cannot be reduced to the analogue/digital or continuous/discrete systems distinction; the key concept is rather that of general-purpose, rule-based transformation.
(37) The richness of PPCs [parallel processing computers] and QCs [quantum computers] lets us improve our conception of the tractability of algorithms in the theory of complexity, but does not influence our understanding of the decidability and computability of problems in the theory of computation. Since they are not in principle more powerful than the classical model,
richer computers do not pose any challenge to CTT.
(38) We can now state the last general result of this section. According to Churchƒs thesis, every function that is effectively computable is also recursive (R) and vice versa. . . . Like CTT then, CT is not a theorem but a reasonable conjecture that is supported by a number of facts and nowadays results widely accepted as correct.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (44) 20130919i 0 -1+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Examples how Von Neumann machine satisfies UTM criteria: stored-program, random-access, sequential, single path. (44) In a famous paper, entitled Preliminary Discussion of the Logical Design of an Electronic Computing Instrument , John von Neumann, also relying on a wealth of work done in the area, suggested the essential architecture of a UTM that became universally accepted as standard in the following decades.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (55) 20130122 0 -6+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Incompatibilities go beyond information structure architectures, having social and legal components that may be concretized in design; surprising Floridi does not make this point as a self-proclaimed critical constructionist, erhaps due to his predilection for going into details of CCT, VNM, and not C++, Perl, XML, is symptomatic of how he casts foundational computation affects and reflects how he thinks. (55) The same
architecture can have different hardware implementations. . . . On the other hand, since each type of CPU recognizes a certain set of instructions, if two microprocessors implement different ISA [information structure architecture] then their software will not be compatible. This is why we cannot use software written for a Macintosh with an IBM-compatible and vice versa, although both are VNMs.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (55) 20130426 0 -7+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
A particular compilation error manifests a problem of the type associated with machine architectures incompatibly interfaced at the level of information structure architecture despite sharing the same CPU hardware architecture. (55) The world of personal computers is unfortunately divided into two: on the one hand there is a niche of Apple Macintosh (Mac) users (between 1994 and 1998 Appleƒs share of the global market decreased from 9.4 percent to 2.6 percent) and, on the other hand, the vast majority of PC users. . . . what my be a little more interesting is to understand why, given the fact that both a Mac and a PC are VNMs, they are not compatible.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (56) 20130919j 0 -1+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Schumpeter model of technological develeopment mentioned by other theorists. (56) we also make it possible to apply to its evolution
Schumpeterƒs classic model of the three stages in the development of a technology: invention, innovation and diffusion.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (58-59) 20130919k 0 -9+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Convincing recapitulation of necessary conditions of Internet; should a philosopher of computing know these protocols to the point of technical mastery, and in what sense can we articulate the need for and boundaries of an adequate use knowledge of deprecated TCP/IP? (58-59) Three technological factors were critical in determining the genesis of the Internet: (1) The packet switching technology, first implemented in 1968. . . . (2) The adoption, in 1982, of the Transmission Control Protocol (TCP) and Internet Protocol (IP), as the standard protocols for communication over the network. . . . (3) The implementation, in 1984, of a strictly hierarchical Internet naming system, known as DNS (Domain Name-server System).

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (62-63) 20130919m 0 -5+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Hayles argues that access, rather than location, is what matters now, although location with respect to the physical infrastructure affects access and therefore memory. (62-63) The physical infrastructure implementing the common protocols makes possible a global
memory platform, which results from the cohesion of all the memories of all the computers in the network. . . . That is to say that, at any given time, the memory platform has a particular extension, to be calculated in terabytes, which makes up an anisotropic space, where the amount of memory fully available to a user depends on his or her location.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (105) 20130921b 0 -4+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Retrieval, concordance, parsing are machine operations engaging human texts. (105) (1)
Retrieval software: . . . Thus flexible software allows the user to transform her hard disk into a flexible and useful database and this, by the way, represents one of the main advantages of word-processing oneƒs own documents;
(105) (2)
Concordance software and parsers: Concordancers are applications that allow the user to study a text by reorganizing it independently of its sequential order, according to analytic criteria such as combinations of keywords, word-forms or concepts.

3 2 3 (+) [-6+]mCQK floridi-philosophy_and_computing (106-107) 20130921c 0 -14+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Erotetic approach, a logic of questions and answers as an ontological, epistemological type, structures reality in terms of levels or layers trending from common to exception: datum, information, knowledge. (106-107) From the point of view of our erotetic model, a datum can then be defined as an answer without a question: 12 is a sign that makes a difference, but it is not yet informative, for it could be the number of the astrological signs, the size of a pair of shoes or the name of a bus route in London, we do not know which. Computers certainly treat and understand data; it is controversial whether there is any reasonable sense in which they can be said to understand information. . . . To become informative for an intelligent being, a datum must be functionally associated with a relevant query. . . . In our erotetic model, information becomes knowledge only if it is associated with the relevant explanation of the reasons why things are the way they are said to be. . . . We need to remember that information is a common phenomenon, knowledge a rare exception.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (108-109) 20130921e 0 -18+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Interesting argument reaching infosphere model similar to mine with electronic devices; absence of statistical applications in typical textbases symptomatic of conceptual vacuum. (108-109) A database may contain four types of data: . . .
primary data . . . metadata . . . operational data . . . derivative data. . . . In all these examples, we have made the infosphere speak about itself through a quantitative and comparative analysis. Unfortunately, textbases are still published as reference tools only, and only occasionally do they make possible some elementary ideometric analyses (for example, they never include statistical applications).

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (109-110) 20130921f 0 -14+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Cyberspace as ether due to isomophism to combinations of data types percolating within databases, also a source, a place or space, location, support, from which it emerges as epiphenomenal field effects, of machine cognition; does comprehension really depend on our ability to picture the twelve sided shape derived from his formula? (109-110) Since to each type of datum corresponds a type of information and hence a type of knowledge, we now have twelve forms of contents. The infosphere consists of a countless number of DIKs. Is there any geometrical conceptualization of this model? To begin with, we may compare each DIK to a dodecahedron (a polyhedron made of twelve regular pentagons). . . . We have seen that the infosphere is a conceptual environment in which there can be no empty space, either within or without (a dataless infospace is a contradiction, as the concept of unextended empty space was for Descartes). This means that the DIKs fully tessellate the infosphere (fill the
n-dimensional space in the same way as stones may cover a pavement). . . . There are five regular polyhedrons, and in Platonist literature four of them were associated with the structure of the four natural elements (earth = cube, fire = tetrahedron, air = octahedron, water = icosahedron) while the fifth, the dodecahedron, was sometimes interpreted as the geometrical structure of the fifth element. What some Platonists taught was ether (the source is Epinomis 981b-e, but see also Timaeus 55c and 58d), we now have defined as DIK contents.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (112) 20130921g 0 -2+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Derivative data from ideometrical analysis versus fortuitous deformations as contribution of computing to human philosophy, positioning Floridi at McGann level theorists, seeking to stake out the territory of the philosophy of information versus that of the latter; academic philosophy crossing texts and technology territory, enumerating scientometric histriography, lexicography, stylometry, linguistic statistics, and so on, for revealing information about the infosphere that has become also answering humanities questions. (112) What we may call
ideometry is the critical study of such significant patterns resulting from a comparative and quantitative analysis of the extensional field of codified information, that is, clusters of primary data, metadata and procedural data from data-banks, textual corpora or multimedia archives used as extensional sources.
(112) Ideometry is perfectly in line with the development of the history of thought, which through time becomes progressively more and more self-reflective and metatheoretical.

3 2 3 (+) [-6+]mCQK floridi-philosophy_and_computing (113) 20130921h 0 -8+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Information about the infosphere research goal of ideometric analysis. (113) We do not convert printed texts into electronic databases in order to read them better or more comfortably. For this task the book is and will remain unsurpassed. We collect and digitize large corpora of texts in order to be able to subject them to ideometric analysis and extract data they contain only on a macroscopic level. In this way, we can reach further
information about the infosphere itself. . . . Copora of electronic texts and multimedia sources are the laboratory for ideometrical analysis.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (115) 20130921i 0 -5+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Constructive semiosis symptomatic of ontological rather than aesthetic interpretation of databases. (115) What really matters, in the information society, is education and the full mastering of the several languages that ontically constitute the fifth element, from oneƒs own natural idiom to mathematics, from English to ICT, since languages are the very fabric of the infosphere. . . . Yet meaningful signs (including those belonging to natural languages) do not clothe a pre-existing infosphere, they constitute it, and a long intellectual tradition, going from von Humboldt to Chomsky, has called attention to this fundamentally constructionist nature of semiotic codes, whereby languages ontologically
incorporate reality, rather than just describing it.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (117) 20121216 0 -4+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Floridi offers literalism to computing on a platter of philosophies of information rather than computing or programming for constructionist approach to textual analysis; bring computing into humanities teaching soldering circuits programs. (117) Interpreting a literary text from a constructionist perspective means, therefore, to be able to normalize and categorize its DIK-elements (what they are and how they are to be re-modelled or re-conceptualized as related sets of properties), to discover their mutual relations, their internal processes, their overall structure, and to provide a textual model in which it becomes evident how far the purposes of the text-tool are fulfilled. If programs can be copyrighted (see for example the USA 1976 Copyright Act, amended by the Congress in 1980), then conversely
literary texts can also be seen as conceptual mechanisms, complex systems that may exhibit holistic and emergent properties of have a high degree of fault tolerance (do the Meditations collapse because of the Cartesian circle?) and redundancy, and that may be broken after all, or in need of repair. For a constructionist, rational criticism is a way of showing how far a text can support external and internal solicitations, and reading is like working with Lego.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (118) 20130921k 0 -7+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Long Bush quote compared to Nelson summary because he defines many key terms and concepts, including a direct link to cyborg in memory supplement and associative indexing, which links to Barthes, literally instantiating the arbitrariness of signification; makes important point that information moves toward user instead of forcing user to embrace machine, which solves retrieval problem of enormous masses of information like books in libraries, making all informaiton ready-at-hand, easily recalled from long term memory via external machinery, not just static signs. (118) [quoting Bush] A memex is a device in which an individual stores all his books, records, and communications, and which is mechanized so that it may be consulted with exceeding speed and flexibility. It is an enlarged intimate supplement to his memory. . . . It affords an immediate step, however, to associative indexing, the basic idea of which is a provision whereby any item may be caused at will to select immediately and automatically another.
(119) The retrieval problem is a communication problem, which can be solved by devising an information system that no longer requires the user to move towards information (towards the notes at the bottom of a page or at the back of a book, towards the document referred, towards the library and so forth) but, rather, organizes information so that whatever is needed can be made immediately and constantly available, coming towards the reader, as it were.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (119-120) 20130921l 0 -13+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Barthes lexia plus hyperlinks and anchors plus interactive dynamic interface machinery. (119-120) A text is a hypertext if and only if it is constituted by 1. a discrete set of semantic units which, in the base cases offer a low cognitive load. . . . 2. a set of associations. . . . 3. an interactive and dynamic interface.
(120) (1) The
electronic fallacy: hypertext is a uniquely computer-based concept.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (121) 20130921m 0 -3+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Argues digital electronic conceptually irrelevant for their understanding, contrary to platform studies and theorists of machine embodiment such as Bogost, Kirschenbaum, Chun. (121) Digital electronics, although practically vital for their implementation, is by and large conceptually irrelevant for their understanding.
(121) (2) The literary fallacy: hypertext began primarily as a narrative technique and hence it is essentially a new form of literary style.
(121) The
expressionist fallacy: hypertext has arisen as and should be considered primarily a writing-pushed phenomenon.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (125) 20130921p 0 -2+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Practical limitations of degrees of freedom and possibilities of creative interaction; Aarseth and Ryan make similar points with myth of Aleph. (125) The degree of
creative interaction that hypertexts offer to the reader remains practically limited.
(125-126) (5) The
obsession with the rhetoric of syntax: hypertext is non-linear writing and challenges the bookish assumption that contents have to be presented in a linear fashion.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (126) 20130921q 0 -1+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Linearity defined as either syntactically sequential, semantically sequential, transmitted/communicated serially, or accessed/retrieved serially. (126) An information system can already be connoted as linear if it satisfies at least one of the following conditions.

3 2 3 (+) [-4+]mCQK floridi-philosophy_and_computing (129) 20130921r 0 -8+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Ontic meaning: computer technology is all about ontics, instantiating poststructuralist and postmodern theoretical ideas. (129) First, we can now abandon the common view that hypertext (the conceptual structure, not the actual products) is simply an epistemological concept. . . . As the system of relations connecting the DIKs, hypertext is the very backbone of the infosphere and significantly contributes to its meaningfulness in an
ontical sense, i.e. by helping to constitute it.
(129) Second, the space of reason and meaning including the narrative and symbolic space of human memory is now externalized in the hypertextual infosphere, and this brings about four more consequences concerning the rhetoric of spatiality.

3 2 3 (+) [-4+]mCQK freiberger_and_swaine-fire_in_the_valley (424) 20131030 0 -7+ progress/2001/02/notes_for_freiberger_and_swaine-fire_in_the_valley.html
Still seen by authors as revolutionarily empowering tool: lack of sophistication or result of years of research? (424) In one way or another, they were all dreaming of one thing: the personal computer, the packaging of the awesome power of computer technology into a little box that anyone could own.
Today, changing the world is the little machineƒs job. The personal computer, once a truly revolutionary idea, has become a commonplace tool. But itƒs a revolutionarily empowering tool, and a tool that can empower revolutions. Just as the World Wide Web was invented on a NeXT cube, it is likely that the next technological revolution will be invented on a personal computer.
Probably by some bright young hacker.
She may even be reading this book right now.

3 2 3 (+) [-4+]mCQK fuller-software_studies (237-238) 20130923m 0 -10+ progress/2011/10/notes_for_fuller-software_studies.html
Source Code: basic description of the earliest electronic computing machines perfectly instantiates the possibility of artificial intelligence in cybernetic self constituting operation; let this be the definition of artificial intelligence rather than human discursive texts. (237-238) Source code (usually referred to as simply source or code ) is the uncompiled, non-executable code of a computer program written in higher level programming languages. . . . In the history of computation, programs were first written and circulated on paper before being compiled in the same way as recipes were written and shared before being compiled in cookbooks. . . . The source code of a modern digital computer derives from the further adaptation (in the 1940s) of Babbageƒs ideas. What came to be known as the von Neumann architecture is important as it presented a single structure to hold both the set of instructions on how to perform the computation and the data required or generated by the computation; it demonstrated the stored-program principle that has led to development of programming as separate from hardware design.

3 2 3 (+) [-4+]mCQK galloway-protocol (xii) 20130921 0 -10+ progress/2013/01/notes_for_galloway-protocol.html
Isomorphism of technological and social/political; therefore material understanding of technology. (xii) Throughout the discussions on power, control, and decentralization,
Protocol consistently makes a case for a material understanding of technology. . . . In short, the technical specs matter, ontologically and politically. . . . Code is a set of procedures, actions, and practices, designed in particular ways to achieve particular ends in particular contexts. Code = praxis.

3 2 3 (+) [-4+]mCQK galloway-protocol (xiii) 20130921b 0 -10+ progress/2013/01/notes_for_galloway-protocol.html
Code always process based. (xiii) The first point is that networks are not metaphors. . . . Networks are not tropes for notions of interconnection. They are material technologies, sites of variable practices, actions, and movements. . . . A code, in the sense that
Protocol defines it, is process-based: It is parsed, compiled, procedural or object-oriented, and defined by ontology standards.

3 2 3 (+) [-4+]mCQK galloway-protocol (xiv) 20130921c 0 -14+ progress/2013/01/notes_for_galloway-protocol.html
Abstract but material in sense of Bergson virtual; networks are not metaphors but material materializing media. (xiv) When the book suggests that networks are not metaphors (or not merely metaphors), the dichotomy is not one between material and immaterial, but rather between two types of abstract. . . . An abstract that is real is a potential. (Henri
Bergson uses the term virtual for the immanent unfolding of duration as potentiality.) . . . Rather, this abstract-but-real is the network that is always enacted and always about to enact itself. . . . The network as real-but-abstract may involve information as an immaterial entity, but that information always works toward real effects and transformations, no matter how localized.

3 2 3 (+) [-4+]mCQK galloway-protocol (xv) 20130921d 5 -15+ progress/2013/01/notes_for_galloway-protocol.html
Answers question how does the Internet work with analysis of TCP/IP and DNS. (xv) It asks how a particular type of network functions the information networks that undergird the Internet. It shows how a network is not simply a free-for-all of information out there, nor is it a dystopia of databanks owned by corporations. It is a set of technical procedures for defining, managing, modulating, and distributing information throughout a flexible yet robust delivery infrastructure. . . . It is constituted by a bi-level logic that
Protocol explains. . . . Understanding these two dynamics in the Internet means understanding the essential ambivalence in the way that power functions in control societies. . . . To grasp protocol is to grasp the technical and the political dynamics of TCP/IP and DNS at the same time.

3 2 3 (+) [-4+]mCQK galloway-protocol (xvi) 20130921e 0 -2+ progress/2013/01/notes_for_galloway-protocol.html
Political character of protocol displayed in moment of disconnectivity as others emphasize glitches, blips and breakdowns. (xvi) The
moment of disconnectivity is the moment when protocol most forcefully displays its political character.
(xvi) Again, the mere technical details, such as RFCs, suddenly become the grounds for contesting the way in which control takes shape in the materiality of networks.

3 2 3 (+) [-4+]mCQK galloway-protocol (xviii) 20130921f 0 -4+ progress/2013/01/notes_for_galloway-protocol.html
Foucault political technologies and Deleuze diagram. (xviii)
Protocol considers networks through a diagram, a term borrowed from Gilles Deleuze. Protocol considers first a network as a set of nodes and edges, dots and lines.
(xix) If we are indeed living in a post-industrial, postmodern, postdemocratic society, how does one account for political agency in situations in which agency appears to be either caught in networks of power or distributed across multiple agencies?
(xix) By looking closely and carefully at the technical specifications of TCP/IP and DNS,
Protocol suggests that power relations are in the process of being transformed in a way that is resonant with the flexibility and constraints of information technology.

3 2 3 (+) [-6+]mCQK galloway-protocol (xxi-xxii) 20130921g 0 -6+ progress/2013/01/notes_for_galloway-protocol.html
Use of ontology standards outside philosophy as foundation of portability and layering in networks materialized in protocols. (xxi-xxii)
Ontology standards is a strange name for agreed-upon code conventions, but in some circles it is regularly used to signify just that. Newer, more flexible markup languages such as XML have made it possible for researchers (be they biologists or engineers) to come up with a coding schema tailored to their discipline. . . . If layering is dependent upon portability, then portability is in turn enabled by the existence of ontology standards.

3 2 3 (+) [-4+]mCQK galloway-protocol (3) 20130921h 0 -3+ progress/2013/01/notes_for_galloway-protocol.html
Introduction epigraph from Foucault by Deleuze: Every society has its diagram(s). (3) I am particularly inspired by five pages from Gilles Deleuze, Postscript on Control Societies, which begin to define a chronological period after the modern age that is founded neither on the central control of the sovereign nor on the decentralized control of the prison or the factory. My book aims to flesh out the specificity of this third historical wave by focusing on the controlling computer technologies native to it.
(4) Just as Marx rooted his economic theory in a strict analysis of the factoryƒs productive machinery, Deleuze heralds the coming productive power of computers to explain the sociopolitical logics of our own age.

3 2 3 (+) [-4+]mCQK galloway-protocol (5) 20130921i 0 -7+ progress/2013/01/notes_for_galloway-protocol.html
Distributed agency of Baran packet-switching network in surrounding equipment; the packets themselves do not find their own ways. (5) [Paul] Baranƒs network was based on on technology called packet-switching that allows messages to break themselves apart into small fragments. Each fragment, or packet, is able to find its own way to its destination. Once there, the packets reassemble to create the original message.
(6) In the early 1980s, the suite of protocols known as TCP/IP (Transmission Control Protocol/Internet Protocol) was also developed and included with most UNIX servers.
(6) At the core of networked computing is the concept of protocol. A computer protocol is a set of recommendations and rules that outline specific technical standards. The protocols that govern much of the Internet are contained in what are called RFC (Request For Comments) documents.

3 2 3 (+) [-4+]mCQK galloway-protocol (6) 20130921j 0 -9+ progress/2013/01/notes_for_galloway-protocol.html
Protocols are core of networked computing governed by organizations like IETF and W3C who freely publish them as RFCs and other document types. (6) The RFCs are published by the Internet Engineering Task Force (IETF). They are freely available and used predominantly by engineers who wish to build hardware or software that meets common specifications. . . . Other protocols are developed and maintained by other organizations. For example, many of the protocols used on the World Wide Web (a network within the Internet) are governed by the Word Wide Web Consortium (W3C).
(7) Etymologically it refers to a fly-leaf glued to the beginning of a document, but in familiar usage the word came to mean any introductory paper summarizing the key points of a diplomatic agreement or treaty.
(7) What was once a question of consideration and sense is now a question of logic and physics.

3 2 3 (+) [-4+]mCQK galloway-protocol (8) 20130921k 0 -4+ progress/2013/01/notes_for_galloway-protocol.html
Key theme of book is contrast between distributing TCP/IP and hierarchizing DNS. (8) Emblematic of the second machinic technology, the one that focuses control into rigidly defined hierarchies, is the DNS.
(9) All DNS information is controlled in a hierarchical, inverted-tree structure. Ironically, then, nearly all Web traffic must submit to a hierarchical structure (DNS) to gain access to the anarchic and radically horizontal structure of the Internet.
(9) Because the DNS system is structured like an inverted tree, each branch of the tree holds absolute control over everything else.

3 2 3 (+) [-4+]mCQK galloway-protocol (11) 20130921l 0 -4+ progress/2013/01/notes_for_galloway-protocol.html
Distributed network the Deleuze diagram of current social formation. (11) A distributed network differs from other networks such as centralized and decentralized networks in the arrangement of its internal structure.
(11-12) The network contains nothing but [quoting Hall Internet Core Protocols] intelligent end-point systems that are self-deterministic, allowing each end-point system to communicate with any host it chooses. Like the rhizome, each node in a distributed network may establish direct communication with another node, without having to appeal to a hierarchical intermediary. Yet in order to initiate communication, the two nodes must speak the same language.

3 2 3 (+) [-4+]mCQK galloway-protocol (16) 20130921n 0 -3+ progress/2013/01/notes_for_galloway-protocol.html
Danger of protocol like danger of technology for Heidegger, pharmakon for Plato/Derrida; efforts must be guided through protocol, not against it (Licklider symbiosis, Heim component, Hayles coevolution). (16) What is wrong with protocol? To steal a line from Foucault, itƒs not that protocol is bad but that protocol is
dangerous.
(17) I hope to show in this book that it is
through protocol that one must guide oneƒs efforts, not against it.

3 2 3 (+) [-4+]mCQK galloway-protocol (17-18) 20130921o 0 -3+ progress/2013/01/notes_for_galloway-protocol.html
Focus on bodies and material stratum of computer technology rather than minds and epistemology; like Bazin, Barthes and Hayles analyzing material specific formal functions and dysfunctions. (17-18) I draw a critical distinction between this body of work [Minsky, Dennett, Searle, Dreyfus], which is concerned largely with epistemological and cognitive science, and the critical media theory that inspires this book. Where they are concerned with minds and questions epistemological, I am largely concerned with bodies and the material stratum of computer technology.
(18) While my ultimate indebtedness to many of these authors will be obvious, it is not my goal to examine the social or culturo-historical characteristics of informatization, artificial intelligence, or virtual anything, but rather to study computers as Andre Bazin studied film or Roland Barthes studied the striptease: to look at a material technology and analyze its specific formal functions and dysfunctions.

3 2 3 (+) [-4+]mCQK galloway-protocol (18) 20130921p 0 -13+ progress/2013/01/notes_for_galloway-protocol.html
Other inpsirations include Kittler discourse networks, Wiener cybernetic control, Lovink Net criticism, DeLanda institutional ecologies. (18) I hope to build on texts such as Friedrich
Kittlerƒs groundbreaking Discourse Networks, 1800:1900, which describes the paradigm shift from a discourse driven by meaning and sense, to our present milieu of pattern and code.
(18) Norber
Wiener is also an important character. His books laid important groundwork for how control works within physical bodies. . . . Other important theorists from the field of computer and media studies who have influenced me include Vannevar Bush, Hans Magnus Enzensberger, Marshall McLuhan, Lewis Mumford, and Alan Turing.
(18-19) I am also inspired by
Lovinkƒs new school of media theory known as Net criticism. . . . Much of this intellectual work has taken place in online venues such as CTHEORY, Nettime, and Rhizome, plus conferences such as the annual Ars Electronica festival and the Next 5 Minutes series on tactical media.
(19) This alternate path recognizes the material substrate of media, and this historical processes that alter and create it.

3 2 3 (+) [-4+]mCQK galloway-protocol (20) 20130921q 0 -1+ progress/2013/01/notes_for_galloway-protocol.html
Reading code as a natural language, but likely employing close, hyper, and machine techniques. (20) Indeed, I attempt to read the never-ending stream of computer code
as one reads any text (the former having yet to achieve recognition as a natural language), decoding its structure of control as one would a film or novel.

3 2 3 (+) [-4+]mCQK galloway-protocol (20) 20130921r 0 -4+ progress/2013/01/notes_for_galloway-protocol.html
Broad periods of sovereign, disciplinary, and control societies with characteristic political and technological forms. (20) I refer to the axiom, taken from periodization theory, that history may be divided into certain broad phases, and that the late twentieth century is part of a certain phase that (although it goes by several different names) I refer to alternatively as the postmodern or digital age.
(21) Deleuze reinforces the historical arguments, first presented by Foucault, in his book
Foucault, as well as in several interviews and incidental texts in the collection Negotiations.
(22) Kittler agrees roughly with this periodization in his book
Discourse Networks, 1800:1900.
(23) In the sociopolitical realm many thinkers have also charted this same periodization.

3 2 3 (+) [-4+]mCQK galloway-protocol (26) 20130921s 0 -8+ progress/2013/01/notes_for_galloway-protocol.html
Protocol the technical theory of Hardt and Negri Empire as social theory. (26) The computer protocol is thus in lockstep with
Hardt and Negriƒs analysis of Empireƒs logics, particularly the third mode of imperial command, the managerial economy of command. . . . In fact, one might go so far so to say that Empire is the social theory and protocol the technical.
(26) Further to these many theoretical interventions Foucault, Deleuze, Kittler, Mandel, Castells, Jameson, Hardt and Negri are many dates that roughly confirm my periodization.
(27) At best, periodization theory is an analytical mindgame, yet one that breathes life into the structural analyses offered to explain certain tectonic shifts in the foundations of social and political life. My book implicitly participates in this game, mapping out certain details of the third, control society phase, specifically the diagram of the distributed network, the technology of the computer, and the management style of protocol.

3 2 3 (+) [-4+]mCQK galloway-protocol (29) 20130921t 0 -2+ progress/2013/01/notes_for_galloway-protocol.html
Chapter 1 epigraph from Where Wizards Stay Up Late: the language of the RFC was warm and welcoming. (29) While many have debated the origins of the Internet, itƒs clear that in many ways it was built to withstand nuclear attack. The Net was designed as a solution to the vulnerability of the militaryƒs centralized system of command and control during the late 1950s and beyond.

3 2 3 (+) [-4+]mCQK galloway-protocol (30) 20131031b 0 -1+ progress/2013/01/notes_for_galloway-protocol.html
Protocol is algorithmic, and may be centralized, distributed or decentralized. (30) I attempt to show that protocol is not by nature horizontal or vertical, but that protocol is an algorithm,
a proscription for structure whose form of appearance may be any number of different diagrams or shapes.

3 2 3 (+) [-4+]mCQK galloway-protocol (30) 20131031c 0 -4+ progress/2013/01/notes_for_galloway-protocol.html
Centralized networks hierarchical, operating from central hub; examples of American military and judicial systems, Foucault panopticon. (30) Centralized networks are hierarchical. They operate with a single authoritative hub. Each radial node, or branch of the hierarchy, is subordinate to the central hub.
(31) The American judicial system, for example, is a centralized network.

3 2 3 (+) [-4+]mCQK galloway-protocol (31) 20131031d 0 -5+ progress/2013/01/notes_for_galloway-protocol.html
Decentralized networks of distributed autonomous agents following system rules, exemplified by Deleuze and Guattari rhizome; most common diagram of modern era, examples of airline system, US interstate highway, Internet. (31) There are many decentralized networks in the world today in fact,
decentralized networks are the most common diagram of the modern era.
(31) One example is the airline system.
(33) First, distributed networks have no central hubs and no radial nodes. Instead each entity in the distributed network is an autonomous agent.
(33) A perfect example of a distributed network is the
rhizome described in Deleuze and Guattariƒs A Thousand Plateaus.

3 2 3 (+) [-4+]mCQK galloway-protocol (38) 20130921u 0 -12+ progress/2013/01/notes_for_galloway-protocol.html
RFCs as discursive treasure trove for critical theorists; defines Internet as series of interconnected networks. (38) The RFC on Requirements for Internet Hosts, an introductory document, defines the
Internet as a series of interconnected networks, that is, a network of networks, that are interconnected via numerous interfacing computers called gateways.
(39) The RFC on Requirements for Internet Hosts defines four basic layers for the Internet suite of protocols: (1) the application layer (e.g., telnet, the Web), (2) the transport layer (e.g., TCP), (3) the Internet layer (e.g., IP), and (4) the link (or media-access) layer (e.g., Ethernet).
(39) This diagram, minus its layer captions, appears in RFC 791. The four layers are part of a larger, seven-layer model called the OSI (Open Systems Interconnection) Reference Model developed by the International Organization for Standardization (ISO).

3 2 3 (+) [-6+]mCQK galloway-protocol (40) 20130508 0 -3+ progress/2013/01/notes_for_galloway-protocol.html
OSI preferred model for considering everything as code; no special anthropomorphic uses of data, and affords ontology of amalgamation of multiple processes occurring in multiple temporal orders of magnitude and systems exhibiting distributed control, fitting models described by Deleuze and Guattari (assembly, abstract machine, body without organs, lines of flight, strata). (40) (footnote 15) The critical distinction is that the OSI model, my preferred heuristic, considers everything to be code and makes no allowances for special anthropomorphic uses of data. This makes it much easier to think about protocol. The other models privilege human-legible forms, whose reducibility to protocol is flimsy at best.

3 2 3 (+) [-4+]mCQK galloway-protocol (44) 20130921v 0 -2+ progress/2013/01/notes_for_galloway-protocol.html
Datagram as linguistic unit is a true container rather than any kind of symbol. (44) IP is responsible for one thing: moving small packets of data called datagrams from one place to another.
(44) Technically, then, IP is responsible for two things: routing and fragmentation.

3 2 3 (+) [-4+]mCQK galloway-protocol (46-47) 20130207 0 -6+ progress/2013/01/notes_for_galloway-protocol.html
Distinct protocological characteristics: peer to peer, distributed, universal language, robust and flexible, open to unlimited variety of computers and locations, result of action of autonomous agents; protocol layers likely inconceivable to early computing theorists and practitioners, which is a good reason to consider periodization theory applies to different trajectories for machine intelligence, possibilities of machine operations, and human computer symbiosis. (46-47) At this point, let me pause to summarize the distinct protocological characteristics of the TCP/IP suite. . . . Each of these characteristics alone is enough to distinguish protocol from many previous modes of social and technical organization. Together they compose a new, sophisticated system of distributed control.

3 2 3 (+) [-4+]mCQK galloway-protocol (47) 20130921w 0 -16+ progress/2013/01/notes_for_galloway-protocol.html
DNS heroic project of mapping humanized names to machinic numbers; it is a language. (47) The basic problem at hand, writes DNS critic Ted Byfield, is how we map the ƒhumanizedƒ names of DNS to ƒmachinicƒ numbers of the underlying IP address system.
(48-49) The tree structure allows [Paul]
Mockapetris to divide the total name space database into more manageable and decentralized zones through a process of hierarchization. . . . each portion of the database is delegated outward on the branches of the tree, into each leaf.
(49) Like this, the process starts at the most general point, then follows the chain of delegated authority until the end of the line is reached and the numerical address may be obtained. This is the protocol of a decentralized network.
(50) DNS is the most heroic of human projects; it is the actual construction of a single, exhaustive index for all things. It is the encyclopedia of mankind, a map that has a one-to-one relationship with its territory. . . . DNS is not simply a translation language,
it is language. It governs meaning by mandating that anything meaningful must register and appear somewhere in its system. This is the nature of protocol.

3 2 3 (+) [-4+]mCQK galloway-protocol (51) 20130921x 0 -7+ progress/2013/01/notes_for_galloway-protocol.html
Protocol is materially immanent, endogenous language that is indifferent to content (against interpretation). (51) Second, as the discussion of TCP/IP shows, protocol is materially immanent. That is, protocol does not follow a model of command and control that places the commanding agent outside of that which is being commanded. It is endogenous.
(52) At each phase shift (i.e., the shift from HTML to HTTP, or from HTTP to TCP), one is able to identify a data object from the intersection of two articulated protocols. In fact, since digital information is nothing but an undifferentiated soup of ones and zeros, data objects
are nothing but the arbitrary drawing of boundaries that appear at the threshold of two articulated protocols.

3 2 3 (+) [-4+]mCQK galloway-protocol (57) 20130202 0 -2+ progress/2013/01/notes_for_galloway-protocol.html
Formal apparatus involves social level of protocol along with technical specifications; media are dirty because they require involvement to critique them (Enzensberger). (57) And to the extent that transmission itself means being able to manipulate ([quoting Enzensberger] every use of the media presupposes manipulation ), then
everyone interested in an emancipated media should be a manipulator. In this sense, media are by their very nature dirty for they require, in the very act of critique, to engage with the dominant technologies of manipulation.

3 2 3 (+) [-4+]mCQK galloway-protocol (64) 20130923 0 -3+ progress/2013/01/notes_for_galloway-protocol.html
Use of continuity concept from film theory for networks. (64) One concept that I will borrow from film theory is continuity. Despite being a decentralized network composed of many different data fragments, the Internet is able to use the application layer to create a compelling, intuitive experience for the user.
(64) Legions of computer uses live and play online with no sense of radical dislocation.

3 2 3 (+) [-4+]mCQK galloway-protocol (72) 20130923c 0 -5+ progress/2013/01/notes_for_galloway-protocol.html
Casts software as immaterial despite stressing materiality of networks. (72) However, the niceties of hardware design are less important than the immaterial software existing within it. . . . Thus, the key to protocolƒs formal relations is in the realm of the immaterial software.

3 2 3 (+) [-4+]mCQK galloway-protocol (81) 20130923e 0 -3+ progress/2013/01/notes_for_galloway-protocol.html
Chapter 3 epigraph from Deleuze Foucault: Technology is social before it is technical. (81) I argue in this chapter that protocol has a close connection to both Deleuzeƒs concept of control and Foucaultƒs concept of biopolitics. I show here that protocol is an affective, aesthetic force that has control over life itself. This is the key to thinking of protocol as power.

3 2 3 (+) [-4+]mCQK galloway-protocol (82) 20130923f 0 -1+ progress/2013/01/notes_for_galloway-protocol.html
Materiality of life due to imbrication with protocols supports argument that protocol is an affective, aesthetic force as well. (82)
life, hitherto considered an effuse, immaterial essence, has become matter, due to its increased imbrication with protocol forces (via DNA, biopower, and so on discussed later).

3 2 3 (+) [-4+]mCQK galloway-protocol (83) 20130923g 0 -7+ progress/2013/01/notes_for_galloway-protocol.html
Foucault search for authochthonic transforamtion in realm of words and things. (83) He claims that he wants to uncover the principles of an autochthonic transformation --that is, a transformation in the realm of words and things that is immanent, particular, spontaneous, and anonymous.
(84) Indeed Foucault defines life in a fashion very similar to power itself. So similar, in fact, that in the late Foucault, the two terms merge into one: biopower.
(85) Biopolitics, then, connects to a certain statistical knowledge about populations.
(85) Biopolitics is a species-level knowledge.
(87) For it is not simply Foucaultƒs histories, but Foucault himself that is left behind by the societies of control. Foucault is the rhetorical stand-in for the modern disciplinary societies, while Deleuze claims to speak about the future.

3 2 3 (+) [-4+]mCQK galloway-protocol (90) 20130923h 0 -9+ progress/2013/01/notes_for_galloway-protocol.html
Analysis of vitalism in Marx Capital to illustrate second nature as how material objects become aesthetic objects. (90) This vitalism in Marx heralds the dawning age of protocol, I argue, by transforming life itself into an aesthetic object. . . . The moments in Marx when he lapses into metaphor and imagery appear to be his own attempt at cinematography that is, his attempt to aestheticize the vital forms contained in the body.
(92) Capitalism, for Marx, is second nature. It is at once intuitive and naturalized what Barthes would call a second-order system of signification. It is a layer that has been folded back on itself such that it is simultaneously its core self and its own patina. It is both raw and coded.

3 2 3 (+) [-4+]mCQK galloway-protocol (102) 20130923i 0 -4+ progress/2013/01/notes_for_galloway-protocol.html
Intuitive capitalistic apparatus alluded to by vitalistic imagery foreshadows protocol. (102) The use of vitalistic imagery, no matter how marginalized within the text, quite literally
aestheticizes capitalism. It turns capitalism into media. Perhaps then the conventional wisdom on Capital, that Marxƒs goal was to denaturalize the apparatus of capitalism, can be rethought. The existence in the text of vital forms allows for both an intuitive and estranged capitalistic apparatus.

3 2 3 (+) [-4+]mCQK galloway-protocol (105-106) 20130923j 0 -7+ progress/2013/01/notes_for_galloway-protocol.html
Wiener argues that both people and machines are communicative organisms, which today live inside protocol; essence of cybernetics is self-determinism of material systems, like Foucault biopower. (105-106) What makes Wienerƒs theory so radical, however, is that he recognized that machines also resist entropy. . . . Itƒs not simply that machines are like people, or that people are like machines, but that
both entities are like something else, what Wiener calls communicative organisms, or what today might be called information organisms. These are the same organisms that live inside protocol.
(107) The self-determinism of material systems is therefore the essence of cybernetics, and it is a positive essence, one that also reflects the positive potential of protocological organization.

3 2 3 (+) [-4+]mCQK galloway-protocol (111) 20130923l 0 -5+ progress/2013/01/notes_for_galloway-protocol.html
Transformation of matter to media, life as code, immaterial soul replaced with aesthetized biometrics, key to understanding rise of protocological control. (111) But what has been overlooked is that the transformation of matter into code is not only a passage from the qualitative to the quantitative
but also a passage from the non-aesthetic to the aesthetic the passage from non-media to media.
(111) This historical moment when life is defined no longer as essence, but as code is the moment when life
becomes a medium.
(113) Oneƒs lived experience was no longer tied to material realities, but instead was understood in terms of numbers a telephone number, a zip code, a social security number, an IP address, and so on.
(113) It considers living human bodies not in their immaterial essences, or souls, or what have you, but in terms of quantifiable, recordable, enumerable, and encodable characteristics. It considers life as an aesthetic object.

3 2 3 (+) [-4+]mCQK galloway-protocol (115) 20130923m 0 -1+ progress/2013/01/notes_for_galloway-protocol.html
Periodization table for control matrix from feudal, modern, postmodern to future considering machine, energy mode, disciplinary mode, control diagram, virtue, active threat (resistance), passive threat (delinquency), political mode, stratagem, personal crisis. (115) The matrix describes protocolƒs successes, its failures, and its future forms.

3 2 3 (+) [-4+]mCQK galloway-protocol (119-120) 20130923n 0 0+ progress/2013/01/notes_for_galloway-protocol.html
Part II epigraphs from Paul Baran and Tim Berners-Lee; chapter 4 begins recounting birth of spam on 4/12/1994. (119-120)

3 2 3 (+) [-4+]mCQK galloway-protocol (121-122) 20131031f 0 -2+ progress/2013/01/notes_for_galloway-protocol.html
Postel credits Internet success to public documentation, free and cheap software, vendor independence. (121-122) As long-time RFC editor Jon Postel put it, I think three factors contribute to the success of the Internet: (1) public documentation of the protocols, (2) free (or cheap) software for the popular machines, and (3) vendor independence. Commercial or regulatory interests have historically tended to impinge upon Postelƒs three factors.

3 2 3 (+) [-4+]mCQK galloway-protocol (122) 20130923o 0 -6+ progress/2013/01/notes_for_galloway-protocol.html
Protocol controlling logic transcends institutions, governments, and corporations while tied to them. (122) In short, protocol is a type of controlling logic that operates outside institutional, governmental, and corporate power, although it has important ties to all three.
(122) Like the philosophy of protocol itself, membership in this technocratic ruling class is open. . . . But, to be sure, because of the technical sophistication needed to participate, this loose consortium of decision makers tends to fall into a relatively homogeneous social class: highly educated, altruistic, liberal-minded science professionals from modernized societies around the globe.

3 2 3 (+) [-4+]mCQK galloway-protocol (122) 20130923p 0 -5+ progress/2013/01/notes_for_galloway-protocol.html
Loose affiliations of technocratic ruling class yet localized (Castells); importance of Unix and C/C++ as protocological technologies. (122) Of the twenty-five or so original protocol pioneers, three of them Vint Cerf, Jon Postel, and Steve Crocker all came from a single high school in Los Angelesƒs San Fernando Valley. Furthermore, during his long tenure as RFC editor, Postel was the single gatekeeper through whom all protocol RFCs passed before they could be published.
(123) A significant portion of these computers were, and still are, Unix-based systems. A significant portion of the software was, and still is, largely written in the C or C++ languages. All of these elements have enjoyed unique histories as protocological technologies.

3 2 3 (+) [-4+]mCQK galloway-protocol (126-127) 20130923q 0 -1+ progress/2013/01/notes_for_galloway-protocol.html
IEEE as worlds largest protocological society. (126-127) The IEEE works in conjunction with industry to circulate knowledge of technical advances, to recognize individual merit through the awarding of prizes, and to set technical standards for new technologies.

3 2 3 (+) [-4+]mCQK galloway-protocol (132) 20130923r 0 -8+ progress/2013/01/notes_for_galloway-protocol.html
IETF defined by various RFCs, some of which feature social relations and cultural biases. (132) The bedrock of this entire community is the IETF. The IETF is the core area where most protocol initiatives begin.
(133) (footnote 29) This RFC [ IETF Guidelines for Conduct (RFC 3184, BCP 54)] is an interesting one because of the social relations it endorses within the IETF. Liberal, democratic values are the norm. . . . Somewhat ironically, this document also specifies that English is the de facto language of the IETF.

3 2 3 (+) [-4+]mCQK galloway-protocol (139) 20130220 0 -5+ progress/2013/01/notes_for_galloway-protocol.html
Semantic web is machine-understandable information, protocol that cares about meaning that could lead to emergent forms of machine intelligence; consider recent proliferation of proprietary protocols prevalent in mobile computing as changing evolutionary trend away from open, democratic foundation. (139) The Semantic Web is simply the process of adding extra metalayers on top of information so that it can be parsed according to its semantic value.
(139) Before this, protocol had very little to do with meaningful information. Protocol does not interface with content, with semantic value. It is, as I have said, against interpretation. But with Berners-Lee comes a new strain of protocol: protocol that cares about meaning.

3 2 3 (+) [-4+]mCQK galloway-protocol (140-141) 20130923s 0 -7+ progress/2013/01/notes_for_galloway-protocol.html
Antifederalism through universalism reverts decision making to local level. (140-141) It is a peculiar type of
anti-federalism through universalism strange as it sounds whereby universal techniques are levied in such a way to revert much decision making back to the local level.
(141) Ironically, then, the Internet protocols that help engender a distributed system of organization are themselves underpinned by adistributed, bureaucratic institutions be they entities like ICANN or technologies like DNS.
(141-142) Thus it is an oversight for theorists like Lawrence Lessig (despite his strengths) to suggest that the origin of Internet communication was one of total freedom and lack of control. . . . The founding principle of the Net is control, not freedom.

3 2 3 (+) [-4+]mCQK galloway-protocol (141) 20130923t 0 -4+ progress/2013/01/notes_for_galloway-protocol.html
Faults Lessig for not seeing control is endemic to all distributed networks governed by protocol, which must be partially reactionary to be politically progressive. (141) (footnote 46) It is certainly correct from him [Lessig] to note that new capitalistic and juridical mandates are sculpting network communications in ugly new ways. But what is lacking in Lessigƒs work, then, is the recognition that control is endemic to all distributed networks that are governed by protocol.
(142) The generative contradiction that lies at the very heart of protocol is that
in order to be politically progressive, protocol must be partially reactionary.
(142) To put it another way, in order for protocol to enable radically distributed communications between autonomous entities, it must employ a strategy of universalization, and of homogeneity.

3 2 3 (+) [-4+]mCQK galloway-protocol (143) 20130923u 0 -6+ progress/2013/01/notes_for_galloway-protocol.html
Tactical standardization is our Barthes Operation Margarine. (143) Perhaps I can term the institutional frameworks mentioned in this chapter a type of
tactical standardization, in which certain short-term goals are necessary in order to realize oneƒs longer-term goals. Standardization is the politically reactionary tactic that enables radical openness. . . . It is, as Barthes put it, our Operation Margarine.

3 2 3 (+) [-4+]mCQK galloway-protocol (147) 20130923v 0 -5+ progress/2013/01/notes_for_galloway-protocol.html
Chapter 5 epigraph from Hardt and Negri on hacking. (147) One reason for its success is the high cost of aberrance levied against those who ignore the global usage of specific technologies. . . . Protocol is fundamentally a technology of inclusion, and openness is the key to inclusion.

3 2 3 (+) [-4+]mCQK galloway-protocol (157) 20130923x 0 -4+ progress/2013/01/notes_for_galloway-protocol.html
Hackers are symptomatic of assumption of protocol and changing resistance, as references to Levy then Sterling tiger teams illustrate. (157) When viewed allegorically, hacking is an index of protocological transformations taking place in the broader world of techno-culture. Hackers do not forecast the death (or avoidance or ignorance) of protocol, but are instead they very harbingers of its assumption.
(158) By knowing protocol better than anyone else, hackers push protocol into a state of hypertrophy, hoping to come out the other side. So in a sense, hackers
are created by protocol, but in another, hackers are protocological actors par excellence.

3 2 3 (+) [-4+]mCQK galloway-protocol (169) 20130923z 0 -11+ progress/2013/01/notes_for_galloway-protocol.html
Levy collective intelligence and possibility of utopia in cyberspace. (169) Pierre Levy is one writer who has been able to articulate eloquently the possibility of utopia in the cyberspace of digital computers.
(169) Thus, I suggest that the hackerƒs unique connection to the realm of the possible, via protocol that structures itself on precisely that threshold of possibility, gives the hacker special insight into the nature of utopia what he or she
wants out of computers.
(170) Sharing of software . . . is as old as computers, writes free software guru Richard
Stallman, just as sharing of recipes is as old as cooking.
(170) Code does not reach its apotheosis
for people, but exists within its own dimension of perfection. . . . Commercial ownership of software is the primary impediment hated by all hackers because it means that code is limited limited by intellectual property laws, limited by the profit motive, limited by corporate lamers.

3 2 3 (+) [-4+]mCQK galloway-protocol (171) 20130924a 0 -3+ progress/2013/01/notes_for_galloway-protocol.html
Protocol is open source by definition. (171) However, greater than this anti-commercialism is a pro-protocolism. Protocol, by definition, is
open source, the term given to a technology that makes public the source code used in its creation. That is to say, protocol is nothing but an elaborate instruction list of how a given technology should work, from the inside out, from the top to the bottom, as exemplified in the RFCs described in chapter 4.

3 2 3 (+) [-4+]mCQK galloway-protocol (172) 20130924b 0 -1+ progress/2013/01/notes_for_galloway-protocol.html
Hacking reveals ways of using code creatively. (172) What hacking reveals, then, is not that systems are secure or insecure, or that data wants to be free or proprietary, but that with protocol comes the exciting new ability to leverage possibility and action through code.

3 2 3 (+) [-4+]mCQK galloway-protocol (175) 20130924c 0 -2+ progress/2013/01/notes_for_galloway-protocol.html
Chapter 6 epigraph from Virilio Infowar. (175) Tactical media is the term given to political uses of both new and old technologies, such as the organization of virtual sit-ins, campaigns for more democratic access to the Internet, or even the creation of new software products not aimed at the commercial market.
(175) That is to say, there are certain tactical effects that often leave only traces of their successes to be discovered later by the ecologists of the media.

3 2 3 (+) [-4+]mCQK galloway-protocol (175-176) 20130924d 0 -8+ progress/2013/01/notes_for_galloway-protocol.html
Attitude toward viruses and proprietary software needs adjusted along with Microsoft monopoly predictions, hearkening to a prior struggle, although focus on tactical media focus avoids this topic. (175-176) For example computer viruses are incredibly effective at identifying anti-protocological technologies. They infect proprietary systems and propagate through the homogeneity contained within them. Show me a computer virus and Iƒll show you proprietary software with a market monopoly.
(176) Instead in this chapter I would like to examine tactical media as those phenomena that are able to exploit flaws in protocological and proprietary command and control, not to destroy technology, but to sculpt protocol and make it better suited to peopleƒs real desires. . . . Tactical media propel protocol into a state of hypertrophy, pushing it further, in better and more interesting ways.

3 2 3 (+) [-4+]mCQK galloway-protocol (177) 20130924e 0 -6+ progress/2013/01/notes_for_galloway-protocol.html
Concept of computer virus presented in 1983 seminar paper by Cohen which became dissertation. (177) [Frederick]
Cohen first presented his ideas on computer viruses to a seminar in 1983. His paper Computer Viruses Theory and Experiments was published in 1984, and his Ph.D. dissertation titled Computer Viruses (University of Southern California) in 1986.
(178) Computer viruses acquired their current discursive position because of a unique transformation that transpired in the mid-1980s around the perception of technology. In fact several phenomena, including computer hacking, acquired a distinctly negative characterization during this period of history because of the intense struggle waging behind the scenes between proprietary and protocological camps.

3 2 3 (+) [-4+]mCQK galloway-protocol (179) 20130924f 0 -6+ progress/2013/01/notes_for_galloway-protocol.html
Interesting comparison between early reaction to computer viruses and AIDS, and shift from technological identity to actions of human perpetrators, and weaponization of terrorism paradigm. (179) Thus, by the late 1990s viruses are the visible indices of a search for evildoers within technology, not the immaterial, anxious fear they evoked a decade earlier with the AIDS crisis.
(181) While the AIDS paradigm dominated in the late 1980s, by the late 1990s computer viruses would become weaponized and more closely resemble the terrorism paradigm.
(181) The state attacks terror with all available manpower, while it systematically ignores AIDS. Each shows a different exploitable flaw in protocological management and control.
(184) A self-replicating program is no longer the hallmark of technical exploration, as it was in the early days, nor is it (nor was it ever) a canary in the coal mine warning of technical flaws in proprietary software, nor is it even
viral; it is a weapon of mass destruction. From curious geek to cyberterrorist.

3 2 3 (+) [-4+]mCQK galloway-protocol (185-186) 20130924g 0 -6+ progress/2013/01/notes_for_galloway-protocol.html
Focus on bugs a common cyberfeminist theme (Hayles). (185-186) The computer bug, far from being an unwanted footnote in the history of computing, is in fact a space where some of the most interesting protocological phenomena occur.
(187-188) Cyberfeminism in its very nature necessitates a participatory practice in which many lines of flight coexist. Yet several recurrent themes emerge, among them the questions of
body and identity. Like a computer virus, cyberfeminisim exists to mutate and transform these questions, guiding them in new directions within the protocological sphere.
(188) Like French feminist Luce Irigaray before her, [Sadie]
Plant argues that patriarchal power structures, which have unequally favored men and male forms in society, should be made more equal through a process of revealing and valorizing overlooked female elements.
(189)
Zeros and Ones persuasively shows how women have always been inextricably involved with protocological technology.

3 2 3 (+) [-4+]mCQK galloway-protocol (191) 20130924h 0 -7+ progress/2013/01/notes_for_galloway-protocol.html
Stone and Plant argue digital space conceptualized via protocol based participatory social practices. (191) As Stone and others show, a participatory social practice (i.e., community) based on an imagined ether-scape of desiring and interacting bodies (i.e., protocol) is basic to how one conceptualizes digital space.
(191) Cyberfeminist pioneers VNS Matrix provide the frontline guerrilla tactics for Stone and Plantƒs theoretical efforts.
(194) Cyberfeminism aims to exorcise the essentialized, uninterrogated female body (brought into existence as a by-product of the protocological revolution) through a complex process of revalorization and rebuilding.

3 2 3 (+) [-6+]mCQK galloway-protocol (206) 20130924i 0 -4+ progress/2013/01/notes_for_galloway-protocol.html
Tactical media weakens technologies in order to sculpt new forms from the degrees of freedom arising in its hypertrophic condition. (206) These tactical effects are allegorical indices that point out the flaws in protocological and proprietary command and control. The goal is not to destroy technology in some new Luddite delusion, but to push it into a state of hypertrophy, further than it is meant to go. Then, in its injured, sore, and unguarded condition, technology may be sculpted anew into something better, something in closer agreement with the real wants and desires of its users. This is the goal of tactical media.

3 2 3 (+) [-4+]mCQK galloway-protocol (209) 20130924j 0 -2+ progress/2013/01/notes_for_galloway-protocol.html
Chapter 7 epigraph from Alexei Shulgin Nettime from which net-dot-art originated. (209) Much of my analysis in preceding chapters focused on
form, with the assumption that a revolutionary critique of the protocological media is simply a critique of their formal qualities: Determine a nonoppressive form and an emancipated media will follow. And indeed this is the main goal of media liberation theorists like Enzensberger.

3 2 3 (+) [-4+]mCQK galloway-protocol (210) 20130924k 0 -12+ progress/2013/01/notes_for_galloway-protocol.html
Derrida new art is not video but digital computer art. (210)
Derrida offers an intriguing commentary on the question of video and its specificity as a medium.
(210) It is vigilant and unpredictable and it brings with it other social spaces, other modes of production, of ƒrepresentationƒ, archiving, reproducibility . . . [and] the chance of
a new aura. [ Videor 77]
(210-211) Let me suggest that the new art the Derrida calls for is not in fact video, but the new media art that has appeared over the last few decades with the arrival of digital computers. . . . Further, as I argue in this chapter, a subgenre of Internet art has emerged since 1995 called net.art. This subgenre refers to the low-tech aesthetic popularized by the
7-11 email list and artists like Jodi.

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Manifestation of Internet media in glitches, bugs, and errors provides specificity in lieu of creator experience that could arise through critical programming; the alternative is engaging politics or feigning ignorance (Grzinic). (213) Following [Marina]
Grzinic, I suggest here that computer crashes, technical glitches, corrupted code, and otherwise degraded aesthetics are the key to this disengagement. They are the tactical qualities of Internet artƒs deep-seated desire to become specific to its own medium, for they are the moments when the medium itself shines through and becomes important.

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Art making moved outside aesthetic realm to often invisible working code. (217) While the artwork may offer little aesthetic gratification, it has importance as a conceptual artwork. It moves the moment of art making outside the aesthetic realm and into the invisible space of protocols: Web addresses and server error messages.
(218) The cluster of servers that make up the
Name.Space alternative network a web within the Web that uses a different, more flexible (not to mention cheaper and nonmonopolistic) addressing scheme are a perfect example of this type of Internet conceptualism.
(218) The
Web Stalker is also a good example of the conceptual nature of Internet art. It is an alternate browser that offers a completely different interface for moving through pages on the Web.

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Internet art periods highlighting network and software concerns. (218-219) Let me now propose a simple periodization that will help readers understand Internet art practice from 1995 to the present.
Early Internet art the highly conceptual phase known as net.art --is concerned primarily with the network, while later Internet art what can be called the corporate or commercial phase has been concerned primarily with software. This is the consequence of a rather dramatic change in the nature of art making concurrent with the control societies and protocological media discussed throughout this book.
(219) But this primary limitation has now begun to disappear.

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Compare role of Kickstarter today to Toywar and auctionism. (238) Auctionism unravels the limitations of the network by moving the location of art object off the Web site and into the social space of the Net, particularly email lists like
Rhizome, Nettime, and others.

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Protocol also management style of ruling elite, and where enemies of power operate as well, as Foucault notes of biopower generating new forms of control and delinquency. (242) Yet the success of protocol today as a management style proves that the ruling elite is tired of trees too.
(243) But powerƒs enemies are swimming in that same flow.

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Protocol dangerous in double Foucauldian sense of reification and weaponry, including tactical media. (245) This makes protocol dangerous but in the Foucauldian sense of danger that is twofold. First it is dangerous because it acts to make concrete our fundamentally contingent and immaterial desires (a process called reification), and in this sense protocol takes on authoritarian undertones.
(245) But protocol is also dangerous in the way that a weapon is dangerous. It is potentially an effective tool that can be used to roll over oneƒs political opponents. And protocol has already proven this in the sphere of technology. What poses a real threat to Microsoftƒs monopoly? Not Macintosh (the market). Not the Justice Department (the state). Instead it is the widespread use of protocols that struggle against Redmondƒs proprietary standards with varying degrees of success.

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Computationalism, mind itself as computer, surprisingly underwrites to traditional conceptions of humanity, society, politics. (1-2) This book foregrounds the roles played by the rhetoric of computation in our culture. I mean thereby to question not the development of computers themselves but the emphasis on computers and computation that is wide spread throughout almost every part of the social fabric. . . . my concern is that belief in the power of computation a set of beliefs I call here
computationalism underwrites and reinforces a surprisingly traditionalist conception of human being, society, and politics.
(2) The primary goal is to understand our own culture, in which computers play a significant but not decisive role.

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Rejects historical rupture associated with rise of electronic computing machinery. (2-3) Too often the rhetoric of computation, especially that associated with so-called new media, suggests that we are in the process of experiencing a radical historical break of just this millennial sort. . . . Networks, distributed communication, personal involvement in politics, and the geographically widespread sharing of information about the self and communities have been characteristic of human societies in every time and every place: a burden of this book is to resist the suggestion that they have emerged only with the rise of computers.

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Birkerts and Turkle on danger of pleasurable lure away from physical forms of social interaction. (6) But Birkerts also points to a line of critique that must be taken more seriously, which goes something like this: how do we guarantee that computers and other cultural products are not so pleasurable that they discourage us from engaging in absolutely necessary forms of social interaction?

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Constructivist philosophical form; interpretive method of cultural politics. (6-7) This book is philosophical in form, but interpretive in method. . . . We are always talking about cultural politics, even when we appear not to be doing so. . . . My goal is not to articulate an alternative to computationalist presumptions about language, mind, and culture. It is to show the functions of that discourse in our society, to think about how and why it is able to rule out viable alternative views, and to argue that it is legitimate and even necessary to operate as if it is possible that computationalism will eventually fail to bear the philosophical conceptual burden that we today put on it.

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Computationalism related to Hayles regime of computation, neoliberalism, Deleuze and Guattari war machine. (8-9) While philosophers use the term
computationalism to refer to others of their kind who believe that the human mind is ultimately characterizable as a kind of computer, here I deploy the term more expansively as a commitment to the view that a great deal, perhaps all, of human and social experience can be explained via computational processes. . . . In this sense, by computationalism I mean something close but not identical to what Hayles (2005) rightly calls the regime of computation ; I believe it is accurate to say that the regime of computation targets the combined effects of computational rhetoric and mass computerization; here, at least in great part, my effort is to separate these two phenomena, even if we often want to examine how they work in tandem.
(9) In the most explicit accounts of Western intellectual history, mechanist views cluster on the side of political history to which we typically think of as the right, or conservatism, or Tory politics, or in our day, and perhaps more specifically relevant to this inquiry,
neoliberalism. . . . Resistance to the view that the mind is computational is often found in philosophers we associate with liberal or radical (usually, but not always, left) views, despite a significant amount of variety in their views for example, Locke, Hume, Nietzsche, Marx.
(10) Just in order to take advantage of what
Deleuze and Guattari (1982, 1987) call the war machine, and then subsequently as a method of social organization in general, the State uses computation and promotes computationalism.

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Key point that adopting hyper rationalism shunts alternative discourses follows same argument that computing aligns with rationality better than other sciences. (13) For at least one hundred years and probably much longer, modern societies have been built on the assumption that more rationality and more
techn (and more capital) are precisely the solutions to the extremely serious problems that beset our world and our human societies. Yet the evidence that this is not the right solution can be found everywhere. . . . To some extent this is a perpetual tension in all societies, not just in ours or in so-called modern ones; what is distinctive about our society, historically, is its emphasis on rationalism and its terrific adeptness at ruling out any discourse that stands against rationalism.
(14) The computer, despite its claims to fluidity, is largely a proxy for an idealized form of rationalism. This book shows how the rationalist vision could be mutated into something like a full articulation of human society, despite the obvious, repeated,
a priori and a posteriori reasons that this could never and will never be the case. On this view, the main reason figures like Kant, Hegel, Plato, Hume, the late Wittgenstein, and even Derrida and Spivak look odd at all to us in precisely because of the sheer power held by the rationalist vision over so much of society.

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Definition of computation as mathematical calculation that can stand for nonmathematical propositions, invoking Spivak, Landow and Derrida. (14) Despite its rigid formal characteristics, in part because of them, then, computationalism is in every sense what Foucault calls a discourse, one that we are actively creating and enabling, and among whose fundamental principles is the elaboration of centralized power. . . . There is little more to understanding computation than comprehending this simple principle:
mathematical calculation can be made to stand for propositions that are themselves not mathematical, but must still conform to mathematical rules.
(15) Few writers have doubted the importance of rational calculation in the operation of human thinking. What is in question is the degree to which that sort of calculation explains all the facts of cognition, all the effects of culture, and all that is possible in the realm of culture and cognition.
(16) It is no accident that [G. C.]
Spivak uses the term programmed to describe the kind of thought that Kant did not think encompasses all of human reason, precisely the kind of cognitive practice that would eliminate the ambiguity that so troubled Leibniz and others.
(17) Despite the efforts of pro-computer writers like George Landow to make hypertext sound like the realization of Derridean dreams of a language without binding or hierarchical structures (Landow 1992), in fact from his earliest writing Derrida has been concerned precisely with the difference between human language and something like computer code.
(17-18)
Derrida is no Luddite. . . . But the computer in particular is a technology that caused him great concern, for precisely the reason that it offers to substitute for the flux of experience an appearance of certainty that cannot, in fact, adequately represent our experience.

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Languages are not codes because the former rarely have a single correct interpretation; thus a deliberate utilitarian metaphor whose artificiality has been forgotten. (19) Programming languages, as Derrida knew, are codes: they have one and only one correct interpretation (or, at the absolute limit, a determinate number of discrete interpretations). Human language practice almost never has a single correct interpretation. Languages are not codes; programming languages like Basic and FORTRAN and scripting languages like HTML and JavaScript do not serve the functions that human languages do. The use of the term
language to describe them is a deliberate metaphor, one that is meant to help us interact with machines, but we must not let ourselves lose sight of its metaphorical status, and yet this forgetting has been at stake from the first application of the name.

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Striation a key concept from Deleuze and Guattari, although focus typically on the virtual. (23) Nevertheless, the emphasis on the virtual as Deleuze and Guattariƒs chief contribution to the cultural study of computers has helped to obscure their much more sustained and meaningful ideas that center on the term
striation, and that clearly have computation as an historical abstraction, and not just material computers, as their object of analysis.

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We do not want to admit overwhelming forces of striation in hegemonies of governmentality afforded by computationalism; liberal political analysis favors two positions of democratizing technological determinism or resisting through protocol. (23-24) Schematized in this way, it is clear that most of the thought and practice surrounding computers promotes striated over smooth space. It is remarkable, then, how much of the cultural-political discussion of computers uses the rhetoric of smooth space while simply not addressing issues of striation of territorialization rather than deterritorialization. . . . While the rhetoric of computation looks for those places in which the network allows for smooth practices, arguably this is not because the computational infrastructure is itself hospitable to such practices. Rather, it is because we simply do not want to admit how overwhelming are the forces of striation within computers and computation, and we grasp at precisely those thin (but of course real) networks of smoothness that remain as computers grow ever more global in power.
(24) In todayƒs left, political analysis of computation largely focuses on one of two political possibilities. The first, expressed in liberal writings like those of Joseph Trippi and Markos Moulitsas, comes close to a kind of technological determinism: it suggests that the Internet is inherently democratizing, and we simply need to have faith that global computerization will produce democracy as a necessary side-effect.
(25) A second view, more prominent within academic and creative thought about computing, suggests that there actually are problems inside of the contemporary computing infrastructure, but that it is
through protocol that one must guide oneƒs efforts, not against it (Galloway 2004, 17).

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Computing is our governmentality, not just an industry and communications medium; must resist both through and, in more sophisticated like Derrida not Luddite, against protocol. (25-26) my point is to raise the question whether the shape, function, and ubiquity of the computing network is something that should be brought under democratic control in a way that it is not today. I do not think computing is an industry like any other, or even a communications-medium like any other; rather, it is a name for the administrative control and concentration powers of our society in a sense, precisely what Foucault would call our
governmentality. . . . Thus to [Alexander] Gallowayƒs dictum I offer this simple emendation: resistance through protocol, and against it.

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Not enough evidence that computers bring the democratic actions liberal discourse proclaims, beyond social media effects, while there is plenty of evidence suggesting increased authoritarianism, especially through surveillance, and corporate facism. (26-27) We donƒt see people who use computers extensively (modern Americans and others around the world) breaking out everywhere in new forms of democratic action that disrupt effectively the institutional power of capital (see Dahlberg and Siapera 2007, Jenkins and Thorburn 2003, and Siomns, Corrales, and Wolfensberger 2002 for close analysis of some of the more radical claims about democratization), yet our discourse says this is what computers bring. Our own society has displayed strong tendencies toward authoritarianism and perhaps even corporate fascism, two ideologies strongly associated with rationalism, and yet we continue to endorse even further tilts in the rationalist direction. . . . Perhaps, despite appearances, there is a possible future in which computers are more powerful, more widespread, cheaper, and easier to use and at the same time have much less influence over our lives and our thoughts.

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Chomsky was in the right place at the right time, filling the author-function for the nascent regime of computation by appealing to traditional Cartesian rationalism. (31) In this sense, despite Chomskyƒs immense personal charisma and intellectual acumen, it is both accurate and necessary to see the Chomskyan revolution as a discourse that needed not so much an author as an author-function tied to the legal and institutional systems that circumscribe, determine, and articulate the realm of discourses (Foucault 1969, 130).
(32) In a deliberate and also largely covert effort to resist the possibility of communist/Marxist encroachment on the U.S.
conceptual establishment (which points at something far broader than institutional philosophy), individuals, government entities including the military and intelligence bodies (De Landa 1991), and private foundations like the RAND Corporation, promoted values like objectivity and rationalism over against subjectivity, collectivity, and shared social responsibility.
(32) Chomsky offered the academy at least two attractive sets of theses that, while framed in terms of a profoundly new way of understanding the world, in fact harkened back to some of the most deeply entrenched views in the Western intellectual apparatus.
(32) there is a natural ease of fit between the computationalist view and the rationalist one, and this fit is what proves so profoundly attractive to the neoliberal academy.

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Must emphasize Chomsky computationalist stance supporting governmentality, conservative power over more popular leftist politics, just as computer technology enforces entrenched power structures more than it encourages democratic gestures. (33) We begin with Chomsky because his views combine and serve as a discursive source for the perspective that the most fundamental of human phenomena cognition and language can be effectively reduced to computation.

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Chomsky partisans opposed to socially embedded interpretive perspectives. (33) Thus it is almost always the case that partisans of the Chomksyan revolution are opposed to anti-individualist, socially embedded, and/or interpretive perspectives.

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Legitimating equivocation of language and logical systems. (38) Taken together, the ideological burden of the CFG [Context-Free Grammar] essays is to legitimate the application of the word
language to logical systems, despite the obvious fact that logical systems have historically been understood as quite different from human languages.

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Language organ is mechanism that generates infinite permutations of sentences like a theoretical Turing machine. (40) Somewhere inside the human brain there must be a physical or logical engine, call it the
language organ, whose job is to produce mathematical infinity, and the advent of this ability also happens to be the crucial disjunction that separates humans from nonhumans and perhaps even intelligence from nonintelligence.

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Compare bias for English in Chomskyan linguistics, and dismissal of cultural differences, to prevalence of English form in programming languages. (43) The early generativists did not merely display a bias toward English; they presumed (no doubt to some degree out of lack of exposure to other languages) that its basic structures must reflect the important ones out of which the language organ operated.
(45) [Frederick] Newmeyer is one of the few writers to have attempted to explicate the use of the term formal linguistics to describe the Chomskyan tradition.
(45-46) Another way of understanding this belief in syntax is as a belief in pure, autonomous form that stands apart from the human world of performance. . . . That Chomsky is deeply interested in the operations of a supreme and transcendent authority is evident not merely from his political writings, but no less from his conduct in linguistics itself, where he is understood as a supremely dominant authority figure, accepting acolytes and excommunicating them with equal ease.

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Followers of Chomsky characterized as predominantly white male computer geeks. (46) The scholars who pursue Chomskyanism and Chomsky himself with near-religious fervor are, almost without exception, straight white men who might be taken by nonlinguistcs to be computer geeks.
(47) In the broad pursuit of CL [Computational Linguistics], which is almost indistinguishable from Chomskyan generativism but nevertheless gives itself a different name, the computer and its own logical functions are taken as a model for human language to begin with, so that computer scientists and Artificial Intelligence (AI) researchers use what they have learned to demonstrate the formal nature of human language.

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Idiomaticity and iterability paralinguistic operations outside core operations of faculty of language. (48) For a purely formalist account, both
idiomaticity and iterability must be seen as paralinguistic operations, outside of the core operations of the syntax that is the internal computer called the faculty of language.
(49) A plausible alternative to the Chomskyan view, then, and one held by something like the majority of working linguists . . . is that there is no engine of linguistic structure. . . . Instead, they all evolved together, as a package of cognitive and linguistic capabilities whose computational features, to the degree they are all at constitutive, make up only a small and likely indistinguishable fraction of the whole.

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Hearkens back to Humboldt as originator of generative linguistics, ignoring anthropologists who focused on non-Western languages. (51-52) Thus, rather than identifying with the intellectual traditions that have for a hundred years or more in the West been associated with left-leaning politics, Chomsky reaches back to a more primal conservatism and, by omission, annihilates all that has come in between. These omissions may be more telling than Chomskyƒs inclusions, for what they primarily overlook is the contribution of anthropology and politics to the study of non-Western languages. The names one does not read in Chomsky are not just the post-Humboldt, anti-Hegelian 19th-century linguists William Dwight Whitney and Max Muller, but perhaps even tellingly, the early 20th-century linguist-anthropologists Franz Boas and Edward Sapir and the linguists associated with them. For in these writers the study of language was implicated, as it is today in the work of cultural studies, with particular systems of global political domination and intellectual hegemony.
(52) This strong ambivalence in Chomskyƒs thought one that has been noticed, at least on occasion, by commentators including Joseph (2002)--itself deserves thorough attention, in that it embodies exactly the deepest and most explicit political tension in our own society. In his overt politics, Chomsky opposes the necessity of hierarchies in the strongest way, while his intellectual work is predicated on the intuitive notion that language and cognition require hierarchies.
(52-53) Even if what we do with our rationality is to pursue goals based on irrational beliefs and desires, which may be said to emerge from unconscious motivations, the means we use to pursue those goals are thought to be rational.

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Connection between Chomskyan computationalism into philosophical functionalism. (53) George
Miller himself perhaps best embodies the view that was about to sprout from Chomskyan computationalism into philosophical functionalism. In the early 1960s, in no small part due to the reception of Chomskyƒs writings, the Center for Cognitive Studies (CCS) was established at Harvard by Miller and Jerome Bruner.

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Cultural structures of subjectivity at the heart of computationalism rather than belief in technnological progress. (53-54) It is precisely politics and ideology, rather than intellectual reason, that gives computationalism its power. So some of the worldƒs leading intellects have been attracted to it, precisely because of its cultural power; and so many of them have defected from it (just as so many have defected from Chomskyan generativism) because there exists a structure of belief at its core, one implicated not in technological progress but in the cultural structures of subjectivity.

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Orthodox functionalism expounded by Putnam and Fodor in terms of machine states and generative meaning. (55) This same moment (the one that also spawned the so-called linguistics wars; Harris 1993) coincides with important periods in the work of both Putnam and Fodor.
Putnam, in the late 1950s and early 1960s, expounded the views we can call orthodox functionalism or, in philosophy-internal terms, machine-state functionalism. . . . [Jerry] Fodorƒs work begins with the specific investigation of meaning in a generative frame.

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Linguistic turn in philosophy declared by Rorty collection emphasizing precise formalization of mental contents via formal langauges; main issue is attaching concepts to words, which are meaningless labels. (55-56) We know this moment in philosophy as the linguistic turn, in part due to a collection edited by Richard Rorty by the name (Rorty 1967), which stressed the ordinary-language tradition of Wittgenstein and Austin that Fodor and Katz exclude (although they are careful not to disparage it as well). . . . It meant a conception of language that could allow mental contents to be formalized precisely because they use formal mechanisms for expression, what Fodor would formulate as the
Language of Thought (Fodor 1975).
(56) It is a language for which the all-important issue is the attaching of concepts mental contents to the meaningless labels we call words.

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Quine holism seems to offend humanist intuitions of individual creativity in Chomsky. (57) Despite a lack of overt acrimony, it is clear that
Quine represents exactly an instance of a discourse that Chomsky needed to displace in Western philosophy. . . . Chomskyƒs conception of language exists in interactive tension with a rationalism conception of the mind that takes its inspiration form a notion of individual human creativity.

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Messianic understanding of computing at base of functionalism. (60) Functionalism has its roots in explicit political doctrine, a series of cultural beliefs whose connection to the philosophical doctrine
per se is articulated not as individual beliefs but as connected discourse networks, ranging from the history of philosophy and linguistics to the history of military technology and funding. . . . Put most clearly: in the 1950s both the military and U.S.

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Atomic versus holist view of meaning-mind relations. (66) What is important to LOT is what has always been important to Fodor: LOT claims that
mental states and not just their propositional objects typically have constituent structure (Fodor 1987, 136). In later work Fodor comes to call this view a compositional or atomic (as opposed to holist) view of meaning-mind relations (see especially Fodor 2000 and Fodor and Lepore 1992).
(69) The atomic story is the story of command and control manage the units by identifying them and labeling them. What emerges from their combined product is Statist and individualist, because there is an individual who combines the state and the person in one namely, the familiar and authoritarian figure of the King, God as Kind, or what Derrida reminds us to think of as the transcendental signifier.

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State appeal for striation, innate capitalism. (72) What Granny endorses are exactly those tenets of Intentional Realism which Fodor sees from Godƒs perspective in the Creation Myth. . . . The strength not of Fodorƒs commitment to this view, but to the philosophical communityƒs interest in Fodorƒs commitment, is precisely the ideological strength of the Stateƒs investment in this view in the view that the mind itself can be subjected to order, or in Deleuze and Guattariƒs terminology, striated. . . . Fodorƒs view is that in particular the term belief has a functional essence . . . Ditto,
mutatis mutandis, ƒcapitalism,ƒ ƒcarburetor,ƒ and the like (Fodor 1998a, 8).

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Instead of reference, the natural language games; Kirk instead of Spock; compare to entrenched software systems (Mackenzie). (79) While in some ways there are strange bedfellows among the constellation of views collected under the headings of mentalism, instrumentalism, functionalism, objectivism, computationalism, and fundamentalist religious belief-cum-repressed capital consumerism, it is also remarkable how closely aligned are these forces in contemporary culture. . . . Putnam is right to see that what ties these views together is ultimately a doctrine that can only be called religious in nature: what he calls a Godƒs-Eye View. . . . This is exactly what Derrida means when he says that a ƒmadnessƒ must watch over thinking.
(80) We do not know how to formalize this madness, this irreason that neverthless has a long tradition even within Western Enlightenment thought, as something like counter-Enlightenment. Most importantly, we do not want to know how: it is critical not to our self-understanding but to our social practice itself that we as social beings can escape whatever formalization we manufacture.

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Universal translator from Star Trek reveals cultural beliefs about languages and future hopes of computer abilities. (85) Like the
Star Trek computer (especially in the original series; see Gresh and Weinberg 1999) or the Hall 9000 of 2001: A Space Odyssey, which easily pass the Turing Test and quickly analyze context-sensitive questions of knowledge via a remarkable ability to synthesize theories over disparate domains, the project of computerizing language itself has a representational avatar in popular culture. The Star Trek Universal Translator represents our Utopian hopes even more pointedly than does the Star Trek computer, both for what computers will one day do and what some of us mope will be revealed about the nature of language. Through the discovery of some kind of formal principles underlying any linguistic practice (not at all just human linguistic practice), the Universal Translator can instantly analyze an entire language through just a few sample sentences (sometimes as little as a single brief conversation) and instantly produce flawless equivalents across what appear to be highly divergent languages. Such an innovation would depend not just on a conceptually unlikely if not impossible technological production; it would require something that seems both empirically and conceptually inconceivable a discovery of some kind of formal engine, precisely a computer, that is dictating all of what we call language far outside of our apparent conscious knowledge of language production. In this way the question whether a computer will ever use language like humans do is not at all a new or technological one, but rather one of the oldest constitutive questions of culture and philosophy.

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Linguistic theories of early computer engineers stem from their experience with computers rather than study of linguistics. (86) But the early computer engineers Turing, Shannon, Warren Weaver, even the more skeptical von Neumann (1958)--had virtually no educational background in language or linguistics, and their work shows no signs of engaging at all with linguistic work of their day. Instead, their ideas stem from their observations about the computer, in a pattern that continues to the present day.

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Illegitimate analogy between code and language in Weaver memorandum. (89) Weaverƒs intuition, along with those of his co-researchers at the time, therefore beings from what might be thought an entirely illegitimate analogy, between code and language, that resembles Chomskyƒs creation of a language hierarchy, according to which codes are not at all dissimilar from the kind of formal logic systems Chomsky proves are not like human language.
(90) Weaverƒs combinatoric arguments fails to address Wienerƒs chief points, namely that human language is able to manage ambiguity and approximation in a way quite different from the way that computers handle symbols.
(91-92) This strange view [positing an
Ursprache], motivated by no facts about language or even a real situation that can be understood physically, nonetheless continues to inform computationalist judgments about language.
(92) The crux of Wienerƒs and Weaverƒs disagreement can be said to center just on this question of univocality of any parts of language other than directly referential nouns.
(92-93) Weaverƒs principal intuition, that translation is an operation similar to decoding, was almost immediately dismissed even by the advocates of MT as a research program. . . . yet at some level, the intuition that language is code-like underwrites not just MT but its successor (and, strangely, more ambitious) programs of CL and NLP.

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Winograd abandoned SHRDLU realizing it is a closed formal system requiring programming to extend meaning. (103) For these reasons and other similar ones, Winograd himself abandoned the SHRDLU project and, under the influence of Heideggerian thought such as that found in Dreyfusƒs writings, began to think about the ways in which computers as machines interact with humans and function in the human world, and to see language as a practice that can only be understood in context.

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OHCO thesis in literary studies; Renear typologies of Platonism, Pluralism, Antirealism. (105) During the last fifteen years, a small body of writing has emerged that is concerned with an idea called in the literature the
OHCO thesis, spelled out to mean that texts are Ordered Hierarchies of Content Objects.
(106) But the particular shape taken by the initial OHCO thesis is highly revealing about a computational bias: a gut feeling or intuition that computation as a process must be at the bottom of human and sometimes cultural affairs,
prior to the discovery of compelling evidence that such a thesis might be correct.
(106) Recent work on the OHCO thesis suggests that its most restrictive versions are untenable just because of deep conceptual issues that emerged only through prolonged contact with real-world examples.
(106) [Allen]
Renear develops a philosophical typology via three seemingly familiar positions, which he calls Platonism, Pluralism, and Antirealism.

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Database model fitting for business and financial data but hardly for language and texts, so why the XML hype? (113) For this purpose, XML and its variants are really profoundly effective tools, but that does not altogether explain why the web-user community and academics have been so taken with XML. . . . little about language to begin with, let alone texts in particular, let alone
business documents, resembles a database.
(114) Related to this is the hard distinction between form and content that a database model of text implies.
(115) For a project like the Semantic Web to work, something more than the statistical emergence of properties from projects like del.icio.us and other community tagging projects is going to be needed.
(116) It has been quite astonishing to see the speed with which XML and its associated technologies have not merely spread throughout humanities computing, but have become a kind of conversion gospel that serves not merely as motivation but as outright goal for many projects. . .

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Computer revolution as vehicle for spread of dominant standard written English. (121) We have been taught to think of the computer revolution as a fundamental extension of human thinking power, but in a significant way mass computerization may be more accurately thought of as a vehicle for the accelerated spread of a dominant standard written language.
(121-122) The problem with this spread, which must always be presented as instrumental, and is therefore always profoundly ideological, is that it arises in suspicious proximity to the other phenomena of cultural domination toward which recent critical work has made us especially sensitive. I am thinking here of the strong tendency in the West (although not at all unique to us) to dismiss alternative forms of subjectivity, sexuality, racial identity, gender, kinship, family structure, and so on, in favor of a relatively singular model or small set of models.
(122) This has become so much the case that we have encased in terms like
globality and modernity the apparently inevitable spread of written English and other European languages (Spivak 1999).

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Sense of computationalism has shifted from reductive view of intelligence as logical rationality, Ursprache, English-biased technological systems to oligarchical, Statist capitalism. (140) While its developers would surely claim that such features are a consequence of gameplay necessities and the use of the tools available at hand, there can be little doubt that a game like
Age of Empires II instances a computationalist perspective on world history. According to this view, history is a competition for resources among vying, bounded, objectified groups.
(140) the pursuit of historical change is the pursuit of striated power, realized as both an individual leveling-up and a societal achievement of historical epoch, themselves licensed by the accumulation of adequate resources, which are always channeled back into an even more intensive will-to-power.
(142) Civilizations are described exclusively in terms of economics (especially resource accumulation), military technique, and contribution to modern Statecraft.
(142) The only way to move out of a Claritas segment is to change where one lives, presumably by also changing economic situation as well; but there is little (if any) way to change the internal characteristics of the striated segments.
(142) In
Age of Empires the entire world is reconceptualized as fully capitalist and Statist from the outset, as if capital accumulation and Western-style technology are inevitable goals toward which all cultures have always been striving.
(143) Computation and striated analyses; essentialist understandings of race, gender, and nation; and politics that emphasize mastery and control do not merely walk hand-in-hand: they are aspects of the same conceptual force in our history.
(143) [McKenzie]
Wark comes closer than Galloway to seeing the inherent logics and politics of RTS games and the history they embody, but the proper name America is arguably both too specific and too general to capture what is at issue in the culture of computation. . . . In some sense, at least, the impact of computationalism on the world is much less like the historical development of America, and much more like the worldwide reemergence of principality like domains of imperial control today associated with medieval and pre-modern political forms (Hardt and Negri 2000, 2004). A more apt name might be neoliberalism.

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Differential benefits of IT to individuals favors the wealthy and powerful; critical discourse focuses on surveillance and intellectual property. (150) it is specifically power elites and oligarchies who have access to the most powerful computers and the newest tools; to ignore this situation simply because those of us relatively low on social hierarchies also receive benefits is to miss the forest for the trees.
(151-152) Among the only discourses of critical thought about computers today has to do with surveillance. . . . Because computation does empower individuals of all stripes, including those of us who are already extremely powerful, we cannot hope that this sheer expansion of power will somehow liberate us from deep cultural-political problems; because computation sits so easily with traditional formations of imperialist control and authoritarianism, a more immediately plausible assumption would be that the powerful are made even more powerful via computational means than are the relatively powerless, even as everyoneƒs cultural power expands.

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Forget there were rhizomatic technologies before computerization, such as telephone networks; it is the nature of our computers to territorialize and striate biopower for State control. (153-154) We want to imagine computers as deterritorializing our world, as establishing rhizomes, flat, nonhierarchical connections between people at every level but doing so requires that we not examine the extent to which such connections existed prior to the advent of computers, even if that means ignoring the development of technologies like the telephone that clearly did allow exactly such rhizomatic networks to develop. What computers add to the telephonic connection, often enough overwriting exactly telephonic technology, is striation and control: the reestablishment of hierarchy in spaces that had so far not been subject to detailed, striated, precise control. . . . contrary to received opinion,
it is the nature of our computers to territorialize, to striate, and to make available for State control and processing that which had previously escaped notice or direct control.

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Classic critical position leaves open whether direct participation is a legitimate role of the scholar, whether in form of managing or engineering. (155) only by detailing exactly the nature of these forces do we hold out any hope of managing them.
(156) Yet perhaps even more than communication itself, what computerized networking entails is the pinpoint location of each object and individual in a worldwide grid. . . . But at the same time the cellphone itself, precisely demarcated via a numeric identity akin to the Internetƒs IP number, becomes an inescapable marker of personal location, so much so that with much more frequency than land-line phones, it is routine for cellphone users to be asked why, at any hour of the day or night, they failed to answer their phone as if the responsibility for such communications lies with the recipient and not with the maker of the call.

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Striation resulting from expectancy of availability via every connected cellular phone interferes with cultural importance of smooth spaces and times, for example evenings and weekends; at the same time, the enclosure of the workday is interrupted by local, personal communications devices outside the corporate infrastructure as well as those riding upon them, for example workstation Internet access. (157) In this example, a previously smooth space the space from which one felt free not to answer the phone, to be away from the phone, perhaps even to use the inevitable periods of unavailability as a means to use space and time for oneƒs own ends now becomes striated, and in this sense
visible only as its striation becomes visible. This is an important characteristic of striation, in that we do not simply have smooth or free spaces that we resist letting be incorporated into striation rather, we typically rely on the smoothness of space (and time) not even recognized as such for important parts of culture and personal practice.

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Balance sheet as staple of business thinking before electronics now extended to general workforce as spreadsheets. (158) With the advent of computers, the thinking behind balance sheets could be widely expanded and implemented at every level of corporations and other organizations, rather than existing as esoteric tools for only the initiated. Today, to be the manager of a segment of any size within a modern corporation means essentially, at least in part, to manage a spreadsheet.
(159) The spreadsheet reality is profoundly striated: it is arguably just the application of striation to what had previously been comparatively smooth operations and spaces. . . . One of the most interesting characteristics of spreadsheets is their division not just of space but of time into measurable and computable units.

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Dehumanizing perception of time tracking and project management views of workers insidiously tied into culture of cool associated with computer technologies. (162) Subjectively, again, the response of most employees to the sight of their time so precisely scheduled, tied to project income and expense, rolled-up into global pictures of corporate finance and resource management, can only be understood as profoundly dehumanizing in just the way that the most stringent Fordist management of physical labor is.
(162) In this sense, it is a triumph of what Liu calls the
culture of cool that computational employees can accept, and in some cases help to implement, the tools and methods that can contribute to extremely high-stress work environments, severe productivity demands, and real-time, invasive surveillance of work activities (and personal activities conducted at or during work-time).

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Examples of lack of democratic control over RFIC and EPC that are likely to be pervasively deployed by private corporations and government. (176-177) Like similar technologies in the past, RFID and EPC [Electronic Product Code] have raised a certain amount of consumer and democratic concern, such that Wal-Mart in particular has been compelled in the name of public relations to contribute to a global effort called EPCGlobal whose job is to promote public awareness of the uses of RFID and EPC and their benefits for consumers. Rather than demonstrating democratic control over this technology, though, the existence of EPCGlobal points more generally to the obvious privacy and surveillance issues raised by technologies like RFID that suggest the provision of worldwide, pinpoint surveillance to centralized authorities. The ethical standards promulgated by EPCGlobal are themselves far less worrying than are the inevitable more secretive applications of similar technologies that are sure to follow on the heels of RFID.

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Early Turkle studies of children learning to use computers. (185) Psychologically, the signal experience of working with computers for the power elite is that of
mastery.
(186) The programmer experiences mastery in a subject-object relationship with the computer, spending enough time in this relationship that it becomes in essence his or her decisive psychological orientation.

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Reason is syntax. (191) Rationalism is not simply the operation of reasoned principles, with these defined in general (or, we might say, analog) terms; rather, it is specifically the application of the rules of formal logic essentially, mathematical rules to symbols whose meaning is, in an important sense, irrelevant to the question whether our reasoning is, in an important sense, irrelevant to the question whether our reasoning is valid. Reason is syntax: it is the accurate application of principles like
modus ponens to any substance whatsoever.
(192) Cognition includes that part of our minds that appears to have something like free will with regard to thinking; though we are certainly capable of following logical rules like
modus ponens, our though also seems capable of going in many other directions, and even when we decide on an action that contradicts good logic, we nevertheless appear to be thinking even then.

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Correlation between rationalism and conservatism among philosophers. (192) Here Putnam and Kant help us to connect rationalism to that part of its doctrinal history we have not discussed yet at length: the philosophers most strongly associated with rationalism are the ones whose political (and even institutional-intellectual) views have most often been thought of as profoundly conservative, as favoring authoritarianism and as denying the notion that most of us are capable of thinking in the full human sense.
(193) This doctrine, as [Leo] Straussƒs approving invocation of Hobbes shows, has played a curious and in some ways determinative role in 20th-century political and intellectual practice.
(194) In a somewhat paradoxical fashion, by restricting true cognition to rational calculation, rationalism can be said to diminish rather than exalt the role of cognition in human experience and judgment. There are at least two strong arguments that support this contention. The first is an argument found repeatedly in Derridaƒs writings (see especially Derrida 1990, 1992, 2005), according to which the problem in rationalist conceptions of thought is that they evacuate the notion of decision that is supposed to be their hallmark.
(195) [second] Perspectives that isolate rationality from the rest of human experience instrumentalize reason; they make it a kind of (supposedly neutral) tool, for the use of an unspecified authority (found either inside the person or in the sovereign).

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Gates and Ballmer criticized as quintessential techno-egotist male exploiters instantiating the Leviathan principle. (199) The computer instantiates for Gates the principle by which he orders his world: find a loophole that one can systematically exploit, whether or not the intended purpose of the task at hand is served by the solution or not.
(200) Despite its instrumental appearance, the computer is an especially effective model of power in our society, and especially provocative for those who see the possible applications of that model to the social sphere: to enact oneƒs own will-to-power, in whatever form one obeys that impulse.
(200) Perhaps even more openly than Gatesƒs, Ballmerƒs personality exemplifies the techno-egotist subject that has its own power as virtually its only focus.

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Computers many have savior of many things that can be learned propositionally, but not connaissance of having that knowledge; and many things cannot be learned through propositional communication, especially embodied behaviors like midwifery. (202) The computer knows how to add numbers; so do we. We might even say that computer has
savoir about addition. But it does not have connaissance; it does not know that it is adding, or even that it knows how to add. At the same time, a human being can have savoir about things that it seems inconceivable to teach to a computer. . . . The midwife learns her craft by practice and observation and only occasionally through what looks like propositional communication.
(203) The knowing subject posited by both Cyc and Soar is just that knowing subject posited by the most narrow and conservative of Western intellectual traditions.
(203) Culturally, then, it is imperative that the claims of computer evangelists about the technological direction of society be viewed within a clear historical frame.

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Questionable position of holding back new media studies to clarify position transcends conservative stereotypes. (203-204) Postcolonical theory and gender studies, like other strands of recent cultural theory, draw our attention rightly to the overt cultural structures used in the past to support a distinctly hierarchical worldview. . . . In that sense, one attitude that we do not see yet displayed but which is notable for its absence is the one that says of digital media: look what other media have done to imbalance the world already; what right have we to start new media when we have so poorly figured out what to do about the old ones?

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Mastery over computers seen as poor compromise with lack of social skills; Kirk needs Spock and McCoy. (206) For must of us, mastery over computers is part of a poor compromise with the rest of society and most critically with other people. We allow ourselves the fantasy that our relation to the world is like our relation to the computer, and that we can order things in the world just so precisely. . . . Dr. McCoy, despite his apparent hysteria, is just as necessary for Kirk to make decisions as is Spock.
(207) Some of our most sophisticated and thoughtful perspectives on computers hover around the question of the computerƒs modeling of mastery and its relation to political power (also see Butler 1997 and Foucault 2000 on the relationship between political and personal power). . . . It is not necessary to the becoming-self that a child use a computer, watch television, or even read books; it is necessary that she or he use language.

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Awkwardly stated criticism of Turkle, Weizenbaum and Galloway failing to analyze what happens to children when ready-to-hand computers become basis of personality, a situation for which I certainly must consider myself. (207) The concern Turkle and
Weizenbaum (and even as sophisticated a writer as Galloway 2004) do not seem to focus on what happens when the computer is the right instrument for the particular child when the computer itself, or even more profoundly, the social metaphor the computer offers, are ready-to-hand for the child set to adopt them.

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Galloway and Chun, among others, mistakenly emphasize minor instances of decentralization in overall systemic authoritarian structures in open source projects. (208) This kind of unification haunts even those web projects that appear, to us today, to be especially disorganized, loose, and distributed, such as Wikipedia, Linux, and other open source software, social tagging and other features of the so-called Web 2.0 along with the rest of the Semantic Web, and even the open-text search strategies of Google. While appearing somewhat chaotic and unstructured, they are both tightly structured underneath and in formal conception, and also part of a profound progression toward ever more centralized structures of authority.

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OOP fits within computationalism by emphasizing hierarchy, speciation, categories. (209-210) It is not simply the object/environment distinction that is so attractive to the computationalist mind-set; it is the hierarchies that OOP languages generally demand. . . . This is much like the classical model of speciation to which Western science has been attracted for hundreds of years, but even in that case scientists are aware that it is an idealization: that the material world does not fit so neatly into the categories our scientific programs prefer.
(210-211) Because these facts are so apparent in the conceptualizations underlying OOP, computer scientists have proposed alternate models that are less objectifying, including Aspect-Oriented Programming or AOP (see, e.g., Filman, Elrad, Clarke, and Aksit 2004) and Subject-Oriented Programming or SOP (see, e.g., Harrison and Ossher 1993); it is in no small part because of the lack of fit of these conceptualizations with computationalism that they have found so little traction in computing practice.

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Mania for classification. (211) Every[where] in contemporary computing one sees a profound attention to categories one might even call it a
mania for classification. . . . categories that are ultimately meant for machine processing more than for human processing.

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Presentist focusing on latest tools view fails to see prevalence of information throughout history, networked versus centralized practices, leading to belief in historical rupture and revolution. (213) It is
presentist because it presumes that people in their social lives prior to the Internet did not exist as a broad network of autonomous social actors, a claim that does not seem credible on its face; and its focus on the individual does not address how computers are used in large institutions like universities, corporations, and nonprofits. Despite the formal decentralization of the network protocol used in these organizations, their structure seems to me to remain highly centralized and hierarchical in some ways, in fact, more controlled and centralized than they could ever have been without computerization. This is a bias toward the screen-present: because we can see (or imagine we can see) the physical network, we believe it is more real than the evanescent social networks on which it is built and which it partly supplants.
(214) In the [concentration] camps human beings were reduced to something less than the full status which we typically want to accord to each one of us; and what Foucault calls population thinking, which certainly is associated with a widespread reliance on computational techniques, was dramatically in evidence in German practice.
(214) In the early modern era, when lords really did have fiefdoms, what licenses the proclamation that communication was centralized and not networked ? Why and how can we assume that networks are not centralized, when our world is full of networks, both physical and abstract, that precisely
are centralized?

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Hobbes Leviathan foreshadows computationalism. (217) Conceptually there is a powerful tie between the theory and implementation of modern political authority and the figure of computation. In the single text that might be said to most clearly define the notion of political sovereignty in the West (one that also explicitly connects views of human understanding to political philosophy),
Leviathan by Thomas Hobbes, computation figures in two precise and related way. Both are quite well known in their own way, but they are generally not related as tropes in Hobbesƒs especially tropic writing. The first occurs famously in the first page of the Introduction to the volume: . . . For by Art is created that great LEVIATHAN called a COMMON-WEALTH, or STATE, (in latine CIVITAS) which is but an Artificiall Man.
(218) The parts of the body politic in other words, individuals the body that before was a body without organs, and that is now an artificial animal, to be made up in the new automaton called the State, cannot themselves escape computational state administration. . . . They must feel it is not just their interest but their nature to submit to the sovereign; they must have within them a simulacrum of the mechanism that constitutes the Leviathan itself. Thus in
Leviathan, Chapter 5, Hobbes writes: . . . REASON, in this sense, is nothing but Reckoning (Adding and Subtracting) of the Consequences of generall names agreed upon, for the marking and signifying of our thoughts.

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Method is ultimately to described ideological phenomena. (221) The main goal of this book has been to describe a set of
ideological phenomena: the functions of the discourse of computationalism in contemporary social formations; the imbrication of that discourse in a politics that seems strikingly at odds with a discourse of liberation that has more and more come to characterize talk about computers; and the disconnect between the capabilities of physical computers and the ideology of computationalism that underwrites much of our own contemporary investment in being digital.

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Environments full of clearly indicated goals limits to play and development of self regulation, which affects participation in democratic society. (224) In an argument that may seem counterintuitive, these researchers demonstrate than an environment in which goals are clearly indicated prohibits children from developing their ability to regulate themselves. . . . It seems only a small stretch to take this lesson politically: a person with a fully developed sense of self-regulation will see him- or herself as an active, powerful
member of the democratic body, a person with a limited but critical responsibility toward the general governance of society (see Zizek 1997).
(224) There is no room in this picture for exactly the kind of distributed sovereignty on which democracy itself would seem to be predicated.
(224-225) engagement with the computer deprives the user of exactly the internal creation not of an authoritarian master but instead of a reasonable governor with whom negotiation and compromise are possible. . . . computers may be at part the cause of the widespread (in, one notes, fully modernized or developed societies) phenomenon of what is today called Attention Deficit-Hyperactivity Disorder (ADHD).

3 2 3 (+) [-4+]mCQK hafner_lyon-where_wizards_stay_up_late (287) 20130303c 0 -4+ progress/2013/02/notes_for_hafner_lyon-where_wizards_stay_up_late.html
Important for scholars of history of software and technology advancing organizations to have access to archives, funding, and assistance from librarians; that BBN even had a lead librarian, who took the initiative that led to the writing of the book, confirms the point made by Cambell Kelly and others at how slim the chances are of capturing much of that early history as remains forgotten in archives or has been destroyed. (287) This book grew out of an idea that originated with engineers at Bolt Beranek and Newman. Memories were growing fuzzy in late 1993, when we first started thinking about doing a book, and Frank Heart and others were interested in having BBNƒs considerable role in the creation of the original ARPANET recorded. Not only did the company open its archives to us and cooperate in every way but it helped fund the project as well, while agreeing to exercise no control over the content of the book. Marian Bremer, then BBNƒs head librarian, made the initial phone call that led to the book.

3 2 3 (+) [-4+]mCQK hansen-bodies_in_code (84) 20130923p 0 -9+ progress/2009/04/notes_for_hansen-bodies_in_code.html
Simondon convergence of biosocial with technical; model of transindividuality with technical objects. (84) To grasp this dimension of technics, then, we must turn to Gilbert
Simondon, the French bio-techno-phenomenologist and student of Merleau-Pontyƒs, whose work takes up the thread of the latterƒs unfinished final project and discovers, as the necessary correlate of a complex theory of physico-bio-social individuation, a convergence of the biosocial with the technical.
(85) The subject and the individual are connected via a disjunction: The subject encompasses the individual which in turn forms an element in the subjectƒs individuation.
(85-86) Nonetheless, by establishing that technical objects are the ever changing bearers of a genesis, Simondon accords them a certain autonomy from the human. Though never entirely separable from human evolution, their [technical objects] evolution occurs through relations internal to the domain of technicity and is only punctuated by human intervention.
(86-87) [quoting Simondon] By the intermediary of the technical object, an interhuman relation is thus created that forms the very model of
transindividuality. . . . By correlating transindividual individuation with technics, Simondon crucially expands Merleau-Pontyƒs conception of intercorporeity as a commonality of the body schema, as a common framework of my world as carnal and of the world of the other (Nature, 217/225).

3 2 3 (+) [-4+]mCQK hansen-bodies_in_code (139) 20130923y 0 -5+ progress/2009/04/notes_for_hansen-bodies_in_code.html
For Poster how humans interpellated as social actors is transformational potential of new media. (139) As [Mark]
Poster sees it, the transformational potential of the new media stems from their impact on how human beings are interpellated as social actors.
(140) the raced gendered sensorial body could be implanted, theoretically, with a constructed virtual gaze, becoming a launching site for identity travel.
(140) to find a way of conceptualizing and deploying media that does not subordinate them to preconstituted categories of identity and subjectivity and that exploits their capacity to bring the preindividual dimension (following Gilbert Simondonƒs conception) to bear on the ongoing process of individuation.
(140) My focus will be on the performance of race and ethnicity in cyberspace - specifically, the difference (and the opportunity) that might be said to distinguish the category of race as it comes to be cyberized.
(141) the suspension of the social category of race in what is, potentially, a fundamental way: by suspending the automatic ascription of racial signifiers according to visible traits, online environments can, in a certain sense, be said to subject everyone to what I shall call a zero degree of racial difference.

3 2 3 (+) [-4+]mCQK haraway-simians_cyborgs_women (184) 20120925 0 -2+ progress/2009/04/notes_for_haraway-simians_cyborgs_women.html
As patriarchal, biased, colonizing, reductive and decontextualizing, modernist, Cartesian objectivity also interpellates all artifacts of built environments reflect the scientific knowledge enshrined in the cradle to grave design processes causing them, for it is enough that these facile beliefs yielded the productive forces, including engineers and marketers, that produced and continue to produce them; from this totalizing, reductive vantage perspective of ideological doctrines of disembodied scientific objectivity, science is rhetoric serving desire and power. (184) The only people who end up actually
believing and, goddess forbid, acting on the ideological doctrines of disembodied scientific objectivity enshrined in elementary textbooks and technoscience booster literature are non-scientists, including a few very trusting philosophers.
(184) From this point of view, science the real game in town, the one we must play is rhetoric, the persuasion of the relevant social actors that oneƒs manufactured knowledge is a route to a desired form of very objective power.

3 2 3 (+) [-4+]mCQK haraway-simians_cyborgs_women (187) 20130923h 0 -1+ progress/2009/04/notes_for_haraway-simians_cyborgs_women.html
Must do more than clever applications of the general critical methodology, perhaps beyond insistence, which is ultimately rhetoric trying to motivate others to enact change, operate at the production level of producing change by producing science and technology. (187) Feminists have to insist on a better account of the world; it is not enough to show radical historical contingency and modes of construction for everything.

3 2 3 (+) [-4+]mCQK haraway-simians_cyborgs_women (187) 20130923i 0 -1+ progress/2009/04/notes_for_haraway-simians_cyborgs_women.html
Blake Scott thinks this is a great three-part imperative for faithful, real world accounts. (187) So, I think my problem and ƒourƒ problem is how to have
simultaneously an account of radical historical contingency for all knowledge claims and knowing subjects, a critical practice for recognizing our own ƒsemiotic technologiesƒ for making meanings, and a no-nonsense commitment to faithful accounts of a ƒrealƒ world, one that can be partially shared and friendly to earth-wide projects of finite freedom, adequate material abundance, modest meaning in suffering, and limited happiness.

3 2 3 (+) [-4+]mCQK haraway-simians_cyborgs_women (198) 20130923o 0 -5+ progress/2009/04/notes_for_haraway-simians_cyborgs_women.html
Is granting agential status to objects as a consequence of admitting social and cultural determinants of sciences equivalent to actor network theory? (198) Indeed, coming to terms with the agency of the ƒobjectsƒ studied is the only way to avoid gross error and false knowledge of many kinds in these sciences. . . . A corollary of the insistence that ethics and politics covertly or overtly provide the bases for objectivity in the sciences as a heterogeneous whole, and not just in the social sciences, is granting the status of agent/actor to the ƒobjectsƒ of the world.

3 2 3 (+) [-4+]mCQK haraway-simians_cyborgs_women (200-201) 20130923q 0 -4+ progress/2009/04/notes_for_haraway-simians_cyborgs_women.html
Connection to Bogost unit operations in concepts of material-semiotic actor and bodies as objects of knowledge. (200-201) I wish to translate the ideological dimensions of ƒfacticityƒ and ƒthe organicƒ into a cumbersome entity called a ƒ
material-semiotic actorƒ. This unwieldy term is intended to highlight the object of knowledge as an active, meaning-generating axis of the apparatus of bodily production, without ever implying immediate presence of such objects or, what is the same thing, their final or unique determination of what can count as objective knowledge at a particular historical juncture. Like Kantƒs objects called ƒpoemsƒ, which are sites of literary production where language also is an actor independent of intentions and authors, bodies as objects of knowledge are material-semiotic generative nodes. Their boundaries materialize in social interaction.

3 2 3 (+) [-3+]mCQK harper-smash_the_strata (125) 20130924 0 0+ progress/2012/08/notes_for_harper-smash_the_strata.html
Chapter 7 of Deleuze and New Technology, actual title uses trademark symbol. (125)

3 2 3 (+) [-4+]mCQK harper-smash_the_strata (125) 20130924a 0 -7+ progress/2012/08/notes_for_harper-smash_the_strata.html
Revolutionary connections in 1000 Plateaus based on flight and flow seems contrary to distopia invoked at end of Postscript. (125) [quoting
1000 Plateaus] Every struggle is a function of all these undecidable propositions and constructs revolutionary connections in opposition to the conjugation of the axiomatic.
(125) Technology is latent with the possibility of developing a new mode of techno-politics capable of redressing the instrumental abuses of modern politics. . . . Against a tradition of repression and discipline, they propose a programme of flight and flow.
What I suggest here is the Deleuze and Guattari present technological development as fundamentally conducive to the emancipation of flows of desire.

3 2 3 (+) [-4+]mCQK harper-smash_the_strata (125-126) 20130924b 0 -5+ progress/2012/08/notes_for_harper-smash_the_strata.html
Urstaat survives by cybernetic machine operations resisting ossification. (125-126) In such a fluid world where the desire for ressentiment urges individuals to cling on to what security they can, against the security and discipline of a benevolent Urstaat Deleuze and Guattari offer a vision of embracing anarchy. . . . They suggest that even as flows of capital perpetuate the withering of the state as we know it, our Oedipal tendency is to feel this as lack and imagine a new General; the state is dead, long live the Urstaat.

3 2 3 (+) [-4+]mCQK harper-smash_the_strata (133) 20130924i 0 -1+ progress/2012/08/notes_for_harper-smash_the_strata.html
Democracy in market assemblages now seeks legitimacy forfeited by the state. (133) What makes the market particularly interesting as a new assemblage for desiring-production is that the market presents itself as a theoretically smooth space and seeks to court the legitimacy forfeited by the state.

3 2 3 (+) [-4+]mCQK hayles-electronic_literature (94) 20130924v 0 -14+ progress/2010/02/notes_for_hayles-electronic_literature.html
Ethnographic studies of international currency traders reveal global microsociality thus undeniable cultural influence beyond media technological determination; complication of Kittler and also Castells. (94) Among important recent work on global finance are the ethnographic studies of international currency traders by Karin Knorr
Cetina and Urs Bruegger. . . . In brief, this is money at its most virtual, moving around the globe in nearly instantaneous electronic exchanges and reflecting rate fluctuations sensitively dependent on a wide variety of fast-changing economic, social, and political factors.
(94-95) Knorr Cetina and Bruegger propose the theoretical concept of
global microsociality. . . . Global microsociality represents a new kind of phenomenon possible only with advanced communication technologies allowing for nearly instantaneous exchanges between geographically distant locations; compared to the telephone and teletype, the quantitative differences are so great as to amount to qualitative change. . . . Inflecting by the dynamics of global economics, the traders nevertheless operate within microsocial dynamics hence the necessity for global microsociality.

3 2 3 (+) [-4+]mCQK hayles-electronic_literature (98) 20130924w 0 -8+ progress/2010/02/notes_for_hayles-electronic_literature.html
Instead of calling the market a mind, call it a megaentity; does this then exclude interpreting it with respect to Gallagher body image/body schema distinction? (98) This sense of the market as everything is reinforced by the tradersƒ experience in being so intimately and tightly connected with the screens that they can sense the mind of the market. . . . This intuition is highly sensitive to temporal fluctuations and, when lost, can be regained only through months of immersion in current conditions. Attributing a mind to the market of course implies it is an entity possessing consciousness, desires, and intentions; more precisely, it is a
megaentity whose existence is inherently emergent. Containing the tradersƒ actions with everything else, it comes into existence as the dynamic realization of innumerable local interactions.
(99) This is the context in which the screens become objects of intense attachment for the traders.

3 2 3 (+) [-4+]mCQK hayles-electronic_literature (110) 20130928 0 -7+ progress/2010/02/notes_for_hayles-electronic_literature.html
Hansen ignores materiality of machine cognition, thus the machine dimension on my timeline. (110) This encapsulation is problematic for several reasons. It ignores the increasing use of technical devices that do not end in human interfaces but are coupled with other technical devices that register input, interpret results, and take action without human intervention.
(111) Such an account is helpless to explain how technology evolves within the horizon of its own limitations and possibilities.
(111-112) As if assuming a mirror position to Kittlerian media theory, which cannot explain why media change except by referring to war, Hansen cannot explain why media develop except by referring to embodied capacities. . . technologies are embodied because they have their own material specificities as central to understanding how they work as human physiology, psychology, and cognition are to understanding how (human) bodies work.

3 2 3 (+) [-4+]mCQK hayles-electronic_literature (134-135) 20130928h 0 -9+ progress/2010/02/notes_for_hayles-electronic_literature.html
Thrift technological unconscious also invoked by Feenberg along with Simondon, for which Hayles prefers nonconsicous. (134-135) As networked and programmable media move out of the box and into the environment . . . distributed cognitive systems in which human and nonhuman actors participate become an everyday condition of contemporary life in developed societies. Nigel
Thrift has written about the psychological consequences of participating in technologically mediated environments in his thick descriptions of what he calls the technological unconscious. . . . I prefer to use the term technological nonconscious to avoid confusing the sedimented embodied experiences he discusses with the Freudian unconscious.

3 2 3 (+) [-6+]mCQK hayles-my_mother_was_a_computer (1) 20131101 0 -5+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Title inspired by Anne Balsamo, whose mother worked as a computer, in her study of gender implications of IT. (1) [Anne]
Balsamoƒs mother actually did work as a computer, and she uses this bit of family history to launch a meditation on the gender implications of information technologies. . . . The sentence stands, therefore, as a synecdoche for the panoply of issues raised by the releation of Homo sapiens to Robo sapiens, humans to intelligent machines.

3 2 3 (+) [-4+]mCQK heim-metaphysics_of_virtual_reality (110) 20131102 0 -1+ progress/1998/05/notes_for_heim-metaphysics_of_virtual_reality.html
Answer philosophical question what is virtual reality with concepts: simulation, interaction, artificiality, immersion, telepresence. (110) To answer what VR is, we need concepts, not samples or dictionary phrases or negative definitions.

3 2 3 (+) [-4+]mCQK johnson-computer_ethics_third_edition (xii) 20140723l 0 -2+ progress/2011/06/notes_for_johnson-computer_ethics_third_edition.html
Added content on licensing and changes to ACM code of ethics. (xii) I have updated the chapter by addressing the issue of licensing of software engineers. I have also recognized recent changes to the ACM code of ethics.

3 2 3 (+) [-4+]mCQK johnson-computer_ethics_third_edition (xiii) 20140723m 0 -1+ progress/2011/06/notes_for_johnson-computer_ethics_third_edition.html
New chapter focusing on Internet as medium of communication with many to many global scope, anonymity, reproducibility. (xiii) Focusing on the Internet as a medium of communication, what seems morally significant is the many-to-many global scope of the Internet, the availability of a certain kind of anonymity, and the reproducibility of the medium.

3 2 3 (+) [-4+]mCQK johnson-computer_ethics_third_edition (xiii) 20140723n 0 -1+ progress/2011/06/notes_for_johnson-computer_ethics_third_edition.html
Reframes personal privacy as social as well as individual good. (xiii) I argue for reframing the issue in a way that recognizes personal privacy not just as an individual good but as a social good, and I try to make clear the importance of privacy for democracy.

3 2 3 (+) [-6+]mCQK kittler-gramophone_film_typewriter (xxxix-xl) 20140321 2 -5+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Hayles declares Kittler a technological determinist hooked on the ancient philosophical position privileging war as primary ontological factor affecting evolution of technologies; nonetheless this strong statement on the obscurity of the present situation substantiates his claim elsewhere of the charlatanism of the putative philosophers of computing of the time, misunderstanding the differences between hardware and software, ignoring the moral hazards of protected modes and trusted computing; their shortcomings have led to the current state of siren server dominance as latest instantiation what Heidegger declared as a sort of language machine carried by the combination of humans, media, media machines, networks: that human writing liquefies into network phenomena makes mass misconception of objectives once combinatory level of humans and machines is better understood. (xxxix-xl) Second, even secret files suffer a loss of power when real streams of data, bypassing writing and writers, turn out merely to be unreadable series of numbers circulating between networked computers. Technologies that not only subvert writing, but engulf it and carry it off along with so-called Man, render their own description impossible. Increasingly, data flows once confined to books and later to records and files are disappearing into black holes and boxes that, as artificial intelligence, are bidding us farewell on their way to nameless high commands. In this situation, we are left only with reminiscences, that is to say, with stories. How that which is written in no book came to pass may still be for books to record.

3 2 3 (+) [-6+]mCQK kraft-programmers_and_managers (26) 20130924c 0 -1+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Time-sharing only radical transformation after solid-state technology. (26) With the exception of time-sharing, the advances which came after solid-state technology, microprogramming, and so on, have been primarily on the order of refinements rather than radical transformations.

3 2 3 (+) [-6+]mCQK lessig-free_culture (45) 20120819 0 -5+ progress/2008/11/notes_for_lessig-free_culture.html
Same Brown from Social Life of Information believes we learn by tinkering. (45) As [John Seely]
Brown believes, we learn by tinkering. When a lot of use grew up, he explains, that tinkering was done on motorcycle engines, lawnmower engines, automobiles, radios, and so on. But digital technologies enable a different kind of tinkering - with abstract ideas through in concrete form.
(46) The best large-scale example of this kind of tinkering so far is free software or open-source software (FS/OSS).
(47) The law and, increasingly, technology interfere with a freedom that technology, and curiously, would otherwise ensure.

3 2 3 (+) [-6+]mCQK levy-hackers (39) 20131004b 0 -4+ progress/2012/05/notes_for_levy-hackers.html
Contrast to deliberate evangelism of Stallman and recovery of evangelists from other historical studies. (39) The precepts of this revolutionary Hacker Ethic were not so much debated and discussed as silently agreed upon. No manifestos were issued. No missionaries tried to gather converts. The computer did the converting.

3 2 3 (+) [-6+]mCQK levy-insanely_great (39) 20131004 0 -2+ progress/2013/09/notes_for_levy-insanely_great.html
Use of windows reshapes human relationship to information. (39) Windows are really quite profound. Using them implicitly reshapes our relationship to information itself.

3 2 3 (+) [-6+]mCQK levy-insanely_great (55) 20130909 0 -8+ progress/2013/09/notes_for_levy-insanely_great.html
Sketchpad delivered pictures of mental terrain of mathematics that entranced Plato. (55) Sketchpad did not
feel like a computer program, at least none that had ever been thought of as such. It felt like . . . pictures. Like geometry. Like cyberspace. Suddenly, we could see the pictures of purely mental terrain that entranced Plato when he talked about mathematics.

3 2 3 (+) [-4+]mCQK licklider-man_computer_symbiosis (78) 20131004d 0 -5+ progress/2012/03/notes_for_licklider-man_computer_symbiosis.html
Licklider did not anticipate proliferation of low-cost personal computer first, followed by their massive internetworking into the present day Internet that does embody his prediction of thinking centers based on time-sharing machines. (78) It seems reasonable to envision, for a time 10 or 15 years hence, a thinking center that will incorporate the functions of present-day libraries together with anticipated advances in information storage and retrieval and the symbiotic functions suggested earlier in this paper. . . . In such a system, the speed of the computers would be balanced, and the cost of the gigantic memories and the sophisticated programs would be divided by the number of users.

3 2 3 (+) [-4+]mCQK licklider-man_computer_symbiosis (78) 20131004e 0 -5+ progress/2012/03/notes_for_licklider-man_computer_symbiosis.html
Licklider did not foresee the massive capabilities of secondary storage devices that does permit more data to be stored in computer memory than books, although books are still in use for other reasons like reading convenience. (78) The first thing to face is that well shall not store all the technical and scientific papers in computer memory. . . . Books are among the most beautifully engineered, and human-engineered, components in existence, and they will continue to be functionally important within the context of man-computer symbiosis.

3 2 3 (+) [-4+]mCQK licklider-man_computer_symbiosis (78) 20131004f 0 -1+ progress/2012/03/notes_for_licklider-man_computer_symbiosis.html
Goals of Fredkin trie memory example are essentially similar to affordances of modern file systems and RDMS, seeking same goals as Bush for associative indexing. (78)
Trie memory is so called by its originator, Fredkin, because it is designed to facilitate retrieval of information and because the branching storage structure, when developed, resembles a tree.

3 2 3 (+) [-4+]mCQK licklider-man_computer_symbiosis (79) 20131004i 0 -1+ progress/2012/03/notes_for_licklider-man_computer_symbiosis.html
Object-oriented computing also embodies this idea of connecting computer operations like words and phrases of speech for moment to moment operation bringing to real time what was formerly tediously handled. (79) We may in due course see a serious effort to develop computer programs that can be connected together like the words and phrases of speech to do whatever computation or control is required at the moment.

3 2 3 (+) [-4+]mCQK mckee-computer_user_manuals_in_print (11) 20131005b 0 -3+ progress/2011/04/notes_for_mckee-computer_user_manuals_in_print.html
An example at the extreme end of third party documentation vendors is for large, commercial software packages from Microsoft and Oracle; there is also the unexpected market created by free, open source software and protocol solutions lacking large revenue streams to fund technical writing. (11) Most vendor documentation packages I have looked at have an extensive and complete facilities review which covers in detail the features of the software. However, the fact that most popular software vendors do not address the design area adequately is proved by the thriving third party business in books and seminars which do address the design environment. As a general rule of thumb, if a software product achieves about a million dollar a month in gross sales, it can expect to be specifically targeted by third party documentation and CBT firms whose express purpose is to improve on the weak areas of vendor documentation.

3 2 3 (+) [-4+]mCQK mckee-computer_user_manuals_in_print (11-12) 20131005c 0 -1+ progress/2011/04/notes_for_mckee-computer_user_manuals_in_print.html
Even the market filled by default by the software vendor. (11-12) Paying more attention to design issues is one strategy which will allow new vendors to claim added value for their software, and to compete more effectively for established markets.

3 2 3 (+) [-4+]mCQK mckee-computer_user_manuals_in_print (12) 20131005d 0 0+ progress/2011/04/notes_for_mckee-computer_user_manuals_in_print.html
He is predicting microcomputer documentation, whose volume will quickly swamp mainframe systems documentation, will also provide new employment opportunities for future generations of documentation specialists. (12)

3 2 3 (+) [-4+]mCQK misa-leonardo_to_the_internet (196) 20131007k 0 -8+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Bush, who gets so much attention in digital media studies, helped turn whole country into factory for nuclear bomb effort. (196) After several governmental committees considered its prospects, the project came to rest in the Office of Scientific Research and Development, or OSRD, a new government agency headed by MIT engineer Vannevar Bush.
(197) Although the point is not frequently emphasized, it was entirely fitting that Roosevelt assigned the construction phase of the bomb project to the Army Corps of Engineers and that the Army assigned command over the Manhattan Engineering District to Brigadier General Leslie Groves, who had been the officer in charge of building the Pentagon complex.
(198) The crucial task at Oak Ridge was to produce enough enriched uranium, somewhere between 2 and 100 kilograms, no one knew precisely how much, to make a bomb.
(204) Many commentators, even Eisenhower and Churchill, miss the crucial point that the two bombs dropped on Japan were technologically quite distinct: the Hiroshima bomb used Oak Ridgeƒs uranium while the Nagasaki bomb used Hanfordƒs plutonium.
(206-207) One hesitates to put it this way, but the two bombs dropped on Japan appear to have been aimed also at the U.S. Congress. After all, there were two hugely expensive factories that needed justification.

3 2 3 (+) [-4+]mCQK misa-leonardo_to_the_internet (214) 20131007l 0 -17+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Transistors and integrated circuits military inventions that were broadly publicized rather than kept classified. (214) Indeed, instead of classifying transistors, the armed services assertively publicized military uses for them. . . . Each [Bell System] licensee brought home a two-volume textbook incorporating material from the first symposium. The two volumes, composing
Transistor Technology, became known as the bible of the industry. They were originally classified by the government as restricted but were declassified in 1953. . . . A third volume in the textbook series Transistor Technology resulted from a Bell symposium held January 1956 to publicize its newly invented diffused base transistor. . . . For several years Bell sold these high-performance diffused transistors only to the military services.
(215) The Army Signal Corps also steered the transistor field through its engineering development program, which carried prototypes to the point where they could be manufactured.
(215) Bell Laboratories had not forgotten its telephone system, but its commercial applications of transistors were squeezed out by several large high-priority military projects.

3 2 3 (+) [-4+]mCQK misa-leonardo_to_the_internet (216-217) 20131007m 0 -5+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Dissemination by military credited for helping set industry standards. (216-217) Across the 1950s and 1960s, then, the military not only accelerated development in solid-state electronics but also gave structure to the industry, in part by encouraging a wide dissemination of (certain types of) transistor technology and also by helping set industrywide standards. . . . These competing demands probably delayed the large-scale application of transistors to the telephone system at least a half-dozen years (from 1955 to the early 1960s).

3 2 3 (+) [-4+]mCQK misa-leonardo_to_the_internet (217) 20131007n 0 -3+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Impact of military agenda on digital computing. (217) Code-breaking, artillery range-finding, nuclear weapons designing, aircraft and missile controlling, and antimissile warning were among the leading military projects that shaped digital computing in its formative years, from the 1940s through the 1960s.
(219) Forrester wanted Whirlwind to become another megaproject like the Radiation Laboratory or Manhattan Project.
(221) At the center of this fantastic scheme was Forresterƒs Whirlwind, or more precisely fifty-six of his machines.

3 2 3 (+) [-4+]mCQK misa-leonardo_to_the_internet (222) 20131007o 0 -17+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Bush, Licklider, Engelbart major players in computer networking. (222) Even though the commercial success of IBMƒs System 360 made computing a much more mainstream activity, the military retained its pronounced presence in computer science throughout the 1960s and beyond. . . . The IPTO [Pentagonƒs Advanced Research Project Agency Information Processing Techniques Office] was far and away the nationƒs largest funder of advanced computer science from its founding in 1962 through the early 1980s. . . . Among the fundamental advances in and applications of computer science funded by the IPTO were time-sharing, interactive computer graphics, and artificial intelligence. J.C.R. Licklider, head of the IPTO program in the early 1960s, also initiated work on computer networking that led, after many twists and turns, to the Internet.
(223) A 1964 RAND Corporation report, On Distributed Communications, proposed the theoretical grounds for a rugged, bombproof network using message blocks - later known as packet switching - to build a distributed communications system. . . .

3 2 3 (+) [-4+]mCQK misa-leonardo_to_the_internet (249) 20131007s 0 -1+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Obligatory short history of Internet, combined with story of worldwide financial flows and McDonalds, demonstrate historical construction of globalization. (249) Overall, we can discern three phases in the Internet story: the early origins, from the 1960s to mid-1980s, when the military services were prominent; a transitional decade beginning in the 1980s, when the National Science Foundation became the principal government agency supporting the Internet; and the commercialization of the Internet in the 1990s, when the network itself was privatized and the World Wide Web came into being.

3 2 3 (+) [-4+]mCQK misa-leonardo_to_the_internet (259) 20131007t 0 -7+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Misa suggests a post-globalization era oriented on national security and state-centered reactions resulting from the war on terror. (259) Indeed, the certainty during the 1990s that globalization would continue and expand, seemingly without borders, ended with the attacks on 11 September 2001. Whatever one makes of the resulting war on terrorism, it seems inescapable that the nation-state is, contrary to the globalizersƒ utopian dreams, alive and thriving as never before. . . . A national security-oriented technological era may be in the offing. It would be strange indeed if the September 11
attackers acting in the name of antimodern ideologies because of the Western nationsƒ national security-minded and state-centered reactions, brought an end to this phase of global modernity.

3 2 3 (+) [-4+]mCQK misa-leonardo_to_the_internet (267) 20131007u 0 -1+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Pacey technology dialogue complicates notion that power flows from military force; how about Feenberg? (267) The conceptual muddle surrounding these questions of technology transfer can be cleared up with Arnold
Paceyƒs useful notion of technology dialogue, an interactive process which he finds is frequently present when technologies successfully cross cultural or social barriers.

3 2 3 (+) [-4+]mCQK mitcham-thinking_through_technology (106) 20121022 0 -1+ progress/2012/02/notes_for_mitcham-thinking_through_technology.html
Entry into computer ethics from philosophy of technology. (106) More generally, however, computer ethics raises basic questions about the use and structural character of
information.

3 2 3 (+) [-4+]mCQK norman-design_of_everyday_things (184) 20120906 0 -2+ progress/2009/11/notes_for_norman-design_of_everyday_things.html
Heim would argue strongly against this equivocating the computer as an ordinary tool; recommendation by Norman of designing software such that the computer disappears and the task is foregrounded allows concealing of enframing, recall Hegel worn sock is better than a mended one; not so with metaphysics. (184) The point cannot be overstressed: make the computer system invisible. This principle can be applied with any form of system interaction, direct or indirect.

3 2 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (97) 20140110 0 -6+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Social use overwhelmed early computing networks, finally opened for commercial use. (97) While the Internet then Arpanet was a technological success, it had become overwhelmed by social use. . . . The government ended up setting the net free, to a large extent, with the proviso that it only be used for research purposes.
(98) Finally, after a series of violations by small businesses looking to promote their services online, the net was opened for commercial use.

3 2 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (119-120) 20140112a 0 -5+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Network designs reflect working ethos based on sharing and openness of their creators, which also makes them vulnerable to attack. (119-120) Perhaps because they witnessed how effective distributed processing was for computers, the builders of the networks we use today based both their designs as well as their own working ethos on the principles of sharing and openness. . . . This is what makes the Internet so powerful, and also part of what makes the Internet so vulnerable to attack: Pretty much everything has been designed to talk to strangers and offer assistance.

3 2 3 (+) [-5+]mCQK rushkoff-program_or_be_programmed (120) 20140110k 0 -6+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Bias toward openness from architecture of shared resources and gift economy origins challenge distinction between sharing and stealing. (120) This encouraged network developers to work in the same fashion. The net was built in a gift economy based more on sharing than profit.
(120-121) Digital technologyƒs architecture of shared resources, as well as the gift economy through which the net was developed, have engendered a bias toward openness. Itƒs as if our digital activity wants to be shared with others. As a culture and economy inexperienced in this sort of collaboration, however, we have great trouble distinguishing between sharing and stealing.
(123) What weƒre in the midst of now is a mediaspace where every creation is fodder for every other one.

3 2 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (126) 20140110m 0 -2+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
DRM robbery of local resources and network bandwidth; link to Kittler criticism of protected mode and trusted computing. (126) In a sense, these DRM strategies constitute a kind of robbery themselves. In order to work, these secretly planted programs must actually utilize some of the capacity of our computerƒs processors.

3 2 3 (+) [-5+]mCQK rushkoff-program_or_be_programmed (141) 20140110z 0 -7+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Opacity of interfaces putatively designed for user friendliness bury real workings of the machines; Rushkoff proposes the transformation intentional because hacker ethic bad for business, leaving the work to professionals. (141) So the people investing in software and hardware development sought to discourage this hackerƒs bias by making interfaces more complex. The idea was to turn the highly transparent medium of computing into a more opaque one, like television. Interfaces got thicker and more supposedly user friendly while the real workings of the machine got buried further in the background.
(142) Better to buy a locked-down and locked-up device, and then just trust the company we bought it from to take care of us. Like it used to say on the back of the TV set:
Hazard of electric shock. No user serviceable parts inside. Computing and programming were to be entrusted to professionals.

3 2 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (142-143) 20140111a 0 -7+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Striation resulting from advertising and lobbying to depend on out-of-the-box technology solutions. (142-143) Of course none of this is really true. And the only way youƒd really know this is if you understood programming. . . . Even the Pentagon is discouraged from developing its own security protocols through the Linux platform, by a Congress heavily lobbied to promote Windows.
(143) Like the military, we are to think of our technologies in terms of the applications they offer right out of the box instead of how we might change them or write our own.

3 2 3 (+) [-6+]mCQK stephenson-in_the_beginning_was_the_command_line (14) 20131012 0 -1+ progress/2012/06/notes_for_stephenson-in_the_beginning_was_the_command_line.html
Before Macintosh introduced GUI, Victorian technologies used to communicate with computers. (14) In effect, we still used Victorian technologies to communicate with computers until about 1984, when the Macintosh was introduced with its Graphical User Interface.

3 2 3 (+) [-4+]mCQK sterne-audible_past (255) 20131015t 0 -1+ progress/2011/09/notes_for_sterne-audible_past.html
Deliberate use of highly conventional language helped lower threshold of comprehensibility of reproduced sound; again compare to simplicity and obviousness of early personal computer programs aimed to convince consumers of their viability. (255) The use of highly conventional and therefore easily imitated language helped lower the threshold at which reproduced sound became comprehensible and still provided the possibility of mechanical reproduction of all language.

3 2 3 (+) [-4+]mCQK sterne-audible_past (261) 20131015u 0 -4+ progress/2011/09/notes_for_sterne-audible_past.html
Compare to recently departed Jobs. (261) While the earlier demonstrations simply had to convince audiences that the machines worked
at all, the tone tests expressly sought to establish for their audiences an equivalency between live performance and a sound recording. Moreover, the tone tests presumed and made use of the series of prior conditions discussed thus far in this chapter.
(262-263) The metonymic logic was clear enough if these great performers can share a stage with Edison phonograph, then live musical performance and recording can be understood as two species of the same practice. The staging and history of the tone tests thus shows the elaborate work necessary to convince listeners of a correspondence between two different sounds of the fact that the machine was merely a mediation of the authentic event.

3 2 3 (+) [-6+]mCQK takhteyev-coding_places (111) 20131231 0 -2+ progress/2013/12/notes_for_takhteyev-coding_places.html
End of market reserve in Brazil forced many from hardware to software. (111) As Jorge saw it, developing software was an easier task than many of the ones he had faced as an electronics engineer. In a similar way, many former computer companies have transformed themselves into software factories.

3 2 3 (+) [-4+]mCQK turing-computing_machinery_and_intelligence (52) 20131108 0 -2+ progress/2012/06/notes_for_turing-computing_machinery_and_intelligence.html
Digital computers can carry out any operation done by a human computer, who is supposed to be following fixed rules without. (52) The idea behind digital computers may be explained by saying that these machines are intended to carry out any operations which could be done by a human computer. The human computer is supposed to be following fixed rules; he mas no authority to deviate from them in any detail.

3 2 3 (+) [-4+]mCQK turing-computing_machinery_and_intelligence (52) 20131108a 2 -3+ progress/2012/06/notes_for_turing-computing_machinery_and_intelligence.html
Discrete state digital computer has three parts: store, executive unit, control; compare to Burks, Goldstine, von Neumann. (52)
(52) A digital computer can usually be regarded as consisting of three parts:
(i) Store.
(ii) Executive unit.
(iii) Control.

