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

-3.1.1+++ {11}

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 (+) [-6+]mCQK levin-modernity_and_hegemony_of_vision (22) 20131003g 0 -11+ progress/2011/08/notes_for_levin-modernity_and_hegemony_of_vision.html
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 (+) [-5+]mCQK iser-how_to_do_theory (49) 20130929n 0 -9+ progress/2011/08/notes_for_iser-how_to_do_theory.html
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.

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 (+) [-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.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (39) 20140119z 0 -7+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
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.

3 1 1 (+) [-4+]mCQK boltanski_chiapello-new_spirit_of_capitalism (42) 20140304j 0 -1+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
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.

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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.

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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 (+) [-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.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (14) 20130929c 0 -1+ progress/2011/08/notes_for_iser-how_to_do_theory.html
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.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (14-15) 20130929d 0 -11+ progress/2011/08/notes_for_iser-how_to_do_theory.html
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.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (23) 20130929e 0 -4+ progress/2011/08/notes_for_iser-how_to_do_theory.html
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.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (29) 20130929f 0 -2+ progress/2011/08/notes_for_iser-how_to_do_theory.html
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.

3 1 1 (+) [-4+]mCQK iser-how_to_do_theory (38) 20130929g 0 -8+ progress/2011/08/notes_for_iser-how_to_do_theory.html
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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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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 (+) [-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.

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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.

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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.

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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.

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.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (32) 20131004x 0 -6+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
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.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (37) 20131004z 0 -1+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
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.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (40) 20131005b 0 -2+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
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.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (77) 20131005x 0 -2+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
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.

3 1 1 (+) [-4+]mCQK lyotard-postmodern_condition (78) 20131005y 0 -2+ progress/2011/07/notes_for_lyotard-postmodern_condition.html
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 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 (+) [-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 (+) [-2+]mCQK boltanski_chiapello-new_spirit_of_capitalism (108) 20140311 0 -2+ progress/2014/01/notes_for_boltanski_chiapello-new_spirit_of_capitalism.html
Uses acute square brackets similar to BNF for grammatical terms derived from De la justification. (108) According to the grammar employed by us, the <common superior principle> is the principle in accordance with which acts, things and persons are judged in a given city.
(109) In a projective city, the general equivalent what the status of persons and things is measured by is
activity.

3 1 1 (+) [-2+]mCQK iser-how_to_do_theory (97) 20130930a 0 -2+ progress/2011/08/notes_for_iser-how_to_do_theory.html
A ten page afterthought on Lacan invoking Zizek that is longer than the main section. (97) Being mirrored by the other reveals the intimate connection between psychoanalysis and literature, which allows for both monitoring and fine-tuning of the armory of analysis. Literature as the
jouissance of the other is an erotically tinged enjoyment of the other, and the function of art is to allow psychoanalysis to find itself in the mirror of its own other.


select Chapter, Heading, SubHeading, InterstitialSequence, RelevanceLevel, TextName, PositionStart, TimestampBookmarkExtra, CitationOffset, CitationSentences, Path, Lexia from Notes where Chapter=3 and Heading=1 and (SubHeading=0 or SubHeading=1) and (InterstitialSequence=0 or InterstitialSequence=100) order by Heading, SubHeading, InterstitialSequence desc, RelevanceLevel 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

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

TOC 3.3 software studies, game studies, code space, critical code studies+

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

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

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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]