3 2 3 (+) [-6+]mCQK turing-computing_machinery_and_intelligence (53) 20130909b 0 -3+ progress/2012/06/notes_for_turing-computing_machinery_and_intelligence.html
Turing defines programming as constructing instruction tables; today it includes object oriented complexities, but the basic structure is still the same, including their being discrete state machines. (53) If one wants to make a machine mimic the behaviour of the human computer in some complex operation one has to ask him how it is done, and then translate the answer into the form of an instruction table. Constructing instruction tables is usually described as programming.
(53) Since Babbageƒs machine was not electrical, and since all digital computers are in a sense equivalent, we see that this use of electricity cannot be of theoretical importance.

3 2 3 (+) [-6+]mCQK turing-computing_machinery_and_intelligence (53) 20131108b 0 -5+ progress/2012/06/notes_for_turing-computing_machinery_and_intelligence.html
Discrete state machines move by jumps from one definite state to the next; future states predictable from initial state; universal machines because they can mimic any other discrete state machine. (53) The digital computers considered in the last section may be classified amongst the discrete state machines. These are the machines which move by sudden jumps or clicks from one quite definite state to another.
(54) It will seem that given the initial state of the machine and the input signals it is always possible to predict all future states.
(54) Provided it could be carried out sufficiently quickly the digital computer could mimic the behaviour of any discrete state machine.
(54) This special property of digital computers, that they can mimic any discrete state machine, is described by saying that they are
universal machines.

3 2 3 (+) [-4+]mCQK uffenbeck-microcomputers_and_microprocessors (1-2) 20120322 0 -4+ progress/2004/07/notes_for_uffenbeck-microcomputers_and_microprocessors.html
Unique perspective on programming: basic four unique instruction cycles constitute all complex microprocessor instructions, derive from von Neumann architecture after decades of practical engineering; it became the basis of my reverse engineering methodology for stored program computers which I just read Wardrip-Fruin describe in similar terms. (1-2) Despite the advances in semiconductor technology and microprocessors, the basic architecture of the digital computer has remained unchanged for the last 35 years. This is the so-called
von Neumann model of the stored program computer.
(2) We will also begin to take a look at the subject of microcomputer programming perhaps from a point of view you have not taken before. This is to consider the effects each computer instruction has on the electrical lines or buses of the microprocessor chip itself.

3 2 3 (+) [-4+]mCQK uffenbeck-microcomputers_and_microprocessors (1) 20131108f 0 -2+ progress/2004/07/notes_for_uffenbeck-microcomputers_and_microprocessors.html
Microprocessor coined by Intel to describe 4-bit calculator-like integrated circuit. (1) The word microprocessor was coined in the semiconductor industry by Intel Corporation. They used the term to describe a newly designed 4-bit calculator-like integrated circuit.

3 2 3 (+) [-4+]mCQK uffenbeck-microcomputers_and_microprocessors (4) 20131108 0 -1+ progress/2004/07/notes_for_uffenbeck-microcomputers_and_microprocessors.html
Fetch and execute. (4) The principle is called
fetch and execute and is the key to understanding the activities of a microprocessor.

3 2 3 (+) [-4+]mCQK uffenbeck-microcomputers_and_microprocessors (5) 20131108a 0 -5+ progress/2004/07/notes_for_uffenbeck-microcomputers_and_microprocessors.html
Three-bus architecture yields four unique instruction cycles. (5) From the standpoint of the three-bus architecture, there are only four unique instruction cycles possible. . . . all microprocessor instructions are made up of combinations of these four cycles.

3 2 3 (+) [-4+]mCQK uffenbeck-microcomputers_and_microprocessors (5) 20131108b 0 -2+ progress/2004/07/notes_for_uffenbeck-microcomputers_and_microprocessors.html
While dated, it was through this sort of thinking that first generation microcomputer-based control units were built; the first chapter is one of the best concise explanations of how electronic computers work. (5) The instruction set of a computer can be thought of as a list of commands that cause unique sequences to occur on the three buses.
(5) Writing a computer program requires assembling the proper instructions and storing them sequentially in the memory unit of the computer.

3 2 3 (+) [-6+]mCQK uffenbeck-microcomputers_and_microprocessors (6) 20131108c 0 -7+ progress/2004/07/notes_for_uffenbeck-microcomputers_and_microprocessors.html
Description of digital line, bus, bits and codes; compare to Kittler on code. (6) A single digital line can therefore carry only two pieces of information the line is a 1 or it is a 0. We solve this apparent lack of information-handling capability by combining many digital lines together. Such collections of lines are referred to as a
bus.
(7) The important result to note is that by combining eight lines, the information handling capability of the bus has increased not by a factor of 8 but by a factor of 2
8.
(7) If enough bits are used in the data words, we can express even the largest of numbers. Furthermore, we can develop
codes to represent the letters and punctuation marks of the alphabet. In this way the computer can process all types of written information.

3 2 3 (+) [-4+]mCQK uffenbeck-microcomputers_and_microprocessors (16) 20131108e 0 -4+ progress/2004/07/notes_for_uffenbeck-microcomputers_and_microprocessors.html
Differences between TTL and CMOS devices shows even the voltages representing zeros and ones of digital signals are material specific. (16) Recall that a bus is defined as a collection of lines each carrying a discrete voltage level. When this voltage level is varying in time, we refer to the information on the line as a digital signal.
(16-17) In most cases, TTL devices can drive a nearly unlimited number of CMOS devices (provided that pullup resistors are used to bring TTLƒs logic 1 level closer to 5.0 V), but CMOS is limited to one standard TTL load.

3 2 4 (+) [-4+]mCQK barker-writing_software_documentation (150) 20130908 0 -2+ progress/2011/02/notes_for_barker-writing_software_documentation.html
Distrust may be a standard attitude of novice learners toward textbooks; try linking to success or failure of spreading general programming skills (Kemeny; comparison of early personal computer manuals). (150) They distrust manuals, feeling overwhelmed by their usually technical nature and arid prose. Manuals appear to be truth arranged in a meaningless way.

3 2 4 (+) [-4+]mCQK bauerlein-dumbest_generation (58) 20140607d 1 -1+ progress/2014/05/notes_for_bauerlein-dumbest_generation.html
Benefits of programming could be compared to benefits of reading, and Matthew Effect ought to hold as well. (58) Habitual readers acquire a better sense of plot and character, an eye for the structure of arguments, and an ear for style, over time recognizing the aesthetic vision of adolescent fare as, precisely, adolescent.

3 2 4 (+) [-3+]mCQK bork-journal 20101008 20101008 0 -7+ journal_2010.html
New ideas for researching the question Why Johnny canƒt code? investigating how people learned to program focuses on texts, including the manuals that came with personal computers and popular magazines. Since I recall now how important the Apple manuals and Timex Sinclair manuals were in my own self-teaching, and many people have told me they started learning at home, this is potentially significant. Manuals serve different rhetorical purposes now. This is in addition to the availability of built-in programming environments and built-in help, such as Unix and GNU man pages. Perhaps the simplicity of first generation personal computers made and their relatively simple, short manuals afforded bricoleur-style programming to be learned by children? This thoughts motivate me to consider the Software Documentation course as an avenue for further investigating these early texts.

3 2 4 (+) [-4+]mCQK brown_duguid-social_life_of_information (xvii-xviii) 20130912 0 -10+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Absence of GNU in positive account of free, open source software as exemplifying a robust and epistemologically transparent social life of information. (xvii-xviii) The project started in 1991 when a young programmer, Linus Torvalds, set out to design a computer operating system the software that runs a computer which he called Linux. . . . Linux has used the Internet not simply as a network of bits, but as the resource for a network of practioners to work collaboratively. . . . As we argue throughout the book, designs that ignore social issues lead to fragile, opaque technologies. By contrast, Linux, drawing as it does on social resources, has produced technologies that are remarkably robust and, at least for the network of practitioners developing it, transparent.

3 2 4 (+) [-4+]mCQK burnard_okeefe_unsworth-electronic_textual_editing (352) 20131027b 0 -3+ progress/2012/03/notes_for_burnard_okeefe_unsworth-electronic_textual_editing.html
Case and Green: SCO UNIX case is a prime example of difference between transfer of ownership of object versus copyright. (352) Copyright law (sec. 202) provides for the distinction between ownership of a material object and ownership of its copyright. The transfer of ownership of an object does not convey ownership of the copyright unless the copyright is explicitly transferred as a part of the agreement.

3 2 4 (+) [-4+]mCQK drucker_and_mcvarish-graphic_design (333) 20130909 0 -7+ progress/2008/09/notes_for_drucker_and_mcvarish-graphic_design.html
Take this study of interface metaphors into the design decisions concerning free, open source software. (333) figure 15.13a)
Interface metaphors: Windows 95. . . . Tensions between the metaphors of travel and easy access an d the realities of user experiences have been the subject of critical study and debate, exposing the ways in which graphic design shapes expectations and hides assumptions.
(334) The graphic task was no longer limited to communication but extended to the functional structuring of information and scenarios for its access and use.

3 2 4 (+) [-6+]mCQK feenberg-transforming_technology (157) 20131030o 0 -4+ progress/2009/11/notes_for_feenberg-transforming_technology.html
Compare rationalizations to FLOSS projects, noting attempts to promote innovation in capitalist firms. (157) Workers were offered a means of claiming authorship and receiving bonuses for useful ideas. To promote worker participation in innovation, ƒcomplex brigadesƒ of workers, engineers, and others were assembled to draft blueprints, test solutions, and refine original ideas. Several mass organizations mobilized large voluntary support networks to help worker-innovators overcome the bureaucratic obstacles to success.
(158) There are interesting similarities between these experiments and attempts to promote innovation in certain large, high-technology capitalist firms.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (3) 20130909 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
First collection of scholarship targeting free and open source software contributes to dispelling myths; compare to volume on teaching and learning programming from the 1980s. (3)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (3) 20130918 0 -5+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lakhani and Wolf: motivational study found intrinsic motivators: enjoyment, seeking flow states, and community obligations, with sense of creativity affecting hours contributed. (3) Many are puzzled by what appears to be irrational and altruistic behavior by movement participants: giving code away, revealing proprietary information, and helping strangers solve their technical problems.
(3) enjoyment-based intrinsic motivation . . . is the strongest and most pervasive driver.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (6) 20130918l 0 -5+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lakhani and Wolf: demonstrate social construction of hacker identity from canonical texts and technical codes. (6) Canonical texts like The New Hackerƒs Dictionary (Raymond 1996), The Cathedral and the Bazarr (Raymond 2001), and the GNU General Public License (GPL) (Stallman 1999a) have created shared meaning about the individual and collective identities of the hacker culture and the responsibilities of membership within it. . . . The hacker identity includes solving programming problems, having fun, and sharing code at the same time.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (7) 20130918a 0 -1+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lakhani and Wolf: motivational study found extrinsic motivation includes direct use of software product, career advancement, and improving skills through active peer review. (7) Participants also improve their programming skills through the active peer review that is prevalent in F/OSS projects (Moody 2001; Raymond 2001; Wayner 2000).

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (7) 20130918m 0 -1+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lakhani and Wolf: study sample 684 respondents from 287 distinct projects from official developers listed on Sourceforge projects; valuable, easily queried data sources for researching software in contrast to difficulties noted by historians of commercial and government software. (7) The sample for our survey was selected from among individuals listed as official developers on F/OSS projects hosted on the SourceForge.

3 2 4 (+) [-6+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (10) 20130918n 0 -2+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lakhani and Wolf: implied financial subsidy for open source projects from time spent by paid contributors. (10) Overall, paid contributors are spending more than two working days a week and volunteer contributors are spending more than a day a week on F/OSS projects. The implied financial subsidy to projects is substantial.

3 2 4 (+) [-6+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (11) 20130918o 0 -2+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lakhani and Wolf: study respondents noted high sense of personal creativity taking them into psychological state of flow. (11) More than 61 percent of our survey respondents said that their participation in the focal F/OSS project was their most creative experience or was equally as creative as their most creative experience.
(11) It may seem puzzling to nonprogrammers that software engineers feel creative as they are engaged in writing programming code.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (18) 20130918p 0 -2+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lakhani and Wolf: conclude activity in open source projects a joint form of creative production-consumption for public good. (18) At least as applied to hackers on F/OSS projects, activity should be regarded as a form of joint production-consumption that provides a positive psychological outlet for the participants as well as useful output.
(18) Another central issue in F/OSS research has been the motivations of developers to participate and contribute to the creation of a public good.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (33) 20130918b 0 -1+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Ghosh: study presents balanced value flow model where rational self interest includes non-monetary rewards and valuable voluntary training environment. (33) In the absence of clear monetary transactions, the interplay of contribution and return can be described in the form of balanced value flow where one assumes rational self-interest but allows that self-interest can include a range of different types of reward, not just monetary compensation.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (33) 20130918c 0 -1+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Ghosh: study found selfish over altruistic motives. (33) What we see is that more respondents are selfish than altruistic from all motive classes.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (48) 20130918d 0 -1+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lerner and Tirole: interest due to rapid diffusion, significant capital investments, new collaborative organization structure, but point out surprise of economists. (48) We highlight the extent to which labor economics in particular, the literature on career concerns --and industrial organization theory can explain many of the features of open source projects.

3 2 4 (+) [-6+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (51-52) 20130918e 0 -5+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lerner and Tirole: crucial technical code change of second era by Free Software Foundation developed of GPL. (51-52) One important innovation introduced by the Free Software Foundation was a formal licensing procedure that aimed to preclude the assertion of patent rights concerning cooperatively developed software. . . . It is these contractual terms that distinguish open source software from shareware (where the binary files but not the underlying source code are made freely available, possibly for a trial period only) and public-domain software (where no restrictions are placed on subsequent users of the source code).

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (57) 20130918g 0 -6+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lerner and Tirole: opportunity cost of time, not focusing on primary mission that must balance delayed payoffs of career and ego gratification as signaling incentives. (57) The net benefit is equal to the immediate payoff (current benefit minus current cost) plus the delayed payoff (delayed benefit minus delayed cost).
(57) The programmer incurs an opportunity cost of time. . . . for a programmer with an affiliation with a commercial company, a university or research lab, the opportunity cost is the cost of not focusing on the primary mission.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (60) 20130918h 0 -12+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lerner and Tirole: alumni effect and benefits of customization and bug fixing of open source projects lower costs for programmers, and signaling incentives higher. (60) Signaling incentives therefore may be stronger in the open source mode for three reasons: 1. Better performance measurement. . . . 2. Full initiative. . . . 3. Greater fluidity.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (62-63) 20130918i 0 -2+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lerner and Tirole: modularity (exemplified by Unix architecture), having fun challenges, having a credible leader are favorable characteristics; compare to Rosenberg research. (62-63) Favorable characteristics for open source production are (a) its modularity and (b) the existence of fun challenges to pursue. A successful open source project also requires a credible leader or leadership, and an organization consistent with the nature of the process.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (66) 20130918j 0 -1+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lerner and Tirole: difficulty of attributing credit beyond leaders in closed source environments, which could be argued further for contributions of system testers and other members of development teams; affects democratization at boundaries between producers and users. (66) To be certain, team leaders in commercial software build reputations and get identified with proprietary software just as they can on open source projects; but the ability of reputations to spread beyond the leaders is more limited, due to the nonverifiability of claims about who did what.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (72) 20130918k 0 -2+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Lerner and Tirole: leave open four economic questions: what are conducive characteristics, optimal licensing, coexistence with commercial software, transposable to other industries; the fourth question as since been answered by many industries like 3D parts fabrication. (72) Thus a number of ingredients of open source software are not specific to the software industry. Yet no other industry has yet produced anything quite like open source development.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (93) 20131030 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Fitzgerald: paradoxes of the OSS concept make it an interesting topic for intellectual study. (93)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (94) 20131030a 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Fitzgerald: useful table of problematic issues for OSS from software engineering, business, and sociocultural perspectives for a Mitcham engineering philosophy of technology approach. (94)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (110) 20131030b 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Rusovan, Lawford, Parnas: modular code with stable, well-documented interfaces helps programmers work independently. (110)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (120) 20131030c 0 -1+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Rusovan, Lawford, Parnas: Poorly documented code inhibited analysis of Linux kernel arp module contradicts myth that FOS code is well written and well documented. (120) felt like walking through a dark forest without a map.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (124) 20131030d 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Neumann: OS paradigm has potential to better proprietary models that rush to market. (124)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (128) 20131030e 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Anderson: is openness better for the attacker or the defender? (128)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (145) 20131030f 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: OSS projects need critical mass to stay alive (or serious sponsor). (145)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (147) 20131030g 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: need for large or dedicated developer community. (147)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (148) 20131030h 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: adoption of reasonable tool base including revision control and bug reporting. (148)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (148) 20131030i 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: time; advantage over corporate projects that are simply canceled. (148)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (150) 20131030j 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: build from the ground up, from other projects, or buy model before OSS. (150)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (151) 20131030k 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: OSS offers black box (accept or pay for changes) or white box (customize in house) approaches. (151)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (153) 20131030l 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: ambiguity in Presidents Information Technology Advisory Committee (PITAC) recommendations. (153)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (154) 20131030m 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: no clear advantage if organization does not have qualified personnel. (154)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (154) 20131030n 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: difficulty ascertaining stability of projects compared to viability of commercial vendors. (154)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (156) 20131030o 0 -1+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: skeptical of many eyes theory but same problem with closed source. (156) the extent many eyes are really critiquing the holistic view of the systemƒs architecture and design.

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (156-158) 20131030p 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: success factors include working product, committed leaders, provides general community service, technically cool, developers are users. (156-158)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (158) 20131030q 0 -1+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Weinstock and Hissam: SEI support for PITAC subpanel on OSS: consider Feenberg moves toward deep democratization and other changes to capitalist management hegemony. (158)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (167) 20131030r 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Mockus and Herbsleb: archives of project work because of distributed development teams who rarely meet face to face. (167)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (177) 20131030s 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Mockus and Herbsleb: in Apache development community top 15 developers contributed over 83 percent of code changes. (177)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (179) 20131030t 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Mockus and Herbsleb: contribution of wider community more defect repair and system testing than new functionality. (179)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (201) 20131030u 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
Mockus and Herbsleb: maximum project size of 10-15 people before coordination problems affect quality of work. (201)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (211) 20110715 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
German: notes researching source code and development practices usually under non-disclosure agreement, constraining how can other researchers can verify the validity of the studies. (211)

3 2 4 (+) [-4+]mCQK feller_et_al-perspectives_on_free_and_open_source_software (214) 20131030v 0 0+ progress/2007/06/notes_for_feller_et_al-perspectives_on_free_and_open_source_software.html
German: analyzed historical data from CVS repository with softChange software. (214)

3 2 4 (+) [-4+]mCQK galloway-protocol (171 footnoe 60) 20130924 0 -3+ progress/2013/01/notes_for_galloway-protocol.html
Curiously ill informed mischaracterization of FLOSS as freeware. (171 footnoe 60) The primary example of this trend is the free, open source operating system Linux. Virtually every software product has a freeware analog that often performs better than its commercial counterpart. Examples include Apache, a free Web server, MySQL, a free relational database that competes with high-end commercial databases such as Oracle; and Perl, a free open source scripting language.

3 2 4 (+) [-4+]mCQK gee-what_video_games_have_to_teach_us_about_learning_and_literacy (40) 20130921g 0 -1+ progress/2012/09/notes_for_gee-what_video_games_have_to_teach_us_about_learning_and_literacy.html
Contrast this prediction to the findings of learning programming not appearing to transfer skills to other domains; what of unconscious connections from childhood gaming in adulthood? (40) In interviews my research team and I have conducted with videogame players, we have found a number of young people who have used the domain of video games as a fruitful precursor domain for mastering other semiotic domains tied to computers and related technologies.

3 2 4 (+) [-6+]mCQK kellner-critical_theory_today (45) 20120510 0 -8+ progress/2012/05/notes_for_kellner-critical_theory_today.html
Develop social theory from studies of free, open source technologies where French postmodernists no longer yielding substantive insights? (45) Yet as a social theory, by the 1980s, critical theory no longer seemed to be the cutting edge of radical social theory. The new French postmodern theories inspired by Baudrillard, Foucault, Lyotard, and others seemed to provide more vivid descriptions of the present configurations of culture and society. . . . But Foucault is now dead and Baudrillard, Lyotard, Derrida, and other postmodern theorists have yielded little in the way of substantive social theory. Moreover, the limitations of postmodern theory are becoming evident. Their avoidance of political economy seems peculiar during an era of frantic reorganization of the capitalist system on both the national and international scale.

3 2 4 (+) [-6+]mCQK koerner-readin_writin_ruby_on_rails (29-30) 20131214j 6 -2+ progress/2013/12/notes_for_koerner-readin_writin_ruby_on_rails.html
Gibson success teaching Java to children using game design puzzles. (29-30) By the early 2000s, Gibson was using game-design puzzles to teach rudimentary Java to 8- and 9-year-olds. His success with that age group made him wonder: How young is too young to begin coding?

3 2 4 (+) [-6+]mCQK koerner-readin_writin_ruby_on_rails (30) 20131214a 0 -3+ progress/2013/12/notes_for_koerner-readin_writin_ruby_on_rails.html
Latest round of educational research suggests early neural plasticity ideal for learning languages of all kinds, with goal of lifelong fluency in code. (30) What those parents likely donƒt realize is that the same neural mechanisms that make kids sponges for Mandarin likely also make them highly receptive to computer languages. Kindergartners cannot become C++ ninjas, but they can certainly start to develop the skills that will eventually cement lifelong fluency in code. And encouraging that fluency should be a priority for American schools, because it is code, not Mandarin, that will be the true lingua franca of the future.

3 2 4 (+) [-6+]mCQK koerner-readin_writin_ruby_on_rails (32) 20131214d 0 -1+ progress/2013/12/notes_for_koerner-readin_writin_ruby_on_rails.html
Brain research suggests procedural memory diminishes with age in favor of declarative memory; relate to Malabou as likely cultural influence. (32) The evidence is beginning to suggest that as brains age, their capacity for procedural memory diminishes in favor of declarative memory, which we use to amass facts.

3 2 4 (+) [-6+]mCQK koerner-readin_writin_ruby_on_rails (32) 20131214e 0 -1+ progress/2013/12/notes_for_koerner-readin_writin_ruby_on_rails.html
Procedural learning assumed to be crucial to learning programming, although claim that learning programming has not been well researched; tie to Bogost procedural rhetoric. (32) No one seems to have researched precisely how programming languages are learned, but there is every reason to believe that theyƒre best absorbed by students primed to form procedural memories.

3 2 4 (+) [-6+]mCQK koerner-readin_writin_ruby_on_rails (32) 20131214g 0 -1+ progress/2013/12/notes_for_koerner-readin_writin_ruby_on_rails.html
Suggestion that learning programming helps with general problem solving with abstract thinking, dubbed computational thinking, as early bilingualism has positive benefits later in life; again relate to early research. (32) Just as early bilingualism is thought to bring about cognitive benefits later in life, early exposure to coding shows signs of improving what educators call computational thinking --the ability to solve problems with abstract thinking.

3 2 4 (+) [-4+]mCQK kraft-programmers_and_managers (v) 20130826 0 -7+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Identity crisis confronting computer programmers, whether they are managers or engineers, reflects Wiener noting conflation of commands and facts complicating relationship between control and communication. (v) Norbert
Wiener, perhaps better than anyone else, understood the intimate and delicate relationship between control and communication: that messages intended as commands do not necessarily differ from those intended simply as facts. Wiener noted the paradox when the modern computer was hardly more than a laboratory curiosity. Thirty years later, the same paradox is at the heart of a severe identity crisis which confronts computer programmers. Are they primarily members of management acting as foremen, whose task it is to ensure that orders emanating from executive suites are faithfully translated into comprehensible messages? Or are they perhaps simply engineers preoccupied with the technical difficulties of relating software to hardware and vice versa? Are they aware, furthermore, of the degree to which their work whether as manager or engineer routinizes the work of others and thereby helps shape the structure of social class relationships?
(vi) To my knowledge, this is the first study written from the perspective of programmers themselves.

3 2 4 (+) [-4+]mCQK kraft-programmers_and_managers (1) 20131104 0 -9+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Initial impression that programmers were marginal people not fitting engineer stereotypes, and many were women. (1) From the start they struck me as marginal people. They did not, for example, fit neatly into the stereotypes that are commonly applied, however unjustly, to engineering workers as a whole. They did not look like engineers are supposed to look (crew-cuts, narrow ties, penny loafers, etc.), nor were they taciturn and awkward around nonprogrammers. They did not appear to be particularly conservative, either politically or socially. Many were women.
(2) It seemed instead to be a peculiar case of an exotic occupation whose obscurity was penetrated only by those in whose interest it was to do so, i.e., managers.

3 2 4 (+) [-4+]mCQK kraft-programmers_and_managers (2) 20131104i 0 -5+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Four literatures of management researchers on programmers: moral uplift, psychological profiling, industry statistics, ethnographies. (2) By contrast, management researchers have show considerably more interest. . . . More accurately, they have compiled four distinct literatures.

3 2 4 (+) [-6+]mCQK kraft-programmers_and_managers (3) 20130826a 0 -8+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Importance of political, social relations of the workplace highlighting power, domination, subordination. (3) The fourth and last major category is made up of the work of highly experienced programmers who have spent considerable time analyzing the organization of the programming workplace. These writings are fascinating for more than their technical content; the work of F.T. Baker, Harlan Mills, and Gerald M. Weinberg, for example, is also important
politically. This is a crucial and often misunderstood point. The social relations of the workplace are arrangements of people which affect more than just efficiency and productivity. They are also relations of power, of domination and subordination.

3 2 4 (+) [-4+]mCQK kraft-programmers_and_managers (4) 20131104a 0 -11+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Most literature on programmers written by managers with the concern of imposing discipline rather than writing better programs. (4) Put another way, management literature on programmers displays a general concern with developing techniques to get the people managers manage to do what they are told, not simply how to write better programs. It tends to concentrate on ways of figuring out how to predict who can do what kinds of programming jobs ( personnel selection ), how to get programmers to fit into the structure of the organization ( getting on board or, occasionally, seeing the Big Picture ), and, all things being equal, to get as much work out of them as possible ( developing motivation and acquiring the right attitude ).
(4) Finally, it must also be said that much of this management literature is not very flattering to programmers. . . . The major difference is that while such stereotypes have been used to justify social sneers or to ignore programmers altogether, managers have used similar stereotypes to create techniques to advance their own very specific ends. . . . A common managerial position is that, left to themselves, programmers would design a system for the computer not for the user.

3 2 4 (+) [-4+]mCQK kraft-programmers_and_managers (6) 20131104b 0 -2+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Programmer manager relationship often viewed as personal rather than organizational, with surprising compliance to manager opinion. (6) Relationships, for example, between a programmer and a manager were almost always viewed as personal ones, rather than as part of an overall structure which individuals were inserted into or removed from as the requirements of the organization demanded.
(6) I was astounded by how routinely and without much objection programmers accepted their managersƒ point of view, although it came nowhere close to accurately describing the programmersƒ real situation.

3 2 4 (+) [-4+]mCQK kraft-programmers_and_managers (7) 20131104c 0 -5+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Manager interviews revealed programming work being organized like any other work in corporate bureaucracy. (7) The interviews of managers in particular made me aware of just how much like other work programming was being organized and structured. . . . The development of job standards, the emergence of increasingly specialized job descriptions, the obvious efforts to reduce overall job skill levels through extensive use of canned programs, structured programming, and hardware innovation all of these things were, to a social scientist, straightforward efforts to make the social relations of programming like, say, those of the machine shop of the secretarial pool of the drafting room.

3 2 4 (+) [-4+]mCQK kraft-programmers_and_managers (7) 20131104d 0 -2+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Programmers seemed unaware of organizational processes; contrast to FLOSS stereotypes of bazaar revolutionaries. (7) Programmers, for the most part, seemed unaware of this process and generally believed that they occupied special, unique positions and enjoyed the personal protection of their managers.
(8) It seemed to me, in other words, that programmers and other computer people were at a distinct disadvantage in their dealings with their managers in the matter of how their day to day existence in the workplace was to be organized.

3 2 4 (+) [-6+]mCQK kraft-programmers_and_managers (9) 20131104f 0 -6+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Structured programming as quintessential managerial selection process to deskill and control programmers that is not inherent in the technology itself; related to Feenberg underdetermination. (9) Structured programming is perhaps the most striking example of this managerial selection process. . . . I have suggested that managers use structured programming to de-skill and control their programmers. Yet, there is nothing inherent in the principles of structured programming at least as put forward by people like Edsger Dijkstra, David Gries, and many others which suggests that its developers are concerned with anything except making the writing of programs a more clear-headed and self-conscious undertaking than it presently is.

3 2 4 (+) [-6+]mCQK kraft-programmers_and_managers (9) 20131104g 0 -1+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Electronic data processing managers, not scientists, decide how scientific innovations are applied. (9) Whatever the intentions of software scientists, it will be edp managers, not scientists, who decide the manner in which scientific innovations will be applied to the problems of profit-making and employee control.

3 2 4 (+) [-4+]mCQK kraft-programmers_and_managers (12) 20131104h 0 -1+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Aura of magic surrounding computers and edp in general. (12) There is, however, still an aura of magic surrounding computers, and electronic data processing-- epd --in general.

3 2 4 (+) [-6+]mCQK kraft-programmers_and_managers (77-78) 20140119n 0 -1+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Transition to always working state noted by Castells and others. (77-78) Analysts, managers, and high-level specialists put in longer work days, take their work home with them, and go off to work-related meetings.

3 2 4 (+) [-5+]mCQK kraft-programmers_and_managers (81) 20140120d 0 -1+ progress/2013/09/notes_for_kraft-programmers_and_managers.html
Social subdivision of suboccuptations already striated such that movement among levels made more difficult alludes to type of problems relevant to new spirit of capitalism, as in division into careers at the two extremes of the continuum from alienated majority to privileged minority, for coders and low-level programmers and managers, with technical specialists in the periphery of the minority. (81) The suboccupations, in other words, have been subjected to a process of
social subdivision: more or less the same kind of work has been given a variety of job titles in order to reward different kinds of people in different ways.

3 2 4 (+) [-4+]mCQK lammers-programmers_at_work (3) 20131002g 0 -1+ progress/2012/04/notes_for_lammers-programmers_at_work.html
Exclusion of UNIX and language inventor notables: does Stallman exist to this writer? (3) We have included a range of ages and experiences from the older, well-established programmers in their forties who first set off the microcomputer revolution, to the younger, energetic, less traditional thinkers who are intent upon taking the computer revolution far beyond the boundaries we know today.

3 2 4 (+) [-4+]mCQK mayer-teaching_and_learning_computer_programming (6) 20131005 0 -1+ progress/2011/04/notes_for_mayer-teaching_and_learning_computer_programming.html
What is significance for self-learners and texts, when research indicates need for guided and mediated instructional methods? (6) When researchers study real children in real classrooms, the results indicate a need for more guided and mediated instructional methods.

3 2 4 (+) [-4+]mCQK mayer-teaching_and_learning_computer_programming (9) 20110424 0 -4+ progress/2011/04/notes_for_mayer-teaching_and_learning_computer_programming.html
Metacourse has rhetorical objectives; do texts provide similar functions for the self-learner who embarks on the otherwise unstructured discovery method? (9) In chapter 7, Perkins, Schwartz, and Simmons describe a programming
metacourse for novices learning BASIC programming. Some of the obstacles facing novices include a lack of specific knowledge about computers, a lack of problem-solving strategic knowledge relevant for programming, and a lack of positive affect for and self-confidence about computing. The metacourse designed by Perkins et al. helps students overcome each of these obstacles by helping students acquire useful mental models of the computer, understand the meaning of the elements of program code, and learn to use appropriate program production strategies.

3 2 4 (+) [-6+]mCQK mayer-teaching_and_learning_computer_programming (9) 20131005a 0 -7+ progress/2011/04/notes_for_mayer-teaching_and_learning_computer_programming.html
Curiously no mention is made of text selection in programming classrooms. (9) In chapter 9, Sloane and Lin examine the characteristics of effective programming classrooms. . . . the most effective teachers are able to maintain a balance among the instructional strategies of providing direct instruction, allowing time for students to work independently on computers, individualizing instruction, and providing useful feedback.
(10) [IN chapter 10] Slleman et al. note two major causes of errors: lack of attention or knowledge and preexisting common sense knowledge that conflicts with the requirements of Pascal.

3 2 4 (+) [-4+]mCQK mayer-teaching_and_learning_computer_programming (158) 20131005c 0 -2+ progress/2011/04/notes_for_mayer-teaching_and_learning_computer_programming.html
Perkins, Schwartz, Simons: interesting implications for study of programming style. (158) The clinical research also disclosed problems of confidence and control in systematically pursuing programming problems. We identified a stopper-mover continuum, characterizing some students as stoppers, because they would disengage from a programming task at the first sign of difficulty, and other students at the opposite extreme as movers, because no matter what the tangle, they would keep trying to work toward a solution.

3 2 4 (+) [-4+]mCQK mckee-computer_user_manuals_in_print (9) 20110425 0 -2+ progress/2011/04/notes_for_mckee-computer_user_manuals_in_print.html
He points out MSA trait of print the times generic online help is ineffective, pointing towards task oriented documentation design methodologies: I want to explore the details about the nature of print documentation overridingly advantaging print paper hand held visual forms, including printed out from PDF files. (9) Either alternative is usually preferable to searching through a text in such situations, because the help key permits the user to quickly find just the help that is needed just when it is needed.
(9) If one wishes to give a user initial hands-on practice sessions, simulation of this sort is undoubtedly a more effective delivery method than the read and type exercises available through printed text.

3 2 4 (+) [-4+]mCQK mckee-computer_user_manuals_in_print (11) 20131005a 0 -5+ progress/2011/04/notes_for_mckee-computer_user_manuals_in_print.html
Leads into Jones, but built into online help, not print manuals: task oriented means many specific scenarios for third party providers to provide ensures a market of a certain size range, such as all the pinball machines produced that can run pmrek. (11) A second force which will increase the paper content of vendor documentation is the need to support the user design environment.
(11) Taking an on-line tutorial may be compared to attending a party where you know only the host. By the end of the evening, you will have shaken the hands of a number of guests, but you can scarcely claim that you know them well. A walk through any technical book store will quickly reveal that many tutorial-users fell the need for more information. Texts abound which profess to show how to apply microcomputer software to specific business or scientific problems.

3 2 4 (+) [-4+]mCQK mckee-computer_user_manuals_in_print (12) 20131005e 0 -2+ progress/2011/04/notes_for_mckee-computer_user_manuals_in_print.html
Apply this availability of other media to OLPC; note that specialized teams exist virtually if not explicitly. (12) What has changed is not the power of print, but the availability of other media. One of the most interesting challenges that will face documentation specialists of the future will be determining the best mix of media for a given set of documentation tasks.

3 2 4 (+) [-4+]mCQK misa-leonardo_to_the_internet (51-52) 20131006q 0 -8+ progress/2011/06/notes_for_misa-leonardo_to_the_internet.html
Compare differentiation between Dutch precision and British sloppy massive scale to McConnell differentiation between systematic engineering and gold rush programming styles. (51-52) Dutch preeminence came through the targeted processing and selective reexporting of the traded materials. . . . Indeed, high wages, relatively low volumes, and high-quality production typified the traffics, in sharp contrast with early industrial technologies, which emphasized low wages, high volumes, and low-quality production.
(55) Not only had Dutch traders captured commercial control over many key raw materials, including Spanish wool, Turkish mohair yarns, Swedish copper, and South American dyestuffs; the traffic system had also erected a superstructure of processing industries that added value to the flow of raw materials. The Dutch conditions of high wages and labor scarcity put a premium on mechanical innovation, the fruits of which were protected by patents. Another economic role taken on by the Dutch state (at the federal, state, and municipal levels) was the close regulation of industry in the form of setting standards for quality and for the packaging of goods.

3 2 4 (+) [-4+]mCQK norman-design_of_everyday_things (vii) 20131006 0 -2+ progress/2009/11/notes_for_norman-design_of_everyday_things.html
Would we dare apply Normans arguments to the creation of texts beyond his own self criticism of choice of titles; clearly yes, for that is the impetus of Barker task-oriented software documentation. (vii) Far too many items in the world are designed, constructed, and foisted upon us with no understanding - or even care - for how we will use them. Calling something a Norman door is recognition of the lack of attention paid by the maker to the user, which is precisely my message.

3 2 4 (+) [-4+]mCQK norman-design_of_everyday_things (140) 20131006t 0 -11+ progress/2009/11/notes_for_norman-design_of_everyday_things.html
Design philosophy should treat interaction as cooperative endeavor between person and machine taking into account possible misconceptions arising on either side: symbiotic components versus alien opponents. (140)
The designer shouldnƒt think of a simple dichotomy between errors and correct behavior; rather, the entire interaction should be treated as a cooperative endeavor between the person and machine, one in which misconceptions can arise on either side. This philosophy is much easier to implement on something like a computer which has the ability to make decisions on its own than on things like doors and power plants, which do not have such intelligence. . . . Put the required knowledge in the world. . . . Use the power of natural and artificial constraints: physical, logical, semantic, and cultural. Use forcing functions and natural mappings.

3 2 4 (+) [-6+]mCQK rushkoff-program_or_be_programmed (139-140) 20140110x 0 -3+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Short window of opportunity in late 1970s and early 1980s America as golden age of learning programming. (139-140) Back in the 1970s, when computers were supposedly harder to use, there was no difference between operating a computer and programming one. Better public schools offered computer classes starting in the sixth or seventh grade, usually as an elective in the math department. Those of us lucky to grow up during that short window of opportunity learned to think of computers as anything machines.

3 2 4 (+) [-4+]mCQK turkle-second_self (98) 20131014l 0 -1+ progress/2011/04/notes_for_turkle-second_self.html
Graphics a favorite area of children learning to program. (98) When children learn to program, one of their favorite areas of work is computer graphics programming the machine to place displays on the screen.

3 2 4 (+) [-6+]mCQK turkle-second_self (100) 20131014m 0 -2+ progress/2011/04/notes_for_turkle-second_self.html
Benefit of sharing programs over book reports. (100) Children canƒt do much with each otherƒs book reports, but they can do a great deal with each otherƒs programs. Another childƒs program can be changed, new features can be added, it can be personalized.

3 2 4 (+) [-4+]mCQK turkle-second_self (104) 20131014n 0 -3+ progress/2011/04/notes_for_turkle-second_self.html
Cultural extremes represented by programming styles regarding comfortable manipulation of formal objects versus impressionistic development of ideas relying on language and visual images. (104) Jeff and Kevin represent cultural extremes. Some children are at home with the manipulation of formal objects, while others develop their ideas more impressionistically, with language or visual images, with attention to such hard-to-formalize aspects of the world as feeling, color, sound, and personal rapport. Scientific and technical fields are usually seen as the natural home for people like Jeff; the arts and humantities seem to belong to the Kevins.

3 2 4 (+) [-6+]mCQK turkle-second_self (105) 20131014p 0 -6+ progress/2011/04/notes_for_turkle-second_self.html
Programming style as expression of personality, not just reflection of computer architecture imposed on programmer. (105) Computer programming is usually thought of as an activity that imposes its style on the programmer. . . . [however] looking for closely at Jeff and Kevin makes it apparent that a style of dealing with the computer is of a piece with other things about the person his or her way of facing the world, of coping with problems, of defending against what is felt as dangerous*. Programming style is an expression of personality style.

3 2 4 (+) [-6+]mCQK turkle-second_self (105) 20131014q 0 -2+ progress/2011/04/notes_for_turkle-second_self.html
This quick, footnote dismissal of the specificity of different platforms and languages is a niche for my work to operate. (105) (footnote *) Not all computer systems, not all computer languages offer a material that is flexible enough for differences in style to be expressed. A language such as BASIC does not make it easy to achieve successful results through a variety of programming styles.

3 2 4 (+) [-4+]mCQK turkle-second_self (105-106) 20131014r 0 -15+ progress/2011/04/notes_for_turkle-second_self.html
Does Turkle use a standard instrument for assessing hard versus soft masters: I will need a means to determine programming style from my interview; perhaps Shapiro has a test based on his neurotic styles. (105-106) For example, the hard masters tend to see the world as something to be brought under control. . . . From the earliest ages most of these children have preferred to operate on the manipulable on blocks, on Tinkertoys, on mechanisms. . . . It is not surprising that hard masters take avidly to the computer. It is also not surprising that their style of working with the computer emphasizes the imposition of will.
(106) The soft masters are more likely to see the world as something they need to accommodate to, something beyond their direct control. In general, these children have played not with model trains and Erector sets but with toy soldiers or with dolls.
(107) Psychologist David Shapiro has used the idea of neurotic styles to capture what each of us intuitively knows about him- or herself: we are the same person whether we are solving an intellectual problem or sorting out a personal difficulty.
(107) Shapiro describes an obsessive-compulsive style in terms that recall the relationship of the hard masters with their machines.
(107) On the other hand, Shapiro describes a hysterical style in terms that recall the soft master.

3 2 4 (+) [-4+]mCQK turkle-second_self (109) 20131014t 0 -3+ progress/2011/04/notes_for_turkle-second_self.html
Cultural division by gender between hard mastery for boys, soft mastery for girls. (109) In our culture girls are taught the characteristics of soft mastery negotiation, compromise, give-and-take as psychological virtues, while models of male behavior stress decisiveness and the imposition of will. Boys and girls are encouraged to adopt these stances in the world of people. It is not surprising that they show up when children deal with the world of things.

3 2 4 (+) [-4+]mCQK turkle-second_self (119) 20131014u 0 -2+ progress/2011/04/notes_for_turkle-second_self.html
Consider new relation configuration with FOSS explores other relations beyond gender and science. (119) So, in addition to suggesting a source of the computerƒs holding power, womenƒs relationships with computational objects and the idea of the transitional object may illuminate the holding power of formal systems for people who are in the closet contact with them. Even for the hard masters, the feminine may be the glue that bonds.

3 2 4 (+) [-4+]mCQK turkle-second_self (122) 20131014v 0 -2+ progress/2011/04/notes_for_turkle-second_self.html
Example of how programming enhances other means of learning. (122) The conventional route to mathematics learning closes doors to may children whose chief way of relating to the world is through movement, intuition, visual impression, the power of words, or of a beat. In some small way that may prove important to our culture as a whole, computers can open some of these doors.

3 2 4 (+) [-4+]mCQK turkle-second_self (138) 20131014w 0 -10+ progress/2011/04/notes_for_turkle-second_self.html
Does not dive into question of how the machines affect development of style of working with the machines, how our writing machines change us, so important to Kittler and noticed by Nietzsche. (138) Their style of working with the machine expresses something of who they are, giving them a chance to see themselves in the mirror of the medium.
(139) Children in the sixth grade of a school I shall call the Jefferson Middle School were given opportunities to program in Logo. The program was a government-funded collaborative project carried out by a local school committee and researchers from MIT.
(140) Where the primary computational objects at Austen were the sprites, here children gave commands to a turtle. . . . Thus the turtle becomes the instrument for a kind of TV screen doodling. (A precomputer generation will remember the feeling of making line drawings with Etch-A-Sketch.)
(140) Programming begins when sequences of commands to the turtle are defined, named, and stored away in the computerƒs memory.

3 2 4 (+) [-4+]mCQK turkle-second_self (151) 20131014x 0 -1+ progress/2011/04/notes_for_turkle-second_self.html
Computer use projects internal experience, symptom; also become basis of belief formation about people. (151) in each case there is projection that reveals something about how the child is thinking, feeling, and organizing experience.

3 2 4 (+) [-4+]mCQK turkle-second_self (152) 20131014y 0 -4+ progress/2011/04/notes_for_turkle-second_self.html
Programming as walking on threshold of machine mysteries, responding to threat of automaticity by power of programming. (152) For them, programming is a way of walking on the threshold of the machineƒs mysteries, pushing it to its limit as an unpredictable system.
(152) His response to the threat of what we might call the computerƒs automaticity illustrates its power to reflect the programmerƒs personality.
(153) Bruce expresses who he is in his spontaneous behavior with the computer. He also has worked out a set of abstractly formulated beliefs about computers and people.

3 2 4 (+) [-4+]mCQK turkle-second_self (157) 20131019 0 -7+ progress/2011/04/notes_for_turkle-second_self.html
Most programmers do not talk to computer in machine language, though Kittler reports Turing loved low level programming; acknowledges it is a lost art that manufacturers actively suppress. (157) But most programmers do not communicate with the machine by talking to it in its machine language, since this would be cumbersome. They communicate with it in a high-level language of which Logo is just one example (BASIC, FORTRAN, COBOL, PASCAL, and LISP are others).
(158) Dennis began to elaborate a model of himself in which he distinguished between his machine language his core machine --and high-level programs written on top of it. . . . The trick was to find a way to do the reprogramming.

3 2 4 (+) [-4+]mCQK turkle-second_self (175) 20131019e 0 -3+ progress/2011/04/notes_for_turkle-second_self.html
Cites studies of adult programmers for styles related to risk versus reassurance. (175) Intellectual fragmentation at work and the complexity and smokescreens of political life create new pressures, and with them a desire to find transparent understanding
somewhere. In contrasting hard and soft mastery, the issue was planning versus the pleasures of negotiation. Here another contrast is needed: risk versus reassurance.

3 2 4 (+) [-4+]mCQK turkle-second_self (181) 20131019g 0 -8+ progress/2011/04/notes_for_turkle-second_self.html
A brief take on machine embodiment, picked up with Papert body syntonic relationship. (181) Joe, like Carl, is looking for a direct relationship with the CPU, the body of the machine. If the mind of the computer is that part of computation which involves thinking in terms of high-level programs, then relating to the body of the computer means not only working on hardware, but also working with programs in a way that is as close as possible to the machine code, the language the body understands.
(181) For many pioneers of the personal computer culture, this style of relating to the computer was overdetermined in the sense that a host of other, more general forces also came together and were expressed through it.
(182-183) The turtle has holding power because there is what Seymour Papert has called a
body syntonic relationship between it and the programmer. . . . People are able to identify physically with what is happening inside the machine.

3 2 4 (+) [-4+]mCQK turkle-second_self (183) 20131019h 0 -9+ progress/2011/04/notes_for_turkle-second_self.html
Likewise my own desire to run Unix at home was motivated by frustration with bureaucracy preventing direct experimentation with the operating system. (183) Third, this relationship with the CPU as extension of self is all the more powerful because it is in contrast with the other computer that people know at work. . . . A bureaucracy stands between them and the computer. . . . At home, what is savored is the opportunity to work directly with the CPU.

3 2 4 (+) [-4+]mCQK turkle-second_self (200) 20131019j 0 -1+ progress/2011/04/notes_for_turkle-second_self.html
Hacker study relates using preInternet nationwide computer net to solicit responses via email and instant messages. (200) (footnote) The hacker study also used a data-collection strategy made possible by the computer itself.

3 2 4 (+) [-4+]mCQK turkle-second_self (201) 20131019k 0 -4+ progress/2011/04/notes_for_turkle-second_self.html
Engineering students valuation of books, movies, ideas seen in connections to Pirsig and Florman. (201) Engineering students place great value on those things books, movies, ideas that connect their concerns with something larger.
Star Wars was loved for the way it offered a bridge, even if superficial, between high technology and a romantic humanism. Robert Pirsigƒs Zen and the Art of Motorcycle Maintenance and Robert Flormanƒs The Existential Pleasures of Engineering are held in great regard. These works achieved cult status because they describe how intense relationships with technical objects can lead to reflections on the philosophical concerns of the larger culture.

3 2 4 (+) [-4+]mCQK turkle-second_self (203) 20131019l 0 -7+ progress/2011/04/notes_for_turkle-second_self.html
Account of ITS and Data General as passion in virtuosity; if more recent, GNU and Torvalds Linux kernel. (203) When the Artificial Intelligence Laboratory at MIT obtained its first large computer it did the unthinkable almost without thinking. . . . ITS was written by people who loved the machine-in-itself.
(204) In short, hackers play a significant though controversial role in the history of computation. What sets them apart is that they work for the joy of the process, not for the product.

3 2 4 (+) [-4+]mCQK turkle-second_self (205) 20131019m 0 -1+ progress/2011/04/notes_for_turkle-second_self.html
No doubt Weizenbaum critique also of readers in general, going back to Plato Phaedrus. (205) The bookƒs [Weizenbaum
Computer Power and Human Reason] description of hollow-eyed young men glued to computer terminals is reminiscent of descriptions of opium addicts and compulsive gamblers.

3 2 4 (+) [-4+]mCQK turkle-second_self (212) 20131019n 0 -7+ progress/2011/04/notes_for_turkle-second_self.html
Transitional objects, things with the power of drugs maintaining their information content, not irreversibly transduced like Kittler points out of photographic emulsion to light. (212) Programming can be a Zen-like experience. We have seen this quality as the power of the transitional object the object that is felt as belonging simultaneously to the self and to the outside world. . . . And for Alex, the computer is this kind of object.
(212) [Alex said or wrote] I think and type ideas in LISP.

3 2 4 (+) [-4+]mCQK turkle-second_self (227) 20131019o 0 -2+ progress/2011/04/notes_for_turkle-second_self.html
Crispin Software Wars as a philosophical hack: what does it mean to think about good and evil in terms of societies of running programs in worldwide Internet operating systems, what about the epistemological transparency of running programs; the affordances of copyleft include epistemological transparency, analyzing gray and black boxes within white boxes. (227) Software Wars, by Stanford hacker Mark
Crispin, was published on the science-fiction mailing list. Crispin takes the Star Wars plot, a battle between good and evil, and transforms it into a battle between good and evil computer cultures.

3 2 4 (+) [-4+]mCQK turkle-second_self (238) 20131019p 0 -2+ progress/2011/04/notes_for_turkle-second_self.html
Important point somewhere that some styles of programming work directly from imagination to typing code (fostering the interpreted), and others through many stages of formalization (fostering the compiled): notice that interpreted versus compiled may not reflect a deep underlying preference for bricolage versus hard mastery in the primary styles Turkle identifies but rather consequence (overdetermination) of default philosophies of computing inherent in the affordances of the built environment. (238) Intimate involvements and identification with machines pose what Bettelheim calls the unspoken anxiety of our age : Do machines still serve our human purpose or are they cranking away by now without purpose? Even more unnerving: are they working away from their own ends which we no longer know or control?

3 2 4 (+) [-4+]mCQK turkle-second_self (240) 20131019r 0 -1+ progress/2011/04/notes_for_turkle-second_self.html
Chess the early AI prize; now she will continue it is to have the common sense of a two year old human. (240) For a long time chess was prized by AI scientists as a test bed for ideas about creating intelligence.

3 2 4 (+) [-4+]mCQK turkle-second_self (315) 20131020d 0 -1+ progress/2011/04/notes_for_turkle-second_self.html
Ethnographic method, depaysement dislocation and change of perspective experienced by stranger in foreign place. (315) Thus, this book is a product of something that anthropologists call
depaysement, which refers to the dislocation and change of perspective that makes being a stranger in a foreign place both difficult and exciting.

3 2 4 (+) [-4+]mCQK turkle-second_self (317) 20131020e 0 -10+ progress/2011/04/notes_for_turkle-second_self.html
Central place of Godel, Escher, Bach for study of appropriation of high science by culture at large. (317) My experiences at MIT impressed me with the fact that something analogous to the development of a psychoanalytic culture was going on in the worlds around computation. . . .
Godel, Escher, Bach has a special place in the evolution of my work because reactions to the book were among my first evidence that people who are not particularly involved with computers are drawn to using computational ideas for thinking about themselves.
(317) The essential question in such work is how ideas developed in the work of high science are appropriated by the culture at large.
(317) First and foremost, the research requires particularly close attention to the experience of individuals.
(318) In terms of this study, ideas about mind are mediated by culture, in a more technical sense, by participation in subcultures.
(319) The social study of computation is the study of a nascent culture that has an object as a central actor.
(319) This means that in this book, the focus is on peopleƒs relationships with an object and on how these relationships themselves become building blocks of culture.

3 2 4 (+) [-4+]mCQK turkle-second_self (330) 20131020g 0 -1+ progress/2011/04/notes_for_turkle-second_self.html
Research of children planning altered to incorporate perception of whether computers cheat and how they differ from people. (330) As my study of children progressed, two issues that I had not anticipated in planning my research became increasingly salient: the childƒs perception of whether or not computers cheat and the question of how computers differ from people.


select Chapter, Heading, SubHeading, InterstitialSequence, RelevanceLevel, TextName, PositionStart, TimestampBookmarkExtra, CitationOffset, CitationSentences, Path, Lexia from Notes where Chapter=3 and (Heading=0 or Heading=2) and ((RelevanceLevel=0 or RelevanceLevel>2) and RelevanceLevel<10) and (InterstitialSequence=0 or InterstitialSequence=100) order by Heading, SubHeading, InterstitialSequence desc, TextName, cast((trim(leading '(' from substring_index(PositionStart, '-', 1))) as unsigned)

TOC 3.2 social construction of technology, ensoniment, histories of computing networking and software, psycho-social studies of computer programmers+

3.3 software studies, game studies, code space, critical code studies

--3.3.0+++ {11}

3 0+ 0+ 1 2 3 4 5 (+) [0+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (IX) 20150219 0 0+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
Levy hints at potential for virtual aura through feedback recovering art and observer from withered condition brought on by commodification. (IX)

3 0+ 0+ 1 2 3 4 5 (+) [-4+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (XIII) 20130910h 0 -5+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
Extreme closeup and other techniques are ways perceptions change through technology moreso than society, although Dumit discusses the social aspects; recall comparison to magician and surgeon, link to NMR. (XIII) With the close-up, space expands; with slow motion, movement is extended. . . . The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.

3 0+ 0+ 1 2 3 4 5 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xliv) 20140303k 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Apply their methodology by opening black box of computer technology, which includes examining social groups, emerging digital humanities scholarship including Edwards, Ensmenger, Golumbia, Mackenzie, and so on layering on critical programming. (xliv)

3 0+ 0+ 1 2 3 4 5 (+) [-4+]mCQK bork-journal 20061209 TAPOC_20061209 0 -8+ journal_2006.html
Copeland seems oblivious to what I have called default metaphysics of computing. When by abiding with the assumption that "The Turing machine is an idealization of a human computer" (2004), he implicitly commits himself to an anthropomorphized conception that inevitably emphasizes performing arithmetic operations within deadlines, the traditional work of human computers, ignoring what I have called shortlines and the study of true parallel processing. These are phenomena not always reducible to Turing machine constraints. Maner, for instance, acknowledges; Aloisio, too, notes that in the history of the word compte was French for very short periods of time. Such alternate systems are commonplace; cyberspace is constituted by the coordinated effort a distributed network of Turing machines, perhaps what some guy at CAP meant by the term supercomputing. Do we want to spend much time with a philosophy of computing that could not come up with a means to operate a switch matrix since it has no sense of time, no appreciation for many things at once? What other all too human qualities lurk in our actual technological apparatus as a result of default metaphysics holding sway over production? Perhaps if nobody is working on metaphysics in the philosophy of computing, it could proceed using methodologies borrowed from the philosophy of technology.

3 0+ 0+ 1 2 3 4 5 (+) [0+]mCQK bork-journal 20121222 20121222 0 -3+ journal_2012.html
Notes made last night in Burks, Goldstine, von Neumann as one of the essential texts of electronic computer technology, laying out in detail what Turing describes abstractly, pseudo design. Then a chapter of the latest book by Hayles, as if to confirm the course set by these early theorists of human computer symbiosis. She criticizes Manovich for claiming that database paradigms compete with narrative, as if to supplant the form so characteristics of humanity; consider them instead as symbiants, components.

3 0+ 0+ 1 2 3 4 5 (+) [-6+]mCQK bork-journal 20130428 TAPOC_20130428 0 -2+ journal_2013.html
The framework needs to be named; I currently call it a synchronic processes in many orders of magnitude layer model, articulated in pinball platform studies. The idea to be captured is of multiple layer, multiple temporal order of magnitude concurrent amalgamated synchronic processes.

3 0+ 0+ 1 2 3 4 5 (+) [-4+]mCQK bork-journal 20141209 20141209 0 -5+ journal_2014.html
Despite their unique computing capabilities, post-postmodern network dividual cyborgs are also themselves or descendants of the dumbest generation, emerging at the turn of the century in the western world with personal computers and flourishing in the present second decade Internet milieu, which includes machinery and other technology systems along with humans, for there are dumb devices along with dumb people, with banality of Microsoft Bob hiding family resemblance with concentration camp equipment. Treat gigantic underwater book as limit of natural automata and mechanical media along with table size pages or lights on a moutainside shimmering text and images. Should replace engineers with architects for first half of chapter four along with calling chapter six advertisement short for animadvertPHI. Hallucinate, noting both imagine and fantasize have visual bias, habitual use of ensoniment to rethink experience of ancient philosophy through software development work. Chapter three takes theories from as is situation, and adds tech-savvy layer to SCOT through software studies, critical software, and platform studies approaches.

3 0+ 0+ 1 2 3 4 5 (+) [0+]mCQK bork-journal 20150218 20150218 0 -2+ journal_2015.html
An example of synaptogenesis is multidimensional close reading including visual focus on small text at close distance, plus other activities like using pointing devices. Time to think about table of contents level reading of chapter two, for it is currently not even a good Latour list as ecample of Bogost Latour litany software artifact examples change to domain range of operator operation third order logic unit phenomenon run time instance PHI.

3 0+ 0+ 1 2 3 4 5 (+) [-4+]mCQK horkheimer_adorno-dialectic_of_enlightenment (18-19) 20130929e 0 -11+ progress/2011/06/notes_for_horkheimer_adorno-dialectic_of_enlightenment.html
Mathematics reified thought as a machine process; compare analysis to Hayles. (18-19) In the preemptive indentification of the thoroughly mathematized world with truth, enlightenment believes itself safe from the return of the mythical. It equates thought with mathematics. The latter is thereby cut loose, as it were, turned into absolute authority. . . . Thought is reified as an autonomous, automatic process, aping the machine it has itself produced, so that it can finally be replaced by the machine. . . . Despite its axiomatic self-limitation, it installed itself as necessary and objective: mathematics made thought into a thing a tool, to use its own term.

--3.3.1+++ {11}

3 3 1 (+) [-6+]mCQK applen_mcdaniel-rhetorical_nature_of_xml (12) 20130910 0 -1+ progress/2012/07/notes_for_applen_mcdaniel-rhetorical_nature_of_xml.html
Social construction examples of DOS hierarchy and Microsoft business practices influencing technical tools, beliefs about them, and relationship to tacit knowledge. (12) Analogously, communication professionals should know how the business practices of Microsoft executives have allowed their Windows operating system and applications to gain a near monopoly as the tools used in government, education, and industry, and why they are now the primary tools used by technical communicators.

3 3 1 (+) [-6+]mCQK applen_mcdaniel-rhetorical_nature_of_xml (174-175) 20130910h 0 -1+ progress/2012/07/notes_for_applen_mcdaniel-rhetorical_nature_of_xml.html
Chunking information into discrete units using DITA and DocBook represent alternative form of writing that requires developing appropriate rhetorical skills; needs to be distinguished from Bogost unit operations. (174-175) DITA and DocBook also require authors to
chunk information into discrete units; this practice helps to develop the types of rhetorical skills necessary for this alternative form of writing and the technical skills necessary for working in structured writing environments.

3 3 1 (+) [-4+]mCQK applen_mcdaniel-rhetorical_nature_of_xml (200) 20130910l 0 -2+ progress/2012/07/notes_for_applen_mcdaniel-rhetorical_nature_of_xml.html
XLink and XPointer still nascent technology due to cultural, political, and legal issues, including a Sun patent; compare to Engelbart hyperscope. (200) A 2001 article by Leigh Dodds suggests that a Sun Microsystems patent is partly to blame for the slow implementation of XPointer (online). This legal issue is an excellent example of the complex rhetorical space constantly being negotiated between open source web technologies and large technical corporations.

3 3 1 (+) [-6+]mCQK baudrillard-transparency_of_evil (51) 20120613 0 -1+ progress/1994/06/notes_for_baudrillard-transparency_of_evil.html
Quintessential postmodern response to intelligence machines; or we are busy with our own creating and need slaves to do the boring storage/retrieval maneuvers that past thinkers had slaves (grad assistants and secretaries) to do; see Irigaray on secretary. (51) If men create intelligent machines, or fantasize about them, it is either because they secretly despair of their own intelligence or because they are in danger of succumbing to the weight of a monstrous and useless intelligence which they seek to exorcize by transferring it to machines, where they can play with it and make fun of it.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (1-2) 20130910 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
The built environment of late capitalist information society is supported by software and mostly happens by software for the sake of software even when serving human ends at the ends of its causal chains; materiality of code on account of its being in and affecting the physical world, spun like webs, largely database to database information. (1-2) To do this requires millions, if not billions of lines of computer code, many thousands of man-hours of work, and constant maintenance and technical support to keep it all running. These technical systems control and organize networks that increasingly permeate our society, whether financial, telecommunications, roads, food, energy, logistics, defense, water, legal or government.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (4-5) 20130910b 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Interesting new forms of scholarship around software studies, cultural analytics, and critical code studies, comparable to list Hayles makes in How We Think: platform studies, media archeology, software engines, soft authorship, genre analysis of software, graphical user interfaces, digital code literacy, emporality and code, sociology and political economy of the free software and open source movement. (4-5) Thankfully, software is also starting to become a focus of scholarly research from a variety of approaches loosely grouped around the field of software studies/cultural analytics (Fuller 2003; Manovich 2001, 2008) and critical code studies (Marino 2006; Montfort 2009).

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (5-6) 20120607 0 -3+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Pragmata of code entails situatedness if not materiality; phenomenological approach to problems that include ephemerality, both of source code revisions and entire operating environments, and high technical skill requirement. (5-6) What remains clear, however, is that looking at computer code is difficult due to its ephemeral nature, the high technical skills required of the researcher and the lack of analytical or methodological tools available. This book will attempt to address this lack in the field by pointing towards different ways of understanding code. It will do so through a phenomenological approach that tries to highlight the pragmata of code.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (6-9) 20130910c 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Understanding software avidities affects human freedom, so therefore it is worthwhile to study, imbricating classic Socratic questioning for tracing agentic paths constituting human experience. (6-9) The way in which these technologies are recording data about individuals and groups is remarkable, both in terms of the collection of: (1) formal technical data, such as dataflows, times and dates, IP addresses, geographical information, prices, purchases and preferences, etc.; (2) but also qualitative feelings and experiences. . . .

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (10) 20130910d 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Paying attention to the computationality of code, tracing agentic path, is the crucial, effective position to join to other approaches: can only understand by reading and watching operation, the latter suggesting materiality or at least situatedness within instrumentalized world. (10) To understand code and place the question of code firmly within the larger political and social issues that are raised in contemporary society, we need to pay more attention to the
computationality of code. In other words, the way in which code is actually ƒdoingƒ is vitally important, and we can only understand this by actually reading the code itself and watching how it operates.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (10-11) 20131025a 4 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Understand how being-in-the-world is made possible through application of computational techniques manifested in processes touched by software and code. (10-11) My intention is not to evaluate or outline the theoretical underpinnings of computability as a field within the discipline of computer science, rather, I want to understand how our being-in-the-world, the way in which we act towards the world, is made possible through the application of these theoretical computational techniques, which are manifested in the processes, structures and ideas stabilized by software and code.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (11) 20131025b 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Distinguish the computational from computationalism, which seems orthogonal to the issues, providing useful metaphors (Hayles). (11) It is also worth clarifying that I do not refer to computational in terms of
computationalism, a relatively recent doctrine that emerged in analytic philosophy in the mid 1990s, and which argues that the human mind is ultimately ƒcharacterizable as a kind of computerƒ (Golumbia 2009: 8), or that an increasing portion of the human and social world is explainable through computational processes.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (15) 20131025c 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Hidden versus visible affordances complicate computational objects but also leave saving power of epistemological transparency. (15) In a similar way to physical objects, technical devices present the user a certain function . . . but this set of functions (affordances) in a computational device is always a partial offering that may be withheld or remain unperformed. This is because the device has an internal state which is generally withheld from view and is often referred to as a ƒblack boxƒ, indicating that it is opaque to the outside view.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (17) 20131025f 4 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Most code experience is visual rather than haptic. (17) However, much of the code that we experience in our daily lives is presented through a visual interface that tends to be graphical and geometric, and where haptic, through touch, currently responds through rather static physical interfaces but dynamic visual ones, or example iPads, touch screen phones, etc.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (17) 20131025g 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Code as cultural technique affecting culture (Kittler, Kramer, Manovich). (17) Computer code is not solely technical though, and must be understood with respect to both the ƒcultures of softwareƒ that produce it, but also the cultures of consumption that surround it. . . . Therefore, following Kittlerƒs (1997) definition of media, I also want to understand computational reasoning as a cultural technique, one that allows one to select, store, process, and produce data and signals for the purposes of various forms of action but with a concentration on its technical materiality (
Kramer 2006: 93).

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (24-26) 20131025i 4 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Computational literacy that Manovich is milking also hinted as new academic goal (Whithaus). (24-26) . This is a distinction that
Moretti (2007) referred to as distant versus close readings of texts. . . .

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (29) 20130910m 0 -9+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Perl vs C/C++ interpreted vs compiled, pretty example but does not do much; code as textual artifact and software the running process: rather than awkwardly quoting code in academic writing, do theory in situ in code repositories. (29) The perl poem, Listen, shown below, demonstrates some of the immediate problems posed by an object that is at once both literary and machinic (Hopkins n.d.). Source code is the textual form of programming code that is edited by computer programmers. The first difficulty of understanding code, then, is in the interpretation of code as a textual artifact. . . . The second difficulty is studying something in process, as it executes or ƒrunsƒ on a computer, and so the poem Listen has a second articulation as a running program distinct from the textual form.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (30-31) 20131025j 0 -9+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Clever example of Alliance for Code Excellence version indulgences for bad code, like carbon offsets. (30-31) Knuth is also pointing towards the aesthetic dimension of coding that strives for elegance and readability on the final code ƒgoodƒ code. . . . Code offsets allow you to program badly, but through the funding of open-source programming set aside these ƒbadƒ practices. . . . Rather fittingly, the money raised is used to pay out ƒGood Code Grantsƒ to the open source movement to encourage more open source software.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (31-32) 20130910n 0 -12+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Code understood as textual and social practices of static source code writing, testing, and distribution, implying close reading; software processual operating form, implying distant reading. (31-32) Throughout this book I shall be using code to refer to the
textual and social practices of source code writing, testing and distribution. . . . In distinction, I would like to use ƒsoftwareƒ to include commercial products and proprietary applications, such as operating systems, applications or fixed products of code such as Photoshop, Word and Excel, which I also call ƒprescriptive codeƒ. . . . Or to put it slightly different, code implies a close reading of technical systems and software implies a form of distant reading. . . code is the static textual form of software, and software is the processual operating form.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (33-36) 20120717 4 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Hermenutic circle using Clausewitzian sense of absolute rather than real code: is this an oppositional favoring phenomenological processes as tiresome to contemplate and complex as any other highly complex thing like a roaring flowing river or household air conditioning; Berry follows Latour for wide range multiple conceptions of software. (33-36) In a
Clausewitzian sense, I want to think through the notion of ƒabsoluteƒ code, rather than ƒrealƒ code, where real code would reflect the contingency and uncertainty of programming in particular locations. . . . Programmers have tended to need to continually use this hermeneutic circle of understanding ƒthe partsƒ, ƒthe wholeƒ and the ƒparts in terms of the wholeƒ in order to understand and write code (and communicate with each other), and this is striking in its similarity to literary creativity, to which it is sometimes compared.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (33-36) 20130910o 20 -6+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Conceive absolute code like Marx absolute labor and problematic like Marxian analysis of industrial production; technical, social, material, and symbolic aspects. (33-36) Also computer programming can be an intensely social activity in addition to the perceived loneliness of the computer programmer. . . . Code is therefore technical and social, and material and symbolic simultaneously. This is not a new problem but it does make code difficult to investigate and study, and similar to understanding industrial production as Marx explained.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (36-37) 20130910p 0 -10+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Code is more than textual files that reduce to mathematical representation like lambda calculus and UTMs due to double mediation; approach similar to Sterne, Latour, others, extending from discrete object analysis to cultural context, invoking Wardrip-Fruin as another philosopher of computing. (36-37) Rather, code needs to be approached in its multiplicity, that is, as a literature, a mechanism, a spatial form (organization), and as a repository of social norms, values, patterns and processes. . . . Due to improvements over the last forty years or so, programmers can now take advantage of tools and modular systems that have been introduced into programming through the mass engineering techniques of Fordism. . . . through the study of code we can learn a lot about the structure and processes of our post-Fordist societies through the way in which certain social formations are actualized through crystallization in computer code.
(37) This means that software is mediating the relationship with code and the writing and running of it.

3 3 1 (+) [-7+]mCQK berry-philosophy_of_software (38) 20130910q 0 -3+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Phenomenology of computation performed by reverse engineering discretizations, political economy, property relations, breakdowns, and moral depreciation concretized in code and software systems, although slowing down analysis not possible in systems with real-time requirements like high speed process control systems, even the Atari VCS; yet this sort of tracing analysis founds phenomenology of computation that is after the fact, reverse engineered. (38) By slowing down or even forcing the program to execute step-by-step under the control of the programmer the branches, loops and statements can be followed each in turn in order to ensure the code functions as desired.
(38-39) The external ƒrealƒ world must be standardized and unified in a formal manner which the code is able to process and generate new data and information and this we can trace. This is where a phenomenology of code, or more accurately a phenomenology of computation, allows us to understand and explore the ways in which code is able to structure experience in concrete ways.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (38) 20131025k 2 -3+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Definition based on sequential concept fetch and execute cycle; Manovich media performances processual context of code. (38) Code must then be understood in context, as something that is in someway potentially running for it to be code. Code is processual, and keeping in mind its execution and agentic form is crucial to understanding the way in which it is able to both structure the world and continue to act upon it.
(38) This, perhaps, gives us our first entry point into an understanding of code; it is a declarative and comparative mechanism that ƒticksƒ through each statement one at-a-time.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (39-40) 20130910r 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Interesting argument where factory practices most resisted and master craftsmanship most preserved, in the opposite of Manovich cultural software. (39-40) Code is also treated as a form of property in as much as it is subject to intellectual property rights (IPRs), like copyright. . . . However, for the creation of specialist software, particularly for time-critical or safety-critical industries, the literacy craftsmanship of programming remains a specialized hand-coded enclave.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (39) 20131025l 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Code is manufactured, always unfinished projects being continually updated; thus political economy of software important; see Mackenzie. (39) The second entry point into understanding code is that computer code is manufactured and this points us towards the importance of a political economy of software. . . . However, code needs to be thought of as an essentially unfinished project, a continually updated, edited and reconstructed piece of machinery.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (40-41) 20131025m 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Software continually breaks down; much never reaches working state, much is never used, much remains hidden in large code repositories; Chun also distinguishes these forms of code from that which executes. (40-41) Thirdly, it is important to note that software breaks down, continually. . . . The implications are interesting; much software written today never reaches a working state, indeed a great quantity of it remains hidden unused or little understood within the code repositories of large corporate organizations.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (42) 20130910s 2 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Software lifecycle includes moral depreciation of code borrowed from Marx; complexity through distributed authorship over many revisions means it is likely that nobody comprehends all of any given application. (42) It is created as code, it is developed whilst it is still productive, and slowly it grows old and decays, what we might call the moral depreciation of code (Marx 2004: 528).
(43) So software too can suffer a kind of death, its traces only found in discarded diskette, the memories of the retired programmers, their notebooks, and personal collections of code printouts and manuals.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (46) 20130910u 0 0+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Code may compile but not work, or contain syntax errors, deprecated functions, or other flaws so it will not compile or run despite being programmatically correct; compare to Derrida refuting arbitrariness of language. (46)

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (46) 20131025n 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Grand narratives and cultural tropes related to metaphorical code: engine, image, communication medium, container. (46) There is also a metaphorical cultural relation to these ontologies which have become cultural tropes that structure the way in which people understand code.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (48) 20131025s 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Symbols of stored program computer inspire picture meditations; finally a meaty example of quicksort algorithm as beautiful code, although no explanation of its operation so must be derivable from its own presentation. (48) An example of which given by Jon Bently in (Oram and Wilson 2007) in which he describes beautiful code by saying that the rule that vigorous writing is concise applies to code as well as to English, so [following this] admonition to omit needless words this algorithm to sort numbers is the result:

void quicksort(int l, int u)
{ int i, m;
if(l >= u) return;
swap(l, randint(l,u));
m=l;
for(i=l+1; i<=u; i++)
if(x[i] < x[l])
swap(++m, I);
swap(l,m);
quicksort(l, m-1);
quicksort(m+1, u);
}.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (50) 20131025o 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Domain of double mediation, calling for oscilloscopes and tcpdump (Kirschenbaum); also narratives of cyberspace constitution. (50) Kirschenbaum (2004) offers an exemplary example of researching code as a container, where he undertakes a ƒgrammatology of the hard driveƒ through looking at mechanisms of extreme inscription of magnetic polarity on the hard disk platters to understand this form of ƒelectric writingƒ.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (51) 20130910v 0 -3+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Weberian ideal-types of analytical categories to build grammar: data, code, delegated (source), prescriptive (software), critical, commentary. (51) tenatative Weberian ƒideal-typesƒ to help us think about the different forms or modalities of code, namely: (I) digital data structure, (ii) digital stream, (iii) delegated code, (iv) prescriptive code, (v) commentary code, (vi) code object and (vii) critical code.
Ideal-types are an analytical construct that are abstracted from concrete examples. They also provide a means whereby concrete historical examples of code may be compared and allows us to consider the ways in which code might deviate from this form.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (54) 20130910x 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Hermeneutic and historical record most obvious in commentary ideal-type. (54) These comments assist both the programmer and others wishing to understand the programming code and I introduce the ideal-type commentary code to describe these areas. These textual areas are used to demonstrate authorship, list collaborators and document changes thus source code offers a hermeneutic and historical record in commentary code in addition to the processing capabilities of the explicitly delegated code within the file.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (54) 20130910y 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Regarding digital data structure, embodiment of transducer and encoder matter in digitalization even if code is putatively immaterial; types include digital stream, code objects, functions and methods, network code. (54)
Digitalization is therefore the simplification and standardization of the external world so that it can be stored and manipulated within code. . . . This highlights the importance of a focus on the materiality as different embodiments fix data in different ways.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (55) 20131025y 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Digital stream as one-dimensional flow of 0s and 1s becomes core of new computational subjectivity. (55) When computers store media content to a hard disk or other medium, the media is encoded into binary form and it is written to a binary file as a digital stream, as a one-dimensional flows of 0s and 1s. . . . The flexibility of being able to render information, whether audio-visual or textual, into this standardized digital stream form allows the incredible manipulation and transformation of information that computers facilitate.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (56) 20130910z 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Object oriented thinking transcends need to conceive machine embodiment; immateriality in conceptual abstraction. (56) The further the programmer is positioned from the atomic level of 0s and 1s by the programming language, the further from the ƒmetalƒ the electrical operation of the silicon. Therefore the programmer is not required to think in a purely mechanical/electrical fashion and is able to be more conceptual.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (62) 20130911 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Code lies on plane of immanent connections performing the network form (Bogost, Galloway, Callon). (62) We sometimes find it easier to understand code through a hierarchical relationship but strictly speaking code lies on a plane of immanent connections and consequently, no code is ƒbiggerƒ or ƒmore importantƒ than another, except to the extent that it has a larger number of connections. In a political economy of the information society, a more nuanced understanding of the way in which power is located in the network, for example through connections, or through protocol (Galloway 2006), demonstrates that we need to take account of the way in which software as dispositifs socio-technique (socio-technical devices) acts to perform the network form (Callon 2007).

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (63) 20130911a 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Code located within material devices form technical devices; Hayles MSA-compatible definition of code as computational logic located within material devices. (63) we need to bring to the fore how code is computational logic located within material devices which I will call technical devices.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (64) 20130911b 0 -9+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Realization of importance of finding good examples, not necessarily instructional because they may be tedious; similar difficulty to presenting examples in scholarly and scientific writing. (64) One of the biggest problems with trying to understand code is finding the right kinds of examples to illustrate this discussion so here I will present some examples of code that will make the code more visible and show why reading code is useful. . . . I also want to avoid a tedious programming lesson in what can soon become a rather dry subject of discussion. . . . Secondly, I have tried to be clear that when one is discussing code one should be aware that snippets of code can be difficult to understand when taken out of context and often require the surrounding documentation to make sense of it.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (65-66) 20130911c 0 -13+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Latour trial of strength related to software engineering test case; locate materiality in trial of strength legitimation practices as opposite of atemporal perfect state of code that appears in a textbook to demonstrate an algorithm or to be reduced to mathematical forms such as lambda calculus, logical notation, or UTM. (65-66) To locate the materiality of code, I develop Latourƒs (1988) notion of ƒ
trial of strengthƒ introduced in Irreductions. . . . An overriding requirement is the obligation to specify the type of strength that is involved in a specific test and to arrange a testing device. . . . The notion of a test of strength is also similar to the idea of a ƒtest caseƒ in software engineering, which is a single problematic that can be proved to be successful, and therefore designates the code free from that error or problem. . . . To be included in a particular ƒsociety of codeƒ then, the code must be legitimated (realized) through a series of tests.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (66) 20130911d 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Uses computer programming contests to situate his discussion of tests of strength; could also apply tests of strength to facticity of FOSS development communities for this validation. (66) It is only after this point that the prototyping and testing phases really begins and code is written, but it remains an iterative process to construct the detailed structure and content of the required software systems.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (67) 20130911e 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Software development life cycle from requirements and design to alpha, beta, release candidate and gold master; note emphasizing concrete design work in life cycle reflects the hard mastery programming style at the opposite pole of which Turkle presents the bricoleur style. (67) Each step creates physical entities (e.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (97) 20130911l 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Compare analysis of running code to network layer model. (97) When we analyze running code, we clearly have to face the different levels at which code is running, which we can imagine as a number of different planes or levels for analysis. We might consider that they are made up of: (i) hardware; (ii) software; (iii) network; (iv) everyday.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (97) 20130911m 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Clock-based computers are the norm; this introduction could be broadened to define the stored program, fetch and execute sequential binary computer, that is, von Neumann architecture to make better sense of temporality and spatiality. (97) For machine code to execute requires that a single actor conducts the entire process, this is the ƒclockƒ that provides the synchronicity which is key to the functioning of computer systems. . . . However, all parts of the system need to be operating according to the master clock speed if things are to be delivered to the right place at the right time.

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (98) 20130911n 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Global address space implies mediation by networks and other processes to yield the illusion of linear spatial memory. (98) Another curious feature of code is that it relies on a notion of spatiality that is formed by the peculiar linear form of computer memory and the idea of address space. As far as the computer is concerned memory is a storage device which could be located anywhere in the world.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (113) 20130911p 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Include issue tracking, news feeds and forums among FLOSS cultural objects besides voting machinery. (113) We might think here of the relation between the ability to read the structures and processes of the voting system as presented in the FLOSS source code as
transparent e-voting as opposed to the dark e-voting which is given in proprietary systems.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (114) 20130911q 0 -6+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Subject position of user in voting machinery; contrast system-centric, idealized voter to user-centric design (Norman, Johnson, Barker). (114) As we discuss below,
this idealized voter constantly seeps into the source code in a number of interesting ways, captured in the shorthand used in the commentary code and documentation. Although here we do not have the space to go into the interesting gender assumptions that are being made, they demonstrate how programming commentary is important to analyze and take into account as part of the assemblage that makes up running software systems.
(115) in the particularly discourse of computer programming one notes the key dichotomy creates between the programmer and the user, with the user being by definition the less privileged subject position. The term user also carries a certain notion of action, most notably the idea of interactivity, that is that the user ƒinteractsƒ with the running software interface in particular circumscribed ways.

(116) A revealing moment by the programmer in this example, demonstrates that a particular gender bias is clearly shown when the programmer refers to the request of the ƒvoterƒ to challenge ƒhisƒ vote.
(116) Perhaps even more interesting, is the inability of the user-voter to cast a spoilt ballet, whether as an empty ballot, or a ballot that has more than one candidate selected.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (117) 20130911r 0 -3+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Software makes docile voters (users); e-voting and so many other social transactions and networks depend Latour immovable mobiles that are doubly mediated by computer technologies where data seems immaterial but is always instantiated in something. (117) Secondly, the voter must now rely on the correct inscription of their vote within the material substrates of the computer software and hardware and these represent what Latour (2007) called ƒimmovable mobilesƒ, that is that the vote remains stabilized throughout its passage from the booth to the data collection systems (the supervisor in this case) and then on to when it is expressly counted. In the case of paper, there is always a paper trail, that is the vote can always be followed through the process by the human eye. In the case of software, the vote is encrypted and signed, such that this digital signature can indicate whether the vote has been changed or tampered with, however, once cast into the digital the only way to follow the vote is through its mediation through other software tools.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (119) 20130911t 0 -3+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Bernard Stiegler interpretation of Heidegger, Simondon platform, and Wilfred Sellars phenomenology: materiality of code as it is tied to phenomena, whether prescriptively creating it or being part of it, must be understood in terms of not only its potentialities as a force, but also as a platform, only ever partially withdrawn (unreadiness-to-hand). (119) I want to explore the idea that technology is actually only ever partially forgotten or ƒwithdrawnƒ, forcing us into a rather strange experience of reliance, but never complete finesse or virtuosity with the technology.
(119-120) I want to develop the argument that we should not underestimate the ability of technology to act not only as a force, but also as a ƒplatformƒ. This is the way in which the loose couplings of technologies can be combined, or made concrete (Simondon 1980), such that the technologies, or constellation of technologies act as an environment that we hardly pause to think about.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (121) 20131025u 0 -4+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Phenomenological exploration of experience of digital technology. (121) To look at the specific instance of computation devices, namely software-enabled technologies, I want to make a particular philosophical exploration of the way in which we
experience digital technology. This is a method called phenomenology, and as such is an approach that keeps in mind both the whole and the parts, and that is continually reminding us of the importance of social contexts and references (i.e. the referential totality or the combined meaning of things).

3 3 1 (+) [-6+]mCQK berry-philosophy_of_software (124-126) 20130911u 11 -6+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Heidegger circumspection mixed with symbolically sophisticated non-human actors yields unreadiness-to-hand phenomena, making evident how Berry casts danger inherent in technology. (124-126) . This [example of Google instant search] demonstrates the very lack of withdrawal or semi-withdrawal of computational devices . . . this is the phenomena of ƒunreadiness-to-handƒ which forces us to re-focus on the equipment, because it frustrates any activity temporarily (Blattner 2006:58), that is that the situation requires deliberate attention.
(127) The critical question throughout is whether ƒcomputationƒ is a concept seemingly proper to knowing-that has been projected onto knowing-how/Dasein and therein collapses the distinction between knowing-how and knowing-that hence inducing the substitution of knowing-that for Dasein.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (129-130) 20130911w 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Time-sharing operating system example of transformation of present-at-hand into ready-to-hand; television and Atari VCS do similar work. (129-130) What Sellars is trying to draw our attention towards is the contradiction within the two images, whereby the manifest image presents a world of flow, continuous and entangled experiences, and the scientific image postulates a world of discrete elements, particles and objects. . . . In effect, computation aims to perform this task by fooling our senses, assembling the present-at-hand objects together at a speed that exceeds our ability to perceive the disjunctures.

3 3 1 (+) [-4+]mCQK berry-philosophy_of_software (131-132) 20131025v 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Add computational to Sellars scientific and manifest image; per Harman, is materiality implied if do not fully withdraw? (131-132) Where Heidegger contrasts universe and world, and for Sellars this indicates the
scientific and the manifest image, here I want to think through the possibility of a third image, that of the closed ƒworldƒ of the computer, the computational image. . . . Here, I want to connect the computational image to Heideggerƒs notion of equipment, but crucially, I want to argue that what is exceptional about the computational device is that unlike other equipment which is experienced as ready-to-hand, computational devices do not withdraw, rather they are experienced as radically unready-to-hand.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (ix) 20120906 0 -10+ progress/2012/01/notes_for_bogost-unit_operations.html
Takes position as a philosopher of computing, providing a methodology useful to humanists and technologists by exploring relations of computation, literature, philosophy via new concept of unit operation. (ix) This book is an attempt to explore the nature of relations between computation, literature, and philosophy. . . . My analysis will oscillate between theoretical and literary registers, leveraging a general literary-technology theory to motivate an analysis of particular videogames. This technique is not only applicable to software in general and videogames in particular, but also is useful in the analysis of traditional expressive artifacts such as poetry, literature, cinema, and art. . . . I call these general instances of procedural expression
unit operations.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (5) 20130910a 4 -3+ progress/2012/01/notes_for_bogost-unit_operations.html
Harman provides a basis for extending human philosophy into machine being via Heidegger applied to the built environment, not really sensible in print and emulsion versus electronic media milieu. (5) The word object is a suitable generic analogue, one used by philosopher Graham Harman in his innovative and related concept of an object-oriented philosophy. Harman interprets Heideggerƒs analysis of Zuhandenheit, or readiness-to-hand, as a quality available to entities other than Dasein.
(5-6) When thought of in this way, units not only define people, network routers, genes, and electrical appliances, but also emotions, cultural systems, business processes, and subjective experiences.

3 3 1 (+) [-6+]mCQK bogost-unit_operations (11) 20130910b 0 -2+ progress/2012/01/notes_for_bogost-unit_operations.html
As simple as the return value of a function call instantiates Badiou count as one in software by programming. (11) As a process or a frame for a multiplicity, the count as one produces a particular set; it takes a multiplicity and treats it as a completed whole.
(12) A situation is Badiouƒs name for an infinite set; being is a matter of belonging to a situation.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (13) 20120130 0 -1+ progress/2012/01/notes_for_bogost-unit_operations.html
Badiou count as one referenced in Alien Phenomenology. (13) Badiou offers a means of thinking about the process of configuring things of any kind the multiples of sets into units, namely the count as one.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (36-37) 20130910e 0 -10+ progress/2012/01/notes_for_bogost-unit_operations.html
Kittler and Postman inspired entry to understanding machine embodiment, calling for procedural literacy training. (36-37) But both Kittler and
Postman trace universal binarization to Turing, who first raised what Kittler editor and critic John Johnston neatly calls the recurrent specter of a totally programmable world. . . . No matter the talent or manipulation of the human programmer, human experience of the machine (which must always be mediated by software) is limited by the architecture of the hardware. . . . Because human relation, with the computer is software-based, we need to understand technologyƒs own agency, and how hardware relates to particular software packages.
(37) Postman seeks to understand technology from the perspective of the monster: the systemƒs inevitable control over its master.

3 3 1 (+) [-6+]mCQK bogost-unit_operations (39) 20130910f 0 -1+ progress/2012/01/notes_for_bogost-unit_operations.html
Definition of OOP includes the four official properties, while putting socio-economic spin on it; compare to Manovich and others. (39) Software must exhibit four properties to be considered object oriented: abstraction, encapsulation, polymorphism, and inheritance.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (41) 20130910g 0 -7+ progress/2012/01/notes_for_bogost-unit_operations.html
Example of unit operations in banking customer-account relationship and licensing. (41) By encapsulating the customer-account relationship, and by reinforcing the behavior of banking through software systems, the banking industry has succeeded in remapping the material reality of capital exchange with its objectified, encapsulated object equivalent. In other words, our relationship with banks have become unit operations.
(41-42) Can one construe the same unit operational strategy in literary and cultural artifacts? . . . Licensing is an example of the fungible use of a unit operation in the cultural, commercial, and legal registers.

3 3 1 (+) [-6+]mCQK bogost-unit_operations (52) 20130910h 0 -2+ progress/2012/01/notes_for_bogost-unit_operations.html
Early history of digital humanities mostly instrumental; enter Aarseth, OGorman, and videogame studies. (52) Even today, projects in the digital humanities are almost entirely instrumental, providing instructional and research tools for traditional humanistic research; part of Aarsethƒs unequivocal reaction against literary studies is fueled by these early theoretical missteps.
(52) Today, just short of ten years after the first publication of
Cybertext, the field of videogame studies reads what it sowed functionalist separatism.

3 3 1 (+) [-6+]mCQK bogost-unit_operations (54) 20130910i 0 -2+ progress/2012/01/notes_for_bogost-unit_operations.html
Critical bricoleur methodology for new discipline, while focusing on expressive, cultural aspects of videogames and other media. (54) In the figure of the bricoleur, the critic and the videogame share the same processes of selection and configuration. The ad hoc, even hackneyed process of comparative criticism should include those artifacts left out by Aarsethƒs cybertext: poetry, film, fiction, and television are media that are not obviously made configurative by the author may but may be made so by the critic.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (56) 20130910j 0 -10+ progress/2012/01/notes_for_bogost-unit_operations.html
Materiality of game engines lends them to unit analysis moreso than other literary objects while structuring possible narratives, going beyond remediation creating similarities between works based on literal sharing of components, exemplified by clever comparison to psychoanalysis for Half-Life and Quake. (56) Like component software, game engines are IP. They exist in the material world in a way that genres, devices, and cliches do not.
(57) But first-person shooter game engines construe entire gameplay behaviors, facilitating functional interactions divorced from individual games. Genres structure a creative approach to narrative; they describe a kind of story. While one can imagine a conceptual description of the film genres just mentioned, it is much more difficult to imagine the unit-operational underpinnings of such a genre.
(58) Taken as a unit of gameplay,
Tank took the notion of vector geometry as a mediator of competition between two players. . . . Tank, Pong, and Combatƒs relation to one another is far stronger than interpretive notions like intertextuality or new media concepts like remediation allow.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (59) 20130910k 0 -1+ progress/2012/01/notes_for_bogost-unit_operations.html
VCS focus foreshadows Racing the Beam and platform studies, making the staking that future scholars will muse about the experience of playing these games, as current scholars may muse about the original experience of drama, music, poetry, special types of books. (59) In fact, the entire hardware architecture of the Atari 2600 (also called the Atari Video Computer System, or VCS) was crafted to accommodate
Pong- and Tank-like games.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (61) 20130910l 0 -5+ progress/2012/01/notes_for_bogost-unit_operations.html
Differences of unit operations and traditional literary relations, even new ones like remediation: legal, not discursive; material, not psychoanalytic. (61) IP as an external mediator also differs from Bolter and Grusinƒs idea of
remediation. Remediation does describe a technique that may be at work in Half-Life, but the borrowing is mediated by outside forces, both legal and commercial. The gameƒs very access to the unit operations it seeks to borrow from Quake are themselves redeemed through another unit operation: licensing. Licensing is a legal function, not a discursive one.
(63) The discursive carriage of the FPS will change further as game engines, tools, and libraries move beyond killing, racing, and visual effects to emotional conflict, jealousy, and disappointment.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (74) 20130910o 0 -5+ progress/2012/01/notes_for_bogost-unit_operations.html
Baudelaire motif, per Benjamin, is a unit operation to Bogost, and flaneur role is configurative. (74) Together, Baudelaireƒs lyric encapsulates these figures and tropes into a framework, or rule set, for living the modern life. Benjamin calls these rules
motifs. I would call them unit operations.
(75) As a figure in transition across an anonymous urban expanse, the
flaneurƒs role is fundamentally a configurative one.
(75) The work of the
flaneur is constructed of these individual unit operations, some of which he configures as he traverses the city, come which configure themselves for him based on the emergent effect of actions taken by all the other individuals in the vicinity.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (93) 20130910q 0 -3+ progress/2012/01/notes_for_bogost-unit_operations.html
Cellular automata as unit operations getting closer to computational objects and further from traditional literary objects. (93) Using simple computer models developed in his own program Mathematica,
Wolfram attempts to reinvent every discipline of the sciences, from biology to motion dynamics, according to simple logics. The complexity of these systems, argues Wolfram, is generated by the cooperative effect of many simple identical components. Cellular automata offer another example of the logic of units operations at work.

3 3 1 (+) [-6+]mCQK bogost-unit_operations (99) 20130910r 0 -5+ progress/2012/01/notes_for_bogost-unit_operations.html
Reflecting on ideological context most important aspect of videogame studies because it is where code operates upon the world via rhetorically engaging humans. (99) Frasca hints at this idea in his definition that simulations represent something
to somebody, but I think this point needs to be much stronger. Videogames require critical interpretation to mediate our experience of the simulation, to ground it in a set of coherent and expressive values, responses, or understandings that constitute effects of the work. In this process, the unit operations of a simulation embody themselves in a playerƒs understanding. This is the place where rules can be grasped, where instantiated code enters the material world via human playersƒ faculty of reason. In my mind, it is the most important moment in the study of a videogame.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (101) 20130910s 0 -3+ progress/2012/01/notes_for_bogost-unit_operations.html
Experiences construct mental models of what the game includes and excludes; recall McGann criticizes Murray for providing four fundamental concepts that do not pertain exclusively to digital texts, and calls her work inspirational versus critical as he does Aarseth. (101) Janet Murrayƒs interpretation of the game as a representation of the unfettered demands of global capitalism would become much more comprehensible to the uninitiated player if she explicitly correlated the gameƒs unit operations with the real world characteristics she has in mind.
(104) In my experimentation with the sarin gas simulator and Starrƒs account with Sim City, our experiences construct mental models of the simulation that converge on an interpretation based on what the simulation includes and what it excludes.
(105) Instead, games create complex relations between the player, the work, and the world via unit operations that simultaneously embed material, functional, and discursive modes of representation.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (114-115) 20130910v 0 -1+ progress/2012/01/notes_for_bogost-unit_operations.html
Engaging philosophical survey of play and fun affecting subjectivity, mainly to explain why it is difficult to deploy social commentary, and perhaps why scholars have ignored their deep study (excepting Gee) including Huizinga, Benjamin, Callois, Gadamer, Postman, Koster. (114-115) In the spirit of the Hollywood film industry, the ESAƒs unspoken ligature between entertainment software and video and computer games reveals contemporary cultureƒs inherited ideology for games: they are amusements, distractions that have no place provoking thought.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (118) 20130910w 0 -2+ progress/2012/01/notes_for_bogost-unit_operations.html
Default philosopher of computing Koster has position similar to Gee, who refers this feedback as pleasantly frustrating but aims for its highest state as substantiating critical learning; to prove it out, we must imagine critical games could be used in a philosophically oriented digital humanities course. (118) For [Sony Online Entertainment Chief Creative Officer Raph] Koster, fun is very nearly a pedagogical category, the feedback the brain gives us when we are absorbing patterns for learning purposes.
(119) We might call Kosterƒs alternate fun
funƒ (fun prime), a kind of alternate-reality fun that entails the social, political, and even revolutionary critique that Benjamin first envisioned for mechanically reproducible art.

3 3 1 (+) [-6+]mCQK bogost-unit_operations (123) 20130910x 0 -1+ progress/2012/01/notes_for_bogost-unit_operations.html
Badiou subject constituting event reached playing biased videogames. (123) This process of engagement with artworks can constitute an event in
Badiouƒs sense of the word, and in so doing it constitutes a subject and commences the process of fidelity at the heart of his theory of truth.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (127) 20130911 0 -1+ progress/2012/01/notes_for_bogost-unit_operations.html
Social commentary of Southern California embedded in Star Wars Galaxies cantina and bazaar. (127)
Star Wars Galaxies may not service Benjaminƒs longing for artworks that serve revolutionary ends, but the game does break from its supposedly primary role as entertainment software and become social commentary.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (130-131) 20130911a 0 -13+ progress/2012/01/notes_for_bogost-unit_operations.html
Insightful combination of Iser, Barthes, Aarseth, Eskelinen, Hayles to raise specter of analysis devolving into simulacral system operations in cybertexts; the crucial task is exploring game rules manifest in player experience. (130-131) Cybertext theory does open up a mode for approaching texts that takes into account the indispensability of these three components. However, in so doing, cybertext theory also risks undermining the importance of the userƒs individual subjectivity. Responding to an approach to cybertext theory by Markku Eskelinen, N. Katherine Hayles notes this elision of individual media into one master medium. . . . Just as Hayles sees cybertext theory as diminishing material specificity, I see it as diminishing subjective specificity. As a computational strategy, unit operations embody representations of the world inside abstract, formal containers. These units are not anonymous forms bereft of ideology. Thinking of cybertexts as a mode of understanding, a perspective, threatens to close down the feedback loops of individual user experience. At the extreme, cybertext theory becomes a system operation, forgoing all the gradations of a workƒs subjective uses in favor of their common roles as configurations. For this reason,
exploring the manifestation of game rules in player experience is perhaps the most important type of work game criticism can do.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (136) 20130911c 0 -3+ progress/2012/01/notes_for_bogost-unit_operations.html
Simulation fever as an autopoietic, emergent, reflective awareness between how game unit operations represent world and subjective understanding of player. (136) The residue of this interaction infects both spheres, causing what I earlier called simulation fever, the nervous discomfort caused by the interaction of the gameƒs unit-operational representations of a segment of the real world and the playerƒs subjective understanding of that representation. Huizinga lamented the fact that play in modern society has become relegated almost entirely to sport, a field of mere distraction. The idea of simulation fever insinuates seriousness back into play and suggests that games help us expose and explore complicated human conditions, rather than offering mere interruption and diversion.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (144) 20130911d 0 -2+ progress/2012/01/notes_for_bogost-unit_operations.html
Connecting nomadism if rhizomatic theoretic model to unit operations constituting subjectivity via Badiou. (144) To be closer to unit operations, nomadism would require some kind of ratification at points along the vector of an assemblage where the nomadic subject is constituted. This structure would find affinity with Badiouƒs event but on a less consequential scale; at this ratification point, a unit operation experiences an acknowledgment of the gesture that just took place, and its foundational structure relies on that acknowledgment.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (160) 20130911e 0 -6+ progress/2012/01/notes_for_bogost-unit_operations.html
Examples from Flaubert and Joyce of concurrent virtual realities encoded in a book showcases mastery by Bogost of traditional humanities literary discourse of course also demonstrate unit operations, hopefully enriched through developing awareness of procedural rhetorics. (160) In a particularly crucial moment in Flaubertƒs novel
Madame Bovary known as the agriculture fair scene, the adulterous Emmaƒs lover Rodolphe declares his love for her while a provincial country fair takes place around them. In this scene, Flaubert weaves together two distinct incidents, the speeches and awards given on the platform at the fair and the increasingly passionate tete-a-tete between Rodolphe and Emma. Flaubert takes on a difficult task in this scene, namely, how to render in prose two contemporaneous spaces that overlap and move between one another.
(167) Each individual action in Wandering Rocks structures either a response to a plot movement (Mulligan and Haineƒs conversation about Stephen) or a characterƒs inner motivations (Stephenƒs reflection on Dillyƒs home situation). The spatial configuration of individual relationships is haphazard, but these connections are not insignificant; they influence the mental states of the characters.
(168) Alternatively, one could understand the shallow NPCs as the gameƒs primary strategy for alienating the player from productive social interactions, a unit operation for sociopathy.

3 3 1 (+) [-4+]mCQK bogost-unit_operations (168) 20130911f 0 -10+ progress/2012/01/notes_for_bogost-unit_operations.html
Apply Foucault to Grand Theft Auto through unit analysis as active practice of power and discipline. (168) The simulation fever GTA instills arises out of the dissonance between these activities not only within the game itself, but also between the game world and the real world. . . .
GTA could be considered the ultimate punctuation of the Foucauldian genealogy of power, an active practice of the relationship between power and discipline.
(168-169) Relational networks of unit-operational meaning might also demand that we rethink the technological goals for rich interactive experiences. . . . GTA suggests how videogames may resist the common opinion that dematerialization of the literal body is a necessary step toward greater interactivity (another theme of
A Thousand Plateaus).

3 3 1 (+) [-6+]mCQK bogost-unit_operations (172) 20130911g 0 -2+ progress/2012/01/notes_for_bogost-unit_operations.html
Critical study of digital games both subject of derision and university programs, like OGorman remainder of scholarly discourse. (172) Whether related or not to the American academic puritanism underscored in Schonfeldƒs response, it happens that many such programs can be found in northern Europe. The IT University of Copenhagen, Denmark, and the University of Tampere, Finland, among others, offer bachelorƒs, masterƒs, and doctorate degrees exclusively in digital games.

3 3 1 (+) [-6+]mCQK bogost-unit_operations (173-174) 20130911h 0 -5+ progress/2012/01/notes_for_bogost-unit_operations.html
Imagine unit-operational university transcending interdisciplinarity, which requires traditional disciplines, resembles software and project-based organizational structure, which he calls a postdisciplinary critical network; faced with new problems like interoperability leads to interesting discussion of web services, demonstrating ability of Bogost to argue in the technical register as will as the liberal, again hopefully cultivated through procedural rhetorics. (173-174) A unit-operational university would look like a complex network: a series of constantly changing relations between highly disparate groups, ideas, and resources. . . .
Intellectual projects would structure themselves more like software: units of encapsulated production with structured ties to multiple potential applications.

3 3 1 (+) [-6+]mCQK bork-journal 20110707 20110707 0 -2+ journal_2011.html
Surely Manovich has been here analyzing entire academic disciplines in terms of big data sets such as entire publication runs of scholarly journals. I take the example of texts and technology studies, which relate to digital media, critical theory, composition, and rhetoric.

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There are numerous books that present biographies and summaries of the key insights of famous computer scientists, inventors, and programmers (Lammers, Shasha and Lazere). There are a few texts devoted to beautiful code. And of course there are histories of numeracy, calculation, computing, software, and networking (). None are presented, however, as an attempt to outline philosophies of computing per se, perhaps because such an undertaking ought to include the machinic perspective; the Software Studies lexicon edited by MatthewFuller produces a loose collection.

3 3 1 (+) [-6+]mCQK brin-why_johnny_cant_code (np) 20130912a 0 -1+ progress/2013/04/notes_for_brin-why_johnny_cant_code.html
Argues seems sound that skills learned by line-coding level on early personal computers transfer and improve contemporary professionals, as extreme pole of Bogost procedural literacy. (np) And the thought processes that today s best programmers learned at the line-coding level still serve these designers well.

3 3 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (39) 20130912e 0 -2+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Ranks of agents: information brokering, product brokering, merchant brokering, negotiating; enter Turkle Alone Together. (39) Redefinition comes from the other direction, too. That is, some accounts donƒt so much make bots sound like humans as make humans sound like bots.

3 3 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (45) 20130912f 0 -2+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Lack of technological transparency of agential intention an issue concealed by ease of use. (45) Both examples raise questions of technological transparency. We might all be able to use agents, but how many are able to understand their biases among the complex mathematics of dynamic preference matching?

3 3 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (50) 20130912g 0 -4+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Bot negotiation has become the model of human negotiation mediated by technology, but it is clumsy; tie in Malabou. (50) This sort of explicit, rule-governed negotiation is clumsy, but necessary when the social fabric will not bear implicit negotiation. It looks more like the sort of thing developers have in mind when they talk of bots negotiating, but it is only a small portion of what human negotiation involves.
(51) People donƒt only abandon goals. They abandon rules, too.

3 3 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (55) 20130912h 0 -4+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Bleak outcome separating autonomy and accountability if agency is not better modeled. (55) If human agents are confused with digital ones, if human action is taken as mere information processing, and if the social complexion of negotiation, delegation, and representation are reduced to when x, do y, bots will end up with autonomy without accountability. Their owners, by contrast, may have accountability without control.
(56) The question Do you know what your agent is doing tonight and with whom? and the worry that their agent is no angel may loom increasingly large in the already overburdened late-night worries of executives.

3 3 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (146) 20130912r 0 -3+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Suggest most important uses of information technology are helping people interact in the physical world, atoms to bits to atoms. (146) Indeed, one of the most powerful uses of information technology seems to be to support people who do work together directly and to allow them to schedule efficient face-to-face encounters. Looking too closely at the progression from atoms to bits may miss the role the bits play in allowing us to reinforce the valuable aspects of the world of atoms. Critical movements in the knowledge economy may go not just from atoms to bits, but from atoms to bits and back again.

3 3 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (205) 20130912s 0 -2+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Connect to reading the background to Clark extended mind. (205) Efficient communication relies not on how much can be said, but on how much can be left unsaid and even unread in the background. And a certain amount of fixity, both in material documents and in social conventions of interpretation, contributes a great deal to this sort of efficiency.

3 3 1 (+) [-4+]mCQK brown_duguid-social_life_of_information (250) 20130912t 0 -2+ progress/2012/03/notes_for_brown_duguid-social_life_of_information.html
Free, open source movement counters swing back toward corporate control of intellectual products built into software code recognized by Lessig. (250) It took more than a century and a half to wrest control over intellectual property from the hands of publishers in the Stationerƒs Register and place it in the hands of individual authors. Now, despite the talk of the ƒNetƒs disintermediation, it may be swinging back toward publishers and corporate ownership.

3 3 1 (+) [-6+]mCQK burnett-how_images_think (102) 20130912i 0 -2+ progress/2012/03/notes_for_burnett-how_images_think.html
Software studies connection in suggestion about Smithsonian game simulation. (102) Could it be that the Smithsonian will quickly move to preserve the simulated games not being played because they are markers of the needs and desires of contemporary humans in Western societies?
(102) Technology is as much about cognitive change as it is about invention and the creation of physical devices.

3 3 1 (+) [-4+]mCQK burnett-how_images_think (104) 20130912j 0 -1+ progress/2012/03/notes_for_burnett-how_images_think.html
Ethnographic survey of VR systems, comparable to that of Hayles, emphasizing extreme impact of virtual images on subjectivity, despite lack of concern over their social and cultural implications. (104) Although participants have to wear head-mounted displays (HMDs) to see the images, the impact of Daviesƒs design is so powerful that questions of interiority and the boundaries between dreams and reality are breached in a tumultuous fashion.

3 3 1 (+) [-4+]mCQK burnett-how_images_think (113-114) 20130912k 0 -8+ progress/2012/03/notes_for_burnett-how_images_think.html
Continuums of interaction and dialogue depend on analog processes, creating conditions for experiential relationships even in digital cyberworlds. (113-114)
Continuums are about modalities of interaction and dialogue. In fact, continuums are built through analog processes, which require subtlety and shading in order to be understood. This is the irony of new media and new technologies for image production. They create the conditions for experiential relationships, conditions that cannot be reduced to the discrete characteristics of the digital.
(115) The space of writing is now partially defined by the size of the screen that is used and the ability of the writer to work with large bodies of text that are interrupted by their framing. This moves (or transforms) the written word from its material and historical base (i.e., paper) and from its conventional role as marker for the process of thinking and/or feeling into a broader, even more fragile environment.

3 3 1 (+) [-4+]mCQK burnett-how_images_think (179) 20130912p 0 -3+ progress/2012/03/notes_for_burnett-how_images_think.html
Connection between Latour hybrids, projects, and objects in Aramis to Linux. (179) The idea that a computer operating system, such as Linux, could be constructed through a worldwide and quite spontaneous consortium of people suggests that both the computer and its programming logic are not as opaque as some would believe.
(180) Writing code appears to be the most concrete of activities there is after all a direct link between coding and the operations of a computer. The power of this metaphor is initially very strong, but what happens when codes combine with other codes in an autonomous fashion and produce results that exceed anything that was programmed in the first place?

3 3 1 (+) [-4+]mCQK burnett-how_images_think (196) 20120913 0 -9+ progress/2012/03/notes_for_burnett-how_images_think.html
Permanent scaffolding and never-ending games supplant static model of textuality and images, and this vantage point in image worlds implies perspectives on subjectivity and identity; Manovich gives examples of games that usurp common human perspectives. (196) The artifice is permanent scaffolding for buildings that will never be completed. Players donƒt like it when characters are killed off and canƒt return, because players want to keep constructing and reconstructing the scaffolding. It may be that this restructuring is actually the physical underpinning for interactive processes.
(197) Computer games are pointing toward a new process of engagement with image-worlds. At the same time, as part of the living archeolgoical process that I mentioned earlier, all the layers of previous forms and experiences remain in place. . . . Crucially, computer games signal how important vantage point is, because without some perspective on subjectivity and identity, image-worlds make it appear as if players are not at the center of game experiences.

3 3 1 (+) [-6+]mCQK chun-on_sourcery (300) 20130520 1 -8+ progress/2012/08/notes_for_chun-on_sourcery.html
Fetishism of sourcery obfuscates the vicissitudes of execution, obverse of valorization of user agent, the goal making productively spectral interfaces rather than true understanding of machines. (300) What does it mean to know software and, most importantly, what does positing software as the essence of new media do? This essay responds to these questions, arguing that software as source relies on a profound logic of
sourcery --a fetishism that obfuscates the vicissitudes of execution and makes our machines demonic. Further, this sourcery is the obverse rather than the opposite of the other dominant trend in new media studies: the valorization of the user as agent. . . . To break free of this sourcery, we need to interrogate, rather than venerate or even accept, the grounding logic of software. Crucially, though, closely engaging software will not let us escape fictions and arrive at a true understanding of our machines, but rather make our interfaces more productively spectral.

3 3 1 (+) [-4+]mCQK chun-on_sourcery (300) 20130913 0 -7+ progress/2012/08/notes_for_chun-on_sourcery.html
Expression of extent of new media in digital age of the Internet and question of comprehensibility, knowing its essence is software. (300) It seems impossible to know the extent, content, and effects of new media. . . . Who can expertly move from analyzing social-networking sites to Japanese cell-phone novels to World of Warcraft to hardware algorithms to ephemeral art installations? Is a global picture of new media possible?
(300) All new media allegedly rely on or, most strongly, can be reduced to software, a visibly invisible essence.

3 3 1 (+) [-6+]mCQK chun-on_sourcery (301) 20120803 9 -6+ progress/2012/08/notes_for_chun-on_sourcery.html
Invokes Manovich, Lovink, Galloway as well as folk wisdom: attacking unformed we-have-never-been-modern philosophy of computing carelessly grounded in software studies or even CCS? (301)

(302-303) I am arguing that we need to interrogate how knowing (or using free or open source) software does not simply enable us to fight domination or rescue software from evil-doers such as Microsoft, but rather is embedded in mediates between, is part of structures of knowledge-power. . . . More subtly, the free software movement, in insisting that freedom stems from free software from freely accessible source code amplifies the power of source code, erasing the vicissitudes of execution and the structures that ensure the coincidence of code and its execution. It buttresses the logic of software that is, software as logos.

3 3 1 (+) [-4+]mCQK chun-on_sourcery (303) 20130913b 0 -9+ progress/2012/08/notes_for_chun-on_sourcery.html
FOSS epistemological transparency buttresses software as logos, and may conceal vicissitudes of execution, all that happens between linear source code and distributed run time conditions, exemplified by Dijkstra dislike of goto; nonetheless, footnote on importance of FOSS in knowledge-power can be related to Heidegger Nietzsche lectures. (303) The goal of software is to conflate an event with a written command. . . . An example Iƒve used elsewhere, Edsger
Dijkstraƒs famous condemnation of go to statements, encapsulates this nicely. . . . because go to statements work against the fundamental tenet of what Dijkstra considered to be good programming: namely, the necessity to shorten the conceptual gap between static program and dynamic process.

3 3 1 (+) [-4+]mCQK chun-on_sourcery (304) 20130913c 0 -4+ progress/2012/08/notes_for_chun-on_sourcery.html
Hayles distinction between linguistic and machinic performative on desired efficacy of source code complicated by contesting inside versus outside of machine. (304) [quoting Galloway
Protocol: How Control Exists after Decentralization] Code is the only language that is executable. Drawing in part from Galloway, N. Katherine Hayles, in My Mother Was a Computer: Digital Subjects and Literary Texts, distinguishes between the linguistic performative and the machinic performative.
(304 note 16) Haylesƒs argument immediately poses the question: What counts as internal versus external to the machine, especially given that, in John
von Neumannƒs foundational description of stored program computing, the input and output (the outside world of the machine) was a form of memory?

3 3 1 (+) [-4+]mCQK chun-on_sourcery (305) 20130913d 0 -5+ progress/2012/08/notes_for_chun-on_sourcery.html
Galloway journal choice Visual Culture reflects software studies pulls visual culture discourse back to semiotics in a remediation of the visual in meditation upon how the aural is produced by the symbolic. (305) The independence of machine action this autonomy, or automatic executability of code is, according to Galloway, its material essence: . . . [quoting] Code essentially has no other essence for being (sic) that instructing some machine in how to act. One cannot say the same for the natural languages.

3 3 1 (+) [-6+]mCQK chun-on_sourcery (305-306) 20130913e 0 -5+ progress/2012/08/notes_for_chun-on_sourcery.html
Assumption that code is automatically executable borders fantasy: commensurability of levels of code/constitution may reduce to equations, but more to technical than numerical relations; source code compilation to executable form is not trivial transformation. (305-306) To make the argument that code is automatically executable, the process of execution itself must not only be erased, but source code also must be conflated with its executable version. . . . to push Gallowayƒs conception further, a technical relation is far more complex than a numerical one.

3 3 1 (+) [-6+]mCQK chun-on_sourcery (306) 20130913f 0 -6+ progress/2012/08/notes_for_chun-on_sourcery.html
Nice example of working code of assembly language mnemonically more complex that 6502 assembler I once thought I understood. (306) Significantly, a technical relation engages art or craft. . . . This compilation or interpretation this making code executable is not a trivial action; the compilation of code is not the same as translating a decimal number into a binary one; rather, it involves instruction explosion and the translation of symbolic into real addresses. Consider, for example, the instructions needed for adding two numbers in PowerPC assembly language, which is one level higher than machine language.

3 3 1 (+) [-6+]mCQK chun-on_sourcery (307-309) 20130913h 11 -11+ progress/2012/08/notes_for_chun-on_sourcery.html
Schematics are sourcery too, concealing critical timing conditions under which they are valid representations of the designed behavior; clever conjunction of von Neumann, McCulloch, Pitts, and Faust. (307-309) This schematic erases all these various time-based effects. Thus hardware schematics, rather than escaping from the logic of sourcery, are also embedded within this structure. Indeed, John von Neumann, the alleged architect of the stored-memory digital computer, drew from Warren McCulloch and Walter Pittsƒs conflation of neuronal activity with its inscription in order to conceptualize our modern computers. . . . That is, the response of a neuron can be reduced to the circumstances that make it possible: instruction can substitute for result. . . . At the heart of stored-program computing lies the Faustian substitution of word for action.

3 3 1 (+) [-6+]mCQK chun-on_sourcery (309-310) 20130913j 0 -9+ progress/2012/08/notes_for_chun-on_sourcery.html
Docility of hardware required for programmability; architectural axiomatics necessarily limit decodings. (309-310) software is always posited as already existing, as the self-evident ground or source of our interfaces. . . . As an axiomatic, it, as Gilles Deleuze and Felix Guattari argue, artificially limits decodings. . . . Programmability, discrete computation, depends on the disciplining of hardware and the desire for a programmable axiomatic.

3 3 1 (+) [-4+]mCQK chun-on_sourcery (312) 20130913k 0 -7+ progress/2012/08/notes_for_chun-on_sourcery.html
Epistemological transparency offered by free, open source code is illusory, depending on erasure of compilation and execution, the surrounding social and machinic rituals; also undermines sourcefulness of codework, or at least points to other meanings besides executability, thinking of Mez. (312) Against this magical execution, source code supposedly enables pure understanding and freedom the ability to map and understand the workings of the machine, but again only through a magical erasure of the gap between source and execution, an erasure of execution itself.
(313) This notion of source code as readable as creating some outcome regardless of its machinic execution underlies codework and other creative projects. . . . Regardless of whether or not it can execute, code can be, must be, worked into something meaningful. Source code, in other words, may be sources of things other than the machine execution it is supposed to engender.

3 3 1 (+) [-4+]mCQK chun-on_sourcery (314) 20130913l 0 -4+ progress/2012/08/notes_for_chun-on_sourcery.html
Fetish territorializes, turns time into space, meaningful fixation of a singular event that is repeated; see Zizek. (314) As such, it both fixes a singular event turning time into space and enables a logic of repetition that constantly enables this safeguarding. As Pietz argues, the fetish is always a meaningful fixation of a singular event.
(315) Fetishists importantly know what they are doing knowledge is not an answer to fetishism. The knowledge that source code offers is therefore no cure for source-code fetishism: if anything, this knowledge sustains it.

3 3 1 (+) [-4+]mCQK chun-on_sourcery (317) 20130913n 0 -6+ progress/2012/08/notes_for_chun-on_sourcery.html
Real-time posits user as source, from McPherson volitional mobility to Turkle robotic moment; television versus web phenomenology of liveness; contrast to Manovich telepresence. (317) Dynamic changes to webpages in real time, seemingly at the bequest of usersƒ desires or inputs, create what
Tara McPherson has called volitional mobility. . . . [quoting] Thus, unlike television which parades its presence before us, the web structures a sense of causality in relation to liveness, a liveness we navigate and move through, often structuring a feeling that our own desire drives the movement.
(317) This volitional mobility, McPherson argues, reveals that the hype surrounding the Internet does have some phenomenological backing.

3 3 1 (+) [-6+]mCQK chun-on_sourcery (318) 20130913o 0 -6+ progress/2012/08/notes_for_chun-on_sourcery.html
Interfaces erase the medium in computation. (318) The source of a computerƒs actions always stems from elsewhere, because real time makes it appear as though only outside events user mouse-clicks, streaming video cause the computer actions. These real-time interactions, which were initially introduced to make computation more efficient, have almost erased computation altogether. . . . Viewed as the alpha and omega of our computers, interfaces stand in, more often than not, for the computer itself, erasing the medium as it proliferates its specters, making our machines transparent producers of unreal visions sometimes terrifying, but usually banal imitations or hallucinations of elsewhere.

3 3 1 (+) [-4+]mCQK chun-on_sourcery (322) 20130913q 0 -8+ progress/2012/08/notes_for_chun-on_sourcery.html
Butler performative depends on iterability, which is institutional and political as well as machinic. (322) This larger view of the performative has been developed by
Judith Butler, who argues against that the felicity of a performative utterance does not depend on the sovereign subject who speaks it. Instead, she argues that what is crucial to a performative utteranceƒs success or failure is its iterability. . . . What is crucial here is: first, code that succeeds must be citations and extremely exact citations at that. There is no room for syntax errors; second, that this iterability precedes the so-called subject (or machine) that is supposedly the source of the code; and third, and most importantly, an entire structure must be in place in order for a command to be executed. This structure is as institutional and political as it is machinic.

3 3 1 (+) [-6+]mCQK chun-on_sourcery (323) 20130913r 0 -3+ progress/2012/08/notes_for_chun-on_sourcery.html
Emphasis on imagined institutional and political networks in free software philosophy of Stallman. (323) The difference between open source and free software lies in the network that is imagined when one codes, releases, and uses software the type of community one joins and builds when one codes. The community being cited here, worked through, is one committed to this notion of freedom, to coding as a form of free speech. Open source and free software movements are aligned, however, in their validation of open : freedom is open access.

3 3 1 (+) [-4+]mCQK chun-on_sourcery (323) 20130913s 0 -5+ progress/2012/08/notes_for_chun-on_sourcery.html
Capture ghosts by algorithmic procedures, technological docility. (323) Capturing ghosts often entails looking beyond what we really see to what we see without seeing, and arguably, digital mediaƒs biggest impact on our lives is not through its interface, but through its algorithmic procedures. . . . Capture re-works the notion and importance of access: one does not need a personal computer in order to be captured all one needs is a RFID tag or to work in a factory or to simply be in debt.

3 3 1 (+) [-4+]mCQK chun-on_sourcery (323-324) 20130913t 0 -7+ progress/2012/08/notes_for_chun-on_sourcery.html
In media res, flashback understanding of software versus chronology; must begin with things. (323-324) This necessary imagining also means that software can only be understood in media res in the middle of things. In media res is a style of narrative that starts in the middle as the action unfolds. Rather than offering a smooth chronology, the past is introduced through flashbacks interruptions of memory. . . . Software in media res also means that we can only begin with things things that we grasp and touch without fully grasping, things that unfold in time things that can only be rendered sources or objects (if they can) after the fact.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (5-6) 20131028c 0 -1+ progress/2013/07/notes_for_chun-programmed_visions.html
Philosophy just beginning to note effects of software as thing on metaphysics, intellectual property, subject, information. (5-6) These changes, brought about by the hardening of software as textual or machinic thing through memory, point toward a profound change in our understanding of what is internal and external, subject and object.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (8-9) 20130913 0 -11+ progress/2013/07/notes_for_chun-programmed_visions.html
Interfaces are another key component of neoliberal transformation certifying dream of programmability to nonexperts (Shneiderman). (8-9) Relatedly, user-friendly computer interfaces have been key to empowering and creating productive individuals. As Ben
Shneiderman, whose work has been key to graphical user interfaces (GUIs), has argued, these interfaces succeed when they move their users from grudging acceptance to feelings of mastery and eagerness. Moreover, this book argues, interfaces as mediators between the visible and invisible, as a means of navigation have been key to creating informed individuals who can overcome the chaos of global capitalism by mapping their relation to the totality of the global capitalist system. . . . New media empowers individuals by informing them of the future, making new media the future. . . . This future as something that can be bought and sold is linked intimately to the past, to computers as capable of being the future because, based on past data, they shape and predict it.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (9) 20130913a 0 -10+ progress/2013/07/notes_for_chun-programmed_visions.html
Programmed visions are always limited; compare to conclusion reached concerning hermeneutic phenomenology in second candidacy exam. (9) This book, therefore, links computers to governmentality neither at the level of content nor in terms of the many government projects that they have enabled, but rather at the level of their architecture and their instrumentality. . . . By individuating us and also integrating us into a totality, their interfaces offer us a form of mapping, of storing files central to our seemingly sovereign empowered subjectivity. By interacting with these interfaces, we are also mapped: data-driven machine learning algorithms process our collective data traces in order to discover underlying patterns (this process reveals that our computers are now more profound programmers than their human counterparts). . . . Crucially, this knowledge is also based on a profound ignorance or ambiguity: our computers execute in unforeseen ways, the future opens to the unexpected.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (10) 20130913b 0 -5+ progress/2013/07/notes_for_chun-programmed_visions.html
Complicate Turkle and others who link GUIs to postmodernism. (10) Chapter 2 analyzes how this invisibly visible (or visibly invisible) logic works at the level of the interface, at the level of personal computing. . . . Looking both a the use of metaphor within the early history of human-computer interfaces and at the emergence of the computer as metaphor, it contends that real-time computer interfaces are a powerful response to, and not simply an enabler or consequence of, postmodernism and neoliberalism.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (19) 20130913d 0 -3+ progress/2013/07/notes_for_chun-programmed_visions.html
Historical transformation of pseudocode into source code, program into noun. (19) Software as logos turns
program into a noun it turns process in time into process in (text) space. In other words, Manfred Broyƒs software pioneers, by making software easier to visualize, not only sought to make the implicit explicit, they also created a system in which the intangible and implicit drives the explicit. They thus obfuscated the machine and the process of execution, making software the end all and be all of computation and putting in place a powerful logic of sourcery that makes source code which tellingly was first called pseudocode a fetish.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (23-24) 20130913e 0 -5+ progress/2013/07/notes_for_chun-programmed_visions.html
Example of working PowerPC assembly code to add two numbers. (23-24) The compilation or interpretation this making executable of code is not a trivial action; the compilation of code is not the same as translating a decimal number into a binary one. . . . The relationship between executable and higher-level code is not that of mathematical identity but rather logical equivalence, which can involve a leap of faith.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (25) 20130913f 0 -3+ progress/2013/07/notes_for_chun-programmed_visions.html
Diagram of hardware logic circuit, which is also an abstraction. (25) Making code the source also entails reducing hardware to memory and thus erasing the existence and possibility of hardware algorithms.
(26) To be clear, I am not valorizing hardware over software, as though hardware naturally escapes this drive to make space signify time. Crucially, this schematic is itself an abstraction.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (34) 20130913g 0 -3+ progress/2013/07/notes_for_chun-programmed_visions.html
Points out Hopper dream of automatic programming that is also significant to Rosenberg. (34) To put Hopper and the ENIAC girls together is to erase the difference between Hopper, a singular hero who always defined herself as a mathematician, and nameless disappearing computer operators. It is also to deny personal history: Hopper, a social conservative from a privileged background, stated many times that she was not a feminist, and Hopperƒs stances could be perceived as antifeminist (while the highest-ranking female officer in the Navy, she argued that women were incapable of serving in combat duty). Not accidentally, Hopperƒs dream, her drive for automatic computing, was to put the programmer inside the computer and thus to rehumanize the mathmatician: pseudocode was to free the mathematician and her brain from the shackles of programming.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (37-38) 20130913h 0 -6+ progress/2013/07/notes_for_chun-programmed_visions.html
Data-driven programming as beginning of alternative to humans writing code suggested by Kittler. (37-38) Thus abstraction both empowers the programmer and insists on his/her ignorance the dream of a sovereign subject who knows and commands is constantly undone. . . . Abstraction is the computerƒs game, as is programming in the strictest and newest sense of the word: with
data-driven programming for instance, machine learning/artificial intelligence (computers as source code) has become mainstream.
(38) Importantly, this stratification and disciplining of labor has a much longer history: human computing itself, as David
Grier has documented, moved from an art to a routinized procedure through a separation of planners from calculators.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (47) 20130913j 0 -1+ progress/2013/07/notes_for_chun-programmed_visions.html
Second code snippet is C++ hello world meant to be easily deciphered. (47) Programming languages offer the lure of visibility, readability, logical if magical cause and effect.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (51) 20130913l 0 -3+ progress/2013/07/notes_for_chun-programmed_visions.html
Readability of source code includes embedded natural language in its essential syntax as well as comments. (51) Source codeƒs readability is not simply due to comments that are embedded in the source code, but also due to English-based commands and programming styles designed for comprehensibility.
(52) This notion of source code as readable as creating some outcome regardless of its machinic execution underlies
codework and other creative projects.
(52-53) Source code as fetish, understood psychoanalytically, embraces this nonteleological potential of source code, for the fetish is a deviation that does not end where it should.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (53) 20130913m 0 -6+ progress/2013/07/notes_for_chun-programmed_visions.html
Source code fetish creates virtual authorial subject, even leads to putative critical act of revealing sources and connections. (53) Code as fetish means that computer execution deviates from the so-called source, as source program does from programmer. . . . This erasure of the vicissitudes of execution coincides with the conflation of data with information, of information with knowledge the assumption that what is most difficult is the capture, rather than the analysis, of data. This erasure of execution through source code as source creates an intentional authorial subject: the computer, the program, or the user, and this source is treated as the source of meaning.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (54) 20130913n 0 -1+ progress/2013/07/notes_for_chun-programmed_visions.html
Hints at potential surprises in unknowns that may arise despite programmed vision, like deformation discoveries by McGann. (54) Embracing software as thing, in theory and in practice, opens us to the ways in which the fact that we cannot know software can be an enabling condition: a way for us to engage the surprises generated by a programmability that, try as it might, cannot entirely prepare us for the future.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (66-67) 20130913p 0 -4+ progress/2013/07/notes_for_chun-programmed_visions.html
Operating systems interpellate users actually and rhetorically; blind faith supplants knowledge that was never there. (66-67) Interfaces and operating systems produce users --one and all. Without OS there would be no access to hardware; without OS there would be no actions, no practices, and thus no user. Each OS, in its extramedial advertisements, interpellates a user : it calls it a name, offering it a name or image with which to identify.
(67) Computer programs shamelessly use shifters pronouns like my and you --that address you, and everyone else, as a subject.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (83) 20130913t 0 -2+ progress/2013/07/notes_for_chun-programmed_visions.html
Engelbart bulldozer metaphor for human augmentation versus moving masses en mass. (83) Rather than a system designed to move masses en mass, these interfaces personalize mass movement and destruction. It is everyone and all in a bulldozer; everyone and allƒs actions amplified.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (89) 20130913u 0 -10+ progress/2013/07/notes_for_chun-programmed_visions.html
Daemonic processes fit Derridean analysis of writing. (89) Interactive operating systems, such as UNIX, transform the computer from a machine run by human operators in batch mode to alive personal machines, which respond to the userƒs commands. . . . Real-time processes, in other words, make the user the source of the action, but only by orphaning those writing processes without which there could be no user. . . . As a symptom of this desire for the transparency of knowledge, for the reigning of rationality, daemon is also a backronym. Since the first daemon automatically made tape backups for the file system, it has been widely and erroneously assumed that daemon initially stood for Disk And Executive MONitor (this alleged source phrase was later adopted).

3 3 1 (+) [-4+]mCQK chun-programmed_visions (91) 20130913v 0 -5+ progress/2013/07/notes_for_chun-programmed_visions.html
Beyond Manovich transcoding, invisible readings as way to think about software studies, closer to Kittler schematism of perceptibility, but seems to reject call for deep understanding of ECT in favor of interrogating interfaces. (91) Manovich argues that in order to understand new media we need to engage both layers, for although the surface layer may seem like every other media, the hidden layer, computation, is where the true difference between new and old media programmability lies. He thus argues that we must move from media studies to software studies, and the principle of
transcoding is one way to start to think about software studies.
(91) The problem with Manovichƒs notion of transcoding is that it focuses on static data and treats computation as a mere translation. Not only does programmability mean that images are manipulable in new ways; it also means that oneƒs computer constantly acts in ways beyond oneƒs control. To see software as merely transcoding erases the computation necessary for computers to run.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (92) 20130913w 0 -3+ progress/2013/07/notes_for_chun-programmed_visions.html
Goal of nontransparent data tracking as outcome of critically interrogating interfaces. (92) To do this, we need, again, to understand the ways in which the drive to map and to promote transparency enables nontransparent data tracking that cuts across the governmental, the political, the commercial, and the personal.
(93) These projects [Chris Csikszentmihalyiƒs Government Information Awareness; Open Government Initiative] are critical not simply for the transparency or information they seem to offer, but also because they give users the collective power to transform these databases and these debates over what counts as evidence.
(94) Deliberately making databases dirty by providing too much or erroneous information may be the most effective way of preserving something like privacy.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (99) 20130913y 0 -7+ progress/2013/07/notes_for_chun-programmed_visions.html
Meaning of archive and source code only determined after the fact (Derrida again). (99) The archive thus buttresses a certain definition of public as state authority through the transformation, as Derrida notes, of a private domicile into a public one. It is also based on a promise that links the past to the future: whatever it possessed at the beginning of an
archonƒs term shall remain at the end; an archive conserves. This conservative promise is tied to another: the promise to respect precedent, that is, to follow past rules in order to guarantee a just future. . . . The meaning of an archive, like source code, can only be determined after the fact.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (106) 20130914 0 -3+ progress/2013/07/notes_for_chun-programmed_visions.html
Feedback, not software joins dead and alive in early cybernetics; parallel in process control models. (106) In cybernetics as first conceived, there is no separation between software and hardware, an impossible distinction during the 1940s; Winerƒs algorithms and instructions consist of relays. What links the dead and the alive perhaps making them both undead is feedback.
(107) In other words, what if the text lauded as launching modern genetics because it postulated the existence of a genetic code-script and because it inspired physicists such as Francis Crick and James Watson to move into biology from physics (even though the text was widely considered to be scientifically inaccurate or repetitive even at the time of its writing)--also inadvertently launched modern stored-program computers?

3 3 1 (+) [-6+]mCQK chun-programmed_visions (113) 20130914a 0 -5+ progress/2013/07/notes_for_chun-programmed_visions.html
Compare role of language defining what is visible as example of programmed vision to Hayles comment on discursivity defining postmodern subject. (113) That is, the desire to map what is visible and what is articulable is key to understanding the impact of code and programmability to the linking of the two programmed visions. Programmability is thus not only crucial to understanding the operation of language, but also to how language comes more and more to stand in for becomes the essence or generator of what is visible.
(114) This relation of what can be seen and what is not hidden yet driving and which is not terminal coincides with our perception of the relationship between a program and its interface. This is not to say that Foucault views statements as source code ; this is the opposite of his approach. This is to say that this notion of an operational field of enunciative function resonates with von Neumannƒs notion of code as a dynamic context, as something that does not pin down a meaning, but rather guides makes possible certain calculations.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (126) 20131028 0 -5+ progress/2013/07/notes_for_chun-programmed_visions.html
Breedability as proof of programmability based on repetition as evidence of inheritance. (126) Breedability became a proof of programmability in a bizarre logic that assumed any repetition evidence of inheritance, that is, repetition with no difference. . . . This version of programmability also asserts a reverse-programmability, that is, the ability to determine an original algorithm a strategy, or plan for action based on interactions with unfolding events.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (139) 20130914c 0 -6+ progress/2013/07/notes_for_chun-programmed_visions.html
Information is always embodied, and digitally it is messy albeit axiomatic. (139) Rather than making everything universally equivalent, the digital has exploded differences among media formats. . . . The information traveling through computers is not 1s and 0s; beneath binary digits and logic lies a messy, noisy world of signals and interference. Information if it exists is always embodied, whether in a machine or an animal.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (142-143) 20130914d 0 -2+ progress/2013/07/notes_for_chun-programmed_visions.html
Compare proposition that it is analog all the way down redefining analogy itself to Hayles analysis of cybernetics. (142-143) Based on an analogy to computing elements, neurons, which themselves grounded computing elements as digital, are declared digital: an initial analogy is reversed and turned into ontology. At the base of this logic lies a redefinition of analogy itself as a complicated mechanism that operates on continuous quantities, rather than on discrete units.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (148-151) 20130914e 4 -3+ progress/2013/07/notes_for_chun-programmed_visions.html
Digital computer becomes simulacrum, whereas analog was simulation. (148-151) The differential analyzer was not, as the digital computer would be, amenable to notions of universal disembodied information. The differential analyzer simulated other phenomena, whereas digital computers, by hiding mimesis, could simulate any other machine. That is, while both digital and analog computers depend on analogy, digital computers, through their analogy to the human nervous system (which we will see stemmed from a prior analogy between neurons and Turing machines), simulate other computing machines using numerical methods, rather than recreating specific mechanical/physical situations.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (151-152) 20130914f 0 -11+ progress/2013/07/notes_for_chun-programmed_visions.html
Fordist logic and concealment of operation that reaches critical point according to Kittler when the last microchip is laid out on paper. (151-152) The move to electronic not only deskilled operators, it also made computers mass producible. . . . Electronic analog and digital computers used mass-produced vacuum tubes and later transistors. Thus, both electronic analog and digital machines participate in Fordist logic: they automate calculation and production and make invisible the mathematics or calculations on which they rely.
(152) Digital machines, however, are more profoundly Fordist than analog ones. . . . It is in programming, or to be more precise, programming in opposition to coding, that analog and digital machines most differ.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (157) 20130914g 0 -5+ progress/2013/07/notes_for_chun-programmed_visions.html
The argument for memory, stored instructions, and primacy of software based on von Neumann use of McCulloch and Pitts neuron model rathert than Shannon communication model. (157) Thus, by turning to McCulloch and Pitts rather than to Shannon, von Neumann gains a particular type of abstraction or logical calculus: an axiomatic abstraction and schematic design that greatly simplifies the behavior of its base components. Von Neumann also gains a parallel to the human nervous system, key to his later work on general automata. Last, he gains the concept of memory a concept that he would fundamentally alter by asserting the existence of biological organs not known to exist. Through this hypothetical memory organ, and his discussion of the relationship between orders and data, his model would profoundly affect the development of cognitive science and artificial intelligence (AI) and life (AL). Through this memory organ, von Neumann would erase the difference between storage and memory, and also open up a different relationship between man and machine, one that would incorporate instructions as a form of heredity into the machine, making software fundamental.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (162) 20130914h 0 -5+ progress/2013/07/notes_for_chun-programmed_visions.html
Immortality through undead storage. (162) Regardless, this substitution of Word with Deed sums up von Neumannƒs axiomatic approach to automata and his attraction to McCulloch and Pittsƒs work. It also leads him to conceive of memory as storage: as a full presence that does not fade, even though it can be misplaced. What is intriguing, again, is that this notion of a full presence stems from a bureaucratic metaphor: filing cabinets in the basement. This reconceptualization of human memory bizarrely offers immortality through dead storage: information as undead.
(162-163) This controversial axiomatization, which von Neumann would employ later in his theory of self-reproducing automata, reduces all neuronal activities to true/false statements.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (163) 20130709 0 -2+ progress/2013/07/notes_for_chun-programmed_visions.html
Equivalence of describing and producing an object linked to equivalence of access and comprehension, setting up programmed visions, although the question remains who or what transforms descriptions into instructions, and makes humans and automata indistinguishable: knowledge management reflects this unconscious philosophy by focusing on systems making data ready at hand rather than organizing structure of data. (163) This notion of an actual object is not outside of language, even if it is outside literary description, for, to von Neumann, producing an object and describing how to build it were equivalent.
(164) Thus, the memory of the system here postulated as a more vibrant form of memory than paper tape --becomes the means by which the automaton can self-reproduce.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (165) 20130914i 0 -13+ progress/2013/07/notes_for_chun-programmed_visions.html
Strategy replaces description to yield automatic production of instructions; program, not short code. (165) Most importantly, von Neumann and [Oskar] Morgenstern introduce the notion of
strategy to replace or simplify detailed description. . . . This replacement of a complete description with a strategy is not analogous to the replacement of machine code with a higher-level programming language, or what von Neumann calls short code. . . . This strategy, which game theory remarkably assumes every player possesses before the game, is analogous to a program a list of instructions to be followed based on various conditions. . . . A strategy/program thus emphasizes the programming/economic agent as freely choosing between choices.

3 3 1 (+) [-6+]mCQK chun-programmed_visions (166-167) 20130914j 0 -10+ progress/2013/07/notes_for_chun-programmed_visions.html
Complete and short codes. (166-167) To make this argument, von Neumann separates codes into two types: complete and short. . . . Importantly, Turing himself did not refer to short or complete codes, but rather to instructions and tables to be mechanically meaning faithfully followed. . . . Thus, in a remarkably circular route, von Neumann establishes the possibilities of source code as logos: as something iterable and universal. Word becomes action becomes word becomes the alpha and omega of computation.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (170-171) 20130914k 0 -7+ progress/2013/07/notes_for_chun-programmed_visions.html
Threat of digital dark age in discussion of Internet Wayback Machine. (170-171) The imperfect archives of the IWM [Internet Wayback Machine] are considered crucial to the ongoing relevance of libraries. . . . The IWM is necessary because the Internet, which is in so many ways
about memory, has, as Ernst argues, no memory at least not without the intervention of something like the IWM. Other media do not have a memory, but they do age and their degeneration is not linked to their regeneration. As well, this crisis is brought about because of this blinding belief in digital media as cultural memory.

3 3 1 (+) [-4+]mCQK chun-programmed_visions (172-173) 20130914l 0 -7+ progress/2013/07/notes_for_chun-programmed_visions.html
Need to focus on enduring ephemerality rather than speed. (172-173) Rather than getting caught up in speed then, what we must analyze, as we try to grasp a present that is always degenerating, are the ways in which ephemerality is made to endure. . . . The pressing questions are: why and how is it that the ephemeral endures? And what does the constant repetition and regeneration of information effect? What loops and what instabilities does the enduring ephemeral introduce to the logic of programmability?

3 3 1 (+) [-8+]mCQK clark-supersizing_the_mind (72) 20121015 0 -17+ progress/2012/10/notes_for_clark-supersizing_the_mind.html
Hazard function and active dovetailing (playing Tetris) linked to engineering intensity function applied to exercise of learning how particular computers work alongside other activities increasing mental capacity a path into cyberculture, making it relevant to culture studies where it intersects digital culture and also, which is the goal of my argument, philosophy. (72) A natural way to think about epistemic actions is in terms of the Principle of Ecological Assembly (sec. 1.3). The costs (temporal and/or energetic) of adding nonpragmatic actions to the problem-solving mix are outweighed by the benefits conferred. . . . The goal is to quantify the net benefit of using epistemic actions by laying the time cost of the extra rotations against the resultant increase in the playerƒs mental capacity (Maglio, Wenger, and Copeland 2003, 1). . . . work by Townsend and Ashby (1978), Townsend and Nozawa (1995), and Wenger and townsend (2000) provides a promising tool in the form of a measure known as the hazard function of the response time (RT) distribution during problem solving. Very informally, this is a measure of the instantaneous probability of completing a process in the next move. In engineering, this is also known as intensity function.
(73) Previews were shown to produce a clear increase in capacity, as measured by the change in value of the hazard function, and these benefits increased when memory load was greatest (i.e., with greater lags between preview and decision).

3 3 1 (+) [-4+]mCQK conley-rethinking_technologies (ix-x) 20131205a 0 -6+ progress/2013/12/notes_for_conley-rethinking_technologies.html
Now software studies joins philosophy, psychoanalysis, arts as place for rethinking technology; the last section of the book is on cyberspace. (ix-x) This rethinking takes place in philosophy, psychoanalysis, and the arts. . . . No linear progression is intended. A slight dyssymmetrical framing effect can be derived from the first and the last pieces, that is, between Paul Virilioƒs tat pr sent of a planet polluted by technologies and Patrick Clancyƒs transcription of a performance in text and images.

3 3 1 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (99) 20130915i 0 -1+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Tensor connects Gee and Bogost on value of risky edge behavior in games like Tetris as phenomenological description. (99) The atypical expression constitutes a cutting edge of deterritorialization of language, it plays the role of
tensor; in other words, it causes language to tend toward the limit of its elements, forms, or notions, toward a near side or a beyond of language.

3 3 1 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (171-172) 19960402 0 -5+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Sounds like a problem for computer science, how we are dominated by our machines, the things that stand out for us to do something with when we have no dominant vision in our imagination; or how we are dominated by our machines, the things that do not work when we have a dominant vision the cannot see around them but only with them working; far from the milieu for which such simulation remained fantasy, Chun worries it has come to pass as programmed visions. (171-172) What we need to consider is not fundamentally organs without bodies, or the fragmented body; it is the body without organs, animated by various intensive movements that determine the nature and emplacement of the organs in question and make that body an organism, or even a system of strata of which the organism is only a part. . . . The question of the body is not one of part-objects but of differential speeds.

3 3 1 (+) [-4+]mCQK feenberg-questioning_technology (11) 20120925d 0 -1+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Clearly the constructivist position profits from the relative transparency of open source projects whose design evolution is documented in online developer communities; the black box nature of finished technologies is related as much to how we might learn about them, the availability of records, as the metaphysical claims of essentialist determinism. (11) But so far most constructivist research has confined itself to the study of the strategic problems of building and winning acceptance for particular devices and systems.

3 3 1 (+) [-4+]mCQK feenberg-questioning_technology (22) 20120925e 0 -2+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Can the structure of this analysis of May Events of 1968 be carried over to the free, open source movement against the capitalist, cathedral mentality of proprietary, closed source software and hardware companies? (22) The themes on which I will focus are: the logic of the student revolt; the relations between workers and students; the ideological crisis of the middle strata; and the new libertarian image of socialism.
(22) The struggle against technocracy played a central role in each these domains.

3 3 1 (+) [-4+]mCQK feenberg-questioning_technology (220) 20120518a 0 -4+ progress/2009/11/notes_for_feenberg-questioning_technology.html
While Feenberg claims technological unconscious it is only present in the sedimented form expressed in the final products, noted as well by software historians, I think this view is superseded by FOSS examples whose entire history is documented. (220) Once social constraints are internalized in this way, there is a tendency to lose sight of them. Technical devices are then seen as pure of social influences, which are conceived as essentially external, as values, ideologies, rules. The internalized social constraints concretized in design are read off the reconfigured device as its inevitable technical destiny. The concretizing process is thus a
technological unconscious, present only in the sedimented form of technical codes that appear asocial and purely rational (Feenberg, 1991: 79ff).

3 3 1 (+) [-4+]mCQK feenberg-questioning_technology (220-222) 20120518c 0 -4+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Reading a hidden but discernable history of democratic rationalizations within the evolving state of the art, despite its appearance of inevitable progress via asocial forces; what he does not give much detail about is how to study this phenomenon: he talks about political solutions, focusing on manipulating human opinions, rather than hacker solutions directed at the machines in a computer as component alliance. (220-222) These considerations allow us to identify a type of development that is both technically and normatively progressive.
The normative standards of that development are immanently derived from the resistances evoked by the technical process itself. Reified forms embodied in devices and systems which reflect a narrow spectrum of interests encounter resistance from beyond their horizon as irrationalities, inefficiencies. In reality, those resistances are reflexes of designs that suppress aspects of nature and social life the affected individuals mobilize to defend or to incorporate into improved designs through democratic rationalizations.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (13) 20130921 0 -7+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Criticism of systems perspective very clear in examples by designers (Norman) and user-centered thinkers (Johnson and Barker). (13) IT seems clear that the vast majority of research and production in this area remains concerned with imposing functionalist models on all those systems that cohere as the user. . . . This is the fatal endpoint of the standard mode of HCI. It empowers users by modeling them, and in doing so effects their disappearance, their incorporation into its models.
(14) What would it mean to incorporate an explicitly wider notion of such processes into software to reinfuse the social, the dynamic, the networks, the political, communality (perhaps even instead of, or as well as, privacy) into the contained model of the individualized user that HCI has us marked down for?

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (19) 20130921c 0 -2+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Deleuze and Guattari connection for software as form of subjectivity, aversion to the electronic. (19) The conceptual personae that Deleuze and Guattari so suggestively propose in
What Is Philosophy? can be read as a proposal for an understanding of software as a form of digital subjectivity that software constructs sensoriums, that each piece of software constructs ways of seeing, knowing, and doing in the world that at once contain a model of that part of the world it ostensibly pertains to and that also shape it every time it is used.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (21) 20131030b 0 -5+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Computers as assemblages; reject notion that a particular level is definitive, and accept combination with other systems as aspect of variable ontology. (21) Computers must be understood already as assemblages. . . . What is contended here is that any one of these levels provides an opportunity for critique, but more importantly forms of theorization and practice that break free of any preformatted uniformity.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (23) 20130921d 0 -1+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Gives examples of A Song for Occupations mapping Microsoft Word and Richard Wright Hello World CDROM. (23) First, by using the evidence presented by normalized software to construct an arrangement of the objects, protocols, statements, dynamics, and sequences of interaction that allow its conditions of truth to become manifest.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (23) 20130921e 0 -2+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Would be interesting to examine early hacks of simple software such as Apple 2 games, and software that reveals datastream for secret life of devices: note the guy who redesigned the Doom or Quake game engine to make it a learning platform as an example of somewhat reflexive critical programming. (23) The second way in which Critical Software may be said to exist is in the various instances of software that runs just like a normal application, but has been fundamentally twisted to reveal the underlying construction of the user, the way the program treats data, and the transduction and coding processes of the interface. Much of this work has been achieved in terms of games.

3 3 1 (+) [-6+]mCQK fuller-behind_the_blip (24) 20130921f 0 -3+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Social software defined: for those outside narrowly engineered subjectivity of mainstream software, developed through user interaction, especially in Free Software (think Feenberg deep democratization). (24) Primarily it is software built by and for those of us locked out of the narrowly engineered subjectivity of mainstream software.
(24) It is software that is directly born, changed, and developed as the result of an ongoing sociability between users and programmers in which demands are made on the practices of coding that exceed their easy fit into standardized social relations.
(24) I would like to suggest that Free Software can be usefully understood to work in these terms.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (27) 20130921h 0 -8+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Poetics of connection. (27) One of these, I would like to argue, is a
poetics of connection.
(27-28) All of these subsist and thrive on their powers of connection, of existing in a dimension of relationality rather than of territoriality. It is in their capacity to generate a poetics of this connection that they have reinvented this technology.
(28) Such a dynamic has also formed the basis for the development of a piece of software, Mongrelƒs Linker. . . . Here, the poetics of connection forms a techno-aesthetic and existential
a priori to the construction of a piece of software.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (29-30) 20130921i 0 -5+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Be sure to investigate Ullman Close to the Machine on the lived experience of programming. (29-30) Ullmanƒs book [
Close to the Machine] is the best account of the lived experience of programming that Iƒve read, but Iƒm not quite sure who this we is. . . . The we is an attempt to universalize rather than identify more precisely definable, albeit massively distributed and hierarchised, sets of conflictual, imaginal, and collaborative relations.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (30-31) 20130921k 0 -13+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Compare blips as events in software to the units Knuth implies, as well as Bogost unit operations. (30-31) These blips, these events in software, these processes and regimes that data is subject to and manufactured by, provide flashpoints at which these interrelations, collaborations, and conflicts can be picked out and analyzed for their valences of power, for their manifold capacities of control and production, disturbance and invention. It is the assertion of speculative software that the enormous spread of economies, systems of representation, of distribution, hiding, showing, and influence as they mesh with other systems of circulation, of life, ecology, resources themselves always both escaping and compelling electronic and digital manifestation can be intercepted, mapped, and reconfigured precisely by means of these blips.
(31) What are these blips? . . . They are not merely signifiers of an event, but integral parts of it. . . . They have an implicit politics.
(31) There are certain ways in which one is supposed to experience these blips.
(31) The capacity of computers to perform these operations is what provides the fuel for speculative software that is, software which refuses to believe the simple, innocent stories that accompany the appearance of these blips.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (32) 20130921l 0 -4+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Mention should be made of the implicit requirement to teach prospective philosophers of computing who utilize speculative software enough about the constituent technologies in order to engage in the first two stages. (32) What characterizes speculative work in software is, first, the ability to operate reflexively upon itself and the condition of being software to go where it is not supposed to go, to look behind the blip; to make visible the dynamics, structures, regimes, and drives of each of the little events which it connects to. Second, it is to the subject these blips and what shapes and produces them to unnatural forms of connection between themselves. To make the ready ordering of data, categories, and subjects spasm out of control. Third, it is to subject the consequences of these first two stages to the havoc of invention.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (43) 20130921m 0 -3+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Could find evidence of time by examining revision control systems and social history concretized in other tools of large, organized software projects; dry-cleaned, atemporal impression most fitting for error-free, compiling versions. (43) Software lacks the easy evidence of time, of human habitation, of the connotations of familial, industrial, or office life embedded in the structure of a building. As a geometry realized in synthetic space, it is an any-space-whatever, but dry-cleaned and prized out of time.
(44) To provide the skewed access to the machines that such an investigation requires we can siphon some fuel from the goings-on of Gordon Matta-Clark; use faults; disturb conventions; exploit idiosyncrasies.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (54) 20130921n 0 -6+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Subjectivity as raw material of web design studied by the Web Stalker. (54) Web design, considered in its wide definition by hobbyists, artists, general-purpose temps, and specialists, and also in terms of the creation of web sites using software such as PageMill or Dreamweaver is precisely a social and communicative practice whose ƒraw materialƒ is subjectivity.
(55) A key device in the production of web sites is the page metaphor. . . . Use of metaphor within computer-interface design is intended to enable easy operation of a new system by overlaying it or even confining it within the characteristics of a homely-futuristic device found outside of the computer.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (58) 20130921o 0 -6+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Functions are Crawler, Map, Dismantle, Stash, HTML Stream, Extract. (58) A brief description of the functions of the Web Stalker is necessary as a form of punctuation in this context, but it can of course only be fully sensed by actual use. . . . For each function put into play, one or more boxes are created and specialized.
(59) The Web Stalker performs an inextricably technical, aesthetic, and ethical operation on the HTML stream that at once refines it, produces new methods of use, ignores much of the data linked to or embedded within it, and provides a mechanism through which the deeper structure of the web can be explored and used.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (63) 20130921p 0 -3+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Tactical software related to critical software, but has basic function of developing street-knowledge of the nets. (63) In a sense, then, the Web Stalker works as a kind of tactical software, but it is also deeply implicated with another kind of tacticity the developing street-knowledge of the nets. This is a sense of the flows, consistencies, and dynamics of the nets that is most closely associated with hackers, but that is perhaps immanent in different ways in every user.
(63) Synthesis is explicitly not constitutive of a universe of synchronization and equivalence where everything connects to everything.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (69) 20131030 0 -1+ progress/2012/04/notes_for_fuller-behind_the_blip.html
To Ulmer the net is a pre-broken system with no centralized backup. (69) As what Gregory
Ulmer has usefully called a pre-broken system, the net has no centralized backup.

3 3 1 (+) [-4+]mCQK fuller-behind_the_blip (99) 20131030a 0 -4+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Definition of interface by Brenda Laurel. (99) What are the terms of this interrelation, and what do software interfaces have in common with other forms of interface? A working definition is provided by Brenda
Laurel. An interface is a contact surface. It reflects the physical properties of the interactors, the functions to be performed, and the balance of power and control.

3 3 1 (+) [-4+]mCQK fuller-software_studies (2) 20130921 0 -2+ progress/2011/10/notes_for_fuller-software_studies.html
Tukey first to use the term software. (2) Recent etymological research credits John W. Tukey with the first publish use of the term software.

3 3 1 (+) [-4+]mCQK fuller-software_studies (4) 20130921a 0 -7+ progress/2011/10/notes_for_fuller-software_studies.html
Hayles media specific approach; also alludes to Robert Johnson, Feenberg, and FOSS epistemological transparency. (4) Technologisation of the senses and structuring of relations by technology is often carried out by naturalized means, lessening our ability to understand and engage with such change. . . . The optimal solution becomes the one that is most amenable to technical description, usually a description that is only in terms of certain already normalized precursors. By contrast, when technology is used in a way that is interrogable or hackable, it allows and encourages those networked or enmeshed within it to gain traction on its multiple scales of operation.
(4) Another theoretical blockage that this collection seeks to overcome is the supposed immateriality of software.

3 3 1 (+) [-4+]mCQK fuller-software_studies (40-41) 20130921f 0 -23+ progress/2011/10/notes_for_fuller-software_studies.html
Code: universal but necessarily technological, Roman empire (war) substrate via Suetonius allowing Antony link. (40-41) Codes materialize in processes of encryption, which is, according to Wolfgang Coyƒs elegant definition, from a mathematical perspective of mapping of a finite set of symbols of an alphabet onto a suitable signal sequence. . . . Contrary to current opinion, codes are not a peculiarity of computer technology or genetic engineering; as sequences of signals over time they are part of every communications technology, every transmission medium. On the other hand, much evidence suggests that coes became conceivable and feasibly only after true alphabets, as opposed to mere ideograms or logograms, had become available for the codification of natural languages. . . . developed communications technology. . . In his Lives of the Caesars, Suetonius . . . recounts discovering encrypted letters among the personal files left behind by both the divine Caesar and the divine Augustus. . . . the basis on which command, code, and communications technology coincided was the Empire . . . command, control, communication, computers.

3 3 1 (+) [-6+]mCQK fuller-software_studies (41) 20130921g 0 -10+ progress/2011/10/notes_for_fuller-software_studies.html
Code: American copyright law, and the possibility of being unaffected by its sway. (41) The etymon codex . . . for the first time be leafed through. And that was how the word that interests us here embarked on its winding journey to the French and English languages. . . . Message transmission turned into data storage, pure events into serial order. And even today the Codex Theodosius and Codex Iustinianus continue to bear a code of ancient European rights and obligations in those countries where Anglo-American common law does not happen to be sweeping the board.

3 3 1 (+) [-4+]mCQK fuller-software_studies (42 footnote 9) 20130921h 0 -1+ progress/2011/10/notes_for_fuller-software_studies.html
Code: Viete foonote on combinations of characters sets versus crossing languages that are pronounced (blituri); tie in to high level programming languages. (42 footnote 9) Viete himself chose vowels for unknowns, and consonants for coefficients.

3 3 1 (+) [-4+]mCQK fuller-software_studies (43) 20130921i 0 -9+ progress/2011/10/notes_for_fuller-software_studies.html
Code: trans-semantic optimized languages as products of technical problem solving yielded lookup tables, fetching, not cipher computing. (43) For the first time [in Morse Universal Code Condensers] a system of writing had been optimized according to technical criteria that is, with no regard to semantics. . . . What used to be called deciphering and enciphering has since then been referred to as decoding and encoding. . . . The twentieth century thus turned a thoroughly capitalist money-saving device called code condenser into highest mathematical stringency.

3 3 1 (+) [-4+]mCQK fuller-software_studies (44) 20111008 0 -8+ progress/2011/10/notes_for_fuller-software_studies.html
Code: Clear philosophies of embodiment tie in with Turing acknowledging embodiment in decoding natural language, as well as environmental knowledge. (44) Turing himself raised the question of the purpose for which computers were actually created, and initially stated as the
primary goal the decoding of plain human language: [quoting from Intelligent machinery ] . . . This field seems, however, to depend rather too much on sense organs and locomotion to be feasible. . . . the subject matter of cryptography is very easily dealt with by discrete machinery, physics not so easily.

3 3 1 (+) [-4+]mCQK fuller-software_studies (45) 20130921j 0 -5+ progress/2011/10/notes_for_fuller-software_studies.html
Code: overused term for law of subjecting empire holding sway. (45) the notion of code is as overused as it is questionable. . . . But perhaps code means nothing more than codex did at one time: the law of precisely that empire which holds us in subjection and forbids us even to articulate this sentence.

3 3 1 (+) [-4+]mCQK fuller-software_studies (53) 20130921l 0 -5+ progress/2011/10/notes_for_fuller-software_studies.html
Codecs: motion vectors are elementary component rather than picture itself. (53) If intrapicture compression is the first major component of MPEG-2, motion prediction between frames is the second. . . . Here the picture itself is no longer the elementary component of the sequence, but an object to be analyzed in terms of sets of motion vectors describing relative movements of blocks and then discarded.

3 3 1 (+) [-4+]mCQK fuller-software_studies (54) 20130921m 0 -2+ progress/2011/10/notes_for_fuller-software_studies.html
Codecs: materiality of images replaced by approximate operations working within calibrated psycho-perceptual parameters. (54) However, the way the MPEG-2 codec pulls apart and reorganizes moving images goes further than simply transporting images. Transform compression and motion estimation profoundly alter the materiality of images, all the while preserving much of their familiar cinematic or televisual appearance.

3 3 1 (+) [-4+]mCQK fuller-software_studies (72) 20130921o 0 -3+ progress/2011/10/notes_for_fuller-software_studies.html
Copy: meme theory expresses cult of the copy of digital era contrasted to those of imitatio and mimesis. (72) What makes
meme theory interesting is not whether or not it is ultimately an accurate description of the basic processes of the world, but that it expresses well this cult of the copy of the digital era while it abstracts copying from its material contexts into a universal principle.
(73-74) Theological issues defined the importance of what was copied and preserved, whereas nowadays the right to copy and to reproduce culture is to a large extent owned by global media companies. This illustrates how copying is an issue of politics in the sense that by control of copying (especially with technical and juridical power) cultural production is also hierarchized and controlled.

3 3 1 (+) [-4+]mCQK fuller-software_studies (75-76) 20130921p 0 -6+ progress/2011/10/notes_for_fuller-software_studies.html
Copy: society of control docility through microcontrol user behavior built into data. (75-76) Hence we move from the error-prone techniques of monks to the celluloid-based cut and paste of film, and on to the copy machines of contemporary culture, in which digitally archived routines replace and remediate the analog equivalents of prior discourse networks. . . . The novelty of the digital copy system is in the capability to create such copy management systems or digital rights management (DRM) techniques, which act as microcontrollers of user behavior. Data is endowed with an inherent control system, which tracks the paths of software (for example, restricting the amount of media players a digitally packed audiovision product can be played on).

3 3 1 (+) [-4+]mCQK fuller-software_studies (79) 20130921q 0 -5+ progress/2011/10/notes_for_fuller-software_studies.html
Data Visualization: compare overcoming distances to Ihde on instrumentation, Hayles on nonrepresentational imaging such as PET scans. (79) Visualizations are created for people rather than for machines they imply that not all computational processes can be fully automated and left to run themselves. . . . One of the fundamental properties of software is that once it is being executed it takes place on such a fine temporal and symbolic scale and across such a vast range of quantities of data that it has an intrinsically different materiality than that with which we are able to deal with unaided.

3 3 1 (+) [-4+]mCQK fuller-software_studies (91) 20130921r 0 -1+ progress/2011/10/notes_for_fuller-software_studies.html
Elegance: Feenberg relates elegance and concretization; here Fuller ties it to understanding digital literacy. (91) Elegance exists in the precision madness of axioms that cross categories, in software that observes terseness and clarity of design, and in the leaping cracks and shudders that zigzag scales and domains together.

3 3 1 (+) [-4+]mCQK fuller-software_studies (114) 20130921s 0 -1+ progress/2011/10/notes_for_fuller-software_studies.html
Glitch: communal decision to return to aesthetics of obsolete technologies like 8-bit music. (114) Returning to a genuine computer aesthetics of obsolete technology is not a question of individual choice, but has the quality of a communal, social decision.

3 3 1 (+) [-4+]mCQK fuller-software_studies (114) 20130921t 0 -3+ progress/2011/10/notes_for_fuller-software_studies.html
Glitch: dysfunctional event allowing insight into alien computer aesthetics reminiscent of Freudian method. (114) A glitch is a singular dysfunctional event that allows insight beyond the customary, omnipresent, and alien computer aesthetics. A glitch is a mess that is a moment, a possibility to glance at softwareƒs inner structure, whether it is a mechanism of data compression or HTML code. Although a glitch does not reveal the true functionality of the computer, it shows the ghostly conventionality of the forms by which digital spaces are organized.

3 3 1 (+) [-4+]mCQK fuller-software_studies (161) 20130921w 0 -5+ progress/2011/10/notes_for_fuller-software_studies.html
Interrupt: signals are software interrupts, breaking through default program flow established by the language. (161) In polling, the computer periodically checks to see if any external signals have arrived but the processor retains control over when they are handled. In interrupts, the signals are handled whenever they arrive, interrupting the processor in whatever it is doing, and giving some control over its activities to an external agent. While polling continues to be used on some simple processor devices, the interrupt enabled more sophisticated forms of interaction between a computer and the external world. . .

3 3 1 (+) [-4+]mCQK fuller-software_studies (162) 20130921x 0 -13+ progress/2011/10/notes_for_fuller-software_studies.html
Interrupt: makes software social, social inscription of assemblages of social relations; Derrida gram; liminal and porous boundaries. (162) It breaks the solipsism of the computer as a Turing Machine, enabling the outside world to touch and engage with an algorithm. The interrupt acknowledges that software is not sufficient unto itself, but must include actions outside of its coded instructions. In a very basic sense, it makes software social, making its performance dependent upon associations with others --processes and performances elsewhere.
(162-163) The interrupt vector, then, becomes a carrier through which different elements of a social assemblage are associated. . . . In this sense, we could say that softwareƒs cognition of the social is comparable to
Derridaƒs. Indeed, the action of interruption, of the break, is fundamental to the notion of the gram. . . . The interrupt, therefore, is the mechanism through which the social, as a process of making and breaking associations with others, is inscribed into a piece of running software.

3 3 1 (+) [-4+]mCQK fuller-software_studies (165) 20130921y 0 -6+ progress/2011/10/notes_for_fuller-software_studies.html
Interrupt: humans are interrupts, therefore software criticism must be social; tie in keyboard and bell of Burks, Goldstine, von Neumann. (165) If the interrupt teaches us anything about software, it is that software is in many cases only as effective as the people who use it, those nondeterministic machines with their complex, non-reproducible behaviors, those others on whom it relies can it really control such beasts? . . . Software engineering is simultaneously social engineering. Software criticism, therefore, must also be simultaneously social.

3 3 1 (+) [-4+]mCQK fuller-software_studies (184-185) 20130121 0 -13+ progress/2011/10/notes_for_fuller-software_studies.html
Memory: Trope from Plato to Derrida (Kittler) good example of how theories from other disciplines frame understanding of computers; now computer is preferred model (Hayles), which itself is based on bureaucratic paper forms, Bartleby-the-Scrivener. (184-185) Aristotleƒs trope does not begin or end with him. Plato wrote of the analogy before Aristotle; and, Cicero, Quintillian, Sigmund Freud, and Jacques Derrida explored the trope of memory-as-wax-tablet after him. Each new generation of memory theorists tends to incorporate the latest media technology to explore its similarities with human memory.
(185) This belief, that the computer is the best model of the object of study, is not unique to cognitive science. . . . The first set of models devised by cognitive psychologists to explain the structure and dynamics of human memory recapitulated many architectural aspects of then-contemporary computational hardware.
(186) When the machines we now call computers were first designed, they were designed to do the work of a human computer. . . . So from Aristotleƒs seals we have moved to a newer technology of bureaucracy, namely numbered paper forms.

3 3 1 (+) [-4+]mCQK fuller-software_studies (190) 20130923a 0 -6+ progress/2011/10/notes_for_fuller-software_studies.html
Memory: acknowledge idiosyncratic assumptions about memory and reasoning reified in computer technologies likely due to their primary business and military motivators: can alternative designs be theorized and enacted, such as Proust example suggesting value of considering theories from other disciplines, leads to sound studies. (190) Juxtaposition with very different images of memory help one to imagine alternatives to the closed world conditions that contemporary computational models circumscribe. For example, Marcel Proustƒs image of memory does not provide a better model of memory than the computer model, but it does provide a different model: contrasting image that can be seen to highlight issues, ideas, and materialities uncommon to the military-(post)industrial technologies of memory: [quoting from Remembrance of Things Past] And suddenly the memory revealed itself. The taste was that of the little piece of madeleine which on Sunday mornings at Combray . . . bear unflinchingly, in the tiny and almost impalpable drop of their essence, the vast structure of recollection.

3 3 1 (+) [-4+]mCQK fuller-software_studies (201) 20130923e 0 -2+ progress/2011/10/notes_for_fuller-software_studies.html
Object Orientation: challenges deemphasis on individuality and specificity of human interaction to focus on generalized, mathematical data-exchange model characteristic of procedural programming, but nonetheless exhibits its own imperialism, biases, and limitations; compare to Hayles analysis of cybernetcs. (201) This focus on generalizing information, communication, and interaction in computer science pushes the multiform character of individuality and the specificity of human interaction into the background. The exploration of the object-oriented approach is a significant example of this.

3 3 1 (+) [-4+]mCQK fuller-software_studies (205) 20130923f 0 -3+ progress/2011/10/notes_for_fuller-software_studies.html
Object Orientation: difficult to enact Heideggerian change inspired by doubt while under sway of conditions built into OO products; orthogonal to typical concerns of free software advocates. (205) Doubt leading to exploration and change is, according to Heidegger, the essence of technology; it is not simply a means to an end, it is a way of revealing the world we live in.
(205) However, is this change of meaning still possible? It requires the blowing up of the pre-established conditions for change embedded in OO-products.

3 3 1 (+) [-4+]mCQK fuller-software_studies (217) 20130923i 0 -1+ progress/2011/10/notes_for_fuller-software_studies.html
Pixel: normalization of representation by pixel technologies enjoyed by rich countries hides environmental damage done by the industries that produce them, a critical hardware study moreso than software. (217) Seen from some future water-table polluting slag-heap of heavy metals made from last yearƒs cast-off monitors, printers, and scanners, the pixel will glint and wink at us, the guiding light in the reordering of our individual and collective sight, reduced to the soft/hardware systems that are used to record, judge, display, and manipulate the ambient variables of light.

3 3 1 (+) [-4+]mCQK fuller-software_studies (220) 20130923j 0 -6+ progress/2011/10/notes_for_fuller-software_studies.html
Preferences: Hayles too argues that the preferences and other user residue not merely mirrors but co-constitutes human brains; playing around with preferences palette is the way everyday users transcend unreflexive consumption by engaging with the representational machinery controlled outside their brains. (220) Software increasingly constructs dynamic models of its user and customizes itself accordingly. . . . Still it highlights how my preferences on my personal computer become some sort of automated autobiography within the medium of software, on
my personal computer becomes a cybernetic mirror of me.
(220 footnote 8) To sum up, a computer, with the passing of time, ends up looking like its ownerƒs brain.

3 3 1 (+) [-4+]mCQK fuller-software_studies (225) 20130923k 0 -2+ progress/2011/10/notes_for_fuller-software_studies.html
Programmability: disciplining of hardware through discretization also disciplines thinker as programmer, who is rewarded with causal pleasure. (225) The programmability and accuracy of digital computers stems from the discretization (or disciplining) of hardware.
(227) Just as Schrodinger links programmability to an all-penetrating mind, programmability is linked to the feelings of mastery attributed to programming, its causal pleasure.

3 3 1 (+) [-4+]mCQK fuller-software_studies (239) 20130923n 0 -7+ progress/2011/10/notes_for_fuller-software_studies.html
Source Code: gives examples of foss repositories and invokes Stallman. (239) There are other examples that extend the online repository model to the cultural realm. . . . Another example is Sweetcode.org, which presents a themed and contextualized (reviewed) systematic selection of links to innovative free software.
(239) In
Free Software, Free Society, Richard Stallman suggests that the sharing of software is as old as computing, just as the sharing of recipes is as old as cooking.

3 3 1 (+) [-4+]mCQK fuller-software_studies (246) 20130923q 0 -7+ progress/2011/10/notes_for_fuller-software_studies.html
System Event Sounds: now part of broader culture beyond corporate control; no mention of cell phone system sounds, but obvious extension. (246) The ascending logon melody is perceived as the positive energized action and the descending logoff as the negative one.
(246) In fact these media have stereotyped these ways of hearing and comprehending. As such, the immediate understanding of the critical battery sound as a warning and the experience of the logon sound as a positive action is due to both innate experiences of music and cultural ways of listening.
(248) In an interview Brian Eno explained that Microsoft presented him with a list of adjectives (inspiring, optimistic, futuristic, sentimental, emotional, etc.) that they wanted the sound to reflect. He composed eighty-four different pieces of music, from which they chose one [the Windows 3.1 Microsoft Sound ].

3 3 1 (+) [-4+]mCQK fuller-software_studies (253) 20130923r 0 -5+ progress/2011/10/notes_for_fuller-software_studies.html
Text Virus: writing as phamakon; machinic writing stifled by virus categorization. (253) For this reason writing as a
pharmakon a Greek term that stands both for medicine and poison an errant simulacrum of a living discourse that comes from afar and whose effects are unknown to those who take it.
(254) for the Greeks [quoting David Abram] a direct association is established between the pictorial sign and the vocal gesture, for the first time completely bypassing the thing pictured.
(254-255) Thus, in a machinic environment the hoax constantly redoubles the acts of magic through which programmers translated one language into another after they lost their respective parents (the external world for the alphabet, the machine for code). Both orphans, the two systems can now exchange their functions and look for a different destiny. But to express its virtuality, machinic writing constantly struggles with the gatekeepers that try to disambiguate it and reinscribe it in a proper and productive system of signification.

3 3 1 (+) [-4+]mCQK fuller-software_studies (258-259) 20130923s 0 -7+ progress/2011/10/notes_for_fuller-software_studies.html
Timeline: textual effects of timestretching. (258-259) The technique referred to as time-stretching cuts the continuity between the duration of a sonic event and its frequency. In granular synthesis, discreet digital particles of time are modulated and sonic matter is synthesized at the molecular level. In analog processing, to lower the pitch of a sound event adds to the length of the event. . . . Timestretching, however, facilitates the manipulation of the length of a sonic event while maintaining its pitch, and vice versa.

3 3 1 (+) [-4+]mCQK fuller-software_studies (262 footnote 7) 20130923t 0 -2+ progress/2011/10/notes_for_fuller-software_studies.html
Variable: programmers do practical ontology, as in account of fetch and execute variable and requirement of unambiguous indication in namespaces; see Smith On the Origin of Objects. (262 footnote 7)

3 3 1 (+) [-4+]mCQK golumbia-cultural_logic_of_computation (131) 20130817c 0 -4+ progress/2013/08/notes_for_golumbia-cultural_logic_of_computation.html
Proprietary software like Claritas PRIZM creates new knowledge about consumers applying cultural striations with far reaching effects that could be seen as disturbingly racialist to sustain oligarchical capitalism. (131) Claritas and its forerunners have used computers to develop a suite of marketing applications which striate the consuming population into statistical aggregates that allow pinpointed marketing, financing, advertising, and so forth.
(131) Typical among the product Claritas produces is one called Claritas PRIZM, which divides the U.S. consumer into 14 different groups and 66 different segments (Claritas 2007).

3 3 1 (+) [-4+]mCQK golumbia-cultural_logic_of_computation (135) 20130817d 0 -10+ progress/2013/08/notes_for_golumbia-cultural_logic_of_computation.html
Many real-time strategy computer games exhibit the same computationalist world view, especially Microsoft Age of Empires; related to procedural rhetoric. (135) In fact, within a wide variety of computer games, one can see a process exactly isomorphic to such software applications, in which quantified resources are maximized so that the player can win the game.
(136) Playing an RTS game such as
Warcraft, Starcraft, Civilization, Alpha Centauri, Age of Empires, Empire Earth, or any of a number of others, one experiences the precise systemic quality that is exploited for inefficiency in ERP software and its particular implementations.
(137) Instead of a paradise of informatic exchange, the world of computer representations is a bitter and political one of greedy acquisitiveness, callous defeat, and ever-more-glorious realizations of the will-to-power. It seems inevitable that the result of such pursuits is most commonly boredom. . . . The game thus covertly satisfies the unconscious, but offers only traumatic repetition as satisfaction, more consumption as the solution to the problem of being human.
(137) Among the most paradigmatic of RTS games is Microsoftƒs
Age of Empires, which has been issued so far in three major iterations.
(137) There is no real ability to depict intergroup interactions, hybridization, or blending; the existence of racialized and national groupings is presented as a kind of natural fact that cannot be questioned or changed in the course of gameplay, as if this were also true of the global history the game will display.

3 3 1 (+) [-4+]mCQK golumbia-cultural_logic_of_computation (163) 20130818e 0 -9+ progress/2013/08/notes_for_golumbia-cultural_logic_of_computation.html
Critical study awaiting for ERP and CRM systems that define and control systems of social actions and actors, yet are treated as ideology-free tools. (163) One area of computing that has so far remained outside of critical attention is the proliferation of engineering protocols which are used by corporations for the implementation of large-scale systems (large both quantitatively and geographically). The most well-known of these are called Enterprise Resource Planning (ERP) and Customer Relationship Management (CRM), though these are only two examples of a widespread approach in business computing. Some of the best-known software manufacturers in the history of commercial computing, including SAP, BAAN, Microsoft, Oracle, PeopleSoft, Computer Associates, and others, have derived much of their income from these protocols. They have been explicitly developed and implemented for the purpose of defining and controlling the system of social actions and actors; they constitute a sizable fraction of the work taken by the thousands of engineering students produced by todayƒs institutions of higher education. They are the skills that computer scientists and engineers develop to use in the world at large, and they are always construed and described as such. They are tools, supposedly free of ideological weight, and so far largely free from critical scrutiny. Like other such phenomena, on reflection they turn out to be among the most precise and deliberate structures of political definition and control, and they remain so far largely outside of the purview of cultural interpretation and understanding.
(164) ERP thus refers to software designed to allow business executives and IT managers to subject every aspect of their organization to computerized control.
(164) ERP business process analyses look for so-called inefficiencies in the system, finding places, for example, where a resource is sitting idle when it could be doing work.

3 3 1 (+) [-4+]mCQK golumbia-cultural_logic_of_computation (167) 20130818f 0 -5+ progress/2013/08/notes_for_golumbia-cultural_logic_of_computation.html
Managed care operates like a RTS game. (167) Nowhere are the effects of CRM more paradigmatically evident than in health care, especially in so-called managed care. . . . Unless one is prepared to treat the health care system as an AI opponent in the game, one is likely not going to receive maximal care for oneƒs state of bodily health, but rather a set number of resources dictated by the AI opponent.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (3) 20130924 0 -10+ progress/2010/02/notes_for_hayles-electronic_literature.html
Electronic literature defined as digitally born hybrid literary creative artworks. (3) Electronic literature, generally considered
to exclude print literature that has been digitized, is by contrast digital born, a first-generation digital object created on a computer and (usually) meant to be read on a computer. . . . The [Electronic Literature Organization] committeeƒs formulation reads: work with an important literary aspect that takes advantage of the capabilities and contexts provided by the stand-alone or networked computer.
(4) Hybrid by nature, it comprises a trading zone (as Peter Galison calls it in a different context) in which different vocabularies, expertises, and expectations come together to see what might emerge from their intercourse. . . . I propose
the literary for this purpose, defining it as creative artworks that interrogate the histories, contexts, and productions of literature, including as well the verbal art of literature proper.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (3) 20120906a 0 -5+ progress/2010/02/notes_for_hayles-electronic_literature.html
The ELO formulation does not entail the universal law based on the specific example of the most basic digitization of print texts that we would all agree with Hayles does not rise to the occasion of being sufficiently literary, a term she will soon introduce, so despite the harsh use of conjoining exclusion and generally Hayles has really opened the door to electronic texts that are powered, in part, by exact digitizations of commonly conceived as the authoritative and canonical originals, all of which if in the public domain can be cited; in fact she says as much on page 84. (3) Electronic literature, generally considered
to exclude print literature that has been digitized, is by contrast digital born, a first-generation digital object created on a computer and (usually) meant to be read on a computer. . . . The [Electronic Literature Organization] committeeƒs formulation reads: work with an important literary aspect that takes advantage of the capabilities and contexts provided by the stand-alone or networked computer.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (13) 20130924a 0 -7+ progress/2010/02/notes_for_hayles-electronic_literature.html
Transformation of bodily experience through new reading modes that are kinesthetic, haptic, proprioceptively vidid experiences may in turn reshape the mind. (13) the work has redefined what it means to read, so that reading becomes, as Rita Raley has pointed out, a kinesthetic, haptic, and proprioceptively vivid experience, involving not just the cerebral activity of decoding but bodily interactions with the words as perceived objects moving in space.
(13) the page is transformed into a complex topology that rapidly transforms from a stable surface into a playable space in which she is an active participant.
(14) CAVE equipment, costing upward of a million dollars and depending on an array of powerful networked computers and other equipment, is typically found only in Research 1 universities and other elite research sites. . . . Of the few institutions that have this high-tech resource, even fewer are willing to allocate precious time and computational resources to creative writers.

3 3 1 (+) [-6+]mCQK hayles-electronic_literature (20-21) 20130924b 0 -3+ progress/2010/02/notes_for_hayles-electronic_literature.html
Code work ranges from machine readable and executable to broken code. (20-21)
Code work, a phrase associated with such writers and Alan Sondheim, MEZ (Mary Ann Breeze), and Talan Memmott and with critics such as Florian Cramer, Rita Raley, and Matthew Fuller, names a linguistic practice in which English (or some other natural language) is hybridized with programming expressions to create a creole evocative for human readers, especially those familiar with the denotations of programming languages. Code work in its purest form is machine readable and executable, such as Perl poems that literally have two addressees, human and intelligent machines. More typical are creoles using broken code, code that cannot actually be executed but that uses programming punctuations and expressions to evoke connotations appropriate to the linguistic signifiers.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (21) 20130924c 0 -6+ progress/2010/02/notes_for_hayles-electronic_literature.html
Among those languages are programming languages and natural languages, breaking their exclusion in Ong in Orality and Literacy on the grounds that they could never be natural languages; the door opened by the ready supply of ideological constants, a term I used many years ago when I was groping at the vision now much clearer, leads to the idea of code work usable by both human and intelligent machines. (21) The conjunction of language with code has stimulated experiments in the formation and collaboration of different kinds of languages.
(22-23) The
multimodality of digital art works challenges writers, users, and critics to bring together diverse expertise and interpretive traditions so that the aesthetic strategies and possibilities of electronic literature may be fully understood. . . . when a work is reconceived to take advantage of the behavioral, visual, and/or sonic capabilities of the Web, the result is not just a Web version but an entirely different artistic production that should be evaluated in its own terms with a critical approach fully attentive to the specificity of the medium.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (23) 20130924d 0 -3+ progress/2010/02/notes_for_hayles-electronic_literature.html
Shift from literacy to electracy necessitates new critical practices such as Kirschenbaum digital forensics and Aarseth ergodic reading; suggest that subdivisions of forensic and formal materiality cross in the articulation of technological concretizations. (23) the computational media intrinsic to electronic textuality have necessitated new kinds of critical practice, a shift from literacy to what Gregory L. Ulmer calls
electracy.
(24-25) Exemplifying this kind of critical practice is Matthew
Kirschenbaumƒs Mechanisms: New Media and Forensic Textuality.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (28) 20130924e 0 -2+ progress/2010/02/notes_for_hayles-electronic_literature.html
Bogost unit operation approach takes programming languages and practices into account. (28) As Bogostƒs approach suggests, taking programming languages and practices into account can open productive approaches to electronic literature, as well as other digital and nondigital forms. The influence of software is especially obvious in the genre of the Flash poem, characterized by sequential screens that typically progress with minimal or no user intervention.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (31-32) 20130924f 0 -1+ progress/2010/02/notes_for_hayles-electronic_literature.html
The limitation of current technologies reflected in state of the art designs sees electronic literature as much more restricting than the codex (book) form of literature, overshadowing the unique capability of electronic literature to reform itself dynamically in response to the reader; whereas following hyperlinks may have its print correlate, this property is unique. (31-32) Compared to the flexibility offered by the codex, which allows the reader complete freedom to skip around, go backward as well as forward, and open the book wherever she pleases, the looping structures of electronic hypertexts and the resulting repetition forced on the reader/user make these works by comparison more rather than less coercive.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (32) 20130924g 0 -3+ progress/2010/02/notes_for_hayles-electronic_literature.html
They are two different things, being dynamically reconfigurable and being deconstructive. (32) In conflating hypertext with the difficult and productive aporias of deconstructive analysis, these theorists failed to do justice to the nuanced operations of works performed in electronic media or to the complexities of deconstructive philosophy.
(33) Rather than circumscribe electronic literature within print assumptions, Aarseth swept the board clean by positing a new category of ergodic literature, texts in which non-trivial effort is required to allow the reader to traverse the text (1).
(33) Markku Eskelinenƒs work, particularly Six Problems in Search of a Solution: The Challenge of Cybertext Theory and Ludology to Literary Theory, further challenges traditional narratology as an adequate model for understanding ergodic textuality, making clear the need to develop frameworks that can adequately take into account the expanded opportunities for textual innovations in digital media.

3 3 1 (+) [-6+]mCQK hayles-electronic_literature (35) 20130924h 0 -3+ progress/2010/02/notes_for_hayles-electronic_literature.html
Galloway emphasis on code as only executable language means any study of electronic literature may, or ought, to include some analysis of the source code and enframing technologies, so the implications of availability of the source code are obvious here; additionally raising questions where is the boundary between the source code of the work and the surrounding operating environment, and what is the status of database records and ephemera of the running of the code? (35) Alexander Galloway in Protocol puts the case succinctly: Code is the only language that is executable (emphasis in original). Unlike a print book, electronic text literally cannot be accessed without running the code. Critics and scholars of digital art and literature should therefore properly consider the source code to be part of the work, a position underscored by authors who embed in the code information or interpretive comments crucial to understanding the work.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (35) 20130924i 0 -2+ progress/2010/02/notes_for_hayles-electronic_literature.html
McGann argues print texts have always used markup languages. (35) [Jerome
McGann] turns this perspective on its head in Radiant Technology: Literature after the World Wide Web by arguing that print texts also use markup language, for example, paragraphing, italics, indentation, line breaks, and so forth.
(36-37) Complementing studies focusing on the materiality of digital media are analyses that consider the embodied cultural, social, and ideological contexts in which computation takes place.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (39) 20130924j 0 -9+ progress/2010/02/notes_for_hayles-electronic_literature.html
This choice of wording suggests that a more sensitive study of free, open source cultural movements can expand the perspective taken by Mackenzie and/or Hayles. (39) Among these constituencies are theorists and researchers interested in the larger effects of network culture. . . . Adrian
Mackenzieƒs Cutting Code: Software as Sociality studies software as collaborative social practice and cultural process. . . . electronic literature is evolving within complex social and economic networks that include the development of commercial software, the competing philosophies of open source freeware and shareware, the economics and geopolitical terrain of the internet and World Wide Web, and a host of other factors that directly influence how electronic literature is created and stored, sold or given away, preserved or allowed to decline into obsolescence.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (41) 20130924k 0 -4+ progress/2010/02/notes_for_hayles-electronic_literature.html
Considerations of creating long lasting elit. (41) [Montfort and Wardrip-Fruinƒs] Acid-Free Bits offers advice to authors to help them find ways to create long-lasting elit, ways that fit their practice and goals (3). The recommendations include preferring open systems to closed systems, choosing community-directed systems over corporate driven systems, adhering to good programming practices by supplying comments and consolidating code, and preferring plain-text to binary formats and cross-platform options to single-system options.
(41) More encompassing, and even more visionary, is the proposal in Born-Again Bits for the X-Literature Initiative. The basic premise is the XML (Extensible Markup Language) will continue to be the most robust and widespread form of Web markup language into the foreseeable future.

3 3 1 (+) [-6+]mCQK hayles-electronic_literature (56-57) 20130924m 0 -8+ progress/2010/02/notes_for_hayles-electronic_literature.html
Definition of computer cognition as execution and performance of a work. (56-57) In electronic literature, this dynamic is evoked when the text performs actions that bind together author and program, player and computer, into a complex system characterized by intermediating dynamics. The computerƒs performance builds high-level responses out of low-level processes that interpret binary code. These performances elicit emergent complexity in the player, whose cognitions likewise build up from low-level thoughts that possess much more powerful input to high-level thoughts than the computer does, but that nevertheless are bound together with the computerƒs subcognitive processes through intermediating dynamics. The cycle operates as well in the writing phase of electronic literature. When a programmer/writer creates an executable file, the process reengineers the writerƒs perceptual and cognitive systems as she works with the mediumƒs possibilities. . . .

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (63) 20130924n 0 -6+ progress/2010/02/notes_for_hayles-electronic_literature.html
Example of processual work is Twelve Blue. (63) In
Twelve Blue, by contrast, playing is one of the central metaphors. . . . Compared with afternoon, Twelve Blue is a much more processual work. Its central inspiration is not the page but rather the flow of surfing the Web.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (71) 20130924p 0 -6+ progress/2010/02/notes_for_hayles-electronic_literature.html
An excellent articulation of the hegemonic computation process of reading to produce virtual realities by Mencia; go back to this in more detail. (71) In Methodology, Mencia comments that she is particularly interested in the exploration of visuality, orality and the semantic/ƒnon semanticƒ meaning of language. On the strength of her graduate work in English philology, she is well positioned to explore what happens when the phone and phoneme are detached from their customary locations within morphemes and begin to circulate through digital media into other configurations, other ways of mobilizing conjunctions of marks and sounds. . . . With traditional print literature, long habituation causes visuality (perception of the mark) to flow automatically into subvocalization (cognitive decoding) that in turn is converted by the mindƒs eye into the readerƒs impression that the words on the page give way to a scene she can watch as the characters speak, act, and interact.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (82-83) 20130924r 0 -6+ progress/2010/02/notes_for_hayles-electronic_literature.html
Genetic algorithm as complex adaptive system involving player choices. (82-83)
The Error Engine, a collaborative work co-authored by Judd Morrissey, Lori Talley, and computer scientist Lutz Hamel, carries the implications of The Jewƒs Daughter to another level by functioning as an adaptive narrative engine that initiates a coevolutionary dynamic between writer, machine, and player. . . . In the next instantiation of the program, no yet implemented, the authors envision an algorithm whose selection criteria can itself evolve in relation to the playerƒs choices. Such a program would deserve to be called a genetic algorithm, a complex adaptive system in which the userƒs choices and the algorithm responding to those choices coevolve together.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (83) 20130924s 0 -11+ progress/2010/02/notes_for_hayles-electronic_literature.html
Undeniable influence of computation for the critical framework of contemporary literature; gratuitous reference to Phaedrus with the close loop feedback difference between electronic and print literature. (83) Certainly print literature changes a readerƒs perceptions, but the loop is not closed because the words on the page do not literally change in response to the userƒs perceptions. . . . To fully take this reflexivity into account requires understanding the computerƒs cascading interpretive processes and procedures, its possibilities, limitations, and functionalities as a subcognitive agent, as well as its operations within networked and programmable media considered as distributed cognitive systems. . . . Whatever limitations intermediation as a theory may have, its virtue as a critical framework is that it
introduces computation into the picture at a fundamental level, making it not an optional add-on but a foundational premise from which to launch further interrogation.
(84) No less than print literature, literary criticism is affected because digital media are increasingly essential to it, limited not just to word processing but also to how critics now access legacy works through digital archives, electronic editions, hypermedia reinstantiations, and so forth.
(85)
Contemporary literature, and even more so the literary that extends and enfolds it, is computational.

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Distinguish broken code and pseudo code. (123) The passage cited above continues with broken code, that is, code that is a creolization of English with computer code, evocative of natural language connotations but not actually executable. . . . In particular, the play between human language and code points to the role of the intelligent machine in contemporary constructions of subjectivity, gesturing toward what Scott Bukatman has called terminal identity, or in Memmottƒs lexicon, the I-terminal.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (132) 20130928e 0 -3+ progress/2010/02/notes_for_hayles-electronic_literature.html
Same Rumsfeld quote used by Zizek; this point seems obvious given the enormous role of not consciously articulated purposive action transmitting practices of all sorts. (132) Paraphrasing that well-known Zen poet Donald Rumsfeld, I propose that (some of) the purposes of literature are to reveal what we know but donƒt know that we know, and to transform what we know we know into what we donƒt yet know. Literature, that is, activates a recursive feedback loop between knowledge realized in the body through gesture, ritual, performance, posture, and enactment, and knowledge realized in the neocortex as conscious and explicit articulations. As the French sociologist Pierre Bourdieu has shown, robust and durable knowledge can be transmitted through social practices and enactments without being consciously articulated.

3 3 1 (+) [-6+]mCQK hayles-electronic_literature (133-134) 20130928f 0 -9+ progress/2010/02/notes_for_hayles-electronic_literature.html
Control system model of human being, with importance of trauma, embodiment, tying literature to the functional role of control system component activating feedback circuits, is an analogy Hayles draws between studies of human body in cognition and literature (print and electronic). (133-134) bodily knowledge is directly tied in with the limbic system and the viscera, as Antonio
Damasio has shown, with complex feedback loops operating through hormonal and endocrine secretions that activate emotions and feelings. . . . Traumatic events are understand in precisely this way, as disruptions that disconnect conscious memory from the appropriate affect. . . . In this context, literature can be understood as a semiotic technology designed to create or more precisely, activate feedback loops that dynamically and recursively unite feelings with ratiocination, body with mind.

3 3 1 (+) [-4+]mCQK hayles-electronic_literature (140) 20130928n 0 -2+ progress/2010/02/notes_for_hayles-electronic_literature.html
Incomprehensible temporal orders foregrounded in Poundstone Project for Tachistoscope. (140) In historical context, then, the tachistoscope was associated with the nefarious uses to which subliminal perception could be put by Communists who hated capitalists and capitalists who egged on the persecution of Reds and Commies.
(140-141) As the kinds and amounts of sensory inputs proliferate, the effect for verbally oriented users is to induce anxiety about being able to follow the narrative while also straining to put together all the other discordant signifiers.

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Cayley transliteral morphing explorations of algorithms underlying phonemic and morphemic relations. (145-146) Cayley has been exploring what he calls transliteral morphing, a computational procedure that algorithmically morphs, letter by letter, from a source text to a target text. . . . Cayley conjectures that underlying these higher-level relationships are lower-level similarities that work not on the level of words, phrases, and sentences but individual phonemes and morphemes. . . . Just as Mencia invokes the philological history of language as it moves from orality to writing to digital representation, so Cayleyƒs transliteral morphs are underlain by an algorithm that reflects their phonemic and morphemic relations to one another.
(146-147) The complexity of these relationships as they evolve in time and as they are mediated by the computer code, Cayley conjectures, are the microstructures that underlie, support, and illuminate the high-level conceptual and linguistic similarities between related texts.

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In new signification language is equivalent to code, contra Lacan, although not necessarily one-to-one correspondence between compiler and machine languages due to optimization techniques; need to study computer programming to appreciate flickering signifier paradigm. (30) Language is not a code, Lacan asserted, because he wanted to deny one-to-one correspondence between the signifier and the signified. In word processing, however, language
is a code. The relation between machine and complier languages is specified by a coding arrangement, as is the relation of the compiler language to the programming commands that the user manipulates. Through these multiple transformations, some quantity is conserved, but it is not the mechanical energy implicit in a system of levers or the molecular energy of a thermodynamical system.

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Tutor texts are at stake for posthuman humanities, for example in shift to pattern/randomness, and have hardly been assembled for philosophy of computing, although a canon of elit, games, and cultural software are emerging in software and critical code studies. (33) Shifting the emphasis from presence/absence to pattern/randomness suggests different choices for
tutor texts. Rather than studying Freudƒs discussion of fort/da (a short passage whose replication in hundred of commentaries would no doubt astonish its creator), theorists interested in pattern and randomness might point to David Cronenbergƒs film The Fly.
(35) In contrast to Lacanian psycholinguistics, derived from the generative coupling of linguistics and sexuality, flickering signification is the progeny of the fascinating and troubling coupling of language and machine.

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This is a kind of MSA contrasting letters and transcripts of Macy Conferences; also kind of like dismissing the flute players, taking the music out of philosophy. (74) The contrast between the letters and the transcripts illuminates the scientific ethos that ruled at the meetings. Emotions were considered out of bounds for several reasons, all of which perhaps came down to the same reason. The framework of scientific inquiry had been constructed so as to ignore the observer.

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If this is not a statement true of cultural software, it is exemplary of high speed process control software. (91) The new forms are distinguished not by the disappearance of the old but rather by a shift in the nature of their control mechanisms, which in turn are determined by the kinds of exchanges the machine is understood to transact.
(91) Analogy is not merely an ornament of language but is a powerful conceptual mode that constitutes meaning through relation.

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Already division between human and machine providing four perspectives on making: machine language, machine code, human language, human code; not all, of course, are worth studying, however, neglecting a quick survey of the enumerated combinations allows possibly very fruitful philosophical digressions a chance to be tested. (15)

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It there really no human code equivalent, for I thought she makes the very point about disciplinary specialism developing codes forming the contours of their discourses. (15) Among the differences are the multiple addressees of code (which include intelligent machines as well as humans), the development of code by relatively small groups of technical specialists, and the tight integration of code into commercial product cycles and, consequently, into capitalist economics. . . . If, as Stephen Wolfram, Edward Fredkin, and Harold Morowitz maintain, the universe is fundamentally computational, code is elevated to the lingua franca not only of computers but of all physical reality.

3 3 1 (+) [-6+]mCQK hayles-my_mother_was_a_computer (15-16) 20130928g 0 -6+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Language plus code. (15-16) The scholarship on human language is, of course, immense, and a smaller but still enormous quantity of research exists on programming languages. To date, however, criticism exploring feedback loops that connect the two kinds of language have been minimal. . . . Language alone is no longer the distinctive characteristic of technologically developed societies; rather, it is
language plus code.

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A great take on the timeline from orality to literacy and a characterization of the beyond as digital computer code, shortened to code, her key theorists; this paragraph is a good model for establishing approach and methodology. (16-17) In the next chapter, I consider the three principle discourse systems of
speech, writing, and digital computer code. To focus my discussion, I choose as representative of speech the semiotic theories of Ferdinand de Saussure, and of writing, the early texts of Jacques Derrida, especially Of Grammatology, Positions, Writing and Difference, and Margins of Philosophy, work where he discusses the language system as theorized by Saussure and contrasts it with his theory of grammatology. My remarks on code are drawn from a number of sources; particularly important is the work of Stephen Wolfram, Edward Fredkin, Harold Morowitz, Ellen Ullman, Matthew Fuller, Matthew Kirschenbaum, and Bruce Eckel. . . . From the comparison of these worldviews emerges a series of tensions and problematics that will form the basis for the arenas of interaction making, storing, and transmitting central to contemporary creative practices in scientific simulations, digital arts, electronic literature, and print literature.

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She never defines computing; like many, alluding to the Universal Turing machine signals her position. (18) Alan Turing gave a formalist definition of computation in his famous 1936 article describing an abstract computer known as the Turing machine, the most general version of which is called the Universal Turing machine. The Universal Turing machine, as its name implies, can perform any computation that any computer can do, including computing the algorithm that constitutes itself.
(18) The wide-reaching claims made for the Regime of Computation are displayed in Stephen Wolframƒs
A New Kind of Science.
(19) Wolframƒs slide from regarding his simulations as models to thinking of them as computations that actually generate reality can be tracked at several places in his massive text.

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Ambivalent about committing fully to programming on account of shifting focus to implications of being situated in a cultural moment when the question whether to code arises, she places her faith in academic writing; this is followed up by OGorman, Bogost, and others who call for new forms of humanities activity. (20) Rather than attempting to argue one side of the other of this controversial issue, I explore the implications of what it means to be situated at a cultural moment when the question remains undecidable a moment, that is, when computation as means and as metaphor are inextricably entwined as a generative cultural dynamic.
(20) In
The Second Self and Life on the Screen, Sherry Turkle shows compellingly that such feedback loops can dramatically influence how people perceive themselves and others.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (20-21) 20130928k 0 -5+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
This long stretch for an example hints of Kittler even though she formally argues against his reductivist interpretation of military directed technological determinism; the world is fully of the real effects of the Regime of Computation all over the present US built environment. (20-21) A second kind of feedback loop emerges when belief in the Computational Universe is linked with an imagined future through which anticipation cycles to affect the present. A striking example of the Regime of Computationƒs ability to have real effects in the world, whatever its status in relation to the underlying physics, is the initiative to reorganize the U.S. military to pursue network-centric warfare.
(21-22) Anticipating a future in which code (a synecdoche for information) has become so fundamental that it may be regarded as ontological, these transformations take the computational vision and feed it back into the present to reorganize resources, institutional structures, and military capabilities.

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Her contrast of Egan novels with Zizek illustrates extreme poles of the source of inspiration in science fiction. (22) We will return to the entanglement of means and metaphor in chapter 9 through an analysis of Greg Eganƒs subjective cosmology trilogy:
Quarantine, Permutation City, and Distress. . . . The novels will be contrasted with Slavoj Zizekƒs analysis of the symptom, which presupposes that such phantasmatic imaginations function as symptoms pointing toward repressed trauma and underlying psychopathologies.

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Cannot help but think of tying dynamic ontology to points made by Bogost in Alien Phenomenology. (25) Multileveled complex systems synthesized in this way are called dynamical hierarchies (sometimes, significantly, dynamic ontology ), and the complexities they generate are potentially unlimited in scope and depth.
(27) Far from needing to presume or construct a separation between the observer and the observation a premise necessary in the classical understanding of science to ensure objectivity the computational perspective endorsed by Morowitz, Wolfram, and Fredkin has no need of such a stipulation. These researchers can account for the presence of the observer simply by introducing a component into the simulation that performs this function.
(27) In the Regime of Computation, code is understood as the discourse system that mirrors what happens in nature and that generates nature itself.
(28) In fact, no one to date has demonstrated clearly how complex dynamics in simulations can progress more than one level.

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It is still true that digital media invite simulacra, though other media still exhibit self-expressive details. (31) A case in point is the current tendency to regard the computer as the ultimate solvent that is dissolving all other media into itself. Since sound, image, text, and their associated media (such as phonography, cinema, and books) can all be converted into digital code, many commentators, including Lev Manovich and Friedrich Kittler, have claimed that there is now only one medium, the digital computer.
(32) If anything, print readers relish all the more the media-specific effects of books precisely because they no longer take them for granted and have many other media experiences with which to compare them. . . . Recognizing entangled causalities and multiple feedback loops enables us to understand how media can converge into digitality and
simultaneously diverge into a robust media ecology in which new media represent and are represented in old media, in a process that Jay Bolter and Richard Grusin have called remediation.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (33) 20130928o 0 -6+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Compare intermediation versus remediation to Bogost on units versus objects. (33) Remediation has the disadvantage of locating the starting point for the cycles in a particular locality and medium, whereas intermediation is more faithful to the spirit of multiple causality in emphasizing interactions among media. In addition, remediation (thanks to the excellent work Grusin and Bolter have done in positioning the term) now has the specific connotation of applying to immediate/hypermediate strategies. . . . Perhaps most importantly, intermediation also denotes mediating interfaces connecting humans with the intelligent machines that are our collaborators in making, storing, and transmitting informational processes and objects.

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Good support for significance for texts and technology; in the next section she explicitly connects programming and humanities, notes scope of connection is limited to Saussure and Derrida. (39) Now that the information age is well advanced, we urgently need nuanced analyses of the overlays and discontinuities of code with the legacy systems of speech and writing, so that we can understand how processes of signification change when speech and writing are coded into binary digits.
(40) Out of many possibilities, I have chosen to focus on Ferdinand de Saussureƒs view of speech and Jacques Derridaƒs grammatological view of writing partly because these theorists take systematic approaches to their subjects that make clear the larger conceptual issues. . . . a perspective that immediately concerns programming for digital computers but also includes the metaphysical implications of the Regime of Computation. . . . This project, then, is not meant as a general comparison of code with structuralism and deconstruction but as a more narrowly focused inquiry that takes up specifically Saussure and Derrida.
(40) Derridaƒs remarkably supple and complex writing notwithstanding, much of his analysis derives from a characteristic of writing that would likely spring to mind if we were asked to identify the principal way in which writing differs from speech.

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Advantage and limit of computational perspective (also noted by Turkle) may be enriched by philosophy of computing, such as software studies and critical code studies? (41) Where does the complexity reside that makes code (or computers, or cellular automata) seem adequate to represent a complex world? . . . The advantages of the computational view, for those who espouse it, is that emergence can be studied as a knowable and quantifiable phenomena, freed both from the mysteries of the Logos and the complexities of discursive explanations dense with ambiguities. One might observe, of course, that these characteristics also mark the limitations of a computational perspective.
(42) Rather, for me the juice (as Rodney Brooks calls it) comes from the complex dynamics generated when code interacts with speech and writing, interactions that include their mundane daily transactions and also the larger stakes implicit in the conflict and cooperation of their worldviews.

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Materiality matters, compare sense of material constraints and limits to formant speech synthesis; note her example of TTL voltage thresholds is not really applicable to the state of the art implied in her previous discussion of silicon-based chips. (43) For code, the, the assumptions that the sign is arbitrary must be qualified by material constraints that limit the ranges within which signs can operate meaningfully and acquire significance. . . . In the worldview of code, materiality matters.
(44) The advantage of defining an immaterial pattern as the signifier is obvious; through this move, he dispenses with having to deal with variations in pronunciation, dialect, and so on (although he does recognize differences in inflection, a point that Johanna Drucker uses to excavate from his theory a more robust sense of the materiality of the sign).

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Apparent slippage to immaterial pattern by Saussure rectification invites comparison to simulacra and learned Latin. (44) Rectifying voltage fluctuations could be compared to Saussureƒs rectification of actual sounds into idealized sound images.

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Crucial theoretical move by Hayles linking Saussure semiotics to program-based computer technology, which is an ontological position itself; endnote pays attention to compiled versus interpreted signifieds. (45) In the context of code, then, what would count as signifier and signified? Given the importance of the binary base, I suggest that the signifiers be considered as voltages a suggestion already implicit in Friedrich Kittlerƒs argument that ultimately everything in a digital computer reduces to changes in voltages. The signifieds are then the interpretations that other layers of code give these voltages. Programming languages operating at higher levels translate this basic mechanic level of signification into commands that more closely resemble natural language. The translation from binary code into high-level languages, and from high-level languages back into binary code, must happen every time commands are compiled or interpreted, for voltages and the bit streams formed from them are all the machine can understand. . . . Hence the different levels of code consist of interlocking chains of signifiers and signifieds, with signifieds on one level becoming signifiers on another. Because all these operations depend on the ability of the machine to recognize the difference between one and zero,
Saussureƒs premise that differences between signs make signification possible fits well with computer architecture.

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Advantages of citability and iterability only at OO level. (48) Nor does code allow the infinite iterability and citation that Derrida associates with inscriptions, whereby any phrase, sentence, or paragraph can be lifted from one context and embedded in another. . . . Only at the high level of object-oriented languages such as C++ does code recuperate the advantages of citability and iterability (i.e., inheritance and polymorphism, in the discourse of programming language) and in this sense become grammatological.

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Code versus language, alluding to Cicero, enumerations of perspectives among code, language, humans, machines (Galloway). (50) Code that runs on a machine is performative in a much stronger sense than that attributed to language. . . . In
Protocol, Alexander R. Galloway makes this point forcefully when he defines code as executable language.

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A clear articulation of difference between code operations to fetch or execute. (53) Like speech, coding structures make use of what might be called the syntagmatic and paradigmatic, but in inverse relation to how they operate in speech systems. . . . The paradigmatic alternatives are encoded into the database and in this sense actually exist, whereas the syntagmatic is dynamically generated on the fly as choices are made that determine which items in the database will be used.
(53) Flexibility and the resulting mobilization of narrative ambiguities at a high level depend upon rigidity and precision at a low level.

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Expectation of hierarchies in reveal code dynamic. (55) The reveal code dynamic helps to create expectations (conscious and preconscious) in which the layered hierarchical structure of the tower of language reinforces and is reinforced by the worldview of computation. . . . The more natural code comes to seem, the more plausible it is to conceptualize human thought as emerging from a machinic base of computational processes, a proposition explored in chapter 7.

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Eckel book appears to be a trade publication moreso than peer-reviewed scholarship, yet it will found our philosophy of computing implied by Hayles to make her arguments work, evoking a ruthless ethic for its sparse ontology; Hayles, meanwhile, provides another insightful example taken at the implementation level of interprogrammer discourse, the kind of philosophical debates around the lunch table of software developers nationwide. (57) A significant advantage of this mode of conceptualization, as Bruce Eckel explains in
Thinking in C++, is that it allow programmers to conceptualize the solution in the same terms used to describe the problem.
(58) We can now see that object-oriented programs achieve their usefulness principally through the ways they anatomize the problems they are created to solve that is, the ways in which they cut up the world.

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Chun argues software is ideology. (60-61) Indeed, Wendy Hui Kyong
Chun goes so far as to say that software is ideology, instancing Althusserƒs definition of ideology as the representation of the subjectƒs imaginary relationship to his or her real conditions of existence. . . . As is true for other forms of ideology, the interpolation of the user into the machinic system does not require his or her conscious recognition of how he or she is being disciplined by the machine to become a certain kind of subject.

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Virtual bodies in books, not materiality of the media, is her focus. (62) This chapter explores these intermediating cycles in the effects registered on bodies and subjectivities as they are represented in fictions from the close of the nineteenth century to three-quarters of the way through the twentieth century, roughly the period of time it took to go from the passive code of the telegraph to the executable code of the digital computer. At issue here are not so much the bodies of texts themselves topics to which we will turn in the next set of chapters but the bodies
within texts and their relation to the human lifeworld as it is reconfigured by interpolating humans with machines that, as they become intelligent, increasingly interpenetrate and indeed constitute human bodies.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (62) 20130929e 0 -1+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Had computing gone with Stallman rather than Gates, who knows what the past may have been like, imprinted by variants of the other cultural phenomena constituting that era (duration of reality production by media). (62) Throughout this period, the dream of information beckoned as a realm of plenitude and infinite replenishment, in sharp contrast to what might be called the regime of scarcity.

3 3 1 (+) [-6+]mCQK hayles-my_mother_was_a_computer (63) 20130929f 0 -8+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
But would it be better or worse under the non-FOSS regime, like TV in the UK? (63) As I argued in
How We Became Posthuman, assumptions that may not be immediately apparent link the conservation laws of thermodynamics with the formation of the liberal subject. . . . Rightly criticizing the rhetoric of free information, Markley points to the ecological and social costs involved in developing a global information network.
(64) The change from flat marks to hierarchical structures opens the possibility of interventions into the encoding/decoding chains. Because these interventions typically require humans to interact with communication technologies, the changed natural of signification ties back into the prostheses joining humans and machines.
Signification, technology, and subjectivity coevolve.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (65) 20130929g 0 -3+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Clearly Hayles serves to ground theory and outline future progress by recruiting philosophers from the pool of programmers and engineers; does she also intend others already liberally inclined to learn and practice programming for years as if they were professionals? (65) The trajectory formed by these three fictions displays a clear pattern. First the dream of information is figured as an escape, but the more powerfully it exerts its presence as a viable place in which to live, the more it appears not as an escape at all but rather an arena in which the dynamics of domination and control can be played out in new ways. What changes is finally not the regime of scarcity but the subjects within and through whose bodies the informational codes are transmitted.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (69) 20130929h 0 -8+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Coding theory as the beyond of postmodernism Turkle does not identify in which Hayles operates to articulate a consequence of these themes intermingling in human culture. (69) Thus in code what is available for readerly inspection is not so much the ambiguity of meaning we never find out what the numbers in the telegram refer to but places in the text where interventions in the coding chain occur, as when the girl alters the telegram.
(70) In opening the informational realm to view, exploring its dynamics and possibilities, and finally allowing it to be folded again into a regime based on conservation, James writes what might be called the prequel to the story of information in the twentieth century. . . . As the century progresses, information increasingly determines the constitution of subjects and, as we saw in chapter 1, the construction of reality itself. A writer who not only anticipated this development but wrote about it with incandescent intensity is Philip K. Dick.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (79) 20130929i 0 -4+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Hayles reaches radical descriptions of subjectivity that science fiction appears to generate. (79) Tiptreeƒs The Girl Who Plugged In takes this step. The self becomes a message to be encoded and decoded, but the self the receiver decodes is never exactly the same self the sender encoded. The liberal subject, distributed between a privileged and stigmatized body connected by a noisy channel, is not so much lost as reconstituted as a dream of the machine. The focus thus shifts from how the self expresses its agency to questions of who controls the machine.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (99-100) 20130929q 0 -3+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
A key period in early history of new technology versus comparison with long history of previous medium. (99-100) It is obviously inappropriate to compare a literary medium that has been in existence for fifteen years with print forms that have developed over half a millennium. A fairer comparison would be print literature produced from 1550 to 1565, when the conventions of print literature were still in their nascent stages, with the electronic literature produced from 1985 to 2000.
(100) The stubborn fact remains, however, that once ink is impressed on paper, it remains relatively stable and immovable.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (101) 20130929r 5 -5+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Electronic texts defined as processes rather than objects. (101) More fundamental is the fact that the text exists in dispersed fashion even when it is confined to a single machine. There are data files, programs that call and process the files, hardware functionalities that interpret or compile the programs, and so on. It takes all of these together to produce the electronic text. Omit any one of them, and the text literally cannot be produced. For this reason, it would be more accurate to call an electronic text a
process than an object.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (102) 20130929s 0 -7+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Explore intertwining of physicality and informational scheme, such as md5sums and other operationally uniquely identifying measures. (102) In insisting further that electronic text is above all a pattern, Dahlstrom risks reinscribing the dematerialization so prominently on display in Shillingsburgƒs definition of text as a sequence of words and pauses. . . . Rather than stretch the fiction of dematerialization thinner and thinner, why not explore the possibilities of texts that thrive on the entwining of physicality with informational structure?
(103) In this respect and many others, electronic texts are indeed not self-identical. As processes they exhibit sensitive dependence on temporal and spatial contexts, to say nothing of their absolute dependence on specific hardware and software configurations.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (103-104) 20130929t 0 -10+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Emergent materiality like McGann deformation; McKenzie broad definition of text. (103-104) The following definition provides a way to think about texts as embodied entities without falling into the chaos of infinite difference:
The materiality of an embodied text is the interaction of its physical characteristics with its signifying strategies. . . . Because materiality in this view is bound up with the textƒs content, it cannot be specified in advance, as if it existed independent of content. Rather, it is an emergent property. . . . McKenzieƒs definition of text includes verbal, visual, oral and numeric data, in the form of maps, prints, and music, of archives of recorded sound, of films, videos, and any computer-stored inormaiton (5).

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (105) 20130929u 0 -12+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
New types of work as assemblage; interesting examples follow. (105) These changed senses of work, text, and document make it possible to see phenomena that are now obscured or make invisible by the reigning ideologies. For example, with the advent of the Web, communication pathways are established through which texts cycle in dynamic intermediation with one another, which leads to what might be called Work as Assemblage, a cluster of related texts that quote, comment upon, amplify, and otherwise intermediate one another.
(106) Going along with the idea of Work as Assemblage are changed constructions of subjectivity. . . . Perhaps now it is time to think about what kinds of textuality a dispersed, fragmented, and heterogeneous view of the subject might imply.
(106-107) An appropriate model may present itself in Gilles Deleuze and Felix Guattariƒs rhizomatic Body without Organs (BwO), a construction that in its constant deterritorialization and reterritorialization has no unified essence or identifiable center, only planes of consistency and lines of flight along which elements move according to the charge vectors of desire. . . . Rather than being bound into the straitjacket of a work possessing an immaterial essence that textual criticism strives to identify and stabilize, the WaA derives its energy from its ability to mutate and transform as it grows and shrinks, converges and disperses according to the desires of the loosely formed collectives that create it.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (107) 20130929v 0 -6+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Programmed computer as author; contrast to division between print text and human reader as locus of decoding agency, hints as MSA. (107) As this [
Patchwork Girl] work emphasizes, with an electronic text the computer is also a writer, and the software programs it runs to produce the text as process and display also have complex and multiple authorship. . . . A robust account of materiality focusing on the recursive loops between physicality and textuality is essential to understanding the dynamics of the WaA.
(107) The game is to understand both print and electronic textuality more deeply through their similarities and differences.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (108) 20130929w 0 -3+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Preprocessing of multiple layers: compare to Kittler on code, references to Loss Penqueno Glazier and John Cayley, and other layer and diachrony in synchrony process control models. (108) The primary difference is the fact that an electronic text is generated through multiple layers of code processed by an intelligent machine
before a human reader decodes the information. McGann argues that print texts are also coded, but this point relies on slippage between the narrow sense of code as it applies to computers and a more general sense of code as Roland Barthes envisions it, including codes of social decorum, polite conversation, and so on.
(109) Nevertheless, the analogy with language translation can offer useful insights into the problems and possibilities that haunt media translation.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (111) 20130929x 0 -1+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Raley tower of programming languages, Weaver Tower of Anti-Babel, Busa common substratum, Chomsky, and a whole philosophical tradition. (111) In context, [Warren] Weaver believed that the great open basement [of the Tower of Anti-Babel ] would be a universal substratum common to all languages.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (111) 20130929y 0 -6+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Nice image of commercial software. (111) Van Lieshout observes, You do not buy software, you rent a first draft, [in a] beta society that markets patches rather than engineer[s] innovation. There may be failures, but no product recalls. In . . . a genuine marketing triumph, the buyer has turned into an unpaid beta tester with the software automatically reporting errors to the developer (1).

3 3 1 (+) [-6+]mCQK hayles-my_mother_was_a_computer (112) 20130929z 0 -7+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Language reduced to LCD before translations; a fortiori automatic documentation systems further turn language into the streetcars everyone rides loathed by Heidegger. (112) Thus language is driven to the lowest common denominator even before the translators receive it.
(112) Here the fragmentation of code that in programmable media translates into high-level flexibility operates, directly and indirectly, to fragment language and reduce its complexities to small pieces.
(112-113) Faced with these relentless practices that aim to produce only instrumental prose (at best), I can almost sympathize with the tack taken by Walter Benjamin in his famous essay, The Task of the Translator. . . . In this way, translation contributes uniquely to the literary enterprise, Benjamin suggests, but creating an
emergence, a glimpse of the pure language that could not be seen as clearly without the conjunction of the source and target languages that the translation performs.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (115-116) 20130930a 0 -5+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Hayles provides a number of programs that generate random poems and paragraphs. (115-116) Another example of this kind of intermediation is provided by Raymond Queneauƒs
Cent mille milliards de poemes. . . . The entire corpus of possible poems can be generated electronically and presented to the user as a random series of novel productions, as Nicholas Gessler has done in his C++ simluation.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (116) 20130930b 0 -5+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Alternative aims to pure language, the hard AI dream of information from the book form (human langauge). (116) Like Borgesƒs idea of translations as drafts circulating along with the original in a stream of provisional attempts, so here programs circulate as patchwork productions building on earlier ones and recycling code. . . . Rather than aiming at a pure language, code here recycles original language in random patterns that cross and recross the threshold of intelligibility, inviting the readerƒs projection into the echoic effects, as if infecting language with the random access memory of computer storage.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (120) 20131101a 0 -9+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Performative code combines active vitality and conceptual power. (120) An important assumption underlying codeƒs supremacy is the idea that information can be extracted from its material substrate. Once the information is secured, the substrate can be safely discarded.
(120) As this example illustrates, controlling the flow of information becomes much more problematic when the complexities of coupling it with physical actions are taken into account.
(123) Next to shit, perhaps the most conspicuous instance of the extent to which the world resists algorithmization is sexuality.
(124) From this contradiction emerges the next phase of the dialectical transformation, as abstract code and animal appetite merge to create a third term:
performative code. . . . In this sense, it combines the active vitality connoted by animal appetite with the conceptual power of abstract code.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (142) 20120620 0 -3+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Important insights for texts and technology incorporating code, contrasting her New Materialism with New Criticism. (142) To probe these complexities, we require critical strategies that are attentive to the technologies producing texts as well as to the texts as linguistic/conceptual structures that is to say, we require material ways of reading that recognize texts as more than sequences of words and spaces. Rather, they are artifacts whose materialities emerge from negotiations between their signifying structures and the technologies that produce them. Whereas the New Criticism of the mid-twentieth century isolate texts from political contexts and technological productions, the
New Materialism I am advocating in this book and practicing in this chapter insists that technologies and texts be understood as mutually interpenetrating and constituting one another.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (153-154) 20130930i 0 -8+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Beyond Derrida, mobilizing media specific resources of electronic hypertext to enact subjectivities. (153-154) The specificities of the software sharply distinguish her text from the print works on which she draws. Of course, print texts are also dispersed, in the sense that they cit other texts at the same time they transform those citations by embedding them in new contexts, as Derrida among others has taught us. Nonetheless, the specificity of an electronic hypertext like
Patchwork Girl comes from the ways in which it mobilizes the resources (and restrictions) of the software and medium to enact subjectivities distributed in flexible and mutating ways across author, text, interface, and user.
(155-156) In her comprehensive survey of the status of the body in the Western philosophical tradition, Elizabeth Grosz has shown that there is a persistent tendency to assign to women the burden of corporeality, leaving men free to imagine themselves as disembodied minds an observation that has been familiar to feminists at least since Simone de Beauvoir. . . . Whereas the disembodied text of the eighteenth century work went along with a parallel and reinforcing notion of the author as a disembodied face, in Jacksonƒs text the emphasis on body and corporeality goes along with an embodied author and equally material text.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (159) 20130930j 0 -12+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Spawning Latour hybrids as category mistakes in Patchwork Girl if materiality of text made a signifying component, identity in patches and scars? (159) Making the physical appearance of the text a signifying component was improper because it suggested that the text could not be extracted from its physical form. According to this aesthetic, bodies can be represented within the text, but the body of the text should not mix with these representations. To do so is to engage in what Russell and Whitehead would later call a category mistake --an ontological error that risks, through its enactment of hybridity, spawning monstrous bodies on both sides of the textual divide.
(159) Composed of parts taken from other textual bodies (
Frankenstein and Frank Baumƒs Patchwork Girl of Oz, among others), this hypertext, like the monsterƒs body, hints that it is most itself in the links and seams that join one part to another. . . . The user inscribes her subjectivity into this text by choosing which links to activate, which scars to trace. . . . Because these enactments take place through the agency of the computer, all these bodies the monster, Mary Shelley, Shelley Jackson, the specificity of the electronic text, the active agency of the digital interface, and we the users are made to participate in the mutating configurations of flickering signifiers.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (162) 20130930k 0 -4+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Exploring chronotopes of electronic fictions that are profoundly different than books. (162) The
chronotopes of electronic fictions function in profoundly different ways than the chronotopes of literary works conceived as books. Exploring this difference will open a window onto the connections that entwine the link and lexia together with simultaneity and sequence.
(162) Since the past and the future can be played out in any number of ways, the present moment, the lexia we are reading right now, carries an unusually intense sense of presence, all the more so because it is a smaller unit of narration than normally constitutes an episode.
(163) There thus arises a tension between the sequence of lexias chosen by the user, and the simultaneity of memory space in which all the lexias already exist.

3 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (206-207) 20130115 0 -8+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Oreo ontology; analog resemblance bounding digital layers; fragmentations and recombinations in otherwise deterministic digital. (206-207) Inscription, then, is crucially important to the transformation of embodied reality into abstract forms. . . . Further developing the discussion in chapters 1 and 2 about the synergistic interactions between the digital and analog, I will here call this digital/analog structure the
Oreo, for like the two black biscuits sandwiching a white filling between them, the initial and final analog representations connected with embodied materialities sandwich between them a digital middle where fragmentations and recombinations take place.
(207) An example of an Oreo structure is positron emission tomography, or PET images.
(208) Although we may think of the computer as the digital middle of the PET scan, it too has an analog bottom and, insofar as humans need to interact with its processes, an analog top as well. Wherever different embodied materialities are linked, analog resemblance is likely to enter the picture, for it is the dynamic that mediates between the noise of embodiment and the clarity of form.

3 3 1 (+) [-4+]mCQK hayles-writing_machines (53) 20130928c 0 -5+ progress/2008/09/notes_for_hayles-writing_machines.html
Creole discourse; I have found myself mixing technical acronyms, Backus-Naur Form (BNF), pseudocode as well as using actual program code in my notes to illustrate some point or convey an idea. (53) To what purpose is this creole concocted? Compounded of language and code, it forms the medium through which the origin of subjectivity can be re-described as coextensive with technoogy. Just as these hybrid articulations do not exist apart from their penetration by code, so the subject does not exist apart from the technology that produces the creole describing/creating the techno-subject.
(57)
Lexia to Perplexia must be considered not only as text but as a fully multimedia work in which screen design and software functionality are part of its signifying practices.
(58) The action of
choosing that first-generation hypertext theory attributed solely to the reader here becomes a distributed function enacted partly by the reader but also partly by the machine.

3 3 1 (+) [-4+]mCQK hayles-writing_machines (75) 20130928d 0 -2+ progress/2008/09/notes_for_hayles-writing_machines.html
Note that Bush As We May Think is also a canonical text in the Computing and Philosophy group, as is Douglas Englebart. (75) What [Vannevar] Bushƒs formulation neglects, she thought, is the feedback loop from materiality to mind. Obviously artifacts spring from thought, but thought also emerges from interactions with artifacts.

3 3 1 (+) [-6+]mCQK hayles-writing_machines (130) 20110316 0 -3+ progress/2008/09/notes_for_hayles-writing_machines.html
Ambivalence about Shannon information theory; expand this with cyberspace diagram that involves the human participants as well as the electronic computing machinery and networks. (130) In these posthuman days,
House of Leaves demonstrates that technologies do not simply inscribe preexisting thoughts. Rather, artifacts such as this book serve as noisy channels of communication in which messages are transformed and enfolded together as they are encoded and decoded, mediated and remediated. House of Leaves implicitly refutes the position Claude Shannon assigns to humans in his famous communication diagram, in which they are positioned outside the channel and labeled sender and receiver.

3 3 1 (+) [-4+]mCQK heim-metaphysics_of_virtual_reality (105) 20131102a 0 -4+ progress/1998/05/notes_for_heim-metaphysics_of_virtual_reality.html
Underlying fault of simulacral virtual realities is inability for uncontrolled, unsupervised activities; thus interest in Grand Theft Auto because of putative ability to go off the script. (105) Computerized reality synthesizes everything through calculation, and nothing exists in the synthetic world that is not literally numbered and counted.
(106) While matrix users feel geographical and intellectual distances melt away, the price they pay is their ability to initiate uncontrolled and unsupervised activity.
(107) If I am right about the erotic basis of cyberspace, then the surrogate body undoes its genesis, contradicts its nature. The ideal of the simultaneous all-at-once-ness of computerized information access undermines any world that is worth knowing.

3 3 1 (+) [-6+]mCQK jameson-postmodernism (385) 20130930y 0 -1+ progress/2012/04/notes_for_jameson-postmodernism.html
Heidegger break down inspired focus for postmodern technology self-evidence incorporates realization of futility of understanding the undisturbed totality of countless intertwined systems that operate reality. (385) unlike the delight of the modern in its projection of wonder-working machinery, its delight with the very breakdown of that machinery at the critical point is subject to the gravest misunderstaning if we do not realize that this is precisely how postmodern technology consumes and celebrates itself.

3 3 1 (+) [-4+]mCQK jameson-postmodernism (408) 20120505 0 -5+ progress/2012/04/notes_for_jameson-postmodernism.html
Culture studies cannot reveal postmodern philosophical objects but computer technology can (Turkle): look towards platforms studies of Atari, MAME, pmrek, perhaps alien phenomenology, where Jameson jumps back into cultural observations. (408) the tactical decision to stage the account in cultural terms has made for a relative absence of any identification of properly postmodern ideologies, something I have tried partially to rectify in the subsequent chapter on the ideology of the market. . . . I have mainly singled out intellectual and social phenomena like poststructuralism and the new social movements, thus giving the impression, against my own deepest political convictions, that all the enemies were on the left.

3 3 1 (+) [-6+]mCQK janz-betweenness_of_code (np) 20131102 0 -6+ progress/2013/02/notes_for_janz-betweenness_of_code.html
Code lies at base of mediation of media, and it seems our embodiment as well. (np) The betweenness that has the most urgency for me is the one that underlies much of the media we take for granted in the contemporary world. It is the betweenness of code. If the nature of media is to mediate, code lies at the base of that mediation. We think of code as being the ultimate abstraction, and as such the ultimate placeless entity. We think of it as it was presented to us in The Matrix: the potential idealization of place, the world-destroyer that could potentially render all our phenomenological engagement with the world to be a self-constructed and self-fulfilling narrative. The move to seeing our biological structure as information processing seems to render our embodiment (which is, after all, our first place in the world) as another form of code.

3 3 1 (+) [-4+]mCQK janz-betweenness_of_code (np) 20131102a 0 -8+ progress/2013/02/notes_for_janz-betweenness_of_code.html
Theory of code entwining materiality, following Berry. (np) Several possibilities present themselves as we think about code in this manner. We might regard it as the ultimate threat to place, and as such guard ourselves against it at all costs. We might insist on the real as irreducibly external to us, thus forestalling the potential for code to eradicate place by sheer force of will. We might prioritize space over place, and argue that code establishes free action in space while undermining the meaningfulness of place by making specific places interchangeable. Or, we might imagine a theory of code which entwines it with materiality. This is what David Berry argues for, a phenomenology of code which enables it to be seen as material. In this he walks a path with Deleuze, despite Deleuze s skepticism toward code in Postscript on the Societies of Control .
(np) This paper assesses Berry s argument and others like it which are rooted in Deleuzian theory, to see whether a theory of code which essentially territorializes and deterritorializes material space, could be a viable component of contemporary place theory.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (13) 20130929b 0 -3+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Good distinction between delivery technologies and media. (13) Delivery technologies become obsolete and get replaced: media, on the other hand, evolve. Recorded sound is the media. CDs, MP3 files, and 8-track cassettes are delivery technologies.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (13-14) 20130929c 0 -2+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Compare this position based on Gitelman two levels to how Sterne articulates media. (13-14) To define media, letƒs turn to historian Lisa Gitelman, who offers a model of media that works on two levels: on the first, a medium is a technology that enables communication; on the second, a medium is a set of associated protocols or social and cultural practices that have grown up around that technology. Delivery systems are simply and only technologies; media are also cultural systems.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (54) 20130929h 0 -2+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Interesting point about totalitarian dimension potential, like a dishonest merchant in the bazaar compared to the lawfulness of the superstore. (54) Fourth, Walshƒs experts are credentialized.
(55) L vy speaks about knowledge communities in terms of their democratic operations; yet the ability for any member to dump information out there without regard to anyone elseƒs preferences holds a deeply totalitarian dimension.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (55) 20130929i 0 -4+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Can fetishism of sourced information instead of puzzle-solving cleverness also serve as an indicator of post-postmodern subjectivity? (55) Spoiling at least within
Survivor fandom has now moved decisively from a game of puzzle-solving to one based on revelation of sourced information.
(56) As spoiling has moved more and more into the public eye, it has moved from a fun game that Mark Burnett occasionally liked to play with a small segment of his audience to a serious threat to the relationship he wanted to construct with the mass audience of his series.
(57-58) Yet, fans also exploited convergence to create their own points of contact. They were looking for ways to prolong their pleasurable engagement with a favorite program, and they were drawn toward the collaborative production and evaluation of knowledge.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (217-218) 20130929j 0 -7+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Viral marketing is just-in-time. (217-218) Interviewed a few weeks before the election, Garrett LoPorto, a senior creative consultant for True Majority, said that the core of viral marketing is getting the right idea into the right hands at the right time. . . . True Majorityƒs goal was to get these ideas into the broadest possible circulation. To do that, they sought to create images that are vivid, memorable, and evocative. And most important, the content had to be consistent with what people more or less already believed about the world.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (225) 20130929l 0 -2+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Culture jamming versus blogging reflects movement from revolutionary digital culture paradigm, for example Negativland, to convergence culture. (225) We might understand the transition by thinking a bit about the difference between culture jamming, a political tactic that reflected the logic of the digital revolution, and blogging, which seems emblematic of convergence culture.
(226) The old rhetoric of opposition and co-optation assumed a world where consumers had little direct power to shape media content and faced enormous barriers to entry into the marketplace, whereas the new digital environment expands the scope and reach of consumer activities.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (226) 20130929m 0 -4+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Grassroots convergence essence of blogging as summarizing and linking rather than traditional authorship; measure this idealization to current Facebook posting during recent election. (226) The term blog is short for Weblog, a new form of personal and subcultural grassroots expression involving summarizing and linking to other sites. In effect,
blogging is a form of grassroots convergence. By pooling their information and tapping grassroots expertise, by debating evidence and scrutinizing all available information, and, perhaps, most powerfully, by challenging one anotherƒs assumptions, the blogging community is spoiling the American government.
(229) In publishing their talking points about Edwards on the Web, the GOP was not so much trying to spin the story as to give the public a tool kit they could use to spin it themselves in their conversations with friends and neighbors.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (239) 20130929p 0 -13+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Tie playing with power on microlevel in games to Gee learning principles. (239) If we want to get young people to vote, we have to start earlier, changing the process by which they are socialized into citizenship. If what [David]
Buckingham argues is true, then one way that popular culture can enable a more engaged citizenry is by allowing people to play with power on a microlevel, to exert control over imaginary worlds. Here again, popular culture may be preparing the way for a more meaningful public culture; in this case, the most compelling example comes from the world of video games. Letƒs consider what happened in Alphaville, one of the oldest and most densely populated towns in The Sims Online, a massively multiplayer version of the most successful game franchise of all time.
(240) On one level, some adults might still prefer engagement in student government elections because it represents action at the local level actions that have real-world consequences. This is a classic critique of online communities that they donƒt matter because they are not face-to-face. From another perspective, children have more opportunities to exert leadership and influence the actions of online worlds than they every enjoyed in their high school governments. After all, it wasnƒt as if schools gave students much real power to change their everyday environments.
(241) Reading through the reader responses in the Alphaville Herald, it is clear that, for many, the stolen election forced them to ask some fundamental questions about the nature of democracy.
(242) However much they represent themselves as civic experiments, massively multiplayer game worlds are, like the shopping malls, commercial spaces. We should be concerned about what happens to free speech in a corporate-controlled environment, where the profit motive can undo any decision made by the citizenry and where the company can pull the plug whenever sales figures warrant.
(243) When something breaks in a knowledge culture, the impulse is to figure out how to fix it, because a knowledge culture empowers its members to identify problems and pose solutions. If we learn to do this through our play, perhaps we can learn to extend those experiences into actual political culture.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (256) 20130929u 0 -1+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Extend communal media to communal experience of software in general in the built environment. (256) Rather than talking about personal media, perhaps we should be talking about communal media media that become part of our lives as members of communities, whether experienced face-to-face at the most local level or over the Net.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (257) 20130929v 0 -7+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Sources of political effects through emergence of collective intelligence and participatory culture in addition to circulating new ideas and more data. (257) Just as studying fan culture helped us to understand the innovations that occur on the fringes of the media industry, we may also want to look at the structures of fan communities as showing us new ways of thinking about citizenship and collaboration. The political effects of these fan communities come not simply through the production and circulation of new ideas (the critical reading of favorite texts) but also through access to new social structures (collective intelligence) and new models of cultural production (participatory culture).
(258) But pointing to those opportunities for change is not enough in and of itself. One must also identify the various barriers that block the realization of those possibilities and look for ways to route around them. . . .

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (258-259) 20130929w 0 -8+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Apply critical utopian versus critical pessimist distinction to software studies, focusing on empowerment versus victimization; old complaints about evil empire replaced with transformative potential of free software, open protocols, and open standards, and need to capitalize on window of opportunity rather than battling conglomerates exclusively, for which Jenkins enumerates actionable tasks. (258-259) Critical pessimists, such as media critics Mark Crispin Miller, Noam Chomsky, and Robert McChesney, focus primarily on the obstacles to achieving a more democratic society. . . . The politics of critical utopianism is founded on a notion of empowerment; the politics of critical pessimism on a politics of victimization. One focuses on what we are doing with media, the other on what media is doing to us.
(259) Put all of our efforts into battling the conglomerates and this window of opportunity will have passed. That is why it is so important to fight against the corporate copyright regime, to argue against censorship and moral panic that would pathologize these emerging forms of participation, to publicize the best practices of these online communities, to expand access and participation to groups that are otherwise being left behind, and to promote forms of media literacy education that help all children to develop the skills needed to become full participants in their culture.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (261) 20130929x 0 -9+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Adhocracies substitute for mature knowledge culture: compare Ellis Global Frequency Network to Ulmer EmerAgency. (261) We still do not have any models for what a mature, fully realized knowledge culture would look like. But popular culture may provide us with prototypes. A case in point is Warren Ellisƒs comic-book series, Global Frequency. Set in the near future, Global Frequency depicts a multiracial, multinational organization of ordinary people who contribute their services on an ad hoc basis.
(262) Other writers, such as science fiction writer Cory Doctorow, describe such groups as adhocracies.
(263) [quoting John Rogers] While Warner Bros. Entertainment values feedback from consumers, copyright infringement is not a productive way to try to influence corporate decision. . .

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (265) 20130929z 0 -3+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Nod to open source software with Wikipedia example as adhocracy exemplar. (265) If one wants to see a real-world example of something like the Global Frequency Network, take a look at Wikipedia a grassroots, multinational effort to build a free encyclopedia on the Internet written collaboratively from an army of volunteers, working in roughly two hundred different languages. So far, adhocracy principles have been embraced by the open-source movement, where software engineers worldwide collaborate on projects for the common good. The Wikipedia project represents the application of these open-source principles to the production and management of knowledge.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (272) 20130930b 0 -5+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Example of applying analytical method to specific, politically significant historical event. (272) In this afterword, I will use the Snowman controversy as a point of entry for a broader investigation into the role of Internet parody during the pre-primary season in the 2008 presidential campaign. . . . By studying YouTube as a site of civic discourse, I want to better understand how convergence, collective intelligence, and participatory culture are impacting the political process.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (279) 20130930c 0 -12+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Suggests the media made a spectacle of characters asking debate questions that deflected collective interest from the candidates responses to legitimate concerns of the public electing them. (279) A range of public controversies are erupting around the terms of our participation struggles over intellectual property and file sharing, legal battles between media producers and fans, conflicts between web 2.0 companies and the communities they serve, or disagreements over the nature of citizen participation in televised debates. . . . What pissed off anonymousAmerican at CNN was the way the debates had raised expectations of greater citizen participation and then offered up a high-tech version of
Americaƒs Funniest Home Videos.
(280) Over just a few weeks, the Hamel brother progressed from sophomoric skit comedy to progressively more savvy interventions into media politics, demonstrating a growing understanding of how media travels through YouTube and how YouTube intersects broadcast media.
(282) Parody represents one important mode for networking mass media materials for alternative purposes. . . . Here, the Mac/PC template invites us to comparison shop for presidential candidates, creating new persons who dramatize the differences between the two major parties and the consequences of their politices.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (285) 20130930d 0 -2+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Short term tactical alliances between disparate groups energize popular media phenomena like elections and movie releases. (285) Media producers with different motives governmental agencies, activist groups, educational institutions, nonprofit organizations, fan communities operate side by side, using the same production tools and distribution networks. YouTube constitutes a shared portal through which these diverse groups come together to circulate media content and learn from each otherƒs practices.

3 3 1 (+) [-4+]mCQK jenkins-convergence_culture (288-289) 20121127 0 -6+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Media practices of digital natives still subject to critical analysis, preferably in context of critical participation discussing by Gee, analysis coming from well trained digital emigrants similar to that of deep ethnography. (288-289) Often, these playful tactics get described in terms of the need to adopt new rhetorical practices to reach the so-called
digital natives, a generation of young people who have grown up in a world where the affordances of participatory media technologies have been commonplace. . . . Young people are finding their voice through their play with popular culture and then deploying it through their participation in public service projects or various political movements.
(289) Duncombe has argued that news comedy shows, such as
The Daily Show or The Colbert Report, foster a kind of civic literacy, teaching viewers to ask skeptical questions about core political values and the rhetorical process that embodies them.

3 3 1 (+) [-4+]mCQK johnson-computer_ethics_fourth_edition (2) 20140725a 0 -2+ progress/2012/06/notes_for_johnson-computer_ethics_fourth_edition.html
Each chapter begins with a set of scenarios with embedded case studies; the LambdaMOO virtual rape story, while dated, remains an exemplar. (2) Today there are many more games of this kind with significantly enhanced capabilities. Nevertheless, LambdaMOO remains an intriguing exemplar of the complicated conceptual and ethical issues that arise around computers and information technology.

3 3 1 (+) [-4+]mCQK johnson-what_is_cultural_studies_anyway (40) 20130930d 0 -6+ progress/2010/11/notes_for_johnson-what_is_cultural_studies_anyway.html
Light entertainment like casual gaming, but why not consider rigorous programming; run through Turkle. (40) Feminism has influenced everyday ways of working and brought a greater recognition of the way that productive results depend upon supportive relationships. . . . In media studies, for example, it has shifted attention from the masculine genre of news and current affairs to the importance of light entertainment. It has aided a more general turn from older kinds of ideology critique (which centered on maps of meaning or versions or reality) to approaches that center on social identities, subjectivities, popularity and pleasure.

3 3 1 (+) [-4+]mCQK johnson-what_is_cultural_studies_anyway (40) 20130930e 0 -1+ progress/2010/11/notes_for_johnson-what_is_cultural_studies_anyway.html
Bogost fear of devolution to system operations. (40) If we have progressed by critique, are there not dangers that codifications will involve systematic closure?

3 3 1 (+) [-4+]mCQK kittler-there_is_no_software (148) 20131001b 0 -5+ progress/2012/12/notes_for_kittler-there_is_no_software.html
Explosion of software, postmodern Tower of Babel of extensions of programming languages from machine to high-level. (148) This claim in itself has had the effect of duplicating the implosion of hardware by an explosion of software. Programming languages have eroded the monopoly of ordinary languages and grown into a new hierarchy of their own. This
postmodern Tower of Babel reaches from simple operation codes whose linguistic extension is still a hardware configuration, passing through an assembler whose extension is the very opcode, up to high-level programming languages whose extension is that very assembler. In consequence, far-reaching chains of self-similarities in the sense defined by fractal theory organize the software as well as the hardware of every writing. What remains a problem is only recognizing these layers which, like modern media technologies in general, have been explicitly contrived to evade perception.

3 3 1 (+) [-6+]mCQK kittler-there_is_no_software (148-149) 20131001c 0 -9+ progress/2012/12/notes_for_kittler-there_is_no_software.html
Commercial files required for first look at programming, now FOSS. (148-149) To wordprocess a text, that is, to become oneself a paper machine working on an IBM AT under Microsoft DOS, one must first of all buy some commercial files. . . . On the one had, they bear grandiloquent names like WordPerfect, on the other hand, more or less cryptic, because nonvocalized, acronyms like WP. . . . Executable computer files encompass, by contrast not only to WordPerfect but also to big but empty Old European words such as the Mind or the Word, all the routines and data necessary to their self-constitution.

3 3 1 (+) [-4+]mCQK kittler-there_is_no_software (149) 20131001f 0 -3+ progress/2012/12/notes_for_kittler-there_is_no_software.html
Software manuals cross realm of literature; compare to Ryan lackluster narrative of the software agent. (149) Written to bridge the gap between formal and everyday languages, electronics and literature, the usual software manuals introduce the program in question as a linguistic agent ruling with near omnipotence over the computer systemƒs resources, address spaces, and other hardware parameters.
(150) Not only no program, but also no underlying microprocessor system could ever start without the rather incredible autobooting faculty of some elementary functions that, for safetyƒs sake, are burnt into silicon and thus form part of the hardware. Any transformation of matter from entropy to information, from a million sleeping transistors into differences between electronic potentials, necessarily presupposes a material event called reset.

3 3 1 (+) [-4+]mCQK kittler-there_is_no_software (151-152) 20131001h 0 -15+ progress/2012/12/notes_for_kittler-there_is_no_software.html
Buried redundancy valuation of algorithms akin to Nietzsche criticism of American philosophy striving to get things done as quickly as possible. (151-152) One-way functions, in other words, hide an algorithm from its result. . . . And, finally, IBM has done research on a mathematical formula for measuring the distance in complexity between an algorithm and its output . . . [quoting] its
buried redundancy . . . the value of a message is the amount of mathematical or other work plausibly done by its originator, which the receiver is saved from having to repeat. . . . this algorithm intended to compute the cost of algorithms in general is Turing-uncomputable itself.

3 3 1 (+) [-6+]mCQK kittler-there_is_no_software (152) 20131001i 0 -2+ progress/2012/12/notes_for_kittler-there_is_no_software.html
Working code limited by hardware building argument for inherent materiality. (152) Only in
Turingƒs paper On Computable Numbers with an Application to the Entscheidungsproblem does there exist a machine with unbounded resources in space and time, with an infinite supply of raw paper and no constraints on computation speed. All physically feasible machines, in contrast, are limited by these parameters in their very code.

3 3 1 (+) [-4+]mCQK kittler-there_is_no_software (152) 20131103a 0 -5+ progress/2012/12/notes_for_kittler-there_is_no_software.html
German law has defined software as material thing rather than mental property; good grounds to assume priority of hardware. (152) Under these tragic conditions, criminal law, at least in Germany, has recently abandoned the very concept of software as mental property; instead, it defines software as necessarily a material thing. . . . On the contrary, there are good grounds to assume the indispensability and, consequently, the priority of hardware in general.

3 3 1 (+) [-4+]mCQK latour-we_have_never_been_modern (11) 20131003e 0 -9+ progress/2012/05/notes_for_latour-we_have_never_been_modern.html
Important point for laying theoretical foundations of texts and technology studies; does it invite adding software studies and other remainders of academic scholarship? (11) So long as we consider these two practices of translation and purification separately, we are truly modern. . . . As soon as we direct our attention simultaneously to the work of purification and the work of hybridization, we immediately stop being wholly modern, and our future begins to change. . . . Finally, if we have never been modern at least in the way criticism tells the story the tortuous relations that we have maintained with the other nature-cultures would also be transformed.

3 3 1 (+) [-4+]mCQK lyotard-postmodern_condition (4) 20131004e 0 -6+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
He gives a number of examples of impacts of technological transformations on research and learning: texts and technology connection is language and cybernetics, as knowledge must now be computable, dissociated from training objectives, and the goal is exchange, not knowledge as an end itself. (4) These technological transformations can be expected to have a considerable impact on knowledge. Its two principal functions research and the transmission of acquired learning are already feeling the effect, or will in the future. With respect to the first function, genetics provides an example that is accessible to the layman: it owes its theoretical paradigm to cybernetics. Many other examples could be cited. As for the second function, it is common knowledge that the miniaturization and commercialization of machines is already changing the way in which learning is acquired, classified, made available, and exploited. It is reasonable to suppose that the proliferation of information-processing machines is having, and will continue to have, as much of an effect on the circulation of learning as did advancements in human circulation (transportation systems) and later, in the circulation of sounds and visual images (the media).

3 3 1 (+) [-4+]mCQK lyotard-postmodern_condition (6) 20131004i 0 -2+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Argument that communicational transparency would be similar to liberalism when visualizing learning circulating like money. (6) It is not hard to visualize learning circulating along the same lines as money, instead of for its educational value or political (administrative, diplomatic, military) importance; the pertinent distinction would no longer be between knowledge and ignorance, but rather, as in the case with money, between payment knowledge and investment knowledge --in other words, between units of knowledge exchanged in a daily maintenance framework (the reconstitution of the work force, survival ) versus funds of knowledge dedicated to optimizing the performance of a project.
(6) If there were the case, communicational transparency would be similar to liberalism.

3 3 1 (+) [-6+]mCQK lyotard-postmodern_condition (76) 20131005w 0 -2+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
Humanistic notion of mephistophelian functionalism of sciences and technologies if not subject to suspicion as much as art and writing. (76) Stepping over Benjaminƒs and Adornoƒs reticences, it must be recalled that science and industry are no more free of the suspicion which concerns reality than are art and writing. To believe otherwise would be to entertain an excessively humanistic notion of the
mephistophelian functionalism of sciences and technologies.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (2) 20130802a 0 -2+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Hard to represent materiality and sociality of software. (2) Softwareƒs fringe existence seems to corroborate the commonsense notion that it is intangible rather than physical, that it is something more like a social convention or rule than machine-thing. The characteristics of software as a material object, as a means of production, as a human-technical hybrid, as medium of communication, as terrain of political-economic contestation in short as
sociality seem hard to represent.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (3) 20130802b 0 -4+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Software as neighborhood rather than intangible formalism. (3) Following the movements of code shows that many objects, practices, environments and behaviors are becoming more software-like. Software itself, however, looks increasingly like a
neighborhood rather than an intangible, abstract formalism.
(4) Despite appearing merely technical, technical knowledge-practices overlap and enmesh with imaginings of sociality, individual identity, community, collectivity, organization and enterprise. Technical practices of programming interlace with cultural practices.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (5) 20130802c 0 -6+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Code as cultural object. (5) While theoretical computer science sometimes treats software as a quasi-mathematical-logical entity susceptible to complete formalization, code itself inevitably slips into tangles of competing idioms, practices, techniques and patterns of circulation. . . . Code can be read as permeated by all the forms of contestation, feeling, identification, intensity, contextualizations and decontextualizations, signification, power relations, imaginings and embodiments that comprise any cultural object.
(5) Whereas a computational ontology is meant to provide a way of designing and organizing the operations and processes a computation will perform, my ontology of software has other, more contested ends in mind.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (7) 20130802d 0 -5+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Alfred Gell art-like situations, involutions of agency applied to code; anthropological theory of art as index of agency. (7) In
art-like situations, a visible, physical, material thing triggers a cognitive operation that attributes agency to something. Art-like situations are differentiated by social relations obtaining in their neighborhood. Concretely, these relations exist as actions they authorize and perform. With respect to software, the analogous question would be: What makes something a code-like situation?
(8) Art, as [Alfred]
Gell argues, is an involution of agency that forms part of any cultural environment.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (10) 20130802e 0 -2+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Agency distributed in kaleidoscopic permutations. (10) We recognize other people as agents (to a lesser or greater extent) because they have the capacity to act. But in milieus populated with bodies, things, systems, conventions and signs (and this is virtually everywhere), agency distributes itself between people or between people and things in kaleidoscopic permutations.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (12) 20130802f 0 -7+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Bitrot. (12) Like anything else, software does not grow or exist in isolation. Left alone, it tends to fall apart because all around it hardware platforms and other software change. Software, despite its algebraic-ideal image, needs carefully maintained niches. . . . The constant arrival of new versions, updates and patches both conceals and highlights the brittleness of software.

3 3 1 (+) [-6+]mCQK mackenzie-cutting_code (19) 20130802 0 -4+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Code structured as distribution of agency; compare material specificity of sociological approach to David Sterne ensoniment. (19) This account diverges from a general sociology of technology in highlighting the historical, material specificity of code as a labile, shifting nexus of relations, forms and practices. It regards software formally as a set of permutable distributions of agency between people, machines and contemporary symbolic environments carried as code. Code itself is structured as a distribution of agency.
(19) By understanding code-like situations as involutions of agency, it becomes possible to situate these debates in relation to other questions of power, identity and democracy.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (22) 20130802g 0 -3+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Code as law, art, life focus of Ars Electronic festival. (22) Even as they narrow the field of analysis, software artworks make instabilities and slippages in agency associated with code more obvious. They slow the slippages down enough so that they can be situated in relation to other norms, forms and conventions associated with law, power, communication and language. When the 2003
Ars Electronic Festival for Art, Technology and Culture held in Linz, Austria, for instance, adopted the theme Code, the language of our time.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (25) 20130802h 0 -5+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Code part of Thrift technological unconscious. (25) The inaccessibility is also temporal, as the duration between reading and executing code falls beneath the threshold of perception (that is, millions of instructions per second). . . . Code is so ubiquitous that it should be an important material for cultural practices and representation, but it is relatively invisible, backgrounded and forming part of what
Thrift (2004b) terms a technological unconscious, an atomic structure that produces forms of positionings and juxtapositions.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (32) 20130802i 0 -1+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Compare to arguments from codework to working code. (32) Acknowledging execution is the critical difference between code poetry and software art.

3 3 1 (+) [-6+]mCQK mackenzie-cutting_code (71) 20130802l 0 -9+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Linux kernel as indexical icon recursively referring to its description while performing what it describes. (71) Linux represents software-associated collective agency in the process of constituting itself in the production and circulation of code. . . . The social organization of code work, and the operating system itself as operational object, constitute a coupled process in which describing, and enacting what is described, coalesce. . . . Glossing Gellƒs suggestion that collections of objects are an index of cognition in time, it can be argued that the Linux kernel functions as an intricate indexical icon, something that recursively refers to a description of itself, and in doing so performs what it describes.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (73) 20130802m 0 -1+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Linux challenges distinctions of Johnson cultural circuit. (73) The very existence of an operating system such as Linux, which cannot be easily located within any existing sector of the software industry, challenges the analytical distinctions among production, circulation and reception (consumption, use, spectating or audiencing) relied on by social sciences and humanities.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (104) 20130803b 0 -17+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Syntactical pastiche of other languages, texts, and especially API code reuse key to Java. (104) Through
pastiche, the borrowing of elements from other writers or texts, the JVM could both support a familiar-looking language and yet know nothing about it. Existing knowledge of C and C++ syntax could recirculate through Java.
(105) Not only is the language syntax itself a pastiche of C++ (and other languages, such as SmallTalk and Modula), but writing Java code relies heavily on a controlled form of pastiche. One technical term for this is code reuse. Another is to say that the language is object-oriented. . . . More concretely, Java programs are structured around invocations of existing pieces of code (objects) organized in a class hierarchy descending from a single generic class at the top called Object. . . . Programming work in Java often entails deciding whether a pre-defined class offers the desired behavior, and then either invoking instances of that class in a program or extending that class by creating a modified version of it (Gosling, Joy, and Steele, 1996 128-133).
(105) Once programmers have learned Java syntax, much of their programming work revolves around reading APIs and drawing together different pieces to construct a useful program. If there is a commonly interpreted text underlying the production of Java code, it includes not only Java language syntax and idioms, but also, as a central component of that text, the class hierarchy documented in the APIs.
(106) By virtue of the citational practices associated with Java (syntactical pastiche and API code reuse), Java programming forms an anchor point for practices of reading and writing code that extend well beyond the onscreen frame of the code editor and the development environment of the programmer. The APIs solidify and modulate Java both as a coding practice and as a heavily marketed software platform.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (107-108) 20130803c 0 -5+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Intense marketization of coding work itself; programmers become agents of contemporary innovation. (107-108) While software production has long been an object of management planning (Campbell-Kelly 2003), Java arguably represents the first occasion on which coding work itself became an object of intense marketization. . . . [Scott] McNealy claims that by coding in Java, Java programmers become agents of contemporary innovation: coding in Java, they inhabit the new millennium.

3 3 1 (+) [-4+]mCQK mackenzie-cutting_code (175) 20130805d 0 -6+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Examine portrayal of programmers in film; go back to War Games. (175) On the [one] hand, as the scene from
Swordfish figured it, coding work is highly valued because it is somewhat arcane and otherworldly in its abstraction. . . . Correspondingly, the figure of the programmer has altered since the mid-1990s. A comparison between Dennis, the systems programmer in the film Jurassic Park (Spielberg 1993), and Stan, the programmer in Swordfish (Sena 2001), two films separated by almost ten years and the growth of the Internet, indicates some important differences.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (11) 20131005c 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
His progression from physical medium, interface, operations, illusions, forms is supposed to be analogous to the organization of software. (11) One could also draw an analogy between the bottom-up approach I use here and the organization of computer software. . . . I follow this order in reverse, advancing from the level of binary code to the level of a computer program, and then move on to consider the logic of new media objects driven by these programs.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (16) 20131005d 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Software generates representations and affects subjectivity; considers representation with respect to simulation, control action, communication, simulation, and information. (16) In this book I will take this argument one step further by suggesting that software interfaces both those of operating systems and of software applications also act as representations. That is, by organizing data in particular ways, they privilege particular models of the world and the human subject. . . . Thus interfaces act as representations of older cultural forms and media, privileging some at the expense of others.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (25) 20131005e 0 -7+ progress/2011/01/notes_for_manovich-language_of_new_media.html
This is new media: numerical data, and the computer is its processor. (25) The two separate historical trajectories finally meet. Media and computer Daguerreƒs daguerreotype and Babbageƒs Analytical Engine, the Lumiere Cinematographie and Hollerithƒs tabulator merge into one. All existing media are translated into numerical data accessible for the computer. . . . In short, media become new media.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (27-28) 20131005g 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Media becomes programmable by digitizing continuous data through sampling and quanitzation. (27-28) In short,
media becomes programmable. . . . Converting continuous data into a numerical representation is called digitization.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (30-31) 20131005h 0 -12+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Encapsulation protocols, modularity, media as programs, especially computer games. (30-31) This principle can be called the fractal structure of new media. Just as a fractal has the same structure on different scales, a new media object has the same modular structure throughout. . . . In short, a new media object consists of independent parts, each of which consists of smaller independent parts, and so on, down to the level of the smallest atoms -- pixels, 3-D points, or text characters.
(31) The World Wide Web as a whole is also completely modular.
(31) In addition to using the metaphor of a fractal, we can also make an analogy between the modularity of new media and structured computer programming. . . .
Many new media objects are in fact computer programs that follow structural programming style.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (46) 20131005j 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Entrance for software studies because computer layer affects cultural layer. (46) the conventions of HCI in short, what can be called the computerƒs ontology, epistemology, and pragmatics influence the cultural layers of new media, its organization, its emerging genres, its contents.
(46) The result of this composite is a new computer culture a blend of human and computer meanings, of traditional ways in which human culture modeled the world and the computerƒs own means of representing it.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (55) 20131005m 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Disagree with Manovich because the standard operating procedure of the digital is no data loss even though things are be done at inhumanly high speeds for long durations; loss occurs in the transduction and encoding, after which the digital object endures unchanging, and in the programs that make digital media, it does not make sense to speak of loss being the norm. (55) So rather than being an aberration, a flaw in the otherwise pure and perfect world of the digital, where not even a single bit of information is ever lost, lossy compression is the very foundation of computer culture, at least for now. Therefore, while in theory, computer technology entails the flawless replication of data, its actual use in contemporary society is characterized by loss of data, degradation, and noise.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (57) 20131005n 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
New media foster extended cognition (Clark) and perception (McLuhan), externalizing mental life; radical (and ridiculous) return to pre-language. (57) The literal interpretation of interactivity is just the latest example of a larger modern trend to
externalize mental life, a process in which media technologies photography, film, VR have played a key role.
(59) Here, as with the earlier technology of film, the fantasy of objectifying and augmenting consciousness, extending the powers of reason, goes hand in hand with the desire to see in technology a return to the primitive happy age of pre-language, pre-misunderstanding. Locked in virtual reality caves, with language taken away, we will communicate through gestures, body movements, and grimaces, like our primitive ancestors.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (64-65) 20131005p 0 -14+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Whorf-Sapir hypothesis applied to computer-mediated culture, for example, command line interface is closer to literacy than point and click GUI. (64-65) In semiotic terms, the computer interface acts as a code that carries cultural messages in a variety of media. . . . In cultural communication, a code is rarely simply a neutral transport mechanism; usually it affects the messages transmitted with its help. . . . Most modern cultural theories rely on these notions, which together I will refer to as the non-transparency of the code idea. For instance, according to the Whorf-Sapir hypothesis, which enjoyed popularity in the middle of the twentieth century, human thinking is determined by the code of natural language; the speakers of different natural languages perceive and think about the world differently. . . . Finally, by organizing computer data in particular ways, the interface provides distinct models of the world.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (65) 20131104 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Web browser used at home and office example of convergence for both work and play. (65) The best example of this convergence is a Web browser employed both in the office and at home, both for work and for play. In this respect information society is quite different from industrial society, with its clear separation of the field of work and the field of leisure.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (69) 20131104a 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Human-computer interface consists of devices, metaphors, ways of manipulating data, grammars of action. (69) The term
human-computer interface describes the ways in which the user interacts with a computer. HCI includes physical input and output devices such as a monitor, keyboard, and mouse. It also consists of metaphors used to conceptualize the organization of computer data. For instance, the Macintosh interface introduced by Apple in 1984 uses the metaphor of files and folders arranged on a desktop. Finally, HCI also includes ways of manipulating data, that is, a grammar of meaningful actions that the user can perform on it.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (70) 20131005q 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Let the command line be an example of the cultural interface, made up of familiar cultural form of command dialog and feedback response. (70) I will use the term
cultural interface to describe a human-computer-culture interface the ways in which computers present and allow us to interact with cultural data.
(71) In my view, the language of cultural interfaces is largely made up from elements of other, already familiar cultural forms.
(72) Cinema, the printed word, and HCI are the three main reservoirs of metaphors and strategies for organizing information which feed cultural interfaces.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (74) 20131104b 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Text privileged role in computer culture, both media and metalanguage; culture interfaces inherit principles of text organization. (74) Text is unique among media types. It plays a privileged role in computer culture. On the one hand, it is one media type among others. But, on the other hand, it is a metalanguage of computer media, a code in which all other media are represented.
(74) If computers use text as their metalanguage, cultural interfaces in their turn inherit the principles of text organization developed by human civilization throughout its existence. One of these principles is a page a rectangular surface containing a limited amount of information, designed to be accessed in some order, and having a particular relationship to other pages.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (76) 20131005r 0 -12+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Interesting suggestion about cultural significance of hyperlinking as reflections of suspicion of hierarchies, decline of rhetoric, and privileging of metonymy. (76) The two sources connected through a hyperlink have equal weight; neither one dominates the other. Thus the acceptance of hyperlinking in the 1980s can be correlated with contemporary cultureƒs suspicion of all hierarchies, and preference for the aesthetics of collage in which radically different sources are brought together within a singular cultural object.
(77) the sheer existence and popularity of hyperlinking exemplifies the continuing decline of the field of rhetoric in the modern era. . . . Finally, in the 1990s, World Wide Web hyperlinking has privileged the single figure of metonymy at the expense of all others. The hypertext of the World Wide Web leads the reader from one text to another, ad infinitum. . . . In contrast to the older storage media of book, film, and magnetic tape, where data is organized sequentially and linearly, thus suggesting the presence of a narrative or a rhetorical trajectory, RAM flattens the data.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (79) 20131005u 0 -9+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Computer fulfills promise of cinema as visual Esperanto: mobile camera, framing, scrolling over interface; Turkle surface enjoyment: remember there is also the command line interface, something the computer permits that non-programmable tools lack. (79) In this respect, the computer fulfills the promise of cinema as a visual Esperanto a goal that preoccupied many film artists and critics in the 1920s, from Griffith to Vertov.
(79-80) I will begin with probably the most important case of cinemaƒs influence on cultural interfaces the mobile camera. . . . As computer cultural gradually spatializes all representations and experiences, they are subjected to the cameraƒs particular grammar of data access. Zoom, tilt, pan, and track we now use these operations to interact with data spaces, models, objects, and bodies.
(80) Another feature of cinematic perception that persists in cultural interfaces is a rectangular framing of represented reality.
(81) Just a a kino-eye can move around a space revealing its different regions, a computer user can scroll through a windowƒs contents.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (82) 20131005v 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Subjective experience even of computer interfaces, especially games, affected by cinematic conventions. (82) This frame creates a distinct subjective experience that is much closer to cinematic perception than it is to unmediated sight.
(82) The creator of a VRML world can define a number of viewpoints that are loaded with the world. . . . Just as in cinema, ontology is coupled with epistemology: the world is designed to be viewed from particular points of view.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (98) 20131005x 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Military origin of HCI, new screen of real time. (98) As with all the other elements of modern human-computer interface, the computer screen was developed for military use.
(99) What is new about such a screen is that its image can change in real time, reflecting changes in the referent, whether the position of an object in space (radar), any alteration of visible reality (live video) or change data in the computerƒs memory (computer screen). The image can be continually updated
in real time. This is the third type of screen after classic and dynamic the screen of real time.
(100) It is only because the scanning is fast enough and because, sometimes, the referent remains static, that we see what looks like a static image.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (129) 20131006d 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Unix-like command line interface as minimalist loft in the realm of computing versus GUI customizability. (129) Paradoxically, by following an interactive path, one does not construct a unique self but instead adopts already pre-established identities. . . . Thus, short of using the command-line interface of UNIX, which can be thought of as an equivalent of the minimalist loft in the realm of computing, I would prefer using Microsoft Windows exactly the way it was installed at the factory instead of customizing it in the hope of expressing my unique identity.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (135) 20131006f 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
DJ logic of mixing. (135) The DJ best demonstrates its new logic: selection and combination of preexistent elements. . . . The essence of the DJƒs art is the ability to mix selected elements in rich and sophisticated ways.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (141) 20131006g 0 -1+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Tracing technical codes through QuickTime and MPEG examples of software studies in action. (141) The evolution of MPEG, thus, allows us to trace the conceptual evolution in how we understand new media from a traditional stream to a modular composition, more similar in its logic to a structural computer program than a traditional image or film.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (153) 20131006h 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Virtual reality creation digital compositing is qualitatively new visual media. (153) Digital compositing does represent a qualitatively new step in the history of visual simulation because it allows the creation of
moving images of nonexistent worlds.
(154) An example of real-time compositing is Virtual Sets technology, which was first introduced in the early 1990s and since then has been making its way into television studios around the world.
(155) Consequently, what is important now is what happens on the edges where different images are joined.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (157) 20131006i 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Audio-visual-spatial culture as distinct phenomenological realm. (157) In summary, if film technology, film practice, and film theory privilege the temporal development of a moving image, computer technology privileges spatial dimensions. . . .
No longer just a subset of audio-visual culture, the digital moving image becomes a part of audio-visual-spatial culture.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (158) 20131006j 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Presents spatial and ontological montage at the center of the book. (158) By establishing a logic that controls the changes and the correlation of values on these dimensions, digital filmmakers can create what I will call
spatial montage.
(159) Compositing, achieved in [Rybczynkiƒs film]
Tango through optical printing, allows the filmmaker to superimpose a number of elements, or whole words, within a single space. . . . Works such as Tango and Steps develop what I will call an ontological montage: the coexistence of ontologically incompatible elements within the same time and space.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (159-160) 20131006k 10 -1+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Just when you thought it could not get any deeper, stylistic montage comes after ontology: Manovich runs this theory through montage like an operator in a computer program that is itself supposed to be a metaphor for how the unseen lifeworld works. (159-160) this subordination of live action to animation is the logic of digital cinema in general.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (159-160) 20131006l 0 -11+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Style controls (informs) ontology; subordination of live action is hegemony of representation. (159-160) While previously, filmmakers usually worked with a single format throughout the whole film, the accelerated replacement of different analog and digital formats since the 1970s made the coexistence of stylistically diverse elements a norm rather than the exception for new media objects. Compositing can be used to hide this diversity or it can be used to foreground it, creating it artificially if necessary. For instance, the film
Forest Gump emphasizes stylistic differences between various shots; this simulation of different film and video artifacts is an important aspect of its narrative system. . . . the shots in his films that combine live-action footage with graphic elements position all elements on parallel planes; the elements move parallel to the screen. . . . this subordination of live action to animation is the logic of digital cinema in general.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (161) 20131006m 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Telecommunication transcends traditional cultural domain of representation. (161) Still, no new media objects are being generated when the user follows a hyperlink to another Web site, or uses telepresence to observe or act in a remote location, or communicates in real time with other users using Internet chat, or just makes a plain old-fashioned telephone call. In short, once we begin dealing with verbs and nouns which begin with
tele-, we are no longer dealing with the traditional cultural domain of representation. Instead, we enter a new conceptual space, which this book has not explored so far telecommunication.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (163-164) 20131006n 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Teleaction is Manovich response to expansion of an aesthetic object. (163-164)
By foregrounding telecommunication, both real-time and asynchronous, as a fundamental cultural activity, the Internet asks us to reconsider the very paradigm of an aesthetic object. Is it necessary for the concept of the aesthetic to assume representation? In short, if a user accessing information and a user telecommunicating with other(s) are as common in computer culture as a user interacting with a representation, can we expand our aesthetic theories to include these two new situations?

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (165) 20131006o 0 -1+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Ability to teleport a unique, new media feature previously requiring action on part of human; imagine telepresence of a pinball machine using history of games played on an actual playfield to simulate play for the teleagent; see 170. (165) But in fact, the ability to teleport instantly from one server to another, to be able to explore a multitude of documents located on computers around the world, all from one location, is much more important than being able to perform physical actions in one remote location.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (165) 20131006p 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
But both activities are not VR fooling the eyes but rather enabling action. (165) If digital compositing can be placed along with other technologies for creating fake reality such as fashion and makeup, realist paintings, dioramas, military decoys, VR, telepresence can be thought of as one example of
representational technologies used to enable action, that is, to allow the viewer to manipulate reality through representations. Other examples of these action-enabling technologies are maps, architectural drawings, and x-rays.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (166) 20131006q 0 -1+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Argument to reduce telepresence activities to a subset of representational technologies, but this does not capture its ability to control reality itself. (166) Popular media has downplayed the concept of telepresence in favor of virtual reality.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (167) 20131006r 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
How long is the lever of teleaction, at what point does the lever become an image-instrument? (167) A better term would be
teleaction. Acting over a distance. In real time.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (167) 20131006s 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Join Latour to engineering philosophy of technology. (167) However, French philosopher and sociologist Bruno Latour proposes that certain kinds of images have always functioned as instruments of control and power, power being defined as the ability to mobilize and manipulate resources across space and time.
(168) All in all, perspective is more than just a sign system that reflects reality it makes possible the manipulation of reality through the manipulation of its signs.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (173) 20131006u 0 -4+ progress/2011/01/notes_for_manovich-language_of_new_media.html
There is always a delay between regime of Big Optics and Small Optices, and there are always constraints, though they shift into the difficult to comprehend life of machines (Virilio). (173) The regime of Big Optics inevitably leads to real-time politics, a politics that requires instant reactions to events transmitted with the speed of light, and that, ultimately, can only be efficiently handled by computers responding to each other.
(173) Virilio postulates a historical break between film and telecommunication, between Small Optics and Big Optics.
(175) In Western thought, vision has always been understood and discussed in opposition to touch, so, inevitably, the denigration of vision (to use Martin Jayƒs term) leads to the elevation of touch. Thus criticism of vision predictably leads to a new theoretical interest in the idea of the haptic.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (175) 20131006v 0 -1+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Haptic metaphor for teleaction suggests new ethical problems. (175) The potential aggressiveness of looking turns out to be rather more innocent than the actual aggression of electronically enabled touch.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (177) 20131006w 0 -7+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Add FOSS as avenues for democratic rationalization to this list of image producers extending myth of Zeuxis. (177) The production of all illusionistic images is becoming the sole province of PCs and Macs, Onyxes and RealityEngines.
(178) Continuing our bottom-up trajectory in examining new media, we have now arrived at the level of appearance.
(180) The paradox of digital visual culture is that although all imaging is becoming computer-based, the dominance of photographic and cinematic imagery is becoming even stronger. . . . 3-D virtual worlds are subjected to depth of field and motion blur algorithms; digital video is run through special filters that simulate film grain; and so on.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (180) 20131006x 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Visual culture of computer age cinematographic in appearance, digital in material, and computational in logic. (180) To summarize, the visual culture of a computer age is cinematographic in its appearance, digital on the level of its material, and computational (i.e., software driven) in its logic.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (183) 20131104c 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
New media move us from identification to action: images are image-interfaces and image-instruments. (183) Moreover,
new media turn most images into image-interfaces and image-instruments. . . . To evoke a term often used in film theory, new media move us from identification to action.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (193) 20131006y 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Social context of technological change shaped by military and entertainment requirements (Castells). (193) What is important for my argument is that
the requirements of military and entertainment applications led researchers to concentrate on the simulation of the particular phenomena of visual reality, such as landscapes and moving figures.
(194) The task of creating fully synthetic human actors has turned out to be more complex than was originally anticipated.
(195) However, the dynamics that characterized the early period of prerendered computer animation returned in new areas of new media computer games and virtual worlds (such as VRML and Active Worlds scenes), which all use 3-D computer graphics generated in realtime.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (196) 20131006z 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Ontological differences between cinema and computer graphics. (196) In summary, the differences between cinematic and synthetic realism begin on the level of ontology. New realism is partial and uneven, rather than analog and uniform. The artificial reality that can be simulated with 3-D computer graphics is fundamentally incomplete, full of gaps and white spots.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (197) 20131007 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Dominance of ready-made, standardized, reconfigurable objects. (197) The amount of labor involved in constructing reality from scratch on a computer makes it hard to resist the temptation to utilize preassembled, standardized objects, characters, and behaviors readily provided by software manufacturers fractal landscapes, checkerboard floors, complete characters, and so on. . . . If even professional designers rely on ready-made objects and animations, the end users of virtual worlds on the Internet, who usually do not have graphic or programming skills, have no other choice.
(197) Thus, behind the freedom on the surface lies standardization on a deeper level.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (202) 20131007a 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Computer graphics blended with familiar film image in Jurassic Park like synthetic art of Socialist Realism. (202)
Synthetic computer-generated imagery is not an inferior representation of our reality, but a realistic representation of a different reality.
(204) But just as Socialist Realism paintings blended the perfect future with the imperfect reality,
Jurassic Park blends the future supervision of computer graphics with the familiar vision of the film image.
(204) In that respect,
Jurassic Park and Terminator 2 are opposites. If in Jurassic Park the dinosaurs function to convince us that computer imagery belongs to the past, the Terminator in Terminator 2 is more honest. He himself is a messenger from the future a cyborg who can take on human appearance. His true form is that of a futuristic alloy.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (206) 20131007b 0 -10+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Communication becomes dominated by phatic, contact function of physical channel (Jakobson). (206) Using Roman
Jakobsonƒs model of communication functions, we can say that communication comes to be dominated by contact, of the phatic function it is centered on the physical channel and the very act of connection between addresser and addressee.
(206) But in Web communication there is no human addresser, only a machine. So as the user keeps checking whether the information is coming, she actually addresses the machine itself. Or rather, the machine addresses the user. The machine reveals itself; it reminds the user of its existence not only because the user is forced to wait but also because she is forced to witness how the message is being constructed over time.
(207) In contrast to such totalizing realism, new media aesthetics has a surprising affinity to twentieth-century leftist avant-garde aesthetics. . . . The periodic reappearance of the machinery, the continuous presence of the communication channel in the message, prevent the subject from falling into the dream world of illusion for very long, make her alternate between concentration and detachment.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (209) 20131007c 0 -9+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Metarealism suture and interpolation: modern ideology includes revelation of machinery, docility through control over illusion; deeper analysis than Turkle surface/depth. (209) Auto-critique, scandal, and revelation of its machinery became new structural components of modern ideology. . . . In contrast, the new metarealism is based on oscillation between illusion and its destruction, between immersing the viewer in illusion and directly addressing her. . . . The user invests in the illusion precisely because she is given control over it.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (209) 20131007d 0 -8+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Oscillation between illusory and interactive segments that is structural feature of modern society subverts asymptote of the matrix; best example is military simulator. (209) The oscillation analyzed here is not an artifact of computer technology but a structural feature of modern society, present not just in interactive media but in numerous other social realms and on many different levels.
(209-210) In my view, the most successful example of such an aesthetics already in existence is a military simulator, the only mature form of interactive narrative.
(210) The oscillation between illusionary segments and interactive segments forces the user to switch between different mental sets different kinds of cognitive activity. . . . This multitasking demands from the user cognitive multitasking --rapidly alternating between different kinds of attention, problem solving, and other cognitive skills. All in all, modern computing activity requires of the user intellectual problem solving, systematic experimentation, and the quick learning of new tasks.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (215) 20131007f 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Affects of computer programming on space and cultural forms, for example logics of the 3D virtual space, database and algorithm, have become cultural forms; Giedion beats him to declare the search engine takes command. (215) In short, the
computer database and the 3-D computer-based virtual space have become true cultural forms general ways used by the culture to represent human experience, the world, and human existence in this world.
(217) In an age when all design has become information design, and, to paraphrase the title of the famous book by the architectural historian Sigfried
Giedion, the search engine takes command, information access is no longer just a key form of work but also a new key category of culture. Accordingly, it demands that we deal with it theoretically, aesthetically, and symbolically.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (219) 20131104d 0 -10+ progress/2011/01/notes_for_manovich-language_of_new_media.html
With databases narrative becomes just one method of accessing data; Legrady explored in 1990s while others accepted the database form as given. (219) They [new media objects] appear as collections of items on which the user can perform various operations view, navigate, search.
(220) Thus narrative becomes just one method of accessing data among many.
(220) As defined by original HTML, a Web page is a sequential list of separate elements text blocks, images, digital video clips, and links to other pages.
(221) In contrast, many artists working with new media at first uncritically accepted the database form as a given. Thus they become blind victims of database logic.
(221) As the 1990s progressed, artists increasingly began to approach the database more critically. . . . The artist who has explored the possibilities of a database most systematically is George
Legrady.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (224) 20131007g 0 -7+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Transcoding ontology of data structures and algorithms goes beyond passive active distinction. (224) It may appear at first sight that data is passive and algorithms active another example of the passive-active binary categories so loved by human cultures. A program reads in data, executes an algorithm, and writes out new data. . . . However, the passive/active distinction is not quite accurate because data does not just exist it has to be generated.
(225) Jorge Luis Borgesƒs story about a map equal in size to the territory it represents is rewritten as a story about indexes and the data they index.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (227) 20131007h 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Creation of different interfaces with same material, variability of database narrative. (227) With new media, the content of the work and the interface are separated. It is therefore possible to create different interfaces to the same material.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (231) 20131007i 0 -8+ progress/2011/01/notes_for_manovich-language_of_new_media.html
New media reverse Barthes conception: database as paradigm has material existence, narrative as syntagm dematerialized. (231) New media reverse this relationship. Database (the paradigm) is given material existence, while narrative (the syntagm) is dematerialised. . . . The narrative is constructed by linking elements of this database in a particular order, that is by designing a trajectory leading from one element to another. On the material level, a narrative is just a set of links; the elements themselves remain stored in the database. Thus the narrative is virtual while the database exists materially.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (237) 20131007j 0 -11+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Interesting comparison with Vertov film editing to approach basic question for texts and technology studies is how new kinds of narratives arise from new media techniques; see Aarseth and Ryan. (237)
How can our new abilities to store vast amounts of data, to automatically classify, index, link, search, and instantly retrieve it, lead to new kinds of narratives?
(237) For cinema already exists right at the intersection between database and narrative. . . . During editing, the editor constructs a film narrative out of this database, creating a unique trajectory through the conceptual space of all possible films that could have been constructed.
(242) Since every software comes with numerous sets of transitions, 2-D filters, 3-D transformations, and other effects and plug-ins, the artist, especially the beginner, is tempted to use many of them in the same work. . . . Ultimately, a digital film becomes a list of different effects, which appear one after another.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (245) 20131007k 0 -4+ progress/2011/01/notes_for_manovich-language_of_new_media.html
De Certeau strategies and tactics at work in new cultural economy of Doom engine release, compared to traditional production model of Myst. (245) Here was a new cultural economy that transcended the usual relationship between producers and consumers or between strategies and tactics (de Certeau): The producers define the basic structure of an object, and release a few examples as well as tools to allow consumers to build their own versions, to be shared with other consumers. In contrast, the creators of Myst followed an older model of cultural economy. Thus Myst is more similar to a traditional artwork than to a piece of software something to behold and admire rather than take apart and modify. To use the terms of the software industry, it is a closed, or proprietary, system, something that only the original creators can modify.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (245-246) 20131104e 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
In many computer games narrative and time equated with movement through space or progression of levels; inner life stripped away to basic Greek narration as diagesis. (245-246) In
Doom and Myst and in a great many other computer games narrative and time itself are equated with movement through 3-D space, progression through rooms, levels, or words. . . . Stripping away the representation of inner life, psychology, and other modernist nineteenth-century inventions, these are the narratives in the original ancient Greek sense, for, as Michel de Certeau reminds us, in Greek, narration is called ƒdiagesisƒ: it establishes an itinerary (it ƒguideƒ) and it passes through (it ƒtransgresses.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (247) 20131007l 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Think of games as narrative actions and exploration rather than narration and description; de Certeau diagesis guides and transgresses. (247) Instead of narration and description, we may be better off thinking about games in terms of
narrative actions and exploration.
(248) Just like a database, navigable space is a form that existed before computers, even if the computer becomes its perfect medium.
(249) In the 1990s, these 3-D fly-throughs have come to constitute the new genre of postcomputer cinema and location-based entertainment the motion simulator.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (251) 20131007m 0 -12+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Idea of navigable space at origin of computer era ensconced in cybernetics. (251) The term
cyberspace is derived from another term cybernetics. In his 1947 book Cybernetics, mathematician Norbert Wiener defined it as the science of control and communication in the animal and machine. . . . He derived the term cybernetics from the ancient Greek word kybernetikos, which refers to the art of the steersman and can be translated as good at steering. Thus the idea of navigable space lies at the very origins of the computer era.
(251-252) For the first time,
space becomes a media type. . . . In other words, all operations that are possible with media as a result of its conversion to computer data can also now apply to representations of 3-D space.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (253) 20131007n 0 -8+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Compare no space collections of separate objects to Floridi definition of cyberspace. (253) There is no space in cyberspace.
(254) Correspondingly, the evolution of abstract thought progresses from ancient philosophyƒs view of the physical universe as discontinuous and aggregate, to the post-Renaissance understanding of space as infinite, homogeneous, isotropic, and with ontological primacy in relation to objects in short, as systematic.
(254-255) Yet computer-generated worlds are actually much more haptic and agrregate than optic and systematic. . . . modern painters belonging to this tradition worked to articulate a particular philosophical concept in their painting that of space-medium. This concept is something mainstream computer graphics still has to discover.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (259) 20131007p 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Early history of navigable virtual space of Aspen Movie Map, Legible City, The Forest introduce alternate viewing perspectives and challenge subjectivity, more like modern painting than architecture. (259) The 1978 project
Aspen Movie Map, designed at the MIT Architecture Machine Group, headed by Nicholas Negroponte (the group later expanded into the MIT Media Laboratory), is acknowledged as the first interactive virtual navigable space, and also as the first hypermedia program to be shown publicly.
(260-261) Jeffery Shawƒs
Legible City (1988-199), another well-known and influential computer navigable space, is also based on an existing city. . . . Shaw suggests that the virtual can at least preserve the memory of the real it replaces, encoding its structure, if not its aura, in a new form.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (261-263) 20131104g 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Walickzy The Forest liberates virtual camera from human perspective. (261-263) Tamas Walickzyƒs
The Forest (1993) liberated the virtual camera from its enslavement to the simulation of humanly possible navigation walking, driving a car, pedaling a bicycle, scuba diving. . . . The constant movements of the camera along the vertical dimension throughout the film sometimes getting closer to where we imagine the ground plane is located, sometimes moving toward (but again, never actually showing) the sky can be interpreted as an attempt to negotiate between isotropic space and the space of human anthropology, with its horizontality of the ground plane and the horizontal and vertical dimension of human bodies. The navigable space of The Forest thus mediates between human subjectivity and the very different and ultimately alien logic of a computer the ultimate and omnipresent Other of our age.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (274-275) 20131007r 0 -9+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Comfort in data manipulation options studied in Friedberg Window Shopping. (274-275) If the subject of modern society looked for refuge from the chaos of the real world in the stability and balance of the static composition of a painting, and later in the cinematic image, the subject of the information society finds peace in the knowledge that she can slide over endless fields of data, locating any morsel of information with the click of a button, zooming through file systems and networks. She is comforted not by an equilibrium of shapes and colors, but by the variety of data manipulation operations at her control.
(275) Bypassing the ability to display and navigate files graphically, the user resorts to a text-based search engine. Similarly, while the mobilized virtual gaze described by Friedberg was a significant advancement over earlier more static methods of data organization and access (static image, text, catalog, library), its bandwidth is too limited in the information age. Moreover, a simple simulation of movement through a physical space defeats the computerƒs new capabilities of data access and manipulation. Thus for the virtual flaneur, such operations as search, segmentation, hyperlinking, visualization, and data mining are more satisfying than just navigating through a simulation of a physical space.
(275) Thus,
Vertov stands halfway between Baudelaireƒs flaneur and todayƒs computer user: No longer just a pedestrian walking down a street, but not yet Gibsonƒs data cowboy who zooms through pure data armed with data-mining algorithms.
(277) Thus, one of the most common forms of navigation used today in computer culture flying through spatialized data can be traced back to 1970s military simulators. From Baudelaireƒs flaneur strolling through physical streets, we move to Vertovƒs camera mounted on a moving car and then to the virtual camera of a simulator that represents the viewpoint of a military pilot.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (278) 20131007s 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Real time triumphs over space in Cold War (Edwards). (278) From a post-Cold War perspective, Virilioƒs theory can be seen as another example of the imagination transfer from the military to the civilian sector. In this case, the techno-politics of the Cold War nuclear arms equilibrium between the two superpowers capable of striking each other or any point on Earth at any moment is seen as a fundamentally new stage of culture, in which
real time triumphs over space.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (283) 20131007u 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Shaw EVE as Plato cave in reverse, continuous trajectory of subjective, partial views. (283)
EVE rehearses the whole Western history of simulation, functioning as a kind of Platoƒs cave in reverse . . . visitors who enter EVEƒs enclosed space discover that EVEƒs apparatus shows the outside reality they ostensibly just left behind. Moreover, instead of being fused in a single collective vision (Gesamtkunstwerk, cinema, mass society), visitors are confronted with a subjective and partial view.
(285) Such a notion of a continuous trajectory is more compatible with human anthropology and phenomenology.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (287) 20131008 0 -1+ progress/2011/01/notes_for_manovich-language_of_new_media.html
List of effects of computerization on cinema: traditional filmmaking, computer-based, filmmaker reactions to reliance, filmmaker reaction to new media conventions. (287) The first vector goes from cinema to new media.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (287) 20131008a 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
List of effects of and distinct qualities of a computer-based image: discrete, modular, two levels of surface appearance and underlying code, lossy, new interface role, teleaction, hyperlinked, variability and automation, database cultural unit. (287) The second vector goes in the opposite direction from computers to cinema.
(289) This ability not only to act but to teleact distinguishes the new computer-based image-instrument from its predecessors.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (294) 20131008b 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Common feature of lens-based recordings of reality for all film-based cinema. (294) From the perspective of a future historian of visual culture, the differences between classical Hollywood films, European art films, and avant-garde films (apart from abstract ones) may appear less significant than this common feature their
reliance on lens-based recordings of reality.
(294-295) Cinema emerged out of the same impulses that engendered naturalism, court stenography, and wax museums. Cinema is the art of the index; it is an attempt to make art out of a footprint.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (295) 20131008c 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Cinema, now that it can be natively virtual, having merged with animation, is more like painting than indexical (based on transduction from physical reality; see Sterne). (295) Consequently, cinema can no longer be clearly distinguished from animation. It is no longer an indexical media technology but, rather, a subgenre of painting.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (301) 20131008d 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Definition of digital film as live action material + painting + image processing + compositing + 2-D computer animation + 3-D computer animation; compare definition of digital film to Floridi definition of cyberspace: this is much clearer and bears more information about the reality it depicts while interpellating. (301) Given the preceding principles, we can define digital film in this way:
digital film = live action material + painting + image processing + compositing + 2-D computer animation + 3-D computer animation.
(302)
Digital cinema is a particular case of animation that uses live-action footage as one of its many elements.
(303) In digital filmmaking, shot footage is no longer the final point, it is merely raw material to be manipulated on a computer, where the real construction of a scene will take place.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (304-305) 20131008e 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Compare digital cinema production to how a print text is treated today, and their existence as instantaneous embodiment in multiple media systems, in the working memory of distributed CPUs: while unit oriented, as objects they must be considered virtual, ephemeral, epiphenomena of media systems, as the ideal phenomena Manovich describes as 129600 painted frames indistinguishable from live photographic recording. (304-305) What was previously recorded by a camera automatically now has to be painted one frame at a time. . . . In principle, given enough time and money, one can create what will be the ultimate digital film: 129,600 frames (ninety minutes) completely painted by hand from scratch, but indistinguishable in appearance from live photography.
(306-307) One general effect of the digital revolution is that avant-garde aesthetic strategies came to be embedded in the commands and interface metaphors of computer software.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (314) 20131008f 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Succession of distinct expressive languages throughout history of cinema suggestive of Kuhnian cultural logic of scientific progress; seems easily testable with history of computing. (314) We no longer think of the history of cinema as a linear march toward one language, or as a progression toward increasingly accurate verisimiltude. Rather, we have come to see it as a succession of distinct, and equally expressive languages, each with its own aesthetic variables, each new language closing off some of the possibilities of the previous one a
cultural logic not dissimilar to Kuhnƒs analysis of scientific paradigms.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (317) 20131008g 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Role of loop in computer programming and cinema: is this an invitation to future scholarship? (317) Can the loop be a new narrative form appropriate for the computer age? It is relevant to recall that the loop gave birth not only to cinema but also to computer programming. Programming involves altering the linear flow of data through control structures, such as if/then and repeat/while ; the loop is the most elementary of these control structures.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (324) 20131008h 0 -4+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Prediction of multiple window media forms, a contingent invitation to future scholarship. (324) I believe that the next generation of cinema
broadband cinema, or macromedia will add multiple windows to its language. When this happens, the tradition of spatial narrative that twentieth-century cinema suppressed will reemerge.
(325) The logic of replacement, characteristic of cinema, gives way to the logic of addition and coexistence. Time becomes spatialized, distributed over the surface of the screen.

3 3 1 (+) [-6+]mCQK manovich-language_of_new_media (326) 20131008i 0 -3+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Seems to confound object-oriented and multiprocessing, as both objects and processes are active simultaneously, often exchanging messages. (326) On the level of computer programming, this logic corresponds to
object-oriented programming. Instead of a single program that, like Fordƒs assembly line, is executed one statement at a time, the object-oriented paradigm features a number of objects that send messages to each other. These objects are all active simultaneously.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (326) 20131008j 0 -1+ progress/2011/01/notes_for_manovich-language_of_new_media.html
The nod to OOP found in most digital media theory, deprivileging the diachronic dimension. (326) The result is a new cinema in which the diachronic dimension is no longer privileged over the synchronic dimension, time is no longer privileged over space, sequence is no longer privileged over simultaneity, montage in time is no longer privileged over montage within a short.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (329-330) 20131008k 0 -9+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Ocularcentrism in modern regime of perceptual labor means high density of visual phenomena in leisure and work; thankfully, audible phenomena not fully territorialized by the workstation, although that is also the dangerous place my brand of digital humanities research threatens to venture via formant synthesis (symposia). (329-330) For Benjamin, the modern regime of perceptual labor, where the eye is constantly asked to process stimuli, manifests itself equally in work and leisure. . . . It is appropriate to expect that the computer age will follow the same logic, presenting users with similarly structured perceptual experiences at work and home, on computer screens and off. . . . we may instead think of the information density of our own workspaces as a new aesthetic challenge, something to explore rather than condemn.

3 3 1 (+) [-4+]mCQK manovich-language_of_new_media (333) 20131008l 0 -1+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Manovich provides some entry points for philosophy of computer via cinema studies to complement CCS and other approaches, such as Cosic example. (333) By juxtaposing ASCII code with the history of cinema, Cosic accomplishes what can be called an artistic compression ; that is, along with staging the new status of moving images as a computer code, he also encodes many key issues of computer culture and new media art in these images.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (4) 20131005 0 -1+ progress/2012/03/notes_for_manovich-software_takes_command.html
What is media after software? (4) In short:
What is media after software?

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (5) 20131005a 0 -1+ progress/2012/03/notes_for_manovich-software_takes_command.html
Situates work within software studies; title pays homage to Giedion Mechanization Takes Command. (5) Its title pays homage to a seminal twentieth-century book
Mechanization Takes Command: a Contribution to Anonymous History (1947) by architectural historian and critic Sigfried Giedion.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (11-12) 20131005b 0 -6+ progress/2012/03/notes_for_manovich-software_takes_command.html
Reference to peer-reviewed journal Computational Culture. (11-12) To help bring this change, in 2008, Matthew Fuller, Noah
Wardrip-Fruin and I established the Software Studies book series at MIT Press. . . . In 2001, Fuller together with a number of UK researchers established Computational Culture, an open-access peer-reviewed journal that provides a platform for more publications and discussions.
(12-13) Yet another relevant category of books comprises the historical studies of important labs and research groups central to the development of modern software, other key parts of information technology such as the internet, and professional practices of software engineering such as user testing.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (13) 20131005c 0 -5+ progress/2012/03/notes_for_manovich-software_takes_command.html
Rheingold first to explicitly base computers as new media, not just new technology. (13) My all-time favorite book, however, remains
Tools for Thought published by Howard Rheingold in 1985, right at the moment when domestication of computers and software starts, eventually leading to their current ubiquity. This book is organized around the key insight that computers and software are not just technology but rather the new medium in which we can think and imagine differently.
(13) Beginning around 2000, a number of artists and writers started to develop the practice of software art which included exhibitions, festivals, publishing books, and organizing online repositories of relevant works.
(15) I think of software as
a layer that permeates all areas of contemporary societies. Therefore, if we want to understand contemporary techniques of control, communication, representation, simulation, analysis, decision-making, memory, vision, writing, and interaction, our analysis cannot be complete until we consider this software layer.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (15-16) 20130820 0 -6+ progress/2012/03/notes_for_manovich-software_takes_command.html
Insistence on new methodologies of software studies including humanities scholars who program and have technical experience to round out accounts of modern media and technology. (15-16) At the same time, the existing work in software studies already demonstrates that if we are to focus on software itself, we need new methodologies. That is, it helps to practice what one writes about. It is not accidental that all the intellectuals who have most systematically written about softwareƒs roles in society and culture have either programmed themselves or have been involved in cultural projects and practices which include writing and teaching software for instance, Ian Bogost, Jay Bolter, Florian Cramer, Wendy Chun, Matthew Fuller, Alexander Galloway, Katherine Hayles, Matthew Kirschenbaum, Geert Lovink, Peter Lunenfeld, Adrian Mackenzie, Paul D. Miller, William J. Mitchell, Nick Montfort, Janey Murray, Kaite Salen, Bruce Sterling, Noah Wardrip-Fruin, and Eric Zimmerman. In contrast, the scholars without this technical experience or involvement for example, Manual Castells, Bruno Latour, Paul Virilio, and Siegfried Zielinksi have not included discussions of software in their otherwise theoretically precise and highly influential accounts of modern media and technology.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (17) 20130820a 0 -7+ progress/2012/03/notes_for_manovich-software_takes_command.html
Despite of preference for retaining affordances of specific media over convergence in invisible interface, endorses hope that programming will become easy and lead to long tail democratization. (17) Clearly, today the consumer technologies for capturing and editing media are much easier to use than even the most friendly programming and scripting languages. . . . But I do not see any logical reasons why programming cannot one day become equally easy.
(17-18) Although we are far from a true long tail for software, software development is gradually getting more democratized. It is, therefore, the right moment to start thinking theoretically about how software is shaping our culture, and how it is shaped by culture in its turn.

3 3 1 (+) [-6+]mCQK manovich-software_takes_command (21) 20130820b 0 -1+ progress/2012/03/notes_for_manovich-software_takes_command.html
Grey software is that which is not directly used by most people, such as logistics and industrial automation software, although it regulates society. (21) However, since I do not have personal experience writing logistics software, industrial automation software, and other
grey software, I will not be writing about such topics.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (21) 20131105b 1 -2+ progress/2012/03/notes_for_manovich-software_takes_command.html
Culture software enables cultural actions: creating artifacts, accessing and remixing them, creating knowledge online, communicating, engaging in interactive cultural experiences, participating in information ecology by expressing preferences and adding metadata, developing software tools and services. (21) My concern is with a particular subset of software which I used and taught in my professional life. I call it
cultural software.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (31) 20130820c 0 -3+ progress/2012/03/notes_for_manovich-software_takes_command.html
Focus on mainstream applications and create and access cultural content over promoting programming, which is an exceptional category. (31) The reason for my choices is my commitment to understand the mainstream cultural practices rather than to emphasize (as many cultural critics do) the exceptions, no matter how progressive they may be.
(32) at the end of the twentieth century humans have added a fundamentally new dimension to everything that counts as culture. This dimension is software in general, and application software for creating and accessing content in particular.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (35-36) 20130820d 0 -12+ progress/2012/03/notes_for_manovich-software_takes_command.html
Actively managed model of communications replaces classical theory of Hall encoding decoding in which partial reception problematic. (35-36) The interfaces of media access applications . . . encourage people to browse, quickly moving both
horizontally between media (from one search result to the next, from one song to another, etc.) and vertically, through the media artifacts (e.g., from the contents listing of a music album to a particular track). . . . In other words, the message that the user receives is not just actively constructed by him/her (through a cognitive interpretation) but also actively managed (defining what information s/he is receiving and how).
(37) This shift from messages to platforms was in the center of the Webƒs transformation around 2004-6.

3 3 1 (+) [-6+]mCQK manovich-software_takes_command (41) 20130820e 0 -9+ progress/2012/03/notes_for_manovich-software_takes_command.html
No reason to resurrect obsolete versions of most cultural software, in contrast to reissue of early video games. (41) It does not derive any profits from the old software and therefore it does nothing to promote its history. . . . in contrast to the video games from the 1980s, these early software versions are not treated as separate products which can be re-issued today. . . . Although I am not necessarily advocating the creation of yet another category of commercial products, if early software was widely available in simulation, it would catalyze cultural interest in software similar to the way in which wide availability of early computer games, recreated for contemporary mobile platforms, fuels the field of video game studies.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (41) 20131105c 0 -3+ progress/2012/03/notes_for_manovich-software_takes_command.html
With no preservation of obsolete versions of cultural software to study, no conceptual history or investigation of roles played by software in media production; compare to Campbell-Kelly and other software historians. (41) we lack not only a conceptual history of media editing software but also systematic investigations of
the roles of software in media production. For instance, how did the adoption of the popular animation and compositing application After Effects in the 1990s reshape the language of moving images?
(42) In summary, a systematic examination of the connections between the workings of contemporary media software and the new communication languages in design and media (including graphic design, web design, product design, motion graphics, animation, and cinema) has not yet been undertaken.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (44) 20131005d 0 -4+ progress/2012/03/notes_for_manovich-software_takes_command.html
Kay called computer first metamedium; foundations established in 1960s through 1970s so that by mid1990s media hybridization, evolution and deep remix are dominant concepts. (44) Accordingly, [Alan]
Kay calls computers the first metamedium whose content is a wide range of already-existing and not-yet-invented media.
(44) The foundations necessary for the existence of such metamedium were established between the 1960s and the late 1970s.
(45) I use three different concepts to describe these developments and the new aesthetics of visual media which developed in the second part of the 1990s after the processes of adoption reached sufficient speed. These three concepts are
media hybridization, evolution, and deep remix.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (45-46) 20130820f 0 -11+ progress/2012/03/notes_for_manovich-software_takes_command.html
New historical stage of softwarization first affecting professional creatives, then the rest of us; would Manovich progression be orality, literacy, hybridity? (45-46) Once they were simulated in a computer, previously incompatible techniques of different media begin to be combined in endless new ways, leading to new media hybrids, or, to use a biological metaphor, new media species. . . . In my view, this
ability to combine previously separate media techniques represents a fundamentally new stage in the history of human media, human semiosis, and human communication, enabled by its softwarization.
(46) Deep remixability is central to the aesthetics of motion graphics.
(46-47) The next major wave of computerization of culture has to do with different types of software social networks, social media, services, and apps for mobile platforms. . . . The 1990sƒ media revolution impacted
professional creatives; the 2000sƒ media revolution affected the rest of us.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (47) 20131005e 0 -7+ progress/2012/03/notes_for_manovich-software_takes_command.html
Sutherland Sketchpad first computer design system presented publicly in 1961. (47) To be more precise, we can frame this history between 1961 and 1999. In 1961, Ivan
Sutherland at MIT designed Sketchpad, which became the first computer design system shown to the public. In 1999, After Effects 4.0 introduced Premiere import. Photoshop 5.5 added vector shapes, and Apple showed the first version of Final Cut Pro in short, the current paradigm of interoperable media authoring and editing tools capable of creating professional media without special hardware beyond the off-the-shelf computer was finalized. And while professional media tools continued to evolve after this period, the changes so far have been incremental.

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Foregrounds the most commonly used applications, which are likely commercial, regardless of personal ideological preference for free, open source options. (50-51) The reason this book focuses on commercial media authoring and editing software rather than its open source equivalents is simple. In almost all areas of software culture, people use free applications and web services. . . . However, in the case of professional tools for media authoring and editing, commercial software dominates. It is not necessarily better, but it is simply used by many more people. . . . Since I am interested in describing the common user experiences, and the features of media aesthetics common to millions of works created with the most common authoring tools that are all commercial products, these are the products I choose to analyze. And when I analyze tools for media access and collaboration, I similarly choose the most popular products which in this case includes both free software and services provided by commercial companies (Safari, Google Earth), and free open source software (Firefox).

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (58-59) 20130820h 0 -4+ progress/2012/03/notes_for_manovich-software_takes_command.html
GUI software turned computer into remediation machine representing earlier media. (58-59) By developing easy-to-use GUI-based software to create and edit familiar media types, Kay and others appear to have locked the computer into being a simulation machine for old media. Or, to put this in terms of Jay
Bolter and Richard Grusinƒs influential book Remediation: Understanding New Media (2000), we can sat that GUI-based software turned a digital computer into a remediation machine, a machine that expertly represents a range of earlier media.
(59) There was definitely nothing in the original theoretical formulations of digital computers by Turing or Von Neumann about computers imitating other media such as books, photography, or film.
(60) While media theorists have spent considerable efforts in trying to understand the relationships between digital media and older physical and electronic media in the 1990s and 2000s, the important sources the writing and project by Ivan Sutherland, Douglas Engelbart, Ted Nelson, Alan Kay, and other pioneers working in the 1960s and the 1970s remained largely unexamined.

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What is media after software becomes the new question; Kay personal dynamic media historically unprecedented affordances. (60) In short, I want to understand what is
media after software --that is, what happened to the techniques, languages, and the concepts of twentieth-century media as a result of their computerization.
(61) Kay conceived of
personal dynamic media as a fundamentally new kind of media with a number of historically unprecedented properties such as the ability to hold all the userƒs information, simulate all types of media within a single machine, and involve the learner in a two-way conversation. These properties enable new relationships between the user and the media s/he may be creating, editing, or viewing on a computer. And this is essential if we want to understand the relationships between computers and earlier media. Briefly put, while visually, computational media may closely mimic other media, these media now function in different ways.
(62) To use a different term, we can say that a digital photograph offers its users many
affordances that its non-digital predecessor did not.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (64) 20130820j 0 -14+ progress/2012/03/notes_for_manovich-software_takes_command.html
Dynabook platform a metamedium, challenging prior understanding of media as separate from one another. (64) In this article [ Personal Dynamic Media ] Kay and Goldberg describe the vision to create
a personal dynamic medium the size of a notebook (the Dynabook) which could be owned by everyone and could have the power to handle virtually all of its ownerƒs information-related needs.
(65) Rather, the goal was to establish a computer as an umbrella, a platform for
all existing expressive artistic media. (At the end of the article Kay and Goldberg give a name for this platform, calling it a metamedium. ) This paradigm changes our understanding of what media is. From Gotthold Ephraim Lessingƒs Lacoon; or, On the Limits of Painting and Poetry (1766) to Nelson Goodmanƒs Languages of Art (1968), the modern discourse about media depends on the assumption that different mediums have distinct properties and in fact should be understood in opposition to each other. . . . Some of these new connections were already apparent to Kay and his colleagues; others became visible only decades later when the new logic of media set in place at PARC unfolded more fully; some may still not be visible to us today because they have not been given practical realization. . . . All in all, it is as though different media are actively trying to reach towards each other, exchanging properties and letting each other borrow their unique features.
(70) It was only Kay and his generation that extended the idea of simulation to media thus turning Universal Turing Machine into a
Universal Media Machine, so to speak.

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Beyond remediation, creating magical paper: adding new properties and personal programming suggests another site for critical programming. (70-71) Appropriately, when Kay and his colleagues created computer simulations of existing physical media i.e., the tools for representing, creating, editing, and viewing these media they added many new properties. . . . As Kay has referred to this in another article, his idea was not to simply imitate paper but rather to create magical paper.
(72) Studying the writings and public presentations of the people who invented interactive media computing Sutherland, Engelbart, Nelson, Negroponte, Kay, and others makes it clear that they did not produce the new properties of computational media as an afterthought. On the contrary, they knew that they were turning physical media into new media.

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (72-73) 20130824a 0 -10+ progress/2012/03/notes_for_manovich-software_takes_command.html
View control example of new media property intentionally highlighted by Engelbart demo, comparable to Nelson idea of stretchtext. (72-73) Paying attention to the sequence of the demo reveals that while Engelbart had to make sure that his audience would be able to relate to the new computer systems to what they already knew and used, his focus was on new feature of simulated media never before available previously. . . . As Engelbart points out, the new writing media could switch at the userƒs wish between
many different views of the same information.
(75) (In 1967 Ted Nelson articulated and named a similar idea of a type of hypertext, which would allow a read to obtain a greater detail on a specific subject. He named it
stretchtext. )
(75) Since new media theory and criticism emerged in the early 1990s, endless texts have been written about interactivity, hypertext, virtual reality, cyberspace, cyberculture, cyborgs, and son on. But I have never seen anybody discuss view control. And yet this is one of the most fundamental and radical new techniques for working with information and media available to us today.

3 3 1 (+) [-6+]mCQK manovich-software_takes_command (90-91) 20130824b 0 -3+ progress/2012/03/notes_for_manovich-software_takes_command.html
Example of digital frame buffer as new creative medium. (90-91) But even if we forget about SuperPaintƒs revolutionary ability to combine graphics and video, and discount its new tools such resizing, moving, copying, etc., we are still dealing with
a new creative medium ([Alvy Ray] Smithƒs term). As Smith pointed out, this medium is the digital frame buffer, a special kind of computer memory designed to hold images represented as an array of pixels (today a more common name is graphics card).

3 3 1 (+) [-4+]mCQK manovich-software_takes_command (93) 20130824c 0 -2+ progress/2012/03/notes_for_manovich-software_takes_command.html
Malleability of software compared to other industrially produced objects. (93) New programs can be written and existing programs can be extended and modified (if the source code is available) by anybody who has programming skills and access to a computer, a programming language and a compiler. In other words, today software is fundamentally malleable in a way that twentieth-century industrially produced objects were not.

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PARC GUI designed as medium to facilitate learning, discovery and creativity. (100) If we are to agree with Brunerƒs theory of multiple mentalities and Kayƒs interpretation of this theory, we should conclude that the new computational media that he helped to invent can do something no previous media can activate our multiple mentalities which all play a role in learning and creativity, allowing a user to employ whatever works best at any given moment and to rapidly switch between them as necessary. . . . In short, while many HCI experts and designers continue to believe that the idea human-computer interface should be invisible and get out of the way to let users do their work, looking at the theories of Kay and Goldberg that were behind GUI design gives a very different way of understanding an interfaceƒs identity. Kay and his colleagues at PARC have conceived GUI as a medium designed in its every detail to facilitate learning, discovery, and creativity.

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Commercially successful GUI designed as intuitive mimicry of physical world workspace. (101) Unfortunately, when GUI became the commercially successful paradigm following the success of Appleƒs Mac computers, introduced in 1984, the intellectual origins of GUI were forgotten. Instead, GUI was justified using a simplistic idea that since computers are unfamiliar to people, we should help them by making interface intuitive by making it mimic something users are already well familiar with the physical world outside of a computer (which in reality was an office environment with folders, desks, printers, etc.) Surprisingly, even in recent years when born digital generations were already using computer devices even before they ever set foot in an office this idea was still used to explain GUI.

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Literacy implies reading and writing abilities; media editing applications provided with computers should inspire users to write their own programs. (103) Using the analogy with print literacy, Kay motivates this property in this way: The ability to ƒreadƒ a medium means you can
access material and tools generated by others. The ability to write in a medium means you can generate materials and tools for others. You must have both to be literate. Accordingly, Kayƒs key effort at PARC was the development of the Smalltalk programming language. . . . In other words, all media editing applications that would be provided with a computer, were to serve also as examples, inspiring users to modify them and to write their own applications.
(104) Accordingly, the large part of Kay and Goldbergƒs paper is devoted to description of software developed by the users of their system . . . professionals, high school students, and children in order to show that everybody could develop new tools using the Smalltalk programming environment.
(104) Just as a scientist may use simulation to test different conditions and play different what/if scenarios, a designer, a writer, a musician, a filmmaker, or an architect working with computer media can quickly test different creative directions in which the project can be developed as well as see how modifications of various parameters affect the project.

3 3 1 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005k 0 -5+ progress/2012/07/notes_for_marino-critical_code_studies.html
Prior work by Raley, Montort, Mateas, Wardrip-Fruin, and Software Studies contributions. (np) Too few critics have dealt with specific lines of code or aspects of programming languages even when analyzing codework. The critics reviewed below have begun the process of analyzing specific programming practices, computer languages, and the very symbols of code in the kinds of close readings necessary for CCS to be engaged in a thorough reading of these texts.
(np) Double coding becomes a means for describing the multiple meanings inherent in code-just as it is inherent in natural language-adding the computational realm as another milieu of signification.
(np) "A Box Darkly" opens up the black box of software to interpretation. Through this intervention, Mateas and Montfort demonstrate that programmers can signify through stylistics and play in ways that go far beyond mere questions of efficiency and legibility, opening the analysis of code to other criteria than utility and grace of technique.

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Idea of performative revision being fundamental to software connecting our ideas, including Memex but more importantly distributed, networked programming. (212) The pharmakon.t project contextualizes webmixing as a
meditative practice, approaching the collective record as a source for sonic mandalas, revealing otherwise occulted linkages among distinct, often apparently incompatible, data objects. I was interested in positioning my own webmixing work in the context of the DJ Rabbi collective because of the groupƒs emphasis on appropriation, juxtaposition, and remixing as the essential literacies of digital culture. . . . In all cases, the works of the DJ Rabbi collective suggest that data objects in the store of human experience sustain a meaningful presence not as cultural objects bound by rigid rules for access, use, and interpretation, but only when they are renewed through acts of performative revision.

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Is telharmonium the same failed technology Sterne documents, whose common feature is displacement of agency from skilled performer of composed music (idea, representation, authorship, text first) to dynamically generated epiphenomena of the presentation environment with technological systems in place of human performers. (214) The term telharmonics pays homage to one of the grandest failures in the history of electronic music: Thaddeus Cahilllƒs early network synthesizer, the telharmonium, which for a brief while around the turn of the previous century transmitted its electric tones over telephone cables to receivers scattered around New York City.

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There is a place for programmed work, although it may be combined with projects Reddell enumerates. (214) The term telharmonics pays homage to one of the grandest failures in the history of electronic music: Thaddeus Cahilllƒs early network synthesizer, the telharmonium, which for a brief while around the turn of the previous century transmitted its electric tones over telephone cables to receivers scattered around New York City.

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We will want to get beyond selecting and combining preexistent elements to creative production of that may involves custom software in addition to things offering selections from menus and databases. (217) The info-aestheticsƒ of em.chia and my pharmakon.t project bring a turntablistƒs approach to the web by turning browsers into decks and remediating the DJƒs crate of records into a folder of URLs pointing to mp3 files, streaming audio and video clips, interactive works, and animations. The performance of access through the sonified memex mixing desk embodies what Manovich describes as the new logic of digital culture, the selection and combination of preexistent elements from menus and databases (2001, 135).

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Bakhtin chronotope as aestheticized vehicle for Manovich conceptual transfer through cultural forms and media. (218) I would like to suggest Bakhtinƒs chronotope is the aestheticized vehicle for Manovichƒs conceptual transfer through cultural forms and media.

3 3 1 (+) [-4+]mCQK reddell-social_pulse_of_telharmonics (219-220) 20131008f 0 -9+ progress/2011/11/notes_for_reddell-social_pulse_of_telharmonics.html
Debord detournement remixed movies paradigm for live DJ and VJ practices, making sonic and visual detours through cultural archives. (219-220) A combatant form of fragments set against the false cultural totality of what Debord labeled the society of the spectacle, detournement is a palimpsest-based reworking that treats the media objects of the spectacle as sources for partial erasure and reuse, typically transforming cinema, broadcast television, home movies, newspaper ads, and comic strips into vehicles for propaganda and social theory. . . . These cut up, remixed movies became the anti-spectacular vehicles for Debordƒs critical and philosophical works, text delivered in voiceover on the filmƒs soundtrack. . . . Both DJ and VJ practice a form of live detournement, facilitating sonic and visual detours through the archives of the cultural world.

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The Catullus writing back and forth creativity is not lost, although Baudrillard is correct about the likelihood of a participant mass culture rather than a co-creative one like those that might be found in free, open source software development communities. (221) In his sobering account of mediaƒs tendency to hinder social transformation, 1972ƒs Requiem for the Media, Jean
Baudrillard (2003) discusses the collapse of communication into a closed loop, a systematic failure that he characterizes in terms of information consumption. There is no exchange in consumption, and when communication transforms into the digestion of media objects, social life ceases. . . . The challenge in the Internet Download Sound series is to remain open to fortuitous accidents of random juxtaposition while using file-processing software that essentially eats away at the performance.

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Broken linkages important to the fragility of memories of online coursework: point about no individual control of persistence of webmixes useful connection. (224) The variability of the web is that of server access, file deletion, file corruption, and other forms of broken linkage.

3 3 1 (+) [-4+]mCQK reddell-social_pulse_of_telharmonics (226-257) 20131008k 0 -15+ progress/2011/11/notes_for_reddell-social_pulse_of_telharmonics.html
Just as importantly as being a cultural interface and telematic zone, it is a place where users can be co-creators participating in the design and programming, not just by interacting with the UI so the audio software can be a musical instrument, beyond mid 1990s Turkle, eerily like the journal software. (226-257) But more compelling would be to consider automation as a way to develop more complex webmixing tools or instruments in their own right. This is precisely the direction in which network sound programmers Andi Freeman and Jason Skeet have taken their own automated webmixer, <earshot>, a tool that transforms the web into the worldƒs largest sound library (2002). . . . As the project developed over a four-year period, however, Freeman and Skeet built a complex user interface that now provides numerous points of interaction. . . . The design and programming of such robust webmixing software turns the cultural forms we looked at earlier into what Manovich calls a cultural interface, a telematic zone in which computers present and allow us to interact with cultural data (2001, 70). . . . Works by such <earshot> devotees lend credence to Freeman and Skeetƒs claim that audio software can be seen as a musical instrument in its own right (Freeman and Skeet 2002). This simple pronouncement yields surprisingly contentious arguments among producers of digital music, many of whom express a deep discomfort over the ability of complex software to challenge our notions of authorship, originality, and composition.

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Constellations portrays a sonic device dependent on a visual interface. (227-228) Premiering in October 1999 during the Experimental Design Festival In Lisbon, Portugal, Tanakaƒs work provides visitors with a custom webmixing interface installed on several computer kiosks distributed throughout the gallery. The screen depicts . . .
(228) With a planetƒs size on the screen equating to its volume in the mix, the media interface allows the player to combine multiple audio streams by navigating through the celestial field.

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MSA: Bakhtin version of Rabelais recording urban experience like my idea of DL as a web search. (235) Bakhtin immersed himself in the literary carnival of Rabelaisƒ
Gargantua and Pantagruel, concluding that Rabelais recorded the once living polyvocality of medieval urban experience.

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So with Platoniq we are beyond the components of cultural literacy highlighted by the DJ Rabbi collective that opened the piece: artwork includes practical information about how to duplicate and transform the medium, inviting consideration of free, open source options. (236) The is one last step to take, however, which concerns issues of access to the tools of production, communication and participation. . . . But what makes Platoniq our last stop here is the manner in which they contextualized their broadcasts by mixing in additional layers of communication for participants, including workshops and discussion groups covering everything from open source, server-side technologies to the legal aspects of radio production such as copyright and licensing. As the freeform performances of Radiotopia morph into the community outreach aesthetics of Open Air Radio, we find that webmixing has likewise transformed from a cultural form, through a cultural interface, to become something more long the lines of an operative, cultural literacy.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (45) 20131008k 0 -8+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
In contrast to Ramist handbook tradition, API to Wikipedia could render fascinating new organizations and layout of entries: so will be the layout of this book, each chapter a rhetorical dimension and choral move. (45) Placed on the Web, students can further explore the choral moves they discover through hyperlinks and image placement. . . . While it is open in the sense that it encourages readers to contribute to its development, Wikipediaƒs entries, layout, and organization do not convey multiple meanings and choral possibilities.
(45-46) Each chapter signifies a rhetorical dimension of cool but also stands for another choral move I make. In other words,
The Rhetoric of Cool is itself a handbook. The significance, therefore, is twofold: to demonstrate the rhetoric of cool (and thus evoke the performative nature or writing) and to pose a model that can be appropriated for other kinds of hyper-rhetorical work (the writing itself).

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How are terms like cool appropriated from media, music, Yoruban visuality: compare to Derrida plant fecundation? (48) there exists a different type of rhetorical stance I am seeking to create, one dependent not on balance but on how terms or ideas are appropriated (cool as appropriated from media, from music, from Yoruban visuality).

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The same docile bodies as those conditioned by traditional rhetoric (calmed down by selecting thesis statement and clearly arguing through it from introduction to conclusion) surveyed in Merchants of Cool. (59) These kinds of discrepancies regarding appropriation in popular culture are detailed by Thomas Frank in
The Conquest of Cool, Malcom Gladwell in The Coolhunt, and Douglas Rushkoff in his PBS documentary Merchants of Cool. These writers note how the rhetoric of cool is often transformed into a complacent discursive strategy when coherence is the ultimate goal.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (61) 20131008n 0 -2+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Cultural jamming example of new media method of persuasion tied to appropriation. (61) Academic scholarship turns to appropriation not to sell products but rather to learn the methods of persuasion conducive to new media.
(62) Practicing the right to copy, Adbusters, in the spirit of what Mark Dery terms cultural jamming, recontextualizes print ads (like Obsession) and re-present them (Obsession Fetish) as critique.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (63-65) 20131008o 0 -13+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
The how-to is also exemplified in the IT integrators mash up of operating systems, and programmers remixing source code modules. (63-65) In digital culture, the cut-up is best exemplified in practices ranging from Web site construction (appropriating images and HTML code from other sites to create new sites) to Weblogs (cutting and pasting links) to hip-hop and DJ culture (appropriating sounds and music, remixing them, and generating new compositions). . . . As a media being, the contemporary writer is always attune to sound, imagery, words, ideas; she appropriates these items and mixes them for innovative purposes. . . . The Subliminal Kid today seems everyday to many of us because of the dominant images of cutting, pasting, sampling, and mixing that inundate most new media practices we take for granted. . . . The one place mix as appropriative rhetoric is missing is in writing pedagogy.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (66) 20131008p 0 -4+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Others have compared DJ to Benjamin flaneur, also actualizing Burroughs character of The Subliminal Kid, making alternative space for digital composing. (66) The DJ as writer revises Walter
Benjaminƒs concept of the flaneur, the inheritor of a new poetics in which cultural artifacts guide the composition process. The flaneur, Benjamin writes, acts as a collector; his writings stem from collected findings repositioned for new purposes.
(67) What
Burroughs theorizes through the character of The Subliminal Kid, digital samplers actualize in electronic writing. The cut-and-paste logic of electronic writing is captured in the sampler (which I oppose to the essay), making it an alternative space for digital composing.

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Making useful, durable digital media objects from assignments projects the students interest beyond the limited scope of throw away homework assignments principally tutorial and not necessarily practical or even sound taken at face value. (72) Using appropriation within the rhetoric of cool allows writers to write outside of the limitations of student writing and, therefore, to fully enjoy other forms of writing that occupy their media lives; in other words, writers juxtapose these other forms to their lives.

3 3 1 (+) [-6+]mCQK rice-rhetoric_of_cool (73-74) 20131008r 0 -5+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Engelbart proposed juxtaposition focal point of writing with computers, thus central to computing-based heuretics. (73-74) In this 1963 essay A Conceptual Framework for Augmenting Manƒs Intellect, Douglas
Engelbart proposed that juxtaposition be the focal point of writing with computers. . . . The potential of this juxtaposing-windows system, Englebart argued, would allow writers the ability to work simultaneously with a variety of versions of the same text, each version contributing differently to the learning and discovery process writing evokes.

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McCrimmon ideology/pedagogy of thesis challenged by hierarchy of levels implicit in new media artifacts, which afford spatial composing. (79) The ideology of the thesis - that writing (and thus research) depends on a single statement or idea - has led the initial CCCC call to not be fully answered. Indeed, the call for debate regarding composition pedagogy (generalized in the research paper issue) never has extended to include how writers juxtapose, or how writers organize ideas spatially, as Lev Manovich argues in
The Language of New Media. Spatial composing, Manovichƒs term for multilayered new media composition, reflects how new media artifacts contain a hierarchy of levels (xxv). . . . Spatial composing is a process - the ability to navigate and display disparate elements on encounters - as well as compositional - the writing one does.

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Hypertext is obvious place to explore machine writing. (80) The most immediate place to explore a Burroughs-oriented writing machine for the rhetoric of cool is hypertext, for it allows writers to juxtapose ideas, texts, sounds, images, and animation in ways print cannot accommodate.

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Examples actualizing Nelson hypertext as writing space outside paperdigm, noting originally performed without computerized medium. (81) The cool writings of Everything2.com actualizes much, though not all, of Nelsonƒs initial concept of hypertext as a writing space outside of what Nelson calls the paperdigm. . . . Instead of using computers to reinscribe the logic of print (linear narratives modeled after the essay), Nelson argued that writers composing with hypertext can combine their own material with an endless stream of quotations, essays, cartoons, reports, advertisements, sounds, images, and so forth, in order to generate an interconnecting network of knowledge, to practice discovery through this interlinking.

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This statement implies that how links work is a precondition of digital literacy, although not sufficient in itself because the technical know-how does not reveal how the medium shapes thought. (85) In the hypertext system dramatized by Nelson, the environment within which writing is produced should not feel controlled, comfortable, nor safe, as the thesis demands of student writing or as Research in Written Compositionƒs scientific laboratory atmosphere demands of the teaching of writing. . . . The role of hypertext in cool, then, is not just a question of what appears on a screen or page (how links work) but how the medium shapes thought (encourages writers to search out conflicting viewpoints through connections).

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DJ writers must perform juxtapositions, not just offer critical analysis of their effect on particular types of readers. (90-91) The writer as human sampler? The writer who cuts right into the funkengine ? What kind of writer is that exactly? . . . writers must
perform juxtapositions, not just offer critical analysis of juxtapositionsƒ effects on a given readership.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (93-94) 20131008w 0 -7+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
To Barthes commutation is exchange of signifiers without concern for referentiality, and Baudrillard argues electronic communication replaces signification with it. (93-94) Commutation is the exchange of signifiers without concern for referentiality. In the 1964 English translation of
Elements of Semiology, Roland Barthes defines commutation as an important writing strategy writers employ to make specific choices regarding meaning construction. . . . Composition studies has been less receptive to the kind of meaning alteration Barthes describes, opting instead to believe that meanings are located in fixed places (topoi) of argumentation.
(95) In
Symbolic Exchange and Death, Jean Baudrillard argues that electronic communication replaces signification with commutation as a system of exchange; the electronic age leads to the replacement of symbolic exchange (which is key to how we make meaning) with commutability.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (99) 20131008x 0 -2+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Commutation positions rhetoric as manipulative practice, reimagining traditional questions regarding expectation and writerly intent. (99) Commutation involves more than just the swapping of signifiers (text, image, and sound). Commutation also positions rhetoric as a manipulative practice.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (106) 20131008y 0 -9+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Mixes expose irrationality inherent in meaning systems, rhetorical transgressions complicating rational portrayal of belief systems. (106) The mix offers a rhetorical transgression by complicating how belief systems (gender, writing) are portrayed as rational and by exposing the irrationality inherent in meaning systems in general. Deviancy, within commutation, is a rhetorical move meant to undermine fixed ideas; it is not a social ill as Becker claims.
(107) The mere associations and connotations generated through these mixes is enough to evoke audience response (the desire to buy these products). . . . Even without clear or permanent positions, this writing suggests, there will be various levels of meanings distributed, and there will be audience reaction.
(107) Composition studies is not in the business of producing a consumer-oriented rhetoric. But composition studies does want to use visual displays as advertising does; and with that need to be visual should also be the desire to write commutative practices, much as advertising strives to accomplish.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (109) 20131008z 0 -7+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Dead Elvis as tutor text for commutation: students compose web site featuring their chosen celebrity using image and text appropriation, organization and dynamic scripting to demonstrate rhetorical effect through commutated signifiers rather than referentiality of thesis-driven assignments. (109) To perform such a task, I have used
Dead Elvis as a model for teaching commutation as a cool practice. . . . Through image appropriation (the save as feature on the Web browser), textual appropriation (cut and paste, copying), and organization (where and how to assemble these appropriated items over a series of interlinked pages, some of which might utilize the dynamic nature of javascripting or DHTML), students compose Web sites that feature a celebrity of their choice.
(110) These digital texts do not reflect the referentiality demanded by thesis-driven assignments or the rational structure of traditional argumentation; instead they demonstrate and produce rhetorical effect through commutated signifiers. In many projects, refresh tags (HTML tags that force Web pages to change on their own) or frames (now considered outdated, but very effective for this kind of project) are employed because each allows writers to exchange chosen signifiers against other signifiers.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (116) 20131009a 0 -3+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Simultaneously composing with overlapping, nonsequential strands rather than choosing among them, for example technology, cultural studies, writing. (116) Rather, what matters is the various overlapping, nonsequential strands that one does not choose among but composes with simultaneously. In other words, even though I tell a narrative about composition studies and cool, I do so from multiple strands (technology, cultural studies, and writing), rather than one strand of causality or narrative progression, or, as traditional hypertext studies emphasizes, individual, alternative routes. I see these multiple strands not as something that hypertext or any other new media form brings to writing but rather as the very relations among ideas that comprise new media itself - that is, the multiplicity is the rhetoric.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (116-117) 20131009b 0 -14+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Strands of thought passing through databases: Lyotard, Johnson-Eilola, Burroughs, McLuhan. (116-117) Data banks are the Encyclopedia of tomorrow, Lyotard writes. . . . Among choices and alternatives, among differing threads of data, then, hypertext opens up the possibility of writing. The search engine embodies one possibility, but there is the potential for other possible writing formations as well. . . . Google might serve as one example of this database logic, as Johnson-Eilola notes, but nonlinear writing in general can perform this work as well.
(118) Burroughsƒs media environment is a database too large to call itself anything other than an intersection, at content and sentence structure levels. A writer following Burroughsƒs logic presents strands of thought and ideas compiled to a given audience, noting where they intersect instead of where they tell a story.
(119) Instead McLuhan composes a series of nonlinear threads on the written word, the printed word, roads and paper routes, money, numbers, and other media (the new) that drift in and out of each section. It is up to the reader to engage with these strands, reading them together or separately, to see them in conversation with one another or not, and to forge a variety of connections the author intended or didnƒt intend to occur.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (119) 20131009c 0 -10+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
McLuhan use of nonlinearity as rhetorical functions in cool narrative forms, challenge of understanding how we order information in the digital. (119) Taking McLuhanƒs usage of nonlinearity, then, I want to concentrate on how it rhetorically functions in cool, and how it suggests alternative narrative forms. . . . In general, nonlinearity challenges our understanding of how we order information in the digital. It also poses complex methods of information construction and distribution beyond what current writing instruction allows. . . . Janangeloƒs response to the everything-can-be-included nature of nonlinear hypertexts is to ask what kinds of models composition studies might learn from in order to teach this open-ending writing.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (121-122) 20131009d 0 -7+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Kerouac model precedes Lyotard uneasiness with distributed information; Big Sur as how to generate nonlinear text, foreshadowing concept of URI. (121-122) Like Burroughsƒs sense of the how-to,
Big Sur can be read as a rhetorical how-to approach toward generating nonlinear text. . . . The formation of associative, nonlinear thoughts is itself a composing process reflective of digital media. To bring together these experiences at once, Big Sur instructs, write them as nonlinear points.
(122-123)
Berners-Leeƒs concept of URIs (Universal Resource Identifiers, transitive addresses that tell browsers where to find information) as opposed to the currently used URLs (Uniform Resource Locators, the version in place today on the Web that is more static than URIs) relies on a semantic system of writing (like Ulmerƒs chorography or Kerouacƒs associative linking) at the level of cool.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (123) 20131009e 0 -10+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Promise that Berners-Lee semantic web will instantiate Ulmer chorography and Kerouac associative linking, exemplified in short discussion of relationship tag. (123) In an interview with
Technology Review, Berners-Lee . . . weƒll be able to write programs that will actually help because theyƒll be able to understand the data out there rather than just presenting it to us on the screen. (Frauenfelder)
(123) At the technological level, the relationship tag, rel= , is introduced so that the tag that links pages and ideas, <a href= >, becomes <a rel= >. At the content level, the connections writers generate come from how the data is associated to other data and how writers actualize those associations in their rhetorical choices. . . . In these systems, markup tags (meta information attributes attached to a word or image) function as semantic exchange.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (125-126) 20131009h 0 -6+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
HP Cooltown environment as example of commercial environment mixing education, semantic writing, nonlinear connections and spatial positions. (125-126) In this mix of education and corporate investment, semantic writing is further related to cool in Hewlett Packardƒs conflation of a futuristic society that combines pedagogy and technology into an environment called Cooltown. . . . Cooltown promises to construct a society of nonlinear connections through the existing apparatus of the World Wide Web by promoting a specific commercial vision. Business meetings, catching the bus, ordering coffee, and other activities all become an interconnected experience driven by global satellite positioning systems and Web sites.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (126-127) 20131009i 0 -14+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Claim of generating new media pedagogical vision in Cooltown. (126-127) Cooltown transforms the physical environment and the rhetorical strategies we associate with permanence and physicality into nonlinear spatial positionings. In Cooltown, writers compose on the fly, to a variety of places at once, from a variety of positions at once. . . . [ Cooltown: The Ecosystem Explained ] Once bookmarked, URLs can be sent to remote web locations, or beamed directly to a variety of web appliances using a beaming technology we call e-squirt. . . . Squirting URIs in (sic) a assortment of directions at once from a multitude of locations could force levels of McLuhanƒs interactivity we havenƒt yet digitally experienced and could encourage writers to seek out connections in their writings that neither narrative nor traditional argumentation can account for. It could generate a new media pedagogical vision, as Hewlett Packard claims it will do.
(128) To return to McLuhanƒs point regarding education and marketing, with cooltown@school, Hewlett Packard seems content with building a system that only reestablishes the logic of print (thus excluding how marketing can shape technology) and does not structure a nonlinear writing world.
(129) Cooltown@school is based not on a database model nor on a nonlinear system of communication and writing, as it seems to claim, but on already familiar pedagogical methods that are superimposed onto the idea of a massive, all inclusive Web portal.
(129) Cooltown@school resembles many of the course management systems already in circulation in a variety of colleges and universities.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (130) 20131009j 0 -13+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Cooltown and WebCT constructs pedagogical apparatus without teaching the technologies constituting them, favoring restriction over openness, and merely superimposing familiar pedagogical methods on web portal. (130) Cooltown@school.com and WebCT signify the construction of a pedagogical apparatus that does not reflect the practices it proposes teaching. . . . As connected as these sites may claim to be, the computer languages that structure such connections - either hyperlinks or more complex markup systems like XML and XHTML - are never taught. . . . In other words, how lifelong is this experience that is restricted to one kind of licensed platform? . . .

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (131-132) 20131009k 0 -8+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Everything2-dot-com better platform for nonlinear writing than Cooltown and WebCT. (131-132) Picture the student engaging with these lines of thoughts not as prompts to be developed into single standing essays but as the structure of the essay itself, interwoven threads of discursive relationships. . . . Everything2.com provides an electronic version of Burroughsƒs passage; each thread expands and shrinks on the amount of writers engaged with the site and the compositional decisions they make.
(132) Nonlinearity and restricted theses do not work in conjunction with one another; the choice for the thesis is a choice against nonlinearity. The compositional image of writing has thus been restricted.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (134) 20131009l 0 -3+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Absence of visuality in still logocentric composition studies, preference for writing about images, not with images. (134) The absence of visuality in composition studiesƒ rebirth narrative and its consequent delay in reaching our disciplinary vocabulary can be associated with a long-standing tradition in rhetoric and writing of favoring the word over the image, what Jacques Derrida terms
logocentrism.
(135) In much of todayƒs pedagogy, the preference is for writing about images, not with images. The preference is still for the word.

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (137) 20131009m 0 -12+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Sutherland dissertation introduced Sketchpad equating writing with visual expression. (137) Ivan
Sutherlandƒs 1963 invention of Sketchpad (and related doctoral dissertation Sketchpad: A Man-Machine Graphical Communication System) equated writing with visual expression.
(138) Sketchpad refigured the writing space from paper to the visual screen. Sutherland introduced his dissertation accordingly: . . . Heretofore, most interaction between men and computers has been slowed down by the need to reduce all communication to written statements that can be typed; in the past, we have been writing letters to rather than conferring with our computers. (Sutherland 1) . . . Photoshopƒs ability to manipulate, copy, distort, fabricate, and erase visual displays at will ties into McLuhanƒs understanding of the visual as cool. Through these visual moves, writers extend a variety of ideas and feelings in way sprint does not allow for; writers create new kinds of discursive worlds that go beyond the flatness of the page.
(138-139) Sketchpad began the process of demonstrating the rhetorical potential of the visual to
all writers (and not just painters and artists).

3 3 1 (+) [-4+]mCQK rice-rhetoric_of_cool (156) 20131009q 0 -8+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
How does Rice cool writer compare to Heim cybersage? (156) And here lies composition studiesƒ greatest dilemma regarding media. Are media a counterinfluence, or are they, in fact,
influences? . . . to make the claim for broad influence, we have to expand the types of writing students do so that they better reflect the kinds of writing media generate.
(157) As I have tried to show, one particular moment, 1963, was in fact like no other moment, but what made it unique has gone unnoticed until now. Our task today is to reimagine our status quos, to reconceptualize writing so that it includes, among other things, the notion of cool.

3 3 1 (+) [-4+]mCQK rosenberg-dreaming_in_code (7) 20131009 0 -5+ progress/2013/03/notes_for_rosenberg-dreaming_in_code.html
Space between the way machines and humans count and think, leading to yearnings for replacing the entire software edifice: any point in trundling out Heidegger What is Called Thinking? (7) In the binary digital world of computers, all information is reduced to sequences of zeros and ones. But thereƒs a space between zero and one, between the way the machine counts and thinks and the way we count and think. When you search for explanations for softwareƒs bugs and delays and stubborn resistance to human desires, that space is where youƒll find them.
(10) Some dream of ripping down the entire edifice of todayƒs software and replacing it with something new and entirely different. Others simply yearn for programs that will respond less rigidly to the flow of human wishes and actions, for software that does what we want and then gets out of our way, for code that we can count on.

3 3 1 (+) [-4+]mCQK rosenberg-dreaming_in_code (300-301) 20130323 0 -9+ progress/2013/03/notes_for_rosenberg-dreaming_in_code.html
Perhaps mere executability and requirements criteria of object code overshadows interest in reading source code and insisting on quality of revisions; only now are programmers writing about their work in web sites and blogs, which has become the distributed informal site for communication like the vending machines venerated by Weinberg. (300-301) And yet something extraordinary happened to the software profession over the last decade. Programmers started writing personally, intently, voluminously, pouring out their inspirations and frustrations, their insights and tips and fears and reams, on Web sites and in blogs. . . . Yet it is changing the field creating, if not a canon of great works of software, at least an informal literature around the day-to-day practice of programming. The Web itself has become a distributed version of the vending-machine-lined common room that Gerald Weinberg wrote about in
The Psychology of Computer Programming: an informal yet essential place for coders to share their knowledge and kibitz.
(301) Maybe the problem is insoluble. Or maybe it isnƒt a problem at all but, rather, simply a manifestation of the uniqueness of programming as a human activity.

3 3 1 (+) [-5+]mCQK rushkoff-program_or_be_programmed (99) 20140110a 0 -11+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Contact, not content, is king, birthing social media from infrastructure laid during dot-com boom. (99) Left to our own devices, however, net users began to blog. And link. And comment. The manic investment of the dot-com boom had given us a robust network and fast connections, with which we could now do as we pleased. The web still had businesses on it, but the vast majority of connections and conversations were between people. It turned out, content is not king
contact is. And so what we now call social media was born.
(99) Smarter businesses took notice. AOL, GeoCities, Friendster, Orkut, MySpace, and Facebook have each risen to channel all this social energy into a single, centralized location where it can be monetized.
(99-100)
Our digital networks are biased toward social connections toward contact. Any effort to redefine or hijack those connections for profit end up compromising the integrity of the network itself, and compromising the real promise of contact.

3 3 1 (+) [-4+]mCQK rushkoff-program_or_be_programmed (100) 20140110b 0 -2+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Anger over monetization of friendships by social networking sites. (100) The anger people feel over a social networking siteƒs ever changing policies really has less to do with any invasion of their privacy than the monetization of their friendships. The information gleaned from their activity is being used for other than social purposes and this feels creepy.

3 3 1 (+) [-4+]mCQK tanz-curse_of_cow_clicker (98) 20131013b 0 -3+ progress/2012/05/notes_for_tanz-curse_of_cow_clicker.html
Software studies deployment of critical (serious) games. (98) But Bogostƒs irreverence belies a sincere belief in the potential of videogames. He sees them as tools to educate and enlighten, to disrupt and change fundamental attitudes and beliefs about the world, as he put it in his 2007 book,
Persuasive Games.
(99) most of his games havenƒt made much of a splash outside the insular world of game theorists and scrappy independent developers.

3 3 1 (+) [-4+]mCQK tanz-curse_of_cow_clicker (99) 20131013c 0 -2+ progress/2012/05/notes_for_tanz-curse_of_cow_clicker.html
Cow Clicker meant to be satire game with short shelf life, in contrast to his serious games, yet it enslaved him and many players for 18 months counting. (99) He mean
Cow Clicker to be a satire with a short shelf life. Instead, it enslaved him and many of its players for much of the past 18 months.

3 3 1 (+) [-4+]mCQK tanz-curse_of_cow_clicker (100) 20131013e 0 -7+ progress/2012/05/notes_for_tanz-curse_of_cow_clicker.html
Cow Clicker created to accompany seminar on social games to illustrate worst abuses in clearest manner possible, to be understood via procedural rhetoric of playing it. (100) Before a seminar at New York University called Social Games on Trial, he decided that instead of creating the usual series of slides to accompany the talk, he would design a game that would illustrate what he saw as the worst abuses of social gaming in the clearest possible manner. That way, rather than just listening to his argument, people could play it.
(100) Bogost launched Cow Clicker during the NYU event in July 2010. Within weeks, it had achieved cult status among the indie-game fans and social-game critics.
(101) In fact, despite itself, Cow Clicker was perversely enjoyable. The cartoon cow was cute, with a boxy nose and nonplussed expression. After every click, it emitted a satisfying moo.

3 3 1 (+) [-4+]mCQK tanz-curse_of_cow_clicker (101) 20120512 0 -3+ progress/2012/05/notes_for_tanz-curse_of_cow_clicker.html
Something apocalyptic about playing stupid games that have a point. (101) Instead of stupid games that have no point, we might as well play a stupid game that has a point. Yes, Scriven was playing ironically. But he along with thousands of others like him was still clicking.

3 3 1 (+) [-4+]mCQK tanz-curse_of_cow_clicker (101) 20131013f 0 -3+ progress/2012/05/notes_for_tanz-curse_of_cow_clicker.html
Bogost spent three years working on collection of new games for Atari 2600 A Slow Year, but recognized wider audience with web-based social game. (101) Bogost spent three years sporadically working on the collection for the archaic Atari 2600, which he says forced him to accept constraints similar to those self-imposed by Imagist poets, like Exra Pound, who tried to use the most precise language possible in their work. If
Cow Clicker is Bogostƒs diagnosis of what games shouldnƒt do, A Slow Year is his vision of what they might aspire to exploring the artistic foundation of the medium to create new kinds of experience.
(101) Instead of addressing a few hundred participants at a conference, he was sharing his perspective with tens of thousands of players, many of whom checked in several times a day.

3 3 1 (+) [-4+]mCQK tanz-curse_of_cow_clicker (116) 20131013g 0 -6+ progress/2012/05/notes_for_tanz-curse_of_cow_clicker.html
Kept players hooked by introducing new cow designs to be clicked, to the point that it consumed much of his free time. (116) Bogost kept his players hooked by introducing new cows for them to purchase using virtual mooney or real money. . . . By the end of the year, Bogost was devoting as much as 10 hours a week to
Cow Clicker. Drawings of cows cluttered his house and office.

3 3 1 (+) [-6+]mCQK tanz-curse_of_cow_clicker (116) 20131013h 0 -6+ progress/2012/05/notes_for_tanz-curse_of_cow_clicker.html
Nick Yee also disturbed by addictive appeal of Cow Clicker. (116)
Bogost was not the only game theorist disturbed by Cow Clickerƒs addictive appeal. Nick Yee, a research scientist at PARC, the Xerox-owned innovation center, has been studying massively multiplayer online role-playing games for 12 years. . . . The scary thing about Cow Clicker is that itƒs just an incredibly clear Skinner box, Yee says.

3 3 1 (+) [-4+]mCQK tanz-curse_of_cow_clicker (118) 20131013i 0 -3+ progress/2012/05/notes_for_tanz-curse_of_cow_clicker.html
Reverse of Phaedrus in which the inventor is criticized for attempting to define why people will like. (118) Ian made
Cow Clicker and discovered, perhaps to his dismay, that people liked it, Reynolds says. Who are we to tell people what to like?
(118) Bogost writes that
Cow Clicker and, by extension games like Farmville are akin to the Nigerian prison, trapping players in a barren environment.

3 3 1 (+) [-4+]mCQK turkle-life_on_the_screen (44) 20131108d 0 -5+ progress/2011/05/notes_for_turkle-life_on_the_screen.html
Objects of postmodernism subject to critical technique while also intrinsically significant. (44) when postmodern theorist Jean
Baudrillard wrote about the seductions of technology, he was talking about the pleasures of opacity.
(45) A decade after
Jameson wrote his essay, postmodernism has found its objects.
(47) People use contact with objects and ideas to keep in touch with their times. They use objects to work through powerful cultural images, to help arrange these images into new and clearer patterns. From this point of view, the holding power of the Apple Macintosh, of simulation games, and of experiences in virtual communities derives from their ability to help us think through postmodernism.

3 3 1 (+) [-4+]mCQK turkle-life_on_the_screen (47-48) 20150107 0 -10+ progress/2011/05/notes_for_turkle-life_on_the_screen.html
Value of theory related to its object to think with. (47-48) The notion of worlds without origins is close to the postmodern challenge to the traditional epistemologies of depth. . . . If there is no underlying meaning, or a meaning we shall never know, postmodern theorists argue that the privileged way of knowing can only be through an exploration of surfaces. . . . The French anthropologist Claude Levi-Strauss described the process of theoretical tinkering - bricolage - by which individuals and cultures use the objects around them to develop and assimilate ideas.
(48) one way to think about the social appropriability of a given theory is to ask whether it is accompanied by its own objects-to-think-with that can help it move out beyond intellectual circles.

3 3 1 (+) [-4+]mCQK wardripfruin_and_montfort-new_media_reader (223) 20131019m 0 -5+ progress/2011/01/notes_for_wardripfruin_and_montfort-new_media_reader.html
Kluver: Pavilion as kind of artistic installation is prohibitively expensive and location-bound; following Benjamin, we can see the trajectory toward computer-generated environments as the reproduction of this kind of work of art designed for exhibition in games, again. (223) The Pavilion was a living responsive environment. The Fog surrounding the Pavilion responded to the meteorological conditions; the Suntrak sculpture was to follow the path of the sun; the moving floats reacted to physical contact. The inside of the Pavilion was an experiment in individual experience. It represented a new form of theater space, which completely surrounded the audience and where every part of the space had the same theatrical intensity for the individual.
(224) Both the Fog and the Mirror were firsts in terms of scale.

3 3 1 (+) [-4+]mCQK wardripfruin_and_montfort-new_media_reader (224) 20131019n 0 -13+ progress/2011/01/notes_for_wardripfruin_and_montfort-new_media_reader.html
Kluver: on artists controlling the Pavilion, Benjamin also discusses role of cinema versus painting with analogy of surgeon versus magician. (224) A changing group of four artists (composers, dancers, painters, or scientists) were to reside at the Pavilion at all times and determine the activities and programming. . . . The Pavilion became theater conceived of as a total instrument, using every available technology in which the accumulated experience of all the programmers expanded and enriched the possibilities of the space.
(224-225) Pepsibird and Anima Pepsi both drew upon the sound library E.A.T. [Experiments in Art and Technology] compiled, and used environmental and microscopic sounds such as a beetle walking, ultrasonic bat sounds, earth vibrations, and nerve impulses.
(225) On April 25, at the request of Pepsi-Cola, E.A.T. turned over the programming, operations, and maintenance of the Pavilion to Pepsi-Cola, Japan.

3 3 1 (+) [-4+]mCQK wardripfruin_and_montfort-new_media_reader (225) 20131019o 0 -9+ progress/2011/01/notes_for_wardripfruin_and_montfort-new_media_reader.html
Kluver: relate Pepsi involvement to Merchants of Cool in which corporations play a huge role in the creative process, going far beyond sponsorship to product placement. (225) The Pepsi-Cola project was remarkable in its attempt to involve contemporary artists in a nonart situation. . . . The usual form of industrial support of the arts is patronage of existing art or art forms. In this project the artist was considered a resource in an actual physical situation with a functional end. The fact that there was no recognized definition of this role of the artist was at the root of the misunderstanding.
(225) Underlying this whole complex of values and practices there is the assumption of consistency and integrity of authorship. These operational, quasi-legal, and legal aspects of the artistƒs activity must be taken into account if he is to be able to contribute effectively as a resource outside his own field.

---3.3.2+++ {11}

3 3 2 (+) [-4+]mCQK bogost-persuasive_games (1) 20130910b 0 -2+ progress/2012/12/notes_for_bogost-persuasive_games.html
Software studies could go off and document the PLATO computer education system, which illustrates procedural rhetoric by simulating tenure acquisition. (1) In 1975, Owen Gaede created Tenure, a simulation of the first year of secondary school teaching, for the PLATO computer education system.
(2)
Tenure outlines the process by which high schools really run, and it makes a convincing argument that personal politics indelibly mark the learning experience.

3 3 2 (+) [-4+]mCQK bogost-persuasive_games (13) 20131026 0 -6+ progress/2012/12/notes_for_bogost-persuasive_games.html
Wardrip-Fruin operational logics are set of standardized unit operations such as graphic logics packaged as game engine and textual logics as natural language parsers. (13) Noah Wardrip-Fruin has used the term operational logics to refer to the standardized or formalized unit operations that take on common roles in multiple procedural representations. He identifies two operational logics that are particularly common, graphical logics and textual logics. . . . In the videogame industry, sets of graphical logics are often packaged together as a game engine, a software toolkit used to create a variety of additional games.

3 3 2 (+) [-4+]mCQK bogost-persuasive_games (13) 20130910c 0 -4+ progress/2012/12/notes_for_bogost-persuasive_games.html
Procedural tropes include natural language processing, text parsers, and models of user interaction: crucial to Bogosts thinking is their commensurability with forms of literary and artistic expression supporting the trope analogy. (13) Wardrip-Fruin also cites textual logics as a common
procedural trope. NLP, mentioned above, is an example of a textual logic, as are the text parsers inherent in Z-machine text adventure games and interactive fiction, such as Zork.
(13) Outside of videogames, procedural tropes often take the form of common models of user interaction.
(14) Taken together, we can think of game engines, frameworks, and other common groupings of procedural tropes as commensurate with forms of literary or artistic expression, such as the sonnet, the short story, or the feature film.

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Example of Socrates trial for ideal of efficient causation in ancient rhetoric can be extended with favorite Cicero example; enthymeme and example are other rhetorical figures. (15) Rhetoric in ancient Greece and by extension classical rhetoric in general meant public speaking for civic purposes. . . . Spoken words attempt to convert listeners to a particular opinion, usually one that will influence direct and immediate action, such as the fateful vote of Socratesƒ jury.

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For Burke rhetoric extends to all forms of human symbolic systems. (21) Following the tradition of oral and written rhetoric, he maintains language as central, but [Kenneth]
Burkeƒs understanding of humans as creators and consumers of symbolic systems expands rhetoric to include nonverbal domains.

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Criticizes digital rhetorics that abstract materialities of specific forms of computing. (25) Digital rhetoric typically abstracts the computer as a consideration, focusing on the text and image content a machine might host and the communities of practice in which that content is created and used. . . . But for scholars of digital rhetoric, to function in digital spaces often means mistaking subordinate properties of the computer for primary ones. . . . But [Laura J.] Gurak does not intend interactivity to refer to the machines ability to facilitate the manipulation of processes.
(26) What is missing is a digital rhetoric that addresses the unique properties of computation, like procedurality, to found a new rhetorical practice.

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Manovich replaces rhetoric with database logic, but fails to appreciate process intensity and favors hypertext over its supporting programmed systems. (26) This challenge is aggravated by the fact that rhetoric itself does not currently enjoy favor among critics of digital media. In one highly visible example, new media artist and theorist Lev
Manovich has argued that digital media may sound a death knell or rhetoric.
(27) While hypertexts themselves exhibit low
process intensity, the systems that allow authorship and readership of web pages exhibit high process intensity.
(27-28) More plainly put, Manovich ignores the software systems that make it possible for hyperlinks to work in the first place, instead of making loose and technically inaccurate appeals to computer hardware as exotic metaphors rather than as material systems.

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Exemplar of procedural rhetoric is The McDonalds Videogame, whereas G! (29) Procedural rhetorics afford a new and promising way to
make claims about how things work. Consider a particularly sophisticated example of a procedural rhetoric at work in a game. The McDonaldƒs Videogame is a critique of McDonaldƒs business practices by Italian social critic collective Molleindustria.
(31)
The McDonaldƒs Videogame mounts a procedural rhetoric about the necessity of corruption in the global fast food business, and the overwhelming temptation of greed, which leads to more corruption.

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Procedurality belongs between actual experience and moving images with sound on Hills vividness continuum from most to least vivid information, and they mount propositions with internal consistency of program execution; seems linked to ideal of living writing in antiquity as best rhetorical mechanism. (35) These capacities would suggest that procedurality is more vivid than moving images with sound, and thus earns the second spot on the [Hillƒs] continuum, directly under actual experience. . . . Given this caveat, procedural representation seems equally prone to the increased persuasive properties Hill attributes to vividness.
(36) For one part, procedural rhetorics do mount propositions: each unit operation in a procedural representation is a claim about how part of the system it represents does, should, or could function. The McDonaldƒs Videogame makes claims about the business practices required to run a successful global fast-food empire. . . . These propositions are every bit as logical as verbal arguments in fact, internal consistency is often assured in computational arguments, since microprocessors and not human agents are in charge of their consistent execution.

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Dialectics have broad media ecology: distinguish between ability to raise procedural objections by altering game play and emergence of dialectical reasoning about the subject whose proceduralities are represented in the videogame; example of The Grocery Game, which allows modification of rules of shopping by automating otherwise too costly behaviors for saving money with coupons and timed bulk purchases at particular grocery stores, and peripherally criticism of game mechanics in message boards substitutes for modifying code. (37) One might argue that many computational systems do not allow the user to raise
procedural objections that is, the player of a videogame is usually not allowed to change the rules of play.
(37) For another part, all artifacts subject to dissemination need to facilitate direct argument with the rhetorical author; in fact, even verbal arguments usually do not facilitate the open discourse of the Athenian assembly. Instead, they invite other, subsequent forms of discourse, in which interlocutors can engage, consider, and respond in turn, either via the same medium or a different one. Dialectics, in other words, function in a broader media ecology than
Blair and Turkle allow.
(38) Consider an example of a procedural representation that addresses both of these concerns.

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Procedural enthymemes complete the claim by playing the game, which may include listening; thus by procedural rhetoric games exercise often clever and unexpected biases in our actions, which when uncovered and critically engaged potentially inspiring radical change (Badiou event, and so on). (43) The enthymeme, we will remember, is the technique in which a proposition in a syllogism is omitted; the listener (in the case of oratory) is expected to fill in the missing proposition and complete the claim.
(43-44) Another way to think about the simulation gap is in relation to rhetoric. A procedural model like a videogame could be seen as a system of nested enthymemes, individual procedural claims that the player literally completes through interaction.

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Distinguish between persuasive games, persuasion to continue playing, and rhetorics of play: unusual Atari VCS Tax Avoiders game exemplary. (46) I give the name
persuasive games to videogames that mount procedural rhetorics effectively.
(47) Partial reinforcement is certainly a type of persuasion, but the persuasion is entirely self-referential: its goal is to cause the player to continue playing, and in so doing to increase coin drop. . . . Instead, I am interested in videogames that make arguments about the way systems work in the material world. These games strive to alter or affect player opinion outside of the game, not merely to cause him to continue playing.

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Serious games designed for educational purposes but may not interrogate institutions and worldviews. (57-58) Such goals do not represent the full potential of persuasive games. If persuasive games are videogames that mount meaningful procedural rhetorics, and if procedural rhetorics facilitate dialectical interrogation of process-based claims about how real-world processes do, could, or should work, then persuasive games can also make claims that speak past or against the fixed worldviews of institutions like governments or corporations.

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Prefers persuasive games over serious so as not to exclude highly crafted commercial examples. (59) Instead, I would like to advance persusasive games as an alternative whose promise lies in the possibility of using procedural rhetoric to support
or challenge our understanding of the way things in the world do or should work. . . . The concept of serious games as a counter movement apart from and against the commercial videogame industry eliminates a wide variety of games from persuasive speech.

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Persuasive technology tools of captology are not critical deployments of rhetoric; foreground psychological manipulation, not dialectical user responses. (61-62) More strongly, captology appears to rely only one psychological, not dialectical user responses. . . . In the nearly three hundred pages of
Persuasive Technology, Fogg devotes only a half-page sidebar to the subject of rhetoric, dismissively labeled A Brief History of Persuasion Studies.

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Understanding code supplements, not essential to studying procedural rhetoric of videogames; address from top down through procedural literacy rather than bottom up through code literacy. (62-63) Publicly documented hardware and software specifications, software development kits, and decompiled videogame ROMs all offer possible ways of studying the software itself. Such study can shed important light on the material basis for videogame experiences.
An understanding of code supplements procedural interpretation. In particular, a procedural rhetorician should strive to understand the affordances of the materials from which a procedural argument is formed.
(63-64) Turkleƒs real beef is not with
Sim City, but with the players; they do not know how to play the game critically.

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Rules of the game Tax Invaders construct unit operation for conservative frame on taxation; use of procedural enthymeme. (108)
Tax Invaders constructs a unit operation for the conservative frame on taxation itself.

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Games still unterritorialized by ideology, yet have been part of political discourse all along. (120) But unlike consumers of film, television, books, and other linear media, videogame players are accustomed to analyzing the interaction of proceduralized logics as a part of the play experience. Whereas particular political interests have effectively colonized some media liberals and documentary film, conservatives and talk radio, for example videogames remain indefinite about their political bent.

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Use of voice commands as procedural rhetoric in Waco Resurrection; consider ideas like Macy Conferences game that traverses a long but specific topic for videogames based on specific moments in history, fashioned after documentary film. (128-129)
Waco Resurrectionƒs most salient feature is not the representation of the Branch Davidiansƒ Waco compound a simple feat of 3D modeling but the use of voice commands as a primary input method. By obliging the player to utter Koreshƒs messianic interpretations of the book of revelation, the player is forcibly immersed in the logic of a religious cult.

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Summary argument is that videogames, rather than the Internet medium as an abstraction, offer culturally and procedurally relevant subject matters for communicating political rhetorical ideas. (143) The Internetƒs affordances for rapid updates and ad hoc access have opened new frontiers for the dissemination of information and the creation of communities. But the ad hoc assemblage of routers and computers that make up the Internet cannot necessarily provide meaningful subject matter upon which to focus that attention. To hold up the Internet as the apotheosis of technology-enabled campaigning ignores the procedural power of computers, discounting the very core of what makes computation a meaningful medium for expression. As a culturally relevant, procedurally replete medium, videogames offer a promising way to foreground the complexities of political issues for the layperson.

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Claim that videogame product placement invites critical perspective. (191) In short, the fictional abstraction of entertainment properties invites a critical perspective on placed products more so than does other advertising.

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Advergames simulate products and services. (200) But I understand
advergame to refer to any game created specifically to host a procedural rhetoric about the claims of a product or service. More succinctly put, advergames are simulations of products and services.

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Logical rather than moralisitc system promoted by game procedural rhetoric like Tooth Protectors. (203) What Johnson & Johnson accomplishes with
Tooth Protectors is to prompt the player in this era probably a child to consider dental care as a logical system rather than a moralistic one. Like toilet training and looking both ways before crossing the street, dental hygiene is typically imposed on children as an issue of righteousness: if you do it you are a good kid, and if you donƒt you are a bad kid. Tooth Protectors disrupts this opaque and doctrinal relationship and replaces it with a rationalistic one, expressed via the gameƒs procedural rhetoric.
(205) In mid-2005, knife, scissor, and gardening tool company Fiskars released an advergame and promotion called
Fiskars Prune to Win.

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Simulation fever, ideally challenging experimentation with a product, with procedural enthymeme as space between the game rules and the player subjectivity. (214) The procedural rhetoric of
Xtreme Errands suggests that the Commanderƒs affordances for flexible seating and storage couple usefully with certain family routines. . . . This time, the space between the gameƒs rules and the playerƒs subjectivity is a procedural enthymeme, or what I have called a simulation gap. Engagement with this gap creates a situation of crisis, a simulation fever. Advergames that acknowledge this condition represent significant social progress in advertising: playing the game challenges the potential consumer to experiment with the ways he might use a product if he owned it.

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Analysis of Tapper procedural rhetoric defamiliarizes process of consumption. (220)
Tapper defamiliarizes the process of consumption, both through its procedural representation and through the distortion of the bartender the player controls. This defamiliarization opens a simulation gap that invites interrogation of the playerƒs alcohol-consumption practices themselves. Budweiserƒs endorsement of this concern is a much less visible social service than adding please drink responsibly in small print on their ads, but perhaps it is a much more meaningful one. Some might object that drunken bar patrons are not capable of such self-reflection, but failure to control Tapperƒs virtual bartender due to player inebriation might very well alert the player to his own diminishing faculties, a gross-motor signal no less effective than stumbling on the way to the toilet or falling off a barstool.

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Theories of education fall within behaviorism and constructionism, and their worldviews are transferred into videogames. (235) At the risk of oversimplification, most contemporary understandings of (formal) education fall largely in either the behaviorist or the constructionist theory of education.

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Performance before competence learning in Mindstorms and Microsoft Flight Simulator. (239) From this perspective, videogames teach abstract principles that service general problem-solving skills and learning values. Returning to our previous examples, a constructivist might understand
Microsoft Flight Simulator as a game that teaches professional knowledge through performance before competence, a concept of pedagogical apprenticeship. Such an attitude might very well catalyze interest in aeronautics, but more generally it encourages the learner to experiment within knowledge domains freely, without fear of incompetence due to incomplete mastery.
(240)
Sim City could be understood as a game that teaches about complexity and other approaches to the general operation of dynamic processes, such as systems theory and autopoietics.

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Going meta technique offered by many videogames, whereas others foreclose the simulation gap. (240) John
Beck and Mitchell Wade have called this abstract technique in videogames going meta, or taking a step back from the immediate situation, analyzing the choices and the odds, and finding the right strategy.
(241) Videogames do not just offer situated meaning and embodied experiences of real and imagined worlds and relationships; they offer meaning and experiences of
particular worlds and particular relationships. . . . The underlying models of a videogame found a particular procedural rhetoric about its chosen subjects.

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Procedural literacy addresses suggestion by Gee to reconcile subject-specificity and abstraction. (244) More importantly, Geeƒs suggestions imply the need for a new understanding of educational games that reconciles subject-specificity and abstraction. As a means of entry into such a project, I propose a new understanding of
procedural literacy.

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Short history of procedural learning from Logo to RAPUNSEL rejected because programming emphasis excludes built in procedurality of videogames experienced by merely playing them: making procedural literacy initiated by Mateas specific and emphasizing situated cultural aspects of technical mastery, not just dynamic systems. (244-245) RAPUNSEL follows on the heels of numerous reports suggesting that the United States is falling behind other nations in science and engineering. . . . More broadly, I want to suggest that procedural literacy entails the ability to reconfigure concepts and rules to understand and processes, not just on the computer, but in general. The high degree of procedural representation in videogames suggests them as a natural medium for procedural learning.

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Procedural affordances of languages and operating systems, software in general; try to understand why Tanaka-Ishii chose Haskell and Java in this perspective. (251) Like the cultural and formal specificity of Latin versus Inuit or the formal properties of C versus LISP, the procedural affordances of a computer operating system
matter: they constrain and enable the kinds of computational activities that are possible atop that operating system.
(252) What does procedural literacy look like when it privileges the representation of culture as much as that of dynamic systems?

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Play itself develops procedural literacy, good for developing understanding history like Diamond on proximate causes of European conquest. (255) All told, artifacts like
Guns, Germs, and Steel, Civilization, and Europa Universalis suggest that procedural literacy means more than writing computer code; it also comes from interacting with procedural systems themselves, especially procedural systems that make strong ties between the processes in a model and a representational goal those with strongly argued procedural rhetorics.

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Apply picking up specific cultural meanings to hacking older technologies and basic electronics. (256) By providing a specific point of reference bound to human culture, the toys come equipped with specific cultural meaning as well as abstract processes for substitutions. . . . In so doing, they gain a richer understanding of the individual meanings of cultural markers through experimenting with their hypothetical recombination in circumstances outside their sphere of influence.

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Difference between videogames and narrative media is using models like orrery versus descriptions. (257-258) To distinguish videogames from narrative media, Heather Chaplin and Aaron Ruby argue that the former use models, whereas the latter use descriptions. . . . Models that depict behavior, like an orrery, facilitate experimentation, a more formal kind of procedural play where the rules of the mechanical system constrain manipulation of the device.

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NCLB procedural rhetoric generates social programs enacting conservative optimization for educational reform, being schooled versus educated; parents as complacent citizens manufactured by the bureaucratic market democracy. (262) NCLB assumes that the educational system is well conceived and capable of functioning adequately; the problems emerge from rogue schools and inadequate teachers. The legislation assumes that making such groups accountable to the system will thus solve the problem. NCLB identifies an important feature of educational infrastructures. Classroom environments of all kinds . . . are not disinterested, bias-free places. Each is part of a larger social, political or corporate structure, or a combination of these.
(262) We might summarize the distinction as one of being
schooled versus educated. Being schooled means becoming expert in the actual process of schooling. . . . By contrast, being educated means becoming expert in human improvement, so as to ratchet up in life itself.
(263) When schooling takes place in corporations or other enterprises, we usually call it
training.

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Educational games operate general purpose rhetorics, but also can reveal social aspect, as demonstrated by tutor text Mansion Impossible. (264) In her Education Arcade talk, Laurel effectively echoes the sentiments of critics like Gatto and Jackson: schools encourage students to conform and identify valid knowledge so that they can continue to ratchet up through the system. It promotes
schooling, not education. Laurel points out that schools teach hierarchy and consumerism; schools are necessary in order to release parents into the working world, where they contribute to the gross domestic product while taking on greater and greater debt that perpetuates their need to conform in the role of complacent citizen.

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Animal Cross simulates condition of debt and consumtion affluenza; design consequence forces asynchronous real time play, although system clock could be fooled. (267) Although the GameCube supports simultaneous play with up to four players,
Animal Crossing only allows one player at a time. . . . Animal Crossing binds the game world to the real world, synchronizing its date and time to the console clock. . . . Since game time is linked to real time, a player can conceptualize the game as a part of his daily life rather than a split out of it.

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Bogost game for Cold Stone Creamery trains workers to benefit corporation but does expose corporate business model. (281) Recalling Michael and Chenƒs claims that videogames afford new training opportunities for skills unsuited to classroom or book learning,
Stone City certainly improves the difficult process of training portioning in a traditional environment.
(281) Despite the relative novelty of a videogame with an ice cream viscosity model, the training outcomes described above return all benefits to the corporation, not to the worker.
(281) For the team member, the real learning benefits come in a different form: the level summaries. . . . The gameƒs procedural rhetoric exposes the corporate business model itself a model that does not directly benefit the worker, as is the case in most low-wage food service jobs.

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Pinball and upright videogames, as well as their location, involved more bodily movement than home consoles before explicitly designed exergames. (295) Apart from less common cocktail-style arcade cabinets, gamers of the coinop era played in a fully upright position; playing a particularly successful round of even a standard space shooter like
Galaxian might require a full half-hour of standing up and jostling the cabinet vigorously. . . . For kids and teens of the late 1970s and early ƒ80s, playing videogames implied a brisk walk or ride to the local convenience store, mall, or arcade.

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Historical scale of meaning suggests games may be played and studied in the distant future, just as other humanities artifacts: consider what may be done after all copyrights expire, so that black boxes can be opened to explore both internal workings and iterative development processes. (340) Most importantly, these observations take place over time. In part, they take place over the time of an individualƒs life. . . . The videogames we make and play today may have meaning for us now, but they also defer that meaning for future players, who will experience these artifacts in different contexts.

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Formal relationship between games due to shared core portions of code accentuate merger of functionalism and materialism. (59) The truly componentized, unit-operational game engines of modern games only further accentuate this merger of functionalism and materialism.
(61) Although one could argue that
Half-Life has anxiety of influence for Quake as a father figure, their relationship is more formal than even psychoanalysis can characterize accurately. Half-Life literally embodies core portions of Quake, the abstracted unit operations to which the engine provides access.

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Interpret software like The Sims in terms of the analogies he just made to poetry, fiction, and drama in Baudelaire. (86) Unlike A une passante and A Woman on the Street, which offer poetic significance by their formal characteristics, meaning in The Sims comes solely from the generative effect of numerous codified rule sets.
(87)
The Sims: Hot Date finally takes the ultimate step in representing the chance encounter as a unit operation: it encapsulates it into the code of simulation.
(87) That said,
The Simsƒ very structure of character encounters in code exposes the chance encounter as a unit operation ready for conceptual retirement.
(89) By laying bare the figure of the chance encounter in the form of software,
The Sims invites players to examine their own satisfaction with this 150-year-old social rubric, and to choose for themselves how to act or how not to act in the material world. This model suggests that videogames, like art of all kinds, has the power to influence and change human experience.

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Frasca and Murray argue simulation extends narrative by immersion; also an ideological context is basic software studies premise, implicating subjectivity. (98) Frasca argues that computational simulation amends narrative expression with the ability to model behavior. . . . Janet Murray calls this phenomenon of first-handedness immersion, or the ability to construct new beliefs through interaction with computational media.

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Paul Starr seduction of sim; link to Kittler on Phaedrus and of course to Derrida. (106) Paul
Starr calls this black-box effect the seduction of the sim. He worries that the absence of debate about the unit operations a game like Sim City deploys makes the medium as troubling as it is promising.
(106) If the experience of a game takes place in the playerƒs mental model of its unit-operational rules, then game criticism would do well to give voice to these mental models and the ideology they communicate.

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Simulation as gap between rule-based representation of source system and user subjectivity; Starr simulation resignation and simulation denial: compare to Turkle simulation anxiety and Derrida simulation fever. (107)
Simulation resignation implies the blind acceptance of the limited results of a simulation, because the system doesnƒt allow any other model of the source system. This is the kind of response that worries Paul Starr. Simulation denial implies the rejection of simulations because they offer only a simplified representation of the source system.
(107)
A simulation is the gap between the rule-based representation of a source system and a userƒs subjectivity.
(108) The cure to archive fever is a process of working through this discomfort. Together, we might call Turkleƒs two kinds of responses to simulations
simulation anxiety, or following Derrida, simulation fever.
(109) Starr and Turkle suggest that part of the cure entails creating new simulations that revise or rethink the ambiguities, omissions, errors, or controversies of previous simulations.

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Games that simulate adjustable value systems become rhetorical opinion texts. (121) Games like
Balance of the Planet and Sim Health allow the player to simulate an adjustable value system, to witness the effects of that value system, and to carry that perception beyond the gameplay experience.
(121) Under this rubric, games become rhetorical opinion texts whose positions players explore rather than merely take to be true.

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September 12 game teaches lessons about simulation fever. (133) The subject matter and simplicity of
September 12 teaches several lessons about simulation fever.
(133) First, unit operations are biased. . . . Because of their ubiquity and incredible computational power, computers often make us forget that they use forms of human representation, rather than transcendent formalisms. . . . The transfer of representations from less to more encapsulation increases the controversy surrounding those representations.
(133) Second, the dialectic between unit operations and subjectivity that constitutes simulation fever is extrinsic, not intrinsic, to the game.

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Simulation fever compares to Feenberg invocation of de Certeau to arrive at his democratic rationalizations. (135) Far from an unbiased activity, then, games take a position much more akin to Michel
de Certeauƒs idea of the practice of everyday life, in which individual and group actions can reclaim the autonomy lost to statist and commercial structures.
(135) There is a gap in the magic circle through which players carry subjectivity in and out of the game space.
(136) All games convey ideas, and those ideas may instill a process of subjective interrogation and altered mental state. The history of serious consequences to cultural works from Socrates to Mao has not gone unnoticed by world civilization. The legitimacy of the media effects debate notwithstanding, videogames have sparked considerable controversy regarding the effects of representational violence and hatred.

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Example of Virtual U videogame funded by Sloan foundation as alternative to cutthroat commercial videogame landscape that ironically perpetuates traditional educational systems. (179) Funded by the Alfred P. Sloan Foundation,
Virtual U is a videogame that teaches its users how to manage an American college or university. . . . But ironically, by seeking to train Ed.D.

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Bogost makes the obvious and appealing claim to advertisers that there is untapped potential in considering procedural rhetoric in videogames. Videogames are the most common rhetoric delivery devices, or in the case of dynamic, procedural operations, interfaces to rhetorical logics, for they all exist in virtual realities except in their intersection with players, which takes place on a temporal continuum appealing primarily to human operators, specifying yet another unexplored market or method.

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Uniquely new, with distinct rhetorical possibilities therefore ethical implications (Maner) seems to be the main point of this work, that it points toward future forms of humanities scholarship based on ludology and other hybrid disciplines by researchers inspired by growing up with not only playing games but other forms of interaction with computers. (221) Probably the most promising change comes from a new generation of researchers who grew up with computer games and now are bringing to this new field both their passion and expertise on this form of entertainment.

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Does the advance of Bogost unit operations represent outgrowing formal approaches, or crystallizing them? (222) Ludology can be defined as a discipline that studies games in general, and video games in particular. . . . Certainly, formal approaches are limited and ludologists should always keep that in mind but they are probably the easiest way to uncover the structural differences between stories and games. I personally see this structural approach as a fist, necessary step in game studies, which we will definitively outgrow once it helps to better graps the basic characteristics of games.

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Mind changing influence of programmable simulation, decentralized thinking, comparable to Hayles MSA. (224) To an external observer, the sequence of signs produced by both the film and the simulation could look exactly the same. This is what many supporters of the narrative paradigm fail to understand: their semiotic sequences might be identical, but simulation cannot be understood just through its output. . . . Video games imply an enormous paradigm shift for our culture because they represent the first complex simulational media for the masses. . . . One of the most interesting cognitive consequences of simulation is its encouragement for decentralized thinking which may in the long-term contest Mark Turnerƒs claim of a literary mind by introducing the possibility of an alternative simulational way of thinking.

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Advergames example of ideological content embedded in games that can be revealed by gaming literacy; relate to Software Studies. (225) According to Wiredƒs Jargon Watch, an advergame is A downloadable or Web-based game created solely to enable product placements. . . . this genreƒs key lays in modeling not simply representing the product or a related experience in the form of a toy or game. . . . Gaming literacy will some day make players aware that games are not free of ideological content and certainly advergames will play a role in this education because they have a clear agenda.

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Forum theater as simulation, escaping narrative coherence of the stage play, yielding gratification of child at play. (228) Boalƒs answer to this problem can be found in his corpus of drama techniques the Theater of the Oppressed which combines theater with games in order to encourage critical debate over social, political and personal issues. . . . Forum theater perfectly fits the definition of simulation: it models a system (the oppressive situation) through another system (the play).

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Paidia versus ludus: Bogost on Grand Theft Auto. (229-230)
Paidia refers to the form of play present in early children (construction kits, games of make-believe, kinetic play) while ludus represents games with social rules (chess, soccer, poker). . . . In a previous essay I have suggested that the difference between paidia and ludus is that the latter incorporate rules that define a winner and a loser, while the former does not.

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Ideology often subtly built into manipulations rules, the sort of things software studies may reveal. (231) However, even if the designer left out a winning scenario (or a desirable urban structure) ideology is not just conveyed through goal rules. A more subtle and therefore more persuasive way to accomplish this is through what I will call manipualtion rules. These rules are opposed to goal rules on the fact that they do not state a winning scenario. . . .

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Apply the account of Lucasfilm Habitat by Morningstar and Farmer in NMR to these four ideological levels: representation of events, manipulation rules, goal rules, meta-rules. (232) The fourth ideological level is the one that deals with meta-rules. . . . Many games include editors that allow players to build mods or modified versions of the original games. Other games are open-source and can be changed on their source code level.

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Various panels at the typical PCA conference showcase subversive and critical games. (233) For the first time in history, humanity has found in the computer the natural medium for modeling reality and fiction. . . . simulation is the form of future. It does not deal with what happened or is happening, but with what may happen. . . . It is up to both game designers and game players to keep simulation as a form of entertainment or to turn it into a subversive way of contesting the inalterability of our lives.

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Employs situated cognition, new literacy studies and connectionism. (8-9) This book discusses 36 principles of learning (individually in each chapter and listed together in the appendix) built into good video games. However, this book has another goal as well. It seeks to use the discussion of video games to introduce the reader to three important areas of current research and to relate these areas to each other. One of these areas is work on
situated cognition (i.e., thinking as tied to bodies that have experiences in the world). This work argues that human learning is not just a matter of what goes on inside peopleƒs heads but is fully embedded in (situated within) a material, social, and cultural world.
(9) Another one of these areas is the so called
New Literacy Studies, a body of work that argues that reading and writing should be viewed not only as mental achievements going on inside peopleƒs heads, but also as social and cultural practices with economic, historical, and political implications.
(9) The third area is work on so-called
connectionism, a view that stresses the ways in which human beings are powerful pattern recognizers. This body of work argues that humans donƒt often think at their best when they attempt to reason via logic and general abstract principles detached from experience.

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Semiotic domains are practices recruiting modalities to communicate meanings. (19) By a semiotic domains I mean any set of practices that recruits one or more modalities (e.g., oral or written language, images, equations, symbols, sounds, gestures, graphs, artifacts, etc.

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Active and critical learning reinforce importance of situated meanings in semiotic domains over sheer informational content. (25) The learner needs to learn not only how to understand and produce meanings in a particular semiotic domain but, in addition, needs to learn how to think about the domain at a meta level as a complex system of interrelated parts. The learner also needs to learn how to innovate in the domain how to produce meanings that, while recognizable to experts in the domain, are seen as somehow novel or unpredictable.

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Affinity group are people associated with semiotic domain; compare to members of Dumit virtual circle. (27) I will call the group of people associated with a given semiotic domain in this case, first-person shooter games an
affinity group.
(28) We can take in internal view of a discipline in terms of its content (facts, theories, and principles) or an external view in terms of its social practices and the ways in which people interact within the field.
(28) The relationship between the internal and external is reciprocal.

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Tie design grammars to system versus user centered design. (30) Because I want us to think about the fact that for any semiotic domain, whether it is first-person shooter games, architecture, or linguistics, that domain, internally and externally, was and is designed by someone.

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Critical learning seems to imply ergodic relationship to texts in general, including games. (34-35) What we are dealing with here is talking and thinking about the (internal) design of the game, about the game as a complex system of interrelated parts meant to engage and even manipulate the player in certain ways. This is metalevel thinking, thinking about the game as a system and a designed space. Such thinking can open up critique of the game. It can also lead to novel moves and strategies, sometimes ones that the game makers never anticipated.

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Practicing identity, recruiting subjectivity in active and critical use outside school may advantage certain groups (boys playing videogames). (37) An issue of social justice is at stake here in regard to the distribution of, and access to, this identity, whether through video games or science. We can note, as well, that the boy is using the video game to practice this identity, for many hours, at an early age, outside of science instruction in school, which may take up very little of the school day.

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Excellent articulation of what active and critically played games can do that print texts cannot relates to ergodic properties. (40-41)
The content of video games, when they are played actively and critically, is something like this: They situate meaning in a multimodal space through embodied experiences to solve problems and reflect on the intricacies of the design of imagined worlds and the design of both real and imagined social relationships and identities in the modern world.

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Learning principles at end of chapter 2: active, critical learning; design; semiotic; semiotic domains; metalevel thinking about semiotic domains. (46)

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Compare and contrast tripartite play of virtual, real-work and projective identities to Murray and Ryan. (53-54) This tripartite play of identities (a virtual identity, a real-world identity, and a projective identity) in the relationship player as virtual character is quite powerful. It transcends identification with characters in novels or movies, for instance, because it is both
active (the play actively does things) and reflexive, in the sense that once the player has made some choices about the virtual character, the virtual character is now developed in a way that sets certain parameters about what the player can now do.

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Turkle also discusses psychosocial moratorium. (59) Even more important, I learned that video games create what the psychologist Eric Erickson has called a
psychosocial moratorium that is, a learning space in which the learner can take risks where real-world consequences are lowered.
(62) When learners take on a projective identity, they want the scientist they are playing to be a certain sort of person and to have had a certain sort of history in the learning trajectory of this classroom.
(63) If learners in classrooms carry learning so far as to take on a projective identity, something magical happens. The learner comes to know that he or she has the
capacity, at some level, to take on the virtual identity as a real-world identity.

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Sense of capacity to take on virtual identity as real world identity is transformative magic of good education. (63) Often it is enough they they have sensed new powers in themselves. They will, possibly for a lifetime, be able to empathize with, affiliate with, learn more about, and even critique science as a valued but vulnerable human enterprise.

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Learning principles at end of chapter 3: psychosocial moratorium, committed learning, identity, self-knowledge, amplification of input, achievement, practice, ongoing learning, regime of competence. (65)

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Thus lots of activity, as practice, has net result of developing skill: are we enchanted couch potatoes or doers, producers, prodigious writers and now coders. (65) On thing that designers of video games realize, but that many schools seem not to, is that learning for human beings is in large part
a practice effect.

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A very elegant but wordy like Castells whole book to teach a few concepts description of the effect of logotropos rhetoric asymptotically equivalent to programmed operation: basically saying good instructional examples of repeatable, multipurposive skills are needed to be built into the product, or more simply, manageable complexity of pleasantly frustrating technical problems of real virtualities, for which programming with literacy or math are Engelbart type c, improving improvement activities. (66) Mastering literacy or math as a set of routinized procedures without being able to use these procedures proactively within activities that one understands and for the accomplishment of oneƒs own goals will not lead to learners who learn quickly and well as they face new semiotic domains throughout their lives.
(67) A cycle of automatization, adaptation, new learning, and new automatization is a sine qua non of learning for those who want to survive as active thinkers in a fast-changing world that requires the mastery of ever newer semiotic domains. Video games are quite adept at creating and sustaining this cycle.

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Bring in criticism by Ryan of video game stories for more nuanced discussion of emotional investments. (80) The emotional investments you have in a video-game story are different from the emotional investments you have in a book or movie.
(80) Video games compensate for these limitations by creating what I have called embodied stories, stories that involve and motivate the player in a different way than do the stories in books and movies.

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Value of books for embodied learning as social artifact and reading practice. (90) Since the initial patterns we form in life are a basis on which we form all the rest of our later patterns (because they determine the hypotheses we originally make and revise, setting a certain trajectory to our mental development), children like this have links between the real world and books as a foundational part of who they are in mind, body, and culture.

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Mental action based on stored images and simulations of experience instead of applying generalizations to facts affirms limit of books. (91) In the traditional view, the mind thinks through stored facts and grand generalizations that are like statements in logic (like All books have covers ). In the view I am developing here,
the mind thinks and acts on the basis of something like stored images (simulations) of experience, images that are complexly interlinked with each other (thereby attaining some generality) but that are always adapted to new experiences in ways that keep them tied to the ground of embodied experience and action in the world.

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Becoming designers is the common outcome of all active, critical learning, ecognizing that few will become game producers, but can participate in community discourse about game evaluation and design, which reveals the great quantity of written texts associated with video games. (96) It is my contention that active, critical learning in any domain should lead to learners becoming, in a sense,
designers.

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Situated versus verbal meanings. (105) In the end, my claim is that people have situated meanings for words when they can associate these words with images, actions, experiences, or dialogue in a real or imagined world. Otherwise they have, at best, only verbal meanings (words for words, as in a dictionary). Situated meanings lead to real understanding and the ability to apply what one knows in action. Verbal meanings do not (thought they do sometimes lead to the ability to pass paper and pencil tests). This is why so many school children, even ones who are good at school, can pass tests but still cannot apply their knowledge to real problem solving.

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Learning principles at end of chapter 4: probing, multiple routes, situated meaning, text, intertextual, multimodal, material intelligence, intuitive knowledge. (106) Now they are cashing out texts not just in terms of embodied action in the games they have played (they are most certainly doing that as well) but also in terms of other texts they have read in the family or genre.
(106) The material intelligence principle is really a subpart of the multimodal principle.
(108) There is real intelligence built into geometry and diSessaƒs Boxer program, as there is intelligence (knowledge, guidance) built into the objects and environments in
American McGeeƒs Alice, SWAT4, or Half-Life 2.
(108) Finally, the intuitive (tacit) knowledge principle is concerned with the fact that video games honor not just the explicit and verbal knowledge players have about how to play but also the intuitive or tacit knowledge built into their movements, bodies, and unconscious ways of thinking they have built up through repeated practice with a family or genre of games.

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Gee gives an exemplary example of strange new ways in which texts and technology operate, acknowledging the artificial unit operations of the virtual world as the most expedient way to communicate through them: a character in a virtual reality instructing the embodied player in the control function of bodily manipulations to machine operations, whether keyboarding, mouse movements, touch screens, speech recognition, interfaces along the temporal electromagnetic spectra within the envelope of feasibilty, raising question whether the knowledge function of this otherwise out of place speech the flip side of Cayley transliteral morphs? (118) Von Croy says, The first obstacle, a small hop to test your how do yo say pluck. Press and hold walk, how push forward.
(118) Thus, Von Croyƒs remark perfectly melds and integrates talk to Lara and talk to the player. This melding is part of what marries the playerƒs real-world identity as a player and his or her virtual identity as Lara.

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Garden-path danger in unguided exploratory play learning the principle criticism of Papert; concentrated sample is better approach for bottom up learning. (137-138) Too often in school especially in progressive pedagogies that stress immersing children in rich activities without teacher guidance children confront cases early in their learning that are not very helpful. . . . Such complex cases, thanks to the fact that all children are powerful pattern recognizers, often lead children to hit on interesting patterns and generalizations that are, in fact, garden paths. . . . Such garden-path patterns and generalizations are not fruitful for the future, however interesting and even intelligent they are for the present.
(139) Good video games do more than order the situations and problems the player faces in an intelligent way. They also offer the player, in the early episodes, what I call a concentrated sample. By this I mean that they concentrate in the early parts of the game an ample number of the most fundamental or basic artifacts, skills, and tools the player needs to learn.

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Subjectivity manipulation and exploration of cultural models by video game content and perspectives has great potential, as Hayles, Manovich, and Murray argue as well. (146) This chapter is about the ways in which content in video games either reinforces or challenges playersƒ taken-for-granted perspectives on the world. This is an area where the future potential of video games is perhaps even more significant than their current instantiations.

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Learning principles at end of chapter 5: subset, incremental, concentrated sample, bottom-up basic skills, explicit information on-demand and just-in-time, discovery, transfer. (146)

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Paralysis without cultural models makes sense of difficulty navigating alien environments. (153) Cultural models are the tacit, taken-for-granted theories we (usually unconsciously) infer and then act on in the normal course of events when we want to be like others in our social groups. People who have no cultural models would have to think everything out for themselves minute by minute when they attempt to act. They would be paralyzed.

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Avoiding harm and replacing violence with conversation are cultural models itself Gee favors, like the apparent senselessness of playing to lose in Under Ash. (154) Certain circumstances can, however, force us to think overtly and reflectively about our cultural models. We certainly donƒt want or need to think overtly about all of them. But we do need to think about those that, in certain situations or at certain points in our lives, have the potential to do more harm than good.

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Focus is on generative learning versus competitive, linear learning; example of conflicting cultural model of motion in physics hints at recent plea by Bill Noye that parents not allow their children to be heavily imprinted with creationism because it will hinder their ability to function in a world that takes evolution for granted; perhaps the concern is also with cultural models about learning skewed away from the sciences model. (171) However, students also bring to classrooms cultural models about school subject matter (e.g., what physics as a school subject is) and about learning (e.g., what learning is or should be like in school).

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Learning principles at end of chapter 6: cultural models about the world, cultural models about learning, cultural models about semiotic domains. (181)

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Notion of ideal as attractor rather than actual belief the basis of Zizek complex analysis of the reality of the virtual. (194) This ideal might actually not be what is in anyoneƒs head. The ideal is an attractor, an ideal toward which individuals in the club gravitate and toward which the social practices (the policing ) of the club pushes them when they get too far away from it.

3 3 2 (+) [-4+]mCQK gee-what_video_games_have_to_teach_us_about_learning_and_literacy (203) 20130923c 0 -11+ progress/2012/09/notes_for_gee-what_video_games_have_to_teach_us_about_learning_and_literacy.html
Learning is change in identity as well as practice (Lave); Brown and Campione reciprocal teaching, jigsaw method strategies for targeting Vygotsky zone of proximal development. (203) Jean
Lave, a leading theorist of socially situated cognition, has developed a view of learning that fits well with all I have said here. She argues that learning is not best judged by a change in minds (the traditional school measure), but by changing participation in changing practices. She further argues that learning is not just a change in practice, but in identity, as well.
(203) In education, Laveƒs views on learning were well exemplifed in the classrooms (called communities of learners ) designed by Ann Brown and Joseph Campione, two leading educational cognitive scientists.
(204) In reciprocal teaching, the teacher and a group of students take turns leading a discussion about a reading passage.
(204) In the
jigsaw method of cooperative learning, students are assigned a subpart of a classroom topic to learn and subsequently teach to others via reciprocal teaching.
(205) Brown and Campione borrowed from the Russian psychologist Lev Vygotsky the concept of a
zone of proximal development. . . . The core idea is that novices, largely unconsciously, internalize or accommodate to the goals, values, and understandings of those more expert then themselves through scaffolded joint activity with those others and their associated tools and technologies.

3 3 2 (+) [-4+]mCQK gee-what_video_games_have_to_teach_us_about_learning_and_literacy (205) 20130923d 0 -3+ progress/2012/09/notes_for_gee-what_video_games_have_to_teach_us_about_learning_and_literacy.html
Enumerates six features of affinity groups or communities of practice: common endeavor, organized around whole process, extensive knowledge, intensive knowledge, tact distributed disperse knowledge, leaders design and resource groups. (205) Brown and Campioneƒs classrooms and many modern workplaces constitute what some have called
communities of practice and what I have called affinity groups.
(207) What happened, in my view, is that policymakers began to see that the new capitalism was not going to make every worker a knowledge worker, as had previously been thought. Rather, the new global high-tech economy called for lots of service workers in addition to lots of knowledge workers.

3 3 2 (+) [-4+]mCQK gee-what_video_games_have_to_teach_us_about_learning_and_literacy (211) 20130923e 0 -2+ progress/2012/09/notes_for_gee-what_video_games_have_to_teach_us_about_learning_and_literacy.html
Policy maker incentive to produce knowledge workers replaced with service workers; little wonder superior learning opportunities discoverable in playing video games. (211) Do 12-year-olds engage in this sort of producer, designer talk, connected to a growing appreciative system in their science classrooms? If not and chances are great in todayƒs test and drill-and-skill schools that they do not in many cases then they are experiencing a much more powerful view of learning when they are playing video games, an enterprise that many in our culture think is a waste of time, than they are in school.

3 3 2 (+) [-4+]mCQK gee-what_video_games_have_to_teach_us_about_learning_and_literacy (215) 20130923f 0 0+ progress/2012/09/notes_for_gee-what_video_games_have_to_teach_us_about_learning_and_literacy.html
Learning principles at end of chapter 7: distributed, dispersed, affinity group, insider. (215)

3 3 2 (+) [-4+]mCQK montfort_bogost-racing_the_beam (51) 20131024w 0 -1+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Avatar borrowed from Sanskrit incarnation. (51) Since the release of
Ultima IV in 1985, game developers and players have called this on-screen persona an avatar, a term borrowed from the Sanskrit word for incarnation.

3 3 2 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (599) 20131009w 0 -4+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Virtual history narratives, typified by simulation games, may cast user in fictional world, providing site for Gee projective identity. (599) From a thematic point of view, this mode of interactivity lends itself to what I would call, following Niall Ferguson (1997), "virtual history narratives."
(599-600) The best-known example of a narrative system with an ontological-external type of interactivity is the series of childrenƒs books Choose Your Own Adventure.
(600) Another example of external ontological interactivity is the simulation game, such as Simcity, Simlife, Caesar, or The Sims.
(600) While the operation of a simulation system requires a godlike position of power, many of the games mentioned above try to increase dramatic interest by casting the user as a member of the fictional world.

3 3 2 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (601) 20131009x 0 -2+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Locus of narrativity in internal-ontological works are traces of actions performed by player, though limited repertory at present, mostly implementing Campell/Propp archetypal plots; area of interest to game studies theorists such as Gee and Wardrip-Fruin. (601) As this retelling demonstrates, the narrativity of the action game lies in the trace of the actions performed by the player.
(602) At present, the thematic and structure repertory of ontological/internal interactivity is quite limited.

3 3 2 (+) [-4+]mCQK turkle-second_self (66) 20131014 0 -6+ progress/2011/04/notes_for_turkle-second_self.html
Heart of computer culture is rule-governed world: here is Turkle the psychologist stumbling upon what others state explicitly; see Negroponte in NMR. (66) Video games are a window onto a new kind of intimacy with machines that is characteristic of the nascent computer culture. . . . At the heart of the computer culture is the idea of constructed, rule-governed worlds. I use the video game to begin a discussion of the computer culture as a culture of rules and simulation.

3 3 2 (+) [-4+]mCQK turkle-second_self (77) 20131014c 0 -3+ progress/2011/04/notes_for_turkle-second_self.html
This vision of goals for computer games does not appear to explicitly question answered with embodiment, unraveling Clarks problem of representationally heavy explanations of how embodied organisms navigate their worlds. (77) Technological advances have enabled designers to create games that provide visually appealing situations and demand a diverse and challenging set of skills. But the ambition is to have the appeal of Disneyland, pinball, and a Tolkien novel all at once. Games like Joust do not offer the imaginative identification with a character and a situation that literature does.

3 3 2 (+) [-4+]mCQK turkle-second_self (83) 20131014d 0 -2+ progress/2011/04/notes_for_turkle-second_self.html
Her argument to MMORPGs through psychology is convincing: do we talk about current generation or those who grew up with using early personal computers prior to their obsolescence, as she hints about what these folks may be doing in the future by what their adult counterparts were doing in addition to not learning programming. (83) Doing some things precludes others. And, even more important, an individual develops a style.

3 3 2 (+) [-4+]mCQK turkle-second_self (87) 20131014e 0 -4+ progress/2011/04/notes_for_turkle-second_self.html
Video games hold out promises of touching infinity in a game that never stops, and perfection of computer presence within them. (87) As a computational object, the video game holds out two promises. The first is a touch of infinity the promise of a game that never stops.
(88) The games hold out a related promise, also tied to the computerƒs presence within them. This is the promise of perfection.

3 3 2 (+) [-4+]mCQK turkle-second_self (90) 20131014f 0 -7+ progress/2011/04/notes_for_turkle-second_self.html
The psychologist interpreting a symptom that Norman related to taught helplessness. (90) People who try out video games and say they hate them, or who actively dislike their first experience with computer programming, are often responding to this same promise. Not everyone wants to be around the perfect mirror. Some people dislike what they experience as the precision, the unforgivingness of mathematics. . . . It was felt as a pressure, as a taunt, as a put-down.

3 3 2 (+) [-4+]mCQK turkle-second_self (92) 20131014g 0 -2+ progress/2011/04/notes_for_turkle-second_self.html
This second self of the introvert is the quintessential prototype of the artist lost in creation that is not the immediate performance of embodied, collective reality but a future state when the artwork is consumed. (92) When children begin to do their own programming, they are not deciphering somebody elseƒs mystery. They become players in their own game, makers of their own mysteries, and enter into a new relationship with the computer, one in which they being to experience it as a kind of second self.

3 3 2 (+) [-4+]mCQK turkle-second_self (96) 20120401 0 -1+ progress/2011/04/notes_for_turkle-second_self.html
Turkle expands range of what is considered programming today, for it does include configuration via surface level manipulators that do not alter source code so that the changes affect the underlying structure of the program: note that if focus is on behavior of the program without diving deep into structure, an epistemological shroud descends. (96) In a sense, I turn the usual question around: instead of asking what the computer does to children I ask what children, and more important, what different kinds of children make of the computer.

3 3 2 (+) [-4+]mCQK wardrip_fruin-expressive_processing (1) 20130909 0 -4+ progress/2012/03/notes_for_wardrip_fruin-expressive_processing.html
Digital media enabled by possibility of modern computers to create new machines; claim as first book focused on computational processes from media, games, and fiction, founding software studies. (1) This is what modern computers (more lengthily called stored-program electronic digital computers ) are designed to make possible: the continual creation of new machines, opening new possibilities, through the definition of new sets of computational processes.
(2) Digital media are the media enabled by this possibility.
(2-3) But regardless of perspective, writings on digital media almost all ignore something crucial: the actual processes that make digital media work, the computational machines that make digital media possible.
(3) As far as I know, it is the first book focused on computational processes that comes from the perspective of media, games, and fiction (rather than software engineering or computer science).

3 3 2 (+) [-4+]mCQK wardrip_fruin-expressive_processing (3) 20131109 0 -4+ progress/2012/03/notes_for_wardrip_fruin-expressive_processing.html
Authors defining system behavior as form of expression beyond simplified models of everyday world; second aspect of expressive processing is deep structure in processes not visible to audience. (3) First, computational processes are an increasingly significant means of expression for authors. Rather than defining the sequence of words for a book or images for a film, todayƒs authors are increasingly defining the rules for system behavior.
(4) Computational processes can also be used to craft possibilities that arenƒt simplified models of phenomena from our everyday world.
(4) Second, I use the term
expressive processing to talk about what processes express in their design which may not be visible to audiences.

3 3 2 (+) [-4+]mCQK wardrip_fruin-expressive_processing (5) 20131019 0 -3+ progress/2012/03/notes_for_wardrip_fruin-expressive_processing.html
Processes central to understanding digital media, although their history seldom told; link to Manovich, Montfort and Bogost, and theorists common to Annals of History of Computing. (5) This second sense of
expressive processing what processes express through their designs and histories is important to me because I think it is central to understanding digital media.
(5) Rather than theoretical discussions, though, most of the rest of this book is dedicated to a close examination of a set of influential examples.
(5) It is also a history almost never told.

3 3 2 (+) [-4+]mCQK wardrip_fruin-expressive_processing (10) 20131019c 0 -3+ progress/2012/03/notes_for_wardrip_fruin-expressive_processing.html
Compare to Turkle much less precise discussion of surface of a work in Life On The Screen. (10) In this book, the
surface of a work of digital media is what the audience experiences: the output of the processes operating on the data, in the context of the physical hardware and setting, through which any audience interaction takes place.
(11) we generally understand this situation from the audienceƒs perspective, looking at both the audienceƒs actions and the workƒs behavior as though the work is a proverbial black box. I believe it is also essential to understand this situation more reciprocally; to think about the
relationship between the audienceƒs experience and the systemƒs internal operations.

3 3 2 (+) [-4+]mCQK wardrip_fruin-expressive_processing (11-12) 20120322 0 -8+ progress/2012/03/notes_for_wardrip_fruin-expressive_processing.html
Compare Figure 1-4 on interaction to closed loop process model, such as pinball machine. (11-12) While
interaction is certainly a contested term, for the purposes of this book I am defining it as a change to the state of the work for which the work was designed that comes from outside the work. . . . Finally . . . digital media works interact with more than audiences which is why the revised diagram also notes the possibility of interaction with outside processes and data sources.

3 3 2 (+) [-4+]mCQK wardrip_fruin-expressive_processing (14) 20131019d 0 -1+ progress/2012/03/notes_for_wardrip_fruin-expressive_processing.html
Operational logistics are higher level patterns in interplay of elements in digital media model; start here for critical interpretation. (14) I am interested in the examination of the interplay of a systemƒs operational logics and in this as a starting point for critical interpretation.

3 3 2 (+) [-4+]mCQK wardrip_fruin-expressive_processing (18) 20131019f 0 -7+ progress/2012/03/notes_for_wardrip_fruin-expressive_processing.html
Pay more attention to processes of digital media through survey of history of innovations in digital fictions and games reflecting back on society. (18) One book makes an argument that we need to pay more attention to the processes of digital media.
(18-19) The other book within these covers is the one shaped by my passion for digital fictions and games. It tells a history of process-oriented innovations in these areas a history that can provide inspiration (and cautionary guidance) as we create the projects that will shape the future of storytelling and play. . . . Coming to understand fictional worlds as systems and exploring their potential through play is also a powerful means of coming to understand our evolving society, in which (often hidden) software models structure much of how we live now.

---3.3.3+++ {11}

3 3 3 (+) [-4+]mCQK berry-philosophy_of_software (68) 20130911f 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Reading code example of leaked Microsoft source reveals corporate build process, hacks, role of APIs, which is developed by other authors as well. (68) In terms of the analysis we are undertaking here, we might think of the build as an important ƒtest of strengthƒ for the materiality of Microsoft Windows development software.
(69) By looking at the code in these files, an insight into Microsoftƒs daily build process is given.
(70) The documents also showed where Microsoft employees were required to break programming conventions and perform ƒhacksƒ, or inelegant software fixes to get around stupid, restrictive or problematic bottlenecks in the existing codebase.
(70) By reading the Microsoft source code one also begins to get connections to the political economy of software development more generally. For example, Microsoft uses certain specialized function calls called Application Programming Interfaces (APIs) which are kept private and internal to the company.

3 3 3 (+) [-4+]mCQK berry-philosophy_of_software (74) 20130911g 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Through example of climate resource code, question raised: does democratization of programming requires competent citizens? (74) Not only is this a clear example of the changing nature of science as a public activity, but also demonstrates how the democratization of programming means that a large number of people are able to read and critique the code.

3 3 3 (+) [-4+]mCQK berry-philosophy_of_software (75) 20130911h 0 -3+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Examples of writing code are based on contests. (75) These cases also allow us to see how the materiality of code is demonstrated by abiding closely to the prescribed legitimate tests for the code being developed.
(75) The first case study is the Underhanded C Contest, an online contest that asks the contestants to submit code that disguises within fairly mundane source code another hidden purpose. The second case study is The International Obfuscated C Code Contest (IOCCC), a contest to write the most Obscure/Obfuscated C program possible that is as difficult to understand and follow (through the source code) as possible.

3 3 3 (+) [-4+]mCQK berry-philosophy_of_software (81) 20130911i 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Materiality of source code as text itself foregrounded in underhanded, obscure and obfuscated code. (81) This is a technique called obfuscation and demonstrates both the materiality of source code itself, and the fact that unreadable source code can still be executable.

3 3 3 (+) [-4+]mCQK berry-philosophy_of_software (83) 20130911j 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
We may joke that the obvious MSA equivalent of obfuscated code is early Heidegger and other philosophical writings. (83) Code obfuscation means applying a set of textual and formatting changes to a program, preserving its functionality but making it more difficult to reverse-engineer.
(84) It requires an ability to not only craft a suitable program to perform a function, but to think about presentation and visual impact.

3 3 3 (+) [-4+]mCQK berry-philosophy_of_software (94) 20130911k 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Analogical music by Miwa a curious example of exemplary code ethnography, later setting up reverse remediation theme; could learn more from mundane models used in Computer Organization course. (94) In essence, this [work of Masahiro Miwa] is an attempt to follow the logic of code through a form of
code ethnography, observing and watching how code functions in the activities of musicians that attempt to model their approach to music through computer code.
(96) Each of these instructions tells the computer to undertake a simple task, whether to move a certain piece of data from A to B in the memory, or to add one number to another.

3 3 3 (+) [-4+]mCQK bogost-persuasive_games (58) 20131026b 0 -2+ progress/2012/12/notes_for_bogost-persuasive_games.html
Connect notion of serious to underlying system structure to critical code studies. (58) The notion of the serious as the underlying structure of a system is particularly compatible with the concept of procedurality.
Procedural representation depicts how something does, could, or should work: the way we understand a social or material practice to function.

3 3 3 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (146) 20140323 0 -13+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Revisit treatment of Peirce triad by Tanaka-Ishii. (146) In the Anglophone literature, the world-views (and not simply conceptions of society) based on network logics attached themselves to pragmatism and radical empiricism. . . . It leads to representing the world in the form of a meshing of ƒsignsƒ, each of which is capable of reflecting or representing the others according to its particular position (and not from some overarching standpoint, which does not feature in such a model). Hence the often implicit importance of semiotics, invented by C. S.
Peirce, in the formation of a representation of the world conceived as a network. . . . This triadic conception of the sign (sign, object, interpretant) makes it possible to represent the world, inasmuch as it can be invested with a meaning, as a ƒnetworkƒ with indeterminate contours constituted by a multiplicity of translations, since ƒthe sign is not a sign unless it can be translated into another sign in which it is more fully developedƒ. The interpretant thus plays a role as translator or mediator, allowing the network to expand by connecting entities that would otherwise remain isolated, and hence devoid of meaning.

3 3 3 (+) [-4+]mCQK bolter-writing_space (176) 20131026f 0 -7+ progress/2008/09/notes_for_bolter-writing_space.html
Computer programming embodying semiosis suggestive of Bogost procedural rhetoric; see Tanaka-Ishii. (176) Computer programming and indeed all kinds of electronic writing and reading by computer are exercises in applied semiotics. . . . The process of semiosis, the movement from one sign to another in the act of reference, is embodied in the computer.
(177) The electronic writing space seems to be not a metaphor for signification, but rather a technology of signification. Signs in the computer do precisely what students of semiotics have been claiming for their signs for more than a century as they generate text automatically.

3 3 3 (+) [-4+]mCQK fuller-behind_the_blip (22) 20130122 0 -1+ progress/2012/04/notes_for_fuller-behind_the_blip.html
Critical software designed to foreground normalized understandings of software; how can its partner critical programming stake a claim for attention by digital humanities? (22) One of the ways in which the currents described here first became manifest is in the creation of pieces of software designed explicitly to pull the rug from underneath normalized understandings of software.

3 3 3 (+) [-4+]mCQK fuller-software_studies (40-41) 20130921e 0 0+ progress/2011/10/notes_for_fuller-software_studies.html
Class Library: entire entry is Perl source code with large comment sections providing needed context that is imagined to be run to produce the message as an embodiment of procedural rhetoric simultaneously enacting automatic capitalist class operations. (40-41)

3 3 3 (+) [-4+]mCQK fuller-software_studies (154-155) 20130921v 0 -6+ progress/2011/10/notes_for_fuller-software_studies.html
Internationalization: first of two entries so far that include source code, to develop criticism of bias for European languages built into Java locales and Unicode, thus merely technical universality in the sense it runs anywhere. (154-155) Java supports a standard set of locales that correlated with well-developed, affluent countries. . . . In the character series for European languages, the order of Unicode characters corresponds to alphabetical order. This is not guaranteed for all languages.

3 3 3 (+) [-4+]mCQK fuller-software_studies (170) 20130921z 0 -9+ progress/2011/10/notes_for_fuller-software_studies.html
Language: codework defined; computer code distinguished from performative speech and reversible coding; need to study code to be critically informed about computers. (170) As with magical and speculative concepts of language, the word automatically performs the operation. Yet this is not to be confused with what linguistics calls a performative or illocutionary speech act, for example, the words of a judge who pronounces a verdict, a leader giving a command, or a legislator passing a law. The execution of computer control languages is purely formal; it is the manipulation of a machine, not a social performance based on human conventions such as accepting a verdict. Computer languages become performative only through the social impact of the processes they trigger, especially when their outputs arenƒt critically checked.
(172) The converse to utopian language designs occurs when computer control languages get appropriated and used informally in everyday culture. . . . These code poems or codeworks often play with the interference between human agency and programmed processes in computer networks.

3 3 3 (+) [-6+]mCQK fuller-software_studies (177) 20130923 0 -2+ progress/2011/10/notes_for_fuller-software_studies.html
Lists: illustrative LISP code presented as example of ancient programming language of modern world to compare to cunieform. (177) Compare the cuneiform tablets of old, and an ancient programming language of the modern world. LISP offers a promise of the power of both the old lists, the nineteenth-century scientific lists, and something beyond.

3 3 3 (+) [-4+]mCQK fuller-software_studies (197) 20130923c 0 -5+ progress/2011/10/notes_for_fuller-software_studies.html
Obfuscated Code: most Perl poetry only needs to be valid, not interesting, representing asymmetrical form of multiple coding. (197) This is a type of
double coding; more generally, multiple coding can be seen in bilingual programs, which are valid computer programs in two different programming languages. . . . Perl poetry is a prominent modern-day form of double-coding, distinguished from obfuscated programming as a practice mainly because it is not as important in Perl poetry that the program function in an interesting way; the essential requirement is that the poem be valid Perl.

3 3 3 (+) [-4+]mCQK fuller-software_studies (198) 20130923d 0 -4+ progress/2011/10/notes_for_fuller-software_studies.html
Obfuscated Code: primary insight is that source code are texts interpreted by human readers, with nod to Jarry Pataphysics; footnote to Maurice Black PhD Dissertation The Art of Code. (198) Another heritage is the tradition of overcomplicated machinery that has manifested itself in art in several ways. Alfred Jarryƒs ƒPataphysics, the science of imaginary solutions, which involves the design of complicated physical machinery and also the obfuscation of information and standards, is one predecessor for obfuscated programming.
(198) While obfuscation shows that clarity in programming is not the only possible virtue, it also shows, quite strikingly, that programs both cause computers to function and are texts interpreted by human readers. In this way it throws light on the nature of all source code, which is human-read and machine-interpreted, and can remind critics to look for different dimensions of meaning and multiple codings in all sorts of programs.

3 3 3 (+) [-4+]mCQK fuller-software_studies (237-238) 20121219 0 -11+ progress/2011/10/notes_for_fuller-software_studies.html
Source Code: well stated definition of source code and von Neumann architecture machinery invoking Knuth forming a defining statement of post postmodern cybersage; Knuth should be on reading lists for philosophers of programming, Ceruzzi among historians and philosophers of computing. (237-238) Source code (usually referred to as simply source or code ) is the uncompiled, non-executable code of a computer program written in higher level programming languages. . . . In the history of computation, programs were first written and circulated on paper before being compiled in the same way as recipes were written and shared before being compiled in cookbooks. . . . The source code of a modern digital computer derives from the further adaptation (in the 1940s) of Babbageƒs ideas. What came to be known as the von Neumann architecture is important as it presented a single structure to hold both the set of instructions on how to perform the computation and the data required or generated by the computation; it demonstrated the stored-program principle that has led to development of programming as separate from hardware design. Remington Randƒs UNIVAC (Universal Automatic Computer, 1951) was one of the first machines to combine electronic computation with a stored program and capable of operating on its own instructions as data.

3 3 3 (+) [-4+]mCQK fuller-software_studies (239-240) 20130923o 0 -8+ progress/2011/10/notes_for_fuller-software_studies.html
Source Code: aesthetic properties of source code, preference for brief examples yields attractor to code poetry, quines, minimal code, and of course obfuscated code, which perhaps redefines beauty as extreme style. (239-240) The idea of source code, and indeed the open source model, extends beyond programming and software. For instance, Knuth points to creative aspects of programming alongside technical, scientific, or economic aspects, and says that writing a program can be an aesthetic experience much like composing poetry or music. Source code can be considered to have aesthetic properties; it can be displayed and viewed. . . . The software art repository Runme.org lists obfuscated code under the category of code art alongside code poetry, programming languages, quines, and minimal code.

3 3 3 (+) [-4+]mCQK fuller-software_studies (240) 20130923p 0 -2+ progress/2011/10/notes_for_fuller-software_studies.html
Source Code: ends with calls to cook function displayed at beginning; important that authors note example of using personal free, open source project as part of human oriented (philosophical) text, alluding to not so much critical code as critical programming study. (240) An online repository and a platform for presenting and sharing barszcz soup recipes in the form of source code written in a number of programming languages, the [
Barszcz.net] project brings together cooking recipes and source code in a literal sense.

3 3 3 (+) [-6+]mCQK fuller-software_studies (274) 20130122 0 -4+ progress/2011/10/notes_for_fuller-software_studies.html
Weird Languages: all coding involves double-coding; study of weird languages seems necessary component of critical programming as well as link to traditional humanities. (274)
All coding inevitably involves double-coding. Good code simultaneously specifies a mechanical process and talks about this mechanical process to a human reader. Finally, the puzzle-like nature of coding manifests not only because of the problem solving necessary to specify processes, but because code must additionally, and simultaneously, make appropriate use of language styles and idioms, and structure the space of computation. Weird languages thus tease apart phenomena present in all coding activity, phenomena that must be accounted for by any theory of code.

3 3 3 (+) [-4+]mCQK harper-smash_the_strata (128) 20130924g 0 -6+ progress/2012/08/notes_for_harper-smash_the_strata.html
Tie to examples of electronic voting explored by Berry and Bogost. (128) A striated space of the state assemblage is most readily interpreted in the arborescent system of government which it legitimates. . . . The technology of voting captures the flow of political expression and the abstract machine of representation channels it into the state assemblage.
(129) In conditions where technology is captured by the state, the technological assemblage under the piloting role of the state is directed towards enhancing the striations of the existing strata.

3 3 3 (+) [-6+]mCQK harper-smash_the_strata (133) 20130924j 0 -3+ progress/2012/08/notes_for_harper-smash_the_strata.html
Free, open source software development communities exemplify Deleuzian assemblages. (133) The previously described move from state economy to market economies can be understood as the initial act of state deterritorialization. Subsequently our desiring-production is reterritorialized as a false choice between private companies.
(134) Hence, the primary focus of capital in undermining state-political power is the
development of communities as assemblages.

3 3 3 (+) [-4+]mCQK harper-smash_the_strata (137) 20130924l 0 -1+ progress/2012/08/notes_for_harper-smash_the_strata.html
Still assumes operating on Internet, which has its forms of capture. (137) The lack of materiality means the open-source-designed communicative communities can proliferate to reflect every community that has a political will be they virtual or real.

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Dangers of fear, clarity, power and disgust from One Thousand Plateaus set stage for not only justification but emancipatory freedom to do things beyond overdetermination by these dangers via floss. (138) Before concluding that what remains before us is the inevitable development of an emancipatory techno-political programme, we would do well to remind ourselves of the four dangers fear, clarity, power and the great disgust (Deleuze and Guattari 2004b: 250-5).

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Danger of technical plutocracy as clarity, for example Microsoft and now Apple. (138) The danger with
clarity is that we see things too well and in place of clinging to the known for fear of the unknown, we cling to our own lines of flight with absolute faith and thus come to dominate rhizomatic engagements. . . . Amongst the viral effects of this danger is a technical plutocracy, which spreads its influence throughout all the communities it encounters by virtue of its paternal affectations.

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Danger of power is being wary of nomads becoming generals when an open-source project gets a large funding boost or is absorbed by a corporation (Ubuntu, MySQL). (139) The danger of power is that it manipulates the line of flight and the original striation in an attempt to capture the line and increase power by inculcating other assemblages. . . . In a sense, we need to be wary of the nomads who would be Generals. . . . Any over-reliance upon technology is liable to create striations within the community that supports that technology.

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Argument against fear, which is fed by dangers of clarity, power and disgust, suggesting change occurs by evolution or revolution, but FLOSS provokes the latter; leaves unanswered how good streams will originate, which Berry addresses via digital Bildung. (139-140) While the latter three dangers of techno-politics have been enunciated strongly by contemporary theorists, these elaborations only serve to endorse the first danger of fear. This is an argument against fear. . . . What makes me optimistic that technology may give rise to smooth spaces of assemblage is the continual deterritorialization which accompanies technological development. As long as the deterritorialization takes place, systems will leak, reterritorializations will be incomplete, and lines of flight will develop.
(140) The decoding power of capitalism unleashes flows which give rise to new connections for desiring-production. I would like to suggest that if we are witnessing an absolute deterritorialization of the state, then the smooth space of community presents an alternative positive space within which to develop the roles of the state. And if we are witnessing a relative deterritorialization of the state, this process has given rise to lines of flight that are equally positive. To take up an outdated idiom, technologies will proceed through either evolution or revolution.

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Interesting use of Perl script in print, like writing about illegal virtual realities playing music still under copyright protection. (141) In
Cryptonomicon, Stephenson included an e-mail from Enoch Root to Randy in which Enoch gives him the Perl script for the Solitaire algorithm (480), leading to the delicious irony that this print book can be exported legally, whereas the code it inscribes with durable marks, if translated into electronic voltages, may not be legally exported. . . . The point of entangling the opposites so that they cannot be separated now emerges as a covert justification for figurative language, for effective communication in the digital realm requires an understanding both of machine-executable code and human-oriented metaphors.

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Macpherson possessive individualism compares literary to real estate for copyright purposes, creating complications for collaborative authorship and subject as unity. (145) The idea that a literary work is analogous to real estate facilitated the fitting together of arguments about copyright with the Lockean liberal philosophy that C.P.
Macpherson has labeled possessive individualism.
(146) A literary tradition must precede an authorƒs inscriptions for literature to be possible as such, yet this same appropriation and reworking of an existing tradition is said to produce original work. Arguments about literary property were persuasive in part because they fit together so well with prevailing notions of liberal subjectivity, but that same fit implied common blindnesses.

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Hierarchical complexity analogous to organic complexity; try to get us to use terms capta and captabases in place of data and databases. (4-5) Software is diverse in nature, varying from abstract machine code and assembly language to more formal programming languages, applications, user-created macros, and scripts. One way to consider these forms is as a set of hierarchically organized entities of increasing complexity that parallel that of organic entities (figure 1.1). . . .

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Four levels of software embedding in everyday life: coded objects, infrastructures, processes, assemblages. (5) We see software as embedded in everyday life at four levels of activity, producing what we term
coded objects, coded infrastructures, coded processes, and coded assemblages.
(5)
Coded objects are objects that are reliant on software to perform as designed.
(6)
Coded infrastructures are both networks that link coded objects together and infrastructures that are monitored and regulated, fully or in part, by software.
(6)
Coded processes consist of the transactions and flows of digital capta across coded infrastructure. . . . Part of the power of relational captabases is that they hold common fields that allow several captabases to be cross-referenced and compared precisely by software.
(7)
Coded assemblages occur where several different coded infrastructures converge, working together in nested systems or in parallel, some using coded processes and others not and become integral to one another over time in producing particular environments, such as automated warehouses, hospitals, transport systems, and supermarkets.

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Secondary agency when software executes itself, forming technological unconscious (Mackenzie, Thrift). (5) When software executes itself, it possesses what Mackenzie (2006) terms
secondary agency. However, because software is embedded into objects and systems in often subtle and opaque ways, it largely forms a technological unconscious that is noticed only when it performs incorrectly or fails (Thrift 2004b, Graham and Thrift 2007).

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Dyadic relationship between software systems and dependent spaces, for example airline check-in area; coded space is not dyadic in sense that it degrades but is not destroyed without its code functioning correctly. (16-17) Code/space occurs when software and the spatiality of everyday life become mutually constituted, that is, produced through one another. Here, spatiality is the product of code, and the code exists primarily in order to produce a particular spatiality. In other words, a
dyadic relationship exists between code and spatiality. For example, a check-in area at an airport can be described as a code/space. The spatiality of the check-in area is dependent on software. If the software crashes, the area reverts from a space in which to check in to a fairly chaotic waiting room.
(17) Any space that is dependent on software-driven technologies to function as intended constitutes a code/space: workplaces . . . transport . . . and large components of the communications, media, finance, and entertainment industries.
(17) Any space that has the latent capacity to be transduced by code constitutes a code/space at the moment of that transduction. . . . Code/space is thus both territorialized (in the case of a supermarket) and deterritorialized (in the case of mobile transductions).

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Localized resistances and transformations key to microcircuits of power, although Edwards and Golumbia will argue it is minor in comparison. (19) The constituent elements of a discursive regime work to promote and make commonsense their message, but also to condition and discipline. Their power is persuading people to their logic to believe and act in relation to this logic. As Foucault (1977, 1978) noted, however, a discursive regime does not operate solely from the top downward, but through diffused microcircuits of power, the outcome of processes of regulation, self-regulation, and localized resistance. . . .

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Software as product and process situated in development and use, surrounded by discursive and material assemblages, forms of governmentalism, practices, subjectivities, materialities, organizations, and the wider marketplace. (23-24) we argue that a comprehension of software must appreciate two aspects of code: first, that code is a product of the world and second, that code does work in the world. Software as both product and process, we argue, needs to be understood within a framework that recognizes the contingent, relational, and situated nature of its development and use. . . . Surrounding and coalescing around software are discursive and material assemblages of knowledge (flow diagrams, Gantt charts, experience, manuals, magazines, mailing lists, blogs and forums, scribbled sticky notes), forms of governmentalities (capta standards, file formats, interfaces, conventional statutes, protocols, intellectual property regimes such as copyrights, trademarks, patents), practices (ways of doing, coding cultures, hacker ethos, norms of sharing and stealing code, user upgrading, and patching), subjectivities (relating to coders, sellers, marketers, users), materialities (computer hardware, disks, CDs, desks, offices), organizations (corporations, consultants, manufacturers, retailers, government agencies, universities and conferences, clubs and societies) and the wider marketplace (for code and coders).

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Code defined as set of unambiguous instructions for processing elements of capta in computer memory, performing work transducing input. (24-25) Code at its most simplistic definition is a set of unambiguous instructions for the processing of elements of capta in computer memory. . . . Coded instructions transduce input; that is, the code changes the input from one state to another, and as a consequence the code performs work.

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Example Pascal code runs over page boundary. (25) For example, below is a piece of code that calculates whether a point is inside a polygon (a common evaluative procedure in a geographic information system).

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Interesting place of working code by Brown; range of what activities constitute programming. (26) As Brown (2006) notes, programming languages . . . sit in an unusual and interesting place designed for human reading and use, but bound by what is computationally possible. . . . Programming extends from the initial production of code, to refactoring (rewriting a piece of code to make it briefer and clearer without changing what it does), to editing and updating (tweaking what the code does), to integrating (taking a piece of code that works by itself and connecting it to other code), testing, and debugging, to wholesale rewriting. The skill to model complex problems in code that is effective, efficient, and above all, elegant, is seen as a marker of genuine programming craft.

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Ontological power of software, agency, even form of subjectivity constructing sensoriums per Mackenzie, Fuller. (26) Software has, at a fundamental level, an ontological power, it is able to realize whole systems of thought (algorithms and capta) with respect to specific domains.
(27) Agency is held in these simple algorithms in the sense that they determine, for themselves, what operations do and do not occur. . . . Even in everyday software applications, such as a word processor or web browsers, code enacts millions of algorithmic operations to derive an outcome at a scale of operation so small and fast as to be beyond direct human sensing.
(27) As Mackenzie (2006, 43) notes algorithms carry, fold, frame and redistribute actions into different environments. Fuller (2003, 19) thus argues that software can be understood as a form of digital subjectivity.

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Weather now understood through coded models combing theory, mathematics, code and story (Gramelsberger). (27-30) This relationship between code algorithms, capta structures, and the world is well illustrated with respect to weather prediction and global climate change modeling. . . .
Gramelsberger expresses this as Theory = Mathematics = Code = Story. . . . The models are coded theory and they create an experimental system for performing theory (Gramelsberger 2006); or, put another way, the models analyze the world and the world responds to the models.

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Visualization creating compelling inscriptions. (30) A key element of the success of such software models is their ability to generate (spatial) capta that can be visualized to create compelling inscriptions.

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Berry 7 types of code grammars: digital data structure, digital stream, delegated code, prescriptive code, code objects, critical code. (30) David
Berry (2008) suggests that the properties of code can be understood as operating according to a grammar reflected in its materialization and operation, detailing seven ideal types through which code is manifested.

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Code always collaborative social object. (33) Even if a programmer is working on his or her own, the program is implicitly the result of a collective endeavor the programmer uses a formalized coding language, proprietary coding packages (and their inherent facilities and defaults), and employs established disciplinary regimes of programming ways of knowing and doing regarding coding practices and styles, annotation, elegance, robustness, extendibility, and so on (as formalized through manuals, instruction, conventions, peer evaluation, and industry standards). Coding then is always a collaborative manufacture with code being a social object among programmers (Martin and Rooksby 2006).

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Code is citational, consisting of embedded, embodied, discursive practices; contingent project choices limit future decisions and outcomes. (34) Code is developed through collective cycles of editing, compiling, and testing, undertaken within diverse, historically-framed, social contexts. It is citational, we could argue, consisting of embedded, embodied, and discursive practices.
(35) As such, arbitrary choices and contingent progress push projects more or less in a particular direction that then limit future decisions and outcomes.

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Quickly changing, diverse environments result in sundry ways of accomplishing similar objectives, with much focus on project management rather than writing code, versus singular depiction of logical operations popular in Floridi. (35) In other words, programming takes place in an environment that it is changing so quickly that it is often difficult to keep up with new developments, and with such diversity, programmers can differ markedly in their ability to write good code and in how they think a system should be coded.
(35) The coding itself can be a complex and difficult task, especially when trying to address new problems for which solutions have not been established. As a result, there are various competing schools of thought with regard to how software development should take place, much of it focusing on project management rather than the practice of writing code.

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Social embedding. (37) It is embedded within workplace or hacker cultures, personal interactions and office politics, relationships with customers/users, and the wider political and cultural economy. . . . These negotiations and contestations between individuals and teams are set in the wider political economy of finance and capital investment, market conditions, political/ideological decisions, and also the role of governments and the military-industrial complex in promoting the knowledge society, innovation culture, and underwriting significant amounts of development and training.

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Replete with narratives of failure wished for by SCOT, such as Brooks. (38) Given those statistics, it is no surprise that the software landscape is littered with high profile, massively expensive, failed projects and there is even literature detailing these disasters. . . . A study by the U.S. National Institute of Standards and Technology published in 2002 details that software errors cost the U.S.

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Code is contingent and unstable for being embedded in culture regardless of the care with which it is created. (38) Code it contingent and unstable constantly on the verge of collapse as it deals with new data, scenarios, bugs, viruses, communication and hardware platforms and configurations, and users intent on pushing it to its limits.

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Code quantitatively extends capacity of electromechanical technologies and can differ qualitatively. (39) Software thus quantitatively extends the processing capacity of electromechanical technologies, but importantly it also qualitatively differs in its capacity to handle complex scenarios (evaluating capta, judging options), taking variable actions, and having a degree of adaptability.

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Secondary agency extending that of others; Latour actant possessing agency. (39) As Mackenzie (2006) notes, software is often regarded as possessing secondary agency. . . . Code also extends the agency of other machines, technical systems, and infrastructures. This is the case even if these effects are largely invisible from those affected, or where an effect is clear but not the executive role of software behind it. . . . In other words, in Latourƒs (1993) terms,
software is an actant in the world; it possesses agency, explicitly shaping to varying degrees how people live their lives.

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Studying blips as evidence of agency (Ullman and Fuller). (40) Drawing on Ullmanƒs ethnographic work, Fuller (2003, 31) makes the case that code enacts its agency through the production of events blips--some outcome or action in an assemblage that the software contributes to, the interpretative and reductive operations carried out on lived processes. . . . Moreover, these blips are contextual and signifiers of other relations for example, a personƒs bank balance is an instantiation of class relations and they themselves can be worked upon and reinterpreted by code to invent a sequence of new blips.

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Recursive, self-fulfilling relationships developed between code and world. (41) One of the effects of abstracting the world into software algorithms and data models, and rendering aspects of the world as capta, which are then used as the basis for software to do work in the world, is that the world starts to structure itself in the image of the capta and code a self-fulfilling, recursive relationship develops.

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Code can do work in world because it possesses technicity, which is contingent, negotiated, nuanced (Mackenzie); no neat marriage between coded objects and particular effects because technicity varies as function of code, people, context. (42) For Mackenzie (2002) the reason why software can do work in the world is because it possesses
technicity. Technicity refers to the extent to which technologies mediate, supplement, and augment collective life; the unfolding or evolutive power of technologies to make things happen in conjunction with people.
(42-43) Rather, technicity is contingent, negotiated, and nuanced; realized through its practice by people in relation to historical and geographic context. As such, there is no neat marriage between coded objects, infrastructures, processes, and assemblages and particular effects of code. Instead, technicity varies as a function of the nature of code, people, and context.

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Ontological status of each object uniquely indexed, transforming epistemological status, enabling addition work in the world. (48-49) First, the ontological status of each object is uniquely indexed. . . . Second, individuated identification transforms the epistemological status of each object, with it being useable in new ways and able to do additional work in the world and to be worked upon by other entities such as information systems.

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RFID tag example highlights growth of machine to machine knowledge as audit trails as well as elimination of anonymity of mass consumption. (50-51) Let us consider RFID tags in more detail. . . . Borrowing the domain name schema used on the Internet, the EPC [Electronic Product Code] network uses a distributed Object Naming Service (ONS) to link each EPC number to an appropriate naming authority database that provides detailed information. Importantly, the querying of the ONS as RFID tagged products move through supply chains will automatically create richly-detailed audit trails of capta. The result will be a much greater degree of routine machine-to-machine generated knowledge on the status and positioning of many millions of physical objects in time and space.

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Ontology of coded objects based on significance of software to primary functions: peripherally coded objects and codejects, which divide into hard codejects, unitary closed codejects, unitary sensory codejects, logjects. (54)
Peripherally coded objects are objects in which software has been embedded, but such code is not essential to their use (that is, if the software fails, they still work as intended, but not as efficiently, cost-effectively, or productively). Codejects on the other hand are dependent upon code to function the object and its code are thoroughly interdependent and inseparable (hence our conjoining of the terms code and object to denote this mutual interdependence). Codejects can be further subdivided into three main classes on the basis of the following characteristics: their programmability, interactivity, capacity for remembering, their ability for anticipatory action in the future based on previous use, and relational capacities. In summary these classes are hard codejects, unitary codejects, and logjects.

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Unitary codejects programmable, exhibiting liveness, plasticity, accretion, interruption. (56) Unlike hard codejects, unitary codejects are programmable to some degree and therefore exhibit some degree of interactivity; users are able to control some aspects of the objectƒs functionality, instructing it as and when required. They, along with logjects, exhibit
liveness a feeling that there are infinite possibilities to explore; plasticity the person interacting with the codeject feels that they can push its limits wihtout breaking the system; accretion the computational improves and evolves with use; and interruption computation is open to unpredictable input and can react to it without breakdown (Murtaugh 2008).
(56) We term them
unitary because they are self-contained, having everything they need to function within their material form. In broad terms, unitary codejects can be divided into those that function independent of their surroundings (closed codejects), and those that are equipped with some sensors that enable the object to react meaningfully to particular variables in their immediate environment (sensory codejects).

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Bleecker blogject inspired logject rely on externalized functionality, record status and usage: permeable or networked depending on need to be always connected. (57)
Logjects differ from unitary objects in that they also record their status and usage, and, importantly, can retain these logs even when deactivated and utilize them when reactivated. . . . Furthermore, part of their functionality is externalized, lying beyond the immediate material form of the object.
(57) Bleecker defines a
blogject as an emerging class of software-enabled objects that generates a kind of blog of its own use and has the capability to automatically initiate exchanges of socially meaningful information.
(58) We broadly define a logject as an object with embedded software able to monitor and record, in some fashion, its own opeartion.

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Capta shadows can be analyzed for emergent properties, for example of credit cards and cell phones. (60) Objects thus gain capta shadows that can be analyzed for emergent properties, with new knowledge of the life of an object used to refine the system through which it is made, distributed, sold, and potentially used. And importantly, such capta can be processed to anticipate future activities.
(60) Letƒs explore the example of the archetypal machine-readable object: a credit card. . . . Importantly, it can legally, and through social convention, now hold a measure of trust that allow actions at a distance that are replacing embodied transactions (Lyon 2002).
(60-61) Now let us examine the example of a codeject: a cell phone. . . .

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Space active constitutive element of social relations rather than empty place in which they independently occur; code/spaces ontogenetic. (65) Social relations do not operate independently of space or simply at a location, rather space is an
active constitutive element in the production of social relations, communal formations, political organization, and personal regulation.
(66) Developing the latter [how does space become?], we argue that code/spaces are best understood as ontogenetic in nature, brought into being through the technicity of software to invoke processes of transduction.

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Essentialist formulation of space supplanted by relational ontologies, with epistemological shift to production and management of space by people. (67) Deeply essentialist in formulation, space is effectively reduced to the essence of locational geometry, its properties natural and given.
(67) Developing from the 1970s onward, as a more explicit counter to the scientific ontology of absolute space, were calls for relational ontologies (see Crang and Thrift 2000). The concept of
relational space was first articulated overtly within radical approaches within human geography (for example, Marxist and feminist geographies) that developed in opposition to the dominant methods and ideology underpinning spatial science.
(67-68) Epistemologically, what this relational conception of space meant was a significant shift from seeking spatial laws to a focus on how space is produced and managed in contingent and relational ways by people to create certain sociospatial relations and not others.

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New understandings of space based on ontogenetic ideas. (68) In the last decade, a small cluster of scholars have begun to challenge absolute and relational conceptions of space, seeking to develop new understandings of space based on ontogenetic ideas.
(68) Spaces have multiple functions and through the daily flux of interactions, transactions, and mobilities are always in the process of being made differently.

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Citational practices that are banal, hidden like writing practices of printed book and ephemeral spatiality of Trafalgar Square point to ontogenetic understanding of lived experience. (69) These practices are
citational in Butlerƒs (1990) terms in that they endlessly, but imperfectly, cite the previous moment and thus give the appearance of coherence and continuity. Taken as a whole, it is important to realize these sets of practices are not planned or coordinated, nor necessarily conscious; they simply proceed. Moreover, many practices are easily forgotten or so ephemeral as to not be remembered, or are actively precluded and hidden to give impression of complete, fixed, and final existence. They are so banal that they are largely ignored, others are culturally invisible, and increasingly others happen automatically through the employment of technology. For example, this printed book consciously denies the evidence of the writing practices that brought it into being.

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De Certeau, Rose and Thrift notable spatial theorists emphasizing performative and nonrepresentational aspects. (70) In particular, de Certeau (drawing on Foucault) was interested in how people live within, negotiate, and subtly challenge circuits of power and the proper order of space as reproduced by dominant elites, such as states and corporations. . . . [quoting] In short, space is a practiced place. Thus the street geometrically defined by urban planning is transformed into space by walkers.
(71) For
Rose, space itself, and thus its production, is brought into being through performativity through the unfolding actions of people.
(71) Drawing on the ideas of Butler, Latour, and Deleuze, among others, Nigel Thrift has developed the notion of nonrepresentational theory. . . . In particular, Thrift is interested in how new sentient technologies automatically produce space; that is, they bring space into being without human interference.

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Ontogenesis highlighting technicity and transduction argues space constantly brought into being as incomplete solution to ongoing relational problems, following Mackenzie and Simondon. (71) We theorize this process using the concepts of technicity and transduction, drawing on the work of Mackenzie and Simondon to argue that
space is constantly brought into being as an incomplete solution to an ongoing relational problem.

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Everyday life as series of incomplete solutions to relational problems by transductions, whose incremental steps are individuations. (72) Mackenzie (2003, 10) explains that through transduction, a domain structures itself as a partial, always incomplete solution to a relational problem. From this perspective, everyday life is seen as a stream of never-ending relational problems; for example, in writing, how to spell the next word, finish the sentence, structure the paragraph, and make a convincing argument. These problems are provisionally solved by some action consisting of individuations (looking in a dictionary, typing, editing, thinking, refining), thus transferring the situation from one state to another, yet also immediately creating a new problem to be solved (the next sentence).
(72) Individuations are the small incremental steps that constitute a transduction.

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Software catalyzes transductions, sustains individuations, modulates sociospatial relations, yielding coded space and code/space and raising at least four philosophical issues: specter of determinism, collectivized unfolding, issue of scale, nature of structural power; is it worth pausing to consider the adequacy or arbitrariness of this set of issues? (72-73) Software solves relational problems by acting as a catalyst for transductions to occur and sustaining individuations within a modulation. Code thus transduces everyday life, alternatively modulating sociospatial relations. From this perspective,
space is transduced brought into being as a part of a provisional solution to an ongoing set of relational problems. Coded space and code/space occurs where the transduction of space is mediated by or it dependent on software. . . . Thinking about how the transduction of space proceeds, and in particular the nature of code/space, raises a number of related issues. Here, we focus on four of them: the specter of determinism, the collectivized unfolding of space, the issue of scale, and the nature of structural power.

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Specter of determinism diminished because work of software fades into background in most spaces, retaining much negotiation by humans, who experience the work of software differentially, whose relationships vary contextually, evolving over time, open to subversion. (74) First, the extent to which space and code are mutually constituted and their effects explicitly invasive where code/space is visible and explicit in its consequences alters as one passes through coded assemblages. . . . The space may well be dependent on code to function as intended, but the work that software does fades into the background, allowing other social relations to dominate.
(74) Second, even within the more overt and invasive code/spaces, spatiality is still a negotiated production.
(74) Third, it is clear from observation that code/space is experienced differentially not everyone experiences the work of software in the same way (and not simply on the basis of privilege).
(75) Fourth, the relationship between code and people varies as a function of wider
context.
(75) Fifth, it is important to note that assemblages of code/spaces have accreted over time with technological advances and political and economic decisions to employ digital technologies.
(75) Finally, code/spaces are open to subversion.

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Oligopticon rather than complete surveillance; nonetheless, software leading to automated management mode of governmentality. (84-85) However, despite advances in the surveillance tools and systems of organization, particularly in the last few decades, the disciplinary grid created has remained open to vertical (within an activity) and horizontal (across activities) fragmentation (Hannah 1997). . . . Governance then has consisted of an imperfect panopticon with blind spots and fissures that is best described as an oligopticon partial vantage points from fixed positions with limited viewsheds; a series of partial orders, localized totalities, with their ability to gaze in some directions and not others (Latour cited in Amin and Thrift 2002, 92).
(85) We argue that software is ideally suited to monitoring, managing, and processing capta about people, objects, and their interaction, and is leading to a new mode of governmentality that we term
automated management.

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Automated, automatic, autonomous characterize automated management regulation of people and objects where code is law, from traffic monitoring to gait and handwriting recognition; well explored in ficiton such as Gattaca and Distraction. (85) Put simply, automated management is the regulation of people and objects through processes that are
automated (technologically enacted), automatic (the technology performs the regulation without prompting or direction), and autonomous (regulation, discipline, and outcomes are enacted without human oversight) in nature. . . . Automated management thus works in a different way compared to other modes of governmentality, creating a situation wherein code is law (Lessig 1999).
(85-86) Traditional forms of surveillance, as detailed by Foucault and many others (Lyon 2007), are being transformed by the application of software to their functioning and processing. Consider the example of the monitoring of road traffic for driving offenses. . . . There are many other forms of surveillance, in use or under development, that seek to recognize unique aspects of bodily physiology and activity such as the structure of faces and voices, the manner of walking, idiogyncrases of typing, and writing a signature.

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Active discipline by societies of control. (86) Unlike traditional forms of surveillance that seek to self-discipline, new forms of surveillance seek to produce objectified individuals where the vast amount of capta harvested about them is used to classify, sort, and differentially treat them, and actively shapes their behavior (Agre 1994; Graham 2005; Lyon 2002). . . . Such a form of governance is described by Deleuze (1992) in his notion of societies of control. Here, expressions of power are not visible and threatening as with sovereign or disciplinary regimes, rather power is exerted subtly through distributed control and protocols that define and regulate access to resources and spaces, without those who are being governed necessarily being aware of such processes.

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Broad purpose of capture technologies clear in extreme cases such as Nazi punch card systems regulated goods. (87) Whereas capta generated by traditional surveillance technologies are principally for the purpose of regulation (for reasons of safety, law enforcement, security, or revenue recovery), capture technologies generate capta for a much wider purpose and broader constituency.

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Discourses of safety, security, efficiency, empowerment, economic rationality, competitive advantage support automated management, driven by neoliberalism and normalized through everyday media. (106) The rollout of automated management in different contexts is supported by vested interest groups such as the state bureaucracies and corporations that use discourses relating to issues such as safety, security, efficiency, anti-fraud, empowerment, productivity, reliability, flexibility, economic rationality, and competitive advantage, to induce a process of interpellation, where in the large majority of people willingly and voluntarily subscribe to and desire their logic, trading potential disciplinary effects against benefits gained. . . . These discourses are undoubtedly driven by the interests of capitalism and increasingly the dynamics of neoliberalism, and they are normalized through their everyday and mundane portrayal in television, film, newspapers, novels, and other media.

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Add inability to protest to intensive surveillance instilling reflexive self-disciplining. (108-109) Firth, and perhaps most troubling, it seems to us that many people do not openly question new forms of intensive surveillance and software sorting because they are worried of the consequences of protest. . . . Here, the nature of automated management works to instill a deep level of reflexive self-disciplining.

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Technicity of software pivotal in creative practices. (111) For example, the technicity of software means it is increasingly a pivotal element in the creative practices of many professions and opens up creative opportunities for people to enact novel solutions to problems of entertainment and play.

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Software as special kind of media because they afford creativity. (112) Software, we argue, needs to be interpreted as a special kind of media. . . . Unlike spoken language and conventional writing, software is computational and executable, and can thus create products that themselves afford creativity.

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Importance of embeddedness in networks for creativity of programmers; add liberal arts and humanities to skills and competencies. (113) It is important to note, however, that the creativity of programmers, software engineers, and systems designers does not arise out of nowhere, some innate embodied talent. Instead, their creativity is a product of their skills and competencies coupled with their embeddedness in networks of people, things (technologies documentation, resources) and places.

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Being proficient in creative software tools prerequisite to success in many professions. (113) Code creates products that themselves afford creativity and some software applications have permeated creative practice so thoroughly (QuarkXPress in publishing, Photoship in graphic design, After Effects in animation, Maya and 3D Max in sold modeling, and Pro Tools in music mixing) that being proficient in their use has become an essential prerequisite to success in these professions.

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Example of software use audit for creation of this book highlights cultural software: consider dimension of software tool-enabled versus self-reflexive creation of critical programming. (113-115) Indeed, various computers and their operating systems supporting word processing, image editing, desktop publishing, e-mail and Web browsing, have fostered the creation of this book (table 6.1). . . . Software has afforded us a suite of tools that has profoundly influenced how the book came into being.

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Difficult to assess impact of technological tools on creativity because the overall activity spread among practices; self-reflexive aspect absent in program use versus coding itself. (115) The deeper question though, is the degree to which the essential creative act is altered by the medium that the author is working in. This is not easy to address, because not all aspects of writing are dependent on code. This is not easy to address, because not all aspects of writing are dependent on code. For example, in writing this book, we often wrote out ideas and passages in longhand, or made edits onto hardcopy, and made use of a print dictionary and thesaurus in parallel with the software versions offered in Microsoft Word.

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Academics are software workers even though they do not write code: evidence of Manovich cultural software in sound recording and photography. (116) Capta generation and analysis on these scales was nigh on impossible before computing.
(117) Academics, therefore, are very much software workers, like many other occupations and professions, even though most do not write code, and probably could not do so even if they desired.
(117) The same is true for many workplaces, including the sites of much media production and creative industries, including artistsƒ workshops, design studios, theaters, publishers, and photography, television, and film studios.

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Widening access to creative activities alters spaces in which they may occur; democratization alters who may create and barriers to entry. (121) The rise of affordable desktop software to create and manipulate music, large scientific data sets, graphic designs, photographic images, and architectural models has been particularly significant in terms of widening access to creative activities and opportunities. For many decades, these creative practices have been largely confined to specialized places, often tied to expensive bespoke equipment, and a skilled cadre of technicians and engineers. . . . There has been a marked decline in the barriers
to entry into professional music recording; as Leyshon (2009, 1309) puts it, there has been a democratization of technology.

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Creative results not guaranteed, reliance on software can even stifle creativity, invoking famous example of PowerPoint; risk of detrimental transfer of operative logic and algorithmic determinism to performance: compare to Heidegger leveling of language and Chun programmed visions. (121-123) Of course, the enrollment of software in workflow does not guarantee creative results. . . . Moreover, in some respects, it can be argued that the reliance on software can actually stifle creativity. Software applications like Microsoft Word or Adobe Photoshop are flexible and open-ended tools, but they come loaded up with structures, templates, defaults settings, algorithmic normalities, and path-dependencies that often subtly but necessarily direct users to certain solutions. Some have argued that they ways in which the design of software structures human cognitive processes can have a detrimental effect on performance. . . . PowerPointƒs operative logic is imbued with the corporate sales pitch, but too easily this ethos travels when it is applied in other contexts (for example, teaching; Adams 2006). . . . In terms of scholarship, critics have often argued that the available functions in core analytical software applications can all too easily determine research questions.

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Criticism that available functions in core analytical software determine research questions: compare to XML supporting OHCO thesis and types of scholarly projects undertaken in digital humanities. (121-123) In terms of scholarship, critics have often argued that the available functions in core analytical software applications can all too easily determine research questions.

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Many users never change the defaults when creating with cultural software: software as powerful force for homogeneity echoes Horkheimer and Adorno consumer consciousness. (123) Many users never change the defaults; some are little aware of the degree to which what they create is shaped by these defaults. The result is that the products of certain software applications can often have a look that is identifiably shaped by the default settings. From this perspective, one might argue, software is a powerful force for homogeneity, rather than the diversity that marks creativity.

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Per Manovich people interact with digitally encoded culture moreso than the computer per se; compare to Turkle noting attention to surface versus depth by computer users. (123) Indeed, Manovich contends, such is the pervasiveness of software in the contemporary production of cultural media that people interact less with a computer per se, but rather culture encoded in digital form (a jpeg picture, an mpeg movie file, a PDF document, and an MP3 song).
(123-124) The effect of these five trends [numerical representation, modularity, automation, variability, transcoding] is, he argues, the creation of media that are interactive, programmable, and mutable; media that provide distinct and novel ways for people to express emotion and ideas, to record their thoughts and experience, and to engage in new kinds of social activities, exchange, and communication.

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Seldom do users reprogram the underlying software to affect production and consumption, although it is always held out as a democratizing option. (125) Production and consumption become blurred, with users able to participate in the production of many media, but also to alter the nature of the media itself by reprogramming the underlying software.

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Web 2 distinct phase of online production that has rapidly become embedded in everyday life affording enhanced degrees of agency to users and creators, for example blogging new forms of participatory dialog, mashups adding value to harvested capta. (125) Web 2.0, it is argued, is a new, distinct phase of online production that opens up authorship to allow much greater creative enterprise.
(126) Such has been the rapid rise of Web 2.0 applications that commentators note that they have already become an embedded and routine part of everyday life for many people, especially those under the age of thirty or so (Beer and Burrows 2007).
(126) Nevertheless, Web 2.0 applications do afford their users and creators with enhanced degrees of agency that empower them to participate in the construction of the Web and to solve their relational problems in novel ways. For example, blogging, a popular form of social media, has created new forms of participatory dialog.

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Case study of democratization of sophisticated mapping techniques and capta availability by OpenStreetMap: CC license, crowd-sourced production, wiki based core. (128) The way in which digital maps and online geographic imagery can be searched and browsed almost effortlessly, and without the upfront cost of data purchase and specialized software, is clearly opening up sophisticated mapping techniques and capta that only a few years previously had been the preserve of the military, government, academia, and corporations, employing highly skilled staff.
(128) Open source mapping projects also challenge the restrictive copyright licenses applied to conventionally produced commercial and government mapping (even the free Google Maps service has strictly defined the terms and conditions for what users can do with it).
(129) At its heart, OpenStreetMap is fundamentally Web 2.0 because its licensing is open (a Creative Commons Attribution/ShareAlike license), it exploits a crowd-sourcing model of production (premised on mass participation, distributed voluntary effort, and loose coordination, it stands in contrast to traditional modes of centralized cartographic production undertaken by paid employees of institutions working to predetermined specificaitons), and its core architecture is wiki based.

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OpenStreetMap tagging ontology example of generative folksonomy. (130) The tagging ontology for geographic features in OpenStreetMap is a classic example of a generative folksonomy that emerges from both online debate and pragmatic usage.

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Open culture not necessarily democratic in wiser sense idealized in open-source software development practices. (131) In this sense, online software fosters an open culture wherein anyone who is so motivated can become involved in the development of the underlying infrastructures by participating in open-source software initiatives, and everyone has the potential to be seen and heard, and to contribute to collaborative ventures such wikis and folksonomies as the mechanics of authorship become qualitatively easier to exploit.
(131) The Internet as a social media is now a key battleground for political debate and organizing.

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Use of satellite imagery for advocacy organizations is good example of wider democratizing by scrutinizing hidden activities and spaces autonomously from the state. (132) Political power can also be enacted by software through greater scrutiny of otherwise hidden activities and secret spaces. . . . While much Internet-based protest is focused on the rapid and uncensored distribution of existing evidence, Aday and Livingston (2009) argue that in the case of satellite imagery there are real opportunities for advocacy organizations to generate new evidence that is, crucially, authoritative and autonomous from the state.

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Hacktivism at the ethical edge. (132) Lying at the ethical edge of these campaigning and counter-mapping strategies is the quasi-illegal direct action that has been undertaken online to disrupt corporations by virtual sit-ins using software for distributed denial-of-service attacks and by defacing homepages by deliberately hacking into Web server software.

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Crowd-sourced and amateur gaze now complemented by Wikileaks and other dissemination of official documents via insiders and contractors. (132) The military and state security apparatus, in particular, are struggling to deflect scrutiny from only activism. . . . What begins to emerge is a bricolage of counter-mapping of secret state operations based on a collective, crowd-sourced, and amateur gaze.

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Nothing about empowerment by working code beyond using cultural software and hacktivism; Bogost provides more examples of coding to promote political organization and debate. (133-134) Empowerment then is facilitated by the Internet media, but its limits are defined by its fundamental operative protocols. . . . A genuine ethical dilemma therefore exists between the benefits felt from revealing information and the desire to keep control over details deemed personal.

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Dialectical nature of cell phone technology as both mobilizing activism and enhancing tracking. (133) Cell phones are also key tools in coordinating and mobilizing activism and protest movements. . . . The fact that the cell phone is also a potentially potent means of tracking people by the state, illustrates well the dialectical nature of such technology.

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Empowerment limited by operative protocols of Internet media, creating ethical dilemma between revealing transactionally useful information and keeping control over personal secrets. (133-134) Empowerment then is facilitated by the Internet media, but its limits are defined by its fundamental operative protocols. . . . A genuine ethical dilemma therefore exists between the benefits felt from revealing information and the desire to keep control over details deemed personal.

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Three As: automated, autonomous, automatic. (137) Everyday people move around environments either through spaces that are increasingly monitored, augmented, and regulated by code or using modes of travel that are progressively more dependent on software to operate. . . . Air travel consists of a passage through code/spaces that are governed by automated management. . . . The decision as to whether people and luggage can progress from one code/space to the next is more than ever taken by systems that operate in an automated, autonomous, and automatic way.

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Air travel has become real virtuality in Castells sense. (137) The whole apparatus of air travel from initial transaction to exiting the airport at the final destination, is virtualized. As a result, the material transfer of people and goods has become dependent on the virtual. In this sense, air travel has become, in Castellƒs (1996) terms, a real virtuality par excellence, seamlessly
blending the materiality and virtuality of travel.

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Passenger ticket as material embodiment of code/space; departures are reliant on code, software transducing space into code/space. (140) In many ways, a passenger ticket is the material embodiment of code/space on which are printed several data codes, which while meaningful to the software programs that facilitate travel, are mostly meaningless to the passenger. With the move to e-tickets, these codes are often hidden further, reduced to a single unique code number that identifies the passenger at check-in.
(142) The reliance on ticketing codes in the PNR for check-in is the primary reason that a departure area is now a code/space. . . . If the software fails then the space fails to be transduced into a code/space as it should be.

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Plane as code/space in coded space of atmosphere. (143-144) Similarly, the plane itself is a code/space from the cockpit through to the in-flight entertainment system and digital maps displayed in the cabin. . . . The flight itself takes place through the coded space of the atmosphere which contains radio navigation beacons, GPS signals, and ATC systems that monitor all movements and direct planes on route to their destinations.

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Compare massive assemblage of air travel to Sterne context of ensoniment. (144) Taken to their logical conclusion, we can think about the code/spaces of air travel extending to the Internet and the GDS systems through which tickets are purchased (travel web sites, booking databases, credit card encryption) and global financial markets (the networked spaces of banks, stock markets, financial districts, insurance centers) that, as the volatility across the aviation industry post-9/11 have demonstrate, play a large role in defining airline, airport, and aircraft manufacturersƒ viability and in restructuring routes, service levels, and plane production. . . . The massive assemblage of air travel is then widely distributed and diversely scaled.

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Avoid treating code/spaces like air trave as deterministic and universal: necessarily social and cultural, accreted, incomplete assemblage. (146-147) Despite these potential disruptions to the air travel assemblage, the danger is to think about the store and forward movement through its code/spaces in a deterministic (that code determines how the space unfolds) and universal manner (the same processes occur in all airports in the same way). . . . It is necessarily a social and cultural practice, not a simple, deterministic exchange or an act of raw governmentality, and it proceeds in multifarious, subtly mutating ways.

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Airport assemblage is metastability requiring continual tuning and replenishment. (147) The ordering of flows in the store-forward nature of the airport assemblage in particular take continual tuning. . . . Airports require continuous routine maintenance, ad hoc repairs and planned renewal that is easily overlooked by passengers unless they are distinctly impacted (Graham and Thrift 2007). They exhibit metastability at different scales-- they are stable [only] in their constant instability (Fuller and Harley 2004, 153).

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Workarounds, errors and malice prevent totalizing, deterministic closure. (147) Given this collective and incomplete nature, there is always scope for workarounds, as airport staff in different roles adapt their interactions with software systems to cope with the pressures of on-the-ground situations. . . . There is also the ever present potential for errors, particularly in capta entry and translation within and between these software systems. . . . There are also opportunities for malicious damage to the vital software systems of air travel from insiders, and also external attacks.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (148) 20130929h 0 -3+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Negotiated spaces not completely determined by code: compare to business operations putatively controlled by ISO standards whose published rules are regularly broken to get things done. (148) Similarly, security checkpoints and immigration are
negotiated zones of transition. Code is used to screen and identify passengers in the security area, but often with a human operator who is usually part of a team. The level of attention one receives is often gendered, aged, and raced (women, children, and Caucasians are generally perceived as less of a potential risk in the West), and agents have the authority to decide which items are confiscated and who receives extra screening (Parks 2007).

3 3 3 (+) [-5+]mCQK kitchin_and_dodge-code_space (149) 20130929i 0 -6+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Automated management of air travel make passengers and workers docile bodies. (149) Such systems were originally used to make the business of air travel more efficient, competitive, and profitable. More recently, they have been used as a means to manage and regulate passengers and workers, especially in relation to security. . . . The aim is to render passengers and staff, in Foucaultƒs (1978) terms,
docile bodies ; bodies that occupy the assemblage in an orderly, noncomplaining, compliant manner through visible systems of discipline (unique identification check-in and immigration, surveillance cameras, security checkpoints, warning signs, and architectural design), accompanied by a sliding scale of sanctions (delayed flight, termination of a journey, police questioning, arrest, criminal charges, threat of fines, and imprisonment).

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (150) 20130929j 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Automated management examples of US-VISIT system, APIS, and Secure Flight program demonstrate long retention periods, extensibility to future forms of surveillance of mobility, and secret rules. (150) Here, the aim is to upgrade the effectiveness of systems by introducing new grammars of action that deepen capta input and improve analysis, identify and deny potential security risks before a crime is committed, anticipate threats and predict future passenger behavior.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (152) 20130929k 0 -3+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
ACLU questioned design and deployment of automated systems for errors, due process, cost and impact. (152) In 2004, the American Civil Liberties Union published a list of seven reasons to question the design and deployment of such automated passenger screening and profiling systems. These reasons focused on errors, due process, cost, and impact.
(153) Taken together, US-VISIT, APIS, and Secure Flight aim to create a capta shadow of travel for individuals that lasts a lifetime.

3 3 3 (+) [-6+]mCQK kitchin_and_dodge-code_space (153) 20130929l 0 -2+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Commonsense discourses for code/spaces: security, safety, anti-fraud, citizenship, economic rationality, convenience, and free skies. (153) The code/spaces of air travel, and the regulatory capacity of automated management, are supported by a least seven interlocking discourses. These are security, safety, anti-fraud, citizenship, economic rationality, convenience, and free skies.

3 3 3 (+) [-5+]mCQK kitchin_and_dodge-code_space (154) 20130929m 0 -3+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Foucault technology of self empowers code/space, enacting Althusser interpellation; compare to other automated systems such as Internet proxies and time management systems. (154) Automated management allows the surveillance of passengers and workers to become more panoptic in scope, both widening and deepening the extent to which the complex and dynamic flows of air travel can be policed, thus making air travel a more secure and safe undertaking. Part of the power of code/space is what Foucault (1988) calls a
technology of the self : a sociospatial configuration where the presence of a technology persuades people to self-discipline their behavior; to act in ways prescribed by those controlling the space and technology.
(155) In Althusserƒs (1971) term, code/space thus interpellates people to its ideas by enticing them to subscribe to and desire its logic and to willingly and voluntarily participate in its ideology and practice (rather than simply disciplining them into docile bodies).

3 3 3 (+) [-6+]mCQK kitchin_and_dodge-code_space (159) 20131005 0 -7+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Home work; home as metamachine, social and material relations being reconfigured by coded objects. (159) A great deal of emotional, physical, and financial effort is expended in the maintenance of the physical dwelling, along with the nurturing of home life. A significant part of this work in creating a proper home involves the continual ordering of time, spaces, and resources into configurations to solve ongoing problems of living. As part of ordering the routines of homemaking, a plethora of technologies are used. . . . Homes then are metamachines of literally thousands of different technological components.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (160) 20131005a 0 -2+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Audits of coded objects as investigative method, though idealized here, reviewing living room, kitchen, bedrooms, bathrooms, garage, cars. (160) We do this by providing audits of three typical (Western) homes. These audits are hypothetical, but are based on our broad observation of different homes, particularly in an Anglo-American context.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (168) 20131005b 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Car includes driver assistance systems, pointing towards autonomous conveyance of WALL-E. (168) It also includes a raft of driver assistance systems that shadow their actions and help reduce the cognitive and kinesthetic load of driving.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (168) 20131005c 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Aged person health aids forerunner of wearable computing, pointing towards unabashed cyborg. (168) Such an everyday embodied mixture of code can be seen as a forerunner of wearable computing for routine health monitoring and well being assistance, and the future potential fusing of software and biological functioning to create cyborgian recombinations.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (169-171) 20131005d 0 -5+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Homes already nodes in multiple networks. (169-171) Every home is a node in multiple consumer and government networks relating to utilities, entertainment, communications, finance, taxation, health, and security, some of which work in real time, others asynchronously, all using electronic captabases structured and worked upon by software algorithms. . . . The use of these infrastructures binds them into overlapping grids of calculation through instruments of measurement, surveillance, and classification.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (172) 20131005e 0 -10+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Two-way tradeoffs of increased consumption and empowerment accompanied by surveillance and regulation by television, Internet and cellular communications. (172) Code renders the television a two-way mirror that watches the viewers as the viewers watch it. . . . Yet, at the same time, the ability to know the viewer is counterbalanced by the increasing fragmentation of media consumption, with some people promiscuously utilizing multiple platforms and sources (often unofficial, free, and copyright infringing peer-to-peer sharing).
(172-173) Similarly, communication and capta transfer using the Internet and cell phones empowers individual households at the same time as it monitors and regulates their actions. . . . Consumers have traded their privacy for a service, and they are bearing the cost and labor of detailed capta generation in the name of their own empowerment (Andrejevic 2007 see chapter 9).

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (174) 20131005f 0 -2+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
New affordances to undertake domestic living differently by time shifting, multitasking. (174) Coded objects alter the material, social, and spatial relations of the home in new ways; they offer members of households new affordances to undertake domestic living differently.
(174) People take advantage of interactive software interfaces to time-shift and multitask.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (174) 20131005g 0 -11+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Transduction of home space providing additional partition solutions to relational problems. (174) Coded objects make a difference to the transduction of home space; how the spatiality of the home is beckoned into being as coded space or code/space. Their supplementary capacities provide additional, partial solutions to the relational problems of domestic living (cleaning, cooking, entertaining, socializing, personal care) and enable other problems to be addressed from the home (managing household finances, work-related tasks, schooling, health monitoring).
(175) The apartment is spatially reconfigured to facilitate such a transduction, with a bedroom converted into space where office practices can proceed efficiently. . . . Simonƒs digital keyboard transduces the space of his office into a music studio where he is able to compose, record, manipulate, and play back multilayered and instrumented songs. . . . Dorothyƒs Lifeline control terminal transduces her home into a site of continuous yet unobtrusive healthcare monitoring, which enables her to live at home, rather than having to move to an assisted living facility.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (175) 20131005h 0 -5+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Stretching home across space in networks makes domestic activities and personal behavior more visible to corporations; compare to ability of computer to directly collect user data noted by Weinberg. (175) Homes are increasingly being stretched out across space in networks of greater length and, as such, scaled in new ways. . . . Such expanding, and increasingly nonstop flows of capta, potentially render unseen domestic and personal behaviors visible to corporations, with little knowledge or control by those being observed.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (176) 20131005i 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Home becomes new site for automated management. (176) The home, previously seen as a sanctuary from an overdetermined and regulated world, becomes open to forms of automated management.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (176) 20131005j 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Smart home continuation of modernist fantasy of control. (176) While it is possible to argue that we are on the path to such an all-embracing domestic digital assemblage, it must also be recognized that smart homes are a particular sociotechnical vision developed by technologists; the latest reincarnation of a longstanding modernist fantasy of technology capable of producing orderly domestic spaces and maximizing leisure time.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (177) 20131005k 0 -2+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Code opens novel solutions to domestic tasks, pleasure and play. (177) Yet control is not the whole story. Code opens up genuinely novel avenues for creative solutions to domestic tasks, particularly in terms of pleasure and play.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (178) 20131005l 0 -2+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
New complexity and risks, need for digital housekeeping, foreshadowed by real cognitive work maintaining PCs and mobile devices. (178) In addition to the specter of control and empowerment of creativity, the enrollment of code on a wide scale in the home brings with it a whole new layer of complexity and risks to daily living, despite the rhetoric of software making life easier. A foretaste of this complexity is the real cognitive work required in maintaining home PCs and mobile devices in proper order.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (178) 20131005m 0 -3+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Home are bricolage of ordinary objects and coded components that may lead to overcoding leading to disruptions; compare to initial domestication of electricity. (178) Homes then are made of an imperfect but functional bricolage of ordinary objects and coded components. Rather than making the domestic realm more orderly, the infusion of software into homes is perhaps leading to a new overcoding of routines and activities that often makes home life more complex and prone to unexpected and inexplicable failure and disruptions.
(179) While this is an incremental and not an epochal change, a useful parallel can be drawn between the contemporary coding of homes and the initial domestication of electricity at the end of the nineteenth century.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (178) 20131005n 0 -4+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Social, familial, and wider political, legal, and cultural contexts result in different spatialities of even materially identical homes. (178) In other words, the everyday use of coded objects reshapes the spatiality of the home by altering how domestic tasks are undertaken (and not always more conveniently for all), introducing new practices and sometimes greater complexity, and embedding the home into more diverse, extended systems of consumption and governmentality. How coded objects beckon space into being is not deterministic, rather it is contingent and relational. The spatiality of different homes, even if they were materially identical, would vary substantially because the technologies would be used in different ways, within varying contexts. These contexts are social and familial, but are also structured within the wider political economy (market-led pricing, fragmentation of consumer service contracts), legal arrangements and standards (health and safety), evolving cultural practices (when and where it is acceptable to use certain coded objects), and differential access to certain services.

3 3 3 (+) [-4+]mCQK kitchin_and_dodge-code_space (181) 20131006 0 -5+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Next step in consumer society is practice of consumption as leisure activity, affecting land and infrastructure development. (181) The latter part of the twentieth century witnessed the development in the West of a consumer society wherein the vast majority of people purchased goods and services not only out of necessity, but through choice. . . . In tandem, the practice of consumption, particularly shopping, became a major leisure activity for many, and retail and leisure spaces became the focus of development capital with large tracts of land and infrastructure devoted to them.

3 3 3 (+) [-4+]mCQK lessig-code_version_2 (2) 20130907a 0 -11+ progress/2013/08/notes_for_lessig-code_version_2.html
Comparison between new societies of post-communist Europe and Internet cyberspace, both transitioning from euphoric freedom to need for regulation; change from cyberspace of anarchy to control. (2) About a decade ago, in the mid-1990s, just about the time when this post-communist euphoria was beginning to wane, there emerged in the West another new society, to many just as exciting as the new societies promised in post-communist Europe. This was the Internet, or as Iƒll define a bit later,
cyberspace. First in universities and centers of research, and then throughout society in general, cyberspace became a new target for libertarian uptopianism. Here freedom from the state would reign.
(3) The claim for cyberspace was not just that government would not regulate cyberspace it was that government
could not regulate cyberspace.
(3) It was the withering of the state that Marx had promised, jolted out of existence by trillions of gigabytes flashing across the ether of cyberspace.
(3) But what was never made clear in the midst of this celebration was
why.
(4) Liberty in cyberspace will not come from the absence of the state. Liberty there, as anywhere, will come from a state of a certain kind. We build a world where freedom can flourish not by removing from society any self-conscious control, but by setting it in a place where a particular kind of of self-conscious control survives. We build liberty as our founders did, by setting society upon a certain
constitution.

3 3 3 (+) [-4+]mCQK lessig-code_version_2 (6) 20130907c 0 -4+ progress/2013/08/notes_for_lessig-code_version_2.html
Code as new regulator, bot man as Holmes bad man theory of regulation. (6) I suggest we learn something if we think about the
bot man theory of regulation one focused on the regulation of code. We will learn something important, in other words, if we imagine the target of regulation as a maximizing entity, and consider the range of tools the regulator has to control that machine.
(6) In speaking of a constitution in cyberspace we are simply asking: What values should be protected there? What values should be built into the space to encourage what forms of life?

3 3 3 (+) [-4+]mCQK lessig-code_version_2 (7) 20130907d 0 -7+ progress/2013/08/notes_for_lessig-code_version_2.html
Substantive and structural values in constitutional tradition are Bill of Rights and separation of powers, whereas cyberspace structural values only nascent. (7) Theorists of cyberspace have been talking about these questions since its birth. But as a culture, we are just beginning to get it. . . . The first generation of these architectures was built by a noncommercial sector researchers and hackers, focused upon building a network. The second generation has been built by commerce.

3 3 3 (+) [-4+]mCQK lessig-code_version_2 (8) 20130907e 0 -2+ progress/2013/08/notes_for_lessig-code_version_2.html
Government has criminalized core hacker ethic, and forms of cultural creativity so important to Manovich. (8) Our government has already criminalized the core ethic of this movement, transforming the meaning of
hacker into something quite alien to its original sense. Through extremism in copyright regulation, it is criminalizing the core creativity that this network could produce.

3 3 3 (+) [-4+]mCQK lessig-code_version_2 (27) 20130907f 0 -10+ progress/2013/08/notes_for_lessig-code_version_2.html
Four themes regulability, regulation by code, latent ambiguity, competing sovereigns. (27) These four themes frame everything that follows. They also map the understanding that I want this book to provide. Regulation in cyberspace can help us see something important about how all regulation works. Thatƒs the lesson of the first them, regulability. It will also introduce a regulator ( code ) whose significance we donƒt yet fully understand. Thatƒs the second theme, Regulation by Code. That regulation will render ambiguous certain values that are fundamental to our tradition. Thus, the third theme, latent ambiguity. That ambiguity will require us, the United States, to make a choice. But this choice is just one among many that many sovereigns will have to make.

3 3 3 (+) [-4+]mCQK mackenzie-cutting_code (34) 20130802j 0 -4+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Transgressive Perl fork program. (34) The artist Alex
McLean suggests that forkbomb.pl be seen as producing a watermark of the functional coupling of an operating system and hardware platform. Every operating system and platform will produce a different output. Even the same computer will produce different outputs depending on what other processes are running at that time (Cox, McLean and Ward 2002).

3 3 3 (+) [-4+]mCQK mackenzie-cutting_code (87) 20130802n 0 -11+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Demarketized approach to proprietary hardware specificities illustrated with code snippets. (87) In Linux, a new mode of commodity consumption occurs through coding: the proprietary hardware specificities of different computational devices and peripherals are addressed in a demarketized form.
(88) The increasing illegibility shows something important. These instructions read and write to specific spatial locations on the Intel x86 family of CPUs: the input/output (IO) ports. Some of the very first lines of the Linux kernel are very closely tied to the deeply embedded specificities of the Intel 80386 chip.
(88) As widening streams of kernel code encircle new proprietary hardware specificities, a patchwork of subprojects and parallel development fold into the kernel.
(89) The Linux kernel is deeply tied to a gendered corporeal set of practices of programming work. The mention of all-nighters, of a time when men wrote their own device drivers, reminds us that Linux is above all a program by men for men who like to play with computing hardware. . . . Anthropologically speaking, these desires remain somewhat unexplained.

3 3 3 (+) [-4+]mCQK mackenzie-cutting_code (174) 20130805c 0 -6+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Java code fragment illustrates cooperation and embedded presence of others. (174) Perhaps more importantly, we can see within code how communication itself becomes a productive force. . . . Scanning the lines of the code sample above, the prevalence of terms such as manager, service, resolver, helper, context, query, interface, remote and local suggests just how basic cooperation has become to the very fabric of software. Code dissolves and crystallizes the presence of others.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005 0 -4+ progress/2012/07/notes_for_marino-critical_code_studies.html
Consider this the founding text of my specialization, in which advance the practice of programming as a state of the art form of digital humanities scholarship encouraged by the theory. (np) What could be a more appropriate language for this activity than Lisp, a family of algebraic list processing languages developed for artificial intelligence (McCarthy 1979)?
(np) The computer here merely shuffles the words as so many strings of data. It does not interpret, only uses those strings. However, those words in quotation marks are significant to us, the humans who read the code.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20130124a 9 -1+ progress/2012/07/notes_for_marino-critical_code_studies.html
See if Marino reaches or implies restricted definition of critical software that Berry does as self-revealing, necessarily epistemologically transparent reverse engineering engendering to which I emphasize educational aspect for those learning how computers work to be better philosophers and humanities theorists. (np)
(np) My own critical approach will stress meaning, implication, and connotation, though not in terms of a self-contained system of meaning but with respect to the broader social contexts.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005b 0 -2+ progress/2012/07/notes_for_marino-critical_code_studies.html
Introduce search for and production of meaning by simultaneously embedding philosophical investigation and training exercises into working code: provocative suggestion playing off Turkle. (np) While we examine programming architecture and admire modularity and efficiency, the study of computer code does not currently emphasize interpretation, the search for and production of meaning.
(np) People project humanity onto the computer, but is it possible that with regard to coding we do just the opposite and strip the code of its human significance, imagining it is a sign system within which the extensive analyses of semiotic systems and signification, connotation, and denotation do not apply?

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005c 0 -8+ progress/2012/07/notes_for_marino-critical_code_studies.html
Covers controversy between Cayley and Mez mediated by Raley: what about intrinsic value of working code versus what is only consumable, alluring, to humans? (np) Regardless of whether or not these texts compile at the level of the computer, codework, in Raleyƒs analysis, disrupts the way we as readers compile and interpret these coding symbols in relation to their broader use and operation in the technologies that would otherwise process us without interruption.
(np) Cramerƒs broader formulation allows him to involve various objects that long predate the saved-state, digital computer.
(np) While computer scientists can theorize on the most useful approaches to code, humanities scholars can help by conjecturing on the meaning of code to all those who encounter it both directly by reading it or indirectly by encountering the effects of the programs it creates.
(np) This hidden language is what we can uncover, explore, access, and engage. . . . For Cayley, however, the code of most importance is that which makes the signifiers flicker, that which is programming the signifier.

3 3 3 (+) [-6+]mCQK marino-critical_code_studies (np) 20131005d 0 -1+ progress/2012/07/notes_for_marino-critical_code_studies.html
Explicit statement of role of programmers points to niche for my work to help fill. (np) These analytic projects will require programmers to help open up the contents and workings of programs, acting as theorists along with other scholars, as they reflect on the relationships between the code itself, the coding architecture, the functioning of the code, and specific programming choices or expressions, to that which it acts upon, outputs, processes, and represents.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005e 0 -2+ progress/2012/07/notes_for_marino-critical_code_studies.html
Do not limit to open source practices, code written as literature, or literate programming (Knuth). (np)
Software Studies [the book] gestures towards a more formalized practice of (and quite a few tools for engaging in) Critical Code Studies.
(np) The way this sign system circulates within actor-networks or computers and machines is also the way it develops connotations worthy of interpretation.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005g 0 -1+ progress/2012/07/notes_for_marino-critical_code_studies.html
Paratextual features, and multiple audiences both machine and human. (np) The history of the program, the author, the programming language, the genre, the funding source for the research and development (be it military, industrial, entertainment, or other), all shape meaning, although any one reading might emphasize just a few of these aspects.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005h 0 -5+ progress/2012/07/notes_for_marino-critical_code_studies.html
Compare studying code to musical score rather than paint from which art is made. (np) The clearer analogy is the analysis of a musical score, a play script, blueprints, circuit diagrams, or any print text, since none of these can be processed or executed without being read. . . . In any event, when Raley invokes
Adorno regarding the emphasis on the score over the music, she cautions us against emphasizing the code at the expense of the processes, the performance of the code.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005j 0 -4+ progress/2012/07/notes_for_marino-critical_code_studies.html
Code not poetry: frequent and multiple, uncited authors, parts of a machine. (np) Code frequently has multiple authors, mostly uncited. To use a common algorithm could be thought of as using a screw. Mechanics do not cite the inventor of the screw every time they use one, although programmers at times attribute code to particular sources. Nonetheless, literary analysis has found other means of involving authorship, including the Foucauldian notions that the authors themselves are assemblages of influences.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005l 0 -13+ progress/2012/07/notes_for_marino-critical_code_studies.html
May need to rethink how to interpret code beyond specific, intentionally artistic renderings, for which Fuller Software Studies a major step; also Hayles My Mother was a Computer. (np) In addition to analyzing the way codeworks function when executed, Raley [in "Code.Surface || Code.depth"] interprets specific coding symbols, the "double pipe, the logical ƒorƒ condition (||)," which she has already set into play in her title. . . . The challenge will be to apply such readings to less intentionally artistic programs.
(np) Fullerƒs
Software Studies offers a major step towards such analysis. The entries provide interpretive frameworks, and several model specific Critical Code Studies techniques. . . . The readings contextualize the conceptual tropes of programming and software within a broad historic, literary, and cultural analyses.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005o 0 -9+ progress/2012/07/notes_for_marino-critical_code_studies.html
Versions of critical code studies appearing in dissertations by Wardrip-Fruin, Douglass, Marino himself, Black, Swartz. (np) Other versions of Critical Code Studies, though not all called such, have been appearing in dissertations, including the works of Noah Wardrip-Fruin, Jeremy Douglass, and myself. . . . Maurice J. Black has written one of the first dissertations on the issue. Also, notably, Paul Swartz, a Ph.D. candidate at Hampshire College, is currently pursuing the question: "what would it mean to treat computer software as a ƒliterature?

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005p 0 -4+ progress/2012/07/notes_for_marino-critical_code_studies.html
Hints at methodologies of Latour and Sterne, embracing the large social context and the technical details of many network-specific discourses. (np) Interpretation requires reading an object in its (post)human context through a particular critical lens. This context involves human machines operating in actor-networks. Thus, a simple looping subroutine, say, might remind one of the eternal return of the repressed, but unless that metaphor has significance with respect to the particular, material context of the script itself, the interpretation is not very significant. However, if one found a recursive loop in a program designed to psychoanalyze its users, perhaps a connection could be drawn between recursion and the psychoanalytic view of the return of the repressed.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131005q 0 -1+ progress/2012/07/notes_for_marino-critical_code_studies.html
Slogan let us make the code the text. (np) Let us make the code the text.

3 3 3 (+) [-4+]mCQK marino-critical_code_studies (np) 20131105a 0 -5+ progress/2012/07/notes_for_marino-critical_code_studies.html
Hayles reading of object-oriented languages in relation to procedural languages, calling for leserevolution of code; Tanaka-Ishii more rigorous approach. (np) Although not examining one specific piece of code, Hayles [in
My Mother was a Computer] develops a reading of object-oriented languages in relation to procedural languages motivated by similar concerns to Kittlerƒs. . . . This call from Hayles and others envisions a leserevolution of code, a moment when code comes to the people.

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Affinity with Hayles media-specific analysis, with hardware (and the yet to be named platform) studies at its limit. (np) Critical Code Studies shares affinities with other types of what Hayles calls media-specific analysis. . . . At the limits of code studies are, indeed, hardware studies.

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Krauss iconic methodology lends itself to electronic environment of imagetexts; taken at a second level, likewise imagine starting with an image of the ground symbol in a relay driver circuit that itself is only a small part of the schematic diagram of a large circuit board, which is finally itself just one part of a device such as a pinball machine. (41) I would argue that Kraussƒs iconic methodology would be easily adaptable to an electronic environment, where the ƒiconƒ appears as frequently as the written word and imagetexts are the most frequent mode of representation.

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Critical code studies connection to analyzing profanity in comments in Linux source code and leaked Windows 2000 source code, yet a weak focus when the putative goal is to understand code. (307) A Norwegian programmer named Vidar Holen lovingly maintains a Web page labeled Linux kernel swear words. On it he charts over time the levels of profanity in comments within the Linux source code.
(308) Comments sometimes serve not just as explanatory notes but as emotional release valves. Despite decades of dabbling with notions of automatic programming and software engineering, making software is still painful. Anguished programmers sometimes just need to say fuck.
(309) Among the surprises they found were many comments in which the Microsoft programmers berated themselves, their tools, their colleagues, and their products.

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Seems like no reason this approach cannot be used for human-developed machine languages and protocols; does Saussure implicit characterization of language include or exclude them, thinking of Ong dismissal: that spoken word alone constitutes object of linguistics may be the basis. (6) Linguistics takes for its data in the first instance all manifestations of human language.
(6) The aims of linguistics will be:
(a) to describe all known languages and record their history. This involves tracing the history of language families and, as far as possible, reconstructing the parent language of each family;
(b) to determine the forces operating permanently and universally in all languages, and to formulate general laws which account for all particular linguistic phenomena historically attested;
(c) to delimit and define linguistics itself.

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Reconsidering reflexivity as essential property of sign systems; border of significance made explicit in design of artificial languages. (1) The theme of this book is to reconsider reflexivity as the essential property of sign systems. In this book, a
sign is considered a means of signification, which at this point can be briefly understood as something that stands for something else. . . . Signs functions in the forms of a system consisting of a relation among signs and their interpretations.
(1) As will be seen further along in the book, a sign is essentially reflexive, with its signification articulated by the use of itself. Reflexivity is taken for granted, as the premise for a sign system such as natural languages. On the other hand, the inherent risk of unintelligibility of reflexivity, has been noted throughout human history in countless paradoxes. . . . With artificial languages, however, it is necessary to design the border of significance and insignificance and thus their consideration will serve for highlighting the premise underlying signs and sign systems.
(1-2) The artificial languages considered in this book are programming languages. They are artificial languages designed to control machines. The problems underlying programming languages are fundamentally related to reflexivity, and it is not too far-fetched to say that the history of programming language development is the quest for a proper handling of reflexivity. . . . In particular, the aim of the book is to consider the nature of signs and sign systems through discussion of programming languages by semiotics.

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Common test bed of sign systems due to extent humanities disciplines treat humanity as discursive (Hayles). (2) At the same time, some readers might also wonder to what extent humanity can be considered merely in terms of signs and sign systems. Such an approach, however, is indeed extant in the humanities, particularly in semiotics, linguistics, and philosophy. It is therefore not an oversimplification to compare human language and computer language on the common test bed of sign systems.

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Understand signs by looking at machines for intersection, as Derrida did with writing; chance to revisit von Neumann on weaknesses of artificial automata. (2-3) Considering both as sign systems, their comparison seems to lead to highlight the premise upon which our sign system is founded. Namely, the application of semiotic theories to programming enables the consideration, in a coherent manner, of the universal and specific nature of signs in machine and human systems (see Figure 1.1.). Such a comparison invokes the nature of descriptions made by humans in general, of the kinds of features a description possesses, and of the limitations to which a description is subject. These limitations, this book suggests, are governed by reflexivity. Moreover, the difference between computer signs and human signs lies in their differing capability to handle reflexivity, which informs both the potential and the limitations of the two sign systems. While people do get puzzled, they seldom become uncontrollable because of one self-reference.

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Like Kittler problem with media studies, semiotic studies seldom delineated from their expressive symbolic systems. (4) The use of computer languages as a semiotic subject does not suffer from this failing, however, because human beings do not think in machine language.
(4) With respect to interpretation, in a sense, there is in theory no system better than that of computer languages because they are truly formal, external, and complete in scope. Since this interpretation is performed mechanically, it is explicit, well formed, and rigorous. Computer languages are the only existing large-scale sign system with an explicit, fully characterized interpreter external to the human interpretive system. Therefore, the application of semiotics to computer languages can contribute, albeit in a limited manner, to the fundamental theory of semiotics.

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Interesting suggestion that OOP latent in earlier semiotic theory; technological development inspires humanities study, like applied poststructuralism and postmodernism. (5) Many of the concepts, principles, and notions of computer programming, however, have derived from technological needs, without being situated within the broader context of human thought. An example is that the paradigm of object-oriented programming is considered to have been invented in the 1960s. This was, however, no more than the rediscovery of another way to look at signs. The technological development of programming languages has thus been a rediscovery of ways to exploit the nature of signs that had already been present in human thought.
(5) The application of semiotics to programming languages therefore helps situate certain technological phenomena within a humanities framework. To the extent that computer programs are formed of signs, they are subject to the properties of signs in general, which is the theme of this book. That is, the problems existing in sign systems generally also appear in programming languages.

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History of semiotics of computing starting with Zemanek, Andersen and Andersen, Holmquvist, Jensen, Liu, de Gruyter, Floridi, de Souza. (6) The earlier mention of this topic was a brief four-page article in
Communications of the ACM (Zemanek, 1966), which emphasized the importance of the semiotic analysis of programming languages. Publication of an actual study analyzing the computing domain, however, had to wait until publication of studies by Andersen (1997) and Andersen, Holmquvist, and Jensen (1993, 2007). Their work modeled computer signs within information technology in general. Such work was important because it opened the domain of the semiotic analysis of computing, and it has been continued further by authors such as Liu (2000). Ever since then, this domain has progressed through papers in Walter de Gruyterƒs Semiotica and the Journal of Applied Semiotics, through conference/workshop papers on Organizational Semiotics, and also through Springerƒs Journal of Minds and Machines, which takes a more philosophical approach. Other related publications are those of Floridi (1999, 2004), which provide wide-ranging discussion of philosophy as applied to the computing domain. In terms of application, the most advanced domain in this area of semiotics is human-computer interaction, the advances in which have been elucidated in a book by de Souza (2006).

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Use of artwork examples as extension of hypothetical semiotic analyses beyond computer programming languages. (7-8) These hypothetical conclusions currently apply, in the most rigorous sense, only to computer programs. To show the potential of these conclusions, however, they are also applied to the artwork at the beginning of each chapter, thus offering an intuitive or metaphorical introduction to the hypothetical problem explored in the chapter.

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Uses Haskell and Java as programming languages for highlighting points of arguments. (8) In contrast, for programming languages, I refer only to theories and concepts already extant within the computer programming domain and merely utilize them for semiotic analysis: since a programming language is well-formed and rigorous, the relevant theory is fundamentally clear. . . . each chapter is based on specific programming languages that best highlight the point of the argument. . . . Among numerous programming languages, the two representative ones introduced here are
Haskell and Java.

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Statement of markup strategy for working code using typewriter face, italics for mathematical notations, single quotes for terms and phrases, double quotes for inline quotes from other references. (9) Executable program code is shown in typewriter face, whereas mathematical notations, titles, emphases and important terms are in
italics. Sample terms and phrases appearing in the book are enclosed in single quotation marks, whereas inline quotes taken from other references are enclosed in double quotation marks.

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Suggests ambitious humanities readers may be able to grasp program operations judged simple for those trained in computer science; practicing programmers may be in the middle, not having such formal education. (11) The examples should be easy for a reader from the computer science domain to understand. . . . The explanation is given for the sake of ambitious readers from the humanities domain, who might use computers everyday but have never written programs.

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For introduction to working code, fifteen line Haskell program displayed in Figure 2-1, and twenty-seven line Java program in Figure 2-2 calculating area of rectangle, circle, ellipse. (11) Each of the two sample programs calculates the areas of three simple shapes: the rectangle, the circle, and the ellipse.
(13) The program therefore consists of a
definition part and a use part, which operate both globally and locally. . . . A definition is a kind of statement the basic unit of execution in a computer program whereas the use is described through an expression. . . . a definition contains an expression (on the right hand side of the =) and an expression may include definitions, as in the first block of the let-expression.

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Implicit ontology of programs as hierarchical blocks similar to OHCO theory of textuality, as implies stored program architecture. (17) Signs must be defined before being used, but the definition can be made by the user or within the system design. The first three kinds of signs are defined within the language system, and programmers merely utilize them. . . . In contrast, identifiers are defined by the programmer, and
a program consists of hierarchical blocks of identifier definitions and uses.
(17) Values are represented by the corresponding identifiers and defined within the program. Among these values are data and functions, and both of these are stored at addresses represented by their corresponding identifiers: in the case of data, the data representation in bits is stored at the memory address associated with the identifier; in the case of a function, its code in bits is stored at the associated memory address. Some identifiers represent complex structures consisting of data and functions.
(17-18) Historically speaking, identifiers
were literally memory addresses in early programming languages. . . . Todayƒs identifiers are abstract representations of memory addresses in the form of signs.

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Computer signs are identifiers in programs. (18) The analysis in this book focuses mainly on these identifiers. Most other language-specific signs are defined as identifiers in the metalevel language that describes the language, as will be seen in Chapter 11. Moreover, many computer signs, such as visual icons for mouse clicking or operating system sounds, are implemented once through representation by some identifier within a program. That is, most signs used in computing are introduced as identifiers and defined at some programming level before being put to actual use. Therefore, the focus here on identifiers, in fact, covers most signs on computers. We use the term
computer sign to denote these identifiers appearing in programs and we focus on them as our analysis target.

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Semantic levels of identifiers of pansemiotic view: hardware, programming language subdivided into type and address, natural language. (18) In the generation and execution of programs, different levels of semantics are used for the interpretation of identifiers.

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Given this distinction between levels, and contrary to Kittler, there is software. (18) An identifier therefore represents both an address and a value in bits at the hardware level. . . . This semantics at the computer hardware level is now becoming more the domain of professionals who build compilers and optimizers, whereas programmers tend to handle programs only at the higher levels of programming languages and natural languages.

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Layer of type indicating kind of data value or function, or combination. (19)
Layer of type. Many contemporary programming languages feature types, where a type indicates an abstraction of a kind of data, a function, or a combination of the two. A typed language means a language in which the type is declared explicitly in programs. The type of an identifier limits the kind of data that it represents and the kinds of expressions in which it can be used. . . . An identifier thus has interpretations at this level of the type.

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Layer of address may also be identified. (19)
Layer of address. . . . Within a program, an identifier usually represents a value, but it often happens that addresses must also be represented and processed via identifiers. This is implemented using a special syntax or pragmatics predefined within the programming language. This direct meaning as an address within the program gives a meaning to the identifier.

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Normal semiotic analysis of natural language terms that are borrowed from natural language. (20) Therefore, programmers are trained to choose and design meaningful identifiers from a natural language viewpoint.

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Peirce pansemiotic view holds for computers; mind implies signs, but Clark parity principle allows study abstracted from question of nature of intelligence. (20) Setting the interpretation level at the programming language level means considering the interpretation of signs
within the semiotic system. It does not require external entities such as the physical objects that a program represents.
(20) Such a viewpoint is called the
pansemiotic view and is attributed to Charles Sanders Peirceƒs notions of human thought. . . . Note that not all of these ideas deny the existence of entities apart from signs: entities exterior to signs do exist, of course, but the pansemiotic viewpoint suggests that they can be grasped in the mind only through representation by signs.
(21) Putting aside whether it applies to human thought, the pansemiotic view is taken in this book because it allows comparison of computers with humans at the same level of the sign system. . . . The computing world is a rare case in which the basic premise of pansemiotic philosophy holds.

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Chapter 3 on Babylonian Confusion begins with quote from Frege; paintings by Chardin and Baugin exemplify realistic and vanitas art. (26) The most fundamental semoitic question that philosophers and linguists have considered from ancient times is that of the basic unit of signs. The hypotheses in response to this question can briefly be classified into two sign models: the dyadic model and the triadic model.

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Dyadic and triadic sign models from Augustine and Greek philosophy. (27) The root of the dyadic model is found in the philosophy of Augustine in the fourth century. Among the scholastics following this tradition, signs were regarded as
aliquid stat pro aliquo, that is, something standing for something else. A sign consisted of a label or name (aliquid) and a referent (aliquo). . . . At the beginning of the twentieth century, Saussure advocated that the function of a label is not mere labeling but rather that the label articulates the content of the sign.
(27-28) The root of the triadic model appears in Greek philosophy, in Plato and Aristotle. Here, a real-world object is considered to evoke its
idea in the human mind and thus leads to its its label. . . . Peirce, in parallel with the development of the dyadic model in the nineteenth century, wrote that the order of the three elements appearing in the mind is not as Plato said: it is the representamen (label) that evokes the interpretant (idea or sense) defining the object (referent). In the example of the tree, the label ƒtreeƒ evokes the idea of the tree, which designates the referent tree.

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Examine computer programming languages to test hypotheses about semiotics: what implications about theory versus expediency, and so on, does this suggest concerning the development of programming languages, how much accident, how much philosophically motivated design? (29) N th states, however, the the correspondence before and after Frege is a Babylonian confusion.
(29) The theme of this chapter is to establish a hypothesis for solving this Babylonian confusion through analysis of signs in computer programs. Above all, if the two models are both essential and important, then a concept in one model must be found in the other. Moreover, such contrast must appear in some form in computer signs, too.

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Tease out consequences of dyadic and triadic for correspondences between sign models of Saussure relatum, signified, excluded thing, and Perice of signifier, object, interpretant studied by Noth and Eco. (29) There is one point upon which everyone agrees: the relatum correspondence between Saussureƒs signifier and Peirceƒs representamen.
(29) Assuming correspondence of the remaining relata leaves only three possibilities: Saussureƒs signified corresponds to Peirceƒs object, Saussureƒs signified corresponds to Peirceƒs interpretant, or Saussureƒs signified corresponds to both.
(30) Among those who have considered this correspondence, the two key representatives are Winfried
N th and Umberto Eco.

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New hypothesis that Saussure signified corresponds to Peirce immediate object, and interpretant in language system outside sign model appearing as difference in use. (34) Overall, this raises another hypothesis, that Saussureƒs signified corresponds to Peirceƒs immediate object and Peirceƒs interpretant is located in Saussureƒs language system outside the sign model. The dimension of reference or sense is not
ignored by Saussure; rather, the interpretant is simply situated outside the sign model, appearing as difference in use.

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Testing sign models with programming paradigms: where is the common area function located with respect to definition of shape? (34) The question addressed here is where to locate the calculation of the common function area
with respect to the definition of the shape.

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Definitions of functional and object-oriented programming: data definition remains minimal in former, maximal in latter. (35) The first program, in Haskell, was written using a paradigm called
functional programming. In languages using this paradigm, programs are described through functional expressions. A function is a mapping of an input set to an output set. In this paradigm, functions are considered the main entity; therefore functions that apply to data are defined outside the data definitions. The use of data is not included in the data definitions, which thus remain minimal.
(35) The second program, in Java, was writing using another paradigm,
object-oriented programming. Programs are written and structured using objects, each of which models a concept consisting of functions and features. This programming paradigm enhances the packaging of data and functionality together into units: the object is the basis of modularity and structure. Therefore, the data definition maximally contains what is related to it. The calculation proceeds by calling what is incorporated inside the definition.

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Functional programs all dyadic identifiers; dyadic and triadic in object-oriented programs. (35) In functional programs all identifiers are dyadic, whereas in object-oriented programs dyadic and triadic identifiers are both seen.

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Dyadic identifiers acquire meaning from use located external to context in functional paradigm, and relate to Saussure model. (36) A sign in the dyadic model has a signifier and a signified. Because all dyadic identifiers consist of a name and its content, the name is likely to correspond to the signifier and the content to the signified.
(36-37) As in Saussureƒs theory, then, difference in use plays an important role. . . . In other words, dyadic identifiers acquire meaning from use, which is located external to their content.

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Triadic identifiers in object-oriented languages class name, data, function compare to relata of representamen, object, interpretant; class has information about its functionality. (37) A sign in the triadic model has a representamen, an object, and an interpretant. Since all triadic identifiers in the object-oriented paradigm consist of a name, data, and functionalities, these lend themselves respectively to comparison with the relata of the triadic sign model. . . . Thus, the functions defined within a class are deemed interpretants. . . . The fact that each class has information about its functionality differs from the dyadic case, where it is the function that knows which data to handle.
(37) In the dyadic model, different uses attribute additional meanings to dyadic identifiers. In contrast, in the object-oriented paradigm such meanings should be incorporated within the identifier definition from the beginning. Everything that adds meaning to an identifier must form part of its definition; therefore if two sets of data are to be used differently, they must appear as
two different structures.

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Figure 3-7 maps the philosophical problem of semiosis to programming examples as Babylonian confusion revisited. (39) In the dyadic model, meaning as use is distributed inside the language system as a holistic value, so that a sign sequence appears as a result of a sign being used by some other sign located in the system; in the triadic model, meaning as use is embedded inside the signƒs definition, so that semiosis is generated through uses readily belonging to the sign.
(40) Assuming correspondence of the two models as hypothesized in this chapter, one important understanding gained is that the dyadic and triadic models are compatible: that neither model lacks or ignores components existing in some part of the other model.

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Summary table map technical terms in semiotics and computer science for rest of the book. (41-42) I will use the terms signifier, content, and use, as given in the table. These choices derive from the overlap of technical terms in semiotics and computer science. Such names for sign relata indicate the nature of a sign in this book. The content concerns the
what, or the semantics, of a sign, whereas the use concerns the how, or the pragmatics, of a sign. In other words, a sign is a medium for stipulating semantics and pragmatics.
(42) the distinction between the two models can be made trivial as they are
equivalent models under certain conditions.

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Figure 3-8 map of the book deserves analysis in itself as a form of visual rhetoric. (44) Consequently in this book, when I compare artworks to signs, the visual representation is considered to correspond to the signfier, the immediate object as the theme or subject or the painting to the content, and the stylistic/visual/linguistic interpretation of the content to the use, or interpretant.

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Chapter 4 on Marriage of Signifier and Signified begins with quote from Augustine, images Tohaku Pine Trees and Turner Norham Castle, Sunrise. (47)

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Saussure relative and absolute arbitrariness. (47) The arbitrariness of signs is thus obvious within the context of programming. In natural language, in contrast, such arbitrariness had to be discovered, another important contribution made by Saussure. One reason for this lies in the fact that in natural language people have to use the same sign to mean (almost) the same thing to communicate with each other. Saussure calls this
social convention and indicates how signs are arbitrary but bound. He also indicates that the arbitrariness is a matter of degree in natural language. He raises the concept of absolute and relative arbitrariness by using examples.
(47) Saussure further presents the following notion of
difference that we saw in the previous section, which constituted the basis of structuralism. . . . Here, he mention of both signifiers and signifieds disappears. A sign system is a system of relations, including that between the signifier and the signified, that among signifiers, and that among signifieds. To the extent that such a network of relations is formed, there is no necessity that a specific signifier be used to represent a signified.
(48) The questions underlying this paradox are the association between the signifier and the signified, whether or not they are separable, and above all, the
role of a signifier with respect to a signified. The aim of this chapter is to consider this role through computer signs.

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Equivalence of lambda calculus as methodological tool, involving Church and Kleene, and Turing machine both embody overall ideas about computing, both in terms of technological complexity and human body centrism, biochauvanism: consider engaging contrast to Derrida archive here. (49) The lambda calculus was originally established by Alonzo Church and Stephen Kleene in the 1930s. It was created to formulate problems in computability, and since it is considered the smallest universal programming language, any computable function can in principle be expressed and evaluated using it. The lambda calculus has been mathematically proved to be equivalent to a Turing machine.

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Chomskian recursive definition of a grammar by using rewrite rules bases lambda calculus. (49) Formally, the lambda calculus consists of (1) a function definition scheme and (2) variable substitution. Its complete grammar can be presented using a context-free rule set within only three lines, as follows:
<expression> ::= <identifier>
<expression> ::= lambda<identifier> . <expression>
<expression> ::= <expression> <expression>,
where <expression> and <identifiers> denote the sets of expressions and identifiers, respectively, and the symbol ::= indicates the Chomskian recursive definition of a grammar by using rewrite rules.
(50) An expression generated by the second line of LG is called a
lambda-term. An example of a lambda-term is given by
lambda x.x + 1.
This expression denotes a function the performs the addition of one to the variable x.

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Variable substitution at the heart of LG: good but tedious examples expressed in print, narrative form; how could they be illustrated procedurally? (50) A lambda-term thus defined can be juxtaposed with another expression, as expressed in the third line of LG. This evokes variable substitution, which is the semantics of the grammar of this third line.
(52) This means that any computation can be described by chains of beta-reductions through mere substitution of signs.

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Intersection of natural and computer language interpretation in substitution basis of LG, where humans can learn about themselves by studying built environment, especially programmed machines; example of things both humans and computers do, common ways in which they work, both articulate. (52-53) With this expressive power of the lambda calculus, its framework has often been used to describe both the semantics of a programming language and the formal semantics of natural languages. The formal semantics of natural language Gottlob Frege and Bertrand Russell, who denoted the semantics of language through logic (Lycan, 1999). The description later integrated the lambda calculus. Merging this trend with the formality of the
possible world proposed by Rodolf Carnap and then established by Saul Kripke, Richard Montague developed a theory of semantics called the Montague grammar based on the lambda calculus.

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Dynamic, local essence of names/identifiers implied in computing semiosis by LC, presented by another table linking Saussurian dyadic models and lamda-term characteristics. (56) Another observation from the articulation and naming of lambda-terms is that a name is always given
dynamically to something that has been previously articulated by lambda. The name is thus always a local name provided by the first expression to the second, and it is only valid within the scope of the lamda-term. . . . Even though the notions of local versus global and dynamic versus static are relative, modern dyadic models consider signs to be relatively global and static, in the sense that the scopes of signs are not considered.
(57-58) Such a view of the lambda calculus, however, shows that the name is introduced in a manner unrelated to the content. . . . In contrast, for the dyadic model, Saussure says that the signifier articulates the signified; signifier and signified are inseparable two sides of a sign, and each side cannot exist without its counterpart.

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Limitation of LG to effect simultaneous introduction beyond formulaic outer-bounds scope resolution may point to differences between machine and humans bases of intelligence, subjectivity, thinking, language processing: no surprise next section is about self-reference, for the advertised asymptotic point is reflexivity. (58) The current LG is unable to introduce a pair consisting of a signifier and content at the same time. To observe the effect of simultaneous introduction, LG should be extended to allow such definition.

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Speculative introduction of sign in programming prior to instantiation or assignment related to self-referentiality in natural language, but more specifically is how outer-scope resolution in LG works: at its limit is recursive programming structures. (60) To thus define a sign by self-reference, a signifier must be introduced so that it refers to the
self, the content to be articulated. This means that a sign is speculatively introduced to allow self-referential expression. Speculative introduction means introduction of a sign before content is consolidated. Introduction of a sign assigns a memory space for an identifier indicating some content. Note that any memory space always has come content in its bits, even though the content might be random. Thus, the signifier and the signified are indeed two inseparable sides of a sign. Nevertheless, a sign can be speculatively introduced to indicate content that has yet to be consolidated.
(60) Most importantly, in a self-referential sign, the signifier provides the means/functionality to articulate the content. Separation of the signifier and articulation then becomes impossible. At the same time, the effect of
use on content is apparent in self-reference because the content of a self-referentially defined sign depends on its use.

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Fixed point function is Church transformation of reflexive self reference from recursion to iteration, provided untyped cases. (63-64) The essence of this transformation is to modify the calculation of self-reference into calculation through a reflexive procedure, which is expressed by the fixed-point function. Churchƒs transformation intuitively means squeezing the recursion into a fixed-point function and expressing the remaining functionality nonrecursively. Similarly, any recursive function can be generated through transformation of an expression in LG by using the
fixed point function. Hence, LG-let and LG are equivalent.

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Use is the priest marrying signifier and signfied in triadic sign modeling, perfectly demonstrated in LG example. (64-65) Consequently, the introduction of definition induces self-referential definition of signs, which provides articulation of content through use. . . . For a proper marriage of the signifier and the signified, an intermediary ƒpriestƒ,
use, is necessary. This thought has always been present in triadic sign modeling, in the the use (interpretant) connects the signifier (representamen) and the content (signified).

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Use freezes into content. (66) The opportunity for use to freeze into content is present in self-reference. Starting from using a sign, the signƒs use freezes into its content.

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Chapter 5 on Being and Doing in Programs begins with quote from Maruyama; Ice images by Maruyama, Freidrich, Fontana. (71)

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Being as ontological status of entity whose ontic character established by what it is, doing by what it does and what can be done to it; being/doing antithesis emerges under triadic sign modeling. (71) ƒ
Beingƒ, in this chapter, refers to the ontological status of an entity whose ontic character is established by what it is, while ƒdoingƒ denotes that of an entity whose ontic character is specified by what it does and by what can be done to it.
(71) I draw a more general hypothesis, namely, that the ƒbeingƒ/ƒdoingƒ antithesis emerges in any domain where entities are described according to triadic sign modeling. The ƒbeingƒ ontology emerges when relations are constructed according to signsƒ content, whereas the ƒdoingƒ ontology emerges when relations are constructed according to signsƒ uses.

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Table based on Meyer typology distinguishing being and doing in Java as class and interface for abstract data type, and impact on code sharing and task sharing. (72) According to Meyer (2000), a set of objects can be described in one of two ways: by
class or by abstract data type.
(73) Thus, a programmer using a class is assumed to be well acquainted with its internal structure. This assumption increases the programmerƒs responsibility to know about objects with respect to ƒwhat they areƒ and how to use them consistently. Under such circumstances it is difficult for many programmers to work cooperatively, resulting in limited possibility of task sharing. (ƒTask sharingƒ row, ƒBeingƒ column of table). This is a ƒbeingƒ sort of object construction, in which the ontological relation is formed according to what the object
is (ƒBeing column of Table 5.1).
(73) Programs based on abstract data types have exactly the opposite property. An abstract data type is a set of declarations of functionalities for a collection of objects. . . . All communication with such objects is conducted via this interface. . . . This is a ƒdoingƒ kind of object construction, in which the ontological relation is formed according to what the object can do or what can be done to the object (ƒDoingƒ column of Table 5.

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Being program example in class inheritance features of common and unique child features. (74) Such an interclass relationship of A with B, may be ƒA is a Bƒ, is called
inheritance; it guarantees that classes A and B have the same features and functions, whereas a child can have additional features.
(76) Such ƒbeingƒ constructs are essentially based on primordially having common features rather than common functions.

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Doing program example in interface declaring set of functions indicating how objects are accessed. (78) In interface declares a set of functions, which only indicate how objects are accessed. The interfaces are implemented by classes, indicated by the solid ellipses. The functionality of a class is of the ƒbeingƒ kind, but implementing an interface changes the functionality into the ƒdoingƒ kind by having a protocol declared within the interface.

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Procedural rhetorics of family and license systems distinguishing inheritance and interface. (81) A frequent classroom metaphor used in teaching programming languages is that classes connected by extends
create a family system, whereas abstract data types defined by implements create a license system.

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In object models being takes interior view, well fit for dyadic sign model, doing exterior. (83) ƒBeingƒ takes the interior view, stipulating an object from what it is, whereas ƒdoingƒ takes the exterior view, stipulating an object from how it looks from the outside and how it can be used.
(83) Naturally, then, the dyadic model takes the viewpoint of considering an object from within or, more precisely, only from within, completely excluding how the object is used by other objects and instead regarding use as a holistic value in the sign system.

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Pierce objects considered from interior view, Heidegger exterior doing versus being ontology. (84) That is, Peirce considered his object to be more primordial than his interpretant. This reveals that Peirce considered objects from the interior view.
(84) A philosopher who took the exterior view of ƒdoingƒ was Martin
Heidegger. He suggested that the ƒdoingƒ relation is primordial with respect to the ƒbeingƒ relation. . . . Note how Heideggerƒs notions of ready-at-hand/present-at-hand correspond with ƒdoingƒ/ƒbeingƒ. As Gelven summarizes, Heidegger regarded ready-at-hand as more primordial than present-at-hand, meaning that ƒdoingƒ is more primordial than ƒbeingƒ.

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Chapter 6 on the Statement begins with quote by Panofsky, images of birds by Jakuchu, Margritte, Brancusi. (93) A value is thus represented on three different levels: value, address, and type. Such stratification generates the following ambiguity problem for the user: Given a sign, does it indicate a value, an address, or the type?

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Mentions Hjelmslev as do Deleuze and Guattari, initially in the context of the silly Challenger narrative, a version of the Platonic dialogue virtual reality phenomena representation. (94-95) When two models are mapped onto the same target, the correspondence is understood via that target. This chapter applies the same tactic by considering the ambiguities of computer signs appearing in programs and applying the sign classification approaches of Hjelmslev and Peirce.

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Call by value and call by reference reflects semiotic ambiguity of identifiers. (97) The same ambiguity occurs every time a program refers to an identifier. A significant example of this within programming languages is the contrast between
call by value and call by reference, an important concept that all good programmers understand.
(98) Java specifies that the values of basic types are processed directly by value, whereas the values of complex types are processed indirectly by reference.
(98) Another ambiguity can be seen between type and value at the semantic level of the programming language.

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Disambiguation of type as kind or value sometimes only by context in source code. (99) Thus, the sole identifier Rectangle
can mean either a type or a kind of value. . . . This can only be disambiguated by the context, such as the existence of the reserved word new.
(100) Given content, therefore, there are multiple levels on which an identifier represents it. Such variety of representation of content is formalized in semiotics as sign classification.

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Barthes sign studies presented in Myth Today based on Hjelmslev glossematics (glossary and mathematics). (100) Hjelmslev extended Saussureƒs dyadic framework and called it
glossematics. . . . The introduction of Hjelmslevƒs theory in this section is based on an interpretation using a graphic formulation that was devised by Roland Barthes through his studies on applying Hjelmslevƒs sign classification to various targets.
(100 footnote 9) According to (Noth, 1990), glossematics is the study of the sign, or
glosseme, as the basic unit or component carrying meaning in language. The term glossematics combines glossary with mathematics, which represents the underlying philosophy of the field of study.

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Figure 6-7 depicts Hjelmslev/Barthes interpretation of computational sign: object/metalanguage relations and denotation/connotation. (101) Hjelmslev considered that the dimension of either signifier or content could further form a sign, as shown in Figure 6.7. The upper part of the figure shows the case in which the content forms another sign, whereas the lower part of the figure shows the case in which the signifier forms another sign. Hjelmslev said that the former case establishes the relation between the two signs as
object language and metalanguage, whereas the latter case establishes the relation between the two signs as denotation and connotation.
(102) On the other hand, the metalanguage concept corresponds to the logical definition of the term as a language about language. The target language to be explained is called the object language. A metasign is a sign of metalanguage. The content part of a metasign covers the signifier and the content of the corresponding object language signs at the same time.
(102) The layer consisting of x
as a signifier and its address forms a denotational layer, and the layer consisting of the value indicated by x is deemed to form the connotational layer. In other words, the signifier x connotes the content 32.
(102) On the other hand, a metasign is deemed to correspond to the type, which is an abstraction of data instances.

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In Hjelmslev model signs become ambiguous when signifying its own content or content of another sign, well exemplified with pointers. (103) In Hjelmslevƒs model, a sign is allowed to signify the content of another sign in relation with itself, as in the case for a denotation and a metasign. Then, a sign becomes ambiguous in one of the following two cases: when a signifier signifies its own content, or when a signifier signifies the content of another sign.

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Peirce forms of firstness, secondness, thirdness as a layer model: compare to Barthes image, symbol, icon. (103) Within the triadic framework, Peirce himself provides a theory of sign classification. This is based on his universal categories, in which any logical form is classified by the number of forms in relation, namely, one, two, or three forms.
(104) According to Peirce, a typical example of a form of thirdness is the sign.
(104) Applying the universal categories to the relation between a sign and its content gives three kinds of signs icon, index, and symbol.

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Articulation of Peirce triadic framework using C language variable declaration. (105) The most primitive entities are zeros and ones, and the bit patterns representing values are icons. A bit pattern has the ultimate resemblance to the data partaking of the objectƒs character. Similarly, literals denoting these values in digits and instance constructors within programs could be considered icons. An index naturally corresponds to a reference to the value located at the address represented by x, since data are physically stored in computer memory and form an organic pair with the value, and the address has nothing to do with value. . . . As for the symbol, a type seems to be a sign that embeds a general idea about a value. As a consequence, in the following example expression,
int x = 32,
int
seems to correspond to the symbol, x to the index, and the value 32 to the icon.
(106) In other words, one way to formulate ambiguity in Peirceƒs framework is to consider it to occur when the universal category of the relation of a sign with its content degenerates.

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Correspondences between dyadic and triadic frameworks with programming languages seem to validate philosophical models. (107) The concepts of icon/index/symbol and denotation/connotation plus object language/metalanguage correspond within the context of application to programming languages. Similar concepts have been developed within both the dyadic and the triadic frameworks, and the resulting correspondences validate each framework.
(108) Looking back to the three works of art shown at the beginning of this chapter, the representation of birds in Figure 6.1 seems to function as the icon, that of Figure 6.2 as the index, and that of Figure 6.3 as the symbol, in Peirceƒs terminology. Correspondingly, the second painting can be considered to connote a bird, with its denotation being the sky, and the third painting can be considered to represent an abstract bird as a metasign, with its object language sign being a bird, in Hjelmslveƒs terminology.

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Chapter 7 on Three Kinds of Content begins with quote by Breton, images by Klee Tale a la Hoffmann, Kiitsu Morning Glories, Rembrandt Self-Portrait. (111-112)

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Peirce branching chain figure for intuitive explanation of universal categories. (111-112) According to Peirce, if there are only two-term relationships, they only form a chain without branches, but with three-term relationships any two forms can become connected in various ways. A three-term relationship thus provides a sufficient number of forms for any two forms to be freely related; additional forms are not required.
(113) The criteria that distinguish thirdness from secondness must be clarified to gain a better understanding of the way of thinking that any form is one of only three types.

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Questions of criteria distinguishing universal categories considered in relation to functional language Haskell. (113) In this chapter, these questions of the universal categories are considered in the functional programming paradigm by examining the functional language Haskell.
(113) In this functional paradigm, all functional forms are decomposed by using Churchƒs transformation and
currying. Analysis of the result of the transformation shows that thirdness is essentially different from secondness and cannot be decomposed into firstness and secondness.

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Decompose functional relations into minimal relations via Churchs transformation and currying. (114-115) More precisely, through
currying, the maximum number of terms involved in an expression can be transformed exactly into a combination of relations of two terms, provided that the expression does not include or is not included in a self-referential definition. . . . Application of Churchƒs transformation and then currying will therefore decompose functional relations into minimal relations.

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Currying used to reduce expressions to multiple applications of one-argument functions after all self-referential definitions treated with Churchs transformation. (115) Currying is a transformation that applies to expressions. A functional application to multiple arguments can be reduced to multiple applications of
one-argument functions.
(117) Before one applies currying to expressions, therefore, all self-referential definitions should be transformed into compositions of the special function fix
and non-self-referential parts. This is done by using Churchƒs transformation, which was introduced in Chapter 5.

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Church transformation separates recursive part of definition into fix and non-recursive parts, revealing hidden constraint. (120) The significance of this transformation is that it allows us to separate the recursive part of a definition from the non-recursive part.
(120-121) This increase shows that a self-referential function
inherently includes a hidden argument, which appears upon transformation into fix and nonrecursive parts. Therefore, the calculation of f x as a fixed point is affected by another implicit input, which is the constraint that the final execution f x should fulfill x = f x. . . . Definitions and expressions are decomposed using currying and Churchƒs transformation so that the results can be analyzed in terms of the universal categories. . . . First, by applying Churchƒs transformation, all self-referential definitions are transformed into compositions of fix and non-self-referential parts. . . . Second, by currying, all multiple-argument functional applications are turned into one-argument applications.

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Three categories sufficient to decompose all relations in functional computing language. (125) All relations can be decomposed into one-term, two-term, and three-term relationships; therefore, three categories are sufficient. In computing, forms are as Peirce suggested, with content classified into three categories according to how many items of content are involved. Moreover, the difference between secondness and thirdness lies in whether self-reference is involved.

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Paintings at beginning of chapter 7 instantiate firstness, secondness, thirdness. (125) Our understanding so far can be compared to the contents of the three paintings introduced at the beginning of this chapter. . . . For the painting in Figure 7.1, the painterƒs concept constitutes the theme, and this is the imaginary image of the painter, constituting firstness. For the painting in Figure 7.2, real-world morning glories inspired a realistic image in the painterƒs mind, which was then deformed by the painterƒs imaginary reinterpretation. In this case, the imaginary interpretation, applied to the realistic image, would form the content as secondness. Finally, for the painting in Figure 7.3, the realistic image of the painter himself was interpreted by
disguising the subject as Zeuxis laughing, under the constraint that the disguised person is reciprocally the painter himself. Self-portrait as such is deemed to form the content constituting thirdness.

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What makes a thing different than any other, such as at particular crossings of human and machine cognition found in philosophy of computing literature to which the radical boundary with the physical world of the other is the cyberspace interface to which switch matrix is a type of closed loop feedback control system running the pinball program, solenoids are muscles (and speech but not all sound, suggesting it is important to carefully discriminate speech and sound especially evident around things like symposia), unthought lamp and display driver driver circuits. (127) The term
haecceity in this chapter signifiers a property that the instance possesses but an instance does not, namely, something about the kind of a thing that makes it different from any other.

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Chapter 8 on An Instance versus The Instance begins with quote by Foucault, image of The Fountain by Duchamp: a careful reading would be tracking all opening quotations, frontispieces of preceding chapters to hear together. (127)

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Difference between any instance and the instance, signified by haecceity, serious issue in computation due to ease perfect reproduction. (127) Mass production frames a class of instances that are exactly alike, each devoid of haecceity. This selection considers the contraposition of an instance and the instance, which is a more serious issue in computation than in art because of the ease of perfect reproduction.

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Propp narrative generation juxtaposed with impressive account of robot game play commentators as example of failure to achieve haecceity in system design perhaps a way of thinking about the philosophy of computing through this text taking up its logic still keeps things logic dependent, ignoring vicissitudes of execution Chun notices. (130) Vladimir Propp constructed a narrative theory of Russian stories. He conducted a thorough analysis of Russian folk takes and obtained 31 basic narratives (narrative units) lying underneath. In Proppƒs model, any Russian story is generated through combination of these narremes by using a narrative syntax.

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Thus the example program meets naturalness criterion by perceiving supposedly physical soccer match that may also be virtual. (135) Among various evaluation functions, a common approach is to
mirror nature. A typical evaluation function is formulated in the form of the probability of naturalness.

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Haecceity and reflexivity conjoin pre-post-postmodern and posthuman, as Hayles situates it in second wave of cybernetics and the third deals with adaptation. (137-138) The particularity of the two schemes of optimization and interaction is that they are attributed with test procedures. Usually an instance is input to a test procedure, and the evaluation is the output. This procedure can be used differently to obtain the best instance among instances. This works by starting from an input and then choosing the next input according to the evaluation result for the first instance. By repeating this process,
an instance is gradually improved to obtain the instance. The test procedure is thus changed into a reflexive procedure to obtain the best instance.

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Provides solution to long standing philosophical questions surrounding inference by pointing to locatable programming points, patterns of working code, that impressively also summaries postmodern deconstruction, invoking and summarizing Derrida in a single paragraph, gulp versus bite, taken like a pharmakon. (140) The nature of the instances thus obtained through optimization and/or interaction is the melting point of class and instance, of
strong and weak inference. Forms of different categories must be mixed within the content, as in the case of x in x = f x. That is, the instance is the point where the sheer distinction of class and instance dissolves. Haecceity had been considered as a sort of notion opposed to universality, but it is in fact the transformation of an instance to the instance, the deconstruction of form and matter.

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Source code solves by instantiating millions of examples in working code of Derridean concept founding human thought as well. (140-141) Such thoughts regarding deconstruction of the sheer separation between binarily opposed concepts are attributed to postmodernist philosophy. For example, Jacques
Derridaƒs deconstruction suggests how Western binary oppositions such as subject/object, form/matter, and universal/indivduum are not as clear cut as had been long considered and are subject to deconstruction (Culler, 1982). The form x = f x can be compared to his notion of diff rance, where x is differentiated by f x and the differentiation is iterated to reach a fixed point as a deconstructive being.

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Haecceity generation either structure or construction is human machine interface. (141) If haecceity could be explained by reflexivity, and the nature of humanistic value lies in reflexivity, then this requires further elaboration within computing. The next chapter examines the problem of reflexivity in computer systems and how it characterizes the structure of computer sign systems as different from human sign systems.

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Chapter 9 on Structural Humans versus Constructive Computers begins with quote by Hofstadter, Images Globe with Spheres by Vasarely, Malevich Suprematist Painting. (146) As a whole, both machine calculation and human thought are thus based on sign processing.
(147) One apparent cause of such structural differences is the difference in how people and computers handle reflexivity.

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Linguistic expressions at margins of interpretability often exemplify reflexivity, for example the factorial. (147) Language is used by means of linguistic expressions, which are considered interpretable in a system. Some linguistic expressions are situated at the margins of interpretability; among these are those exemplifying reflexivity.
(148) The example of the factorial also shows that some self-references can be transformed into a definition without self-reference. Such cases are limited, however, and the interpretation of self-reference in general is problematic because the content could be null or even contradictory.
(149) Note how self-reference causes the definition and use to become mingled. . . . As a consequence, the dyadic and triadic sign models become equivalent when signs are self-referentially defined.

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While no difference between natural and computer signs, both exhibiting dyadic or triadic models, human and computer interpretation strategies diverge as structural and constructive. (149) In other words, to this point, there is no large difference between natural and computer signs. The interpretation strategies for reflexivity, however, are different in the two language systems, causing them to have totally different structures.

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Robust human interpretive strategy of give up, switch context, or continue leaves concrete content of signs ambiguous, depending on reciprocal definition. (150) Humans have the choice to give up, switch the context, or continue.
(150) Such an interpretive strategy allows robust interpretation of problematic expressions with self-references; at the same time it generates a sign system in which much of the concrete content of signs is left ambiguous but still exists within the language system. . . . Every natural language sign is reciprocally defined every time it is referred to. Naturally, the whole natural sign system becomes self-referential.
(150) In addition, the uses and content of a sign change over time, and the whole represented by the signifier evolves.
(151) The meaning of a natural language sign thus exists floating among the network of signs that are used in expressions referring to the sign. . . . A signifier then represents everything that is related to the sign with respect to the content and uses. The signifier functions as the kernel onto which the uses and content accumulate. It is thus the signifier that articulates the meaning; the meaning is
not named by the signifier a posteriori.

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Structuralism situates meaning in the holistic system, having particular implications for self-referential statements. (151-152) The origin of this holistic view underlying the sign system lies in Saussurian
structuralism. A language system is structural if the meaning of an element exists within a holistic system. . . . The generative model explains this structural aspect of the system in relation with how the signifier articulates the signified: the speculative introduction of a signifier generates a meaning consisting of an ensemble of content and uses, thus forming a structural system.

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Computer interpretative strategy risks endless cycle when handling recursion, so constraints built into programming languages such as hierarchical type classification and scope. (152-153) The halting problem is such a large issue that various ways to aid programmers in generating properly halting programs have been an important part of the history of programming language development. . . . First, theoretical support is provided by clarifying the general features that executable self-referential definitions possess. Second, various linguistic restrictions are introduced so as to better control the signs used in programs. One approach is to classify signs hierarchically by
type.
(153) Another aid is the notion of scope, meaning the range of code within which a sign is valid.

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Constructive system generates larger, target calculation from composition of smaller components. (153-154) Design through such techniques and bottom-up programming attitude generates
constructive systems. A constructive system, in this book means a system in which a larger element is generated as a composition of smaller components. . . . To write a program is thus to give a constructive view of the target calculation.

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Constructivist programming sounds like Turkle hard mastery; refers to Brouwer intuitionist logic and Bishop constructive mathematics. (154) This philosophy was elaborated by Luitzen E.J.
Brouwer through his intuitionistic logic, which has developed into the form of the constructive mathematics of Erret Bishop. Briefly, intuitionistic logic is a logic framework that does not rely upon reductio ad absurdum, thus eliminating indirect proofs that explicitly avoid showing the existence of mathematical formulas. The sophistication of this theory relates to the programming method called constructive programming, in which the specification of a software application is formally expressed and programs are developed as proofs.

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Begin with system to work back to the word, or individual word to construct the system. (154) By analogy to Saussureƒs quotation displayed in Section 9.3, in a structural system, we
must not begin with the word, or term, but we should begin from the system, whereas in a constructive system we must begin with the word, or term, in order to construct the system.
(155) In a way, a structural system is naturally formed, without any formal requirements, so the signs connect with each other arbitrarily and freely. The resulting system is holistic, irreducible to a minimal core. Since such a system makes the best of reflexive signs, the sign system itself is reflexive. However, a constructive system is generated from a minimal core of signs guaranteed to halt, and the system must then be further constructed in a bottom-up manner to fulfill the formal requirement of halting. Connections among signs are made by necessity, and any system finally reduces to a small set of signs and their relations, representing the functions and data provided by the language system, which further reduce CPU commands.
(155) Such differences affect the robustness of a system.
(156) An important aspect of the relation between a structural system and a constructive system is that the former may include the whole of the latter, whereas the latter may include only part of the former.

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Programmers and users must remain completely aware of all signs and how they are related. (156) Programmers must fully administer all signs, remaining completely aware of how they are related.

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Goal of human friendlier computer languages seems to call for constructive systems able to handle structurally formed signs, perhaps emergent from the entire system, although the traditional focus is reflexivity. (156) To make a more human friendly computer language, a fully constructive system should be restructured so that it can handle structurally formed signs. The key lies in the method of processing reflexivity, inclusively of self-reference.

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Chapter 10 on Sign and Time begins with quote by TS Eliot, image Kiunhiu by Taneomi and untitled by Pollock, both resembling calligraphy, implying action. (159)

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Pansemiotic view taken to force study of relations between sign and world, focusing on computer signs. (159) In these chapters, the pansemiotic view is taken, in which the environment is also considered pansemiotic. That is, a sign system may only interact with or handle the environment via signs. . . . The underlying questions of this chapter are how a sign system relates with the outer world and represents it and how a sign is involved in this process.
(159) Action paintings like this remind us that behind painting is always a time flow along which the painter worked, stroke by stroke.
(160) A sign system evolves through interaction with a heterogeneous outer world, and this requires the time flow.

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Sign value changes are the ontological basis of virtual systems, echoing grammatological results of Derrida concerning graphic and presumably all semiotic systems in general. (160) Currently, such uncontrollable events are described through sign value changes. . . . The value triggers further calculations within the system, and the system outputs the result based on the input.

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Referential transparency an aspect of compute science research, development, and implementation like rights management; these very difficult problems that machines handle at best with great complexity as discussed in this chapter are the flip side of complex problems that humans routinely handle, to answer a question from the first set. (161) Studies have been made on how to implement a computer system that always remains consistent, through a limitation called
referential transparency: a restriction that any expression must have a unique value independent of time.

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Identification of modern computers with von Neumann hardware, state transition, stored program, fetch and execute, and so on: a view of the machine world that makes input and output the oracle boundary of the uncontrollable, unknowable other to the machine world. (161) A modern computer has von Neumann-type hardware, which is based on a state transition machine. A
state is a sequence of zeros and ones inside the CPU registers, the main memory, and the secondary memory (e.g., the hard disk).

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Discussion of debugging insists that mere inspection of program code is insufficient; it must be run or simulated to appreciate side effects as well as uncontrollable input output, which are weaknesses of state transition machines that could be contrasted to human abilities to handle referential transparency. (162) The correctness of a program cannot be verified without considering the order of the expressions being executed. . . . A program cannot be verified only by checking the correctness of each expression. Debugging thus almost resembles the virtual execution of a program.

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No social conventions stabilizing sign values in computer program language use; even though human language signs are arbitrary, they are not subject to the change typical of machine signs: how then are they held in check, how do we reach assurance to trust them? (162) The critical problem seen so far underlying computer programs is related to the arbitrariness of signs: even for a constant value, the signifier is arbitrary. This arbitrariness means that the content can change with the whim of the moment. In natural language, the meaning of a word can also change, which corresponds to the value change of signs in a computer program. Change in natural language, however, is effective only after it spreads globally. This condition of globalness serves to restrain easy value changes and as a consequence natural language values are relatively fixed. . . . As Saussure says, signs are arbitrary but bound.

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Side effects are how the putative intention of program code differs from actual execution separate of programmer intention: think of double hyphens being changed to em dash by a word processor ruining the prima facie soundness of working code; humans can leverage side effects creatively, whereas programmed systems typically degrade. (164) A side effect in the computer science domain is broadly defined as a situation in which the value of a variable is unexpectedly changed, despite the programmerƒs intentions, during evaluation of an expression. . . . Side effects include exception handling, nondeterminacy, concurrency, and, above all, interaction.

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Accounting for side effects is very cumbersome and costly by making signs disposable to achieve referential transparency, such as generating a new sign or world for every changing value, dialogue and monad. (165) A side effect can be described in a referentially transparent manner by using a common trick, namely, making signs
disposable.
(166) There are two ways to implement disposable signs: by generating a new sign for every changing value, and by generating a new world for every changing value. The former method is called a
dialogue, whereas the latter is called a monad.
(169) In general, referentially transparent systems remain computationally costly and are thus slower than a normal state-transition system.
(169) In other words, the attempt to get away from value changes started from one ordering problem and returned to another ordering problem. Writing an interactive program thus means administering some order for both cases, with and without transparency.

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This view precludes storing computation components in the environment beyond the programmatically addressable memory, using the same trick embodied cognition theorists attribute to human thinking and computing. (170) The relationship between the spatial and temporal aspects of signs is that spatiality precedes temporality: without allocation of a sign, its value cannot be changed. . . . In contrast, plain content without a signifier can never exist on a computer, since content does not exist on a computer without being stored somewhere in memory: within the CPU registers, the main memory, or the secondary memory.

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Essence of temporality is the shift from undefined to assigned value somewhere in memory. (172) What remains temporal is the essence of temporality in the kind of calculation described by computer programming: namely, the shift from [turnstile] to a value.

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Sign introduces heterogeneity form outside the system with interaction; without interaction, sign awaits atemporal halting state. (172) In the case of calculation without side effects, the moment when the content of a signifier is [turnstile] is the period of waiting for the calculation to finish.
(172) In contrast, in the case of calculation with interaction, [turnstile] does not represent the period of waiting for the calculation to finish, but rather the period of suspension, of waiting until the value comes from somewhere external.
(172) Calculation without side effects always aims toward this atemporal state.

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Note how the Burks, Goldstine, von Neumann text concludes with this singular gesture of signaling: can it be argued that early computer and perhaps even programming philosophies are biased by this noninteractive paradigm, are there echoes even of living writing ideal for shimmering signifiers? (172) Interaction causes the sign system to remain temporal and keep changing. The nature of this change is utterly different from the case without side effects. Therefore, the role of a sign in interaction is to introduce heterogeneity from outside.

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Returning to Heidegger rediscovers human version of what was reached by studying semiotics of computer programming. (173) The role of a sign suggesting a similar transcendental view in a general sign system is in fact present in Heidegger. . . . A sign is a speculative medium, a means for a sign system to interact with the outside. We must also recall here that such a speculative nature was also the basis for implementing self-reference by requiring the speculative introduction of a signifier.
(174) The magnum opus is unfinished and the book ends with the question: Is there a way which leads from primordial time to the meaning of being? (Heidegger, 1927, Section 438).

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Chapter 11 on Reflexivity and Evolution begins with quote by Wittgenstein, image The Gallery of the Archduke Leopold by Teniers the Younger and Woman Holding a Balance by Vermeer; Escher Print Gallery of cover joins the rhetoric. (176) This last chapter considers the reflexive nature of a sign system again, but this time from the viewpoint of the whole system. . . . Here, the notion of reflexivity is a special case of a systemƒs interaction with itself via the external world, and thus the argument assumes the concepts of the discussion in the last chapter.
(176-177) A painting that as a whole constitutes a visual system is now indicated as content and adds meaning through such reciprocal presentation of
systems in a system. . . . These two examples show interpretation of other paintings in a painting, which can be compared to processing other systemsƒ output within a system. There are also examples of a painting that includes itself, which can be compared to the reflexivity of a system. In Escherƒs painting of Print Gallery, appearing on the front cover of this book, the central part is left blank. De Smit and Lenstra (2003) attempted to fill this blank part and found that the blank part is connected to the painting itself, thus causing infinite recursion of the painting itself toward the center.

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Value for humans of using self-reflexive input output interactions with external world and self is what is insensible to machines; belief in improvement through reflexive feedback. (177-178) The common understanding that
to state/write is to understand shows that the production of an expression objectifies a thought as a composition of signs, which reflexively becomes the input influencing the thought, thus fostering understanding. . . . Through this reflexive reconsideration of self-produced output, a human being can change, improve, and evolve.
(178) Through communication among people, human beings mutually affect one another, and the system as a whole changes, improves, evolves.
(178) A natural language system is naturally reflexive because of its structural nature.
(179) In computer languages, however, reflexivity at the system level is not obvious, with one reason for this lying in their constructive nature.

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Homoiconicity is media convergence. (179) The term reflexivity, as defined in the previous section, is related to
homoiconicity, which appeared in computer science literature in the 1960s. Homoiconicity is a feature of a programming language system that denotes that a computer program has the same form as the data that are input and output by the program.
(180-181) The capability of a sign system to interpret its own output involves
self-augmentation, that is, the capability of the system to change or modify itself, to extend, to improve, or, possibly, to evolve. . . . Such [nonreflexive] communication can be compared to an assembly line, where each system does some work and then sends the result to the next system without being able to interpret what exactly the output is.

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Comparison of open and closed systems to monad and vulnerable non-monad entity; solipsism versus open sytems embedded within common public systems. (181) When multiple systems are involved, an important issue must first be considered: whether a language system is
open or closed. . . . The closedness concept, in my opinion, resembles the windowlessness represented in the philosophical concept of a monad.
(181) In other words, mutual augmentation among open systems is qualitatively equivalent to self-augmentation. At the same time, open systems are vulnerable.

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Preprocessing nonreflexivity avoids infinite substitution. (183) The major function of a preprocessing language is text substitution. . . . That is, rules are not applied recursively within a C macro. This constraint forces the preprocessing to halt, or guarantees that it will, preventing the occurrence of infinite substitution.

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Example of hacker game Quine for exploring infinite loops and self-interpretable programs; three categories of computer languages based on reflexivity. (184) In contrast, in a programming language, the number of loops can be infinite. A typical example is the hackersƒ game
Quine, named after the philosopher Quine, who appeared in the first section of this chapter. In this game, a programmer is asked to write a nontrivial program, called a Quine, that produces itself.
(184-185) In other words, considering a programming language system as f, its Quine program is its fixed point x = f x. . . . Consequently, three categories of computer languages can be defined with respect to reflexivity by counting how many times the language system can produce a self-interpretable program:
1. a nonflexive language system,
2. a finitely reflexive language system, and
3.

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Primordiality of compiler interpreter division of language types. (186) The two fundamental systems of a programming language are the compiler and the interpreter. . . . The creation of a language system therefore fundamentally means producing either an interpreter or a compiler.

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Preference for C due to its constituting other language systems and full functionality to manipulate computer hardware, touching on sourcery discussion of Chun. (186) Many actual language systems are written in the C language, which provides the full functionality to manipulate computer hardware. Since C is infinitely reflexive, many of the resulting programming language systems are infinitely reflexive.
(186) The interesting question is how the C language system itself was generated. The compiler for the C language was written in C (
Kernighan and Ritchie, 1988; Thompson, 1984). Briefly, an interpreter for a subset of C sufficient to build the compiler was first generated in assembly language. . . . The language system was thus reciprocally enlarged by successively inputting a new program to an old compiler and interpreter and producing a new compiler and interpreter.
(187) Augmentation of the C compiler was thus performed
almost by using the reflexive feature of the C language system, except that the new versions of the C compiler and interpreter programs were generated by humans on the basis of the older version.

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Compiler iterations require human involvement, but points to an autonomous high command by machines running self-reflexive, self-programming software; formulating improvement, not language framework, is the constraint on emergent artificial intelligence: here is a clear statement of what computers cannot do. (187) The key point is the
plan for updating: how to extend or improve the language. Currently, successive versions of C compiler programs cannot be produced automatically, since each new version has bug fixes and new functions in the language, which are defined by human ideas. . . . To automatically generate an improved compiler, the scheme for evaluating the complier should be made explicit.
(187-188) Thus, the essence of the problem does
not lie in the lack of a language framework for self-augmentation; rather, the problem lies in the lack of formulation for improvement.
(188) The metalanguage used for metaprogramming consists of commands for code generation and commands for run-time evaluation within the overall evaluation of the program. The latter commands are introduced into language systems in the form of a function called eval. The eval
function dynamically evaluates a program code fragment given to it by using the language systemƒs interpreter.

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Exploiting reflexive features of language system such as reflection via debugger attached to running processes materializes ideology of eval function; also entails second look at programming now that such systems are possible and not merely narratively described. (188) The function eval
is used together with metalanguages for code generation. Metalanguages include commands to obtain the program code currently being executed. The programming paradigm of reflection provides a set of metalinguistic commands that enable access to the code attached to data objects and redefinition of the calculations therein. . . . More importantly, a language system can embed other language systems.
(189) One way to summarize the history of programming language development is to view it as the process of making languages more dynamic by exploiting the reflexive features of a language system.

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Contrary to Kittler proposition that this is no software, portable languages intentionally absorb architecture specific differences. (189) computer language interpretation systems are constructed to absorb such [architecture specific] differences, and thus, evaluating an expression of a programming language results in an equivalent consequence on different computers.

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Danger of open systems joined with reflexivity illustrated by Thompson as social consequence of protected mode, although it may also be supported by cultural forces motivated by property rights. (189) In his paper
Reflections on Trusting Trust, Thompson (1984) briefly showed how easily a Trojan horse can be constructed from a Quine. Integrating malicious code into a Quine generates a computer virus that reproduces itself indefinitely. Thus, the viruses endemic in the computer world are a result of combining reflexivity and openness.

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Reflexivity also found in distributed, networked processing that includes exchanging programs. (190) Thus enclosed, each system has its own individual processing capability, and multiple computers can form a role-sharing system. Metaprogramming serves well for such connected yet closed systems. . . . Program code is scattered, and intermediate calculation results are handed from one system to another. . . . In other words, delegation is implemented by programs exchanging programs, thus making use of reflexivity.

3 3 3 (+) [-4+]mCQK tanaka_ishii-semiotics_of_programming (190) 20131021r 0 -10+ progress/2012/10/notes_for_tanaka_ishii-semiotics_of_programming.html
Walks away from this possibility of emergent cognitive-embodied process in machine worlds with infinitely reflexive languages in reflexivity under multiplicity achieving self-augmentation through adaptive metaprogramming; what sounds like a fair assessment of human evolutionary success is on the threshold of machine species-being as well. (190) Adaptation can also be mutually performed by multiple systems: two systems can collaborate to complete a task with their programs adjusted mutually. . . . Adaptation sacrifices controllability, however, and the system becomes unpredictable, since the adaptation depends on what the system has experienced. . . . Surrounding every adaptive computer system, there is the controversy over whether this form of adaptation truly enhances usability.
(190) Consequently, the reflexivity of computer language systems also provides the potential for multiple systems to mutually augment one another.

3 3 3 (+) [-4+]mCQK tanaka_ishii-semiotics_of_programming (196) 20131021u 0 -3+ progress/2012/10/notes_for_tanaka_ishii-semiotics_of_programming.html
Rather than focus on affordances of embodiment, focus on differences between human and computer languages; handling reflexivity is key, as well as handling ambiguity, although also crucial is eval function. (196) A sign is founded on its speculative introduction without any guarantee that it will acquire any final, concrete content. This way of being forms the basis for a sign to function as a transcendental medium for acquiring heterogeneous signification from the outer world. A system formed of such signs becomes naturally susceptible to reflexivity, and the strategy for handling reflexivity determines what kind of sign system it becomes.

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What is the book response to where we need to go next, what is mine, who is the we: read alongside Kittler Protected Mode. (196) Every computational form must be well-formed and explicit, so the ambiguity underlying reflexivity cannot remain without becoming a cause of malfunction. Computer systems have therefore been developed by avoiding ambiguous reflexivity, resulting in constructive systems. The potential for exploiting the reflexivity of sign systems remains limited for machines, and computer systems are far from evolving.

3 3 3 (+) [-4+]mCQK tanaka_ishii-semiotics_of_programming (199) 20131021w 0 -2+ progress/2012/10/notes_for_tanaka_ishii-semiotics_of_programming.html
Handy glossary applies to glossematics of theorist so important in book, otherwise unheard of in the readings, Hjelmslev. (199) This glossary briefly defines the key terms used in this book, both for semiotics and computer science. Many terms have technical usages in each domain, with divergent and multiple signficiations.

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Glossary term semiotices, subheading connotation interesting to distinguish use of terms in subjectivity context, and speak purely of formal characteristics of programming, working code: Hjelmselv glossematics can nonetheless be compared to analysis of myth in Barthes, for in fact the latter was influenced by the former. (199) Connotation is defined in a pair with denotation. In the usual sense, the denotation is the stable, material, and logical meaning carried by a sign, independently of its context. . . . In contrast, the connoation is a more subjective, context-dependent signification carried by a sign.
(199) Hjelmslev, in his glossematics, considered that the dimension of either expression or content could recursively form a sign. When the expression further forms a semiotic layer, the original layer constitutes the connotation for this layer, which constitutes the denotation (Section 6.3). In this book, the terms denotation and connotation are used according to Hjelmslevƒs sense, not in the typical sense related to materiality and subjectivity.

---3.3.5+++ {11}

3 3 5 (+) [-4+]mCQK bork-journal 20130312 20130312 3 -1+ journal_2013.html
The other important takeaway from the extended working code example presented over many pages in the book is that new, dynamic ways of presenting scholarship and code narration must be considered as well.

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Clever introduction to Python progresses from a one line example, to two lines, and so on to 33, illustrating multiple language features with each step.

3 3 5 (+) [-4+]mCQK chun-on_sourcery (318) 20130913p 0 -7+ progress/2012/08/notes_for_chun-on_sourcery.html
Seems to get lost here in hermeneutics of UNIX daemons, getting sleep wrong in the Perl program, confusing seconds for minutes; also confusion of interactive, multi-tasking, multi-user operating systems with real-time. (318) Not accidentally, this spectrality of digital media makes our media demonic; that is, inhabited by invisible processes that, perhaps like Socrates
daimonion (mystical inner voice), help us in our time of need. They make executables magic. UNIX that operating system seemingly behind our happy spectral Macs runs daemons.
(320) The most famous daemon is perhaps Socratesƒ
daimonion that mystical inner voice that assisted Socrates in time of crisis by forbidding him to do something rash. The other famous daemon, more directly related to those spawning UNIX processes, is Maxwellƒs demon.
(320) Real-time operating systems, such as UNIX, transform the computer from a machine run by human operators in batch mode to alive personal machines, which respond to usersƒ commands.
(321) Should these daemons be exorcised, or is this spectral relationship not central to the very ghostly concept of information and the commodity itself?

3 3 5 (+) [-6+]mCQK mackenzie-cutting_code (36) 20130802k 0 -5+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Operating systems quintessential lifted-out spaces that entail nexus of norms and authority. (36) If, as sociologist Scott
Lash points out, operating systems are one of the most important lifted-out spaces within contemporary technological cultures (Lash 2002), forkbomb.pl can only be transgressive within a system of norms already practically understood as a form of regulation. The question here is: What nexus of norms and authority does something like an operating system entail today?
(36) Here the transgression concerns not so much a state-supported legal system to regulate the reproduction of digital media but rather the operating system as a privileged technological site regulating conduct within contemporary technological culture.
(37) Software and struggles over how it is intentionalized are rooted in the impossibility of reading and writing code at the same time.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (3) 20130210 0 -2+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Asserts value of engaging in working code/software from earlier eras like the Commodore 64 personal computer of the 1980s as I do for pinball platforms, alluding to its coextensivity with engagement in state of the art working code/software such as pmrek; close reading of single line of code complements digital humanities trends like distant reading and cultural analytics. (3) The source code of contemporary software is a point of entry in these fields into much larger discussions about technology and culture. It is quite possible, however, that the code with the most potential to incite critical interest from programmers, students, and scholars is that from earlier eras.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (3) 20131024 0 0+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Whether intended or not, these first chapters are not valid lines of program code that way 15 REM is, though 10 is correct binary designation of second section: compare to design of various Derrida works. (3)

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Critical focus on single line of code highlights multiple extant versions for learning, modification, extension; compare to how a single line from a poem inspires volumes of literary and philosophical work, such as Holderlin for Heidegger. (5) Focusing on a particular single-line program foregrounds aspects of computer programs that humanistic inquiry has overlooked. Specifically, the one-line program highlights that computer programs typically exist in different versions that serve for learning, modification, and extension.
(5) The book also considers how the program engages with the cultural imagination of the maze, provides a history of regular repetition and randomness in computing, tells the story of the BASIC programming language, and reflects on the specific design of the Commodore 64.

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Programming should be part of humanities scholarship, although this focus on code retains reader spectator position where its critics have not been missed that it befits one to become like the dead. (5) First, to understand code in a critical, humanistic way, the practice of scholarship should include programming: modifications, variations, elaborations, and ports of the original program, for instance.

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Recognize relationship between formal workings of code and cultural implications, both in design as emphasized by Golumbia and Rosenberg, and reception; compare to cultural circuit. (6) Second, there is a fundamental relationship between the formal workings of code and the cultural implications and reception of that code.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (7) 20131024h 0 -2+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Code treated as Berry does source code distinguished from software; epistemological transparency of code due to its ultimate materiality, same as for protocol? (7) Third, code is ultimately understandable. Programs cause a computer to operate in a particular way, and there is some reason for this operation that is grounded in the design and material reality of the computer, the programming language, and the particular program.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (10) 20131024k 0 -2+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Interactive editing abilities based on line numbers characteristic of BASIC from Dartmouth TSS onward: deliberate interactive affordance as well as organizational scheme. (10) The interactive editing abilities that were based on line numbers were well represented even in very early versions of BASIC, including the first version of the BASIC that ran on the Dartmouth Time-Sharing System. Line numbers thus represent not just an organizational scheme, but also an interactive affordance developed in a particular context.

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Use of spaces and canonical keywords facilitates human reading and modification, acknowledging that code is more than fodder for machine translation. (10) Spaces acknowledge that the code is both something to be automatically translated to machine instructions and something to be read, understood, and potentially modified and built upon by human programmers. The same acknowledgment is seen in the way that the keywords are presented in their canonical form.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (11) 20131024m 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Keyword PRINT skeumorph of early scrolling paper print output. (11) Video displays replaced scrolls of paper with printed output, but they keyword PRINT remained.

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Character graphics a textual system built on top of bitmapped graphic display. (12) Character graphics exist as special tiles that are more graphical than typographical, more like elements of a mosaic than like pieces of type to be composed on a press. . . . But these special tiles do exist in a typographical framework: a textual system, built on top of a bitmapped graphic display, is reused for graphical purposes.

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Commodore BASIC does all math in floating point numbers, whereas other languages fundamental numeric data structure is integer. (12) All math in Commodore BASIC is done on floating point numbers (numbers with decimal places).

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (13) 20131024p 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Curious that typographical symbols borrowed from textual uses as mathematical symbols for various arithmetic operations. (13) Given the computerƒs development as a machine for the manipulation of numbers, it is curious that typographical symbols have to be borrowed from their textual uses ( * indicates a footnote, / a line break or a juxtaposition of terms) and pressed into service as mathematical symbols.

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Illusion of randomness actually programmed. (14) When RND is given any positive value (such as this 1) as an argument, it produces a number using the current seed. This means that when RND(1) is invoked immediately after startup, or before any other invocation of RND, it will always produce the same result: 0.185564016.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (15) 20131024r 0 -2+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Semicolon introduced as minor update to version 2 of Dartmouth BASIC, demonstrating changes in programming languages; argue against Ong sense that they are cast once and for all ahead of time rather than emerging like natural languages. (15) Although this use of the semicolon for output formatting was not original to BASIC, the semicolon was introduced very early on at Dartmouth, in version 2, a minor update that had only one other change. The semicolon here is enough to show that not only short computer programs like this one, but also the languages in which they are written, change over time.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (15) 20131024s 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Microsoft added colon to BASIC to pack more code onto home computers. (15) The colon was introduced by Microsoft, the leading developer of microcomputer BASIC interpreters, as one of several moves to allow more code to be packed onto home computers.

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GOTO not original to BASIC but strongly associated with it; famously discussed denunciation prompted move to structured high-level languages. (15) GOTO, although not original to BASIC, came to be very strongly associated with BASIC. A denunciation of GOTO is possibly the most-discussed document in the history of programming languages; this letter (discussed in the Regularity chapter) plays an important part in the move from unstructured high-level languages such as BASICD to structured languages such as ALGOL, Pascal, Ada, and todayƒs object-oriented programming languages, which incorporate the control structures and principles of these languages.

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RUN is essential token though not part of program, connecting machine to its environment where it is used by same agency in which the program is entered into it, not quite part of stored program specification; compare to exhortation to reader at beginning of texts, or even invocation to Muses starting up Iliad. (16) RUN is therefore an essential token yet is not itself part of the program. RUN is what is needed to actualize the program.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (29) 20131024y 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Variations of the Commodore 64 program demonstrate different visual patterns from code tweaks, as well as platform affordances and constraints such as working with graphical over musical elements. (29) This program shows how much easier it is for Commodore 64 BASIC to work on graphic, rather than musical, elements.

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Reading code changes once its execution is witnessed or read by an experienced programmer; compare to interpretation by deformation in Ramsay. (34) The 10 PRINT program
itself (not its output) can be seen as a unicursal maze. . . . Once the code has been typed and executed and the programmer witnesses the maze, there is no returning to a na ve view of this line of code it is impossible to read the line without imagining the output.

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Mazes involve myth, ritual and allegory, as does learning to program. (37) Church mazes are usually meant to be walked or crawled on the path to penance.
(39) 10 PRINT taps into the mazelike mystery that visual symbols and glyphs evoke: to type in a program from a manual is to follow the twisted line from code to output and back again. The programmer follows the single path of the code from ignorance to knowledge, a pilgrimƒs path.

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Shannon mechanical mouse paradigm for simple maze traversal algorithms declared by Dyson to have inspired Baran adaptive message block switching. (43) In the early 1950s the mathematician and engineer Claude
Shannon designed a mechanical mouse that appears to solve the same kind of maze a real mouse might be expected to navigate in one of Watsonƒs behavioral experiments. . . . The first time through a maze, Theseus blunders randomly, propelled by its magnet, flipping the relays underneath whenever it encountered a passage. The next time, Theseus navigates the maze perfectly, thanks to the relays underneath, which record the correct route.
(43) This means of negotiating the twisting passages of Shannonƒs maze was not mere novelty. As
Time explained in 1952, Theseus is useful in studying telephone switching systems, which are very like labyrinths.

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Tandy Color Computer eccentric cousin of C64. (55) If the Apple II was the Commodore 64ƒs sibling, raised by another corporation, then the Color Computer, with the Motorola 6809 and a different version of Microsoft BASIC, was the eccentric cousin.

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Programs are texts, and may accept programs as input and produce programs as output, for example in weird languages like Brainfuck, Befunge or PATH. (59-61) The output of 10 PRINT in PATH is itself a PATH program. This new program doesnƒt do anything very interesting; it simply moves the program counter around without producing any output. Still, it demonstrates a general idea: that programs are texts, and there is nothing to keep people from writing programs (such as the much less perverse compilers and interpreters that are in continual use) that accept programs as input and produce programs as output.

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Regularity of the machine learned like perspective and reading, implying cultural biases embedded programming languages. (90) Even more than in the Ford factory, regularity becomes a paradigm of the computational age, to be explored and resisted because it is the central logic for even the most basic computational literacy. While the assembly line might put many goods in the hands of twentieth-century consumers, families did not need to contemplate assembly lines to consume these goods. Even for workers actually in a factory, the flow of the factory would be defined elsewhere. However, to write even the most rudimentary program, a person must understand and engage the regularity of the machine.

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Processing a language bridging programming and visual arts. (106) Essentially, Processing is an image-making programming language that builds on knowledge of geometry, photography, typography, animation, and interaction. . . . Because Processing is situated between programming and the visual arts, it serves as a bridge between two professional cultures.
(107) While many elements and aspects of the original program can be modified in BASIC on the Commodore 64, some are more firmly fixed. Primarily, the 40 x 25 character screen that defines the resolution of the grid is fundamental to the computerƒs video system and defines the number of units that make up the maze.

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Learning programming facilitated by short programs in print media since they were not immediately executable like software applications. (153) While commercial software empowered users within the realm of their applications, short programs in books and magazines illustrated how to make the computer do impressive things and empowered readers to program.
(154) Understanding the general pace or speed at which a platform executes code is useful information to programmers.

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Compare cultural and technical history of BASIC to learned Latin: free sharing led to widespread adoption in educational institutions, computing revolution includes changing interaction from batch to real time communication habits with synaptogenetic outcomes, perhaps affecting digital immigrants and natives in different ways but definitely having a profound influence (Hayles). (158) This Beginnerƒs All-purpose Symbolic Instruction Code has a fabled cultural and technical history. BASIC was developed by John
Kemeny and Thomas Kurtz, two professors at Dartmouth College.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (158) 20131105i 0 -4+ progress/2013/02/notes_for_montfort_el_al-10_print.html
The shifting capability of immediate programming, ready at hand versus ready through much cost or effort: whereas programming was the technical and epistemological challenge, the history of computing through the personal computer era introduced social and economic factors that, combined with ease of use at the level of complex interfaces, a particular type of programming declined as an everyday practice; note emphasis on apparent realization of creativity longed for by Ramsay today. (158) Time-sharing allowed people to engage with and explore computation in significant new ways, with what felt like real time processing; BASIC was an important part of this computing revolution.
(159) Thanks in large part to Microsoft, BASIC became the lingua franca of home computing. BASIC resided in the ROM of these computers, meaning a user could turn on the computer and immediately begin programming.
(159) The language was a popular success, worked well for small programs that let home users explore computing, and fostered creativity in several generations of computer users and programmers.

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Materiality of code throughout history of computing from Ada Lovelace onward. (159) Ada
Lovelaceƒs contributions as an early programmer are most evident in her translation of and notes to an Italian article by Louis Menabrea about Charles Babbageƒs Analytical Engine.
(160) The computer programs that followed in the electromechanical and early electronic age of computing were less intelligible than Lovelaceƒs algorithm, bearing little relationship to any kind of written word. . . . Historically, even as programming continued to expand away from direct hardware manipulation and into progressively higher levels of abstraction, these operators were inventing both computation and the act of programming as embodied, materially engaged activities and vocations.

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Machine language and assembly language first move beyond cables and dials. (160) The move beyond cables and dials was accomplished with machine language. A program in
machine language is simply a sequence of numbers that causes the computer to operate but can be understood by humans. . . . The numbers specify what operations the computer is to carry out and consist of opcodes (indicating low-level commands) that may be followed by operands (giving one or more parameters to those commands).
(161) A more legible form of code arose in the second generation of programming languages, called
assembly languages. Assembly allows mnemoics for operators such as lda (load accumulator), jmp (jump), and inc (increment memory) to stand in for the more esoteric numerical codes. . . . The first assembler ran on Cambridge Universityƒs EDSAC in 1949. EDSAC was, incidentally, the first computer capable of storing programs, a feature modern computer users have taken for granted for decades.

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Advance in intelligibility (readability, naturalness) from hard wiring to stored program, machine language, assembly language, batch processing based high level languages (FORTRAN, COBOL), reaching time-sharing based high level languages (BASIC). (162) FORTRAN and COBOL both allowed for more intelligible code, improving on assembly. But both were also developed in the context of batch processing, for use with stacks of punched cards that would be processed by the machine one at a time.
(163) BASIC was a language specifically designed for the next computing revolution, one that would go beyond punched cards and batch processing to allow numerous users interactive access to a system simultaneously.

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BASIC designed for ease of learning with revolutionary intent; difference between computer revolution of Kemeny and Kurtz and present age is ubiquitous access to computers far outpacing programming knowledge. (163) Kemeny and Kurtz aimed for nothing less than a computing revolution, radically increasing access to computers and to computer programming.
(163) To reach millions, Kemeny and Kurtz would have to lower the existing barriers to programming, barriers that were related not only to the esoteric aspects of programming languages, but also to the physical limits and material nature of computing at the time.
(164) BASIC was designed in other ways to help new programmers, with error messages that were clear and friendly and default options that would satisfy most usersƒ needs (Kemeny and Kurtz 1985, 9).

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Freedom zero on Dartmouth system, in addition to ease of learning BASIC, fostered creativity based on play and abundance of resources, a synergetic feature extended with proliferation of personal computers. (165) DTSS and the versions of BASIC that ran on it served almost all of the students at Dartmouth; by 1971, 90 percent of the seven most recent classes of freshmen had received computer training. . . . There was a downside to this, however: the very permissiveness that led to BASICƒs widespread adoption and adaptation meant that the language, as actually implemented, wasnƒt as independent of particular hardware as Kemeny and Kurtz had planned.
(165-166) In addition to BASIC and the DTSS, there is yet another legacy from Dartmouth that has powerfully swayed the direction of modern computing: the almost evangelical mission to foster a more productive and creative relationship to computing. In his 1972 book Man and the Computer, Kemeny defends programming and playing games and other recreational uses of the computer as important, writing that such activities are relaxing and help people to overcome their fear of computers (35). . . . Computers were for everyone (at least within the campus community) and for any purpose. BASIC was the embodiment of this openness, which allowed for programs with no obvious military, business, or scientific purpose programs such as 10 PRINT to come about.

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Gates and Allen adding POKE and PEEK to BASIC provides affordances not suited for time-sharing, multiple user systems; also beyond contemporary inline assembler in C, which reflect hegemony of protected mode multiprocessing. (171) Altair BASIC included alterations to Dartmouth BASIC, many of which would have made no sense on earlier time-sharing systems but which were helpful, even crucial, on home computers. While none of Microsoftƒs changes to BASIC were critical to the functioning of 10 PRINT,
Gates and Allen did create the POKE and PEEK statements, which have been widely used in microcomputer BASIC and in programs found throughout this book.

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Importance of publishing octal machine code so humans could share BASIC. (173) In 1975, volunteer programmers and the nonprofit Peopleƒs Computer Company (PCC) developed an alternative BASIC for the Altair 8800. . . . In a collaborative hobbyist spirit, [Dennis]
Allisonƒs documents were published in three parts by [Bob] Albrecht in issues of the PCC newsletter, a serial that had been running since October 1972. At the conclusion of this series of specifications, Allison called for programmers to send in their implementations and offered to circulate them to anyone who sent a self-addresssed, stamped envelope.

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Sharing and copying prevalent in crucial to dissemination of BASIC. (173-174) The first interpreter written in response to this call was by Dick Whipple and John Arnold and was developed in December 1975. To disseminate it, Albrecht and Allison started a new serial, initially photocopied and originally intended to just run for a few weeks. This was
Dr. Dobbƒs Journal of Tiny BASIC Calisthenics and Orthodontia; it printed the code for the interpreter in octal machine language, ready for hobbyists to toggle in or, even better, key in on their Teletypes. . . . In 1985, Dr. Dobbƒs further participated in the culture of sharing and openness by publishing Richard Stallmanƒs GNU Manifesto, a foundational document for the free software movement.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (176) 20131105r 1 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Current comparable benefit of line numbers in debugging, such as gdb, useful for referencing source code, hard not to say it, lines (statements) without point and click affordance like GUI IDEs. (176) The line numberƒs real value is seen on a Teletype or other print terminal, or in any environment where full-screen, nonlinear editing is not an option.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (179) 20131105s 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
We have the mechanism for code sharing to freely circulate, but seem to lack a critical mass of hackers popularize big humanities projects; is the fault the manufacturers no longer advertise or encourage hacking? (179) Ultimately, BASIC became what it was in 1982 thanks to the institution of higher education where it was first developed, the corporation that implemented and licensed it for use on home computers (including the Commodore 64), and, significantly, the hacker ethic of code sharing that allowed BASIC programs such as 10 PRINT to circulate freely.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (183) 20131105t 0 -9+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Print dissemination of legible code created new reading forms, such as intuiting program execution, and on account of ergodic transmission, encouraging revision and rework; even possible to consider memorization of short programs and memory of features of large programs that professionals who work on large projects may experience. (183) While magazines were ready and regular sources of BASIC programs, many enthusiasts also discovered code in long-form books.
(184) Given the growing popularity of BASIC and computers among hobbyists, it is not surprising to see books of BASIC that go beyond games.
(186) While programs in machine language occasionally circulated in print, published BASIC programs such as 10 PRINT were a different beast altogether. BASIC was legible code. It could be read straight from the page and some sense of the programƒs nature was evident before the program was ever executed. . . . The transmission of BASIC programs in print wasnƒt a flawless, smooth system, but it did encourage engagement with code, an awareness of how code functioned, and a realization that code could be revised and reworked, the raw material of a programmerƒs vision.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (187) 20131105u 0 -11+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Like memorizing other natural languages, situated context is important in memorizing programs; however, built in affordances of IDE and availability of samples may help. (187) For many programmers, however, memorizing one-liners (not an entire massive codebase) is both possible and useful and pleasing, much as memorizing a poem might be.
(187) In addition to being able to show off and seem elite, there are some strictly utilitarian reasons to memorize a short program.
(190) Programmers who use such Perl one-liners do not seem to remember them in exactly the way one memorizes lines from a play or a song. . . . In other words it is knowing Perl, not just the memorization of a string of symbols, that is important to most uses of Perl one-liners. . . . Many common one-liners are not programmed from scratch each time they are used.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (191) 20131105v 0 -6+ progress/2013/02/notes_for_montfort_el_al-10_print.html
History of late BASICs under Microsoft hegemony. (191) The most direct lineage continues Microsoftƒs history of building tools to support the BASIC language. Compilers and development environments supporting BASIC, including QuickBasic and Qbasic, shipped with every Microsoft operating system until Windows 2000 finally broke the chain by moving away from an MS-DOS base.
(191) On the less professional end, Microsoftƒs most recent BASICX probably has the strongest relationship to 10 PRINT and to how that program was used, modified, shared, and explored. This version of the language is Microsoft Small BASIC, released in 2008 and available free of charge. This is a Microsoft .NET language that is clearly aimed at students and other beginners.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (192) 20131105w 0 -2+ progress/2013/02/notes_for_montfort_el_al-10_print.html
HTML is the new BASIC; compare to McGann. (192) A more radical interpretation of BASICƒs legacy might include languages that have taken over its role of inviting ordinary users to become programmers and creators. Following the release of graphical web browsers like NCSA Mosaic, Netscape Navigator, and Microsoft Internet Explorer between 1993 and 1995, that role might be assigned to HTML.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (207-208) 20130306 0 -2+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Good statement of why platform matters and materiality of code and coding practices, discerned by repeating 10 PRINT exercise on different but contemporaneous platform, even using the same processor; consider Floridi identifying differences in information structure architectures. (207-208) The very idea of creating a program like 10 PRINT depends on aspects of the platform and the platformƒs facility for such a program the presence of BASIC and RND in ROM, the existence of PETSCII, the cultural context of shared programming techniques, and of course the ability to program the computer in the first place, something owners of an Atari 2600 did not truly have. Reimplementing the program on the Atari VCS, a platform both contemporaneous with the Commodore 64 and highly incompatible with the program that is this bookƒs subject, helps to show all of the things the Commodore 64 programmer takes for granted.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (212) 20131105y 0 -5+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Commodore 64 best selling single model computer; lives on in emulations, which have been likened to versions of literary works, and faithfulness of material and platform specificity can be an evaluation parameter of such emulations. (212) The Commodore 64 has been hailed by
Guiness World Records as the best-selling single model of computer ever. People associated with Commodore have estimated, officially and unofficially, that 22 million or 17 million units were sold. A detailed study of Commodore 64 serial numbers has provided a better estimate, that 12.5 million Commodore 64s where sold (Steil 2011), which is still enough to earn the computer this distinction.
(212) Although production ended in 1994, this computer system remains functioning and part of the popular consciousness in many ways.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (213-215) 20131105z 0 -12+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Social context of use in populations and marketing like Manovich cultural factors joining technical factors of BASIC implementation on particular platforms. (213-215) Gender appears to have been less of a factor in computer use than race or socioeconomic status was. . . . A more statistically significant descrepancy appears in computer ownership by household income.
(215) These socioeconomic, racial, and gender disparities are part of the context of 10 PRINT, as much as the history of textured patterns or BASIC is.
(215) The family indicates a carefully targeted market. . . .Though the statistics suggest more gender balance in access to computers, the advertisement reinforces a narrative of home computers as the realm of boys.
(216) In the world of computing since the inundation of PC clones, it is difficult to imagine the aura produced around individual machines.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (216) 20131106 0 -2+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Platform-specific stratification, including formation of user groups, affecting home experience (lines of flight, smooth and striated surfaces). (216) The experience of home computing was in many ways stratified by platform.
(216) Computer owners also created and joined user groups that were specific to platforms and that met in person.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (218) 20131106a 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Argument that learning one-liners fit availability of resources invites asking about current age of over abundance, FLOSS proliferation creating the kind of saturation discussed with respect to textual analysis by Ramsay through Derrida. (218) With limited time and particularly in the context of a school or retail store, where the available software might be limited or nonexistent, it would not have been a had idea for a visitor to the Commodore 64 to learn about and modify one-liners such as 10 PRINT.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (219) 20131106b 0 -2+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Inappropriateness of intended design of MOS 6502 for general purpose computer. (219) Yet MOS Technology never intended the [6502] chip to be used in computers or videogame systems. The 6502 was designed as a single chip replacement for the two- or three-chip processors found in cash registers, appliances, and industrial machines.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (219) 20131106c 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Compare history of Commodore to Stern pinball. (219) With an eye on vertical integration and the 6502 microprocessor, Jack Tramiel bought MOS Technology in September 1976, but not in the most straightforward fashion.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (221) 20131106d 0 -5+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Platform affordance of PETSCII for early computer games; for 10 PRINT specifically, its graphic character set, video chip, and KERNAL operating system. (221) As discussed in the BASIC chapter, the PET was the first of Commodoreƒs computers to include BASIC in ROM, making the PET ready for programming the moment the computer was booted up. . . . While the graphical character set of PETSCII, which features the four suits of cards, shaded patterns, and various brackets and lines, could hardly be said to be an innovation, it made possible early computer games in BASIC without the need to program sprites of other animated figures.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (227) 20131106e 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Easy for interpreted command prompt interface to serve as documentation and tutorial substitute, such as ASC function; man pages as built in documentation on UNIX-like systems share this feature of time-sharing systems yielding real time response to user input. (227) Through the ASC function, BASIC became a self-contained pedagogical instrument itself, making outside manuals and guides less necessary.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (232) 20131106f 0 -7+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Kernel legacy amid changes in design and purpose, now a changeable, modular brain stem: complexity of kernel programs belongs with networking as periods in evolution of control societies, obscuring hardware operations to aggravate retreat of user knowledge. (232) A misspelling of the word kernel that has stuck ever since it first appeared on draft documentation for the VIC-20 (Bagnall 2010, 330), the KERNAL controls all input, output, and memory management of the Commodore 64. . . . It is the brainstem of the machine, its core, its always present, unyielding, and unchangeable center.
(232-233) The KERNAL is intended to make machine language coding easier, providing a stable set of instructions and registers a programmer can address. Yet as enabling as the KERNAL may be, it is also structuring and limiting, the basis of the Commodore 64.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (232) 20131106g 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Compare history of KERNAL name to backronym explanation of PET. (232) A misspelling of the word kernel that has stuck ever since it first appeared on draft documentation for the VIC-20 (Bagnall 2010, 330), the KERNAL controls all input, output, and memory management of the Commodore 64.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (233) 20131106h 0 -5+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Kittler argument that high-level languages obscure hardware operations, so consider view from assembly . (233) In fact, Friedrich
Kittler (1995) has famously argued that high-level languages essentially obscure the operations of the hardware. . . . In assembly, the programmer need not recall the numerical equivalents of such instructions, but only human-readable mnemonics for them which are stored in the Commodore 64ƒs KERNAL.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (234) 20131106j 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Many ways to implement the same program in different languages, and it can be debated whether there is any immaterial universal for which all programs are equivalent like the UTM; this fact suggests programming languages may be more like other natural human languages than Ong make think. (234) No canonical assembly [10 PRINT] program is known to exist.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (239) 20131106k 0 -2+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Dependence of emergent elegance of BASIC code on specificity of hardware and operating system confounds immaterial language assumption of other simple programs such as given by Tanaka-Ishii. (239) While threadbare is clearly more esoteric and less human-readable than its BASIC predecessor, its implementation reveals that the abstraction that makes the emergent elegance of 10 PRINTƒs output possible in such a small set of instructions is not entirely a feature of the BASIC interpreter, but also depends on the underlying hardware and operating system of the Commodore 64.
(239) Though 10 PRINT is an example of a robust one-liner that can be reimplemented in other languages and platforms, it is a program deeply tied to the material specifications of the Commodre 64, a bestselling personal computer that played a pivotal role in establishing a place for computers and programming in certain usersƒ homes.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (240) 20131106t 1 -5+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Demoscene programmer subculture focusing on real-time audiovisual software. (240) The demoscene is a programmer subculture centered on the design and manipulation of real-time audiovisual software. . . . The hallmark of the demoscene is its emphasis on technical achievement and pushing the limits of earlier hardware systems.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (244) 20131106l 0 -7+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Declares a software studies method is writing programs to interpret other programs, to which I argue better fits critical programming; include critique of this extended textbook presentation of working code in codex format versus other forms like cinema or virtual machine dynamic presentation. (244) But 10 PRINT can also be interpreted as a maze, a labyrinth with routes and potentially with a solution. One might even wander through the maze, tracing a path with oneƒs eyes, a finger, or some computational procedure.
(244) What would such a computational procedure, and a program that supports its use, look like?
(244) To see the answer, this section uses a software studies approach, writing programs to interpret other programs. It takes this approach to the extreme and builds a large program, using 10 PRINT as the starting point. Just as literary scholars study a text by generating more texts, it is productive to study software by coding new software. In this particular case, itƒs possible to develop a series of hermeneutic probes in the Commodore BASIC probes of increasing complexity, programs that transform 10 PRINTƒs output into a stable, navigable, and testable maze.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (244) 20131106m 0 -7+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Consider reasons for distinguishing writing programs as hermeneutic probes with merely using other software to study software, continuing argument stemming from Kemeny on value of learning by being forced to teach the machine how to solve a problem. (244) But 10 PRINT can also be interpreted as a maze, a labyrinth with routes and potentially with a solution. One might even wander through the maze, tracing a path with oneƒs eyes, a finger, or some computational procedure.
(244) What would such a computational procedure, and a program that supports its use, look like?
(244) To see the answer, this section uses a software studies approach, writing programs to interpret other programs. It takes this approach to the extreme and builds a large program, using 10 PRINT as the starting point. Just as literary scholars study a text by generating more texts, it is productive to study software by coding new software. In this particular case, itƒs possible to develop a series of hermeneutic probes in the Commodore BASIC probes of increasing complexity, programs that transform 10 PRINTƒs output into a stable, navigable, and testable maze.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (253) 20131106n 0 -3+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Graphic logic example of representational trope for representing virtual spaces, amounting to learned perceptions. (253) This program sharpens the somewhat vague visual perception of mazeness into a highly detailed understanding of the local structure of the maze.
(253) This basic principle of continuously drawing and erasing static snapshots to produce the illusion of movement is a fundamental feature of modern media, seen in everything from the latest Pixar movie to the latest blockbuster Xbox game. The related principle of collision with virtual objects, when combined with the representation of movement, defines graphic logic, a representational trope that underlies the computerƒs ability to represent virtual spaces.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (257) 20131106o 0 -1+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Generate and test method from computer science can be deployed by critical programming for studying humanities problems; it leverages the ability of simulations to be generated and submitted to testing in ways impossible, unethical, or cost prohibitive in physical correlates. (257) Computer science offers a general approach to such problems called
generate and test.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (262) 20131106p 0 -3+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Makes points that 10 PRINT is emblematic of deluge of BASIC programming in early 1980s, resonant, and culturally situated, disembarrassing putatively ahistorical code analyses such as found in Floridi and others who wish to couch universal pronouncements in code. (262) Rather, 10 PRINT is emblematic of the creative deluge of BASIC programming in and around the early 1980s.
(262) Yet, as this book has indicated, 10 PRINT
resonates.
(262) Reading this one-liner also demonstrates that programming is culturally situated just as computers are culturally situated, which means that the study of code should be no more ahistorical than the study of any cultural text.

3 3 5 (+) [-6+]mCQK montfort_el_al-10_print (264) 20131106q 0 -4+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Programmability is not a ready at hand gesture made by current computers like the early personal computers that were designed to be immediately programmed, suggesting an early age of popular programming heralded by Kemeny was likely to decline and be supplanted by other habits. (264) For
popular programming, the early 1980s were certainly a special time.
(264-265) The cultural history of the maze demonstrates that there are more and less obvious associations with this type of structure, some wrapped up with the history of science in the twentieth century and others emerging from computing itself.
(265) Our discussion of 10 PRINT has tried to account for these relevant material qualities while also attending to the formal, computational nature of the code what it does and how that interacts with material, historical, and other cultural aspects of the program.
(265) As with the Teletypes that preceded computers like the Commodore 64 and the laptops that eventually replaced them, the physical makeup, cost, contexts of use, and physical form of computers have significant effects on how they are put to use.

3 3 5 (+) [-4+]mCQK montfort_el_al-10_print (266) 20131106s 0 -4+ progress/2013/02/notes_for_montfort_el_al-10_print.html
Programming, porting, modifying existing programs as ways to better understand software, platforms, and to learn how computers work, and of course how to program: does foregrounding spending a considerable amount of time working code differential critical programming from critical code and software studies? (266) This book has tried to establish 10 PRINT not just as a program, but also as part of the process of learning about and developing programs something that can be said about almost any code.
(266) Since programs are dynamic, and some of them explicitly invite modification, and since modifying programs is a way to better understand them, the platform, and computing generally, why not modify a program as part of a scholarly investigation of the program?
(266) To see what is special about different platforms, and how platforms differ from one another, we have produced ports of 10 PRINT during our investigation of it and the writing of this book.
(267) Analyzing the code by interacting with it, revising it, and porting it is one of the main critical activities this book contributes to critical code studies and related fields in digital media.


select Chapter, Heading, SubHeading, InterstitialSequence, RelevanceLevel, TextName, PositionStart, TimestampBookmarkExtra, CitationOffset, CitationSentences, Path, Lexia from Notes where Chapter=3 and (Heading=0 or Heading=3) and ((RelevanceLevel=0 or RelevanceLevel>2) and RelevanceLevel<10) and (InterstitialSequence=0 or InterstitialSequence=100) order by Heading, SubHeading, InterstitialSequence desc, TextName, cast((trim(leading '(' from substring_index(PositionStart, '-', 1))) as unsigned)

TOC 3.3 software studies, game studies, code space, critical code studies+

3.4 platform studies, diachrony in synchrony, technogenesis and synaptogenesis, cyborg revisited

--3.4.0+++ {11}

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (IX) 20150219 0 0+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
Levy hints at potential for virtual aura through feedback recovering art and observer from withered condition brought on by commodification. (IX)

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK benjamin-work_of_art_in_age_of_mechanical_reproduction (XIII) 20130910h 0 -5+ progress/2011/03/notes_for_benjamin-work_of_art_in_age_of_mechanical_reproduction.html
Extreme closeup and other techniques are ways perceptions change through technology moreso than society, although Dumit discusses the social aspects; recall comparison to magician and surgeon, link to NMR. (XIII) With the close-up, space expands; with slow motion, movement is extended. . . . The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xliv) 20140303k 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Apply their methodology by opening black box of computer technology, which includes examining social groups, emerging digital humanities scholarship including Edwards, Ensmenger, Golumbia, Mackenzie, and so on layering on critical programming. (xliv)

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK bork-journal 20061209 TAPOC_20061209 0 -8+ journal_2006.html
Copeland seems oblivious to what I have called default metaphysics of computing. When by abiding with the assumption that "The Turing machine is an idealization of a human computer" (2004), he implicitly commits himself to an anthropomorphized conception that inevitably emphasizes performing arithmetic operations within deadlines, the traditional work of human computers, ignoring what I have called shortlines and the study of true parallel processing. These are phenomena not always reducible to Turing machine constraints. Maner, for instance, acknowledges; Aloisio, too, notes that in the history of the word compte was French for very short periods of time. Such alternate systems are commonplace; cyberspace is constituted by the coordinated effort a distributed network of Turing machines, perhaps what some guy at CAP meant by the term supercomputing. Do we want to spend much time with a philosophy of computing that could not come up with a means to operate a switch matrix since it has no sense of time, no appreciation for many things at once? What other all too human qualities lurk in our actual technological apparatus as a result of default metaphysics holding sway over production? Perhaps if nobody is working on metaphysics in the philosophy of computing, it could proceed using methodologies borrowed from the philosophy of technology.

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK bork-journal 20121222 20121222 0 -3+ journal_2012.html
Notes made last night in Burks, Goldstine, von Neumann as one of the essential texts of electronic computer technology, laying out in detail what Turing describes abstractly, pseudo design. Then a chapter of the latest book by Hayles, as if to confirm the course set by these early theorists of human computer symbiosis. She criticizes Manovich for claiming that database paradigms compete with narrative, as if to supplant the form so characteristics of humanity; consider them instead as symbiants, components.

3 0+ 0+ 1 2 3 4 (+) [-6+]mCQK bork-journal 20130428 TAPOC_20130428 0 -2+ journal_2013.html
The framework needs to be named; I currently call it a synchronic processes in many orders of magnitude layer model, articulated in pinball platform studies. The idea to be captured is of multiple layer, multiple temporal order of magnitude concurrent amalgamated synchronic processes.

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK bork-journal 20141209 20141209 0 -5+ journal_2014.html
Despite their unique computing capabilities, post-postmodern network dividual cyborgs are also themselves or descendants of the dumbest generation, emerging at the turn of the century in the western world with personal computers and flourishing in the present second decade Internet milieu, which includes machinery and other technology systems along with humans, for there are dumb devices along with dumb people, with banality of Microsoft Bob hiding family resemblance with concentration camp equipment. Treat gigantic underwater book as limit of natural automata and mechanical media along with table size pages or lights on a moutainside shimmering text and images. Should replace engineers with architects for first half of chapter four along with calling chapter six advertisement short for animadvertPHI. Hallucinate, noting both imagine and fantasize have visual bias, habitual use of ensoniment to rethink experience of ancient philosophy through software development work. Chapter three takes theories from as is situation, and adds tech-savvy layer to SCOT through software studies, critical software, and platform studies approaches.

3 0+ 0+ 1 2 3 4 (+) [0+]mCQK bork-journal 20150218 20150218 0 -2+ journal_2015.html
An example of synaptogenesis is multidimensional close reading including visual focus on small text at close distance, plus other activities like using pointing devices. Time to think about table of contents level reading of chapter two, for it is currently not even a good Latour list as ecample of Bogost Latour litany software artifact examples change to domain range of operator operation third order logic unit phenomenon run time instance PHI.

3 0+ 0+ 1 2 3 4 (+) [-4+]mCQK horkheimer_adorno-dialectic_of_enlightenment (18-19) 20130929e 0 -11+ progress/2011/06/notes_for_horkheimer_adorno-dialectic_of_enlightenment.html
Mathematics reified thought as a machine process; compare analysis to Hayles. (18-19) In the preemptive indentification of the thoroughly mathematized world with truth, enlightenment believes itself safe from the return of the mythical. It equates thought with mathematics. The latter is thereby cut loose, as it were, turned into absolute authority. . . . Thought is reified as an autonomous, automatic process, aping the machine it has itself produced, so that it can finally be replaced by the machine. . . . Despite its axiomatic self-limitation, it installed itself as necessary and objective: mathematics made thought into a thing a tool, to use its own term.

--3.4.1+++ {11}

3 4 1 (+) [-4+]mCQK bogost-alien_phenomenology (103) 20130910n 6 -2+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Explicitly connects software projects to critical code studies; platform studies that seem like critical programming studies include Bogost I am TIA, Fry Deconstructulator. (103) While
I am TIA metaphorizes only one component of the Atari VCS console, Deconstructulator offers an operational, exploded view of the entire NES [Nitendo Entertainment System] memory architecture, particularly its sprite and palette systems.
(105) Even without the fancy packaging of
Deconstructulator, source code itself often offers inroads in alien phenomenology particularly when carpented to reveal the internal experiences of withdrawn units.

3 4 1 (+) [-4+]mCQK bork-journal 20121223 20121223 1 -1+ journal_2012.html
Strong connection between reading that ancient text of electronic computing and the way Bogost suggests we try to think about processes, emphasizing programming.

3 4 1 (+) [-4+]mCQK hardt_negri-empire (89-90) 20140816m 0 -10+ progress/2014/10/notes_for_hardt_negri-empire.html
Weber analysis has synchronic depth where Foucault diachronic, scission, dualism, procedural, paradoxical, influencing critique of modernity. (89-90) Whereas Foucaultƒs analysis is vast in its diachronic breadth, Weberƒs is powerful in its synchronic depth. . . . The form of the process of closure is as critical and conflictual as the genesis of modernity. In this respect, Weberƒs work has the great merit to have completely destroyed the self-satisfied and triumphant conception of the sovereign of the modern state that Hegel had produced.
(90) Weberƒs analysis was quickly taken up the the writers engaged in the critique of modernity, from Heidegger and Lukacs to Horkheimer and Adorno. They all recognized that Weber had revealed the illusion of modernity, the illusion that the antagonistic dualism that resides at the base of modernity could be subsumed in a unitary synthesis investing all of society and politics, including the productive forces and the relations of production.
(90) The experience of the revolution will be reborn after modernity, but within the new conditions that modernity constructed in such a contradictory way. Machiavelliƒs return to origins seems to be combined with Nietzscheƒs heroic eternal return.

3 4 1 (+) [-4+]mCQK jameson-postmodernism (36-37) 20130929o 0 -9+ progress/2012/04/notes_for_jameson-postmodernism.html
Re-evaluate representationality of technological artifacts via Walkman study nodding towards Apple. (36-37) It is immediately obvious that the technology of our own moment no longer possesses this same capacity for representation . . . but rather the computer, whose outer shell has no emblematic or visual power, or even the casings of the various media themselves, as with that home appliance called television which articulates nothing but rather implodes, carrying its flattened image surface within itself.
(37-38) I want to suggest that our faulty representations of some immense communicational and computer network are themselves but a distorted figuration of something even deeper, namely, the whole world system of a present-day multinational capitalism. . . . It is in terms of that enormous and threatening, yet only dimly perceivable, other reality of economic and social institutions that, in my opinion, the postmodern sublime can alone be adequately theorized.

3 4 1 (+) [-4+]mCQK jameson-postmodernism (299-300) 20130930e 0 -6+ progress/2012/04/notes_for_jameson-postmodernism.html
MTV leads right into current immersive virtual reality combining visual and audio, where Sterne can be used to interpret spatialization of music in listening practices; omnipresence of reproducible events like NPR versus great works, boundary with simulation as sound track production, cartoon as early VR. (299-300) MTV above all can be taken as a spatialization of music, or, if you prefer, as the telltale revelation that it had already, on our time, become profoundly spatialized in the first place. . . . You no longer offer a musical object for contemplating and gustation; you wire up the context and make space musical around the consumer. In that situation, narrative offers multiple and proteiform mediations between the sounds in time and the body in place, coordinating a narrativized visual fragment an image shared marked as narrative, which does not have to come from any story you ever heard of with an event on the sound track.

3 4 1 (+) [-4+]mCQK jameson-postmodernism (302-303) 20130930i 0 -5+ progress/2012/04/notes_for_jameson-postmodernism.html
Writing/code same operation as human-oriented arguments occur in machine-invented associations, the unit operation: Jameson is clearly a writer not a coder; he can only think of awful fates straying into the machinic, feels impossible dual task of studying modern objects of the built environment in situated context and depth. (302-303) As for the mainstream moderns, however, those waiting patiently in line for a room in just such a museum, any number of them seem capable of a thoroughgoing rewriting into the postmodern text. . . . But boredom is a very useful instrument with which to explore the past, and to stage a meeting between it and the present.

3 4 1 (+) [-4+]mCQK jameson-postmodernism (307) 20130930l 0 -3+ progress/2012/04/notes_for_jameson-postmodernism.html
SCA of virtual realities only likely places to find such phenomena. (307) Modernism must thus be seen as uniquely corresponding to an uneven moment of social development, or what Ernst Bloch called the simultaneity of the nonsimultaneous, the synchronicity of the nonsynchronous (
Gleichzeitigkeit des Ungleichzeitigen): the coexistence of realities from radically different moments of history handicrafts alongside the great cartels, peasant fields with the Krupp factories or the Ford plant in the distance.
(309) In the postmodern, then, the past itself has disappeared (along with the well-known sense of the past or historicity and collective memory). Where its buildings still remain, renovation and restoration allow them to be transferred to the present in their entirety as those other, very different and postmodern things called
simulacra.

3 4 1 (+) [-4+]mCQK jameson-postmodernism (409-410) 20131001a 0 -15+ progress/2012/04/notes_for_jameson-postmodernism.html
Cognitive mapping especially useful for studying artificial automata, programmable objects exhibiting subjectivity. (409-410) In contrast, what I have called cognitive mapping may be identified as a more modernist strategy, which retains an impossible concept of totality whose representational failure seemed for the moment as useful and productive as its (inconceivable) success. . . . The
three types of space I have in mind are all the result of discontinuous expansion of quantum leaps in the enlargement of capital, in the latterƒs penetration and colonization of hitherto uncommodified areas.
(410) The first of these three kinds of space is that of classical or market capitalism in terms of a logic of the grid . . . the desacralization of the world . . . slow colonization of use value by exchange value . . . the standardization of both subject and object.

3 4 1 (+) [-4+]mCQK jameson-postmodernism (411) 20131001c 0 -6+ progress/2012/04/notes_for_jameson-postmodernism.html
Global social and machine operations are both absent causes that are tracked via their symptoms. (411) these new and enormous global realities are inaccessible to any individual subject or consciousness . . . something like an absent causes, one that can never emerge into the presence of perception. Yet this absent cause can find figures through which to express itself in distorted and symbolic ways.
(412) In this context, what I want to suggest is that these forms, whose content is generally that of privatized middle-class life, nonetheless stand as symptoms and distorted expressions of the penetration even of middle-class lived experience by this strange new global relativity of the colonial network.

3 4 1 (+) [-4+]mCQK johnson-what_is_cultural_studies_anyway (73) 20131103d 1 -14+ progress/2010/11/notes_for_johnson-what_is_cultural_studies_anyway.html
Rethink each moment in light of the others rather than adding together sets of production, text, and lived studies: compare to criticism of platform studies. (73) Production-related studies imply a struggle to control or transform the most power means of cultural production. . . . Text-based studies, focusing on the forms of cultural products, have usually concerned the possibilities of a transformative cultural practice. . . . Finally, research into lived cultures has been closely associated with a politics of representation upholding the ways of life of subordinated social groups.
(73) It is not therefore an adequate strategy for the future use just to add together the three sets of approaches, using each for its appropriate moment. . . . it may be
more transformative to rethink each moment in the light of the others, importing objects and methods of study usually developed in relation to one moment into the next.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (93) 20131001 0 -5+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
New media scholars have ignored the hard drive despite its consistent presence in this history of electronic computing; Heim and others refer instead to its black box aspect. (93) basic drive technology remains remarkably unchanged since it was first introduced by IBM in the 1950s. The hard drive is therefore central to any narrative of computing and inscription in the latter half of the twentieth-century, yet it has never received extended consideration from scholarly observers of new media.
(94) That the physical seclusion of the hard drive renders it an almost literal black box should not be underestimated in the extent to which its mechanism has gone unremarked in discussions of electronic textuality.
(95) Little wonder then that electronic writingƒs first generation of theorists turned their gaze toward the screen rather than the disk. The cathode ray tube was the implicit and often explicit starting point for most discussions of electronic textuality because it was only as bit-mapped fonts on the screen that electronic letterforms become recognizable as writing.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (95-96) 20131001a 0 -5+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Extend electronic textuality beyond flickering signifiers on the screen. (95-96) Nick
Montfort has recently coined the term screen essentialism to refer to the bias towards monitors and display devices in new media studies, where the vast preponderance of critical attention has been focused on what happens on the windowed panes of the looking glass. . . . I believe that if we expand its definition to include machine-language markings and machine-readable inscriptions as well as alphanumerical writing, then the history and theory of electronic textuality must come to encompass more than just the screen-deep flickering signifiers that have thus far occupied critics in their investigations of new media.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (96) 20131103a 0 -5+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Random access disk storage public debut in 1958. (96) Among the attractions at the 1958 Worldƒs Fair in Brussels, Belgium, visitors would have beheld Professor RAMAC, a four-ton IBM machine capable of offering up responses to usersƒ queries on a two thousand year historical span ranging from the birth of Christ to the launching of Sputnik 1. . . . The RAMAC was capable of storing five million 7-bit characters on 50 vertically stacked disks, each two feet wide and rotating at 1200 RPM.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (98) 20131001b 0 -7+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
The RAMAC Professor the first computer personality. (98) Computers were thus on record as instruments of prediction and prognostication, not retrospection. The RAMAC, by contrast, represented what was perhaps the first digital library. . . . As perhaps the earliest computational personality on record (almost a decade before Weizenbaumƒs ELIZA), the Professor was thus marked out as a first-world citizen of a post-colonial present rather than a trans-historical remember of things past.
(99) Like the telegraphƒs automatic writing or the call of the telephone, the book that can be read without being opened offers up a whiff of the uncanny, the hint of haunted media.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (101-102) 20131001c 0 -6+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Signal processor means analog voltage detection converted to binary representation is second-order because data storage is digital to analog to digital, producing real virtuality but itself unreadable in contrast to printed text. (101-102) It is a
signal processor. . . . Likewise, to read data from the surface of the platter, these patterns of magnetic fields (actually patterns of magnetic resistance), which are received as analog signals, are interpreted by the headƒs detection circuitry as a voltage spike that is then converted into a binary digital representation (a one or a zero) by the driveƒs firmware. The relevant points are that writing and reading to the disk is ultimately a form of digital to analog to digital signal processing not unlike the function of a modem and that the data contained on the disk is a second-order representation of the actual digital values the data assumes for computation.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (102 endnote 31) 20131001e 0 -14+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
An instrument can see what reader reads: here is that special type of computed reality, like the PET scan. (102 endnote 31) Prior to MFM (Magnetic Force Microscopy), samples of magnetic recording media were imaged by treating them with a ferrofluid, a liquid magnetic suspension that produced patterns visible under an optical microscope. Today MFM is being supplemented by a newer technique call spin-stand imaging. . . . Three monitors provide views: one shows an optical magnification of the surface of the sample, the second displays instrumentation and settings, the third displays reconstructed images, both AFM and MFM. . . . If we do the math eight bits in a byte we can see that we might, assuming optimal conditions, be able to image seven or eight bytes per minute. . . . Though recoveries of complete files are theoretically possible (through what is known in the trade as heroic efforts ) the process would be extremely painstaking and requires weeks or many months.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (102) 20131103b 0 -5+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Differential means signification dependent upon instantaneous changes in value rather than substance of signal. (102) It is
differential. . . . signification depends upon changes in the value of the signal being received rather than the substance of the signal itself.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (102) 20131103c 0 -16+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Volumetric means traces only detectable by machinery, cannot be read by humans. (102) It is
volumetric. . . . Typical aerial densities are now at around 10,000,000,000 bits (not bytes) per square inch. . . . some researchers speculate that we are about to hit the physical limit of how weak a magnetic field can be and still remain detectable, even by new generations of giant magnetoresistive drive heads and stochasitc decoding techniques. . . . an individual bit representation is currently a rectangular area about 4.0 um high and 0.5 um wide; by contrast, a red blood cell is about 8 um in diameter, an anthrax spore about 6 um. Individual bit representations are visible as traceable inscriptions using laboratory instrumentation like Magnetic Force Microscopy.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (103 endnote 32) 20131001f 0 -5+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Good argument in note why codex book is also volumetric in this MSA where book is not a signal processor or differential. (103 endnote 32) Authors are often asked to add or remove content so as to bring their raw page counts into alignment with the multiples of a signature. . . . These quick examples, from early modern to contemporary publishing, indicate that the codex is volumetric in all three of its dimensions, length, breadth, and depth.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (103) 20131001h 0 -13+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Apotheosis of codex links FAT to long history of language machines. (103) Every formatted hard disk stores its own self-representation, a table of file names and addresses known (on Windows systems) as the File Allocation Table (FAT). . . . The basic unit for file storage is not the sector but rather clusters, larger groupings of typically 32 or 64 contiguous sectors in a track. . . . (In a very basic way, then, all electronic data is
hypermedia to the FAT). . . . The FAT itself a purely textualized constructed and that data structures it maps, is arguably the apotheosis of a rationalization and an atomization of writing space that began with the discrete pages of another random access device, the codex.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (103) 20131103d 0 -5+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Rationalized means no writing prior to formatting; striated rather than smooth surface; remember formatting tricks on Apple II platform. (103) It is rationalized. . . . There is thus no such thing as writing to the disk anterior to the overtly rationalized gesture of formatting.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (104) 20131001i 0 -21+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Motion-dependent means inscription and reading only occurs at particular rotational speed, riding on air cushion; rotation limits, try vibration, MSA air bearing technology essential to materiality of hard drive versus book. (104) It is motion-dependent. . . . Once the computer is turned on, the hard disk is in near constant motion. The spindle motor rotates the platters at up to 10,000 revolutions per minute. . . . once the head is in position at the appropriate track it simply waits for the target sector to rotate past. The rotation of the disk is what allows the head to detect reversals in the magnetic fluctuations on the surface of the platter (see differential, above). . . . (Thus, even the length and breadth of bit representations vastly exceed the flying height of the drive head). The rapid motion of the disk creates an air cushion that floats the head of the drive. Just as a shark must swim to breathe, a hard drive must be in motion to receive or return data. . . . Thus, a key aspect of the hard driveƒs materiality as an agent of digital inscription is quite literally created out of thin air.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (104-105) 20131001j 0 -5+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Planographic means surface must be absolutely smooth; compare planographic to lithography (Drucker and McVarish). (104-105) It is
planographic. . . . Hard drives are planographic in that the surface of the disk, in order to fly scant nanometers beneath the air bearings, must be absolutely smooth.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (105) 20131001k 0 -10+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Tie Wiener to Heidegger ready-at-hand, Freud magic slate. (105) Paradoxically, however, just as important is the fact that the same volumetric area on the surface of the disk can be recycled and rewritten. The ability to erase and change data rapidly was in fact a key characteristic of the computer as envisioned by pioneers like Norbert
Wiener. . . . Interestingly, holographic storage, which some see as eventually replacing magnetic media data is stored in a solid array of crystals is not generally reusable. . . . Such a technology would explore current conventions of data storage, reconceiving human computer interaction as fundamentally as random-access non-volatile (but variable) storage media did in the 1950s.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (105) 20131103e 0 -5+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Non-volatile but variable. (105) It is
non-volatile (but variable). . . . Far from being fragile or ephemeral, the magnetic substrate of a drive is one of the stickiest and most persistent surfaces for inscription weƒve ever devised.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (107) 20131001l 0 -2+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Inscription, memory go from scarcity to superfluity, making possible Manovich big data; reference to Derrida Archive Fever. (107) This is a sea-change in the production and recording of human knowledge, one whose implications go far beyond the hard disk drive as a technology of writing and inscription alone. As
Derrida noes in Archive Fever, what is no longer archived in the same was is no longer lived in the same way (18).

3 4 1 (+) [-6+]mCQK kirschenbaum-extreme_inscription (108) 20131001m 0 -6+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Interesting examples of new subjectivities by Zanni and Flanagan You are your C. (108) New
subjectivities are also emerging. You are your C is the title of a net art project by Carlo Zanni dedicated to electronic soul mirroring : when the project is accessed online, the contents of the viewerƒs hard drive are displayed on the screen as the standard Windows file tree, as though they were simply another component of the World Wide Web. . . . [Phage], which she [Mary Flanagan] describes as a virus, uses fragments of old media files residing on the userƒs hard drive to enact a 3-D representation of the computerƒs subconscious (executed in VRML).

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (109) 20131001n 0 -13+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Is there a kernel of the subject apart from digital accumulations? (109) Or to take one final instance: you are the sum total of your data. No man escapes that, says Don Delillo in the voice of a government technocrat in
White Noise (141). While superficially compatible with Gordon Bellƒs statements, these literary examples all complicate the ambitions of a project of MyLifeBits, whose rhetoric at times is disarmingly literal. . . . The real question . . . how do these accumulations, these massive drifts of data, interact with irreducible reality of lived experience? . . .

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (110) 20131001o 0 -10+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Question myth of total convergence; heterogeneity of digital inscription; effects of control, docility through DRM. (110) Part of what enables the myth (or the meme) is the slippage between media convergence and total recall. . . . This essay has worked to discover the
heterogeneity of digital inscription to the furthest extent possible, indeed to the nanoscale where, with the aid of a magnetic force microscope, individual bits take on their own weight and heft (like snowflakes, no two are quite alike). Even without the aid of such exotic instrumentation, however, the non-virtual realities of our contemporary media ecology should lead us to question the homogenizing myth of convergence. . . . To put the matter even more bluntly, what happens when the titanic ambition of my desire to save a copy of every song Iƒve ever listened to collides with the iceberg of DRM?

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (111) 20131001p 0 -9+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Hashing to produce redundant expressions of original data, immateriality through lack of localized imperfections from highly engineered materiality: like 2x and 10x rules in electrical and electronic circuit design. (111) Every sector of data on the disk includes error correcting codes derived according to established algorithms; the basic idea is that the mathematics generates a bit sequence that serves as a redundant expression of the original data (this is called
hashing). . . . Absent are the range of small, localized glitches characteristic of other media the typo in the newspaper, the scratch on the vinyl record, snow on the TV channel that remind us of their mundane materiality. . . . While it is just this kind of behavior that is often cited as evidence of digital mediaƒs putative immateriality, the hard driveƒs error-free performance is in fact the laborious and artificially achieved end product of decades of computer science and engineering.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (111-112) 20131001q 0 -13+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Must study storage if interested in texts as representations: fits well with my call to study ECT in general if interested in the philosophy of computing. (111-112) There is a fiction then that computing is all about numbers, especially ones and zeros. But computing is really all about storage. Data cannot subsist without material representation. Given this, the history and technology of storage should be a prime locus of inquiry for anyone interested in computing from the standpoint of technologies of writing, textuality, and inscription in short, the stuff of representations. . . . In essence youƒll never see storage in that youƒll never encounter your data in its entirety, in a format akin to the tree views we now take for granted (that which You Are Your C exploits). Instead you will filter, mine, search, retrieve. . . . The kind of serendipitous discovery of old files and applications recounting in Microserfts will become a function of the fluke search result, not manual tidying.

3 4 1 (+) [-4+]mCQK kirschenbaum-extreme_inscription (112) 20131001r 0 -3+ progress/2012/08/notes_for_kirschenbaum-extreme_inscription.html
Read back von Neumann architecture concretized in library building organization, as Japanese artist I cannot recall enacts logic gates. (112) You can almost see the von Neumann architecture being concretized at the macro-level as the bricks and mortar of the library building the central processing unit are re-engineered to house a state of the art media and information center, packed with computers themselves packed with state of the art disk arrays and hard drive clusters. The books meanwhile, the random access devices of old, are being placed recursively it would seem in storage, shunted away to a remote locale where they will be available upon request. At a moment when we would clearly not be wrong to speak of storage as a cultural condition a storage generation or storage fever the hard drive is not the only relevant technology.

3 4 1 (+) [-4+]mCQK kittler-gramophone_film_typewriter (xl) 20111227 0 -2+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
Kittler sees this Heideggerian shimmering on the boundary of polar opposites as well, although I detect in his language a reticence at throwing oneself life long into programming. (xl) Heidegger said as much with his fine statement that technology itself prevents any experience of its essence. However, Heideggerƒs textbook-like confusion of writing and experience need not be; in lieu of philosophical inquiries into essence, simple knowledge will do.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (156) 20121210 0 -1+ progress/2012/12/notes_for_kittler-protected_mode.html
Writing under as subject to Microsoft; worm, snake view now that command and data indifference of VNM split by protected mode. (156) For one writes the ƒunderƒ says it already as a subject or underling of the Microsoft Corporation.

3 4 1 (+) [-6+]mCQK kittler-protected_mode (156-157) 20131001 0 -10+ progress/2012/12/notes_for_kittler-protected_mode.html
Alludes to early days of microprocessors when literary theorists and hobbyists could hack hardware. (156-157) This wormƒs-eye view did not always prevail. In the good old days when microprocessor pins were still big enough for simple soldering irons, even literary critics could do whatever they wished with Intelƒs 8086 Processor. . . . The silicon chip, which was as stupid as the hobbyist and user, could accommodate all of this because the Von Neumann architecture recognizes no difference between commands and data. . . . This [binary coding] is an activity that only Alan Mathison Turing when he finally had his universal discrete machine of 1936 at his technical disposition one World War later is said to have preferred over all mnemonic aids and higher programming languages.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (158) 20131001a 0 -8+ progress/2012/12/notes_for_kittler-protected_mode.html
One-way function of programming languages; one-way subjectivity of consumers: why inline assembler example is significant, as well as paying attention to initial one instead of zero required for correct hardware operation initial power on state of pmrek. (158) At the risk of having already done crazy long ago, the only thing one can deduce from all of this is that software has obviously gained in user-friendliness as it more closely approximates the cryptological ideal of the one-way function. The higher and more effortless the programming languages, the more insurmountable the gap between those languages and a hardware that still continues to do all of the work. . . . The sum hides the addends, the product the factors, and so forth.
(158) In any case, the subjects of the Microsoft Corporation did not simply fall from the sky, but first had to be produced like all of their media-historical predecessors the readers of books, film audiences and TV viewers. The only problem now is how their subjugation can be hidden from the subjects in order that they fall in step with the global triumph march.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (161) 20131001d 0 -12+ progress/2012/12/notes_for_kittler-protected_mode.html
Foucault power argument from mute efficacy of technical implementation: look at ICs to understand society as form of technology studies. (161) With this authority and through this authority, conversations could in fact still be conducted; however, technically implemented privilege levels draw their power precisely from mute efficacy.
(162) As a result, a double shadows the analysis of power systems, that immense assignment that was Foucaultƒs legacy. To begin with, one should attempt to abandon the usual practice of conceiving of power as a function of so-called society, and, conversely, attempt to construct sociology from the chipƒs architectures. For the present at least, it is a reasonable assumption to analyze the privilege levels of a microprocessor as the reality of precisely that bureaucracy that ordered its design and called for its mass application. . . . It is no coincidence that in the 80386, it is precisely the input and output commands that are protected by the highest privilege level in an empire in which the public views the rest of the world only through the haze of television news, even the thought of foreign policy is a privilege of the government. . . . Whether there are better ones is beside the point because they would in any case also have to be bureaucracies; but a competition between different systems and different bureaucracies would as such already allow the subjects of MS-DOS to breath a little easier.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (162-163) 20131001e 0 -15+ progress/2012/12/notes_for_kittler-protected_mode.html
Classic power dilemma because highest protection allotted to input and output, yet this is how the user uses the machine. (162-163) With its move out of front offices and everyday language into the micrometer realm, power has also changed the processes and the working surfaces. . . . In silicon itself there can be, to borrow from Lacan, no other of the other, which is also to say, no protection from the protection. . . . At the level of the machine, then, protection mechanisms have no absolutely protected hiding-place. Because microprocessors must despite everything remain usable to users, that is, communicate with them, Intelƒs Protected Mode describes a classic power dilemma.
(163) What such prohibitions conclusively demonstrate, however, is only the impossibility of perfect access control. . . . Once the difference has been rendered programmable, however, it is already vulnerable to all sorts of circumventions.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (164) 20131001f 0 -9+ progress/2012/12/notes_for_kittler-protected_mode.html
Vulnerable to circumventions, such as changing address boundaries of Real Mode (higher addresses trigger Interrupt 13) with an Assembler routine. (164) A single subordinate clause in the manual discloses that any address boundaries in Real Mode are no more and no less than presuppositions programmed into the system start-up. . . . Instead of the deliberately low default value that the CPU automatically loads into the hidden sections of its segment register at every reversion to Real Mode, programs could also set completely different values.
(164) One hundred lines of Assembler, but only of Assembler, solve the problem of a postmodern metaphysics. At the risk of going crazy, they lead through MS-DOS beyond MS-DOS. Along with the infamous sound barrier at which the operating memory in DOS remains limited to a ridiculous mega-byte, all of the advantages for which Windows is praised dwindle to nothing. In a drastic paradox, it is precisely the most antiquated of all operating systems that provides the trap door out of the operating system.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (165) 20131001g 0 -6+ progress/2012/12/notes_for_kittler-protected_mode.html
Chaos in engineers empiricism against computability of theory, but saving power in danger of protected model also for machines. (165) Such chaos does not reign at the elevated level of information science, where the computability of Finite State Machines and their ability to predict is argued over in general, but rather at the modest level of the engineerƒs empiricism.
(165) In other words, information science appears to be confronted with internal information obstacles. Information science must refer to the actual domain of code, even if the theory could generate completely different models (and should). And despite the will and belief of the codeƒs developers, decodings are just as possible as they are rare. Long after the end of the print monopoly and authorship, the phantom of humanity apparently makes sure that mere opinions or even assertions of protection will continue to be recorded, as opposed to actually cracking the codes. A systems program must be created precisely to this end to be used by programmers, to begin with, but in principle for machines as well.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (166) 20131103 0 -8+ progress/2012/12/notes_for_kittler-protected_mode.html
Codes subject to same opacity and opacity as everyday languages. (166) A discourse analysis whose elements are obviously not only words but also codes, would, of course, level the sacred distinction between everyday languages and formal languages. In light of the wonderful orthogonality that, for example, Motorolaƒs processor series flaunts since the 68000, that would be heresy. The history of Protected Mode as a half-compatible, half-incompatible extrapolation of good old standards could, however, teach us that codes are subject to the same opacity as everyday languages. . . . However, Intelƒs new generation de-optimized precisely this speed advantage, while still permitting the synonymous commands to survive for compatibility reasons. Thus the code has achieved a redundancy that everyday language already boasted in Fregeƒs wonderful example of evening star and morning star.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (167) 20130123 0 -6+ progress/2012/12/notes_for_kittler-protected_mode.html
Opacity of machine languages as in the examples given fit with sourcery and vicissitudes of execution arguments, and go beyond rejection by Ong as artificial because they have a social history that exhibits parallels to characteristic of natural languages like redundancy; confounds desire of Hilbert to formalize everyday language. (167) it becomes a Babylonian tower in which the ruins of towers that have already been demolished remain built-in. Protected Mode as both the enemy and co-existent partner of a Real Mode that has already been superceded technically for some time is computer history on chip. And David Hilbertƒs dreamlike program to clear out the opacity of everyday language once and for all through formalization is undone not only at the clear, axiomatic level of Godel or Turing, but already by the empiricism of the engineers. Codes with compatibility problems begin to grow wild and to adopt the same opacity of everyday languages that have made people their subjects for thousands of years. The wonderful term source code becomes literal truth.
(167) Another tower of Babel, on the chip.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (167) 20131001h 0 -2+ progress/2012/12/notes_for_kittler-protected_mode.html
Machines may have already taken command; impossible to test ICs independently of the producer. (167) Turingƒs old idea of allowing the machines themselves to roll out their code may well have already secretly come true. Precisely because the complex function of highly integrated circuits (aside from memory-ICs) can no longer, as in the case of a simple, logical connection, be checked by testing all of the possible input signal combinations, tests that are independent of the producer are in order.

3 4 1 (+) [-4+]mCQK kittler-protected_mode (168) 20131001j 0 -2+ progress/2012/12/notes_for_kittler-protected_mode.html
Need to study his more recent texts, which may not be translated. (168) Hugo
von Hofmannsthal once ascribed the ability to read what has never been written to the wonderful being called Man. Similar crypto-analyses must become universal and mechanical in the chaos of codes that begins with the world-historical dismissal of everyday language in favor of a universal discrete machine.

3 4 1 (+) [-4+]mCQK kittler-there_is_no_software (147) 20131001 0 -9+ progress/2012/12/notes_for_kittler-there_is_no_software.html
The problem in era beyond literacy is that writing is hidden in computer memory cells that are able to read and write autonomously. (147) The bulk of written texts including the paper I am actually reading to you no longer exist in perceivable time and space, but in a computer memoryƒs transistor cells. . . . our writing scene may well be defined by a self-similarity of letters over some six orders of decimal magnitude. . . . It also seems to hide the very act of writing.

3 4 1 (+) [-4+]mCQK kittler-there_is_no_software (153) 20131001j 0 -10+ progress/2012/12/notes_for_kittler-there_is_no_software.html
Hasslacher discretization of continuous algorithmic descriptions as real programming versus Turing computational imagination: failure to appreciate materiality of computation is flaw in philosophies of programming Kittler criticizes. (153) [quoting Brosl
Hasslacher] We must reduce a continuous algorithmic description to one codable on a device whose fundamental operations are countable, and we do this by various forms of chopping up into pieces, usually called discretization. . . . The compiler then further reduces this model to a binary form determined largely by machine constraints.The outcome is a discrete and synthetic microworld image of the original problem, whose structure is arbitrarily fixed by a differencing scheme and computational architecture chosen at random. . . . This is what we actually do when we compute up a model of the physical world with physical devices.

3 4 1 (+) [-4+]mCQK kittler-there_is_no_software (153) 20131001k 0 -9+ progress/2012/12/notes_for_kittler-there_is_no_software.html
From Shannon thesis to transistor to microprocessor, the technology narrative of the schematism of media recommended in GFT. (153) When Claude
Shannon, in 1937, proved in what is probably the most consequential M.A. thesis every written that simple telegraph switching relays can implement, by means of their different interconnections, the whole of Boolean algebra, such a physical notation system was established. And when the integrated circuit, developed in the 1970s out of Shockleyƒs transistor, combined on one and the same chip silicon as a controllable resistor with its own oxide as an almost perfect isolator, the programmability of matter could finally take control, just as Turing had predicted. . . . That is to say, millions of basic elements work under almost the same physical conditions, especially as regards the most critical, namely, temperature-dependent degradations, and yet electrically all of them are highly isolated from each other.
(154) Thus, the very isolation between digital or discrete elements accounts for a drawback in connectivity that otherwise, according to current force laws as well as to the basics of combinatorial logics, would be bounded only by a maximum equalling the square number of all elements involved.

3 4 1 (+) [-4+]mCQK kittler-there_is_no_software (154-155) 20131001l 0 -9+ progress/2012/12/notes_for_kittler-there_is_no_software.html
Maximal connectivity limitation of isolated switching components may be overcome with physical, nonprogrammable systems, changing nature of programming activity from stored program ideology of Turing machines: at this point also there is no software, but still forms of programming or engineering, compare to two directions for the future in conclusion of Code in Software Studies. (154-155) Precisely this maximal connectivity, on the other, physical side, defines nonprogrammable systems, be they waves or beings. . . . Software in the usual sense of an ever-feasible abstraction would not exist any longer. . . . programming it will have little to do any longer with approximated Turing machines.

3 4 1 (+) [-4+]mCQK kittler-there_is_no_software (155) 20131001m 0 -14+ progress/2012/12/notes_for_kittler-there_is_no_software.html
Biochauvanistic future computers based on neural networks complemented with very nearness of existing silicon systems to this truly solid state model. (155) In what I have tried to describe are badly needed machines that . . . certain Dubrovink observerƒs eyes might be tempted to recognize, under evolutionary disguises or not, the familiar face of man. . . . Maybe. At the same time, however, our equally familiar silicon hardware obeys many of the requisites for such highly connected, nonprogrammable systems. . . . To minimize all the noise that it would be impossible to eliminate is the price we pay for structurally programmable machines. The inverse strategy of maximizing noise would not only find the way back from IBM to Shannon, it may well be the only way to enter that body of real numbers originally known as chaos.

3 4 1 (+) [-4+]mCQK leorke-rebranding_the_platform (259) 20131003b 0 -9+ progress/2013/06/notes_for_leorke-rebranding_the_platform.html
Implication the platform level is fundamental, comparable to computing systems and computer architecture, entangling in material and figurative understandings. (259) Nonetheless, the authors taxonomy implies that there is a linear progression across the various levels, with the platform as the base or most fundamental level. . . . In this sense, Bogost and Montfort s approach to platform studies is thus entangled within the intersection between the material and figurative understandings of platforms that Keating and Cambrosio (2003) identify.
(260) The methodology established by the series editors in the foreword is, at first glance, refreshingly open in this regard. They avoid proscribing a single theoretical or critical approach, instead listing several common traits that all books will contain. These include a focus on a single platform or a closely related family of platforms ; a rigorous technical analysis of these platforms; and an examination of their wider cultural and social importance (2009a, pp. Vii-viii).

3 4 1 (+) [-4+]mCQK leorke-rebranding_the_platform (261-262) 20131003c 0 -10+ progress/2013/06/notes_for_leorke-rebranding_the_platform.html
Black box, closed nature of Wii (Gillespie) reduces technical rigor and detail of platform explication, which may support continuing studies of archaic architectures that are open because of their simplicity, at the same time that hacks and mods are part of the gaming experience. (261-262) A focus on technical rigour and the material architecture of computing technologies is a hallmark of Platform Studies and, depending on one s tastes, also its most laborious trademark feature. . . . In contrast to the Atari VCS, which is perhaps much easier for programmers to grasp and pull apart , the Wii is a typically closed system with its technological core concealed beneath its sleek and seemingly simplistic veneer. . . . This is in contrast to old school computer systems like the Atari VCS, for instance, which have given rise to everything from glitch electronica to the development of retro games that deliberately exploit their archaic architecture (see Krapp, 2011).
(262) They [Jones and Thiruvathukal] contend that the Wii demonstrates different degrees of openness through its gadgets and peripherals like the Wii Remote and sensor bar, which have been transformed through both gaming and non-gaming hacks and mods.

3 4 1 (+) [-6+]mCQK leorke-rebranding_the_platform (263) 20131003d 0 -2+ progress/2013/06/notes_for_leorke-rebranding_the_platform.html
Notes insight that Wii like Bolter and Grusin hypermediacy while Kinect privileges immediacy, but theoretical approach limited to Juul. (263) In their theoretical approach, the authors rely almost solely on Juul s book
A Casual Revolution (2010); a useful study of the turn towards casual and social gaming, but by no means the only account of the videogame industry that is relevant to their discussion.
(263) But it doesn t substantially depart from the formula developed by the first book in the series, with the close analysis of a single platform framed by a lucid discussion of its technical capabilities and constraints in constant focus.

3 4 1 (+) [-4+]mCQK leorke-rebranding_the_platform (263) 20131003e 0 -1+ progress/2013/06/notes_for_leorke-rebranding_the_platform.html
Amiga study appears to pick up with era following Racing the Beam. (263) As such, the development of the Amiga is examined as both a response the impending threat of the game industry s collapse, as well as a visionary exploration of the emerging capabilities of the personal computer that would eventually become a commonplace, mundane feature of contemporary culture.

3 4 1 (+) [-4+]mCQK leorke-rebranding_the_platform (264) 20131003f 0 -5+ progress/2013/06/notes_for_leorke-rebranding_the_platform.html
Too much technical detail not directly connected to philosophical study of platforms; concern about limits of book form evident in comment about accompanying website. (264) It is replete with technical specifications, programming instructions and detailed deconstructions of various programs and applications, to the extent that the lay reader not familiar with the intricacies of computer programming myself among them might struggle to extract value from every page.
(264) This attempt to reach out to enthusiasts of the system is reinforced by the accompanying website for the book (http://amiga.filfre.net) which provides a wealth of technical resources and aids such as images and video clips to accompany the explanations provided in each chapter, as well as programs that can be downloaded and run on an actual Amiga console or an emulator.
(264) At times, though, the book is too overeager in drawing links between the Amiga and contemporary digital technologies, without the rigorous historical, discursive analysis that would be required of a scholarly work to make these connections.

3 4 1 (+) [-4+]mCQK leorke-rebranding_the_platform (267) 20130616 0 -1+ progress/2013/06/notes_for_leorke-rebranding_the_platform.html
Extensions of formulaic approach laid out by Montfort and Bogost may include reflection on selection of platform to study itself, investigation of implicit claims and limitations of platform level, and the assumed ontological implications of the tiered model itself. (267) This entails becoming more self-reflexive about what it means to focus on the platform as an object of theoretical analysis.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (xii) 20130910 1 -10+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Jeannerod: decentralized control and event over law distinguish brain plasticity concept over traditional metaphors of a fixed, centralized, wired machine in a theory already self-reflexive of its relation to views of social organization. (xii) The machine learns, differentiates itself, reconstructs itself. Briefly put, it privileges the event over the law. Omnipresent plasticity changes our view of the brain and its functioning. But Malabou goes further, seeking to show that the transition from a wired brain to a plastic brain is really the transition from a brain-machine to a brain-world. According to her, this change in perspective would affect not merely the model of cerebral functioning but also the concept we forge of ourselves and our social organization. . . . Might we have a neo-liberal brain that would impose its model on our socioeconomic organization? Or, inversely, might the global economyƒs upheaval generate a conceptual change what would affect, by contagion, our view of the way the brain functions?

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (xiv) 20130910a 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Jeannerod: new view leads to change to social and environmental comportment moreso than brain change itself, although likely room for synaptogenesis as Hayles claims. (xiv) What changes is the organization of society, the outcome of organizational forces and macroscopic interactions over which the brain has little influence. Thus the problem is, rather, that of understanding how an individual brain can respond to the challenges of its social environment.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (xiv) 20130910b 0 -5+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Jeannerod: plasticity is mechanism for adapting, different from flexibility for submitting, so message may be to learn to say no to new capitalistic world order, already hinting opening for floss adoption and critical programming. (xiv) We clearly have no consciousness of the plastic mechanisms forming our personality and guaranteeing its continuity. Yet by trying to become conscious of them we may, Malabou proposes, acquire a new freedom, that of imposing our own organization on the world rather than submitting to the influences of a milieu. Plasticity, in effect, is not flexibility. Let us not forget that plasticity is a mechanism for adapting, while flexibility is a mechanism for submitting. Adapting is not submitting, and, in this sense, plasticity ought not to serve as an alibi for submitting to the new world order being dreamed up by capitalism.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (1) 20130912 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Following Marx, brain is a history humans make if we do not know we make it. (1) The structural bound here is so deep that in a certain sense it defines an
identity. Itƒs not just that the brain has a history which is sometimes confused with that of its constitution as an object of the sciences but that is is a history.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (6-7) 20130912d 0 -13+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Synaptic efficacy tied to individual experience (Jeannerod). (6-7) Synaptic efficacy grows or declines under the impact of strictly individual experience. . . . Marc
Jeannerod explains: If a synapse belongs to a circuit in frequent use, it tends to grow in volume, its permeability increases, and its efficacy increases. Inversely, a little-used synapse tends to become less efficacious. The theory of synaptic efficacy thus allows us to explain the gradual molding of a brain under the influence of individual experience.
(7) It is precisely because contrary to what we normally think the brain is not already made that we must ask what we should do with it, what we should do with this plasticity that makes us, precisely in the sense of a work: sculpture, modeling, architecture.
(8) Brain plasticity constitutes a possible margin of improvisation with regard to genetic necessity. . . . If neuronal function is an event or should bring about events, this is so precisely because it is itself able to create events, to eventualize the program and thus, in a certain sense, to deprogram it.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (15-16) 20130914 0 -1+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Restrained signification in developmental plasticity dependent on genetic determinism. (15-16) We will see that this somewhat closed or restrained signification is essentially at work in the develpomental plasticity of neuronal connections tied to the genetic determinism that presides over the constitution of every brain.

3 4 1 (+) [-6+]mCQK malabou-what_should_we_do_with_our_brain (16) 20130914a 0 -1+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Not polymorphism. (16) This involves not an infinite modifiability we have not yet come back around to polymorphism but a possibility of displacing or transforming the mark or the imprint, of changing determination in some way.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (16) 20130914b 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Stem cell multipotent/pluripotent versus totipotent plasticity implies graduated plasticity: developmental, modulational, reparative. (16) This capacity to differentiate and transdifferentiate themselves is called precisely, stem-cell plasticity.
(16) Thus, with plasticity we are dealing with a concept that is not contradictory but graduated.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (18) 20130914c 0 -8+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Developmental plasticity during which brain forms itself creating spider web arborizations accompanied by neuronal death to solidify the connections. (18) These spiderƒs webs, neuronal connections also called arborizations, are constituted progressively over the course of an individualƒs development. We use the term plasticity precisely to characterize this neuronal genesis. The brain, in effect, forms itself.
(19) In the course of the process of establishing connections, the scultporƒs chisel is the phenomenon called
apoptosis or cell death. . . . In the human brain, neuronal death begins at the end of gestation and continues after birth, for at least the first six months of life.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (21) 20130914e 0 -4+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Template formation. (21) Indeed, we see that cerebral morphogenesis results not in the establishment of a rigid and definitively stable structure but rather in the formation of what we might call a
template. This is then refined (sculpted) during development and, in a subtler but always powerful way, throughout life. The nervous activity of pre-established circuits thus takes over from apoptotic sculping. Henceforth the environment of the brain qua organ (the modeling of connections) and its external environment (synaptic modulation by influence of the surroundings) play the role of morphogenic factors.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (21-22) 20130914f 0 -9+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Creativity in primitive nervous systems expressing modulational plasticity over lifetime; Hebb plastic synapses. (21-22) In effect, there is a sort of neuronal creativity that depends on nothing but the individualƒs experience, his life, and his interactions with the surroundings. This creativity is not reserved solely for the human brain but is already at work in the most rudimentary nervous system.
(22) According to [Holding]
Hebb, we must postulate the existence of plastic synapses capable of adapting their transmission efficacy. . . . The synapse is the privileged locus where nerve activity can leave a trace that can displace itself, modify itself, and transform itself through repetition of a past function.
(23) Neurons somehow
remember stimulation. Everything happens as if there were no stabilization of memories except on the condition of a potential destabilization of the general landscape of memory.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (25) 20130914g 0 -1+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Neuronal renewal and secondary neurogenesis constitute reparative plasticity. (25) Two distinct processes fall under the heading of reparative plasticity: neuronal renewal, or secondary neurogenesis, and the brainƒs capacity to compensate for losses caused by lesions.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (26) 20130914h 0 -3+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Unsettle concept of stability, brain as machine. (26) The production of new neurons therefore does not simply serve to replace cells that have died; it participates in modulational plasticity and, in doing so, opens the concept of plasticity slightly more, just far enough to unsettle the concept of stability.
(27) [quoting The Curious Partition of New Neurons ] Adult neurogenesis, being the final mechanism of plasticity and one strongly controlled by a subjectƒs personal experience and environmental interactions, very likely constitutes an additional mechanism of individuation with the major difference that it is operational throughout life.
(27) The idea of cellular renewal, repair, and resourcefulness as auxiliaries of synaptic plasticity brings to light the power of
healing treatment, scarring, compensation, regeneration, and the capacity of the brain to build natural prostheses.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (31) 20130914i 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Does brain plasticity model allow contemplation of recognition, non-domination and liberty or biological justification of efficient, adaptable, flexible social organizations? (31) Does brain plasticity, taken as a model, allow us to think a multiplicity of interactions in which the participants exercise transformative effects on one another through the demands of recognition, of non-domination, and of liberty? Or must we claim, on the contrary, that, between determinism and polyvalence, brain plasticity constitutes the biological justification of a type of economic, political, and social organization in which all that matters is the result of action as such: efficacy, adaptability unfailing flexibility?

3 4 1 (+) [-6+]mCQK malabou-what_should_we_do_with_our_brain (33) 20130922 0 -1+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Centralization in question; correlation between brain function and political understanding of hierarchical command and control. (33) In the same way that neuronal connections are supple and do not obey a centralized or even truly hierarchized system, political and economic power displays an organizational suppleness in which the center also appears to have disappeared.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (34-35) 20130922b 0 -10+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Inadequacy of programming analogy of cybernetic metaphor based on sequence of symbols; Jeannerod preferring multidimensional map which could also represent software structures. (34-35) The cybernetic metaphor has also had its day. . . . Very simply, the analogy between the cybernetic domain and the cerebral domain rests on the idea that thinking amounts to calculating, and calculating to programming. . . . As Jeannerod says: the activity of the nervous system can be better represented as the outline of a multidimensional map than as a sequence of symbols. The representation of the center collapses into the network.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (36) 20130922c 0 -6+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Deleuze acentered crossing voids between neurons implying fragmentary organization of ensemble of micro-powers more than central committee. (36) Gilles
Deleuze, who is one of the rare philosophers to have taken an interest in neuroscientific research since the 1980s, goes so far as to talk of the brain as an acentered system, the effect of a break with the classical image that has been formed of it. . . . Nervous information must cross voids, and something aleatory thus introduces itself between the emission and the reception of a message, constituting the field of action of plasticity.
(36) The discovery of a probabilistic or semifortuitous cerebral space, ƒan uncertain systemƒ, according to Deleuze, implies the idea of a multiple, fragmentary organization, an
ensemble of micro-powers more than the form of a central committee.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (37) 20130922d 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Dennett casts plasticity as eventlike dimension of mechanical with multiple supple levels of command, not just number-crunchers, rather than rejecting comparison between brain and computer. (37) In effect, [Daniel] Dennett presents the computer as itself a plastic organization, with multiple and supple levels of command.
(38) It is not important here to determine whether such a machine exists, but simply to insist that this conception says out loud that we live deep inside, more precisely, that computers are not ƒnumber-crunching machinesƒ, something we experience daily, and that plasticity perhaps designates nothing but the eventlike dimension of the mechanical.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (39) 20130922e 0 -8+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Cinematographic function of brain configuring the world; plasticity of time inscribed in brain, to which we are initially blind because it is our time and our world. (39) We find here the poetical and aesthetic force that is the fundamental, organizing attribute of plasticity: its power to configure the world. Here again, Deleuze has perfectly analyzed this power by seeing in it the cinematographic function par excellence.
(39) The plasticity of time is inscribed in the brain. And we do not see it because it is a question of our time. We do not see it because it is a question of our world. . . .

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (40) 20130922g 0 -5+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Transition between neuroscientific and management discourse epitomized by Boltanski and Chiapello arguing current capitalism of networks, teams and projects explode bureaucratic prison of centralized authority; compare to Spinuzzi on networks. (40) The questioning of centrality, principal transition point between the neuronal and the political, is also the principle transition point between neuroscientific discourse and the discourse of management, between the functioning of the brain and the functioning of a company.
(41) In the nineties, say Luc Boltanski and Eve Chiapello, creativity, reactivity, and flexibility are the new watchwords, and the bureaucratic prison explodes. Or again, the hierarchical principle is demolished and organizations become
flexible, innovative, and highly proficient. For this new organization, the network is the master term: current capitalism obeys the principle of mobile or lean production companies, working as networks with a multitude of participants, organizing work in the form of teams or projects.
(42) Like neuronal cohesion, contemporary corporate economic and social organization is not of a central or centralizing type but rests on a plurality of mobile and atomistic centers, deployed according to a connectionist model.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (55-56) 20130923 0 -7+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Accepting neuronal man and self but questioning continuity as having discontinuous development and function, thus complex continuity. (55-56) The current state of research and observation allows cognitive scientists to conclude that thought, knowledge, desires, and affects all proceed on a neuronal, that is to say, biological, basis, and that the mental images constituting the life of the mind are indeed formed in the brain. . . . In the most general way, it constitutes a new approach to the subject by affirming the existence of a
neuronal self. It is the weakest because the certainty of the continuity between the neuronal and the mental can obviously never be a strictly scientific postulate. It necessarily constitutes a philosophical or epistemological position and such positions are not always clearly articulated.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (57) 20130923a 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Damasio and LeDoux prominent neurobiologists affirming consciousness is owner of movie-in-the-brain emerging within the movie. (57) Prominent neurobiologists such as Antonio
Damasio and Joseph LeDoux now clearly affirm this point: consciousness is nothing other than how the owner of the movie-in-the-brain emerges within the movie, and, as a result, we need to grasp the essence of a person in the brain. To examine this essence, we will follow the demonstrative order adopted by LeDoux in his book Synaptic Self.

3 4 1 (+) [-6+]mCQK malabou-what_should_we_do_with_our_brain (59) 20130923c 0 -5+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Damasio proto-self as organic representation of the organism itself that maintains coherence. (59) The proto-self is thus primarily a form of
organic representation of the organism itself that maintains its coherence. . . . Without it there is no possible survival and no consciousness.

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Multiple levels including auto-representation of the brain, forming prototypical form of symbolic activity. (59-60) Here is the most interesting and most subtle point of the analysis: through modification of the primitive or primordial representational function that is the work of the proto-self. Indeed, one must suppose that the proto-self presents itself as a coherent collection of neural patterns which represent the state of the organism, moment by moment, at multiple levels of the brain. Thus there actually is, contrary to Bergsonƒs claim, a self-representation of the brain, an auto-representation of cerebral structure that coincides with the auto-representation of the organism. This internal power of representation inherent in neuronal activity constitutes the prototypical form of symbolic activity.
(60) From one end of the chain to the other, Damasio explains, one must assume that the brain somehow recounts its own becoming, that it elaborates it in the form of an account.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (61) 20130923e 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Mental patterns are translation of neuronal patterns developed as re-representation of nonconscious proto-self in process of being modified. (61) From the proto-self to conscience there thus develops an extensive re-representation
of the nonconscious proto-self in the process of being modified. This process corresponds to the translation of neuronal patterns into mental patterns.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (62) 20130923f 0 -5+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Translation from neuronal to mental remains obscure, whether biologically programmed, result of individual experience and history, or both, perhaps due to imbrication of neuroscience with computational methods of translation. (62) Despite the apparent assurance and certitude that govern the discourse of the adherence of the mental to the neuronal, the process of the translation of the givens from one domain to the other remains obscure.
(64) We do not truly know what originally makes these transitions possible: Are they biologically programmed? Are they the fruit of experience or of the individual history? Are they the result of both?
(64) What remains mysterious (and we cannot be satisfied here by evoking the wisdom of nature ) is therefore the deep structure of transformation, the transition from a universal self, not yet particularized, to the singular self, to that which I am, that which we are.

3 4 1 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (65) 20130923g 0 -3+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Default to Darwinism, selection toward efficiency, by not interpreting, raising political, economic, social questions again. (65) According to the logic of these Darwinian positions, only those neuronal configurations capable of survival, thus those capable of being the best, the highest performing, would be converted into images. Only the most useful synaptic connections would be modulated or reinforced. There would be at the very heart of the self a selection oriented toward efficiency.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (2) 20121129 0 -2+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Unexplored territory of engineering level consideration of platforms informed by history of material texts, programming and computing systems. (2) But studies have seldom delved into the code of these programs, and they have almost never investigated the platforms that are the basis of creative computing. Serious and in-depth consideration of circuits, chips, peripherals, and how they are integrated and used is a largely unexplored territory for both critic and creator.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (15) 20131024b 0 -4+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Much as possible because the VCS machine was simple and did a few things very well. (15) So much was possible on the Atari VCS, and not because it was a powerful computer. It wasnƒt powerful at all. Rather, so much was possible because the machine was so simple. The very few things it could do well drawing a few movable objects on the screen one line at a time while uttering sounds using square waves and noise could be put together in a wide variety of ways to achieve surprising results.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (15-16) 20131024c 0 -10+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Plan of book focuses on certain game cartridges that exemplify range of possibilities latent in original platform. (15-16) The cartridges that are central to our discussion are as follows:
Combat, the cartridge that was originally bundled with the Atari VCS. Adventure, which established the action-adventure genre. Pac-Man, a more direct take on a successful arcade game. Yarsƒ Revenge, Atariƒs best-selling original VCS game. Pitfall!, another innovative original that was developed at Activision, the first third-party videogame company. Star Wars: The Empire Strikes Back . . . shows how a compelling cinematic situation can be translated effectively into a videogame challenge.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (21) 20131024e 0 -2+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Early use of ROMs in video games with amazing account of sprites still stored in diode matricies rather than memory, which eventually becomes common media converging element. (21) Atariƒs driving game Gran Trak 10 was the very first to have a store of ROM, but it did not use a chip to implement this memory. It stored sprite graphics in a matrix of diodes, each of which was placed individually on the printed circuit board.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (23) 20131024f 0 -5+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Discussion of MOS 6532 RIOT/PIA. (23) The chip on the VCS board that handles most of the input from controllers is a standard one, a MOS Technology 6532. . . . Because of these three functions, the chip is called the RIOT (RAM/Input/Output/Timer); in the
Stella Programmerƒs Guide, it is referred to as the Peripheral Interface Adaptor (PIA).

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (25) 20131024h 0 -1+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Immediate control via joysticks was once an innovation, inspiring direct manipulation; recall Burks, Goldstine and von Neumann account of ringing a bell and flashing a strobe to indicate computation is complete, then going into an atemporal state until reset for the next computation. (25) The is the type of immediate control that helped inspire the direct manipulation concept of computer interfaces in the 1980s.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (25) 20131024i 0 -1+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
VCS constraint of 8K. (25) The processor selection thus constrained the system to using no more than 8K of memory at once.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (33) 20131024n 0 -5+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Claim that VCS programs exhibit manageable complexity, such as not being compiled from a high level language; assembly closer to machine level, so that VCS ROM is literally a physical copy of the source code, and can be disassembled (if permitted). (33) Compilers for languages like C and Java take higher-level commands and convert them into sets of machine instructions. Assemblers simply reformat processor instructions. For this reason, a VCS ROM is essentially just a copy of its source code, obfuscated by the process of assembly. A
disassembler can be used to convert ROM instructions and data back into readable assembly language code. Code obtained in this manner does not include any natural language information labeling memory locations, or lines, or subroutines, but someone familiar with the platform, given some time, can often usefully reconstruct a programƒs source code using this technique.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (33) 20131024o 0 -1+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
If disassembly not permitted, violating copyright, then is scholarly research based on such misuse legitimate is an ethical question for digital humanities. (33) When a program has been carefully disassembled and commented, as has been done with
Combat, understanding the program becomes much more tractable.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (33-34) 20131024p 0 -9+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Main loop does all other control operations during vertical blanking interval of television electron beam, then executing kernel code that paces the beam drawing the screen. (33-34) The basic flow of
Combat follows the progress of the TVƒs electron beam, busily preparing each line that is to be drawn while the current one is appearing on the screen. During the vertical blanking interval, as the beam moves from the bottom of the screen to the top, the VCS running Combat does the computation necessary to process input, deal with game logic, and update the score if necessary.
(34) The first routine in
Combatƒs main loop checks the position of the VC console switches. . . . The Atari VCS has no operating system to intercept inputs and respond to common ones.
(34) Finally, after all of this is done, a routine called the kernel is called to draw the display by setting up the scan lines one at a time. The kernel is the last routine in
Combatƒs main loop.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (37-38) 20131024r 0 -2+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
First artificial intelligence game players as variations on original two-player games. (37-38) From the standpoint of the systemƒs launch in 1977, the really interesting game variations in
Video Olympics may have been not the four-player ones but the two one-player Robot Pong variants that were offered the first ones on the cartridge. In the austere 2K cartridge, amid the fifty variations in numerous different categories, with reference to other simulated computer game opponents, come to be called artificial intelligence.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (39) 20131024s 0 -2+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Importance of making mistakes resembling human response to make play more fun, a form of Turing test implicit in videogames. (39) Effective game AI needs to simulate good, intelligent human behavior. But as Relay Moe demonstrates, convincing AI also needs to simulate certain types of
unintelligent human behavior, in the form of mistakes that make play more fun.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (48) 20131024t 0 -1+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Hardware collision detection of TIA afforded particular game types and create virtual space. (48) Thanks to the TIAƒs provision for collision detection in hardware, it is easy to implement things such as shooting or being shot by missiles, running into a wall, or consuming something.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (49) 20131024v 0 -4+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Persistence of concept of movement from room to room solved by Robinett for Adventure. (49) This movement set the standard for later action-adventure games, including the tile-based games in the
Ultima and The Legend of Zelda series. Even though most contemporary action-adventure games use three-dimensional (3D) rendered worlds rather than two-dimensional (2D) top-drawn ones, the concept of movement from room to room, as in a castle or dungeon, persists. [Warren] Robinettƒs solution to contiguous movement through space may seem obvious to us now, but it required a great deal of engineering, given the nature of VCS screen graphics.
(51)
Adventure required the creative adaptation of the machineƒs technical features for new, unforeseen purposes.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (53) 20131024x 0 -4+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Good point about using existing technical objects in new ways as a form of technological innovation, such as graphics registers for player avatars and castle walls, and how it affects technical and expressive consequences. (53) The repurposing of graphics registers has both technical and expressive consequences. Technical innovations are often understood as the creation of new technology new materials, new chip designs, new algorithms. But technical innovation can also mean using existing technical constraints in new ways, something that produces interesting results when combined with creative goals. Designing the TIAƒs graphics registers to support games like
Pong and Tank represents an interesting aspect of how platform development happens: reusing those graphics registers for player avatars and castle walls demonstrates a negotiation between the platform and the authorƒs vision of a game.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (58) 20131024z 0 -1+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Traversing virtual space supplants narration as procedural rhetoric. (58) The traversal of space has become a standard way to require the discovery of a particular input sequence, something that had been previously done through the subtlety of language.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (59) 20131025 0 -3+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Easter eggs different than skeumorphs but help connect technical object with human (and perhaps other technical) cultures to which it belongs. (59) The
Easter egg is a message, trick, or unusual behavior hidden inside a computer program by its creator.
(60) Computer software, produced in business contexts or otherwise, is often impersonal. Easter eggs lay a human touch on such artifacts, reconnecting them with their creators and the craft practice of authorship.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (61) 20131025a 0 -2+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Roles that today form collaborations for Hayles all devolved to early game programmers. (61) The game programmerƒs job at that time was much more like a combination of what we now call the executive producer, the designer, the programmer, the artist, and the sound designer.
(62) The turn away from text and toward graphics started by the VCS
Adventure was partly encouraged by games licensed from films, which began to emerge in numbers in the early 1980s, just as Adventure was released.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (63) 20131025b 0 -4+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Lost genre of text-based interactive games and fiction like Zork could be considered examples of technical and expressive possibilities afforded under specific technological media. (63) The graphical turn in video games has been a bittersweet one. The Crowther and Woods
Adventure, Zork, and the interactive fiction games that they fostered enjoyed enormous success during the 1980s, but that form was no longer marketable by the beginning of the 1990s. Interactive fiction continues to thrive among communities of writers and players without being the mass-market phenomenon it once was. And despite tremendous advances in the visual fidelity of game hardware and software, the interactive engagement of contemporary adventure games has changed little since the VCS Adventure set the stage for the genre.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (67) 20131025c 0 -5+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Discussion about how an existing game or other cultural item is represented in a game separate from how different technical platforms represent the same or similar games, such as the doomed VCS Pac-Man and favored tile-based systems. (67)
Pac-Man, of course, was already a video game before it was a VCS cartridge. Porting a graphical video game from one computer platform (the arcade board) to another (the Atari VCS) does not demand a change in fundamental representational or functional mode. Both versions are games, rule-based representations of an abstract challenge of hunter and hunted. Where the two versions diverge is in the technical foundations in their platforms. And in the case of this title, those differences were significant enough to doom the VCS rendition of Pac-Man, by some accounts even causing a major crash in the videogame market during 1983.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (70) 20131025e 0 -3+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Sprite (movable bitmap) became standard for home consoles, although a challenge for VCS programmers. (70) This style of sprite a movable bitmap later became the standard for home console hardware and was used in many systems, including the Intellivision and the NES.
(71) Although the arcade board provides a facility for vertical sprite flipping in hardware, the vary idea of such mirroring doesnƒt even make sense on the VCS, as the programmer must manually set up and draw sprites on an individual scan-line basis, not as a bitmap at a Cartesian coordinate.
(72) When faced with the rows of aliens in
Space Invaders or the platoon of ghosts that chases Pac-Man, VCS programmers needed to discover and use methods of drawing more than two sprites, even though only two one-bye registers were available.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (81) 20131025f 0 -5+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Development story of Yars Revenge reveals interplay between arcade and home games. (81) In 1981 Yarsƒ Revenge burst forth from Atari, powered by impressive graphics and sound and providing for compelling play. . . . The story of its development reveals much more about the interplay between arcade and home games.

3 4 1 (+) [-6+]mCQK montfort_bogost-racing_the_beam (94) 20131025g 0 -1+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Looking at the code as visual pattern a point Hayles would enjoy making. (94) When the player looks at the neutral zone on the screen, he is also literally looking at the code.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (102) 20131025h 0 -1+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Single programmer creating an entire game. (102) In the heyday of the Atari VCS, a single programmer would create an entire game.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (102) 20131025i 0 -3+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Assembler code example illustrates apparent obfuscation due to frugality requirements. (102) Assembler programs are composed of elementary instructions, not of higher-order functions. For example, the following assembly language instructions load a value from the top of RAM, add the value 8 to it, and store the result in the TIA register that sets the background color.
(103) ROM frugality often required clever rearrangements of assembler code, which sometimes made the resulting source files appear to be puzzles encrypting their content rather than roadmaps elucidating it.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (110) 20131025j 0 -2+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
World for Pitfall consistently created by code using pseudorandom sequence rather than storing a large imagine in little ROM. (110) Craneƒs solution to the puzzle of ROM mapping a large world with little ROM was to not store the world in ROM at all. Instead, the world is generated, consistently, by code.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (112-113) 20131025k 0 -4+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Social reason to limit gameplay in public venues hindered open-ended play Pitfall permitted, which was well suited for the home. (112-113) Even when compared to Activisionƒs previous games,
Pitfall! was particularly well suited to the living room or den. In the arcade or the tavern, there is a social reason to limit gameplay, in addition to the financial incentive to increase coin-drop. But the living room invites people to consume media in much longer segments, such as the thirty-minute television show.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (124) 20131025l 0 -3+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Corporate concerns rather than technical or creative factors determined whether to license a property like Star Wars for video games. (124) The representational power of the machine was slight in comparison to todayƒs consoles with their 3D graphics and full-motion video, but there were manuals and box materials to create the necessary associations. Anyway, a lack of representational power never prevented properties from being licensed for other non-electronic game forms and for various toys. When the question was whether to license a property for use in a video game, the answer always was based on corporate concerns, not technical or creative factors.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (127) 20131025m 0 -5+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
ET ranked worst game of all time, likely due to hurried release for holiday season. (127)
E.T. has been ranked, more than once, as the worst video game of all time.
(127) A general problem that the makers of licensed games faced was the need to tailor their schedules to the release of other media properties or to the Christmas season, along with the need to maintain qualities of the particular property being used. All of this was added to the usual constraints and pressures provided by the platform and the market.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (129) 20131025n 0 -4+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Parker Brothers commissioned reverse engineered of VCS trade secrets to develop third-party games. (129) How did this programmer, Rex Bradford, learn to develop VCS games? He explained: Our first job was to reverse-engineer the trade-secret Atari [VCS]. Parker Brothers hired a company to strip off the top of the graphics chip and photograph it. [Two] engineers stared at the circuit diagram, while I wrote a disassembler to examine existing cartridge code.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (134) 20131025p 0 -4+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Nintendo developer better first-party licensing model for supporting retailers and developers while maintaining control. (134) Nintendo devised a way to support retailers and third-party developers yet also to control them.
(134) Nintendoƒs first-party licensing model set the stage for the more homogeneous and anonymous work-for-hire mode of videogame development that remains the norm. It also introduced a culture of soft censorship in video games, with console manufacturers getting the last word on what they would and wouldnƒt allow on their hardware.
(135) Atariƒs system has remained influential both as a distant technological ancestor of todayƒs home consoles and as a residual but compelling presence in todayƒs gaming landscape.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (137) 20131025q 0 -10+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Long run from 1977 through 1992; compare to pinball platforms. (137) The Atari VCS had one of the longest production runs of any microcomputer, and certainly the longest of any dedicated home videogame console. Models were manufactured from 1977 through 1992.
(137) Lower-cost electronics contributed to such advances.
Realsports Boxing uses a 16K ROM, allowing eight times as much code and data as the original cartridges did. But new conventions for gameplay also began to feed back into VCS game design. . . . The VCS titles from the late 1980s often adapted the conventions of games produced for such newer home consoles [of Nintendo and Sega], also borrowing from contemporary arcade games that were unimaginable ten years earlier.
(138) The abstract simplicity of the machine, combined with the stringent constraints that simplicity imposed, made for an extremely flexible system.

3 4 1 (+) [-4+]mCQK montfort_bogost-racing_the_beam (142) 20131025r 0 -4+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Besides emulation, homebrew programmers continuing to discover unknown capabilities of the VCS platform, and Bogost uses it for teaching. (142) Although many homebrew programmers are motivated by nostalgia, they are doing more than recreating the glory days of the Atari VCS they are continuing to discover previously unknown capabilities of the platform.
(143) Atariƒs venerable system has also been used to help students learn and engage with the history of creative computing. In 2005, the twenty-four-hour Retro Redux event at New York University challenged students in the area to design Atari VCS games. Both of the authors of this book have had students play and analyze games on the system; Ian Bogost has also had them program their own original games in Batari BASIC and assembly.

3 4 1 (+) [-4+]mCQK turkle-life_on_the_screen (36) 20120111 0 -3+ progress/2011/05/notes_for_turkle-life_on_the_screen.html
Turkle refers to it as a tale of two aesthetics but they are basic and significantly different epistemological positions. (36) If my transparent Apple II modeled a modernist technological aesthetic, the Macintosh was consistent with a postmodern one.
(37) With the introduction of Microsoft Windows in 1985, the modern and postmodern aesthetics of computing became curiously entwined.
(41) there is still a tendency to assume that the choice of operating systems is a purely technical decisions.

---3.4.2+++ {11}

3 4 2 (+) [-4+]mCQK barthes-structuralist_activity (149-150) 20131025b 0 -6+ progress/2012/05/notes_for_barthes-structuralist_activity.html
Compare reconstructing simulacrum of an object to Bogost using exploded view; he mentions units in the next paragraph. (149-150) The goal of all structuralist activity, whether reflexive or poetic, is to reconstruct an object in such a way as to manifest thereby the rules of functioning (the functions) of this object. Structure is therefore actually a
simulacrum of the object, but a directed, interested simulacrum, since the imitated object makes something appear which remained invisible, or if one prefers, unintelligible in the natural object. . . . the simulacrum is intellect added to object, and this addition has an anthropological value, in that it is man himself, his history, his situation, his freedom and the very resistance which nature offers to his mind.

3 4 2 (+) [-4+]mCQK barthes-structuralist_activity (154) 20131025g 0 -1+ progress/2012/05/notes_for_barthes-structuralist_activity.html
Manteia function of artist/analysis of Hegel: speak locus of meaning, does not name it. (154) his [artist/analyst] function, to return to Hegelƒs example, is a
manteia; like the ancient soothsayer, he speaks the locus of meaning but does not name it.

3 4 2 (+) [-4+]mCQK baudrillard-transparency_of_evil (174) 20140421i 0 -2+ progress/1994/06/notes_for_baudrillard-transparency_of_evil.html
Goal of interfaces becoming invisible that many philosophical programmers idealize is the same seduction Baudrillard deduces from the hold of objects on our attention, bound in the inexplicable secrecy of artifice, the fetishism of commodities, code and objects. (174) Seduction knows that the other is never the end of desire, that the subject is mistaken when he focuses on what he loves, just as an utterance is mistaken when it focuses on what it says. Secrecy here is always the secrecy of artifice.

3 4 2 (+) [-4+]mCQK berry-philosophy_of_software (138-139) 20130911y 0 -6+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Heim on vicarious causation relates to Turkle on surface enjoyment, what Berry calls screen essentialism, due to double articulation, and Hayles investigates through Oreo models of PET scan: these phenomena harbor Bogost units containing universes, and double articulation entails materiality of interface and substrate as well as the properly immaterial virtual reality of representational space within the device. (138-139) In other words, there is no
direct contact with our phenomenal reality and that represented within the computational device except through the interfaces, computer code, and input devices that mediate it, such as a mouse and a windowing system. As Heim (1987) explains: The writer has no choice but to remain on the surface of the system underpinning the symbols. . . . Digital entities can then be said to have a double articulation in that they are represented both spatially within our material universe, but also with the representational space created within the computational device a digital universe.

3 4 2 (+) [-4+]mCQK berry-philosophy_of_software (140) 20130911z 0 -4+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Loose coupling network layers another good example of loosely independent connections thought in terms of Heidegger Gelassenheit, with abstraction taking place all the way down. (140) The computational device is an unstable form of equipment that must continually gather and reinforce its equipmental qualities against a hostile world of breakdown. This is then repeated through numerous layers of software that serve to create inner unstable universes within which further abstraction takes place,
all the way down. Crucially though, the agency of each universe is loosely independent and defined at its creation in computer code by a series of constraints which serve as a framework within which the new abstract layer must function. Each layer promises uncertain affordances to the latter, eventually culminating in the partial affordance offered to the user through a risky encounter with a vicarious transformation which here I argue is radically unreadiness-to-hand.

3 4 2 (+) [-4+]mCQK berry-philosophy_of_software (145-149) 20131025w 0 -13+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Building computational subject as stream from Lyotard fables, Massumi affective fact, software avidities, Husserlian comet, processing multiple streams at once (Aquinas). (145-149) The question now arises as to the form of subjectivity that is both postulated and in a sense required for the
computational subject. . . . To do this, I want to look at the work of Jean-Francois Lyotard, a French philosopher and literary theorist, especially his ideas expressed in Postmodern Fables. . . . using the fable as an exploratory approach. . . . This concept of the stream as a new form of computational subjectivity also represents a radical departure from the individualized calculative rationality of homo economicus and tends rather toward the manipulation of what Brian Massumi calls ƒaffective factƒ, that is through an attempt to mobilize and distribute the bodyƒs capacity to think, feel and understand (either through a self-disciplinary or institutional form).

3 4 2 (+) [-4+]mCQK bogost-alien_phenomenology (5) 20131026c 0 -2+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Speculative realists must reject correlationism and abandon belief that ontology is mediated by human experience. (5) This is just a starting point, an ante: to proceed as a philosopher today demands the rejection of
correlationism. To be a speculative realist, one must abandon the belief that human access sits at the center of being, organizing and regulating it like an ontological watchmaker.

3 4 2 (+) [-6+]mCQK bogost-alien_phenomenology (11) 20130910a 0 -3+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Flat ontology acknowledges unequal ways all things exist; will give examples of how flat ontology answers what is ET the arcade cartridge. (11) In short,
all things equally exist, yet they do not exist equally.
(12) Levi
Bryant calls it flat ontology. He borrows the term from Manuel DeLanda, who uses it to claim that existence is composed entirely of individuals (rather than species and genera, for example).

3 4 2 (+) [-6+]mCQK bogost-alien_phenomenology (21-22) 20130910b 1 -2+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Tiny ontology compresses flat ontology to infinite density of a dot, unit. (21-22) Instead of the
plane of flat ontology, I suggest the point of tiny ontology. Itƒs a dense mass of everything contained entirely even as itƒs spread about haphazardly like a mess or organized logically like a network.

3 4 2 (+) [-4+]mCQK bogost-alien_phenomenology (27) 20130910c 0 -3+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Units operate resolves problem of Badiou count-as-one ontology by answering what does the counting. (27) Instead, consider this simple declaration:
units operate.
(28) This is the heart of the unit operation: it names a phenomenon of accounting for an object. It is a process, a logic, an algorithm if you want, by which a unit attempts to make sense of another.

3 4 2 (+) [-4+]mCQK bogost-alien_phenomenology (30) 20130910d 0 -4+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Phenomenal (and phenomenological) limits of human embodiment should not define ontological boundaries. (30) When we ask
what it means to be something, we pose a question that exceeds our own grasp of the being of the world.
(32) The speculation required to consider the unit operations that entangle beings requires something similar to Husserlƒs phenomenal act. Speculation is akin to epoche. It produces transcendence in the Husserlian sense: a concrete and individual notion, one that grips the fiery-hot, infinitely dense molten core of an object and projects it outside, where it becomes its own unit, a new and creative unit operation for a particular set of interactions.

3 4 2 (+) [-4+]mCQK bogost-alien_phenomenology (32) 20131026 0 -2+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Undestanding objects via Harman black noise similar to Zizekian curvative of space analogy. (32) Harman uses the name black noise to describe the background noise of peripheral objects.
(33) Just as the astronomer understand stars through the radiant energy that surrounds them, so the philosopher understands objects by tracing their impacts on the surrounding ether.

3 4 2 (+) [-4+]mCQK bogost-alien_phenomenology (35) 20131026a 0 -14+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Transfer of ontography from mytheme to philosopheme, beginning with homonym on Lewis. (35) But like his countryman C. S. Lewis, James is rarely remembered for his medieval scholarship. Instead, we know him best as M. R. James, author of classic collections of ghost stories, including
Ghost Stories of an Antiquary.
(36) But for our purposes, the interesting bit is not the apparition but the professorƒs unusual field of expertise,
ontography.
(36) Ontography, Harman reasoned, would deal with a limited number of dynamics that can occur between all different sorts of objects, an initial take on what he would later develop into a full-fledged part of his philosophy. My adoption of ontography offers a different interpretation of this received invention than that of Harman.
(37) Another, more recent application of the concept comes from Tobias Kuhn, a Swiss informaticist who has developed a method of ontography for depicting controlled natural languages (CNLs) grammatically and semantically simplified languages for use in situations where reduced ambiguity is desirable, such as in technical documentation. . . . Kitchenerƒs, Davisƒs, and Kuhnƒs approaches have something in common: an interest in diversity and specificity.

3 4 2 (+) [-4+]mCQK bogost-alien_phenomenology (38) 20130910f 0 -7+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Ontography, based on Tobias Kuhn method for depicting controlled natural languages, as general inscriptive strategy for uncovering object relationship; later he gives the example of his Latour litany and image toy programs that produce lists via broad rules of inclusion yet of specific things (data objects); compare and contrast controlled natural languages to programming languages. (38) Letƒs adopt
ontography as a name for a general inscriptive strategy, one that uncovers the repleteness of units and their interobjectivity. From the perspective of metaphysics, ontography involves the revelation of object relationships without necessarily offering clarification or description of any kind. . . . The simplest approach to such recording is the list, a group of items loosely joined not by the logic or power or use but by the gentle knot of the comma.
(40) The inherent partition between things is a premise of OOO, and lists help underscore those separations, turning the flowing legato of a literary account into the jarring staccato of real being.

3 4 2 (+) [-4+]mCQK bogost-alien_phenomenology (51) 20130910g 0 -1+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Exploded view diagram suitable for ontography; example of Shore Scribblenauts photographs. (51) We can analogize the spirit of ontography with a technique in graphic and information design, the
exploded view diagram.

3 4 2 (+) [-4+]mCQK bogost-alien_phenomenology (58) 20130910h 0 -6+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Latour litany as word ontograph, In a Pickle game producing ontographs about words. (58) A Latour litany is an ontograph made of words. By contrast,
In a Pickle is a machine for producing ontographs about words. . . . In a word can refer to the interior of a semantic unit, the molten core of a name, where its various homographs and referents swim like ribosomes grazing on peptide chains.

3 4 2 (+) [-4+]mCQK bogost-alien_phenomenology (67) 20130910i 0 -2+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Metaphorism goes beyond Husserlian bracketing human empirical intuition such that perception itself is metaphorical; great distinction for thinking about inner life of devices. (67) This is a mind-bender: the Husserlian epoche brackets
human empirical intuition, but in metaphorism we recognize that our relationship to objects is not first person; we are always once removed. It is not the objectsƒ perceptions that we characterize metaphoristically but the perception itself, which recedes just as nay other object does.

3 4 2 (+) [-6+]mCQK bogost-alien_phenomenology (106) 20130910o 0 -6+ progress/2012/04/notes_for_bogost-alien_phenomenology.html
Alien probes perspective of Tableau Machine home computer as deliberate computational carpentry example; contrast to Turing Test. (106) But a much more sustained and deliberate example of computational carpentry that performs alien phenomenology can be found in
Tableau Machine, a nonhuman social actor created by Mario Romero, Zachary Pousman, and Michael Mateas. . . . An alien presence, they argue, does not try to mimic human perception and interpretation, but rather to open a non-human, alien perspective onto everyday activity.

(107) Its creators surmise that the home can perceive, but they add an additional presumption: a homeƒs perception is unfathomable by its human occupants.

3 4 2 (+) [-4+]mCQK bogost-persuasive_games (58) 20131026c 0 -9+ progress/2012/12/notes_for_bogost-persuasive_games.html
Badiou terms situation, multiplicity, count-as-one, state, and event form basis of seriousness underlying structure of a system. (58) The notion of the serious as the underlying structure of a system is particularly compatible with the concept of procedurality.
Procedural representation depicts how something does, could, or should work: the way we understand a social or material practice to function. I connect this idea to contemporary philosopher Alain Badiouƒs notion of the situation, a structured presentation of a multiplicity, a particular ontological arrangement. Badiou applies transfinite set theory to philosophy, understanding being to mean being a member of. The gesture of including a concept in a situation is akin to the set-theoretical notion of belonging, which Badiou names the count-as-one. I have previously correlated the count-as-one with the unit operation, the gesture of conceiving of a particular process as an encapsulated concept. Badiou further understands situations to have a state, the logic by which the elements in a situation are counted as one or the reasons why the structure is organized the way it is. It is the state that is commensurate with seriousness as the nature of a thing, the reasons that make it what it is. Badiou further articulates a concept called the event, which offers a chance to disrupt the state of a situation and reinvent it, wholly anew, under a different organizing logic.

3 4 2 (+) [-5+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xxii-xxiii) 20140301 0 -11+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Overarching level laying down law of otherwise open networks should be part of diachrony in synchrony framework. (xxii-xxiii) As works by French philosophers of networks like Michel
Serres or, in other respects, Gilles Deleuze have shown, one of the basic properties of networks is that they are open. . . . The difficulty of establishing a scale of justice in networks stems precisely from the fact that it is not always known who is on the inside and who is on the outside. . . . Consequently, attempts to structure networks always involve a minimal formalization of a list of parties to it and the creation, if not of a state, then at least of a regulatory instance accepted by the ƒmembersƒ that is to say, of a second, overarching level that lays down ƒthe lawƒ. In the process of so doing, it is clear that the network loses its fluidity, its openness, and thus its reticular character. To not this is not to be a centralizer at heart.

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Openness of networks makes it difficult to establish scale of justice, though members must accept regulatory instance, or state laying down the law; Galloway protocol would help here. (xxii-xxiii) The difficulty of establishing a scale of justice in networks stems precisely from the fact that it is not always known who is on the inside and who is on the outside. . . . Consequently, attempts to structure networks always involve a minimal formalization of a list of parties to it and the creation, if not of a state, then at least of a regulatory instance accepted by the ƒmembersƒ that is to say, of a second, overarching level that lays down ƒthe lawƒ. In the process of so doing, it is clear that the network loses its fluidity, its openness, and thus its reticular character. To not this is not to be a centralizer at heart.

3 4 2 (+) [-5+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xxiii-xxiv) 20140118n 0 -18+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Ontology of the social reveals two paradigms, rhizomorphous plane of immanence, and normative two tier permitting comparison of singular entities but therefore accused of succumbing to illusion of transcendence. (xxiii-xxiv) The questions raised by the way we use the notion of network refer, in the end, to a central aspect of our approach on the theoretical level. . . . For us, this dimension of our research is pretty fundamental, because it concerns what might be called the ontology of the social. To put it rapidly and crudely, social theory, especially French social theory (but in this respect French thought has had considerable influence on social science at a global level over the last thirty years), has periodically oscillated between two paradigms that appear to be incompatible.
(xxiv) The first emphasizes force and the relations of force that are regarded as underlying the institutions, and legal and normative fulcra, on which actors claim to base their actions. . . . In the 1960s and 1970s, they were associated with the revival of Marxism through an injection of structuralism. More recently, they have instead been based upon a
reticular or rhizomorphous ontology, especially in the form given it by Deleuze on the basis of an original reinterpretation of Spinoza and Nietzsche, whose works only belatedly had specific effects on social theory, so that they were only really important from, let us say, the mid-1980s.
(xxiv) By contrast, the second paradigm, which was redeployed at the end of the 1970s and in the 1980s, when the decline of Marxism reopened the field of theoretical reflection, intends to underscore the real social role played by political institutions and political philosophy, by law, morality and, in general,
normativity. In particular, it has relied on the oeuvre of Habermas Mark 2, but also in France on those of the historian Francois Furet, who played an important role in the return to political theory, and the philosopher Paul Ricoeur.
(xxiv-xxv) The first, especially in its rhizomorphous forms, is based on an ontology containing only one tier or plane (the ƒplane of immanenceƒ). It knows only singularities or flows, the relationship between which assumes a reticular form and whose movements and relations are governed by a logic of forces. The second, in contrast, is intelligible only on condition that it posits a two-tier space, the first of which is occupied by singular entities in particular, people while the second is composed of principles of parity that make it possible to compare singular entities, to constitute them as categories or classes, and to make normative judgments about the relations between them. It is precisely this two tier structure that is condemned by the first paradigm as succumbing to the illusion of transcendence.

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Model of change seeks to integrate these paradigms, regime of categorization for normative and regime of displacement for rhizomorphous, in a single framework. (xxv)

3 4 2 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (xliv) 20140303j 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Goal of changing mindset to perspective of multiple processes affecting reality, as combination of rhizomorphous and normativity. (xliv)

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Ends prologue with reminder by Weber of need for embodied, interested viewpoint to differentiate phenomena from the confused flow of events, connecting diachrony in synchrony addition to Montfort and Bogost layer model. (xliv-xlv)

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At reaching formation of new spirit of capitalism at the end it prepares to repeat. (485) In this conclusion, we have sought to condense in a comparatively limited space the historical transformations of capitalism over the last thirty years, as well as the concepts and model of change that we employ to account for them. This synthesis is presented in the form of a series of steps leading to the formation of the new spirit of capitalism.

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Capitalism must convince people to engage it. (485) 1. Capitalism needs a spirit in order to engage the people required for production and the functioning of business.
(486) It is precisely because capitalism is hand in glove with freedom, does not have total sway over people, and presupposes the performance of a large number of tasks that cannot be carried out without workersƒ positive involvement, that it must furnish acceptable reasons for engaging.

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First axiom, first of n sequence of axioms, is the necessity of capitalism having a voice, having spirit for subvocalization of leading the soul with words to engage people. (485) 1. Capitalism needs a spirit in order to engage the people required for production and the functioning of business.
(486) It is precisely because capitalism is hand in glove with freedom, does not have total sway over people, and presupposes the performance of a large number of tasks that cannot be carried out without workersƒ positive involvement, that it must furnish acceptable reasons for engaging.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (486) 20140223b 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Second axiom is moral dimension of which tests play a role though tests exist immanently as part of the overall interior logic of capitalism, expressed as its insatiability. (486) 2. To be capable of mobilizing people, the spirit of capitalism must incorporate a moral dimension.

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Insatiable capitalism must tempt satiable humans; compare insatiablity satiability distinction to Rushkoff on difference between computer and human senses of time. (486)

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Third axiom is need to both stimulate and curb insatiability motivating capitalism, comparable to Rousseau by Derria, causing permanent tension, the wish to participate in projects. (487) 3. If it is to survive, capitalism needs
simultaneously to stimulate and to curb insatiability.
(488) It is the site of a
permanent tension between the stimulation of desire for accumulation and its limitation by norms corresponding to the forms that desire takes when it is embedded in other orders of status.

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Contrary to Durkheim insatiability belongs to systemic capitalism not human nature due to competing desires. (487) Thus, in contrast to Durkheim, we transfer the full weight of such insatiability on to capitalism that is, its systemic properties not on to the anthropological properties of human nature. . . . By causing desires to be played off against one another, as it were, the existence of a plurality of value orders and peopleƒs simultaneous or successive membership of several lived worlds thus tend to confer a satiable character on human nature.

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Capitalism must resort to cities providing external justification due to absence of provable moral connection for insatiable accumulation. (487) Unable to discover a moral basis on the logic of the insatiable accumulation process (which, in itself, on its own, is amoral), capitalism must borrow the legitimating principles it lacks from orders of justification external to it (here called
cities).

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Fourth axiom is that critique has real effects, mechanisms beyond illusion of ideology. (488) 4. The spirit of capitalism cannot be reduced to an ideology in the sense of an illusion with no impact on events in the world.
(488) Critique has real effects for, in order to withstand the test, the justification of capitalism must be able to rely upon mechanisms that is to say, collections of objects, rules, conventions, of which law is one expression.

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Fifth axiom is transforming tendency, which may make the spirit radical to the point of mobilizing as they accumulate. (489) 5. Capitalism has a constant tendency to transform itself.
(489) As they accumulate, the alterations can become so radical that a spirit of capitalism adapted to a given period can subsequently prove utterly incapable of performing is mobilizing function.

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Sixth axiom is critique as voice is principal operator, intervening to tighten tests but then subject to being ignored or recuperated. (489) 6. The principal operator of creation and transformation of the spirit of capitalism is critique (
voice).
(490) The more critique focuses attention on a test, the more chance there is that established mechanisms exist to improve it in terms of its more or less just character.
(490) it intervenes to
tighten up the tests.
(490) Because critique makes it possible for capitalism to equip itself with a spirit which, as we have seen, is required for people to engage in the profit-making process, it indirectly serves capitalism and is one of the instruments of its ability to endure. This poses some serious problems for critique, since it easily finds itself faced with the alternative of being either ignored (and hence useless) or recuperated.

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Seventh axiom is ability of critique to change capitalism beyond its spirit: by engendering displacements, shifting weights of tests, altering forms of accumulation. (490) 7. In certain conditions, critique can itself be one of the factors of a change in capitalism (and not merely in its spirit).
(490-491) (a) the critique of the established tests is so violent that capitalism seeks to elude them via displacements . . . (b) because critique is plural, change in the balance between different critical components . . . leads to an emphasis on tests that have hitherto been weakly established . . . (c) by obliging capitalism to limit itself, critique constrains it to alter its forms of accumulation.

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Eighth axiom energizes critique by indignation, emotional expressions of meta-ethical anchorage, whose political exigency arose in Enlightenment. (491) 8. Critique derives its energy from sources of indignation.
(491) Forms of indignation may be regarded as emotional expressions of a meta-ethical anchorage, and concern infringements that are believed, at least implicitly, to affect peopleƒs possibilities of realizing their humanity.
(491) If there is certainly no form of society without critique, critique as a political exigency is a product of the Enlightenment.

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Voice gets its due because prices cannot express all dissatisfaction. (492) To the extent that prices cannot focus all the reasons for satisfaction or dissatisfaction, capitalism is also bound to give
voice its due.

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Tests of legitimacy during period involved unmasking infringements of justice in wage-profit relationship, legitimation of power asymmetries, and social selection. (492) Given the subject matter of our work, the formalized tests that interest us are in the main those through which capital accumulation and profit creation are pursued in forms that lay claim to legitimacy.
(493) Critique unmasks infringements of justice in these tests.

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Greater strictness of established tests produce unequal advantages and prompt amoral exploration of opportunities for alternative investment. (496) Even if, for reasons bound up with the legitimacy of the social order, it is difficult to oppose such a process head-on, it remains the case that greater strictness in the established tests is not to everyoneƒs advantage.
(496-497) Given that the established tests are invested with a high degree of legitimacy (from which the ƒgreatƒ have hitherto benefited), the ability to realize that they have lost out on their interests, and that it is time to seek opportunities for alternative investment, other paths of profit involving different tests, thus presupposes a certain freedom with respect to morality a variety of amoralism, often presented in the language of ƒrealismƒ.

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Organizational shifts were not occult strategy of firms but experts. (501) The organizational shifts of the 1970s were certainly prepared by much thought and many studies on the part of experts economics, sociologists, administration specialists and specialist consultants or journalist, concerned to confront criticism.

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Beneficial interpretations of displacements had to be developed rhetorically. (502) Competitive pressure led to a fairly rapid diffusion of displacements. But an effort of interpretation, comparison and narration (often performed by consultants or in symposia, seminars, etc.) was required to define what seemed to have been beneficial, and to render local or circumstantial measures applicable elsewhere.

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Critique is not monolithic, it generates new ethical questions; capitalism like technology exploits ambiguity. (503) Critique is not monolithic. Thus, we have identified two major critical registers that have pursued their course since the mid-nineteenth century in different forms and subject to variation: the social critique and the artistic critique. . . . Finally, critique is no more immutable than capitalism. It is displaced in accordance with procedures of extension to new subjects of anxiety as to the fair or unfair character of everyday situations. It can therefore be focused on moments that had not hitherto been formalized in terms of tests, engaging beings whose suffering or unjust condition had not been registered.

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Capitalism exploits ambiguity. (503) Given this plurality, and the fact that critiques are sometimes contradictory, it is possible for displacements in capitalism to answer some demands while circumventing the tests that are of the utmost importance for another aspect of critique.

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Artistic and social critiques helped uncouple capitalism from the state, tradition, family, grand narrative. (504) If artistic critique thus directly contributed to undoing the industrial-domestic compromise that had been preserved in the previous period, it also served as a lever for uncoupling capitalism from the state.
(505) The social critique of the 1930s, which had contributed to the formation of the second spirit of capitalism, had taken the anarchic character of capitalism, dominated by private interests, as its main target.

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Hysteresis of critical mechanisms. (507) Critical mechanisms are established with difficulty, at the cost of great sacrifices and with a delay, in an isomorphic relation with the institutions on which they are intended to have some purchase. This isomorphism is, in a way, the condition of their effectiveness. They thus find themselves caught unawares by any rapid change in the modes of organization and forms of justification of the world to which they had to stick closely in order to become a party.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (507-508) 20140223t 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Monopoly on accounting systems and Latour calculation centers creates asymmetries between workers and management. (507-508) Among the numerous asymmetries that place wage-earners in a weak position
vis-a-vis managements, one of the main one stems from the ability to define accounting parameters and orchestrate them into calculation centers, to use Bruno Latourƒs phrase. The management of firms has a quasi-monopoly on this.

3 4 2 (+) [-5+]mCQK boltanski_chiapello-new_spirit_of_capitalism (508) 20140223v 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Difficult to change accounting frameworks via critical mechanisms. (508) Critical mechanisms succeed in influencing the accounting framework only at the cost of considerable struggle and albeit to a very unequal degree, depending on the country and the stateƒs role in regulating social relations by taking the form of a generally valid legal change.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (508) 20140223w 0 -5+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Displacements of capitalism render supervision of tests more difficult, such as by multiplying small calculation centers while maintaining integration of information at managerial level. (508) One of the most obvious effects of the displacements has been to render the supervision of tests on the ground much more difficult.
(508-509) The multiplication of small calculation centers (as well as firms) has thus had the effect of obscuring the major divisions made over the whole of a production line (a ƒbranchƒ, as it would be called in the language of the second spirit of capitalism). The ƒbreaking-up of capital into separate legal entitiesƒ has in fact proceeded in tandem with the preservation of a high level of integration of the ƒstructure of informationƒ on the managerial side. For wage-earners, in contrast, the available information has become dispersed and the horizon restricted to the direct unit of integration, which is legally the direct employer, but without any decision-making autonomy. This situation explains why we have introduced into the mechanisms of the projective city those that aim to combine all the components of a network into an identifiable whole.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (509) 20140223x 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Effect of information deficit on markets precipitated financial crisis. (509) Such is the information deficit on the markets that no one is in a position precisely to evaluate the general risk that these new financial products entail for the global economy, in particular as a result of commitments that far exceed the creditworthiness of the signatories.
(509) Reliance on the law to defend the interests of the weakest stamps the critical organizations with a kind of conservatism that is alien to capitalism.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (510) 20140223y 0 -3+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Capitalism has no reason to take account of general interests, leading to historical moments of revolution. (510) Released from control, without constraints, capitalism knows no criteria except the private interests of the strongest, and has no reason to take account of the general interest. No ƒinvisible handƒ now intervenes to guide it when the institutions and agreements without which the market cannot function collapse.
(510) Such historical moments, which may legitimately be characterized as ƒrevolutionaryƒ, are marked by profound alterations in the social world.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (511) 20140223z 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Risk of disengagement by workers, creators, consumers, investors. (511)

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (512) 20140227a 0 -5+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Risk of dealignment of capitalism and the state by displacements such a deregulation of financial markets and network forms of organization; capitalism relies on the state. (512) A second type of risk derives from the dealignment of capitalism and the state introduced by the displacements. Capitalism has never been able to survive without relying on the state, and it cannot do so today either.
(512-513) It was this balance that was called into question when capitalism recaptured a margin of maneuver and put itself in a position to escape the coercive power of the state in large measure. This dynamic was based upon the deregulation of financial markets, which reduced the margin of financial maneuver possessed by states, and on the developing internationalization of large firms. The establishment of new ƒnetworkƒ forms of organization renders firms more flexible, and much less fragile than large national firms were and states still are.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (513) 20140227b 0 -6+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Impoverishment reduces consumption, creating risk; new spirit required from humanist viewpoint of reducing suffering and internal need to continue accumulation process. (513) The impoverishment brought about by capitalismƒs displacements constitutes another risk factor, in the shape of a reduction in consumption. . . . A capitalism that is no longer accompanied by an increase in the standard of living, especially of the poorest, loses its credibility.
(513) In these conditions, the construction of a new spirit of capitalism becomes necessary not only from a humanist viewpoint in order to limit the suffering produced by unbridled capitalism but also from a standpoint that is, as it were, internal to the accumulation process, whose continuation it is a question of ensuring.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (513) 20140227c 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Always new actors entering as consumers or producers. (513) However, the risks run by an unconstrained capitalism are mitigated by converse mechanisms, the main one being the constant entry of new actors as consumers or as producers, whose expectations have not yet been disappointed.
(514) The tolerance of the privileged for the decaying of public spaces can thus extend quite a long way.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (514) 20140227d 0 -3+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Critical movements from without inform capitalism of dangers. (514) The critical function (voice), which has no place within the capitalist firm, where regulation is supposed to be performed exclusively by competition (exit), can be exercised only from without. Hence it is critical movements that inform capitalism about the dangers threatening it.
(515) It is in fact equipped with mechanisms of vigilance other than automatic market reflexes: bodies which supervise and orchestrate the market so that prices contain maximum information, calculation centers that provide information on the state of critique, or co-ordinating bodies.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (516) 20140227e 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Destructive effects of unconstrained capitalism revive critique. (516) Even ignoring factors on the side of critique that favor its durability, the destructive effects of an unconstrained capitalism by themselves create favorable terrain for the revival of critique.
(516) Gradually, interpretative schemas are reconstructed that make it possible to make sense of the changes that are under way, paving the way for a more precise critique of the new tests and the formulation of demands and proposals whose horizon is justice.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (517) 20140227f 0 -3+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Interpretative schemas sought by critics in conjunction with firms and consultants, such as development of network metaphor for connexionism that new spirit of capitalism mobilized. (517) The search for new interpretative schemas was conducted together with the representatives of firms, consultants and those responsible for training the people who already worked there or would soon join them: they cannot retain their credibility for very long if they do not offer a map of the new world.
(517) Thus, normative discourses and critical analyses gradually converged on the metaphor of the network which, although initially developed in complete autonomy from the capitalist process, found itself mobilized by it. On what remained of the civic-industrial and domestic-industrial compromise was established the kind of world that we have dubbed connexionist, rather than market strictly speaking.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (518) 20140227g 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Critique contributed theory of exploitation of little people by responsible great men. (518) Critiqueƒs specific contribution is similar to a theory of exploitation tailored to the new world, which makes it possible to link the good fortune of the great men to the misfortune of the little people, and to instill in the former a sense of responsibility for the lot of the less privileged. In the absence of this link made by critique, it is not clear how a different world could be achieved that is less destructive of human destinies (not to mention ƒresourcesƒ).

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (519) 20140227i 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
External force of law backed up by coercive state required to establish new mechanisms of justice, not force of critique alone. (519) If new mechanisms of justice are to be established, and test procedures are to be respected, an external force is required law, backed up by an apparatus of coercion that has hitherto belonged to states. In other words, the possibility of capitalism constraining itself does not depend only on the force of critique.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (521) 20140227k 0 -5+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Emergent justification by established group having consolidated its power leading to theoretical formulation of new form of common good they contribute: worlds precede cities. (521) A city thus has a chance of being established when a group of actors, relying on a stable world of mechanisms and objects, sees its power consolidated, in such a way that its members feel that they are in a position to demand exclusive recognition, and pride themselves on a specific contribution to the common good, without having to assert or even excuse the strength acquired in the sphere they excel in by undertaking other, more acceptable virtuous activities. They can then seek to elaborate for themselves, and get others to recognize, a value, a status, which specifically defines the way they have a grip on the world, and give it a moral dimension. It is only then that the work of theoretical formulation is carried out (formerly pertaining to moral and political philosophy, and today, in large measure, to the social sciences) which makes the basis for a new form of common good. To put it in the language of
De la justification, worlds precede cities. And this is so even if the dynamic leading up to the formation of a city may be understood, somewhat in the logic of the hermeneutic circle, as a moment in a process of reflexivity whereby a certain form of existence acquires a meaning, and a certain world equips itself with a coherence and a style.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (522) 20140227l 0 -8+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Formation of city as transition to regime of categorization, operators of justification and tests. (522) The formation of a city can be described at the most general level by the gradual transition to a regime of categorization. . . . Once a city is established, a more ordered world, comprising great men and little people, replaces a chaotic universe, with its strong and its weak.
(522) Cities are thus simultaneously operators of justification and critical operators. On the one hand, each city serves as a fulcrum for criticizing tests organized in accordance with the logic of a different city. On the other, each displays a critical orientation directed against the bad practices of the specific world containing the reality tests that are pertinent from the standpoint of this city itself.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (523) 20140227m 0 -3+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
City as self-referential critical mechanism limits strength. (523) Hence the city appears as a self-referential critical mechanism, internal to and immanent in a world that is in the process of coming into being, and must limit itself if it is to last. One of the key characteristics of the order of cities is that it puts limits on the strength of the strong and declares them to be great (legitimate, authorized to exhibit and employ their strength) only if they internalize these limits and observe them.
(523) In the current period, the constitution of a projective city takes responsibility for legitimating the tests that are effective in a connexionist world and justifying the new forms of success and failure specific to this world.

3 4 2 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (523) 20140227n 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Utopian and dystopian outlooks of successful formation of projective city or increasing degradation, inequality, and political nihilism. (523) For all this, this possibility is only one of the outcomes that can be envisaged for the ideological crisis of capitalism.

3 4 2 (+) [-4+]mCQK bork-journal 20121129 20121129 1 -29+ journal_2012.html

Platform studies as inaugurated by Montfort and Bogost delves into the unexplored territory of engineering level considerations for insights into the relationships between these systems and creativity, design, expression, and culture (Racing the Beam 4). The three studies to date consider the Atari VCS, Nitendo Wii, and Commodore Amiga, all videodisplay centric. I will speculate on the possible content of pinball platform studies, specifically early electronic pinball machine architectures by the manufacturers Bally, Gottleib, Stern and Williams. This form of computer-controlled gaming whose footprint in American culture, while marginal today, rebounds and reverberates in the memories of millions of adults who played them in the late 1970s onwards. Today a hobbyist community thrives keeping these old games alive and hosting public play fests and competitions. Scholarship is scarce, despite the obvious allure for culture studies and critical theory of pinball artwork, sounds, and evocative images. For example, Ron Brooks The Mechanical Bride of Pinbot: Redressing the Early McLuhan, cleverly integrates a critical phenomenology of the artwork and game play of Williams Bride of Pinbot with reflections on McLuhanƒs central ideas, but clearly does not touch upon the hardware platform level. The research agenda I am proposing turns to the mechanics and engineering designs of the common architectures deployed by the major pinball manufacturers, from the late 1970s through mid 1980s. Many of these games embody transitions from electromechanical to purely electronic features, leveraging the affordances of primitive, single-processor, ROM-based microcomputer architectures to manage a multiplicity real time physical process control operations in addition to game play and scoring. My hope is to simulate interest in other electronic hobbyists to expand these initial pinball platform studies, and draw humanities, media studies, and popular culture theorists to the engineering design layer of these cultural artifacts. My project becomes coextensive with pinball platform studies via pmrek. While it may seem an elitist genre akin to novels basing subdisciplinary discourse networks, it is also easily virtualized, although many will note at the cost of replacing the real game play experience with computed, simulacral physics. That is the partial value of preserving a few very large pmrek log files.

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The background combines cybersage workstation and public radio, although the latter could be borked, passed through other objects preserved from the day by the tapoc journal system played out by symposia simulating public radio. Todayƒs thought about the other house is a zoning variance for wraparound carport. Now that the view includes items equal to links to source code files the search can be made for comments with the day time stamp, although later this practice of saving, for example, pmrek_20041129.h, will be replaced by virtual items derived from Subversion revision history data. Noting appeal and limit of Sterne: To understand the aural dimensions of virtual reality, we need to consider audio engineersƒ century-long obsession with creating what we would now call virtual acoustic spaces in recordings. . . . By grounding my historical narrative in human action rather than in the inherent capacities of technologies or sense organs, I have argued that we are, ultimately, in control of our destiny, right down to the most basic aspects of human experience (338-341). Thus I chose to explore ensoniment of Platoƒs Symposium by text to speech format synthesis rather than tympanic, body centric approach Hayles criticizes in Hansen.

3 4 2 (+) [-4+]mCQK bork-journal 20141123 20141123 0 -2+ journal_2014.html
Hardt and Negri give an excellent glimpse into the nature of transnsational corporations as the ontological landing place for speculative thought about human machine PHI. They demonstrate constitutive non dialectical past Descartes comes from conception of modernity and postmodernity, what I call post-postmodern perspective, influencing current Boltanski and Chiapello who acknowledge using but did not program key software systems to perform their research computing.

3 4 2 (+) [-4+]mCQK burnett-how_images_think (78-79) 20130912e 0 -2+ progress/2012/03/notes_for_burnett-how_images_think.html
Serres multiple pleats history. (78-79) Rather, historical events fold back onto each other creating a chain of interconnected fragments that are synthesized differently by different generations. Michel Serres (1965) discusses history in the context of time as multitemporal, polychronic, multiple pleats that intersect in predictable and unpredictable ways (60).

3 4 2 (+) [-4+]mCQK callon-society_in_the_making (100) 20140412s 0 -4+ progress/2014/04/notes_for_callon-society_in_the_making.html
Actor network appropriate for diachrony in synchrony, layer, level perspectives. (100) If, however, we prefer the idea of actor network to that of system, it is essentially for two reasons.
(100) First, the engineers involved in the design and development of a technological system, particularly when radical innovations are involved, must permanently combine scientific and technical analyses with sociological analyses: The proposed associations are heterogeneous from the start of the process.
(100) The systems concept presupposes that a distinction can be made between the system itself and its environment. In particular, certain changes can, and sometimes must, be imputed to outside factors.

3 4 2 (+) [-4+]mCQK castells-rise_of_network_society_second_edition (441) 20131027i 2 -6+ progress/2012/06/notes_for_castells-rise_of_network_society_second_edition.html
Relate space of flows to Berry streams as means of characterizing diachrony in synchrony. (441)
(442) Flows are not just one element of the social organization: they are the expression of processes
dominating our economic, political, and symbolic life. . . . The space of flows is the material organization of time-sharing social practices that work through flows. By flows I understand purposeful, repetitive, programmable sequences of exchange and interaction between physically disjointed positions held by social actors in the economic, political, and symbolic structures of society.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (90) 20130915g 0 -4+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Symbiosis, phylum amalgamations at level of technology invites consideration by symbioses of themselves, since they are human products; it is necessary to extend analysis beyond focusing on the tool to its overall milieu, exemplified by David Sterne. (90) Even technology makes the mistake of considering tools in isolation: tools exist only in relation to the interminglings they make possible or that make them possible. The stirrup entails a new man-horse symbiosis that at the same time entails new weapons and new instruments. Tools are inseparable from
symbioses or amalgamations defining a Nature-Society machinic assemblage. They presupposes a social machine that selects them and takes them into its phylum : a society is defined by its amalgamations, not by its tools.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (113-114) 20130428 0 -11+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Reproduction of artwork titled The Order of the Ark of the Israelites with caption A New Regime: multiplicity of circles or chains Hopi jumping spirals compares well to protocological network phenomena studied from framework of synchronic processes in many orders of magnitude layer model, here different speeds of situationally relative deterritorialization; see postsignifying regime that announces more distinctions, and other authors who articulate spirals. (113-114) But what counts is less this circularity of signs than the multiplicities of the circles or chains. . . . The Hopi jump from one circle to another, or from one sign to another on a different
spiral. . . . There is a distinction between circles because, although all signs refer to each other only to the extent that they are deterritorialized, oriented toward the same center of signifiance, distributed throughout an amorphous continuum, they have different speeds of deterritorialization attesting to a place of origin (temple, palace, house, street, village, bush, etc.), and they have differential relations maintaining the distinction between circles or constituting thresholds in the atmosphere of the continuum (private and public, family incident and social disorder). Moreover, the distribution of those thresholds and circles changes according to the case.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (161) 20130915o 0 -4+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Image of Dogon Egg: can BwO ethics be applied to tech concepts, thinking of layer models? (161) Staying stratified organized, signified, subjected is not the worst that can happen; the worst that can happen is if you throw the strata into demented or suicidal collapse, which brings them back down on us heavier than ever. This is how it should be done: Lodge yourself on a stratum, experiment with the opportunities it offers, find an advantageous place on it, find potential movements of deterritorialization, possible lines of flight, experience them, produce flow conjunctions here and there, try out continuums of intensities segment by segment, have a small plot of new land at all times. It is through a meticulous relation with the strata that one succeeds in freeing lines of flight, causing conjugated flows to pass and escape and bringing forth continuous intensities for a BwO. Connect, conjugate, continue: a whole diagram, as opposed to still signifying and subjective programs.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (167-168) 20130915p 0 -4+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Image of painting of Christ addressing fishermen: if face prerequisite for subjectivity, foes protocological diagram have a face? (167-168) Signifiance is never without a wall upon which it inscribes its signs and redundancies. Subjectification is never without a black hole in which it lodges its consciousness, passion, and redundancies. Since all semiotics are mixed and strata come at least in twos, it should come as no surprise that a very special mechanism is situated at their intersection. Oddly enough, it is a face: the white wall/black hole system.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (171-172) 20140402 0 -5+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Evidence of level ontology for conceiving that which flip flops between diachrony in synchrony, plural forms, and reverse order synchrony in diachrony, that points to computer science for pondering its philosophies. (171-172) What we need to consider is not fundamentally organs without bodies, or the fragmented body; it is the body without organs, animated by various intensive movements that determine the nature and emplacement of the organs in question and make that body an organism, or even a system of strata of which the organism is only a part. . . . The question of the body is not one of part-objects but of differential speeds.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (238) 20130511 0 -5+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Becoming easier understood as machine execution than humans becoming animal; application of Turkle and Tanaka-Ishii turn to technology for instantiating post postmodern theories, here Bergsonian multiple orders of durations. (238) What is real is the becoming itself, the block of becoming, not the supposedly fixed terms through which that which becomes passes. . . . This is the principle according to which there is a reality specific to becoming (the Bergsonian idea of a coexistence of very different durations, superior or inferior to ours, all of them in communication).

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (238-230) 20130915x 0 -6+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Symbioses another idea more readily conceived in terms of supervisory control and intermingled network layer processes; involution instead of evolution or regression: no possible filiation is what Hayles means by nonconscious technological processes imbricated with human cognition. (238-230) If evolution includes any veritable becomings, it is in the domain of
symbioses that bring into play beings of totally different scales and kingdoms, with no possible filiation. . . . Becoming is involutionary, involution is creative. To regress is to move in the direction of something less differentiated.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (247) 20130916 0 -3+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Latour litany of cases of becoming-animal, cited pell-mell. (247) Let us cite pell-mell, not as mixes to be made, but as different cases to be studied: becomings-animal in the war machine.
(248) Invert Faustƒs formula: So that is what it was, the form of the traveling scholar? A mere poodle.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (253) 20130916c 0 -6+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Haecceity between sustantial forms and determined subjects (Tanaka-Ishii). (253) An accidental form therefore has a latitude constituted by a certain number of composable individuations. A degree, an intensity, is an individual, a
Haecceity that enters into composition with other degrees, other intensities, to form another individual. . . . In short, between substantial forms and determined subjects, between the two, there is not only a whole operation of demonic local transports but a natural play of haecceities, degrees, intensities, events, and accidents that compose individuations totally different from those of the well-formed subjects that receive them.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (255) 20130916d 0 -11+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Maturana or someone Gallagher introduced foregrounded this lack of discrete borders, which can be expressed as alien phenomenology (Bogost). (255) It is a question not of organization but of composition; not of development or differentiation but of movement and rest, speed and slowness. . . . A plane of consistency people by anonymous matter, by infinite bits of impalpable matter entering into varying connections.
(256) Children are Spinozists. When Little Hans talks about a peepee-maker, he is referring not to an organ or an organic function but basically to a material, in other words, to an aggregate whose elements vary according to its connections, its relations of movement and rest, the different individuated assemblages it enters. . . . Spinozism is the becoming-child of the philosopher.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (261) 20130512 0 -2+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Generic thingness, haecceity as mode of individuation, is both the object of computing and its subject, in the sense that it is matter as content and PHI as code in the same way human thought occurs in embodied brains; it, computing, machine cognition, alien intelligence makes more sense in context of electronic computing, that is, C++ and English, than extreme narratives of other human activities (oral and visual culture, zoographia) like the plateaus of post postmodern language machines, awkwardly expressed in philosophical musing about characteristic of all languages, Cage music, Godard cinema, then molecular memories. (261) There is a mode of individuation very different from that of a person, subject, thing, or substnce. We reserve the name haecceity for it.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (302-303) 20130916k 0 -6+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Physical and scientific accounts of music and visual arts like trying to explain network phenomena in electrical terms versus protocols. (302-303) Music is a deterritorialization of the voice, which becomes less and less tied to language, just as painting is a deterritorialization of the face. . . . It is always possible to explain this force by the material conditions of musical emission and reception, but it is preferable to take the reverse approach; these conditions are explained by the force of deterritorialization of music. It could be said that from the standpoint of the mutant abstract machine painting and music do not correspond to the same thresholds, or that the pictorial machine and the musical machine do not have the same index.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (306) 20130916l 0 -4+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Functionalist conception situated contextually to specific assemblages, in contrast to pure qualities of punctual systems. (306) We are not at all arguing for an aesthetics of qualities, as if the pure quality (color, sound, etc.) held the secret of a becoming without measure, as in
Philebus. Pure qualities still seem to us to be punctual systems. They are reminiscences, they are either transcendent or floating memories of seeds of phantasy.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (308) 20130916m 0 -10+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Music resembles insects rather than birds, Wagnerian music deals in elementary units of becoming-molecular in which voice is instrumentalized, as in media convergence of generic sound synthesis, approaching becoming-imperceptible. (308) This brings us to the second point: the principal problem concerning this new threshold of deterritorialization of the voice is no longer that of a properly vocal becoming-woman or becoming-child, but that of a becoming-molecular in which the voice itself is instrumentalized. . . . Already Wagner was reproached for the elementary character of his music, for its aquaticism, or its atomization of the motif, a subdivision into infinitely small units. . . . Birds are vocal, but insects are instrumental: drums and violins, guitars and cymbals. A becoming-insect has replaced becoming-bird, or forms a block with it.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (316-317) 20130916o 0 -6+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Reproduction of Paul Klee Twittering Machine as introductory image/diagram gets new significance in age of Twitter; nature resembles protocol. (316-317) The artist: the first person to set out a boundary stone, or to make a mark. Property, collective or individual, is derived from that, even when it is in the service of war and oppression. . . . The refrain is rhythm and melody that have been territorialized because they have become expressive and have become expressive because they are territorializing.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (322) 20130916p 0 -7+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Code, transcoding, decoding. (322) The essential thing is the disjunction noticeable between the code and the territory. The territory arises in a free margin of the code, one that is not indeterminate but rather is determined differently. Each milieu has its own code, and there is perpetual transcoding between milieus; the territory, on the other hand, seems to form at the level of a certain decoding. . . . It is because there is a disjunction between the territory and the code that the territory can indirectly induce new species.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (328-329) 20130916r 0 -15+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Rhizomatic functioning; cable network as distributed control; digital versus digitizing (Janz). (328-329) It seems more important to us to underline a certain number of factors liable to suggest an entirely different schema, one favoring rhizomatic, rather than aborified, functioning, and no longer operating by these dualisms. First of all, what is called functional center brings into play not only a localization but also a distribution of an entire population of neurons selected from throughout the central nervous system, as in a cable network. . . . Consolidation is not content to come after; it is creative. The fact is that the beginning always begins in-between, intermezzo. . . . It is no longer a question of imposing a form upon a matter but of elaborating an increasingly rich and consistent material, the better to tap increasingly intense forces. . . . The territorial assemblage is a milieu consolidation, a space-time consolidation, of coexistence and succession.

3 4 2 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (335) 20130916t 0 -4+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Layer model of framing; forms are strata. (335) These are different ways of stating the same distinction, which seems much broader than the one we are looking for: it is, in effect, a distinction between matter and life, or rather, since there is only one matter, between two states, two tendencies of atomic matter (for example, there are bonds that immobilize the linked atoms in relation to one another, and other bonds that allow free rotation). Stating the distinction in the most general way, we could say that it is between stratified systems or systems of stratification on the one hand, and consistent, self-consistent aggregates on the other. But the point is that consistency, far from being restricted to complex life forms, fully pertains even to the most elementary atoms and particles. There is a coded system of stratification whenever, horizontally, there are linear causalities between elements; and, vertically, hierarchies of order between groupings; and, holding it all together in depth, a succession of framing forms, each of which informs a substance an in turn serves as a substance for another form.

3 4 2 (+) [-4+]mCQK foucault-birth_of_biopolitics (33) 20130729 0 -15+ progress/2013/07/notes_for_foucault-birth_of_biopolitics.html
Polygonal/polyhedral relationships rather than single cause; enough to show possibility to establish intelligibility. (33) In fact, in order to reach an understanding of how the market, in its reality, became a site of veridiction for governmental practice, we would have to establish what I would call a
polygonal or polyhedral relationship between: the particular monetary situation . . . continuous economic and demographic growth . . . access to governmental practice . . . finally a number of economic problems being given a theoretical form.
(33-34) In other words, I do not think we need to look for and consequently I do not think we can find
the cause of the constitution of the market as an agency of veridiction. . . . Letƒs say that what enables us to make reality intelligible is simply showing that it was possible; establishing the intelligibility of reality consists in showing its possibility.

3 4 2 (+) [-4+]mCQK foucault-birth_of_biopolitics (42-43) 20130728b 0 -8+ progress/2013/07/notes_for_foucault-birth_of_biopolitics.html
Strategic logic like layer models, replacing dialectical logic; Weizenbaum heuristic over illusion of rigorous theory. (42-43) When I say two routes, two ways, two conceptions of freedom and of law, I do not mean two separate, distinct, incompatible, contradictory, and mutually exclusive systems, but two heterogeneous procedures, forms of coherence, and ways of doing things. . . . I suggest replacing this dialectical logic with what I would call a
strategic logic. A logic of strategy does not stress contradictory terms within a homogeneity that promises their resolution in a unity. The function of strategic logic is to establish the possible connections between disparate terms which remain disparate. The logic of strategy is the logic of connections between the heterogeneous and not the logic of homogenization of the contradictory.

3 4 2 (+) [-4+]mCQK fuller-software_studies (135) 20130921u 0 -10+ progress/2011/10/notes_for_fuller-software_studies.html
Intelligence: great discussion that hints on 2x and 10x rules governing electronics, giving it the ability to behave deterministically; Deleuze and Guattari natal; and Lacanian unconscious; Kittler. (135)
Critical common sense would find the idea of an alien, machinic intelligence not only rebarbative but contradictory. Because humans program machines, machines must in principle be under the control of humans. The tacit assumption here is that it is impossible to make something autonomous.
(135) The research of actor-network theorist Bruno Latour and philosopher of science Isabelle Stengers has alerted us to the ways in which the world gets divided by scientists, technologists, and their cultural critics into the unproblematically real and the socially or culturally constructed.
(136) That the computer scientist operates on symbols and codes or the chip designer on the properties of silicon, and so on is little different from the complex set of processes characteristic of disciplinary society. In each case the aim is to construct a cofunctioning ensemble of elements that acts autonomously, in a stable and predictable fashion. . . . This is because a computer, like pretty much anything else, is made up of a series of agents that through a process of interactive stabilization have been tamed enough to work together on their own.

3 4 2 (+) [-4+]mCQK galloway-protocol (166) 20130204 0 -2+ progress/2013/01/notes_for_galloway-protocol.html
Compare analysis of executable metalayer encapsulating code, making it hyperlinguistic rather than sublinguistic, to its materiality in Berry. (166) In this way, code is the summation of language plus an executable metalayer that encapsulates that language.
(167) The hackerƒs close relationship to code displays the power of protocol, particularly its ability to compel autonomous actors toward a more vital or affective state within their particular distributed milieu.

3 4 2 (+) [-4+]mCQK haraway-simians_cyborgs_women (218) 20130923u 0 -3+ progress/2009/04/notes_for_haraway-simians_cyborgs_women.html
Is Haraway detail elaboration of immunology similar to Derrida teaching plant fecundation? (218) The hierarchical body of old has given way to a network-body of truly amazing complexity and specificity.
(218) The notion of the
internal image is the key to the theory, and it entails the premise that every member of the immune system is capable of interacting with every other member.
(220) The individual is a constrained accident, not the highest fruit of earth, historyƒs labors.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (188-189) 20120725 0 -9+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Reviving causation by rejecting Kantian rift between people and everything else without rejecting the vicarious aspect; note Bogost is largely made up of Harman and Latour. (188-189) To revive causation in philosophy means to reject the dominance of Kantƒs Copernican Revolution and its single lonely rift between people and everything else. . . . Along with causation there is also the ƒvicariousƒ part of the phrase, which indicates that relations never directly encounter the autonomous reality of their components. . . . Along with substance, the term ƒobjectsƒ will be used to refer to autonomous realities of any kind, with the added advantage that this term also makes room for the temporary and artificial objects too often excluded from the ranks of substance.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (189-190) 20131031 0 -10+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Relationality, mediation, formal cause best approach to ontology: either Harman is speaking nonsense, questioning ridiculously, or this conception is well instantiated by considering virtual realities. (189-190) For as I will contend, objects hide from one another endlessly, and inflict their mutual blows only through some
vicar or intermediary. . . . Vicarious causation, of which science so far knows nothing, is closer to what is called formal cause. . . . My claim is that two entities influence one another only by meeting on the interior of a third, where they exist side-by-side until something happens that allows them to interact. In this sense, the theory of vicarious causation is a theory of the molten inner core of objects a sort of plate tectonics of ontology.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (192-193) 20131031a 0 -9+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
By affording epistemological transparency the subterranean depths enabling control activity whose meaning, whose causal factor, only makes sense as approaching formal cause. (192-193) Our primary relationship with objects lies not in perceiving or theorizing about them, but simply in relying on them for some ulterior purpose. . . . It is not human consciousness that distorts the reality of things, but relationality
per se. . . . To be ƒready-to-handƒ does not mean to be userful in a narrow sense, but to withdraw into subterranean depths that other objects rely on despite never fully probing or sounding them.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (194-195) 20131031b 0 -6+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Phenomenology by necessity, but entails vicarious filter on everything. (194-195) Although some specific visual or conceptual profile of the zebra is needed for us to experience it, the unified sensual zebra lies at a deeper level of perception than these transient, mutable images. . . . But sensual objects, far from being withdrawn, exist side by side in the same perceptual space from the outset, since we encounter numerous phenomena simultaneously.
(195) In other words, the only place in the cosmos where interactions occur is the sensual, phemonenal realm.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (197) 20131031c 0 -5+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Berry will explore this new philosophy in his conception of unreadiness-to-hand phenomena. (197) It is not widely known that Husserl also stumbles across the fateful paradox that intentionality is both one and two. For in a first sense, my encounter with a pine tree is a unified relation; we can speak of the encounter as a whole, and this whole resists exhaustive description. But in another sense, I clearly do not fuse with the tree in a single massive lump; it remains distinct from me in the perception. This gives the strange result that in my intention of the tree, we both inhabit the interior of the total intentional relation. This seemingly dry observation by Husserl has not sparked much interest in his readers.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (198) 20131031d 0 -4+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Structured black noise of phenomenal field like picture of dirt with leaves and twigs rather than amorphous mush, which itself obeys strict structuring laws itself; Bogost picks up on this. (198) To summarize, we have a real intention whose core is inhabited by a real me and a sensual pine tree. In addition, there is also a withdrawn real tree (or something that we mistake for one) lying outside the intention, but able to affect it along avenues still unknown. Finally, the sensual tree never appears in the form of a naked essence, but is always encrusted with various sorts of noise. Elsewhere I have called it ƒblack noiseƒ, to emphasize that it is highly structured, not the sort of formless chaos suggested by the ƒwhite noiseƒ of television and radio.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (199) 20131031e 0 -1+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Relations between objects: containment, contiguity, sincerity, connection, no relation at all. (199) We should also note five distinct sorts of relations between all these objects.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (200) 20131031f 0 -2+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Completely different from silly guerrilla ontology trumpeted by low road philosophers Robert Anton Wilson and Timothy Leary. (200) The objects populating the world always stand to each other in one of these five relations. In
Guerrilla Metaphysics, I suggested that causation is always vicarious, asymmetrical, and buffered.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (201-202) 20131031g 0 -8+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Arrival at problems for object-oriented philosophy feel like clever unraveling of hidden history like The Day the Universe Changed. (201-202) We now have five kinds of objects (real intention, real I, real tree, sensual tree, sensual noise) and five different types of relations (containment, contiguity, sincerity, connection, and none). Furthermore, we also have three adjectives for what unfolds inside an object (vicarious, asymmetrical, buffered) and three different kinds of noise surrounding a sensual object (qualities, accidents, relations). . . . What remains to be seen is how these elements interact, how one type of relation transforms into another, how new real objects paradoxically arise from the interaction between real objects and sensual ones, and even how sensual objects manage to couple and uncouple like
spectral rail cars. These sorts of problems are the subject matter of object-oriented philosophy: the inevitable mutant offspring of Husserlƒs intentional objects and Heideggerƒs real ones. In turn, these are only the present-day heirs of Humeƒs contiguous impressions and ideas (Husserl) and the disconnected objects of Malebranche and his Ashƒarite predecessors (Heidegger).

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (207) 20131031h 0 -5+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Internal space of relation has a reality. (207) the slogan must be reworded as follows: ƒevery connection is itself an object.ƒ . . . But two vicariously linked real objects do form a new object, since they generate a new internal space.

3 4 2 (+) [-6+]mCQK harman-on_vicarious_causation (210-211) 20131031i 0 -7+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
A metaphysical leveling upon which Bogost grounds Alien Phenomenology. (210-211) To say that every object is located on the sensual molten core of another object undermines some of the key assumptions of Heidegger. . . . There is neither finitude nor negativity in the heart of objects. And each case of human mortality is just one tragic event among trillions of others, including the deaths of house pets, insects, stars, civilizations, and poorly managed shops or universities. The Heidegger-Blanchot death cult must be expelled from ontology, and perhaps even from metaphysics.

3 4 2 (+) [-4+]mCQK harman-on_vicarious_causation (211) 20120730 0 -3+ progress/2012/07/notes_for_harman-on_vicarious_causation.html
Allure equals position of will in philosophy today promoted by Harman and leveraged by Bogost and my thought; intentional structure of physical relations evident in built environment; dirt like electronic computers instantiating virtual realities enjoyed by humans and machines. (211) There seems to be no need for such a weird vision of reality, since it is easy enough to think of the world as made of brute pieces of inescapable solid matter: ƒprimary qualitiesƒ supporting a series of more dashing volatile human projections. In my view, however, Heidegger has rendered this picture of the world obsolete. Though his tool analysis aims to describe only the withdrawal of objects behind explicit human awareness, practical activity is equally unable to exhaust the depth of objects, and even causal relations fail to let them encounter one another in full.

3 4 2 (+) [-4+]mCQK hayles-how_we_became_posthuman (249-250) 20130930j 0 -13+ progress/2010/03/notes_for_hayles-how_we_became_posthuman.html
Mapping posthuman could be model for doing something similar with technological unconscious regarding the machinic realm. (249-250) On the top horizontal, the synthetic term that emerges from the interplay between presence and absence is materiality. I mean the term to refer both to the signifying power of materialities and to the materiality of signifying processes. On the left vertical, the interplay between presence and randomness gives rise to mutation. Mutation testifies to the mark that randomness leaves upon presence. . . . On the right vertical, the interplay between absence and pattern can be called, following Jean
Baudrillard, hyperreality. . . . Finally, on the bottom horizontal, the interplay between pattern and randomness I will label information, intending the term to include both the technical meaning of information and the more general perception that information is a code carried by physical markers but also extractable from them. The schematic shows how concepts important to the posthuman materiality, information, mutation, and hyperreality can be understood as synthetic terms emerging from the dialectices between presence/absence and pattern/randomness.

3 4 2 (+) [-6+]mCQK hayles-my_mother_was_a_computer (171-172) 20130930m 0 -7+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Human or machine could express agency; next comes subject. (171-172) At issue are questions of cooperation and competition between conscious mind and aconscious coding, free will and programmed outcomes, gendered enculturation and the nongendered operation of algorithms, language and the nonlinguistic operation of code. . . . In light of these complex intermediations, let me advance a proposition: to count as a person, an entity must be able to exercise agency. Agency enables the subject to make choices, express intentions, perform actions. Scratch the surface of a person, and you find an agent; find an agent, and you are well on your way toward constituting a subject.

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (172) 20130930n 0 -5+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Determining climate of opinion about regime of computation by analysis of Deleuze, Guatarri, Lacan rather than judgment on correctness of theories, although she will criticize them. (172) Influential cultural theorists, particularly Gilles
Deleuze, Felix Guattari, and Jacques Lacan, also speculate on how the digital and analog interact in human cognition. . . . The point as I see it, however, is not to determine whether the theories are correct or incorrect but to understand their roles in helping to create a climate of opinion, as Raymond Williams calls it, in which the complex intermediations between the analog and digital become central to understanding constructions of subjectivity and agency.

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (173-174) 20130930o 0 -10+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Criticism of Body without Organs for misinterpretation of rules of cellular automata. (173-174) As a result of this rhetoric, the body becomes the Body without Organs, an assemblage rather than an organism, which does away with consciousness as the seat of coherent subjectivity. . . . The net effect of this rhetorical transmutations is to construct the Body without Organs as an infinite set of cellular automata whose computational rules are re-encoded as desire.
(174) In
A Thousand Plateaus, at the same time that humans take on attributes of computational media, machines acquire biological traits.
(174) In Machinic Heterogenesis, Guattari addresses this point by interpolating the human and mechanical into one another, arguing that the mechanosphere . . . superimposes itself on the biosphere.

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (175) 20130930p 0 -3+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Code could be unnamed signifying system Guattari tied to material process of flickering voltages. (175) Obscurely expressed, the point here seems to be that semiotics has falsified the workings of language by interpreting it through structuralist oppositions that covertly smuggle in anthropomorphic thinking characteristic of conscious mind. The model for language should instead be machinic operations that do not need structural oppositions; these operations have available to them a materialistic level of signification in which representation is intertwined with material processes. Although the word code does not appear in Guattariƒs essay, it fits well with his vision of a signifying system that is tied directly to the material process of flickering voltages.

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (176) 20130930q 0 -2+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
To Johnston language begins in mechanistic operations of Lacanian unconscious. (176) The key idea Lacan lifts from automata theory is the notion that inherent in symbol manipulation are certain structural relationships that can be used to program a Turing machine.
(176-177) By contrast, as John
Johnston shows, Lacan envisions language as beginning in the mechanistic operations of the unconscious, from which emerge the higher order processes of conscious thought.

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (191) 20130930r 0 -3+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Unconscious as machinic code rather than hopelessly anthropomorphic mirror of consciousness. (191) In these complex reconfigurations of agency, the significance of envisioning the unconscious as a program rather than as a dark mirror of consciousness can scarcely be overstated, for it locates the hidden springs of action in the brute machinic operations of code. In this view, such visions of the unconscious as Freudƒs repressed Oedipal conflicts or Jungƒs collective archetypes seem hopelessly anthropomorphic, for they populate the unconscious with ideas comfortingly familiar to consciousness rather than with the much more alien operations of machinic code.
(191) Whether consciousness can ever emerge from a coded mechanism remains a matter of intense debate.

3 4 2 (+) [-6+]mCQK hayles-my_mother_was_a_computer (218-219) 20130930u 0 -9+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Computational Universe cultural metaphor as symptom, leading to Zizek. (218-219) For him, intellectual honesty includes the willingness both to follow an idea through to its logical conclusion and to look hard at the differences between what we wish were true and what is actually true. . . . What we cannot escape, in Eganƒs view, is the materiality of a physical universe that constitutes us as physical beings even as our participatory understanding co-constitutes it. . . . I begin the engagement by positioning the Computational Universe not only as a metaphor but as a
pathological metaphor, that is to say, as a symptom.

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (221) 20130930v 0 -6+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Compare the surplus always present because is no metalanguage to Kittler on media studies always involving media. (221) Zizek further associates the symptom with the observation that there is no metalanguage (12). He draws a connection between teleological reasoning and an insight central to quantum mechanics and contemporary science studies: we always participate in what we observe. . . . For Zizek, the reflexive entangling of subject and object takes the form of a certain excess or surplus, manifesting itself when the sender of a letter always says more than he ƒintended to sayƒ (14).

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (221) 20130930w 0 -12+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Haraway situated knowledge, blind spot better explanatory power than Zizek who is stuck on death drive, leading to study of Permutation City. (221) In terms less oriented to psychology, the surplus reveals that the sender is implicated in the message, in the sense that the message is never objectively external to his perspective but is formed within and through that perspective, a dynamic central to Donna Harawayƒs concept of
situated knowledge.
(221-222) In its broadest conceptual form, the blind spot results not from a specific failure of vision but from the inevitable partiality of the viewerƒs perspective. . . . For Niklas Luhmann, this blindness is implicit in the cut that distinguishes a system from its environment. . . . Paradoxes of representations that contain within themselves the frames enclosing them have been explored extensively by Douglas R. Hofstader in
Godel, Escher, Bach. Their pertinence here is their association with the symptom and the mechanism of teleological illusion.

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (223) 20130930x 0 -7+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Functionalist epiphenomena versus embodiment short times and deadlines in discussion of Permutation City. (223) The experiments are designed to test the nature of consciousness and, specifically, its relation to identity. They suggest that our sense of continuous selfhood is an illusion that we are never who we think we are. . . . Data can be stored randomly throughout computer memory and still assembled in the correct order by the program, so dispersion in computational space has no relation to the simulationƒs continuity. Moreover, the simulationƒs outcome does not depend on processor speed.

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (227) 20130930y 0 -2+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Bogost alien phenomenology. (227) Eganƒs story suggests that recognizing the difference between the human teleological illusion and cosmic indeterminacy does indeed induce trauma, but with two crucial differences from Zizekƒs version. First, this is not the psychopathology of a single individual but the trauma of an entire world; and second, the pathological state for humans is revealed to be the uncollapsed, smeared state that is normal for the rest of the universe.

3 4 2 (+) [-4+]mCQK hayles-my_mother_was_a_computer (239) 20130930z 0 -10+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Investing everything in theory of unconscious as Zizek does is parochial and holds future hostage to present, local conditions: consider conclusions of Reality of the Virtual. (239) The friction between struggling with embodiment and Eganƒs belief in a postbiological future can be seen as an admirable commitment on his part to look hard at his own premises. . . . Egan would almost certainly find Zizekƒs psychoanalytical approach distressingly parochial. . . . [quoting an interview] It might take 50 years, or it might take 500, but eventually weƒre going to have unlimited control over whatever physical substrate is ƒexecutingƒ our minds, and Iƒm trying to map out some of the benefits and some of the dangers of that. To invest everything in a theory of the unconscious based on our physical and mental structures, as Zizek does, would in Eganƒs view be presumptuous because it holds the entire span of the far future hostage to our present local conditions.

3 4 2 (+) [-4+]mCQK ihde-philosophy_of_technology (xii) 20130929d 0 -1+ progress/2012/06/notes_for_ihde-philosophy_of_technology.html
Interesting epistemological image of magical device like self-deforming mold/sieve expressed by Deleuze. (xii) Such a short introduction can only do so much it is intended as a kind of net thrown out to cover the territory, but it also includes guiding threads within its interwoven cloth, which are meant to suggest different areas of possible deeper exploration and development.

3 4 2 (+) [-6+]mCQK iser-how_to_do_theory (170) 20131102d 0 -11+ progress/2011/08/notes_for_iser-how_to_do_theory.html
Theorizing art reveals historicity; theories function as divining rod for historical needs of their milieu. (170) Whenever art is theorized, the framework of the theory involuntarily reveals the historicity of the basic decisions that have fashioned it. Each theory, we may conclude, functions as a divining-rod for the historical need that it is called upon to cope with.
(171) In fact most of them assert that art comes to fruition in the recipient. . . . In deconstruction it is the reading of the postcard which the author has sent into the world that creates dissemination of reception. . . . The array of theories thus highlights an important shift in the localization of the arts, which are taken out of the museum and transferred into the recipientƒs mind and soul as their new home and habitation.

3 4 2 (+) [-4+]mCQK jameson-postmodernism (25) 20130929m 0 -1+ progress/2012/04/notes_for_jameson-postmodernism.html
Flat ontology and alien phenomenology. (25) The crisis in historicity now dictates a return, in a new way, to the question of temporal organization in general in the postmodern force field, and indeed, to the problem of the form that time, temporality, and the syntagmatic will be able to take in a culture increasingly dominated by space and spatial logic.

3 4 2 (+) [-4+]mCQK janz-philosophy_in_an_african_place (231) 20130706 0 -11+ progress/2013/05/notes_for_janz-philosophy_in_an_african_place.html
Lens focal point variation versus other layer models. (231) The question of scale is related to the question of the topeme. What do we take as a unit of philosophical context? . . . To what extent is any coherent philosophy a unity or identity, and to what extent is it an aggregation? And if an aggregation, what are its terms, that is, what is the topeme? This becomes a little like a lens, which has different focal lengths. We can choose to bring into focus some point on the scale, which necessarily renders points nearer and further as indistinct, as organized around the focal point.
(232) Philosophy-in-place is always a matter of scale. Issues of scale are buried in philosophical assertions, and exist as questions placed at the edge of differences.

3 4 2 (+) [-6+]mCQK janz-philosophy_in_an_african_place (235) 20130706a 0 -2+ progress/2013/05/notes_for_janz-philosophy_in_an_african_place.html
Embed issues of voice in hermeneutic discussions. (235) The key is to embed issues of voice in the hermeneutic discussion. Hermeneutics of suspicion and of trust must operate simultaneously, and every speaker, including me, is susceptible to questions about motives, assumptions, and intentions, as well as questions about the strength of arguments.

3 4 2 (+) [-4+]mCQK kitchin_and_dodge-code_space (76) 20130927a 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Polyvalent emergence of space by many actants simultaneously. (76) What this means is spaces emerge in a polyvalent manner, brought into being simultaneously by many actants, who do not contribute to the manufacture in the same way or in equal degree.

3 4 2 (+) [-4+]mCQK kitchin_and_dodge-code_space (77) 20130927b 0 -9+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Notion of scale eliminated by flat ontology as epistemological construct (see recent Bogost); all spaces emergent self-organizing systems of relations, extensible, multiple networks, mass of currents always in process of becoming rather than single line of force already constituted as structural entity (Whatmore and Thorne). (77) More recently,
Marston, Jones, and Woodward (2005) have forwarded a proposition to eliminate the notion of scale, to be replaced with a flat ontology one that neither privileges the vertical or horizontal (which tend to also create hierarchies of worth, such as cosmopolitan-parochial, or core-periphery). They understand scale as being epistemologically employed to put a shape on the world, but with no essential ontological foundation. Here, there is no natural scale, only scaling actions applied to the world to try to make sense of it, with this scaling emergent, constructed specifically for an analytic purpose.
(77) Likewise, we suggest that code/spaces (and indeed all space) are diversely, multiply, and ceaselessly scaled they emerge as self-organizing systems of relations stretched out across space and time, the product of processes and relations occurring in many locales.
(78) Code/space then is
extensible. It does not consist of solely of localized individuations. Instead, the transduction of space occurs through ongoing individuations across networks (assemblages of relations) of greater or shorter length, so that scales such as local and global become redundant.
(78) Here, the network becomes a mass of currents rather than a single line of force (Whatmore and Thorne 1997, 291) and is a performative ordering (always in the making) rather than a systematic or structural entity (always already constituted) (p. 289).

3 4 2 (+) [-4+]mCQK kitchin_and_dodge-code_space (79-80) 20130927c 0 -8+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Power unfolds in striated assemblages as complex systems with emergent properties through strategies and tactics between people with no central control. (79-80) While institutional forces and ideologies cannot be fixed, they are not without power, but this power is diffuse, contingent, and afforded, rather than held and wielded (see Allen 2004). However, the power is real nonetheless; for example, when expressed as violence with police ordered to raid a house and arrest an individual. . . . Power thus unfolds through the enactment of strategies and tactics between people, rather than being wielded by one actor onto another. In the case of coded assemblages, several different institutions, each composed of many actors, seek to shape the transduction of space. These assemblages have no central control per se and possess a complexity much greater than the sum of the parts.

3 4 2 (+) [-4+]mCQK kramer-cultural_techniques_of_time_axis_manipulation (105) 20131002s 0 -1+ progress/2012/08/notes_for_kramer-cultural_techniques_of_time_axis_manipulation.html
Nuances of observer relativity lost in reduction to machine operations of technological media systems: can this excluded perceptibility that was once human phenomenal fields be turned around like the duck rabbit to virtual virtual realities? (105) Excluding the dimension of perceptibility also leaves no room for the relativity of the observer as a methodical principle for making categorical distinctions.

3 4 2 (+) [-4+]mCQK kramer-cultural_techniques_of_time_axis_manipulation (106) 20131002t 0 -5+ progress/2012/08/notes_for_kramer-cultural_techniques_of_time_axis_manipulation.html
Ontology of switchable existences is Kittlers reductive technological ontology; switched means virtually encoded, unfounding phenomenologies. (106) Does Kittler make the operative truth absolute, that aims to transform ƒtruthƒ into ƒtechnological precisionƒ and that applies exclusively to formal calculable systems (Kramer, 1991)? And does he thereby arrive at a
technological ontology, in which only that which can be switched exists at all?
(106) Every type of phenomenology loses its foundation, Kittlerƒs critique of hermeneutic sense-orientation encompasses phenomenological strategies. Both of these are not only falsified but they also become historically obsolete with the development of technological media.
(106) Time is no longer a universal form of our perception or experience, but rather it becomes a universal form of technological accessibility.

3 4 2 (+) [-4+]mCQK kramer-cultural_techniques_of_time_axis_manipulation (106) 20131002u 0 -36+ progress/2012/08/notes_for_kramer-cultural_techniques_of_time_axis_manipulation.html
Final definition of media relating to time axis manipulation, spatialization of time, equivocating time and space, complementing other theorists: analog as first important technological media; working beyond gulf of natural and social sciences; beyond human teleology and embodiment; switched, data unit ontology; digitalized existentialism. (106) 1.
What are media? Media are practices that use strategies of spatialization to enable one to manipulate the order of things that progress in time.
(106-107) 2.
What is a history of media? . . . The computer is not the first, significant innovation in media-technology, but rather after writing the analog, technological media.
(107) 3.
What is the purpose of media studies? . . . media studies operates beyond the gulf between the natural and social sciences.
(107) 4.
Are media a priori functioning universals? . . . The machine substitutes man as the referent of communication; corporality disappears, and with it, each and every trace with which the body is involved. This teleology is not a specific aim of someone, nor is it a result of human intention, but can rather be ascribed to the self-dynamic of escalating inter-reference between technological media.
(107) 5.
Does this concept of media imply an ontology? . . . A piece of data thereby becomes the smallest unit that underlies the realm of the symbolic as well as of the real and in which everything that belongs to our world can be dissected.
(108) 6.
A form of digitalized existentialism? The culminating points within the tradition of literary studies . . . are transformed into the absurd with the binary code that cannot be expressed by humans, and with modern data processing as a textile that cannot be read by human eyes. This ƒabsurdityƒ can be understood in the sense of Kierkegaard as a paradox of the historical, which stands in start opposition to human logic and sensibility, or in the sense of Camus, who counter-intuitively lets the world remain mute to human questions. Does a type of ƒdigitalized existentialismƒ speak out from Kittlerƒs texts?

3 4 2 (+) [-6+]mCQK latour-why_has_critique_run_out_of_steam (227) 20131003 0 -14+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Curious post postmodern danger of distrusting good matters of fact as bad ideology. (227) In which case the danger would no longer be coming from an excessive confidence in ideological arguments posturing as matters of fact as we have learned to combat so efficiently in the past but from an excessive distrust of good matters of fact disguised as bad ideological biases!
(228) Remember the good old days when revisionism arrived very late, after the facts had been thoroughly established, decades after bodies of evidence had accumulated? Now we have the benefit of what can be called
instant revisionism. . . . Things have changed a lot, at least in my village. I am now the one who naively believes in some facts because I am educated, while the other guys are too unsophisticated to be gullible. . . . Has knowledge-slash-power been co-opted of late by the National Security Agency? Has Discipline and Punish become the bedtime reading of Mr. Ridge (fig.

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (230) 20131003a 0 -3+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Is critique appropriate to the current state of problems, or ineffective like nuclear arsenals against improvised explosive devices? (230) After all, masses of atomic missiles are transformed into a huge pile of junk once the question becomes how to defend against militants armed with box cutters or dirty bombs. Why would it not be the same with our critical arsenal, with the neutron bombs of deconstruction, with the missiles of discourse analysis? Or maybe it is that critique has been miniaturized like computers have.

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (233) 20131003d 0 -5+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Thing as matter of concern, Heideggerian gathering; Harman reference. (233) A thing is, in one sense, an object out there and, in another sense, an
issue very much in there, at any rate, a gathering. To use the term I introduced earlier now more precisely, the same word thing designates matters of fact and matters of concern.
(233) The handmade jug can be a thing, while the industrially made can of Coke remains an object. While the latter is abandoned to the empty mastery of science and technology, only the former, cradled in the respectful idiom of art, craftsmanship, and poetry, could deploy and gather its rich set of connections.
(233) And, yet, Heidegger, when he takes the jug seriously, offers a powerful vocabulary to talk also about the object he despises so much.

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (236 footnote 19 20131003g 0 -4+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Serres quasi-objects; thingness of things that gather. (236 footnote 19)

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (238-239) 20131003i 0 -6+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Critique as pharmakon. (238-239) Why critique, this most ambiguous
pharmakon, has become such a potent euphoric drug? . . . But as soon as na ve believers are thus inflated by some belief in their own importance, in their own projective capacity, you strike them by a second uppercut and humiliate them again, this time by showing that, whatever they think, their behavior is entirely determined by the action of powerful causalities coming from objective reality they donƒt see, but that you, yes you, the never sleeping critic, along can see.
(239) The Zeus of Critique rules absolutely, to be sure, but over a desert.

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (241) 20131003j 0 -9+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Fact and fairy position lists of objects that never cross over is what sustains critique. (241) The whole rather poor trick that allows critique to go on, although we would never confine our own valuables to their sordid pawnshop, is that there is never any
crossover between the two lists of objects in the fact position and the fairy position.
(242) The mistake would be to believe that we too have given a social explanation of scientific facts. . . . Put simply, critique was useless against objects of some solidity.
(242) On both accounts, matters of concern never occupy the two positions left for them by critical barbarity. Objects are much too strong to be treated as fetishes and much too weak to be treated as indisputable causal explanations of some unconscious action. And this is not true of scientific states of affairs only; this is our great discovery, what made science studies commit such a felicitous mistake, such a felix culpa.

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (243) 20131003k 0 -3+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Add fair position to fact and fairy positions to retrieve a realist attitude. (243) Is it not time for some progress? To the fact position, to the fairy position, why not add a third position, a
fair position?
(243) To retrieve a realist attitude, it is not enough to dismantle critical weapons so uncritically built up by our predecessors as we would obsolete but still dangerous atomic silos.

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (244) 20131003l 0 -2+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Whitehead getting closer to facts discovers things, rather than following Kant, Husserl or Heidegger; Bogost leans heavily on this move. (244) Of all the modern philosophers who tried to overcome matters of fact,
Whitehead is the only one who, instead of taking the path of critique and directing his attention away from facts to what makes them possible as Kant did; or adding something to their bare bones as Husserl did; or avoiding the fate of the domination, their Gestell, as much as possible as Heidegger did; tried to get closer to them or, more exactly, to see through them the reality that requested a new respectful realist attitude.
(244) The solution or, rather, the adventure, according to Whitehead, is to dig much further into the realist attitude and to realize that matters of fact are totally implausible, unrealistic, unjustified definitions of what it is to deal with things.

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (245-246) 20131003m 0 -6+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Multifarious inquiry to detect participants gathered in a thing. (245-246) The solution lies, it seems to me, in this promising word
gathering that Heidegger had introduced to account for the thingness of the thing. . . . Whatever the words, what is presented here is an entirely different attitude than the critical one, not a flight into the conditions of possibility of a given matter of fact, not the addition of something more human that the inhumane matters of fact would have missed, but, rather, a multifarious inquiry launched with the tools of anthropology, philosophy, metaphysics, history, sociology to detect how many participants are gathered in a thing to make it exist and to maintain its existence. Objects are simply a gathering that has failed a fact that has not been assembled according to due process.

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (247) 20131003n 0 -14+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Turing approached computers with Whitehead adventure of ideas wonder. (247) Here Turing too cannot avoid mentioning Godƒs creative power when talking of this most mastered machine, the computer that he has invented. . . . In the most dramatic way, Turingƒs paper demonstrates, once again, that all objects are born things, all matters of fact require, in order to exist, a bewildering variety of matters of concern. The surprising result is that we donƒt master what we, ourselves, have fabricated, the object of this definition of critique. . . . [quoting Computing Machinery and Intelligence ] If, however, the size of the pile is sufficiently increased, the disturbance caused by such an incoming neutron will very like go on and on increasing until the whole pile is destroyed. Is there a corresponding phenomenon for minds, and is there one for machines? . . .

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (247) 20131003o 0 0+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Good quote in footnote, linking to Brian Cantwell Smith On the Origin of Objects. (247)

3 4 2 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (247) 20131003p 0 -14+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Toward super-critical, like Jenkins collective intelligence. (247) Here Turing too cannot avoid mentioning Godƒs creative power when talking of this most mastered machine, the computer that he has invented. . . . In the most dramatic way, Turingƒs paper demonstrates, once again, that all objects are born things, all matters of fact require, in order to exist, a bewildering variety of matters of concern. The surprising result is that we donƒt master what we, ourselves, have fabricated, the object of this definition of critique. . . . [quoting Computing Machinery and Intelligence ] If, however, the size of the pile is sufficiently increased, the disturbance caused by such an incoming neutron will very like go on and on increasing until the whole pile is destroyed. Is there a corresponding phenomenon for minds, and is there one for machines? . . .

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (5) 20131004 0 -17+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Development is present ideology, positivist hypothesis of process of complexification, characterized by its absence of finality besides explosion of the sun. (5) It will be seen in the pages which follow how one can try to describe it following the general, positivist hypothesis of a process of complexification, negative entropy or, put more simply, development.
(6) I am not making this hypothesis about development my own, because it is a way,
the way, for metaphysics, henceforth ruled out for thinking, to re-establish its rights over it. Or to re-establish them not within thinking (if I make an exception of the thinking which still class itself philosophical, which is to say metaphysical), but from the outside of thinking. . . . ƒDevelopmentƒ is the ideology of the present time, it realizes the essential of metaphysics, which was a thinking pertaining to forces much more than to the subject.
(6) Mediation does not only imply the alienation of elements as to their relation, it permits the modulation of that relation.
(7) The striking thing about this metaphysics of development is that it needs no finality. . . . It is reproduced by accelerating and extending itself according to its internal dynamic alone. . . . It has no necessity itself other than a cosmological chance.

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (7) 20131004a 0 -9+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Survival of complexity is sole objective of the cosmic order; interests of humanity are insignificant. (7) The anticipated explosion of this star is the only challenge objectively posed to development. The natural selection of systems is thus no longer of a biological, but of a cosmic order. . . . The interest of humans is subordinate in this to that of the survival of complexity.
(7) what else remains as ƒpoliticsƒ except resistance to this inhuman? And what else is left to resist with but the debt which each soul has contracted with the miserable and admirable indetermination from which it was born and does not cease to be born? which is to say, with the other inhuman?

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (17) 20131004c 0 -13+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Thinking, whether natural or artificial, must be in its data as sense organs are in their perceptual fields, so great challenge for AI is its interfaces to earthly milieu, including natural languages. (17) Real ƒanalogyƒ requires a thinking or representing machine to be
in its data just as the eye is in the visual field or writing is in language (in the broad sense). It isnƒt enough for these machines to simulate the results of vision or of writing fairly well. Itƒs a matter (to use the attractively appropriate locution) of ƒgiving bodyƒ to the artificial thought of which they are capable.
(17-18) From this point of view we should indeed have grounds not to give up on techno-science. . . . Itƒs up to you to give it a try. . . . A problem you encounter especially in the area of terminal/user interface. In that interface subsists the contact of your artificial intelligence with the na ve kind of intelligence borne by so-called ƒnaturalƒ languages and immersed in them.

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (18) 20131004d 0 -12+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Thinking machines must designed to suffer in sense of Heidegger letting thought come forward itself, Freudian working through, transcendence in immanence. (18) If you think youƒre describing thought when you describe a selecting and tabulating of data, youƒre silencing truth. Because data arenƒt given, but givable, and selection isnƒt choice. Thinking, like writing or painting, is almost no more than letting a givable come towards you. . . . This soliciting of emptiness, this evacuation very much the opposite of overweening, selective, identificatory activity doesnƒt take place without some suffering.
(19) You donƒt clear the ground to build unobstructed: you make a little clearing where the penumbra of an almost-given will be able to enter and modify its contour. An example of this work is found
mutatis mutandis in Freudian Durcharbeitung. In which though I wonƒt labor the point the pain and the cost of the work of thought can be seen. This kind of thiking has little to do with combining symbols in accordance with a set of rules.
(19) To sum up will your thinking-, your representing-machines suffer?

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (20-21) 20131004f 0 -11+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Gender is paradigmatic of incompleteness of bodies and minds. (20-21) Finally, the human body has a gender. Itƒs an accepted proposition that sexual difference is a paradigm of an incompleteness of not just bodies, but minds too. . . . Again weƒre back at transcendence in immanence. The notion of gender dominant in contemporary society wants this gap closed, this transcendence toppled, this powerlessness overcome.
(21) Maybe (because as Freud showed in his description of deferred action, it inscribes effects without the inscription being ƒmemorizeƒ in the form of recollection) itƒs the other way around? And this difference is what initially sets up fields of perception and thought as functions of waiting, of equivocations, as Iƒve stated? This quite probably defines suffering in perceiving and conceiving as produced by an impossibility of unifying and completely determining the object seen.
(22) Your thinking machines will have to be nourished not just on radiation but on the irremdediable differend of gender.

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (25) 20131004h 0 -5+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Compare critique of periodization to Latour. (25) From this same point of view, we can see that
historical periodization belongs to an obsession that is characteristic of modernity. Periodization is a way of placing events in a diachrony, and diachrony is ruled by the principle of revolution.
(26) The ambiguity of the term ƒrewritingƒ is the very same ambiguity that haunts the relation of modernity with time. Rewriting can consist in the gesture Iƒve just mentioned of starting the clock again from zero, wiping the slate clean, the gesture which inaugurates in one go the beginning of the new age and the new periodization.
(26) Essentially linked with writing in this sense, the ƒre-ƒ in no way signifies a return to the beginning but rather what Freud called a ƒworking throughƒ,
Durcharbeitung.

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (26) 20131004i 0 -4+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Apply Freud differentiation of repetition, remembering and working through. (26) In a short but if I may say so memorable text bearing on psychoanalytic ƒtechniqueƒ, Freud distinguishes repetition, remembering and working through.
(27) It is frequently the case that ƒrewriting modernityƒ is understood in this sense, the sense of remembering, as though the point were to identify crimes, sins, calamities engendered by the modern set-up and in the end to reveal the destiny that an oracle at the beginning of modernity would have prepared and fulfilled in our history.
(28) Basically the same plot weaves an intimacy between silence and sound, criminal and cop, unconscious ad consciousness.
(28) Far from really rewriting it, supposing that to be possible, all one is doing is writing again, and making real, modernity itself.

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (29) 20131004j 0 -8+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Challenge to ponder how rewriting could escape repetition of what it rewrites, beyond free association analogy arriving at auratic presence, Kant pleasure in the beautiful, Adorno micrologies, Benjamin passages, invites consideration by Kay of creating new media explained by Manovich, such as metamedia forms of linking. (29) The fact that Nietzscheƒs rewriting repeats the same error or fault in spite of itself is a sign for reflection of what a rewriting could be that escaped, as far as possible, the repetition of what it rewrites.
(30-31) Freud calls this attitude ƒfree associationƒ. All it is is a way of linking one sentence with another without regard for the logical, ethical or aesthetic value of the link.
(31) A fragment of a sentence, a scrap of information, a word, come along. They are immediately linked with another ƒunitƒ. No reasoning, no argument, no mediation. By proceeding in this way, one slowly approaches a scene, the scene of something.
(31) Not present like an object, if an object can ever be present, but present like an
aura, a gentle breeze, an allusion.

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (32) 20131004k 0 -9+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Adorno micrologies related to Benjamin passages in call to rewrite modernity. (32) I shall simply point out how close that description of rewriting is to Kantƒs analysis of the work of the imagination in taste, in the pleasure in the beautiful. . . . At the end of
Negative Dialectics, and also in the unfinished Aesthetic Theory, Adorno lets it be understood that indeed we must rewrite modernity, that modernity is, moreover, its own rewriting, but that one can only rewrite it in the form of what he calls ƒmicrologiesƒ, which is not unrelated to Benjaminƒs ƒpassagesƒ.
(33) Rewriting, as I mean it here, obviously concerns the anamnesis of the Thing. Not only that Thing that starts off a supposedly ƒindividualƒ singularity, but of the Thing that haunts the ƒlanguageƒ, the tradition and the material with, against and in which one writes.
(34) Postmodernity is not a new age, but the rewriting of some of the features claimed by modernity, and first of all modernityƒs claim to ground its legitimacy on the project of liberating humanity as a whole through science and technology. But as I have said, that rewriting has been at work, for a long time now, in modernity itself.

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (34-35) 20130828 0 -10+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Resisting the bit concept, engineered unit of information; how does this affect Bogost unit operations? (34-35) The new technologies have given that craft a considerable impetus, since they submit to exact calculation every inscription on whatever support: visual and sound images, speech, musical lines, and finally writing itself. In my view, the noteworthy result of this is not, as Baudrillard thinks, the constitution of an immense network of simulacra. It seems to me that what is really disturbing is much more the importance assumed by the concept of the
bit, the unit of information. When weƒre dealing with bits, thereƒs no longer any question of free forms given here and now to sensibility and the imagination. On the contrary, they are units of information conceived by computer engineering and definable at all linguistic levels lexical, syntactic, rhetorical and the rest. . . it being admitted that working through is above all the business of free imagination and that it demands the deployment of time between ƒnot yetƒ, ƒno longerƒ and ƒnowƒ, what can the use of the new technologies preserve or conserve of that? How can it still withdraw from the law of the concept, of recognition and prediction? For the moment, I shall content myself with the following reply: rewriting means resisting the writing of that supposed postmodernity.

3 4 2 (+) [-4+]mCQK lyotard-the_inhuman (47-48) 20131004l 0 -5+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Begins with Stiegler hypothesis that all technology is objectification, spatialization of meaning modeled on written inscription. (47-48) I shall start from the basic hypothesis of [Bernard]
Stieglerƒs work, namely that all technology is an ƒobjectificationƒ i.e., a spatialization of meaning, whose model is writing itself, in the common sense of the word. And that inscription, putting into traces, on the one hand because it is ƒlegibleƒ (decodable, if you like) opens a public space of meaning and generates a community of users-producers, and on the other (?) because it is endowed with persistence by its being marked on a spatial support, conserves the sign of the past event, or rather produces it as available, presentable and reactualizable memory.

3 4 2 (+) [-4+]mCQK mackenzie-cutting_code (93) 20130803a 0 -3+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Deleuzean virtual as unstable relationality of real. (93) Principally associated with Gilles
Deleuzeƒs thought (and elaborated in Shields 2003; Lister et al. 2003; Grosz 1999; Delanda 2002; Massumi 2002; Rodowick 2001; Levy 1998; Wark 2004), in this new understanding, the virtual designates something real that involves an unstable relationality or difference.
(93) [Rob]
Shields discusses virtuality in art, economics and religion; some writers strenuously resist the equation between virtuality and digital technologies.

3 4 2 (+) [-4+]mCQK mackenzie-cutting_code (183-184) 20130805e 0 -5+ progress/2013/07/notes_for_mackenzie-cutting_code.html
Immanence of social space within productive machine. (183-184) There is much to elaborate in this quote [from Hardt and Negri 2000], but the part that is particularly relevant to software concerns the immanence of social space within the productive machine. . . . The introjection of communicative relations in extreme programming, the formative role of process in software engineering, and the commodification of coding itself as a productive activity can all be seen as transporting a social space into the networks of software.

3 4 2 (+) [-4+]mCQK morningstar_farmer-lucasfilms_habitat (669) 20131106 0 -1+ progress/2013/10/notes_for_morningstar_farmer-lucasfilms_habitat.html
Criticism of ISO model and suggestion of different pair of top layers is of philosophical significance. (669) A better model would be to substitute a different pair of top layers (Figure 46.

3 4 2 (+) [-4+]mCQK norman-design_of_everyday_things (61) 20131006i 0 -3+ progress/2009/11/notes_for_norman-design_of_everyday_things.html
Both Johnson and Ong nod toward alien phenomenology expressing state of the art methodology in digital humanities scholarship including for critical theory and invention in texts and technology. (61) Most of us do not learn epic poems. But we do make use of strong constraints that serve to simplify what must be retained in memory. Consider an example from a completely different domain: taking apart and reassembling a mechanical device.

3 4 2 (+) [-4+]mCQK norman-design_of_everyday_things (162) 20131006u 0 -3+ progress/2009/11/notes_for_norman-design_of_everyday_things.html
The handwriting example is great: the social convention of left to write scansion smudges. (162) Some problems are not solved by adjustments. Left-handed people, for example, present special problems.
(164) designing for flexibility helps.

3 4 2 (+) [-6+]mCQK ogorman-ecrit (12) 20150202 0 -3+ progress/2008/09/notes_for_ogorman-ecrit.html
Pictures over words as generators; explode possibilities with code. (12) Words have a generative potential of their own. We have already seen how the pun, for example, can create unconventional, yet informative, linkages between concepts. Still, pictures seem to possess a greater propensity for facilitative remainder-work, and for generating divergent responses.

3 4 2 (+) [-6+]mCQK ogorman-ecrit (12-13) 20150202a 0 -9+ progress/2008/09/notes_for_ogorman-ecrit.html
Creative potential to chart networks by cutting across diversity. (12-13) To understand pictures as generators is to view them much in the same way as Lecercle describes the pun and other forms of metaphor, all of which fall into the category of the remainder, which Lecercle describes as instances of ƒdiachrony-within-synchrony.ƒ . . . The notion of ƒdiachrony-within-synchronyƒ points to the capacity of the remainder to interrupt our synchronic understanding of a word by invoking a diachronic association. . . . In hypericonomy, the effect of ƒdiachrony-within-synchronyƒ permits researchers to cut across a diversity of discourse networks in order to chart networks of their own.

3 4 2 (+) [-6+]mCQK ogorman-ecrit (13) 20150202b 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Lecercle indirection, all possible meanings present at once, creative unconscious funnelling of stimuli whose exemplar is the schizophrenic; humans equipped with dynamic media and working code could foster creativity without the psychological destabilization through synaptogenesis. (13) The concept of ƒdiachrony-within-synchronyƒ can be further elucidated by what Lecercle calls ƒindirectionƒ. . . . This funnelling of stimuli is an unconscious operation, present whenever an individual is faced with a visual or verbal proposition. But it may be possible to capture or at least re-create this sense of schizo ƒindirectionƒ [where all possible meanings of a metaphorical phrase are present at once] before it is funnelled, before it is transformed into common sense.
(14) I would like to believe that one purpose of hypericonomy is to provoke or mimic the fluidity of creative thought and crystallize it, transforming delire or schizophrenia into a theory and a discursive practice.

3 4 2 (+) [-4+]mCQK ogorman-ecrit (19) 20131006i 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Eye Socket inspires hypericon as movable cultural apparatus for pictorial turn, although could use other objects such as electronic devices. (19)
Eye Socket, with its cyborgian electrical outlets, provides us with a fine mnenomic device. Consider the Gibb picture above, then, and the limen, the enchanted looking glass, between a network of discourses and the discourse of networks that I am developing here. In this context, Eye Socket has now become a ƒhypericonƒ: ƒa piece of movable cultural apparatus, one which may serve a marginal role as illustrative device or a central role as a kind of summary image . . . . that encapsulates an entire episteme, a theory of knowledgeƒ (Mitchell 1994: 49).

3 4 2 (+) [-4+]mCQK thrift-movement_space (583) 20130812 0 -5+ progress/2013/08/notes_for_thrift-movement_space.html
Qualculation names thinking and perception based on continuous ambient calculations in generative microworlds. (583) a move towards a world in which new qualities are being constructed, which are based on assumptions about how time-space can turn up which would have been impossible before, spaces which are naturalistic in the sense that they are probably best represented as fluid forces which have no beginning or end and which are generating new cultural conventions, techniques, forms, genres, concepts, even (or so I will argue) senses. This is the rise of what I call ƒqualculationƒ.
(584) an activity arising out of the construction of new generative microworlds which allow many millions of calculations continually to be made in the background of any encounter. I argue that it is no longer possible to think of calculation as necessarily being precise. Rather, because of massive increases in computing power, it has become a means of making qualitative judgments and working with ambiguity.

3 4 2 (+) [-4+]mCQK thrift-movement_space (584) 20131013 0 -1+ progress/2013/08/notes_for_thrift-movement_space.html
Use literature on ethnomathematics. (584) I shall argue that this is best achieved by aligning my arguments with the literature on
ethnomathematics.

3 4 2 (+) [-4+]mCQK thrift-movement_space (584) 20131013a 0 -1+ progress/2013/08/notes_for_thrift-movement_space.html
Nomadologic view, as portrayed by Sterling in Distraction. (584) these developments are producing a new sense of space as folded and animate, one that assumes a moving point of view, a ƒ
nomadologicƒ rather than a monadologic (Vidler 2000), which may, for example, be showing up in new forms of anxiety and phobia, which are representative of new stresses and strains, or in new forms of intuition.

3 4 2 (+) [-4+]mCQK thrift-movement_space (584-585) 20131013b 0 -21+ progress/2013/08/notes_for_thrift-movement_space.html
Paratexts are technological equivalent of Heideggerian background: cables, formulae, wireless signals. (584-585) But over time, this background [of human activity] has been filled with more and more ƒartificialƒ components until, at the present conjuncture, much of the background of life is ƒsecond natureƒ, the artificial equivalent of breathing. Roads, lighting, pipes, paper, screws and similar constituted the first wave of artificiality. Now a second wave of second nature is appearing, extending its fugitive presence through object frames as diverse as cables, formulae, wireless signals, screens, software, artificial fibers and so on. . . . the technological equivalent of the Heideggerian background (Irigaray 1999; Perniola 2004) . . .
paratexts (Genette 1999; Jackson 1999) . . . new kinetic surfaces to the world, along and across which things run (Parks 2003; Thrift 2004c) . . . a new ƒtechnological unconsciousƒ (Clough 2000; Thrift 2004c) . . . a methodological challenge (Riles 2003).
(586) If all these characteristics can be imposed, then the logic of the system, as it becomes both necessary and general, will gradually become the logic of the world. As this ontogenetic process occurs, so the system will fade from human perception, becoming a part of the landscape which the body ƒnaturallyƒ adjusts to and which it regards as a normal part of its movement.

3 4 2 (+) [-4+]mCQK thrift-movement_space (587) 20131013c 0 -10+ progress/2013/08/notes_for_thrift-movement_space.html
Figured ontologies decomposing and recomposing world in their image: mathematics, population, gridding of time and space, lists and registers, logistics. (587) I shall argue that we are in a situation that has a number of historical parallels which have manifested themselves again under the new conditions of computability and which form a kind of cognitive history told through practices of number. . . . These developments have, if you like, produced new
figured ontologies by decomposing and recomposing the world in their own image: they have been the real winners of the ontological wars, defining not so much what is to be done in any situation but how the situation turns up in the first place.
(587-588) First, then, the discovery of mathematics. . . . In particular, the cognitive method called mathematics allowed the world to be seen as concise, transferable and thus manageable, shaping a new kind of necessity.

3 4 2 (+) [-4+]mCQK thrift-movement_space (588) 20131013d 0 -5+ progress/2013/08/notes_for_thrift-movement_space.html
Discovery of population as thinkable entity. (588) Second, the discovery of population (or, more accurately, ƒmultitudeƒ) as a thinkable entity, an entity which can be characterized and summed in different ways. . . . Whatever the case, it is clear that a notion of population of the kind that subsequently became common in the nineteenth century has been crucial to the quantification of the world, allowing many modern statistical ideas to come into existence and be applied in the background as a kind of background (Porter 1992).

3 4 2 (+) [-4+]mCQK thrift-movement_space (588-589) 20131013e 0 -6+ progress/2013/08/notes_for_thrift-movement_space.html
Gridding of time and space, technology of address producing locatability in absolute space. (588-589) Third, there is the gridding of time and space in the eighteenth and nineteenth centuries. . . . In turn, the technology of
address produced genuine locatability in an absolute space and, with it, the possibility of making calculations that had been difficult or long-winded before.
(589) Fourth, there is the growth of means of making mass lists and registers.

3 4 2 (+) [-4+]mCQK thrift-movement_space (589-590) 20131013f 0 -7+ progress/2013/08/notes_for_thrift-movement_space.html
Logistics: number performs number. (589-590) Fifth, there is the rise of logistics, a set of knowledge synonymous with movement, effectively the science of moving objects in an optimal fashion. . . . In other words, number tends to cast the world reciprocally in its image as entities are increasingly made in forms that are countable.
Number performs number. As importantly, in Euro-American cultures at least, it also performs a notion of a terrain and population existing in a ƒsimilar and immovableƒ abstract space which has had to be slowly and laboriously built up, one which assumes that there are fixed reference points, cardinal dimensions and the like (Hatfield 1990).

3 4 2 (+) [-4+]mCQK thrift-movement_space (591) 20131013h 0 -6+ progress/2013/08/notes_for_thrift-movement_space.html
Plane of endless calculating and recalculation; Manovich loop. (591) Thus, forces of recursivity moved from being models on the page to something approaching forces of nature: in
Manovichƒs (2001) terms, the loop. . . . There are no longer calculations with definite beginnings and ends. Rather there is a plane of endless calculation and recalculation, across which intensities continually build and fade.

3 4 2 (+) [-4+]mCQK thrift-movement_space (591) 20131013i 0 -1+ progress/2013/08/notes_for_thrift-movement_space.html
Notions of both human and environment are shifting due to prevalence of qualculation. (591) these developments are producing not only shifts in what is understood as ƒhumanƒ but also shifts in what is understood as ƒenvironmentƒ since, increasingly, the ƒartificialƒ environment is sentient and has the feel of a set of ƒnaturalƒ forces blowing this way and that.

3 4 2 (+) [-4+]mCQK thrift-movement_space (592) 20131013j 0 -16+ progress/2013/08/notes_for_thrift-movement_space.html
Qualculation new methodological sense: speed, faith in number, degree of memory; experience clearings disclosing opportunities to intervene in flow rather than preexisting objects (Callon and Law). (592) the sheer amount of calculation that is now becoming possible at all points of so many spaces is producing a new calculative sense, which I will call ƒ
qualculationƒ (Callon and Law 2004). That sense has the following characteristics. . . . speed . . . faith in number . . . only limited numerical facility is available in the bodies of the population . . . some degree of memory.
(593) Increasingly, subjects do not encounter finished, pre-existing objects but rather ƒclearingsƒ that disclose opportunities to intervene in the flow (Knorr Cetina 2003).

3 4 2 (+) [-4+]mCQK thrift-movement_space (593) 20131013k 0 -17+ progress/2013/08/notes_for_thrift-movement_space.html
Ethnomathematical basis. (593) I want to argue that the best way of thinking about this characterization is to take a leaf from the book of ethnomathematics and to think thereby about transitions to new cognitive modes occasioned by adding new features to physical matter (and especially all manner of pervasive infrastructures) which, arguably, alter the sense of what matter is about. In particular, the new qualculative sense involves a different sense of number and counting and series.
(593-594) Different numerical systems are treated as akin to different languages. . . . it easily makes space for the complexity of mucking about with numbers that typifies much of everyday life. . . . the use of numbers is inevitably partial, performative, distributed and often integrated into other activities (for example, navigation, decoration, calendrics, religion) rather than understood as a discrete activity carried out for itself. . . . how number interpellates subjectivity by producing particular forms of link.
(594) More and more of the world is brought into this means of ordering through the operations of various forms of code and the ordering microworlds that they generate.
(594) Number both frames movement and is framed by it: the two reciprocally confirm each other and provide a window on to a perception of a world which sways and shimmies with the force of qualculation, which folds and flows in numerous ways as different architectures of flow meld and then melt away because of the increased elasticity of synchronicity (and ƒsynchoricityƒ) that has been made possible.

3 4 2 (+) [-4+]mCQK thrift-movement_space (594) 20131013l 0 -5+ progress/2013/08/notes_for_thrift-movement_space.html
Radical variation in sensory orders across cultures, so also what counts as perception and experience; Geurts work on indigenous Anlo sensorium. (594) The sensory orders of cultures can vary radically and so, therefore, can the expectations of what counts as perception and experience.
(595) The point of [K.L.]
Geurtsƒs work [on the indigenous Anlo sensorium] is that it shows that there is no need to think that what we name as the senses has a predetermined or stable character. In all likelihood, the constellation of senses and what we may consequently regard as sensation goes through periods of regular redefinition and re-embedding (Howes 2003).

3 4 2 (+) [-4+]mCQK thrift-movement_space (595) 20131013m 0 -5+ progress/2013/08/notes_for_thrift-movement_space.html
Technological unconscious manifest as symptoms. (595) One of the ways that qualculative developments are most likely to surface is as so-called
mental conditions in which what is generally a part of the technological unconscious is able to make itself known again as various anxieties and phobias.
(596) Another way in which qualculative developments might make themselves known is through the rise of new forms of
intuition (Myers 2002).
(596) new qualities might become possible which assumed this enhanced calculativity as a space-time background through an array of new coordinate systems, different kinds of metric and new cardinal points, backed up by much enhanced memory and a certain limited predictive capacity. This background would enable new kinds of movement to occur, against which all kinds of experiments in perception might become possible, which might in turn engender new senses, new intelligences of the world and new forms of ƒhumanƒ.
(597) We sense it as a different kind of awareness of the world, one in which space itself seems to perform.

3 4 2 (+) [-4+]mCQK thrift-movement_space (597) 20131013n 0 -11+ progress/2013/08/notes_for_thrift-movement_space.html
Gallagher body schema example of hand; new ways of reaching and touching in qualculative world. (597) Certain parts of the body are particularly important in acting as bridges to the world and here I concentrate on one of the most important of these the hand.
(597-598) The hand is particularly important in providing not just active manipulation of the world but also a sense of
touch (Field 2001). . . . I want to argue that in a qualculative world the hand will take on some different styles of haptic inquiry: it will reach out and touch in different ways. In particular, the sense of touch will be redefined in three was as haptic engineering moves beyond todayƒs primitive keyboard, keypad, mouse and data glove. . . . In other words, the hand will extend, be cable to touch more entities and will encounter entities which are more ƒtouchableƒ.

3 4 2 (+) [-4+]mCQK thrift-movement_space (598) 20131013o 0 -8+ progress/2013/08/notes_for_thrift-movement_space.html
World comes loaded with addresses. (598) The environment can be laid out in a large number of ways. But what seems certain is that, increasingly,
the world will come loaded up with addresses. . . . This move is already having consequences which call up an analogy with the kinematics of the reach of the hand.
(599) Then, finally, I want to consider the matter of language. Here I want to consider some findings from the anthropology of cognition.

3 4 2 (+) [-4+]mCQK thrift-movement_space (599-600) 20131013p 0 -5+ progress/2013/08/notes_for_thrift-movement_space.html
Anthropology of cognition suggests language changing as qualculated world provides greater cognitive assistance; spatial distribution of flow architectures will produce extended spatial vocabulary. (599-600) This discussion makes it possible to speculate about how vocabularies for describing spatial configuration will change in a qualculated world in which much greater cognitive assistance is routinely available. . . . The critical importance of spatial distribution in flow architectures will produce an extended spatial vocabulary which will provide new opportunities for thinking the world, opportunities which will themselves be constitutive of that world.

3 4 2 (+) [-4+]mCQK thrift-movement_space (600) 20131013q 0 -2+ progress/2013/08/notes_for_thrift-movement_space.html
Assumes migration of many spatial skills into technical background, exerting influence through agency of software; compare to Kitchin and Dodge code/space. (600) Such a world assumes a certain kind of relative space (though, as I have underlined, riding on the back of the most absolute of absolute spaces) and the migration of a good many spatial skills and competencies into the technical background where they are neither seen nor heard but still exert an influence through the agency of software and other recursive entities, calculating each move down to the last instant, so to speak.
(601) This is surely how the history of the present will have to be written.

---3.4.3+++ {11}

3 4 3 (+) [-4+]mCQK black-ibm_and_the_holocaust (406) 20140712c 0 -8+ progress/2013/10/notes_for_black-ibm_and_the_holocaust.html
Evidence of long history of love of technologies a means of reading as diachrony in synchrony. (406) When the U.S. military formed its Machine Records Units (MRU), IBM employees, or those IBM had trained, became the backbone of the elite MRU forces. . . . As a result, when IBM Soldiers happened upon Dehomag equipment and factories, they did not see evidence of a war crime to docket or a key Nazi industrial installation to capture. They saw something inspiring and beloved that needed protection and to be returned to its rightful owner.

3 4 3 (+) [-4+]mCQK derrida-dissemination (170) 20130916y 0 -14+ progress/2012/02/notes_for_derrida-dissemination.html
Curious final account of subject generation in Second Letter via synergistic positive feedback of living writing recursing in mind of Plato, perhaps attempting to describe the experience of reading before long habituation to writing and subvocalization, again mirroring descriptions in Tanaka-Ishii of lambda calculus processing of self-referential, recursive algorithms. (170) One still has to take note of this. And to finish that Second Letter: . . . and why there is not and will not be any written work of Platoƒs own. What are now called his . . .
Sokratous estin kalou kai neou gegonotos . . . are the work of a Socrates embellished and modernized. Farewell and believe. Read this letter now at once many times and burn it.

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (14) 20131208a 0 -1+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Material assemblage basic type of machine, including material, energy, semiotic, social components; good definition of technological machine. (14) The first type of machine that comes to mind is that of material assemblages [
dispositifs], put together artificially by the human hand and by the intermediary of other machines, according to diagrammatic schemas whose end is the production of effects, of products, or of particular services.

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (14-15) 20131208b 0 -11+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
While technological objects always dependent upon ensemble, abstract human vitality built into machines engender mutant forms of thought imbricating humans and machines; musical filiation. (14-15) In the context of such a functional ensemble, which henceforth will be qualified as
machinic ordering [agencement machinique], the utensils, the instruments, the simplest tools, and, as we shall see, the slightest structured parts of a machinery will acquire the status of a protomachine. . . . As Leroi Gourhan pointed out, the technological object is nothing outside of the technological ensemble to which it belongs. . . . In order to acquire more and more life, machines require more and more abstract human vitality as they make their way along their evolutive phyla. Thus, conception by computer expert systems and artificial intelligence gives us back at least as much as it takes away from thought, because in the final analysis it only subtracts intertial schemas. Computer-assisted forms of thought are thus mutant and arise from other kinds of music, from other universes of reference.

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (15) 20131208c 0 -8+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Machinic semiologies exist beyond repetition of forms, mimesis, and other discursive phenomena, leading to why Lacan should be rejected. (15) It is thus impossible to refuse human thought its part in the essence of machinism. But how long can we continue to characterize the thought put to work here as human? Doesnƒt technicoscientific thought emerge from a certain type of mental and semiotic mechanism. . . . They postulated a general translatability able to signify all forms of discursivity. But in doing that, did they not miss the mark of a machinistic autopoiesis that does not derive from repetition of from mimesis of significations and their figures of expression, but that is linked instead to the emergence of meaning and of effects that are no less singular for being indefinitely reproducible?

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (15-16) 20131209a 0 -10+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Desire of abolition haunting machine as if flip side of death drive therefore according to psychoanalysis founding subjectivity and conscious awareness; however, that is the human view, acknowledging signifying articulation cast in human terms even if by software cannot grasp what matters to machines or even the basic forms of their thoughts. (15-16) This autopoeitic nexus of the machine is what wrests it from structure. Structural retroactions, their input and output, are called upon to function according to a principle of eternal return; they are inhabited by a desire for eternity. The machine, on the contrary, is haunted by a desire for abolition. . . . The signifying articulation that looms above them in its superb indifference and neutrality is unable to impose itself upon machine intensities as a relation of immanence. In other words, it cannot preside over what constitutes the nondiscursive and self-enunciating nexus of the machine. The diverse modalities of machine autopoiesis essentially escape from signifying mediation and refuse to admit to any general syntax describing the procedures of deterritorialization. No binary couple such as being/entity [etre/etant], being/nothingness, being/other can claim to be the binary digit of ontology.

3 4 3 (+) [-4+]mCQK guattari-machinic_heterogenesis (19) 20131209e 0 -1+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Example of having machinic value while falling within ranges again more easily conceived in programmed examples than physical objects. (19) This integral, infinitary form doubles and smooths out the contingent forms F(K) and F(L), which have machinic value only to the extent that they belong to it.

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (20) 20131208g 0 -2+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Technical components embody forms like money and electronic components. (20) This phenomenon of formal threshold will recur at every level of intra- and extramachinic relations, particularly with the existence of spare parts. The components of technical machines are thus like the coins of a formal money, a similarity that has become even more manifest because computers have been used both to conceive and to execute such machines.

3 4 3 (+) [-4+]mCQK guattari-machinic_heterogenesis (20) 20131208h 0 -6+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Pierce diagram as autopoietic machine, suggesting ontologically heterogeneous modes of subjectivity versus univocal subjectivity of literal literary humanist subject; connect to Tanaka-Ishii. (20) Pierceƒs diagram is in effect conceptualized as an autopoietic machine, thus not only granting it a functional consistency and a material consistency, but also requiring it to deploy its various registers of alterity that remove what I call the machinic nexus from a closed identity based on simple structural revelations. The subjectivity of the machine is set up in universes of virtuality that everywhere exceed its existential territoriality. . . . There does not exist, for the various machine registers, a univocal subjectivity based on rupture, lack, and suture, but rather, ontologically heterogeneous modes of subjectivity, constellations of incorporeal universes of reference that take a position of a particular enunciator in domains of multiple alterity that it would be better to call domains of
alterification.

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (20) 20131209f 0 -2+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Formal threshold phenomenon recurs at every level yielding more nuanced machinery than analog limitations. (20) This phenomenon of formal threshold will recur at every level of intra- and extramachinic relations, particularly with the existence of spare parts. The components of technical machines are thus like the coins of a formal money, a similarity that has become even more manifest because computers have been used both to conceive and to execute such machines.

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (23-24) 20131208k 0 -2+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Sign-points asignifying semiotic figures grasping at work code performs, while also constituting various types of code (see Berry), in ways not captured by more limited layers of linear discursivity reducing to lifeless external marks. (23-24) The signs of asignifying semiotic machines are sign-points. Partly they are of a semiotic order, partly they intervene directly in a series of material machinic processes (for example, the code number of a credit card that makes a cash machine work).

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (24) 20131209k 0 -2+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Fractal machines traverse substantial scales. (24) It is the notion of scale that we should expand upon here in order to think fractal symmetries in terms of ontology. Substantial scales are traversed by fractal machines.

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (25) 20131208l 0 -19+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Limits of biosphere and mecanosphere clinging to planet making angle of constitution of our galaxy, for which existence elsewhere apprehended virtually by reference to other autopoietic machines: compare to Lyotard inhuman. (25) The biosphere and the mecanosphere, clinging to this planet, bring into focus a spatial, temporal, and energetic point of view. They make up an angle of constitution of our galaxy. Outside this particularized point of view, the rest of the universe exists in the sense that we apprehend existence here below only through the virtuality of the existence of other autopoietic machines at the heart of other biomecanospheres sprinkled about the cosmos. . . . Let us imagine an autopoietic object whose particles might be built on the basis of our galaxies. Or, in the opposite sense, a cognitivity constituting itself on the scale of quarks. Another panorama, another ontological consistency. The mecanosphere appropriates and actualizes configurations that exist among an infinity of others in fields of virtuality. Existential machines are on the same level as being in intrinsic multiplicity. They are not mediated by transcendent signifiers subsumed by a univocal ontological foundation. They are themselves their own material of semiotic expression. . . . Existence if not dialectic. It is not representable. It is hardly even livable!

3 4 3 (+) [-6+]mCQK guattari-machinic_heterogenesis (26) 20131208m 0 -1+ progress/2013/12/notes_for_guattari-machinic_heterogenesis.html
Ritornello function of pure intensive repetition again sounds like something software objects commonly perform. (26) The mecanism of this reversal of being consists in the fact that certain discursive segments of the machine begin to play a game that is no longer only functional or significational, but assumes an existentializing function of pure intensive repetition, what I have elsewhere called a ritornello function.

3 4 3 (+) [-6+]mCQK hayles-electronic_literature (180) 20130928u 0 -4+ progress/2010/02/notes_for_hayles-electronic_literature.html
Technology itself is perfectly representable whether or not its referent exists; enter the concept of epistemological transparency. (180) Although it is true that digital technologies can create objects for which there is no original (think of Shrek, for instance),
the technology itself is perfectly representable, from the alternating voltages that form the basis for the binary digits up to high-level languages such as C++. The ways in which the technology actually performs plays no part in Hansenƒs analysis. For him the point is that the house renders experience singular and unrepeatable, thus demolishing the promise of orthographic recording to repeat the past exactly. Because in his analogy the house equals the digital, this same property is then transferred to digital technology.

3 4 3 (+) [-4+]mCQK hayles-electronic_literature (180-181) 20130928v 0 -5+ progress/2010/02/notes_for_hayles-electronic_literature.html
Points out Hansen ignores ability of digital technology to exercise agency. (180-181) More important, in my view, is an aspect of digital technology that Hansenƒs elision of its materiality ignores: its
ability to exercise agency. . . . the layered architectures of computer technologies enable active interventions that perform actions beyond what their human programmers envisioned.

3 4 3 (+) [-6+]mCQK hayles-electronic_literature (183) 20130928x 0 -6+ progress/2010/02/notes_for_hayles-electronic_literature.html
We have long been in the position that no single person can comprehend not just many but most programs and communications systems; Cantwell Smith on emergence of complexity ties back to Socrates question and von Neumman on automata. (183) Although humans originally created the computer code, the complexity of many contemporary programs is such that no single person understands them in their entirety. In this sense our understanding of how computers can get from simple binary code to sophisticated acts of cognition is approaching the yawning gap between our understanding of the mechanics of human consciousness. . . . As Brian Cantwell Smith observes, the emergence of complexity within computers may provide crucial clues to how a structured lump of clay can sit up and think.

3 4 3 (+) [-6+]mCQK hayles-electronic_literature (185) 20130928y 0 -2+ progress/2010/02/notes_for_hayles-electronic_literature.html
There is no there there hunting for homuncular thinking thing zooming through computer interior ties back to Dennett theory of consciousness. (185) Like the nothingness infecting the textƒs signifiers, a similar nothingness would confront us if we could take an impossible journey and zoom into a computerƒs interior while it is running code. We would find that
there is no there there, only alternating voltages that nevertheless produce meaning through a layered architecture correlating ones and zeros with human language.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (17) 20120707k 4 -2+ progress/2012/07/notes_for_hayles-how_we_think.html
Compare to conclusion of McGann Radiant Textuality. (17) Finally, the coda to chapter 8, written in collaboration with Allen Riddell, presents results from our machine reading of
Only Revolutions. Combining close, hyper-, and machine reading with a focus on technogenesis, the book is meant as a proof of concept of the potential of Comparative Media Studies not only in its arguments but also in the methodologies it instantiates and the interpretive strategies it employs.

3 4 3 (+) [-6+]mCQK hayles-how_we_think (25) 20120707l 0 -5+ progress/2012/07/notes_for_hayles-how_we_think.html
Second DH wave goes beyond text-based practices to multimodal platforms. (25) A decade later, the term is morphing again as some scholars advocate a turn from a primary focus on text encoding, analysis, and searching to multimedia practices that explore the fusion of text-based humanities with film, sound, animation, graphics, and other multimodal practices across real, mixed, and virtual reality platforms.
(25-26) [quoting John
Unsworthƒs Manifesto ] The first wave of digital humanities work was quantitative, mobilizing the search and retrieval powers of the database, automating corpus linguistics, stacking hypercards into critical arrays. The second wave is qualitative, interpretive, experiential, emotive, generative in character.
(26) From a very different perspective, Johanna
Drucker (2009) argues that the Digital Humanities have been co-opted by a computational perspective inherited from computer science, betraying the humanistic tradition of critical interpretation.
(27) Digital Humanities as a diverse field of practices associated with computational techniques and reaching beyond print in its modes of inquiry, research, publication, and dissemination.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (30) 20120707m 0 -2+ progress/2012/07/notes_for_hayles-how_we_think.html
Machine reading and big data points toward posthuman scholarship. (30) The unsettling implications of machine reading can be construed as pointing toward a posthuman mode of scholarship in which human interpretation takes a backseat to algorithmic processes.
(31) The tension between algorithmic analysis and hermeneutic close reading should not be overstated.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (36) 20120707n 0 -6+ progress/2012/07/notes_for_hayles-how_we_think.html
Big Humanities projects can involve collaborations of students and amateurs, Wikipedia the obvious example, considered as long term, public projects they outlive the individual director who launched the idea; however, has impact on tenure and promotion mechanics. (36) An example is the
Clergy of the Church of England Database directed by Arthur Burns, in which volunteers collected data and, using laptops and software provided by the project, entered them into a database. . . . This kind of model could significantly improve the standing of the humanities with the general public.
(37) At the same time, as collaborative work becomes more common throughout the Digital Humanities, tenure and promotion committees will need to develop guidelines and criteria for evaluating collaborative work and digital projects published online.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (43) 20121129 0 -6+ progress/2012/07/notes_for_hayles-how_we_think.html
Enumeration of Digital Humanities centers; bridging the gap between the lost generation of codes to McCarty humanities coders. (43) Given the double demand for expertise in a humanistic field of inquiry and in computer languages and protocols, many scholars feel under pressure and wonder if they are up to the task. . . . In the future, academic programs such as Georgia Techƒs computational media and the humanities computing majors at Kingƒs College may produce scholars fluent both in code and the Traditional Humanities. In the meantime, many scholars working in the field are self-taught, while others extend their reach through close and deep collaborations with technical staff and professionals in design, programming, etc.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (51) 20121129a 0 -4+ progress/2012/07/notes_for_hayles-how_we_think.html
Examples of CCH and LCC as model DH programs emphasizing strategies of extensiveness and distinction. (51) Whereas CCH works mostly with art and cultural institutions, LCC has corporate as well as nonprofit partners and places many of its graduates in for-profit enterprises.
(52) The distinction approach, as it is implemented at LCC and elsewhere, aims to create cutting-edge research and pedagogy specifically in digital media. To a significant degree, it is envisioning the future as it may take shape in a convergence culture in which TV, the web, computer games, cell phones, and other mobile devices are all interlinked and deliver cultural content across as well as within these different media.
(53) The challenge for such programs is to find ways to incorporate the insights of the Traditional Humanities, especially poststructuralist theory and gender, ethnic, and race studies, into practice-based research focusing primarily on the acquisition and deployment of technical skills.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (75) 20121129h 0 -7+ progress/2012/07/notes_for_hayles-how_we_think.html
Liu Litearture+ teaching approach. (75) Starting from a traditional humanistic basis in literature, Alan
Liu in the English Department at the University of California, Santa Barbara, has been teaching undergraduate and graduate courses that he calls Literature+, which adopt as a pedagogical method the interdisciplinarity facilitated by digital media. . . . Starting with close reading, he encourages students to compare it with methodologies in other fields, including the sciences and engineering. He also has constructed a Toy Chest on his website that includes links to software packages enabling students with little or no programming experience to create different modes of representation of literary texts.
(76) Linking traditional literary reading skills with digital encoding and analysis, the Literature+ approach strengthens the ability to understand complex literature at the same time it encourages students to think reflectively on digital capabilities.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (76) 20121129i 0 -1+ progress/2012/07/notes_for_hayles-how_we_think.html
Manovich cultural analytics apply big data sets and methods to cultural objects. (76) Lev
Manovichƒs Cultural Analytics (2007) is a series of projects that start from the premise that algorithmic analyses of large data sets (up to several terabytes in size), originally developed for work in the sciences and social sciences, should be applied to cultural objects, including the analysis of real-time data flows.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (86) 20121130 3 -5+ progress/2012/07/notes_for_hayles-how_we_think.html
Does the discussion of temporality with respect to objects exemplify a complexity where hermeneutic phenomenology falls short? (86)
(87) To explore the ways in which duration and spatialized temporality create fields of contention seminal to human cultures, I turn to an analysis of
TOC: A New Media Novel (2009), a multimodal electronic novel by Steve Tomasula (with design by Stephen Farrell). . . . Composed on computers and played on them, TOC explores its conditions of possibility in ways that perform as well as demonstrate the interpenetration of living and technical beings, processes in which complex temporalities play central roles.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (91) 20121130c 0 -5+ progress/2012/07/notes_for_hayles-how_we_think.html
Materiality as human-technical hybrid based on not just perception but attention. (91)
Materiality is unlike physicality in being an emergent property. It cannot be specified in advance, as though it existed ontologically as a discrete entity. Requiring acts of human attentive focus on physical properties, materiality is a human-technical hybrid.
(92) An embedded cognitive approach, typified by the work of anthropologist Edwin Hutchins (1996), emphasizes the environment as crucial scaffolding and support for human cognition.
(93) The differences between EXTENDED and BRAINBOUND are clear, with the neurological, experimental, and anecdotal evidence overwhelmingly favoring the former of the latter.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (93-94) 20121130d 0 -11+ progress/2012/07/notes_for_hayles-how_we_think.html
Embedded versus extended cognition; significant role played by unconscious, reversing Descartes. (93-94) Whereas the embedded approach emphasizes human cognition at the center of self-organizing systems that support it, the extended model tends to place the emphasis on the cognitive system as a whole and its enrollment of human cognition as a part of it. . . . Recent work across a range of fields interested in this relation neuroscience, psychology, cognitive science, and others indicates that the unconscious plays a much larger role than had previously been thought in determining goals, setting priorities, and other activities normally associated with consciousness.
(95) In a startling reversal of Descartes, they [Dijksterhuis, Aarts, and Smith] propose that thought itself is mostly unconscious. . . . The senses can handle about 11 million bits per second, with about 10 million bits per second coming from the visual system. Consciousness, by contrast, can handle dramatically fewer bits per second.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (102) 20121130h 0 -2+ progress/2012/07/notes_for_hayles-how_we_think.html
Sociometer and somameter examples of cybernetic devices for transducing unconscious and nonconscious perceptions into awareness. (102) From a technogenetic perspective, the holistic nature of human response to the environment, including conscious, unconscious, and nonconscious awareness, suggests the possibility of fabricating devices that can use unconscious and nonconscious perceptions in ways that make their awareness available to consciousness.
(103) The practical goals achieved by these research programs vividly demonstrate that plasticity provides not only the grounds for a philosophical call for action but a potent resource for constructive interventions through human-digital media hybridity.

3 4 3 (+) [-9]mCQK hayles-how_we_think (103-104) 20121130i 0 -5+ progress/2012/07/notes_for_hayles-how_we_think.html
Attention essential component of technical change. (103-104) Weaving together the strands of the argument so far, I propose that
attention is an essential component of technical change (although undertheorized in Simondonƒs account), for it creates from a background of technical ensembles some aspect of their physical characteristics upon which to focus, thus bringing into existence a new materiality that then becomes the context for technological innovation. Attention is not, however, removed or apart from the technological changes it brings about. Rather, it is engaged in a feedback loop with the technological environment within which it operates through unconscious and nonconscious processses that affect not only the background from which attention selects but also the mechanisms of selection themselves.
(104) In this sense too, the computer instantiates multiple, interacting, and complex temporalities, from microsecond processes up to perceptible deplays.
(104) Humans too embody multiple temporalities.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (105) 20121130j 0 -5+ progress/2012/07/notes_for_hayles-how_we_think.html
Do multiple temporalities confound phenomenology as Bogost would say? (105) The point at which computer processes become perceptible is certainly not a single value; subliminal perception and adaptive unconsciousness play roles in our interactions with the computer, along with conscious experience. . . . To a greater or lesser extent, we are all moving toward the hyper attention end of the spectrum, some faster than others.

3 4 3 (+) [-6+]mCQK hayles-how_we_think (105-106) 20121130k 0 -9+ progress/2012/07/notes_for_hayles-how_we_think.html
Suggests hyper attention occurs within technological objects and innovation processes. (105-106) Going along with the feedback loops between the individual user and networked and programmable machines are cycles of technical innovation. . . . Beta versions are now often final versions. . . . The unresolved background created by these practices may be seen as the technical equivalent to hyper attention, which is both produced by and helps to produce the cycles of technical innovation that result in faster and faster changes, all moving in the direction of increasing the information density of the environment.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (124) 20121220 0 -7+ progress/2012/07/notes_for_hayles-how_we_think.html
Studying telegraph code books as example of DH practice, somewhat orthogonal to study by Sterne of listening practices and study by Misa of telegraph. (124) These remnants of a once flourishing industry reveal the subtle ways in which code books affected assumptions and practices during the hundred years they were in use. These effects may be parsed through three sets of dynamic interactions: bodies and information; code and language; and messages and the technological unconscious. . . . In this sense telegraphy was prologue to the ideological and material struggle between dematerialized information and resistant bodies characteristic of the globalization era, a tension explored below in the section on information and the cultural imaginaries of bodies.
(124) The interaction between code and language shows a steady movement away from a human-centric view of code toward a machine centric view, thus anticipating the development of full-fledged machine codes with the digital computer.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (125) 20121220a 0 -1+ progress/2012/07/notes_for_hayles-how_we_think.html
Telegraphy brought shifts in technological unconscious. (125) Among the sedimented structures in the technological unconscious is the dream of a universal language.

3 4 3 (+) [-6+]mCQK hayles-how_we_think (126) 20121220b 0 -4+ progress/2012/07/notes_for_hayles-how_we_think.html
Role of monopoly capitalism in telegraph reconfiguring time and space. (126) Time and space were not, common wisdom to the contrary, annihilated by the telegraph, but they were reconfigured.
(127) Message transmission was thus dependent on multiple functionalities, most of which lay outside the control or even the knowledge of the individual consumer. In this sense, telegraphy anticipated the message transmission systems of the Internet, in which an individual user may have no knowledge or awareness of the complex pathways that information packets take en route to their destinations.
(128) Although no scientific data exist on the changes sound receiving made in neural functioning, we may reasonably infer that it brought about long-lasting changes in brain activation patterns, as this anecdote [about woman hearing Morse code everywhere] suggests.

3 4 3 (+) [-6+]mCQK hayles-how_we_think (129) 20121220c 0 -2+ progress/2012/07/notes_for_hayles-how_we_think.html
Disciplining body, enrolling human subjects into techocratic regimes; Sterne connection, though electric telegraph could never realize dream of eliminating man in the middle sought by cybernetics for sending and receiving skills. (129) Disciplining the body in this way was one of the many practices that made telegram writing an inscription technology enrolling human subjects into technocratic regimes characterized by specialized technical skills, large capital investments, monopolistic control of communication channels, and deferrals and interventions beyond the ken of the individual telegram writer and receiver.
(131) The goal articulated during the mid-twentieth century Macy conferences of eliminating the man in the middle was never possible with the electric telegraph, making the technology intrinsically bound to the place of the human.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (142) 20121220d 0 -3+ progress/2012/07/notes_for_hayles-how_we_think.html
Procedurally calculation replaces memory associations from lifeworld, realizing Saussure proposition about arbitrary semiotic relations. (142) The progression from natural language to artificial code groups, from code words drawn from the compilerƒs memory associations to codes algorithmically constructed, traces a path in which code that draws directly on the lifeworld of ordinary experience gives way to code calculated procedurally.
(146) As we have seen, sound receiving was a difficult skill to learn, so a trade-off was beginning to take shape: the skills required of the operator decreased as the machines grew more complex, while the skills required to produce and maintain the machines increased accordingly.
(146) Following the same kind of trajectory as the transition from sound receiving to Teletyping, fewer sending and receiving skills were located in humans, and more were located in the machines.

3 4 3 (+) [-6+]mCQK hayles-how_we_think (192-193) 20121221a 0 -6+ progress/2012/07/notes_for_hayles-how_we_think.html
Contrasts between relational and object-oriented databases exhibit procedural rhetorics and world models. (192-193) In theory, databases are models of the world, and relational and object-oriented databases conceive of the world (or better, assume and instantiate world versions through their procedures) in fundamentally different ways. Relational database representations imply that the world is made up of atomized data elements (or records) stored in separate tables, with similar data types grouped together.
(193) Object-oriented databases, by contrast, divide the world into abstract entities called classes.
(193) The object approach is navigational, whereas the relational approach is declarative.
(193) These differences notwithstanding, the contrast should not be overstated.
(195) The kinds of relationality that can be represented within a classƒs functionalities and therefore between classes are more flexible than the kinds of relations that can be represented through declarative commands operating on relational databases, an especially important consideration when temporal events are being represented.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (200) 20130928 0 -2+ progress/2012/07/notes_for_hayles-how_we_think.html
Hall Raw Shark Texts tutor text for contemplating databases. (200) The creepiness of knowing that oneƒs everyday transactions depend on invisible databases suggests an obvious point of intervention for contemporary novels: subverting the dominance of databases and reasserting the priority of narrative fictions. Steven Hallƒs remarkable first novel,
The Raw Shark Texts, creates an imaginative world that performs the power of written words and reveals the dangers of database structures.

3 4 3 (+) [-6+]mCQK hayles-how_we_think (200) 20121221c 0 -4+ progress/2012/07/notes_for_hayles-how_we_think.html
Separation of content from instantiation and presentation. (200) Aside from issues of surveillance, secrecy, and access, databases also raise serious questions, as Parton suggests (2008), about the kinds of knowledge that are lost because they cannot fit into standardized formats. Alan Liu (2008b) identifies the crucial move in this standardization as
the separation of content from material instantiation or formal presentation.
(201) First, management became distributed into different functions and automated with the transition from human managers to database software. Second, content became separated not only from presentational form but also from material instantiation.

3 4 3 (+) [-4+]mCQK hayles-how_we_think (218) 20121221e 0 -5+ progress/2012/07/notes_for_hayles-how_we_think.html
Interesting consideration of null values as anathema for database data. (218) As we have seen, in the fields of relational databases, undetermined or unknown (null) values are anathema, for when a null value is concatenated with others, it renders them null as well. In narrative, by contrast, undecidables enrich the textƒs ambiguities and make the reading experience more compelling.
(218-219) Narrative, language, and the human brain are coadapted to one another. The requirements for the spread of postindustrial knowledge that Alan Liu identifies transformability, autonomous mobility, and automation point to the emergence of machine intelligence and its growing importance in postindustrial knowledge work. It is not human cognition as such that requires these attributes but rather machines that communicate with other machines (as well as humans).

3 4 3 (+) [-4+]mCQK hayles-how_we_think (221) 20130928a 0 -4+ progress/2012/07/notes_for_hayles-how_we_think.html
Danielewski Only Revolutions tutor text for exploring role of spatiality in literary texts. (221) In responding to the overwhelming amounts of data inundating developed societies in the contemporary era, Mark Z. Danielewski has launched a bold experimental novel,
Only Revolutions, that interrogates the datasphere by accentuating and expanding the role of spatiality in a literary text. In this sense, it displays the effects of data not only at the diegetic level of the narrative but also in the material form of the print codex itself. Among the transformations and deformations the text implements is a profound shift from narrative as a temporal trajectory to a topographic plane upon which a wide variety of interactions and permutations are staged.

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Technological objects not appreciated for historicity the way Heidegger jug is; science studies makes things Things again: do it with technological objects as well, including software, protocols, programming languages, electronic devices, circuits, and computing machinery. (234) But, as Ludwig Fleck remarked long ago, their objects are never complicated enough; more precisely, they are never simultaneously
made through a complex history and new, real, and interesting participants in the universe. Philosophy never deals with the sort of beings we in science studies have dealt with. . . . Heidegger s mistake is not to have treated the jug too well, but to have traced a dichotomy between Gegenstand and Thing that was justified by nothing except the crassest of prejudices.
(236) My point is very simple: things have become Things again, objects have reentered the arena, the Thing, in which they have to be gathered first in order to exist later as what
stands apart.
(236) I could open the newspaper and unfold the number of former objects that have become things again, from the global warming case I mentioned earlier to the hormonal treatment of menopause, the work of Tim Lenoir, the primate studies of Linda Fedigan and Shirley Strum, or the hyenas of my friend Steven Glickman.

3 4 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (30) 20140103h 0 -2+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Digital technologies biased toward asynchronicity, away from progression of time familiar to consciousness to decision by decision operation. (30) Digital technologies are biased away from time, and toward asynchronicity.
(30-31) Instead of operating in time, computers operate from decision to decision, choice to choice.

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Programs encourage human behaviors biased toward decisions. (31)
Because computer code is biased away from continuous time, so too are the programs built on it, and the human behaviors those programs encourage.

3 4 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (31-32) 20140103j 0 -4+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Consider evolution of time sharing and networking that yielded this outcome, especially now that we do not notice it as their operation is less noticeable. (31-32) The underlying asynchronous quality of email and conferencing was much more obvious to us back then, because we all saw the way these tools really worked. Back then we all saw the way these tools really worked. Back then, phone calls still cost money, as did our access time. So our computers generally went online, logged into a server, downloaded everything we were supposed to see, and then logged off again.

3 4 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (68) 20140106d 0 -3+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Striating reduction of complexity in experience of world through technological upgrades. (68) The more complex our technologies become, and more impenetrable their decision-making (especially our increasingly simplified, gist-of-it brains), the more dependent on them we become. Their very complexity becomes the new anxiety, replacing the admanƒs storytelling as the predominant form of social influence.
(68) With each upgrade in technology, our experience of the world is further reduced in complexity.

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Experience of virtual worlds adjusts our senses, decreases perceptual abilities along striations of optimized algorithms like MP3, maps mistaken as the journey. (70) our inability to distinguish between a virtual reality simulation and the real world will have less to do with the increasing fidelity of simulation then the decreasing perceptual abilities of us humans.
(70) The MP3 algorithm has a way of creating the sensation of bass, the sensation of high notes, and so on. Listening to these files in lieu of music, however, seems to strain or even retrain our hearings.
(70) Digital reduction yields maps. These maps are great for charting a course, but they are not capable of providing the journey.

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Ability to scale and move up levels of abstraction key business survival skill in digital realm. (74)
On the net, everything is occurring on the same abstracted and universal level. Survival in a purely digital realm particularly in business means being able to scale, and winning means being able to move up one level of abstraction beyond everyone else.

3 4 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (75) 20140107b 0 -7+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Scaling and derivative strategies reflect common layered models in computer hardware, software systems, networks: diachronies in synchrony. (75) Because the net is occurring on a single, oversimplified and generic level, success has less to do with finding a niche than establishing a vertical or a horizontal. . . . In either case, scaling up means cutting through the entire cloud in one direction or another: becoming all things to some people, or some things to all people.
(75-76) In an abstracted universe where everything is floating up in the same cloud, it is the indexer who provides context and direction.
(76) Of course, this logic dovetails perfectly with a financial industry in which derivatives on transactions matter more than the transactions themselves.

3 4 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (91-92) 20140108b 0 -7+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Online experience autistic with Asperger syndrome more so than unprejudiced intellectual; dependent on small percentage of human communication occurring on verbal level. (91-92) Our experience is less that of the unprejudiced intellectual than that of the autistic living with Aspergerƒs syndrome. . . . a dependence on the verbal over the visual, low pickup on social cues and facial expressions, apparent lack of empathy, and the inability to make eye contact.
(92) But online, we are depending entirely on that tiny 7 percent of what we use in the real world. Absent the cues on which we usually depend to feel safe, establish rapport, or show agreement, we are left to wonder what the person on the other end really means or really thinks of us.

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Compensatory exhibitionism combined with permanency robs youth of free experimentation, pushing towards more anonymity; resentment seeps into communications. (93) As if desensitized by all this disembodiment, young people also exhibit an almost compensatory exhibitionism.
(94) Sadly for young people, the digital realm is permanent. This robs from them the free experimentation that defines oneƒs adolescence.
(94) And this permanence, once fully realized and experienced, only pushes the more cynical user to increasing layers of anonymity.

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Ethic of developing comportment to permanence of net life by maintaining strict sense of identity. (95) On the other hand, maintaining a strict sense of identity online is liberating, even empowering. We realize that nothing we commit to the net is truly off the record, and learn not to say anything we arenƒt proud to see quoted, shared, and linked to.

3 4 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (102) 20140110c 0 -4+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Concern that commingling commercial exploitation with sociality becomes normative behavior, possibly countered through awareness of how technologies enact this influence. (102) If the social urge online comes to be understood as something necessarily commingled with commercial exploitation, then this will become the new normative human behavior as well.
(102) Who ends up exploited most, of course, is the person who has been convinced to behave this way. And thatƒs where some awareness of how particular interfaces, tools, and programs influence our behavior is so valuable.
(103) Taking an action in a game instantly (and usually invisibly) turns oneƒs entire network into a spam distribution list selling her friends, and her friends-of-friends, to the gameƒs real clients: market researchers and advertisers.

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Social media contacts hint at potential future forms of collective organism. (104) People are not things to be sold piecemeal, but living members of a network whose value can only be realized in a free-flowing and social context.
(105) The content is not the message, the contact is. The ping itself. Itƒs the synaptic transmission of an organism trying to wake itself up.

---3.4.4+++ {11}

3 4 4 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (765) 20131024c 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
To study textuality in its situated, media specific and cultural contexts, asking about textualities as what Hayles describes as shimmering signifiers how it may occur in virtual realities computed by machines, living in the thoughts of machines and passing through human thoughts as well. (765) What remains to be investigated, then, is the possibility that textuality exists beyond metaphysics, through location, anatomy, and temporality.

3 4 4 (+) [-6+]mCQK bauerlein-dumbest_generation (2) 20140607 10 -2+ progress/2014/05/notes_for_bauerlein-dumbest_generation.html
Hazard of gamefication is displacement of ultimate goals with achieving results for discrete projects. (2) Theyƒve been programmed for success, and a preschool-to-college gauntlet of standardized tests, mounting homework, motivational messages, and extracurricular tasks has rewarded or punished them at every stage. They system tabulates learning incessantly and ranks students against on another, and the students soon divine its essence: only results matter.

3 4 4 (+) [-4+]mCQK bauerlein-dumbest_generation (35) 20140531e 4 -6+ progress/2014/05/notes_for_bauerlein-dumbest_generation.html
Young Americans are rich in material possessions and adolescent skills, poor intellectual possessions and adult skills; the occasions and tools available for learning but are brashly and habitually misused. (35)
(36) Greater spending power for teens and 20-year-olds has steered them away from books, museums, and science shows, not toward them. The Internet doesnƒt impart adult information; it crowds it out. Video games, cell phones, and blogs donƒt foster rightful citizenship. They hamper it.
(36) All the occasions and equipment for learning are in place, but he uses them for other purposes. Adolescents have always wasted their time and chances, of course, but the Dumbest Generation has raised the habit into a brash and insistent practice.

3 4 4 (+) [-4+]mCQK bauerlein-dumbest_generation (37) 20140531f 0 -6+ progress/2014/05/notes_for_bauerlein-dumbest_generation.html
Task of humanist critics like Bauerlein to uncover how the Dumbest Generation systematically squanders its enormous potential, focusing on their time not spent in school. (37) It remains to us to uncover how they do it. We must identify and describe the particular routines of the members of the Dumbest Generation that freeze their likings in adolescence despite more occasions for high culture, that harden their minds to historical and civic facts despite more coursework, that shut out current events and political matters despite all the information streams.
(37-38) The unique failings of the Dumbest Generation donƒt originate in the classroom, then, which amounts to only one-eleventh of their daily lives. They stem from the home, social, and leisure lives of young Americans, and if changes in their out-of-school habits entail a progressive disengagement from intellectual matters, then we should expect their minds to exhibit some consequences in spite of what goes on in school.
(38) Here lies the etiology of the Dumbest Generation not in school or at work, but in their games, their socializing, and their spending. It begins with a strange and spreading phobia [of reading books].

3 4 4 (+) [-3+]mCQK bauerlein-dumbest_generation (113) 20140607f 0 0+ progress/2014/05/notes_for_bauerlein-dumbest_generation.html
Are the criteria formative of Bauerlein inspirations still appropriate, and how do current users test out across all generations and beyond human into machinic. (113)

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (14) 20130910f 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Everyday computational comportment to be developed via digital Bildung. (14) This ƒ
everyday computationalƒ is a comportment towards the world that takes as its subject-matter everyday objects which it can transform through calculation and processing interventions. . . . This reminds us that computation is limited to specific temporal durations and symbolic sets of discrete data to represent reality, but once encoded, it can be resampled, transformed, and filtered endlessly.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (16) 20131025d 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Similar to robotic moment of Turkle, but more encompassing, double mediation requires entrusting agency to software design. (16) In this sense then, the computational device is a mediator between entities and their phenomenal representation in the everyday world, and its affordances help inform us and guide us in using it. . . . We have to trust the machine has properly captured, transformed, and rendered the desired image.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (21) 20131025h 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Computational hard core in all disciplines may be new paradigm; if not practicing working code, super-critical modes of thought circulate exclusively within consumer subjectivity, missing potential of creative control. (21) This would mean that the disciplines would, ontologically, have a very similar Lakatosian computational ƒhard coreƒ (Lakatos 1980). . . . Perhaps we are beginning to see reading and writing computer code as part of the pedagogy required to create a new subject produced by the university, a
computational or data-centric subject.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (121-123) 20120715 0 -17+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Key part of the book on thinking computationally delegating classes of cognitive duties to technical devices: knowing-how versus knowing-that; connect Zuboff to Applen and McDaniel rhetorical XML; study materiality concretized in instrumentation, too; it is not completely hidden, and in fact must reveal its interface to be usable. (121-123) In this chapter, then, I want to understand in the broadest possible sense
how to know oneƒs way around computationally with respect to things in the world. . . . In this case, one must have an embodied set of practices that frame and make available necessary knowing-that, towards which one is able to computationally know oneƒs way around. . . . Technical devices are delegated performative and normative capabilities which they prescribe back onto humans and non-humans. That is, a person lives in the midst of technical beings that have specific forms of agency, or as Zuboff (1988) states, ƒtechnology . . . is not mute. . . . Information technology not only produces action, but also produces a voice that symbolically renders events, objects, and processes so that they become visible, knowable, and shareable in a new way (Zuboff 1988: 9).

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (133-135) 20130911x 0 -9+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Proposal to develop Lyotard distracted consciousness stream, Deleuze and Guatarri schizophrenic to computational way-of-being, perhaps as Turing super-cognition and Clark extended cognition, enabling exteriorization of cognition and reflexivity, while at the same time being careful to avoid screen essentialism. (133-135) This unreadiness-to-hand, Heidegger argues, is a kind of partial present-at-hand (i.e. scientific image) which forces dasein to stop coping and instead sense a contextual slowing-down which Heidegger calls
conspicuousness. . . . This places dasein in a relationship of towards-which that maximizes the experience of conspicuousness perceived as a constant series of pauses, breaks, and interruption. . .

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (141) 20130912 0 -3+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Switching costs of unready-to-hand technological comportment of running software affects contemporary subjectivity. (141) By way of conclusion, I suggest that by thinking about computationality, in particular code and software, as unready-to-hand, helps us to understand the specific experience of our increasingly code saturated environment. Linked to this is the notion of a distributed form of cognition (we might think of this as a database of code enabled cognitive support), which we can draw on, like Google Instant, but which remains unready-to-hand. That is, that it causes us to suffer switching costs, which, even if imperceptively, change our state of being in the world.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (142-145) 20130912a 6 -9+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Riparian habitus of real time streams for new notion of subject, watching at multiple levels one component of digital literacy (ever just watch tcpdump), perhaps constituting narratives; makes sense that next type of philosophical production informed by technological imaginary (Zizek). (142-145) . . . The real-time stream is not just an empirical object; it also serves as a technological
imaginary, and as such points the direction of travel for new computational devices and experiences. . . . The new streams constitute a new kind of public, one that is ephemeral and constantly changing, but which modules and represents a kind of reflexive aggregate of what we might think of as a stream-based publicness which we might cal riparian-publicity. Here, I use riparian to refer to the act of watching the flow of the stream go by.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (145-149) 20130126 16 -18+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Materiality of code inscribed in programmers through long habituation, internalized to point of dreaming (Rosenberg), whereas materiality of software inscribed in users, for example multitasking synaptogenesis. (145-149) A link is formed between affective and empirical facts that facilitates and mobilizes the body as part of the processes of a datascape or mechanism directed towards computational processes as software avidities, for example, complex risk computation for financial trading, or ebay auctions that structure desire. . . . This notion of computationally supported subject was developed in the notion of the ƒlife-streamƒ [by Freeman and Gerlernter]. . . . This is a life reminiscent of the Husserlian ƒcometƒ, that is strongly coupled to technology which facilitates the possibility of stream-like subjectivity in the first place. . . . This is the
restructuring of a post-human subjectivity that rides on top of a network of computationally-based technical devices. This notion of a restructured subjectivity is nicely captured by Lucas (2010) when he describes the experience of dreaming about programming. . . . This is the logic of computer code, where thinking in terms of computational processes, as processual streams, is the everyday experience of the programmer, and concordantly, is inscribed on the programmerƒs mind and body.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (151-152) 20130912c 0 -1+ progress/2012/06/notes_for_berry-philosophy_of_software.html
No computation without inscription, and some material apparatus, even if ultimately part of universal computer; compare Kittler Aufschreibesystem to Sterne transducer. (151-152) To be computable, the stream must be inscribed, written down, or recorded, and then it can be endlessly recombined, disseminated, processed and computed.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (152) 20130912d 2 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Role of technical objects in preference formation goes beyond mediating influence to structural foundation and efficient cause: Doel excess, Latour plasma, Kittler time axis manipulation. (152)
(152) In other words, computational data is artifactualized and stored within a material symbolization. . . . We have the assemblage of a network which builds the material components into an alliance of actors and which is a referential totality for the meaning that is carried over it, and past its borders, policed by human and non-human actors, we have what
Doel (2009) calls excess and Latour (2005) calls plasma.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (153) 20130912e 0 -2+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Challenges to liberal humanist individual, noting Heidegger authentic time versus time of the computational stream; bounded rationality replaced by extended cognition, thus appeal to visual rhetoric to comprehend big data (Manovich). (153) This notion of the computational dataspace is explicitly linked to the construction of the stream-like subject and raises many important questions and challenges to the liberal humanist model of the individual. Most notably in their bounded rationality here the information and processing to understanding is off-loaded to the machine but also in the very idea of a central core of human individuality.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (157) 20130912f 0 -8+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Callon socio-technical network stabilizing financial subjectivity using Deleuze agencements (see Hayles on high frequency trading), focusing attention with an extended mind, cyborg subjectivity composite Latour plug-ins. (157) A
financialized assemblage is connected together through the use of equipment or financial computational devices (what Deleuze would call agencements) whose aim is to maintain an anticipatory readiness about the world and an attenuated perception towards risk and reward which is mediated through technical affective interfaces (i.e. the computer user interface). . . . But none of these practices of intensification could have been possible without information technology, which acts as a means of propagation but also a means of structuring perception or better, of ƒfocusingƒ attention in the sense of an extended mind.
(158) Rather, you can obtain a complete human being by composing it out of composite assemblages which is a provisional achievement, through the use of computer cognitive support (what Latour (2005) neatly calls ƒplug-insƒ) and we might think of as software interfaces or technical devices.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (160) 20130124 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Guattari processual, device-dependent subjectivity; possible alternative computational theory of mind inclusive of Derridian archive checking against key arguments about delegating classes of cognitive duties to technical devices; involvement of code situated materially significant even if its goal is to strive to erase spatiality and temporality as in financial systems. (160) Software that acts in this cognitive support capacity can therefore be said to become a condition of possibility for a device-dependent, co-constructed subjectivity. . . . Following Lyotard, we might declare that the subject becomes a computational ƒstreamƒ, in this case a stream attenuated to the risk associated with finance capital mediated through financial software.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (165) 20130912i 0 -9+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Huge distributed machine cognized memory of lifestreams; think of how machine subjectivity arose in science fiction series Caprica from avatars. (165) But it is the technology that makes up Twitter that is a surprising: a simple light-weight protocol that enables the fast flow of short messages. . . . Increasingly, we are also seeing the emergence of new types of ƒgeoƒ stream, such as location, which give information about where the user is in terms of GPS coordinates, together with mixed media streams that include a variety of media forms such as photos, videos and music. . . . But this is not just a communications channel, it is also a distributed memory system, storing huge quantities of information on individuals, organizations and objects more generally.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (167) 20130912j 0 -6+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Default ontological insecurity, inability to distinguish knowing-how and knowing-that; relate to Turkle robotic moment of being alone together. (167) This could lead to a situation in which the user is unable perceive the distinction between ƒknowing-howƒ and ƒknowing-thatƒ relying on the mediation of complexity and rapidity of real-time streams through technology. This Heidegger would presumably describe this as dasein no longer being able to make its own being an issue for itself. . . . Indeed, if these computational devices are the adhesives which fix the postmodern self into a patterned flow of consciousness (or even merely visualized data), an ontological insecurity might be the default state of the subject when confronted with a society (or association) in which unreadiness-to-hand is the norm for our being-in-the-world.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (167-169) 20130912k 4 -9+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Heideggerian danger includes reclassifying entities from persons to objects, so seeking to promote gathering; thus our mission as philosophers of computing is digital Bildung (self-cultivation), fostering super-critical, versus sub-critical and acritical subject positions. (167-169) This would represent the final act in a
historical process of reclassification of entities from persons to objects potentially, dasein becoming an entity amongst entities, a stream amongst streams with challenging political and cultural implications for our ability to trace the boundary between the human and non-human. . . . This is where the importance of digital Bildung becomes crucial, as a means of ensuring the continued capability of dasein to use intellect to examine, theorize, criticize and imagine. . . . Instead, we should be paying attention to how computation can act as a gathering to promote generative modes of thinking, both individually and collectively, through super-critical modes of thinking created through practices taught and developed through this notion of digital Bildung.

3 4 4 (+) [-4+]mCQK berry-philosophy_of_software (170-171) 20130912l 2 -10+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Final thought is Serres-inspired parasite subjectivity in symbiotic relationship to enormous machinery generating digital standing reserve, although I see flaw in this image because passing through underground cavity to surface waters involves reduction passing through porous solid material like sand, losing coherence of human navigating cyberspace as on a surfboard or automobile. (170-171) The parasite is used not as a moral category, but in connection with an actorƒs strategic activities to understand and manipulate the properties of a network. . . . The question of who this subject ƒeats next toƒ, is perhaps reflected in the way in which streams pass through other streams, consumed and consuming, but also in the recorded moments and experiences of subjects who remediate their everyday lives. This computational circulation, mediated through real-time streams, offers speculative possibilities for exploring what we might call
parasitic subjectivity. Within corporations, huge memory banks are now stockpiling these lives in digital bits, and computationally aggregating, transforming and circulating streams of data literally generating the standing reserve of the digital age. Lyotardƒs (1999: 5) comment to the streams that flow through our postmodern cultural economies seems as untimely as ever: ƒtrue streams are subterranean, they stream slowly beneath the ground, they make headwaters and springs. You canƒt know where theyƒll surface. And their speed is unknown.

3 4 4 (+) [-4+]mCQK bogost-unit_operations (149) 20131026q 0 -3+ progress/2012/01/notes_for_bogost-unit_operations.html
Nomadism calls for network-based subjectivity; compare to true emergent games like Go (Juul). (149) Nomadism is not about following oneƒs whims arbitrarily; rather, it is a statement that subjectivity should overcome isolation and constitute itself in assemblages of relation, along the lines of something like what mathematicians and information theorists call a network.
(150) Juul makes the implicit value judgment that more emergence yields more variation and thereby more universal value ( emergence is the more interesting structure ). Go, Chess, and Mancala are good examples of true emergent games.

3 4 4 (+) [-4+]mCQK bogost-unit_operations (150) 20131026r 0 -1+ progress/2012/01/notes_for_bogost-unit_operations.html
Virtual reality is dream of wiring ourselves into deliberately selected unit-system relationship. (150)
Virtual reality refers to the dream of wiring ourselves literally and figuratively to operate according to the unit-system relationship of our choosing.

3 4 4 (+) [-4+]mCQK bogost-unit_operations (176) 20131026t 0 -11+ progress/2012/01/notes_for_bogost-unit_operations.html
Extend model of exchanging procedural unit operations form networking to research would yield postdisciplinary critical network. (176) No matter oneƒs moral opinion about the value of ubiquitous computing and its impact on contemporary social practice, the process and infrastructure for the exchange of procedural unit operations now makes possible alternative models for production. Conceptually, extending this logic to the practice of research would yield a network of units of criticism, a kind of postdisciplinary critical network.
(176) Underlying the founding principles of [Mark C. Taylor and Herbert A Allenƒs Global Education Network] GEN is Taylorƒs claim that the values of the modern university, inherited directly from the Enlightenment, are outmoded and obsolete.
(177) The pursuit of knowledge is often likened to an economy of expenditure without return made famous by Bataille, Derrida, and Levinas.
(177) The ostensible goal of such positioning is to protect the so-called low faculties from the high facultiesƒ attempting to colonize, hold responsible, or otherwise capitalize on them. . . . As Taylor points out, such a position is fundamentally inconsistent with many of the basic tenets of critical theory, including Derridaƒs many analyses of the undecidable ambiguity between risk and opportunity, poison and cure. A conceptual reorganization is in order.

3 4 4 (+) [-4+]mCQK bogost-unit_operations (180) 20131026v 0 -7+ progress/2012/01/notes_for_bogost-unit_operations.html
Visionaries required to take changing public needs into account; therefore, plenty of work of videogame criticism. (180) Videogame criticism has a role to play in this cutthroat corporate ecosystem. The market does take the publicƒs changing needs into account, but only visionaries who are able to understand the types of cultural texts that will prove successful will succeed themselves. It is here that a configurative relationship between criticism, production, marketing, and other fields can evolve industrial, humanistic, and artistic responses to videogames. . . . Videogames ask the critic to ponder the unit operations of procedural systems.

3 4 4 (+) [0+]mCQK boltanski_chiapello-new_spirit_of_capitalism (78-79) 20140309e 0 0+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Manager is the network man; other actors are coaches and experts. (78-79)

3 4 4 (+) [-6+]mCQK bork-journal 20130809 TAPOC_20130809 2 -1+ journal_2013.html
Is Golumbia behind the times positing computationalism and hyper rationalism as the current state of global, developed, late capitalist societies, referring to a period that has already passed into one in which humans have internalized advertising instead, becoming unimaginative consumers like the litter bound humans in Wall-E, in which the technological prosthesis has surrounded the formerly independent body?

3 4 4 (+) [-6+]mCQK bork-journal 20140322 20140322c 6 -1+ journal_2014.html
Passenger embodiment comparable to underground or underwater living versus modernist terrestrial planetary surface atmosphere conditions.

3 4 4 (+) [-4+]mCQK bork-knowledge_and_learning_in_project_based_organizations (2008) 20130211 0 0+ progress/2009/07/notes_for_bork-knowledge_and_learning_in_project_based_organizations.html
Important to remember that lifelong learning is connected to studying how networking machines, understood as machine and human hybrids keyboard, monitor interfaces running software, learn and exercise knowledge skills in their workplaces.

3 4 4 (+) [-4+]mCQK bull_and_back-auditory_culture_reader (352) 20131026e 0 -5+ progress/2011/08/notes_for_bull_and_back-auditory_culture_reader.html
Bassett: narrativizing inventory challenges Manovich claim of ontology of unordered database. (352)
Manovich argues that the database represents the world as an un-ordered list of items, whereas narrative produces trajectories of what seemed unordered. . . . I want to suggest here that the concept of the inventory can be used to challenge the claim that the logic of the database is always dominant.

3 4 4 (+) [-4+]mCQK bull_and_back-auditory_culture_reader (352-353) 20131026f 0 -10+ progress/2011/08/notes_for_bull_and_back-auditory_culture_reader.html
Bassett: mobile phone as mnemonic operator: rethink with smartphones? (352-353) Our hoard of detritus is also our lifeƒs treasure
because it is key to our identity over time, the key to who we are. The inventory, in other words, is the hook upon which is hung experience over time. Perecƒs inventories thus function as mnemonics, examples of the art of memory, or artificial memory (see Yates 1966); they are reminders of who we are. . . . I note here that, like all forms of artificial memory, the mode of inventory is a mode of encoding and decoding, of compression and decompression. Today, the mobile phone functions as a mnemonic operator. In this case, however, the mnemonic operation is not performed in order to recall a past life. Rather the mnemonic operation, the mode of inventory, describes some of the ways in which users operate in a world that demands that they operate in many places at once.

3 4 4 (+) [-4+]mCQK bull_and_back-auditory_culture_reader (354) 20131026g 0 -6+ progress/2011/08/notes_for_bull_and_back-auditory_culture_reader.html
Bassett: decrease in percentage of database usage that terminates with a human operator as intraprocess and interprocess communication short circuits the computer-human symbiosis; as Manovich and Kittler say, software takes command. (354) However all database
use also involves a process of decompression or translation and this is a process in which the user is implicated, a process that does not end with a technical operation. Many kinds of databases tend to become inventories when they are accessed. . . . In short, the inventory makes it more feasible to consider narrative processes even in the fractured conditions within which we operate.

3 4 4 (+) [-4+]mCQK bull_and_back-auditory_culture_reader (354) 20131026h 0 -8+ progress/2011/08/notes_for_bull_and_back-auditory_culture_reader.html
Bassett: the mobile phone structures space like a map, dream, prayer. (354) The mobile phone is an(other) example of the dialectic characteristically operating around information technology which offers us more freedom and simultaneously exerts over us more control. This dialectic might be opened up precisely by exploring the numerological production of a space not as a technological space only (one operating according to the rules of logic) but rather by reading this technological space as a material
social construction. Regarded as a practice of space, and as a practice that makes space, the mobile phone draws up the cultural conditions under which it itself is made all the species of space into itself: like a map, a dream, or even like a prayer might do. . . . [These private bubbles] can be viewed as collective constructions. They are socially symbolic.

3 4 4 (+) [-6+]mCQK chun-programmed_visions (75) 20130913r 0 -1+ progress/2013/07/notes_for_chun-programmed_visions.html
Suggests immersion in networked flows alternatives to mapping as proposed by Jameson (Berry, Galloway)? (75) Could it be that rather than resort to maps, we need to immerse ourselves in networked flows time-based movements that both underlie and frustrate maps?

3 4 4 (+) [-6+]mCQK chun-programmed_visions (130-131) 20130914b 0 -5+ progress/2013/07/notes_for_chun-programmed_visions.html
Plasticity as new metaphor for programmable visions, superseding flexibility; compare to Hayles discussion of Malabou. (130-131) Computing as well has moved toward less strictly programmable systems in theory if not yet in everyday practice. . . . Crucially, Malabou does not simply denunciate neurobiology, but rather engages it closely to argue for the difference between flexibility which is capitulation and plasticity.

3 4 4 (+) [-4+]mCQK chun-programmed_visions (178) 20131028g 0 -8+ progress/2013/07/notes_for_chun-programmed_visions.html
Flor C freedom depends on neighborhood of relations and unfolding action as example alternative to neoconservatism superseding neoliberalism. (178) Neoliberalism is being superseded by neoconservatism: a drive to compensate for neoliberal isolation and chaos through a return to communal conservative values. Neoconservatism, however, is not the only way in which networks are being reimagined. . . . For Flor C., freedom stems from a collective patience and giving way a collective flow in which one is immersed and imperiled. This freedom does not offer a feeling of mastery; it neither relies on maps nor sovereign subjects nor strategies, but rather depends on a neighborhood of relations and on unfolding actions.

3 4 4 (+) [-4+]mCQK clark-supersizing_the_mind (28) 20130913i 0 -1+ progress/2012/10/notes_for_clark-supersizing_the_mind.html
Extreme limit of CRC may also confound Bogost unit operations perspective: point is not to reject either computational or dynamic approaches outright, but at the same time recognize the potentially profound influence of each in particular situations; also clear entry point for acknowledging role of dynamical tools (including texts and technologies) in extended cognition. (28) Short of this extreme limit, however, considerations concerning the importance of time and continuous reciprocal causation mandate not an outright rejection of the computational/representational vision but rather the addition of a potent and irreducibly dynamical dimension.

3 4 4 (+) [-6+]mCQK clark-supersizing_the_mind (73) 20131028b 0 -5+ progress/2012/10/notes_for_clark-supersizing_the_mind.html
Tetris story illustrating hazard function and active dovetailing; agents as managers of their interaction (Kirsch). (73) The Tetris story also illustrates the importance of what Iƒll call active dovetailing. . . . [quoting Kirsch] we are moving in a direction of seeing agents more as managers of their interaction, as coordinators locked in a system of action reaction, rather than as pure agents undertaking actions and awaiting consequences.

3 4 4 (+) [-4+]mCQK clark-supersizing_the_mind (74) 20130913r 0 -7+ progress/2012/10/notes_for_clark-supersizing_the_mind.html
Subpersonally mediated calls means operations in which, as Manovich puts it, software takes command. (74) One key characteristic (first discussed in sec. 2.6) concerns the delicate temporal integration of multiple participating elements and processes (including, e.g., the emergence of automatic, subpersonally mediated calls to internal or external information stores).
(74) A useful way to think about the structuring of such resources may be in terms of what I shall call
implicit metacognitive commitments.
(75) Deeply integrated, progressively automated, epistemic actions figure prominently in the construction of
complex skill hierarchies.

3 4 4 (+) [-4+]mCQK clark-supersizing_the_mind (76) 20121019 0 -3+ progress/2012/10/notes_for_clark-supersizing_the_mind.html
Paying attention to distinction between vehicles and contents revealing biochauvinistic prejudice amenable to Bogost alien phenomenology philosophy of computing. (76) It is important, in considering these issues, to respect the
distinction between vehicles and contents.
(77-78) The
Parity Principle thus provided a veil of ignorance style test meant to help avoid biochauvinistic prejudice. Applied to the case at hand, it invites us, or so we argued, to treat the standard playersƒ epistemic use of the external rotate button [playing Tetris], the near future agentƒs use of a cyberpunk implant, and the Martian playerƒs use of native endowment as all on a cognitive par.

3 4 4 (+) [-4+]mCQK clark-supersizing_the_mind (78-79) 20121030 0 -12+ progress/2012/10/notes_for_clark-supersizing_the_mind.html
Veil of ignorance behavioral truth test implicit in parity principle helps avoid biochauvinistic prejudice concerning activities that may be meaningfully considered germane to humans and machines; crucial leveling of the playing field when considering potential cognitive entities whose experiential realm is constituted by cyberspace, for example, distributed machine operations and protocol based communications phenomena, an example more realistic than example involving futuristic cyberpunk implants and Martians, and contrast this active externalism, dovetailing to passive, reference-based externalism of Putnam and Burge. (78-79) In the paper, we showed (in some detail; see the appendix) why all this was orthogonal to the more familiar Putnam-Burge style externalism. . . . Here, then, the causally active physical organization that yields the target behavior seems to be smeared across the biological organism and the world. Such active externalism was quite different, we claimed, from any form of passive, reference-based externalism.
(80) Applying the four criteria yielded, we claimed, a modestly intuitive set of results for putative individual cognitive extensions. A book in my home library would not count. The cyberpunk implant would.
(80-81) Overall, the, our claim was the Ingaƒs biological memory systems, working together, govern
her behaviors in the ways distinctive of believing and that Ottoƒs smeared-out biotechnological matrix (the organism and the notebook) governs his behavior in the same sort of way. So the explanatory apparatus of mental state ascription gets an equal grip in each case, and what looks at first like Ottoƒs action (looking up the notebook) emerges as part of Ottoƒs thought. The gap between deeply integrated calls to epistemic action and true cognitive extension, if this is correct, is slim to vanishing.

3 4 4 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (237) 20130509 0 -10+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Pharmakeus sorceror connects to Derrida, indirectly to Berry via subterranean reference. (237)
Memories of a Bergsonian. . . . From 1730 to 1734, all we hear about are vampires. Structuralism clearly does not account for these becomings, since it is designed precisely to deny or at least denigrate their existence: a correspondence of relations does not add up to a becoming. . . . Does it not seem that alongside the two models, sacrifice and series, totem institution and structure, there is still room for something else, something more secret, more subterranean: the sorcerorand becomins (expressed in tales instead of myths or rites)?

3 4 4 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (248) 20130916a 0 -5+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Role of science fiction since traveling scholar is a mere poodle (Asimov mentioned in footnote, but add Dick and others Hayles invokes). (248)
Memories of a Sorcerer, III. . . . Science fiction has gone through a whole evolution taking it from animal, vegetable, and mineral becomings to becomings of bacteria, viruses, molecules, and things imperceptible.

3 4 4 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (263) 20130916f 0 -11+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
The Matrix human real virtuality to machines is as imperceptible and meaningless as ones and zeros of machine experience is to humans, although both can express programmatic forms encoding sound like A+B+C. (263) Spatiotemporal relations, determinations, are not predicates of the thing but dimensions of multiplicities. . . . The plane of consistency contains only haecceities, along intersecting lines. Forms and subjects are not of that world. . . . It is not made of points, only of lines. It is a rhizome.

3 4 4 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (335-336) 20130916u 0 -5+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Do life and surplus value apply to technical concretization, a flip side of protocol? (335-336) Now if we ask ourselves where life fits into this distinction, we see that it undoubtedly implies a gain in consistency, in other words, a surplus value (surplus value of
destratification). . . . In effect, what holds an assemblage together is not the play of framing forms or linear causalities, but, actually or potentially, its most deterritorialized component, a cutting edge of deterritorialization.

3 4 4 (+) [-4+]mCQK deleuze_guattari-what_is_philosophy (97-98) 20130916a 0 -11+ progress/2013/06/notes_for_deleuze_guattari-what_is_philosophy.html
Capitalism in West for behaving like an cybernetic mechanism, optimizing compiler, today interoperating protocols (Galloway). (97-98) Why capitalism in the West rather than in China of the third or even the eighth century? Because the West slowly brings together and adjusts these components, whereas the East prevents them from reaching fruition.
Only the West extends and propagates its centers of immanence. . . . democratic imperialism, colonizing democracy. . . . Modern philosophyƒs link with capitalism, therefore, is of the same kind as that of ancient philosophy with Greece: the connection of an absolute plane of immanence with a relative social milieu that also functions through immanence.

3 4 4 (+) [-4+]mCQK derrida-dissemination (168-169) 20130124 0 -4+ progress/2012/02/notes_for_derrida-dissemination.html
Thanks Tanka-Ishii for laying out the stakes (types of signification, reflexivity, recursion) that mirror the aims of living writing: the foundational work is hard for humans, easy for machines, with side of non-philosophy instantiated in programmable machines to contain undecidables as initial states of variables and registers; what Plato was not clever enough to articulate and Derrida can only do with the entire material operation of his work as a one-off, hard coded example, the synergistic positive feedback of living writing, is routinely done by programming. (168-169) The disappearance of the Face of the structure of repetition can thus no longer be dominated by the value of truth. On the contrary, the opposition between the true and the untrue is entirely comprehended,
inscribed, within this structure or this generalized writing. The true and the untrue are both species of repetition. And there is no repetition possible without the graphics of supplementarity, which supplies, for the lack of a full unity, another unit that comes to relieve it, being enough the same and enough other so that it can replace by addition.

3 4 4 (+) [-4+]mCQK edwards-closed_world (350-351) 20130902 0 -5+ progress/2013/08/notes_for_edwards-closed_world.html
Political subject position of recombinant cyborg as possible habitation, in sense of sojourning over dwelling, inside closed world; compare to Berry good streams. (350-351) Thus the possibility that remains, the only possibility for genuine self-determination, is the political position of the cyborg. The subjectivity of recombination encourages, even demands, troubled reconstructions of traditional relationships among rationality, intelligence, emotion, gender, and embodiment. It accepts, in the most fundamental of ways, the existence of a space of interaction between human minds and computerized Others. It provides an interstitial, marginal, unholy, and unsanctioned subjectivity, not a blessing or a Godƒs-eye vision. It offers no escape, no redemption, no unity or wholeness.

3 4 4 (+) [-4+]mCQK edwards-closed_world (356-357) 20130902a 0 -7+ progress/2013/08/notes_for_edwards-closed_world.html
Neural network simulated on digital computers reemerges as viable AI approach after failure of symbolic processing. (356-357) After just a few trials well-designed neural networks could recognize images and forms whose interpretations had eluded symbolic AI for decades. . . . A new school of programming, known variously as
connectionism and parallel distributed processing, saw these new techniques as the salvation of computerized intelligence.
(357) AI, once experienced in popular culture as the threat of disembodied, panoptic power, now came to represent the friendly future of the embodied, pseudo-biological machine. The paradigmatic cyborg of the 1990s was not HAL but Commander Data.

3 4 4 (+) [-4+]mCQK edwards-closed_world (357) 20130902b 0 -1+ progress/2013/08/notes_for_edwards-closed_world.html
Rehabilitation of war cyborg for post-postmodern world. (357) In
T2, as its ad campaign called it, all the icons semiotically restructured by The Terminator the emotional woman, the mechanical man, the white nuclear family are systematically reconstituted for a post-Cold War, postfeminist, post-postmodern world through the rehabilitation of the war cyborg.

3 4 4 (+) [-6+]mCQK feenberg-questioning_technology (180) 20131029o 0 -4+ progress/2009/11/notes_for_feenberg-questioning_technology.html
Concretize moral norms through publicly debated conceptions of the good life. (180) Thus
pure moral norms are insufficient to define a society; they must be concretized through choices about the good life.
(180) Pure technical principles do not define actual technologies. They must be concretized through a technically realized conception of the good which particularizes them and establishes them systematically in the life process of a society. Every instantiation of technical principles is socially specific, just as Habermas claims of law.

3 4 4 (+) [-4+]mCQK floridi-philosophy_and_computing (127) 20121218 0 -7+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Simultaneous token transmission of multiple signifier types preferred form of multi-level linearity rather than disruption one-at-a-time unit processing characteristic of traditional human intelligence, of which my favorite example is Aquinas. (127) The reader still perceives (or tries to perceive) items serially, with a beginning, and end, a linear development and a sense of unity. Strictly speaking, then, no medium can truly transcend all forms of linearity without seriously affecting its intelligibility. . . . Not even hypermedia can transmit more than one token of a specific type of signifier per time without creating confusion in the receiver, but they can transmit tokens of more than one type of signifier simultaneously, a text with images and music, for example, and this kind of
multi-level linearity may well be taken to be a way of transcending linearity also in the sense of (c) [t/c serial].
(127) (6) The
mimetic fallacy: hypertext mimics the associative nature of the human mind and therefore is better suited to its activities.

3 4 4 (+) [-4+]mCQK floridi-philosophy_and_computing (130) 20121219 0 -8+ progress/2012/12/notes_for_floridi-philosophy_and_computing.html
Individual person in cyberspace as evolving hypertext with privileged access, related to Humean theory of personality, supports involvement of technological nonconsicous to form Clark extended cognition, Hayles cognitive-embodied processes: Floridi suggests new subjectivity reverses specialist, compartmentalization trend of modernity for managerial model similar to Jenkins and Hayles by mitigation through automation, the memex memory augmentation, the original promise of living writing from Phaedurs; diatropic, horizontal interdisciplinarity compares well to Hayles and Jenkins conclusions. (130) Finally, it is important to realize that a philosophy of mind may investigate the nature of the self, and the consequent problems of identity and dualism, from the information perspective just introduced, by developing a
Humean theory of personality in terms of narrative development of a region of the infosphere. . . . The individual person . . . becomes a unique element in the infosphere, a steadily evolving hypertext, which is kept together and remains identifiable through its evolution thanks to the special access and awareness it enjoys with respect to its own states, the uniformity of its own reflective narrative.

3 4 4 (+) [-4+]mCQK foucault-discipline_and_punish (154) 20130919q 0 -2+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
This story of development of discipline can be told in the context of exhaustive use of underdetermined, available CPU time in general purpose computers to make the modern multitasking operating system: strange that such a gap existed between the hardware and the software that eventually controlled it like the docile humans Foucault studies, as if the (hardware) creator really did not know how best to use the creation (by supplying software), the Altair story and so many others potentially map well onto this narrative, with the composition of forces move towards massively distributed internetworked systems. (154) Discipline, on the other hand, arranges a positive economy; it poses the principle of a theoretically ever-growing use of time: exhaustion rather than use; it is a question of extracting, from time, ever more available moments and, from each moment, ever more useful forces.
(155) This new object is the natural body, the bearer of forces and the seat of duration; it is the body susceptible to specified operations, which have their order, their stages, their internal conditions, their constituent elements.

3 4 4 (+) [-6+]mCQK foucault-discipline_and_punish (201-202) 20121125 0 -11+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
Internet proxy server analogy to central tower, visible power like Internet acceptable use messages. (201-202) Hence the major effect of the Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power. . . . In view of this, Bentham laid down the principle that power should be visible and unverifiable. . . . The Panopticon is a machine for dissociating the see/being seen dyad: in the peripheric ring, one is totally seen, without ever seeing; in the central tower, one sees everything without ever being seen.
(202) It is an important mechanism, for it automatizes and disindividualizes power.
(202) A real subjection is born mechanically from a fictitious relation.

3 4 4 (+) [-4+]mCQK foucault-discipline_and_punish (294-295) 20120630 0 -16+ progress/2012/06/notes_for_foucault-discipline_and_punish.html
No doubt many works capitalize on this being as perpetual assessment emerging in various domains of discourse by orthopedists of individuality producing submissive subjects, like Florida school testing: computational rendering of individual bodies at Mettray foreshadows Nazi atrocities and modern bureaucracies of embodiment; good humanities definition (link in Mitcham) or model for AI, needing supervisory control everywhere the discipline imposed on working code redoubled, both in its overall programming component of ultra determinative nature docility, and within virtual virtual realities where such beings live. (294-295) This superimposition of different models makes it possible to indicate, in its specific features, the function of ƒtrainingƒ. . . . They were in a sense technicians of behavior: engineers of conduct,
orthopedists of individuality. Their task was to produce bodies that were both docile and capable. . . . Training was accompanied by permanent observation; a body of knowledge was being constantly built up from the everyday behavior of the inmates; it was organized as an instrument of perpetual assessment. . . . This information is written down on a board on which everything concerning each inmate is noted in turn, his stay at the colony and the place in which he is sent when he leavesƒ (Ducpetiaux, 1851, 61). The modeling of the body produces a knowledge of the individual, the apprenticeship of the techniques induces modes of behavior and the acquisition of skills is inextricably linked with the establishment of power relations; strong, skilled agricultural workers are produced; in this very work, provided it is technically supervised, submissive subjects are produced and a dependable body of knowledge is built up about them. This disciplinary technique exercised upon the body had a double effect: a ƒsoulƒ to be known and a subjection to be maintained.

3 4 4 (+) [-6+]mCQK fuller-software_studies (45-46) 20131021 0 -5+ progress/2011/10/notes_for_fuller-software_studies.html
Code: philosophy of embodiment tie in with Turing recognizing need for knowledge of environment. (45-46) Turing himself, when he explored the technical feasibility of machines learning to speak, assumed that this highest art, speech, would be learned not by mere computers but by robots equipped with sensors, effectors, that is to say, with some knowledge of the environment. However, this new and adaptable environmental knowledge in robots would remain obscure and hidden to the programmers who started them up with initial codes. The so-called hidden layers in todayƒs neuronal networks present a good, if still trifling, example of how far computing procedures can stray from their design engineers, even if everything works out well in the end. Thus, either we write code that in the manner of natural constants reveals the determinations of the matter itself, but at the same time pay the price of millions of lines of code and billions of dollars for digital hardware; or else we leave the task up to the machines that derive code from their own environment, although we then cannot read that is to say: articulate this code. Ultimately, the dilemma between code and language seems insoluable.

3 4 4 (+) [-4+]mCQK galloway-protocol (108-109) 20130923k 0 -5+ progress/2013/01/notes_for_galloway-protocol.html
Appeal to shift from procedural to object-oriented programming as indicative of potential for true emergence of artificial life from parallel, distributed networks of submachines; Turkle ties to shift from modern to postmodern eras. (108-109) Sherry
Turkle writes that this shift from procedural to object-oriented follows the shift from the modern to the postmodern eras. . . . This shift, from centralized procedural code to distributed object-oriented code, is the most important shift historically for the emergence of artificial life.

3 4 4 (+) [-4+]mCQK gane-computerized_capitalism (437-438) 20130921c 0 -9+ progress/2012/08/notes_for_gane-computerized_capitalism.html
Active goal of free information, paralogy is Lyotard silly term like Derrrida grammatology that Ulmer takes the idea to the extreme. (437-438) This resistance takes the form a a postmodern science, or ƒparalogyƒ, which concerns itself with ƒundecidables, the limits of precise control, conflicts characterized by incomplete information, fracta , catastrophes, and pragmatic paradoxesƒ (Lyotard 1984: 60). . . . And with this anarchic mode of experimentation in mind, Lyotard states, in the final passage of The Postmodern Condition, that new media technologies can be more than simply tools of market capitalism, for they can be used to supply groups with the information needed to question and undermine dominant metaprescriptives (or what might be called ƒgrand narrativesƒ). The preferred choice of development, for him at least, is thus clear: ƒThe line to follow for computerization to take . . . is, in principle, quite simple: give the public free access to the memory and data banksƒ (Lyotard 1984: 67).

3 4 4 (+) [-4+]mCQK gane-computerized_capitalism (437-438) 20130921d 0 -9+ progress/2012/08/notes_for_gane-computerized_capitalism.html
What happened with FOSS exemplifies what Lyotard predicts as an alternative resistance to the looming default: specifically addressing Lyotard advice of making data free, it must imply also the knowledge, availability, and permissibility to compute this data as well, which leads to Stallman and has been well articulated in the succeeding years. (437-438) This resistance takes the form a a postmodern science, or ƒparalogyƒ, which concerns itself with ƒundecidables, the limits of precise control, conflicts characterized by incomplete information, fracta , catastrophes, and pragmatic paradoxesƒ (Lyotard 1984: 60). . . . And with this anarchic mode of experimentation in mind, Lyotard states, in the final passage of The Postmodern Condition, that new media technologies can be more than simply tools of market capitalism, for they can be used to supply groups with the information needed to question and undermine dominant metaprescriptives (or what might be called ƒgrand narrativesƒ). The preferred choice of development, for him at least, is thus clear: ƒThe line to follow for computerization to take . . . is, in principle, quite simple: give the public free access to the memory and data banksƒ (Lyotard 1984: 67).

3 4 4 (+) [-4+]mCQK gane-computerized_capitalism (438) 20130921e 0 -2+ progress/2012/08/notes_for_gane-computerized_capitalism.html
Lyotard was naive about power of capitalism to regulate information access, like early free software advocates. (438) In retrospect, Lyotardƒs
Postmodern Condition anticipated the development of todayƒs computerized society with great accuracy, but its concluding argument for free public access to computer memories and databases, and for the radical potentiality of postmodern science, now seems rather na ve. Above all, this argument neglects the institutional forces that structure our access to information, and the power of the capitalist market, aided by new media technologies, to shape the form and content of this information.

3 4 4 (+) [-4+]mCQK gane-computerized_capitalism (440-441) 20130921g 0 -13+ progress/2012/08/notes_for_gane-computerized_capitalism.html
Docility through direct control by technology and implied through its effects on subjectivity; the unharmonizable is the remainder in lossy and especially lossless encoding. (440-441) This speeding up of life, including the majority of cultural production and consumption, is facilitated by the emergence of digital media, which reduce information to ƒbitsƒ that are easily digestible and easily subsumed within a system. . . . In view of this, the result of such development is not greater political ƒfreedomƒ but the emergence of new ƒinhumanƒ forms of control. . . .
This emphasis on efficiency and performance extends to thought itself. . . . This process is part of the general homogenization of all cultural forms, part of what Lyotard calls the crushing of the ƒunharmonizableƒ (1991b: 4).

3 4 4 (+) [-4+]mCQK gane-computerized_capitalism (447-448) 20121126 0 -14+ progress/2012/08/notes_for_gane-computerized_capitalism.html
Subterranean streams of resistance to capitalist streaming media related to rhizomes and lines of flight is key to Berry seeking liberation from determination, capture, effacement by instrumental reason or time of something crucial of the human spirit, also played on by Ulmer; visit Barthes on myth. (447-448) He states that, as opposed to streams of cultural capital, ƒtrue streams are
subterranean, they stream slowly beneath the ground, they make headwaters and springsƒ. . . . Such an existence is not founded on a politics of opposition and critique, but proceeds through fleeting, disruptive movements. Like Deleuze and Guattariƒs (1988) rhizomes or ƒlines of flightƒ, Lyotardƒs streams flow beneath the capitalist order, connecting subterranean points in unforeseen and never-to-be-repeated ways. . . . This model of working underground takes us back to Lyotardƒs work of the 1970s, in which the work of art, at least in its most challenging, even threatening figural forms, is a product of the unconscious. . . . Streams of resistance then, or what Lyotard might call ƒheadwaters and springsƒ, disrupt reality (capitalism) by working at a different level through the play of the unconscious, and, beyond this, fiction or myth.

3 4 4 (+) [-4+]mCQK gane-computerized_capitalism (448-449) 20120806 0 -10+ progress/2012/08/notes_for_gane-computerized_capitalism.html
Concludes revealing Lyotard blind region regarding technological comportment: besides giving direction to critical code studies, this analysis of Lyotard points to role of working code and fossification in resisting default being of cyberspace subjectivity because for any mode of cybernetics to operate, there must be some information, real or virtual, transduced or simulacral; even if there is no way to live without mediation by digital media, there are better and worse ways to live in it, such as regarding nature and extent of consumption and production. (448-449) It would seen that Lyotard, in the end, is left with few critical resources with which to oppose the logic of the capitalist system. For there is no obvious way out of the trap he identifies: thought and even artistic practice that run counter to the logic of capitalist culture (and that achieve any kind of mass appeal) cannot resist capture by the market, and thus are destined to be drawn into the system to which they are fundamentally opposed. This means that the possibility of space outside of the capitalist market is effectively lost, including the oppositional or critical space that Lyotard would presumably seek to inhabit. But what then is the value of his work? This value lies, ultimately, in its provocative attack on the evolving technologies of the capitalist system. This attack draws our attention to the power structures embedded within technology itself, and to the role played by digital media in commodifying cultural production, exchange and consumption. . . . Indeed, this is precisely the challenge that Lyotardƒs later works leave us with: to find new modes of thought and expression that are not dictated by the structural dynamics of new media technologies, and which might, in turn, be used to expose and disturb the powers of the accelerated capitalist system.

3 4 4 (+) [-4+]mCQK gee-what_video_games_have_to_teach_us_about_learning_and_literacy (197) 20130923b 0 -1+ progress/2012/09/notes_for_gee-what_video_games_have_to_teach_us_about_learning_and_literacy.html
Tie in Spinuzzi, Castells, Clark and Chalmers, Hayles to distributed knowledge and social cognition as new model of subjectivity. (197) The really important knowledge is in the network that is, in the people, their texts, tools, and technologies, and, crucially the ways in which they are interconnected not in any one node (person, text, tool, or technology), but in the network as a whole.

3 4 4 (+) [-4+]mCQK hayles-electronic_literature (79) 20130924q 0 -7+ progress/2010/02/notes_for_hayles-electronic_literature.html
Dennett Multiple Drafts Model is very rich but complicated reinterpretation of consciousness as an epiphenomenon in which there is no self, only an illusion of one. (79) This kind of interaction is very similar to the
Multiple Drafts Model that Daniel C. Dennett, in Consciousness Explained, argues best explains the nature of consciousness. Dennett proposes that consciousness is not the manifestation of a single coherent self synthesizing different inputs (characterized as the Cartesian Theater, the stage on which representations are played out and viewed by a central self); rather, interacting brain processes, operating with varying temporal dynamics and different neural/perceptional inputs, are consciousness. . . . To explain the subjective impression of possessing a central self, Dennett argues that the self is not synonymous with consciousness as such.

3 4 4 (+) [-6+]mCQK hayles-electronic_literature (114) 20130928a 0 -7+ progress/2010/02/notes_for_hayles-electronic_literature.html
Synaptogenesis and brain plasticity combine phylogenetic selection (genetics) and ontogenic mechanisms of adaptation (learning); Baldwin organic selection. (114) Although synaptogenesis is greatest in infancy, plasticity continues throughout childhood and adolescence, with some degree continuing even into adulthood. In contemporary developed societies, this plasticity implies that the brainƒs synaptic connections are coevolving with environments in which media consumption is a dominant factor. . . . Children growing up in media-rich environments literally have brains wired differently than humans who did not come to maturity in such conditions.
(115) [James Mark] Baldwin argued for what he called organic selection.

3 4 4 (+) [-4+]mCQK hayles-electronic_literature (116) 20130928b 0 -7+ progress/2010/02/notes_for_hayles-electronic_literature.html
Ambrose argues electronic technology breaks monopoly of vision associated with learning. (116) /SPAN>
[Stanley H.] Ambroseƒs scenario linking compound tools with the emergence of language illustrates how technology enters into the psychophysical feedback cycle by changing the ways in which learning occurs and the kinds of learning that are most adaptive. . . . If data differentiation at the beginning of the twentieth century broke the ancient monopoly of writing, the computer at the beginning of the twenty-first century breaks the monopoly of vision associated with reading. Interactive text, reminiscent in some ways of the digital art discussed by Hansen, stimulates sensorimotor functions not mobilized in conventional print reading, including fine movements involved in controlling the mouse, keyboard, and/or joystick, haptic feedback through the hands and fingers, and complex eye-hand coordination in real-time dynamic environments.

3 4 4 (+) [-4+]mCQK hayles-electronic_literature (117) 20130928c 0 -6+ progress/2010/02/notes_for_hayles-electronic_literature.html
Deep attention versus hyper attention as examples of ontogenic mechanisms of adaptation by Steven Johnson (ironically, hyper attention is what makes me and perhaps other digital immigrants turn away from The Jews Daughter and other EL examples); Heim discusses this shift, too. (117) Steven
Johnson, in Everything Bad Is Good For You: How Popular Culture Is Actually Making Us Smarter, cites the studies of James R. Flynn indicating that Iqs rose significantly from 1932-78, the so-called Flynn effect that Johnson correlates with increased media consumption. Anecdotal evidence as well as brain imaging studies indicate that Generation M (as the Kaiser Family Foundation dubbed the 8- to 18-year-old cohort) is undergoing a significant cognitive shift, characterized by a craving for continuously varying stimuli, a low threshold for boredom, the ability to process multiple information streams simultaneously, and a quick intuitive grasp of algorithmic procedures that underlie and generate surface complexity. The cognitive mode, which I have elsewhere called hyper attention, is distinctively different from that traditionally associated with the humanities, which by contrast can be called deep attention. Deep attention is characterized by a willingness to spend long hours with a single artifact (for instance, a seven-hundred-page Victorian novel), intense concentration that tends to shut out external stimuli, a preference for a single data stream rather than multiple inputs, and the subvocalization that typically activates and enlivens the reading of print literature.
(118) The effects of hyper attention are already being reflected in literary works, for example in John Cayleyƒs
Translation and Imposition, discussed in Chapter 5, where text is accompanied by glyphs visually indicating the algorithmƒs operation.

3 4 4 (+) [-4+]mCQK hayles-electronic_literature (135-136) 20130928i 0 -7+ progress/2010/02/notes_for_hayles-electronic_literature.html
Primary argument for studying EL, thankfully one viewing machine cognitions as intimate component of human activity rather than mere opponent or tool where a big difference between machine cognition and anything possible in human interaction with print literature is the efficacy of the machine realm to change itself dramatically; in one sense this merely echoes and completes a thought first articulated many centuries ago in Plato Phaedrus, in another sense, it goes places unthinkable to the ancients because it adapts itself to (what I will call, daringly) the ontogenic potential of ECM. (135-136)
Electronic literature extends the traditional functions of print literature in creating recursive feedback loops between explicit articulation, conscious thought, and embodied sensorimotor knowledge. The feedback loops progress in both directions, up from embodied sensorimotor knowledge to explicit articulation, and down from explicit articulation to sensorimotor knowledge. While print literature also operates in this way, electronic literature performs the additional function of entwining human ways of knowing with machine cognition. . . . Change anywhere catalyzes change everywhere, resulting both in new understanding of embodied responses and new valuations of technical practice.

3 4 4 (+) [-4+]mCQK hayles-electronic_literature (136) 20130928j 0 -1+ progress/2010/02/notes_for_hayles-electronic_literature.html
Her approach involving asserting effects of code on verbal narratives and distributed agency. (136) The first proposition asserts that
verbal narratives are simultaneously conveyed and disrupted by code, and the second argues that distributed cognition implies distributed agency.

3 4 4 (+) [-4+]mCQK hayles-electronic_literature (136-137) 20130928k 0 -2+ progress/2010/02/notes_for_hayles-electronic_literature.html
Moulthrop 404 errors; Deleuze and Guattari make the same point about break-downs in Anti-Oedipus, Hegel the torn sock. (136-137) Stuart Moulthrop, writing on 404 errors, notes that such episodes are not simply irritations but rather flashes of revelation, potentially illuminating something crucial about our contemporary situation. The errors, he suggests, are actually minute abysses puncturing (and punctuating) the illusion that the human life-world remains unchanged by its integration with intelligent machines.

3 4 4 (+) [-4+]mCQK hayles-electronic_literature (137) 20130928l 0 -2+ progress/2010/02/notes_for_hayles-electronic_literature.html
Once cognition is offloaded (distributed) into the environment, computational processes impossible for humans can be performed upon the memory (Clark). (137) There is now a wealth of research regarding extended cognition as a defining human characteristic. In
Natural Born Cyborgs: Minds, Technologies, and the Future of Human Intelligence, Andy Clark argues that we are human-technology symbionts, constantly inventing ways to offload cognition into environmental affordances so that the mind is just less and less in the head.

3 4 4 (+) [-4+]mCQK hayles-electronic_literature (142-143) 20130928o 0 -4+ progress/2010/02/notes_for_hayles-electronic_literature.html
Borderland of machine and human cognition cooperating to evoke meanings, albeit for humans. (142-143) Programmed by a human in the high-level languages used in Flash (C++/Java), the multi-modalities are possible because all the files are ultimately represented in the same binary code. The work thus enacts the borderland in which machine and human cognition cooperate to evoke the meanings that the user imparts to the narrative, but these meanings themselves demonstrate that human consciousness is not the only actor in the process. Also involved are the actions of intelligent machines. In this sense the abyss may be taken to signify not only those modes of human cognition below consciousness, but also the machinic operations that take place below the levels accessible to the user and even to the programmer.

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Importance of embodied practice in Cayley suggesting the machine cognition can be intuited through observation in transliteral morphing; why not also look at the design, through reverse engineering, especially its program source code and system integration, that could be part of conscious thought? (147) The correlations between higher and lower-level relationships can be revealed (watching the morphs) by activating channels of communication between embodied practice, tacit knowledge, and conscious thought. . . . Cayley suggests that if a user watches these long enough while also taking in the transliteral morphs, she will gain an intuitive understanding of the algorithm, much as a computer game player intuitively learns to recognize how the game algorithm is structured. The music helps in this process by providing another sensory input through which the algorithm can be grasped.
(147) While all this is happening, through embodied and tacit knowledge, the conscious mind grapples with the significance of the transliterating text [Walter Benjamin On Language as Such an on the Language of Man ].

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Cyborgs understood as technological object and discursive formation in Wolfe Limbo as tutor text for first wave cybernetics; evidence that many Americans are already cyborgs, especially the American soldier. (115) Manifesting itself as both technological object and discursive formation, it [the cyborg] partakes of the power of the imagination as well as of the actuality of technology. Cyborgs actually exist. About 10 percent of the current U.S.

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Writing as prosthesis: Limbo illustrates how physical body of text constitutes cyborg with its represented bodies (Kristeva feminine). (126) Writing is a way to extend the authorƒs body into the exterior world; in this sense, it functions as a technological aid so intimately bound up with his thinking and neural circuits that it acts like a prosthesis.
(128) Countering these narrative constructions are other interpretations authorized by the drawings, nonverbal lines, puns, and lapses in narrative continuity. From these semiotic spaces, which Julia Kristeva has associated with the feminine, come inversions and disruptions of the hierarchical categories that the narrative uses to construct maleness and femaleness.

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Ostman imagines human consciousness riding on top of on-demand synthetic sentience: compare to Thrift qualculation, Berry streams, Kitchin Dodge code/space. (287)
(287) If we extrapolate from these relatively simple programs to an environment that, as Charles Ostman likes to put it, supplies synthetic sentience on demand, human consciousness would ride on top of a highly articulated and complex computational ecology in which many decisions, invisible to human attention, would be made by intelligent machines.

3 4 4 (+) [-4+]mCQK hayles-how_we_think (3) 20120707a 0 -2+ progress/2012/07/notes_for_hayles-how_we_think.html
Extended cognition (Clark); this deemphasis subordinating the plurality in the singular how, we, and think. (3) The more one works with digital technologies, the more one comes to appreciate the capacity of networked and programmable machines to carry out sophisticated cognitive tasks, and the more the keyboard comes to seem an extension of oneƒs thoughts rather than an external device on which one types. Embodiment then takes the form of extended cognition, in which human agency and thought are enmeshed within larger networks that extend beyond the desktop computer into the environment.

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Project based research; I am calling for marking out a significant place, space, proportion, duration, support, compatibility, interoperability, real time reliance, and so on. (9) The implications of moving from content orientation to problem orientation are profound.
Project-based research, typical of work in the Digital Humanities, joins theory and practice through the productive work of making. . . . The challenges of production complicate and extend the traditional challenges of reading and writing well, adding other dimensions of software utilization, analytical and statistical tools, database designs, and other modalities intrinsic to work in digital media.
(10) One way into the complexities is to track the evolution of the Digital Humanities, the site within the humanities where the changes are most apparent and, arguably, most disruptive to the status quo.

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Theory of embodied cognition. (55)
(56) The crucial questions are these: how to convert the increased digital reading into increased reading ability, and how to make effective bridges between digital reading and the literacy traditionally associated with print.
(57) While literary studies continues to teach close reading to students, it does less well in exploiting the trend toward the digital. Students read incessantly in digital media and write in it as well, but only infrequently are they encouraged to do so in literature classes or in environments that encourage the transfer of print reading abilities to digital and vice versa.

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Zone of proximal development for improving reading skills should also be relevant for digital humanists learning programming. (60) This principle was codified by the Belarusian psychologist L.S.
Vygotsky in the 1930s as the zone of proximal development. . . . More recent work on scaffolding and on the zone of reflective capacity extends the idea and amplifies it with specific learning strategies.

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Hyper reading attributes by Sosnoski. (61) James
Sosnoski (1999) presciently introduced the concept of hyper reading, which he defined as reader-directed, screen-based, computer-assisted reading (167). Examples include search queries (as in a Google search), filtering by keywords, skimming, hyperlinking, pecking (pulling out a few items from a longer text), and fragmenting. Updating his model, we may add juxtaposing, as when several open windows allow one to read across several texts, and scanning, as when one reads rapidly through a blog to identify items of interest.

3 4 4 (+) [-4+]mCQK hayles-how_we_think (63) 20121129e 0 -1+ progress/2012/07/notes_for_hayles-how_we_think.html
Ways hyper reading negatively changes brain functions. (63) Among these are hyperlinks that draw attention away from the linear flow of an article, very short forms such as tweets that encourage distracted forms of reading, small habitual actions such as clicking and navigating that increase the cognitive load, and, most pervasively, the enormous amount of material to be read, leading to the desire to skim everything because there is far too much material to pay close attention to anything for very long.

3 4 4 (+) [-4+]mCQK hayles-how_we_think (64) 20121129f 0 -7+ progress/2012/07/notes_for_hayles-how_we_think.html
Working memory load affected by hypertext and web reading. (64) The small distractions involved with hypertext and web reading clicking on links, navigating a page, scrolling down or up, and so on increase the cognitive load on working memory and thereby reduce the amount of new material it can hold. With linear reading, by contrast, the cognitive load is at a minimum, precisely because eye movements are more routine and fewer decisions need to be made about how to read the material and in what order.
(64) Supplementing this research are other studies showing that small habitual actions, repeated over and over, are extraordinarily effective in creating new neural pathways.
(66) Current evidence suggests that we are now in a new phase of the dance between
epigenetic changes in brain function and the evolution of new reading and writing modalities on the web.
(66) How valid is this conclusion? Although Carrƒs book is replete with many different kinds of studies, we should be cautious about taking his conclusions at face value. For example, in the fMRI study done by Small and his colleagues, many factors might skew the results.

3 4 4 (+) [-4+]mCQK hayles-how_we_think (70) 20121129g 0 -1+ progress/2012/07/notes_for_hayles-how_we_think.html
Human-assisted computer reading. (70) The formulation alerts us to a third component of contemporary reading practices: human-assisted computer reading, that is, computer algorithms used to analyze patterns in large textual corpora where size makes human reading of the entirety impossible.

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Late binding discussion a mind expanding glimpse at the machine understanding of something we humans can also imagine. (59) Late binding is part of what allows the objects to be self-contained with minimum interference with other objects.
(59) The point of this rather technical discussion is simple: there is no parallel to compiling in speech or writing, much less a distinction between compiling and run-time.

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Intermediation is where to meet intelligent machines, though our personal stance toward programming is also important; see above where Hayles establishes legitimate lines of argument. (59) The importance of compiling (and interpreting) to digital technologies underscores the fact that new emphases emerge with code that, although not unknown in speech and writing, operate in ways specific to networked and programmable media. At the heart of this difference is the need to mediate between the natural languages native to human intelligence and the binary code native to intelligent machines.

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Relate epistemological transparency to control relationships with other people like Wells Eloi and Morlock; for Turkle it may relate to inception of the robotic moment. (125) Working through analogy, personal anecdote, and technical exposition, Stephenson tries to persuade the educated public that Unix is a far superior operating system to either Macintosh or Windows. This superiority lies not only in Unixƒs efficiency and power, nor solely in its economy (it is available for little or nothing over the Web). Equally important is the fact that it allows the user to understand exactly what is happening as typed commands are compiled and executed by the machine.
(126) Such folks are Eloi, Stephenson suggests, in an allusion to H. G. Wells classic story
The Time Machine. . . . At issue is pride, expertise, and, most importantly, control. Those who fail to understand the technology will inevitably be at the mercy of those who do. The implication is that those who choose Unix, even though it is more demanding technically, can escape from the category of the Eloi and transcend to Morlock status where the real power is.

3 4 4 (+) [-6+]mCQK hayles-my_mother_was_a_computer (163) 20130930l 0 -6+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Cyborg subjectivity in monstrous intermingling of ontological levels, including differences between computer and human memory. (163) The interjection of simultaneity into the sequence of a userƒs choices makes clear why different ontological levels (character, writer, user) mingle so monstrously in this text. In the heart of the computer, which is to say at the deepest levels of machine code, the distinctions between character, writer, and user are coded into strings of ones and zeros, in a space where the text written by a human writer and a mouse-click made by a human user care coded in the same binary form as machine commands and computer programs. When the text represents this process (somewhat misleadingly) as a merged molecular dance of simultaneity, it mobilizes the specificity of the medium as an authorization for its own vision of
cyborg subjectivity.
(164) Memory, then, converts simultaneity into sequence, and sequence into the continuity of a coherent past. But human memory, unlike computer memory, does not retain its contents indefinitely or even reliably. If human memory has gaps in it (a phenomenon alarmingly real to me as my salad days recede in the distance), then it becomes like atoms full of empty space, an apparent continuity riddled with holes.

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Coevolving minds and machine, transformation of understanding of nature of reality; Bogost on objects. (218) Indeed, since in many ways twentieth-century cybernetics prepared the way for the Regime of Computation, it would not be entirely inaccurate to name the contemporary emphasis on emergence third-order cybernetics because it subsumes and transforms the reflexivity characteristic of second-order cybernetics. . . . The Regime of Computation presumes and requires materiality at the same time that it transforms our understanding of the nature of materiality.

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Always a job for digital humanists; danger of consumer use of simulations entanglement. (242) The crucial question with which this book has been concerned is how the new kind of science that underwrites the Regime of Computation can serve to deepen our understanding of what it means to be in the world rather than apart from it, comaker rather than dominator, participants in the complex dynamics that connect what we make and what (we think) we are. Amid the uncertainties, potentialities, and dangers created by the Regime of Computation, simulations computational and narrative can serve as potent resources with which to explore and understand the entanglement of language with code, the traditional medium of print with electronic textuality, and subjectivity with computation.
(242) Rather than attempt to police these boundaries, we should strive to understand the materially specific ways in which flows across borders create complex dynamics of intermediation.
(243) If we interpret the relations of humans and intelligent machines only within this paradigm, the underlying structures of domination and control continue to dictate the terms of engagement.
(243) This book has focused on narratives of a different kind that offer ways out of the subject/object divide. . . . In my view, an essential component of coming to terms with the ethical implications of intelligent machines is recognizing the mutuality of our interactions with them, the complex dynamics through which they create us even as we create them.

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A profession of faith in being already posthuman, and ethical trajectory to not be as dominating as Bacon. (243) Encountering intelligent machines from this perspective enables me to see that they are neither objects to dominate nor subjects threatening to dominate me. Rather, they are embodied entities instantiating processes that interact with the processes that I instantiate as an embodied human subject. The experience of interacting with them changes me incrementally, so the person who emerges from the encounter is not exactly the same person who began it. What I think of as my human legacy the language I speak, the books I read, the digital art and information I peruse, the biology I inherit from eons of evolutionary dynamics, the consciousness that generates my sense of identity is already affected by the intermediating dynamics of my interactions with intelligent machines, and will surely be transformed even more deeply in the decades to come. The challenge, as I see it, is to refuse to inscribe these interactions in structures of domination and instead to seek out understandings that recognize and enact the complex mutuality of the interactions.

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Worth considering this as a critique of a simple, object-oriented stance informed by computer science. (135) For living beings, the contexts enabling the chaos of the unmediated flux to be perceived as patterns are constituted by embodied sensory-perceptual-cognitive network systems flexibly interacting with each other.

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A lovely analogy between Clark extended and contexts as cross-linked frameworks. (136) Like Clarkƒs
extended, the embedded context model allows us to see that boundaries are contingent, changing according to which contexts are referenced. . . . We can now state our next major point: contexts are not objects with properties or containers for information but rather complexly cross-linked frameworks of relations that loosely structure experience and knowledge.
(136) According to [Terrence] Deaconƒs model, asking how linguistic contexts are formed and how they interact with embodied human sensory-perceptual-cognitive systems would be like asking how the basketball came to be and why it so perfectly fits the game. A misleading dichotomy is created when researchers ask whether the brain contains some apparatus for language-processing (a universal grammar a la Chomsky) or whether language imprints itself on the brain. Rather, language and the brain co-evolved together, each modifying and being modified by the other (Deacon, 1998: 102-11).

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Since spoken language is deeply rooted in embodiment, and written language itself links to spoken via internalized silent reading (Hayles discusses subvocalization elsewhere), embodiment must be considered when thinking about how people interact with media. (137) In conversation with these philosophic and discursive contexts, we propose the view that language is the most naturalized of media technologies. It may seem odd to place language in a category that typically includes radio and television, but, like them, language participates in creating patterns from noise.
(138) Language is thus paradoxically positioned as the naturalized technology crucial to constructing an inside/outside distinction, deeply influencing the brainƒs interior processing while itself operating across this binary.

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Embodiment is even more emphasized in interaction with ergodic media. (138) In sum, then, media evolve along a spectrum in which they are more or less tightly integrated with the embodied processes that create patterns from the unmediated flux, with language as the ƒmoreƒ end and technical media such as the scanning tunneling microscope at the ƒlessƒ end.

3 4 4 (+) [-4+]mCQK hayles_pulizzi-narrating_consciousness (145-146) 20130928c 0 -5+ progress/2011/04/notes_for_hayles_pulizzi-narrating_consciousness.html
Gestures toward alien contexts. (145-146) In
Plus and His Masterƒs Voice, the alien contexts remain largely outside the realm of representation, gestured toward rather than articulated by the linear sequentiality of the textƒs language. Meanings of the ƒletterƒ and the latticeƒs thoughts remain elusive, for their contexts lie outside normal human communication. The framework we have proposed here, of sensory-perceptual-cognitive networks flexibly coupled together and extended into the environment through linguistic and media networks, functions at many scales and locations through processes that give meaning to information by their interpretive activities. Each of these loci implies a context that makes interpretation meaningful. Information and meaning are not joined homogeneously or all at one place; rather, meaning-making is fractally complex, occurring at cellular and sub-cellular locations all the way up to consciousness and beyond.

3 4 4 (+) [-6+]mCQK jameson-postmodernism (314) 20130930m 0 -1+ progress/2012/04/notes_for_jameson-postmodernism.html
Again nod to Ulmer to instantiate this recommendation of overdetermination in ambivalence. (314) What we need to invent is a notion of
overdetermination in ambivalence in which works become endowed with associations at one and the same time plebian and bureaucratic, with the not unexpected political confusion inherent in such ambivalence.

3 4 4 (+) [-4+]mCQK jenkins-convergence_culture (4) 20130929a 0 -2+ progress/2012/05/notes_for_jenkins-convergence_culture.html
At the core of convergence culture, the ontological status of collective intelligence seems focused on human groups, representing a mutation of the unary, expert knowledge of liberal humanist subject, recalling Lyotard point that for modernist science the receiver does not matter, to which, through texts and technology, media studies, and embodied cognitive science, the inhuman (thinking of Lyotard), machine, technological, cyborg components, are brought into scope as well. (4) Consumption has become a collective process and thatƒs what this book means by
collective intelligence, a term coined by French cyberneticist Pierre L vy. None of us can know everything; each of us knows something; and we can put the pieces together if we pool our resources and combine our skills.

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Of emergent cyberspace knowledge, collective intelligence in producer knowledge communities, such as within Sourceforge, enact Linus Law that given enough eyes, all bugs are shallow, solving technical problems; from consumer orientation its consequence is political action upon media producers. (26-27) On the Internet, Pierre L vy argues, people harness their individual expertise toward shared goals and objectives: No one knows everything, everyone knows something, all knowledge resides in humanity. . . . And this organization of audiences into what L vy calls
knowledge communities allows them to exert a greater aggregate power in their negotiations with media producers. . . . He suggests, however, that collective intelligence will gradually alter the ways commodity culture operates.

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Difference between collective intelligence and shared knowledge articulated by Levy. (27) L vy draws a distinction between shared knowledge, information that is believed to be true and held in common by the entire group, and collective intelligence, the sum total of information held individually by the members of the group that can be accessed in response to a specific question.

3 4 4 (+) [-4+]mCQK jenkins-convergence_culture (36) 20130929f 0 -2+ progress/2012/05/notes_for_jenkins-convergence_culture.html
No moral judgment on collective intelligence hacking email. (36) Sometimes, it takes a little effort. The Ellipsis Brain Trust tracked down the name of the person who designed the
CBS Survivor Web site, hacked into their hotmail account, and found a single entry, a list of URLs that were to be acquired immediately, sixteen in all, each bearing the name of a man or a woman.

3 4 4 (+) [-4+]mCQK jenkins-convergence_culture (54) 20130929g 0 -2+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Expert paradigm versus collective intelligence for knowledge communities important for comparing notions of subjectivity; cathedral versus bazaar for software development fits. (54) Fourth, Walshƒs experts are credentialized.
(55) L vy speaks about knowledge communities in terms of their democratic operations; yet the ability for any member to dump information out there without regard to anyone elseƒs preferences holds a deeply totalitarian dimension.

3 4 4 (+) [-4+]mCQK jenkins-convergence_culture (219) 20130929k 0 -6+ progress/2012/05/notes_for_jenkins-convergence_culture.html
Collective intelligence powered monitorial citizen replaces individualized informed citizen. (219) In each case, entrenched institutions are taking their models from grassroots fan communities, reinventing themselves for an era of media convergence and collective intelligence. So why not apply those same lessons to presidential politics? . . . What they are talking about is a shift in the publicƒs role in the political process, bringing the realm of political discourse closer to the everyday life experiences of citizens; what they are talking about is changing the ways people think about community and power so that they are able to mobilize collective intelligence to transform governance; and what they are talking about is a shift from the individualized conception of the informed citizen toward the collaborative concept of a
monitorial citizen.

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Participation characteristics of monitorial citizen. (269) The participation gap becomes much more important as we think about what it would mean to foster the skills and knowledge needed by monitorial citizens: here, the challenge is not simply being able to read and write, but being able to participate in the deliberations over what issues matter, what knowledge counts, and what ways of knowing command authority and respect.

3 4 4 (+) [-4+]mCQK johnson-user_centered_technology (53) 20130930g 0 -6+ progress/2009/01/notes_for_johnson-user_centered_technology.html
Metis as cunning intelligence is also skill of Odysseus (Horkheimer and Adorno) and coyote trickster (Haraway). (53)
Metis, or what is also called cunning intelligence, is the ability to act quickly, effectively, and prudently within ever-changing contexts.
(54-55) Practical knowledge, especially knowledge of making aimed at some end, was seen as being very important to the ancient Greek mind. . . . In the modern context, we simply value theoretical or scientific knowledge more highly than we do technical or practical knowledge.

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Consider personal notes, examples, and jokes in man pages as examples of Feenberg democratization and Kitchin and Dodge negotiated code space. (122) The documentation in the system-centered approach, as exemplified by the UNIX system, is a literal documenting of the static system: a description of the systemƒs features removed from any context of use.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (19) 20131011 0 -6+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Example of localized negotiation in bending ISO declaration of work processes made law by segregation of duties enforced by commit rights for source code revision control system. (19) The constituent elements of a discursive regime work to promote and make commonsense their message, but also to condition and discipline. Their power is persuading people to their logic to believe and act in relation to this logic. As Foucault (1977, 1978) noted, however, a discursive regime does not operate solely from the top downward, but through diffused microcircuits of power, the outcome of processes of regulation, self-regulation, and localized resistance. . . .

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (84) 20131024 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Culture of control driven by desire for security, orderliness, risk management and taming of chance (Garland). (84) In recent years, Garland (2001, cited in Lyon 2007, 12) argues that the present mode is one of a culture of control, driven by the desire for security, orderliness, risk management and the taming of chance.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (86) 20131103f 0 -6+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Agre capture model becoming integral part of system, reconfiguring and assessing in real time as examples of store checkout registers and ticket booking; note forerunner well documented in Hollerith era by Black. (86) Termed the
capture model, [Philip] Agre notes that the mechanisms by which capta is generated are increasingly an integral part of the system that it seeks to monitor and regulate, and that these mechanisms, in turn, redefine and reconfigure that system, quite often in real time.
(86-87) For example, a computerized register in a store is configured in such a way that the practices of checkout labor are also the mechanisms by which the retail worker is monitored, disciplined, and rewarded. . . . The process of buying an individualized flight ticket, tied to a named person, has become the means by which an individualƒs credentials are automatically authenticated and risk assessed and commercial worth calculated it is an integral part of booking the ticket.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (87-89) 20130927i 0 -11+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Protocol as grammar of action representing formalized ontology and organized language for processing its representations, shaping behavior to be amenable to its requirements (Agre, Galloway, Wardrip-Fruin); example of extensive fields of Passenger Name Record. (87-89) Agre (1994) argues that the capture model has been made possible because a
grammar of action has been imposed on a system. A grammar of action is a highly formalized set of rules that ensures that a particular task is undertaken in a particular way, given certain criteria and inputs. It involves a systematic means of representing aspects of the world (a formalized ontology) and an organized language for processing those representations. . . . Capta is thus recorded in sequence and processed with respect to the governing protocols. . . . Behavior is therefore necessarily reshaped to make it more amenable to capture in order to fulfill the essential requirements that make a system work (Wardrip-Fruin 2003).

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Inevitable flexibility in grammars of action make societies of control seductive to participants by interpellation; consider Malabou. (90) As Agre (1994, 752) notes, while grammars of action necessarily structure activity, there is always some flexibility. . . . It is this contingency that makes a system, such as the Internet, appear to be very open and democratic. Nonetheless, they are highly regulated at one level, only allowing actions that protocols enable. . . . In this sense, societies of control are seductive to participants in Althusserƒs (1971) terms, the systems they employ interpellate by enticing people to desire them and willingly and voluntarily participate in their ideology (rather than simply disciplining them into docile bodies).

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (90) 20130927k 0 -14+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Capta shadow and capta trails transform more aspects of everyday life into legible landscape, noting explosion of both institutional and peer-to-peer surveillance, shared and traded as capital. (90) This assemblage constitutes what might be termed a
capta shadow (capta that uniquely represents and records people and their lives) and associated capta trails (records of the locational positions of interactions and transactions) across space-time. . . . The effect of the capta shadow is that more and more aspects of everyday life are transformed into a legible landscape into simple and visible forms of order (Curry, Philips, Regan 2004, 359).
(91) This capta shadow is available to institutions states and the companies that generate it but, unlike traditional forms of disciplinary surveillance, also to other individuals, institutions, and companies (sometimes freely, other times traded for a fee). As [Mark]
Andrejevic (2007) notes . . . an explosion in peer-to-peer surveillance. . . . Never before has it been so quick and affordable to find out information about our peers, without their knowledge or permission.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (92) 20130927l 0 -2+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Important transactions shifting from identification based on something you have or know, tokens and passwords, to something you are, biometrics. (92) Present trends are to move from the first and second types [something you have and know] to third type [something you are], especially for higher order transactions such as accessing high-value areas within a company building or entering a country, although fingerprint scanners are now being increasingly embedded into more mundane objects such as laptops to increase capta security.
(93) These biometric forms of identification see to fulfill Clarkeƒs (1994b) list of desirable characteristics for effective human identification codes.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (93) 20130927m 0 -3+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Material objects, information and transactions also being assigned unique identifiers. (93) Similarly, as discussed in chapter 3, material objects are increasingly assigned unique identifiers that allow them to be processed, tracked, and traced through complex logistical networks.
(93) Likewise, information and transactions are being assigned ever more unique identifiers for purposes of supporting intellectual property rights (digital object identifiers) or monitoring communication and interactions for the purposes of billing, dealing with queries by customers, and deriving knowledge from them.
(94) More and more frequently, the identification codes of people, objects, information, and transactions are being tied to spatial referents (grid references, latitude and longitude, postal codes, administrative districts, and geodemographic area types).

3 4 4 (+) [-6+]mCQK kitchin_and_dodge-code_space (94) 20130927n 0 -5+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
AI in Caprica based on permanent recording of capta shadows and trails. (94) This proliferation of ID codes has led to a widening and deepening of capta shadows and trails. . . . Much will likely never be deleted, and records that would once have faded and been lost will be recallable well into the future.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (94) 20131024a 0 -2+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Recording capta scripted, consistent, automatic through developments in sensing and scanning that record by default, excessive in nature, smart, continuous, mobile, and networked. (94) They are, therefore, open to being recorded in scripted, consistent, and automatic ways. There have been a number of developments that have made the recording of such capta more effective and efficient.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (95) 20130927o 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Inexpensive micro-electromechanicals systems (MEMS), such as vehicle use monitors used by insurance companies. (95) A wide range of batch fabricated, inexpensive, micro-electromechanical systems (MEMS) have been developed that can automatically monitor different kinds of information such as light, temperature, motion, and pressure, transduce them into digital capta, and communicate this capta to other devices.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (98) 20131024b 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Capta recording excessive in the sense that more data is collected by default than is really needed, usually out of convenience, marginal cost, and sloppy coding. (98)
Excessive in Nature Contemporary systems are often set to gather excessive amounts of capta that which is actually necessary to undertake a transaction, along with additional capta deemed of potential interest or likely utility (sometimes this is revealed in the design of online forms that distinguish between compulsory and optional fields).

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (99-100) 20131024d 0 -4+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Predicts pervasive spatial tracking of most people, driven by commercial development of location-based services. (99-100)
Mobile . . . It is probable that such continuous spatial tracking of a large proportion of the population will become commonplace in next few years, encouraged in large part by the commercial development of novel location-based services.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (100-101) 20131024e 0 -4+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Networking shrinks space-time distanctiation of surveillance and control. (100-101)
Networked . . . What this means is that the space-time distanciation of surveillance and control has been markedly shrunk.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (101-102) 20131024f 0 -7+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Worth contemplating fact that growth in storage density has outpaced Moores Law: permanent archiving of capta shadows feasible, although challenged by redundancy and changing formats; note a popular means of resistance to surveillance is providing false and duplicate capta. (101-102) The growth in storage density, as measured in bits per inch on magnetic disks, has even outpaced the curve of Mooreƒs Law, and shows little sign of slowing down int the near future. Storage capacity has been further enhanced by compression algorithms that enable the rapid encoding, decoding and streaming of capta.
(102) Digital capta takes up less space, but it is also more flexible, cheaper, and easier to copy, share, manipulate, cross-reference, process, and analyze.
(102) The capacity to store information for negligible overhead has made the permanent archiving of capta shadows feasible for many businesses and organizations. . . .

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (103) 20130927q 0 -6+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
New software sectors including data mining, knowledge discovery from databases, geodemographics, visual analytics. (103) Not surprisingly, such analysis has become commercially profitable, leading to new software sectors such as data mining or knowledge discovery from databases (KDD), geodemographics, and visual analytics consultancies. . . . Capta, although inextricably tied to an individual, is thus made to work in new ways independent of the original person.
(103) With respect to surveillance and governance, a range of commercial capta aggregators/resellers such as US Search and ChoicePoint specialize in enabling consumers (individuals, companies, states) to pull together vast amounts of capta from related captabases to profile individuals.

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (104-105) 20130927r 0 -10+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Social sorting people to judge individual worth from capta analysis underpins discriminatory practices; capta shadow has begun to precede us by affecting range of future choices (Stalder). (104-105) The aim of such an analysis is to socially sort people by calculating and enforcing differential access and to evaluate perceived worth and risk through activities such as customer, credit, and crime profiling. . . . Social sorting thus underpins discriminatory practices such as the redlining of communities deemed unprofitable or high risk by insurers and backs (Danna and Gandy 2002, Graham 2005). Stalder (2002, 120) notes that our capta shadow does more than follow us. It has also begun to precede us. . . .

3 4 4 (+) [-4+]mCQK kitchin_and_dodge-code_space (105) 20131103g 0 -1+ progress/2013/09/notes_for_kitchin_and_dodge-code_space.html
Software processing has affected most academic disciplines as well. (105) Beyond governance, software processing has fundamentally reshaped just about all academic disciplines and how professions from architects to zoologists make sense of and use capta.

3 4 4 (+) [-4+]mCQK kittler-there_is_no_software (155) 20131001n 0 -14+ progress/2012/12/notes_for_kittler-there_is_no_software.html
Perhaps theoretical return to noise similar to second orality, as away from clarity of liberal humanist subject, and more like cognitive-embodied processes suggested by Hayles, Clark, Jenkins as replacement for subjectivity. (155) In what I have tried to describe are badly needed machines that . . . certain Dubrovink observerƒs eyes might be tempted to recognize, under evolutionary disguises or not, the familiar face of man. . . . Maybe. At the same time, however, our equally familiar silicon hardware obeys many of the requisites for such highly connected, nonprogrammable systems. . . . To minimize all the noise that it would be impossible to eliminate is the price we pay for structurally programmable machines. The inverse strategy of maximizing noise would not only find the way back from IBM to Shannon, it may well be the only way to enter that body of real numbers originally known as chaos.

3 4 4 (+) [-4+]mCQK kittler-world_of_the_symbolic (135) 20131104m 0 -4+ progress/2012/06/notes_for_kittler-world_of_the_symbolic.html
Reconnect importance of technical inventions on theorizing about human psyche to platform studies. (135) Hegel and Freud are separated (according to Lacan) by a technical invention: Wattƒs steam-engine centrifugal governor, the first negative feedback loop, and with that Mayerƒs Law of Constant Energy, the numerical basis of Freudƒs economy of desire. Similarly, Freud and Lacan are separated by the computer, Alan Turingƒs Universal Discrete Machine of 1936.
(136) Descartesƒ innovation (going beyond Cardano) lies precisely in his giving a name to imaginary numbers like [square root of negative one], thus assuring mathematics that one could quite simply incorporate them into further computation.
(136) With explicit reference to the theory of complex numbers, Lacan records the imaginary function of the phallus as [SQR(-1)].

3 4 4 (+) [-4+]mCQK kittler-world_of_the_symbolic (145) 20131104l 0 -7+ progress/2012/06/notes_for_kittler-world_of_the_symbolic.html
Discourse of the other is discourse of the circuit. (145) That the unconscious is the discourse of the other is already repeated in the feuilletons. But that the discourse of the other is the discourse of the circuit is cited by no one. . . . It is not for nothing that Lacan forbid himself from talking about language with people who did not understand cybernetics. Only when a theory is implemented in algorithms, graphs or knots (as in the later Lacan), is it possible that something stops not writing itself.

3 4 4 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (231-232) 20131003c 0 -8+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Second empiricism cultivating realist attitude toward matters of concern; compare to Jenkins monitorial citizen. (231-232) What I am going to argue is that the critical mind, if it is to renew itself and be relevant again, is to be found in the cultivation of a
stubbornly realist attitude to speak like William James but a realism dealing with what I will call matters of concern, not matters of fact. . . . Matters of fact are only very partial and, I would argue, very polemical, very political renderings of matters of concern and only a subset of what could also be called states of affairs. It is this second empiricism, this return to the realist attitude, that Iƒd like to offer as the next task for the critically minded.
(232) To put it another way, whatƒs the difference between deconstruction and constructivism?
(232) Is it really impossible to solve the question, to write not matter-of-factually but, how should I say it, in a matter-of-concern way?

3 4 4 (+) [-4+]mCQK latour-why_has_critique_run_out_of_steam (248) 20121115 0 -7+ progress/2012/07/notes_for_latour-why_has_critique_run_out_of_steam.html
Toward super-critical theory: is the black box, input output analysis partially to blame for prevalence of devalued objects over field effect, matters of concern things? (248) We all know subcritical minds, thatƒs for sure! What would critique do if it could be associated with
more, not with less, with multiplication, not with subtraction. Critical theory died away long ago; can we become critical again, in the sense here offered by Turing? That is, generating more ideas than we have received, inheriting from a prestigious critical tradition but not letting it die away, or dropping into quiescence like a piano no longer struck. This would require that all entities, including computers, cease to be objects defined simply by their inputs and outputs and become again things, mediating, assembling, gathering many more folds than the united four. If this were possible then we could let the critics come ever closer to the matters of concern we cherish, and then at last we could tell them: Yes, please, touch them, explain them, deploy them. Then we would have gone for good beyond iconoclasm.

3 4 4 (+) [-4+]mCQK lyotard-the_inhuman (14) 20131004b 0 -4+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Problem of sustaining thought software via hardware independent of earthly energy sources seems isomorphic to problem of sustaining thought beyond individual embodied human lives. (14) In both cases then this means learning to manufacture a hardware capable of nourishing our software or its equivalent, but one maintained and supported only by sources of energy available in the cosmos generally.
(15) Our disappointment in these organs of ƒbodiless thoughtƒ comes from the fact that they operate on binary logic, one imposed on us by Russellƒs and Whiteheadƒs mathematical logic, Turingƒs machine, Mucullochƒs and Pittsƒs neuronal model, the cybernetics of Wiener and von Neumann, Boolian algebra and Shannonƒs information science.
(15) But as [Hubert]
Dreyfus argues, human thought doesnƒt think in a binary mode. It doesnƒt work with units of information (bits), but with intuitive, hypothetical configurations.

3 4 4 (+) [-4+]mCQK lyotard-the_inhuman (22) 20131004g 0 -10+ progress/2013/08/notes_for_lyotard-the_inhuman.html
Conclusions about real needs of AI and earthly exodus allude to the movie AI. (22) In granting all this, I concede that it isnƒt any human desire to know or transform reality that propels this techno-science, but a cosmic circumstance. But note that the complexity of that intelligence exceeds that of the most sophisticated logical systems, since itƒs another type of thing entirely. As a material ensemble, the human body hinders the separability of this intelligence, hinders its exile and therefore survival. But at the same time the body, our phenomenological, mortal, perceiving body is the only available
analogon for thinking a certain complexity of thought.
(23) Thought is inseparable from the phenomenological body: although gendered body is separated from thought, and launches thought. . . . You have to prepare post-solar thought for the inevitability and complexity of this separation. Or the pilot at the help of spaceship
Exodus will still be entropy.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (42) 20130922h 0 -7+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Organizational suppleness of networks linked to flexibility, idealized in integrator facilitator manager. (42) There is no longer a center but rather discrete assemblies of neurons forming mobile and momentary centers on each occasion. Organizational suppleness now goes hand in hand with authority and decision.
(43) It is obviously with reference to this type of functioning that todayƒs management literature preaches work in [quoting Boltanski and Chiapello] flexible, neural teams, and can claim that the manager is not [or is no longer] a (hierarchical) boss, but an integrator, a facilitator, and
inspiration, a unifier of energies, an enhancer of life, meaning, and autonomy. . . . He transmits, distributes, and modifies connections by potentiating or depressing them according to circumstances and needs, without being identifiable with or assigned to a fixed post.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (45) 20130922i 0 -10+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Delocatization and polyvalence are qualities of neurons also expected of individuals in working world. (45) But arenƒt these qualities also those expected today of the individual in the working world? Shouldnƒt we become polyvalent, accepting the law of delocalization by making ourselves available, showing ourselves to be without attachment, ready to break old ties, to create new ones? . . . Today the emphasis is clearly put on polyvalence more than on craft, on the multiplication of encounters and potentially reactivizable temporary connections, on belonging to diverse groups. . . . One must always be
leaving in order to survive, that is to say, in a certain sense, in order to remain.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (45) 20130922j 0 -7+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Employability associated with adaptability and flexibility. (45) Whoever says employability clearly says
adaptability. Employability is a neo-management concept that indicates the capacity to respond to a world in motion by a supple use of abilities, which supposes we do not focus on one and only one skill, just as a cortical region does not participate in one and only one function.
(46) Employability is synonymous with
flexibility. . . . Very often, the brain is analyzed as personal capital, constituted by a sum of abilities that each must invest optimally, like an ability to treat oneƒs own person in the manner of a text that can be translated into different languages.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (47) 20130922k 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Striking coincidence between psychiatric and political discourse emphasizing disaffiliation. (47) The coincidence between current psychiatric discourse, characterized by a clear tendency toward the biologization of psychical or mental disturbance, and the political discourse of exclusion, which presents the disaffiliation as individuals with broken connections, is striking.
(48-49) It is therefore not a question of pitting the nobility of classical psychoanalysis against the baseness of psychiatry, but of seeing how a certain conception of flexibility paradoxically driven by the scientific analysis of neuronal plasticity models suffering and allows the identification of psychical illness and social illness.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (49) 20130922l 0 -6+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Conflation of psychical and social illness; sick person cannot stand conception of existence as series of business projects. (49) Today these two types of disturbance tend to be conflated. One must see clearly that, for all intents and purposes, [quoting Alain
Ehrenberg] the workplace is the antechamber of nervous depression. . . . Thus a depressive is a sick person who cannot stand this conception of a careerist whose very existence is conceived as a business or series of projects.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (50-51) 20130922m 0 -6+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
New fragility and vulnerability from being forced to always choose and decide everything, replacing neurosis with fatigue of being oneself; need to maintain cohesion of community and avoid being cut off suggests revisiting discussion of pharmakos in Dissemination. (50-51) [quoting Ehrenberg] These institutional transformations give the impression that everyone, including the most fragile, must take up the task of
choosing everything and deciding everything. Such a situation surely creates a certain vulnerability, a new precariousness, a new fragility. The difficulty in experiencing a conflict voids the psyche and in effect replaces neurosis with the fatigue of being oneself. . . .

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (51-52) 20130922n 0 -8+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Prozac as drug for aligning self with requirements of high-tech capitalism (Kramer). (51-52) In his book
Listening to Prozac, Peter Kramer develops a critical reflection on the type of self that todayƒs high-tech capitalism endorses as it condition of possibility: Confidence, flexibility, quickness, and energy . . . are at a premium. . . . Medications should give back the appetite for mobility, the capacity to rid oneself of rigidity and of fixity in oneƒs identity.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (52) 20130922o 0 -9+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Cannot distinguish neuroscientific studies and management literature; example of inflexible, socially handicapped Alzheimer patient as nemesis of connectionist society. (52) Thus it is no longer possible to distinguish rigorously on an ideological level between popularly accessible neuroscientific studies and the literature of management including medical management. . . . An Alzheimerƒs patient is the nemesis of connectionist society, the counter-model of flexibility. . . . In fact, it is no longer possible to distinguish rigorously on an ideological level between those suffering a neurodegneerative disorder and those with major social handicaps.

3 4 4 (+) [-6+]mCQK malabou-what_should_we_do_with_our_brain (52-53) 20130922p 0 -6+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Problem is unconsciousness of politics of representation. (52-53) It is not the identity of cerebral organization and socioeconomic organization that poses a problem, but rather the unconsciousness of this identity. . . . At bottom, neuronal man has not known how to speak of himself. It is time to free his speech.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (53-54) 20130922q 0 -13+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Neuronal functioning resembles emancipatory democracy, but an extremely normalizing vision privileging docility and obedience to flexibility; tie to Lessig regulation by code and hypotheses of critical programming for freeing speech of neuronal man. (53-54) One the one hand, neuronal functioning as it is described today quite closely resembles a democracy. . . . (By contrast, the models of the central telephone exchange and the computer continue to evoke the old Soviet system or Brave New World.) In one sense, progress in the neurosciences has made possible the political emancipation of the brain. On the other hand, the scientific description of brain plasticity produces, while taking its inspiration from, an extremely normalizing vision of democracy, in that it accords an overly central role to the absence of center, a too rigid prominence to flexibility, that is to say, to docility and obedience. . . . Can the description of brain plasticity escape the insidious command of the New World Order? Can it introduce something like a resistance within this very order? Can plastic brains measure the limits of their flexibility?

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (66) 20130923i 0 -5+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
If only letting selection have its way, what new horizons can open up? (66) In setting these points aside in order to discuss only the results, neurobiologists and cognitive scientists contribute to confirming the diffuse and highly paradoxical feeling that the brain is the locus of an absence of change and that we cannot in reality do anything about it, do anything with it, other than letting selection have its way. . . . What new horizons do the new brains, the new theoreticians of the brain, open up?

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (66-67) 20130923j 0 -6+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Exhausted identity means fascinating neuronal discoveries remain a dead letter; neuronal liberation has not liberated us when only foci are long-term potentiation and depression. (66-67) We could say in the same way that today we live the coexistence of a modern brain and an exhausted identity. . . . It must be acknowledged that neuronal liberation has not liberated us. Long-term potentiation and depression cannot be the first and last words on the plasticity of a self, in other words, on its modification of experience.

3 4 4 (+) [-6+]mCQK malabou-what_should_we_do_with_our_brain (68) 20130923k 0 -4+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Is all we can be is chronically healthy, enrolled in multiple maintenance programs with no further goals? (68) The synthesis of the neuronal and the psychical thus fails to live up to its task: we are neither freer, nor smarter, nor happier. The individual today, says Ehrenberg, is neither sick nor healed. He is enrolled in multiple maintenance programs. Do we want to continue to be chronically healthy in this way?

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (68) 20130923l 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
We want resistance to flexibility and ideological norm modeling neuronal process to legitimate certain social and political functions. (68) Resistance is what we want. Resistance to flexibility, to this ideological norm advanced consciously or otherwise by a reductionist discourse that models and naturalizes the neuronal process in order to legitimate a certain social and political functioning.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (69) 20130923m 0 -5+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Neuronal materialism should elaborate transition of intermediate plasticity between proto-self and conscious self; else dodge question of freedom. (69) An intermediate plasticity of some kind, situated between the plasticity of the proto-self and that of the conscious self. . . . the position of neuronal materialism, which I adopt absolutely, should elaborate a central idea, or theory, of the transition.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (69-70) 20130923n 0 -6+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Need metapsychology to go beyond description and propose model for interaction and dynamics of three plasticities that does implicates question of freedom and interpretation in place of Darwinian default. (69-70) If we do not think through this transformation or this plasticity, we dodge the most important question, which is that of freedom. . . . But we cannot settle for a neutral description of the three types of plasticity discussed in the first chapter; we must also propose a model of their interaction and the joint dynamics of their genesis: how modulation links up with modeling, how reparation changes its meaning with experience, and how these interactions construct a free personality or singularity. But in order to understand such a construction, we must leave the domain of pure description and agree to elaborate a theoretical petition, once again necessarily meta-nuerobiological, as Freud wrote, feeling the need to go behind or beyond, a metapsychology.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (71) 20130923o 0 -4+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Tension, search for equilibrium for Western individuals occupying midpoint between taking on form and annihilation of from, territorialization and deterritorialization; transformation possible because every form contains its contradiction, sounding like Hegelian dialectics. (71) The plasticity of the self, which supposes that it simultaneously receives and gives itself its own form, implies a necessary split and the search for an equilibrium between the preservation of constancy (or, basically, the autobiological self) and the exposure of this constancy to accidents, to the outside, to otherness in general (identity, in order to endure, ought paradoxically to alter itself or accidentalize itself). What results is a tension born of the resistance that constancy and creation mutually oppose to each other. It is thus that every form carries within itself its own contradiction. And precisely this resistance makes transformation possible.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (72) 20130923p 0 -2+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Neuronal and mental resist each other because they do not speak the same language; formative effect of explosions, ruptures, gaps. (72) The neuronal and the mental resist each other and themselves, and it is because of this that they can be linked to one another, precisely because
contra Damasio they do not speak the same language.
(73) This formative effect of explosions and this formative action of the explosive correspond to the transformation of one motor regime into another, of one device into another, a transformation necessitating a rupture, the violence of a gap that interrupts all continuity.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (74) 20130923q 0 -7+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Not a terrorist constitution of identity despite explosive meanings of plasticity; rather, creative ability of cerebral structures transitioning homeostasis to self-generation in response to outside events. (74) Despite the explosive resonance of the meanings of plasticity, this vision of things obviously does not correspond to a terrorist conception of the constitution of identity.
(74-75) But every event coming from outside necessarily comes to affect homeostasis and calls upon another level of cerebral structure, charged with transforming maintenance into a creative ability. . . . But this transition from homeostasis to self-generation is not made without rupture or gap.
(75) From this perspective, if the brain is really always caught up in the act of representing to itself its own change, one might suppose, at the very core of the undeniable complicity that ties the cerebral to the psychical and the mental, a series of leaps or gaps.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (76) 20130923r 0 -4+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Case studies of problem children reveal development of processes of resilience, self-generated homeostasis, plasticity beyond mere flexibility and conciliatory passivity. (76) In studying the cases of certain problem children --children held back, mistreated, sick [Boris]
Cyrulnik reports that some of them developed processes of resilience, possibilities for a becoming on the basis of the effacement of every future, for a transformation of the trace or mark, and for a historical transdifferentiation. It is as if, in order to return to themselves after the destructive trials they had suffered, these children had to create their own constancy, to self-generate their homeostasis.
(76) The two energies ceaselessly collide within a resilient person. If these individuals were simply flexible --that is to say, if the two energies did not collide with one another they would be not resilient but conciliatory, that is to say, passive.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (77) 20130923s 0 -6+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Reasoned resilience versus conciliation, being more than scrappers and prodigal elders: creating resistance to neuronal ideology; compare to Feenberg democratic rationalization. (77) We are right to assert that the formation of each identity is a kind of resilience, in other words, a kind of contradictory construction, a synthesis of memory and forgetting, of constitution and effacement of forms. . . . But we have no use for harmony and maturity if they only serve to make us scrappers or prodigal elders.
Creating resistance to neuronal ideology is what our brain wants, and what we want for it.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (78) 20130923t 0 -8+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Dialectic of identity pressing so as not to replicate caricature of world of global capitalism with our brains, offering only spectacle of simultaneity of terrorism and rigidity. (78) The problem of a dialectic of identity between fashioning and destruction poses itself all the more pointedly as global capitalism, currently the only known type of globalization, offers us the untenable spectacle of a simultaneity of terrorism (daily detonations in Israel, Iraq, Indonesia, Pakistan . . .) and of fixity and rigidity (for example, American hegemony and its violent rigorism). . . .
Not to replicate the caricature of the world: this is what we should do with our brain.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (79) 20130923u 0 -8+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Remember some explosions are not terrorist, and may be permitted from time to time, such as rage; visualize possibility of saying no to flexibility and obedience; defend biological alter-globalism. (79) To cancel the fluxes, to lower our self-controlling guard, to accept exploding from time to time: this is what we should do with our brain. It is time to remember that some explosions are not in fact terrorist explosions of rage, for example. . . . To ask: What should we do with our brain? is above all to visualize the possibility of saying no to an afflicting economic, political, and mediatic culture that celebrates only the triumph of flexibility, blessing obedient individuals who have no greater merit than that of knowing how to bow their heads with a smile.
(80) To produce a consciousness of the brain thus demands that we defend a biological alter-globalism.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (80-81) 20130923v 0 -5+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Alter-globalism calls for dialectical thinking like Hegel, who made plasticity a concept and promoted conflictual and contradictory relations between nature and mind; how does Hayles extend this recommendation in How We Think? (80-81) This biological alter-globalism is clearly dialectical, as I have said. It demands that we renew the dialogue, in one way or another, with thinkers like Hegel, who is the first philosopher to have made the work plasticity into a concept, and who developed a theory of the relations between nature and mind that is conflictual and contradictory in its essence.
(81) The world is not the calm prolonging of the biological. The mental is not the wise appendix of the neuronal. And the brain is not the natural ideal of globalized economic, political, and social organization; it is the locus of an organic tension that is the basis of our history and our critical activity.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (81-82) 20130923w 0 -12+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Escape reductionist/antireductionist theoretical trap by critiquing plasticity so we can do something with it: what Hayles does by working in role of technological nonconscious in contemporary dialectic of technogenesis and synaptogenesis; recall dual critique of Kittler and Hansen in EL. (81-82) The elaboration of dialectical thinking about the brain also allows us to escape the strict alternative between reductionism and antireductionism, the theoretical trap within which philosophy too often confines itself. . . . The dialogue between Changeaux and Ricoeur in What Makes Us Think? is a good example of this pair of alternatives. . . . One pertinent way of envisaging the mind-body problem consists in taking into account the dialectical tension that at once binds and opposes naturalness and intentionality, and in taking an interest in them as inhabiting the living core of a complex reality. Plasticity, rethought philosophically, could be the name of this entre-deux.
(82) Indeed, so long as we do not grasp the political, economic, social, and cultural implications of the knowledge of cerebral plasticity available today, we cannot do anything with it.

3 4 4 (+) [-4+]mCQK malabou-what_should_we_do_with_our_brain (81-82) 20130923x 0 -12+ progress/2013/09/notes_for_malabou-what_should_we_do_with_our_brain.html
Example of Changeaux and Ricouer dialogue; need to rethink cerebral plasticity philosophically or we cannot do anything with it. (81-82) The elaboration of dialectical thinking about the brain also allows us to escape the strict alternative between reductionism and antireductionism, the theoretical trap within which philosophy too often confines itself. . . . The dialogue between Changeaux and Ricoeur in What Makes Us Think? is a good example of this pair of alternatives. . . . One pertinent way of envisaging the mind-body problem consists in taking into account the dialectical tension that at once binds and opposes naturalness and intentionality, and in taking an interest in them as inhabiting the living core of a complex reality. Plasticity, rethought philosophically, could be the name of this entre-deux.
(82) Indeed, so long as we do not grasp the political, economic, social, and cultural implications of the knowledge of cerebral plasticity available today, we cannot do anything with it.

3 4 4 (+) [-4+]mCQK manovich-language_of_new_media (333) 20131008m 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Latest version of human being, mediated through computer technology, is most fruitful to answering Socratic question of knowing ourselves, as new media transforms all culture and cultural theory into an open source; compare to Kittler notion that the concept of the soul tracks media technologies, from wax tablets to magic slates to moving pictures, also being swallowed by computer technology yet for that reason opening to comprehension on account of its epistemological transparency. (333) Yet while new media strengthens existing cultural forms and languages, including the language of cinema, it simultaneously opens them up for redefinition. . . . To use a metaphor from computer culture,
new media transforms all culture and cultural theory into an open source. This opening up of cultural techniques, conventions, forms, and concepts is ultimately the most promising cultural effect of computerization an opportunity to see the world and the human being anew, in ways that were not available to a man with a movie camera.

3 4 4 (+) [-4+]mCQK norman-design_of_everyday_things (216) 20131006z 0 -2+ progress/2009/11/notes_for_norman-design_of_everyday_things.html
Feenberg tie-in to go along with the Heim tie-in: cry for usable products connects to democratic rationalization? (216) If you are a designer, help fight the battle for usability. If you are a user, then join your voice with those who cry for usable products.

3 4 4 (+) [-4+]mCQK ogorman-ecrit (73) 20131007c 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
These paragons of collective intelligence, thinking, unconscious collective bargaining, and so on are instantiating Nietzschean silliness? (73) Could our visual culture, then, the culture which is making us ƒsillier by the minute,ƒ actually be responsible for a certain intellectual (r)evolution? The pedagogical avant-garde, from the U.

3 4 4 (+) [-4+]mCQK ogorman-ecrit (81-82) 20131007i 0 -11+ progress/2008/09/notes_for_ogorman-ecrit.html
Susan Stewart characterization of nonsense as intertextual mode of discourse requiring bricoleur hand. (81-82)
Susan Stewart characterizes nonsense, as a strikingly intertextual mode of discourse, one which cannot occur without transgression, without contraband, without a little help of the bricoleurƒs hand. To view nonsense in this way is to view communication as a constant interplay of ƒuniverses of discourseƒ which are incessantly ƒinvolved in borrowing from one another and transforming one another at every step as they are employed in an ongoing social processƒ (ibid.). . . . The Web can facilitate a rapid shift between various modes of discourse and cognition, all within the same perceptual field. . . . hypertext offers us a form, a material space, in which we can build our own models.

3 4 4 (+) [-4+]mCQK ogorman-ecrit (82) 20131007j 0 -3+ progress/2008/09/notes_for_ogorman-ecrit.html
Marginal electronic media from scholarly perspective play important part in education; experiment with adding web-enabled mobile devices to the classroom experience using the poller software as an integral part of a presentation. (82) Admittedly, the computer is the most far-reaching new media tool in education, but it is not the only electronic tool that influences learning.
Television, video games, even cell phones - marginal electronic media from a scholarly point of view - all play a part in education, even though they may not be an integral element of the classroom experience. Whereas Katherine Hayles rightly calls for an increased emphasis on material-specific critique, I am calling for an increase in material-specific pedagogy, starting with the materiality for the Web.

3 4 4 (+) [-4+]mCQK ogorman-ecrit (87-88) 20131007n 0 -6+ progress/2008/09/notes_for_ogorman-ecrit.html
An attempt to snatch meaning from the semi-conscious, like interpreting slips of the tongue but closer to the point where consciousness steers production, commitment of deferring in-depth analysis; Zizek crosses this innovative approach. (87-88) This resolution to
not analyse the recurrent pictorial theme deserves further commentary here, since it is an essential element of mystory and of hypericonomy. If, according to Paul Feyerabend, ƒby incorporation into a language of the future . . . one must learn to argue with unexplained terms and to use sentences for which no clear rules of usage are as yet availableƒ (1975: 256-7), then the commitment to deferring any in-depth analysis of oneƒs thoughts and images during the time of hypericonomising must be considered as a seminal element of the method. In Ulmerƒs terms, by filling in the slots of the popcycle, we are ƒlearning how to write an intuition, and this writing is what distinguishes electronic logic (conduction) from the abductive (Baker Street) reasoning of the detectiveƒ (1994a: 37).

3 4 4 (+) [-4+]mCQK ogorman-ecrit (88) 20131007o 0 -12+ progress/2008/09/notes_for_ogorman-ecrit.html
Process of simulated intuition, artificial stupidity reveal ideological categories structuring organization of knowledge. (88) Through this
process of simulated intuition, or ƒartificial stupidity,ƒ the writer, completely unaware, performs an outering of the ideological categories that structure his or her organization of knowledge (1994a: 38). Hypericonomy, then, involves the invention of a new relation to knowledge itself, a techno-ideo-logical relation which Ulmer calls a ƒknowledge of enframingƒ (1989: 183).
(89) The deferred understanding, or ƒartificial stupidity,ƒ might be considered as a form of
Nachtraglichkeit, a psychoanalytic concept championed by Freud and Lacan. . . . The point of recognition, then, can only take the form of a deferred understanding, an understanding-too-late, arrived at by means of a detour through the realm of nonsense (puns, anagrams, macaronics, etc.). . . . When a hypericonomy such as 1\0 is finished, we are left with a veritable impression of its creatorƒs unconscious (whether it be political, optical, or psychic).

3 4 4 (+) [-4+]mCQK ogorman-ecrit (103) 20131007r 0 -9+ progress/2008/09/notes_for_ogorman-ecrit.html
Raschke postmodern university opposes interactivity with transactivity. (103) In
The Digital Revolution and the Coming of the Postmodern University [Carl A.] Raschke opposes interactivity (a common term in both pedagogy and new media development) to transactivity, which he sees as the pedagogical future of the ƒpostmodern university.ƒ . . . Web-based distance education has already changed the way we understand the university, but it has simply transposed print-centric habits (with varied success) into a new learning space. I believe that the transformation of the academic apparatus is most likely to occur by means of physical agents that engage directly with the traditional material structures of learning, from the essay, to the classroom, to the entire campus itself.
(104) Perhaps what needs to be developed most of all, however, in programs such as DMS, is the study of metastructure. But, to date, this has been the specialty of English departments, where critical theory found a home a few decades ago and is now ready to migrate from its literary, print-oriented focus to the realm of digital artifacts.

3 4 4 (+) [-4+]mCQK ogorman-ecrit (115) 20131007u 0 -1+ progress/2008/09/notes_for_ogorman-ecrit.html
Postmodern curriculum must be as agile and ironic as ecriture of Barthes and Derrida. (115) As a final statement on ƒpostmodern curriculum,ƒ then, I will suggest that it must be as agile and ironic as the
ecriture of Barthes and Derrida.

3 4 4 (+) [-4+]mCQK ogorman-ecrit (116) 20131007v 0 -1+ progress/2008/09/notes_for_ogorman-ecrit.html
Curricular innovation constrained by techno-fetishistic demands of managerial class. (116) Between the repressive constraints of ƒlegacyƒ and the techno-fetishistic demand for ƒprogressƒ levied by the ruling managerial class, curricular innovation has very little chance of leaving the confines of an idealistic vision statement.

3 4 4 (+) [-4+]mCQK ogorman-hypericonomy_negatively_defined (88) 20120420 0 -6+ progress/2012/04/notes_for_ogorman-hypericonomy_negatively_defined.html
Link OGorman hypericonomy to Bogost unit operations with computation metaphor of hyperlinks and APIs, the rhetorical effect upon human souls approaches the action (or agency) of functions and other computer control operations; does Burnett invoke Mitchell? (88) But I require the vise temporarily to hold all pieces of a makeshift appliance in place while the new form of discourse takes shape. I have dubbed this theoretical appliance
hypericonomy, a methodical device that combines the interdisciplinary, networked thinking of Michel Foucault with the picture theory of W. J. T. Mitchell, including his concept of the hypericon, an image that encapsulates an entire episteme, a theory of knowledge (49). The result is an approach to scholarly praxis, and ultimately an approach to (academic) institutional reform, centered on the management, distribution and arrangement of hypericons over space and time.

3 4 4 (+) [-4+]mCQK reich_gemina_sauer-modeling_knowledge (4) 20130211 0 -2+ progress/2009/07/notes_for_reich_gemina_sauer-modeling_knowledge.html
Project based organization supplanted by solutions. (4)

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Model of knowledge-based risks in IT projects. (5)

3 4 4 (+) [-4+]mCQK reich_gemina_sauer-modeling_knowledge (5) 20131107a 0 -7+ progress/2009/07/notes_for_reich_gemina_sauer-modeling_knowledge.html
Need to manage process, domain, institutional and cultural knowledge. (5)

3 4 4 (+) [-4+]mCQK romanyshyn-despotic_eye_and_its_shadow (358-359) 20131107p 6 -7+ progress/2012/11/notes_for_romanyshyn-despotic_eye_and_its_shadow.html
More recent technological innovations that continue to foreground reading operations complicate this trajectory toward a postliterate orality, emotional-rationality: while episodic and image laden, the Internet is more textual than televisual; then add the embedded computational components as another aspect of collective, group consciousness to further complicate being post postmodern. (358-359) Notwithstanding Postmanƒs criticism that today political discourse is not possible on television, television might be the means by which the poet is restored to the polis. Such a restoration would bring in its wake a re-membrance of the bodyƒs participation in vision, a re-minder which would restore a sense of limits to a vision which, detached from the body, developed a singular, fixed devotion to the infinite, pursued in a linear, active, willful fashion. Postmanƒs criticisms of television as fostering distraction, passivity, and the trivial might then be reimagined. Distraction might be revalued as an appreciation for what lies off to the side, an attention to the oblique, an openness to allusion. Passivity might be restored as a balance to the hyperactivity of willful consciousness, an antidote to the ego as will to power, the development of an attitude of receptivity. And the trivial might be recovered as a sensitivity for the detail, a refound sense of the local so easily lost sight of in the big picture achieved with distance. Each and all might be rescued from the current negative condition assigned to them by an ego consciousness in its headlong pursuit of separating its vision of life from living.

3 4 4 (+) [-4+]mCQK rosenberg-dreaming_in_code (134) 20131010d 0 -5+ progress/2013/03/notes_for_rosenberg-dreaming_in_code.html
Suggestion that programmers hear machine frequencies. (134) Some observers of the programming tribe have suggested that in order to commune more closely with the machines they must instruct, many programmers have cut themselves off from aspects of their humanity. But the Aspergerƒs/autism parallel suggests that, more likely, those programmers were themselves already programmed to hear machine frequencies as well as or better than human wavelengths. That can help them write effective code and design efficient algorithms. But it puts them at some disadvantage in understanding how to shape a program so it accomplishes its human userƒs goals. It also sets them up for trouble when it comes to the simple need to communicate with anyone else who isnƒt also a geek.

3 4 4 (+) [-4+]mCQK rosenberg-dreaming_in_code (135) 20131010e 0 -8+ progress/2013/03/notes_for_rosenberg-dreaming_in_code.html
Weinberg Psychology of Computer Programming; see Hayles and Turkle for positive and pessimistic conceptions of synaptogenesis arising from human computer symbiosis. (135) It [Gerald
Weinberg The Psychology of Computer Programming] was the first attempt to study the burgeoning new discipline with the tools of the anthropologist and psychologist. One of the things Weinberg found was that despite their reputation as loners, programmers really needed the change to talk to one another the more informal the setting, the better.
(136) In the decades since Weinbergƒs writing, managers have gone from clumsily wrecking such informal mechanisms [like the water cooler] to clumsily trying to encourage them. . . . But in the same time span, programmers have gone far beyond architects and managers: They have invented a profusion of technologies for staying in touch with one another, extending the software cosmos with multiple new genres of tools for coordinating a teamƒs work.
(136) The original digital groupware was Doug Engelbartƒs NLS, the 1960s-era template for so much of what would unfold in the personal computing revolution to follow.

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After realization about programming, sees programs designed for planned outcomes everywhere: economy, religion, politics. (11) Our economy, our religions, our politics . . . everything was a program designed to do something. Some of those purposes may be long forgotten, and some of them may not be proceeding according to plan. But they were programs all the same.

3 4 4 (+) [-6+]mCQK rushkoff-program_or_be_programmed (14) 20140102h 0 -2+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Imagines as an alternative trajectory to driving off a cliff transformations of shared, networked, extended consciousness and cognition, at the same time fitting in with orality and literacy periodization. (14) Just as words gave people the ability to pass on knowledge for what we now call civilization, networked activity could soon offer us access to shared thinking an extension of consciousness still inconceivable to must of us today. The operating principles of commerce and culture from supply and demand to command and control could conceivably give way to an entirely more engaged, connected, and collaborative mode of participation.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (50) 20140105e 0 -2+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Rushkoff insists on valuing full spectrum personal encounter by not using mediating electronic presentation. (50) No, the reason to spend the jet fuel to bring a human body across a country or an ocean is for the full-spectrum communication that occurs between human beings in real spaces with one another. The digital slideshow, in most cases, is a distraction distancing people from one another by mediating their interaction with electronic data.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (60) 20140105m 0 -9+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Tagging as conscious intervention response to forced choices that databases and other programs will eventually evolve to accommodate if not become connectionist like collective cognition. (60) One emerging alternative to forced, top-down choice is in the digital realm is tagging. . . . While traditional databases are not biased toward categorizing things in an open-ended, bottom-up fashion, they are capable of operating this way. . . . Itƒs all in the programming, and in our awareness of how these technologies will be biased if we do not intervene consciously in their implementation.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (62) 20140106 0 -3+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Bias toward reduction of complexity with expectation that network will respond. (62) Thanks to its first three biases, digital technology encourages us to make decisions, make them in a hurry, and make them about things weƒve never seen for ourselves up close.
(62) This makes digital technology and those of us using it biased toward a reduction of complexity.
(62) The pursuit itself is minimized turned into a one-dimensional call to our networks for a response.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (63) 20140106a 0 -3+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Difference between information delivered by the network and knowledge reached through genuine inquiry reminiscent of Phaedrus and Kemeny. (63) We only get into trouble if we equate such cherry-picked knowledge with the kind one gets pursuing a genuine inquiry.
(64) It re-creates the process of discovery, putting the researcher through the very motion of cognition rather than simply delivering the bounty.
(65) Both sides in a debate can cherry-pick the facts that suit them enraging their constituencies and polarizing everybody.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (66-67) 20140106b 0 -3+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Treat data as untested models whose relevancy is conditional and personal, looking to development of channel surfer skill of quickly getting gist of entire areas of study, recalling Lawnmower Man. (66-67) To exploit the power of these new arrangements of data, we must learn to regard them as what they are: untested models, whose relevancy is at best conditional or even personal.
(67) Young people, in particular, are developing the ability to get the gist of an entire area of study with just a moment of interaction with it. With a channel surferƒs skill, they are able to experience a book, movie, or even a scientific process almost intuitively.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (67-68) 20140106c 0 -2+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Reading as process of elimination, knowing how not to know what does not have to be known as curious reversal of uncovering unknown knows that may help push us toward becoming dumber. (67-68) Reading becomes a process of elimination rather than deep engagement. Life becomes about knowing how
not to know what one doesnƒt have to know.

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Crowd behavior engendered by anonymous online status, experience of acting from a distance in secrecy, exacerbating dehumanizing tendencies of digital technology, becoming an angry mob; contrast to effects of dehumanizing tendencies magnified by punch card machinery, becoming an automatic machine. (88) But more than simply protecting them from retribution, the anonymous status of people in an online group engenders crowd behavior. They have nothing to fear as individuals, and get used to taking actions from a distance and from secrecy. As a result, they exacerbate digital technologyƒs most dehumanizing tendencies, and end up behaving angrily, destructively, and automatically. They go from being people to being a mob.
(89)
The less we take responsibility for what we say and do online, the more likely we are to behave in ways that reflect our worst natures or even the worst natures of others. Because digital technology is biased toward depersonalization, we must take an effort not to operate anonymously, unless absolutely necessary. We must be ourselves.

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Interactivity of digital media remediates the bazaar. (110) The fundamental difference between mass media and digital media is interactivity.
(111) Weƒre back in the bazaar. Only instead of individuals conversing one-on-one with our local friends and associates, each of us has a global reach greater than that of most broadcast television networks.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (112) 20140110h 0 -5+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Interactions in digital media shift toward nonfiction, encouraging truth telling ethic. (112)
The bias of our interactions in digital media shifts back toward the nonfiction on which we all depend to make sense of our world, get the most done, and have the most fun. The more valuable, truthful, and real our messages, the more they will spread and better we will do. We must learn to tell the truth.
(112-113) The information is still being presented and accepted as fact by newly minted digital citizens working against centuries of mythological control.
(113) As a personƒs value and connections in the digital realm become dependent on the strength of their facts and ideas, we return to a more memetic, fertile, and chaotic communications space.

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Actions more memetic then words; need to abandon brand mythology and return to communicating attributes. (115) The beauty and, for many, the horror is that actions are even more memetic than words.
(115) In advertising, this means abandoning brand mythology and returning to attributes.

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Social skill in sharing useful facts and disregarding nonsense. (116) Likewise, people will thrive in a digital mediaspace as they learn to share the facts theyƒve discovered and disregard the nonsense.
(116-117) Those who succeed as communicators in the new bazaar will be the ones who can quickly evaluate what theyƒre hearing and learn to pass on only the stuff that matters. . . . But the real winners will once again be those who actually discover and innovate the people who do and find things worth of everyone elseƒs attention.

3 4 4 (+) [-5+]mCQK rushkoff-program_or_be_programmed (124) 20140110l 0 -7+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Telepathy as potential evolutionary transformation of collective awareness and thinking latent in openness of networks and sharing of digital media. (124) We are living in an age when thinking itself is no longer a personal activity but a collective one. . . . Many young people Iƒve encountered see this rather terrifying loss of privacy and agency over our data as part of a learning curve. They see the human species evolving toward a more collective awareness, and the netƒs openness as a trial run for a biological reality where we all know each otherƒs thoughts through telepathy.
(125) These same social norms do not yet apply to the net, where sharing, borrowing, stealing, and repurposing are all rather mashed up themselves.

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Advances of Creative Commons licensing and free software licenses help clarify muddles over use of digital media, but often equated with revolution of openness. (126) Breaking copyright to steal and share music or movies becomes understood as the action of a legitimate openness movement, dedicated to access and equality for everyone. Very specific ideas about collaboration, such as open source development and Creative Commons licensing, are equated with a free for all revolution of openness.

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Digital mediaspace extracting value from different places in production cycle incompatible with print based currency system. (127) Value is still being extracted from the work itƒs just being taken from a different place in the production cycle, and not passed down to the creators themselves.
(128) By confronting the biases of digital media head-on, however, we can come to terms with the seeming paradox of ownership in a digital mediaspace.
(129) The real problem is that while our digital mediaspace is biased toward a shared cost structure, our currency system is not. We are attempting to operate a twenty-first century digital economy on a thirteenth-century, printing-press-based operating system.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (130) 20140110p 0 -4+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Direct commerce and peer to peer transactions based on abundance of production rather than scarcity of lending; disruption of core capitalism. (130) Instead of buying from and selling to one another through highly centralized corporations, we now have the technology required to buy from and sell to one another directly.
(130) Instead of borrowing this money from a bank, users earn it into existence by making goods and performing services for other people in the same community. Peer-to-peer currencies are based in the abundance of production, rather than the scarcity of lending. This makes them biased,as is the net, toward transaction and exchange rather than hoarding for interest.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (132) 20140110q 0 -9+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Golden rule as interim ethic; community agreement on abiding by its standards. (132) Until that time, however, we are best governed not by what we can get away with, but how we want to be treated by others. The people on the other side of the screen spent time and energy on the things we read and watch. When we insist on consuming it for free, we are pushing them toward something much closer to the broadcast television model, where ads fund everything.
(132-133) We accept this model only because we donƒt know enough about how these systems work to make decisions about them intelligently. . . . While one of these statements may ultimately be legally enforceable, it is a system depending not on the courts but on the culture. To function, the community must agree to abide by its standards.

3 4 4 (+) [-4+]mCQK rushkoff-program_or_be_programmed (133) 20140110r 0 -1+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Participation depends on knowledge of programming and social codes. (133) Participation is dependent on knowing both the programming code necessary to make valuable additions and the social codes necessary to do it in ways that respect the contributions of others.

3 4 4 (+) [-4+]mCQK spinuzzi-network (140) 20120906 0 -1+ progress/2009/01/notes_for_spinuzzi-network.html
Invokes Castells and other theorists to reach co-configuration in distributed work. (140) In distributed work, the emphasis shifts from predictable, monodirectional flows of information and services to unpredictable, multidirectional flows, and services and products are constantly adjusted or co-configured.

3 4 4 (+) [-4+]mCQK spinuzzi-network (202) 20120331 0 -1+ progress/2009/01/notes_for_spinuzzi-network.html
This engagement with business problems represents the real position of the thinker in a capitalist milieu, providing insight to managers: encourage stabilizing regimes, APIs, from which folksonomies emerge and provide persuasive vision and sufficient feedback for projects. (202) Trying to force net work into a modular work configuration tends to sharply reduce agility.

3 4 4 (+) [-4+]mCQK sterne-audible_past (348) 20131019d 0 -1+ progress/2011/09/notes_for_sterne-audible_past.html
Historicist history of sound suggests large-scale transformation down to level of individual subject: compare to Malabou, apply to computation. (348) A fully historicist history of sound suggests that large-scale social transformation is possible, right on down to the level of the individual subject.

3 4 4 (+) [-4+]mCQK suchman-plans_and_situated_actions (xiii) 20131013a 0 -3+ progress/2011/06/notes_for_suchman-plans_and_situated_actions.html
Texts and technology domain urging cognitive theories of knowledge to be responsive to cultural tools and representational media; interactive digital technologies redefining meaning becoming a literate, educated citizen. (xiii) It may appear obvious that human minds develop in social situations, and that they use the tools and representational media that culture provides to support, extend, and reorganize mental functioning. But cognitive theories of knowledge representation and educational practice, in school and in the workplace, have not been sufficiently responsive to questions about these relationships.
(xiii-ix) These technologies are dramatically transforming the basic patterns of communication and knowledge interchange in societies, and automating the component processes of thinking and problem-solving.

3 4 4 (+) [-4+]mCQK turkle-alone_together (xi) 20120605d 0 -9+ progress/2012/06/notes_for_turkle-alone_together.html
Compare to shift from focus on author writing to operation of writing within networks. (xi) In the decade following the publication of
The Second Self, peopleƒs relationships with computers changed. . . . By then, the computer had become a portal that enabled people to lead parallel lives in virtual worlds. . . . My focus shifted from the one-on-one with a computer to the relationships people formed with each other using the computer as an intermediary.

3 4 4 (+) [-4+]mCQK turkle-alone_together (xi) 20120605e 0 -1+ progress/2012/06/notes_for_turkle-alone_together.html
Consider SCA as real world virtual environment where people can take on different identities and engage in behavior incongruent with mundane social norms (it is often referred to as the Society of Consenting Adults). (xi) I reported on this work in the 1995
Life on the Screen, which offered, on balance, a positive view of new opportunities for exploring identity online.

3 4 4 (+) [-4+]mCQK turkle-alone_together (xiii) 20120605g 0 -1+ progress/2012/06/notes_for_turkle-alone_together.html
Dual focus on social robots and computer-mediated communication. (xiii) The focus of my research on networking was the young, and so I did most of my observations in high schools and on college campuses.

3 4 4 (+) [-4+]mCQK turkle-alone_together (xiii) 20120605h 0 -10+ progress/2012/06/notes_for_turkle-alone_together.html
Not inner history of devices as theorized by texts and technology studies or Latour. (xiii) The work reported on here, as all of my work, includes field research and clinical studies. . . . I teach courses about the computer culture and the psychology of computation, and some of my material comes from the give-and-take of the classroom. . . . I call these studies clinical, but of course my role in them is as a researcher, not a therapist. My interest in the inner history of technology means that I try to bring together the sensibility of ethnographer and clinician in all my work.

3 4 4 (+) [-4+]mCQK turkle-alone_together (xiii) 20120605i 0 -5+ progress/2012/06/notes_for_turkle-alone_together.html
Imagine a participatory, ethnographic approach like hers in programming cultures, as recommended by Kitchin and Dodge. (xiii) In my studies of robots, I provided the artifacts. . . . In the research on the networked life, I did not distribute any technology.

3 4 4 (+) [-4+]mCQK turkle-alone_together (xiv) 20120605j 0 -2+ progress/2012/06/notes_for_turkle-alone_together.html
Different philosophical trajectory for my study of adults and computers. (xiv) It seems right that Zhu Zhu pets and Chatroulette are the final objects I report on in this book: the Zhu Zhus are designed to be loved; in Chatroulette, people are objectified and quickly discarded. I leave my story at a point of disturbing symmetry: we seem determined to give human qualities to objects and content to treat each other as things.

3 4 4 (+) [-4+]mCQK turkle-alone_together (4) 20131014 0 -4+ progress/2012/06/notes_for_turkle-alone_together.html
Authenticity in culture of simulation what was sex for Victorians: threat, obsession, taboo, fascination. (4) I believe that in our culture of simulation, the notion of authenticity is for us what sex was for the Victorians threat and obsession, taboo and fascination. I have lived with this idea for many years; yet, at the museum [exhibit featuring live Galapagos tortoise], I found the childrenƒs position strangely unsettling. For them, in this context, aliveness seemed to have no intrinsic value. Rather, it is useful only if needed for a specific purpose.

3 4 4 (+) [-4+]mCQK turkle-alone_together (10) 20120605n 0 -3+ progress/2012/06/notes_for_turkle-alone_together.html
Compare to work by Monica Florence on vampire stories from the PCA conference. (10) (endnote 11) I have said that rampant fantasies of vampire lovers (closeness with constraints on sexuality) bear a family resemblance to ideas about robot lovers (sex without intimacy, perfect). And closeness without the possibility of physical intimacy and eroticized encounters that can be switched off in an instant these are the affordances of online encounters. Online romance expresses the aesthetic of the robotic moment.

3 4 4 (+) [-4+]mCQK turkle-alone_together (11-12) 20120605o 0 -5+ progress/2012/06/notes_for_turkle-alone_together.html
What if part of larger attitude related to Zizek chocolate laxative, so that technological comportment is not cause but symptom? (11-12) But this is not a book about robots. Rather, it is about how we are changed as technology offers us substitutes for connecting with each other face-to-face. . . .

3 4 4 (+) [-4+]mCQK turkle-alone_together (28-29) 20120610c 0 -12+ progress/2012/06/notes_for_turkle-alone_together.html
Philosophical multitasking. (28-29) In speaking about sociable robots, children use the phrase alive enough as a measure not of biological readiness but of relational readiness. . . . Wilsonƒs way of keeping in mind the dual aspects of the Furbyƒs nature seems to me a philosophical version of multitasking, so central to our twentieth-century attentional ecology. His attitude is pragmatic. If something that seems to have a self is before him, he deals with the aspect of self he finds most relevant to the context.
(30) These robots are
evocative: understanding how people think about them provides a view onto how we think about ourselves. . . . It all began when children met the seductive Tamagotchis and Furbies, the first computers that asked for love.

3 4 4 (+) [-4+]mCQK turkle-alone_together (66) 20120614f 0 -3+ progress/2012/06/notes_for_turkle-alone_together.html
Compare Kurzweil robotic incarnation of dead father to Descartes mythical female automaton mentioned by Sterne. (66) Like AI scientist and inventory Raymond Kurzweil, who dreams of a robotic incarnation of his father who died tragically young, [Douglas] Hines committed himself to the project of building an artificial personality. At first, he considered building a home health aid for the elderly but decided to begin with sex robots, a decision that he calls only marketing. His long-term goal is to take artificial personalities into the mainstream.

3 4 4 (+) [-4+]mCQK turkle-alone_together (66) 20120614g 0 -1+ progress/2012/06/notes_for_turkle-alone_together.html
Robotic companionship like living in books, lost in music? (66) Robotic companionship may seem a sweet deal, but it consigns us to a closed world the loveable as safe and made to measure.

3 4 4 (+) [-4+]mCQK turkle-life_on_the_screen (140) 20131108j 0 -10+ progress/2011/05/notes_for_turkle-life_on_the_screen.html
Does Olds mean a video monitor or more likely a monitor process as in supervisory control? (140) For [psychoanalyst David] Olds, connectionism challenges ego psychology by providing a way to see the ego not as a central authority but as an emergent system. Through a connectionist lens, says Olds, the ego can be recast as a distributed system. Consciousness can be seen as a technical device by which the brain represents its own workings to itself. Olds likens it to the monitor on a computer system, underscoring its passive quality.
(140-141) Innocence of technical details has not kept psychology from mining scientific fields for their metaphors. . . .What hydraulics was to Freud, emergent AI should be to todayƒs analysts. In other words, Olds is explicitly advocating the use of connectionism as what I have called a
sustaining myth.

3 4 4 (+) [-4+]mCQK ulmer-florida_out_of_sorts (38) 20131019k 0 -5+ progress/2012/06/notes_for_ulmer-florida_out_of_sorts.html
Relate funk to Turkle robotic moment, wondering if there are other late capitalist attunements better suited to experience of IT professionals. (38) An apparatus, that is, includes not only a technology institutionalized in its practices formed to manage the technology in a civilization, but also the identity (subject) formation of the people experiencing that lifeworld. Oral people experience their being as spirit in religion; literate people experience their being as self within a scientific framing. And electrate people? Electrate subjectivation is emerging in relation to soul ( ashe ) in the institution of entertainment, including the embodied quality of funk that is part of the Afro-Caribbean addition to the new syncretic postcolonial civilization. The attunement of postmodernity is no longer angst (Heideggerƒs diagnosis of the mood of modernity), but funk.

3 4 4 (+) [-6+]mCQK ulmer-florida_out_of_sorts (42-43) 20131109d 0 -2+ progress/2012/06/notes_for_ulmer-florida_out_of_sorts.html
Contemporary divination. (42-43) The idea of contemporary divination as a way to add attraction to the civic sphere, to interest netizens, even school children, in public policy formation, addresses the Miami River zone as at once in its multiple elements a tarot system and, as a whole, one situation in a contemporary oracle. One consequence of this insight is the need to produce up to eight choras, which through permutation and combination generate 64 archetypal situations of contemporary American life.

3 4 4 (+) [-4+]mCQK ulmer-florida_out_of_sorts (44) 20131019m 0 -2+ progress/2012/06/notes_for_ulmer-florida_out_of_sorts.html
Memory palace metaphor for image map for key photograph: seems like a limited reach for digital rhetorics to build websites (hypertext quilting) for everything, although the injunction seems to emanate methodologically from the theory. (44) The design principle is that of the
memory palace: Miautre remembers the genealogy, the etymology of the images and places. Everything in the scene is a potential emblem.

3 4 4 (+) [-4+]mCQK ulmer-internet_invention (xii) 20131109 0 -2+ progress/2012/03/notes_for_ulmer-internet_invention.html
Textbook for teaching with and about the internet based on mystory pedagogy. (xii) This book is a textbook for teaching with and about the internet, based on my experience with a pedagogy called mystory first developed in the early 1980s.
(xiii) This book is organized around a project based on the image of wide scope discovered by historians of science to exist as a pattern in the careers of the most productive people in our civilization.

3 4 4 (+) [-4+]mCQK ulmer-internet_invention (2) 20131109a 0 -1+ progress/2012/03/notes_for_ulmer-internet_invention.html
Networked classroom supports writing with the whole page, text, picture, layout. (2) The second feature that one immediately notices in a networked classroom is that the technology supports graphic imaging along with text: one writes with the whole page, so to speak text, picture, layout.

3 4 4 (+) [-4+]mCQK ulmer-internet_invention (5) 20131109b 0 -2+ progress/2012/03/notes_for_ulmer-internet_invention.html
Practices replacing specialized knowledge remain to be invented, predicting old administration will evaporate; compare to OGorman. (5) While the entire administrative superstructure of literate specialized knowledge will be translated into cyberspace, once there much of it will evaporate. The practices that will replace specialized knowledge remain to be invented.

3 4 4 (+) [-4+]mCQK ulmer-internet_invention (5) 20131109c 0 -1+ progress/2012/03/notes_for_ulmer-internet_invention.html
Mystory pedagogical genre from Teletheory. (5) Mystory is the name for a pedagogical genre I introduced in
Teletheory: Grammatology in the Age of Video.

3 4 4 (+) [-4+]mCQK ulmer-internet_invention (6) 20131109d 0 -11+ progress/2012/03/notes_for_ulmer-internet_invention.html
Ulmer is providing a context, example space, for instruction in digital humanities that is of course intended to be of manageable complexity. (6) 1. . . Students map or document their situations or relationship to each of four institutions: Career field or major; Family; Entertainment; community History. . . . Rather, the pattern forms at the level of repeating signifiers words and graphics which is why each discourse level of the mystory must be documented with details that address the senses.
(7) 4. I do not provide here discussion questions, instructions on HTML tags, graphics software, Web search engines, and the link. The chief purpose of
Internet Invention is to provide something to do with the internet either while working out these fundamentals or after they are learned and ready to be applied.

3 4 4 (+) [-4+]mCQK ulmer-internet_invention (7-8) 20131109e 0 -7+ progress/2012/03/notes_for_ulmer-internet_invention.html
A substitute for creating new media with technology is creating media that reflects personal comportment (habitus) with technology. (7-8) The theory predicts that identity behavior or subject formation is as much a part of an apparatus as are technology and institutions. . . . A habitus of reading to oneself caused the voice of thought to move from outside (spirit speaking through nature) to inside (the ghost in me psyche). Now a habitus of imaging is spreading in which people see themselves on a screen, sometimes literally from the moment they emerged from the birth canal (in home movies) to the present. The subject is observed as body, surface, gesture, look.

3 4 4 (+) [-4+]mCQK ulmer-internet_invention (18) 20131109f 0 -5+ progress/2012/03/notes_for_ulmer-internet_invention.html
From such Holton wide images and themata intellectual myths are made, from Socrates to Einstein; Nietzsche search for career point where the aphorism intersects anecdote of life. (18) The notions of the wide image and themata were developed by Gerald
Holton in his studies of scientific creativity, for which the prototype is Albert Einstein. . . . The pattern that emerged from such case studies confirmed the philosopher Friedrich Nietzscheƒs observation that it is possible to find in a career that secret point at which the aphorism of thought intersects with the anecdote of life.

3 4 4 (+) [-4+]mCQK zizek-parallax_view (89) 20131019a 0 -5+ progress/2009/05/notes_for_zizek-parallax_view.html
His three anxieties like the inversion of Maslow hierarchy of needs: does not posit anything positive as a goal because it has not processed, analyzed its own dependence upon certain forms of thinking, including computer software; sinthome minimal formula of subject consistency. (89) In Lacanese, this contraction creates a
sinthome, the minimal formula of the subjectƒs consistency. . . . Thus we have a succession of three anxieties: the joyous anxiety of nothing that accompanies the repose of primordial innocence; the deadening anxiety/dread of overproximity to oneƒs synthome; the anxiety of freedom proper, of being confronted with the abyss of possibilities, of what I can do.

3 4 4 (+) [-4+]mCQK zizek-parallax_view (116) 20131019c 0 -2+ progress/2009/05/notes_for_zizek-parallax_view.html
Traumatic divine encounter with crazy bureaucracy order beyond everyday reality. (116) What can be more divine than the traumatic encounter with the bureaucracy at its craziest - when, say, a bureaucrat tells me that, legally, I donƒt exist? It is in such encounters that we get a glimpse of another order beyond mere earthly everyday reality.

3 4 4 (+) [-4+]mCQK zizek-parallax_view (197) 20131019d 0 -3+ progress/2009/05/notes_for_zizek-parallax_view.html
No interface when computers interact, communication presupposed: a view missing vicissitudes of execution? (197) When two stock exchange agents let their computers conclude a deal, the machines, of course, stricto sensu do not communicate, they just exchange signals which acquire meaning at both extremes - there is no interface when computers interact. Communication will thus be reduced to a pure presupposition - and this is intuitively difficult to accept.
(197) In the development of the technology of communication, what was at first meant to serve as a means turns all of a sudden into the thing itself.

3 4 4 (+) [-4+]mCQK zizek-parallax_view (221) 20130606 0 -1+ progress/2009/05/notes_for_zizek-parallax_view.html
Cyberspace experienced as bricolage, or managed as a good stream according to Berry, due to impossibility of comprehending its schematism of perceptibility (Kittler). (221) Today, we experience cyberspace as a new transparent artificial life-world whose icons simulate our everyday reality - and this new environment is by definition uncontrollable, it displays an opacity of its own, we never master it, we perceive it as a fragment of a larger universe; our proper attitude toward it is therefore not a programmatic mastery but a bricolage, improvising, finding our way through its impenetrable density.


select Chapter, Heading, SubHeading, InterstitialSequence, RelevanceLevel, TextName, PositionStart, TimestampBookmarkExtra, CitationOffset, CitationSentences, Path, Lexia from Notes where Chapter=3 and (Heading=0 or Heading=4) and ((RelevanceLevel=0 or RelevanceLevel>2) and RelevanceLevel<10) and (InterstitialSequence=0 or InterstitialSequence=100) order by Heading, SubHeading, InterstitialSequence desc, TextName, cast((trim(leading '(' from substring_index(PositionStart, '-', 1))) as unsigned)

4.1 system engineers pioneers of babelization, distribued network visionaries, the new ontologists

TOC 4.1 system engineers pioneers of babelization, distribued network visionaries, the new ontologists+

4.2 application developers beyond hard mastery and bricolage, auto-ethnographers of coding places

5.1 working code places

TOC 5.1 working code places+

5.2 programming philosophers

TOC 5.2 programming philosophers+

5.3 symposia, ensoniment

TOC 5.3 symposia, ensoniment+

5.4 tapoc, flossification

TOC 5.4 tapoc, flossification+

5.5 pmrek, machine embodiment

6.1 recommendations

TOC 6.1 recommendations+

6.2 future directions


TOC

Works To Cite

AuthorTitleStartedRelLatestReadNotesMLAhours
abbateinventing_the_internet08 20138.302014050690%50%Y3
bijker_hughes_pinchsocial_construction_of_technological_systems09 20138.302013102550%25%Y4
bolter_and_gromalawindows_and_mirrors03 20118.302013090825%25%Y0
bowker_and_starsorting_things_out07 20118.302013091225%25%Y0
bynum_rogersonethics_in_the_information_age01 20148.302014040150%5%Y8
derridadissemination02 20128.302013102850%50%Y0
du_gaydoing_cultural_studies03 20128.302013102850%25%Y4
ensmengercomputer_boys_take_over03 20148.302014030290%5%Y6
freiberger_and_swainefire_in_the_valley02 20018.302013103090%5%Y0
fullerbehind_the_blip04 20128.302013103090%50%Y2
fullersoftware_studies10 20118.302013103090%50%Y4
heilbronerdo_machines_make_history04 20148.302014041825%25%Y2
heimmetaphysics_of_virtual_reality05 19988.302013110275%25%Y0
jenkinsconvergence_culture05 20128.302014082975%50%Y2
kitchin_and_dodgecode_space09 20138.302013112490%50%Y4
kittlerdiscourse_networks_1800_190012 20128.302013100190%50%Y8
kittleroptical_media01 20128.302013110390%25% 8
kraftprogrammers_and_managers09 20138.302014012090%50%Y6
kuhnstructure_of_scientific_revolutions11 19938.302012082575%50% 0
latouraramis10 20138.302013081650%25%Y12
lessigcode_version_208 20138.302013090725%25%Y12
levi_straussstructural_study_of_myth02 19968.30201309085%5% 0
levycollective_intelligence02 20158.302014111550%5%Y12
levyhackers05 20128.302013100490%25%Y0
manerunique_ethical_problems_in_information_technology04 20138.302013042250%5%Y4
manovichsoftware_takes_command03 20128.302013112490%50%Y6
mazlishfourth_discontinuity04 20148.302014041825%25%Y2
mitchamthinking_through_technology02 20128.302014031075%5%Y8
mumfordauthoritarian_and_democratic_technics04 20148.302014041825%25%Y2
mumfordtechnics_and_nature_of_man04 20148.302014041825%25%Y2
postmantechnopoly12 20138.302013123190%25%Y3
raeknow_how_tradition04 20148.302014041825%25%Y2
saussuregeneral_course_in_linguistics06 20118.302013110875%50%Y0
scharff_and_dusekphilosophy_of_technology06 20078.302013113025%5%Y8
smithon_the_origin_of_objects09 20138.302014021925%25%Y0
stephensonin_the_beginning_was_the_command_line06 20128.302014071090%90%Y2
thriftremembering_technological_unconscious09 20138.302014042490%90%Y1
turklealone_together06 20128.302014080890%75%Y2
turkleinner_history_of_devices08 20108.302013101425%25%Y8
uffenbeckmicrocomputers_and_microprocessors07 20048.302013110825%25% 0
ulmerinternet_invention03 20128.302013110925%25%Y0
wardrip_fruinexpressive_processing03 20128.302013110925%25%Y14
wardripfruin_and_montfortnew_media_reader01 20118.302013110950%50%Y0
woolgarreconstructing_man_and_machine04 20148.302014042190%50%Y1
Items [44] Research Remaining [162] Refinement Remaining [162]