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

--3.1.2+++ {11}

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

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

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

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

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

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

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

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

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

3 1 2 (+) [-6+]mCQK mcgann-radiant_textuality (96) 20131006b 0 -1+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Definition of text as rhetorical sequence organized by page unit with assumed organization. (96) We assume that a text is a rhetorical sequence organized by units of page, with each page centrally structured in terms of a sequence of lines commonly running from top to bottom, left to right, and within some set of margins (which may be reduced to nil [practically] on any side).

3 1 2 (+) [-6+]mCQK mcgann-radiant_textuality (103) 20131006d 0 -8+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
How to do humanities with computers? (103) Whereas we thrive in a world of analogues and fuzzy logic, computers exploit a different type of precision. What if the point were not to try to bridge that gap but to feed off and develop it? Meditating
that question is the recurrent object of this bookƒs last five chapters. All move in pursuit of a new ground on which to build computerized tools that generate and enhance critical reflection. . . . Electronic or not, our tools are prostheses for acting at a distance.

3 1 2 (+) [-6+]mCQK mcgann-radiant_textuality (190-191) 20131007u 0 -12+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Envisions human computer symbiosis in which humans do analog and computers digital thinking, the latter ignorantly performing deformations and submitting results for human consideration; seems to foreclose on notions of emergence and co-constituted subjectivity Hayles suggests. (190-191) An important move will be to exploit the difference between analogue thinking, which we do so well, and digital thinking, which computers do better than their human makers. A new level of computer-assisted textual analysis may be achieved through programs that randomly but systematically deform the texts they search and that submit those deformations to human consideration. Computers are not more able to decode rich imaginative texts than human beings are. What they can be made to do, however, is expose textual features that lie outside the usual purview of human readers.
(191) Nonetheless, even in transacting imaginative texts our desire to close the sympathetic exchange is such that we make decisions about what we are reading, and those decisions occlude other kinds of awareness.
(191) A computer with the same set of reading codes is naturally (so to speak) inclined to be less discriminating. That lack of discrimination in computerized reading is exactly what we want to exploit. We want to see what textual possibilities have been forbidden or made nugatory by the original act of textual encoding that is, by the decisive and particular text that stands before us. The random access procedures of digital technology can bring those possibilities to view. The fact that many will appear to us, at that point, as
impossible nonsense is exactly what holds out such promise, on two counts. First, not everything tossed up by the computer will seem nonsensical, and besides, people will differ. Second, however we judge the results, they will inevitably clarify our own thoughts to ourselves by providing a set of contrasts to throw our thinking into sharper relief.

3 1 2 (+) [-6+]mCQK neel-plato_derrida_writing (31) 20131006q 0 -7+ progress/2009/02/notes_for_neel-plato_derrida_writing.html
Ironic that a detailed analysis of Phaedrus is required by Neel to expel it from the recommending reading by others, who are unaware of history of criticism back to Diogenes Laertius, since it is instead treated as a classic, and especially when Derrida too has spent much care reading it: is this position viable, or inconsistent; is Phaedrus more like a dangerous place we all secretly enjoy treading, entering, traversing? (31)
Diogenes Laertius accounts for the failure of Phaedrusƒs structure on the basis of popular notions that Phaedrus was Platoƒs first written work and thus suffers from the excesses of the freshness of youth (p. 311). . . . The assumption that Phaedrus is poorly constructed remains the same; only the explanations change.
(36) If we want to remove
Phaedrus as a hallowed text in the history of writing and rhetorical theory (as I do), we must study it as an origin, not a structure.

3 1 2 (+) [-6+]mCQK neel-plato_derrida_writing (64-65) 20131007c 0 -2+ progress/2009/02/notes_for_neel-plato_derrida_writing.html
Mythic example of multiple versions to complicate textual encoding; see McGann and Burnard. (64-65) Dionysius of Helicarnassus and Diogenes Laertius tell us that Plato worked constantly
revising (Dionysius calls it combing and curling ) his dialogues. When Plato died, they found a tablet in his house with several different beginnings for the Republic.

3 1 2 (+) [-6+]mCQK neel-plato_derrida_writing (75) 20131007e 0 -13+ progress/2009/02/notes_for_neel-plato_derrida_writing.html
Writing is Socrates soul. (75)
Platoƒs writing is Socratesƒ soul and that the fiction of writing is the origin of the Western idea of soul in the first place.
(76) All you have to do is write down what (you say) he in his now-dead position of authority said. Thus what you say differs from what
you say because what you say is merely what he said, and of course now that he is dead (martyred!) what he said defers any possible interrogation by its already gone presence.
(76)
Havelockƒs Preface to Plato argues that Plato is pivotal in Western thought because he provided the means for an oral culture to wake up. . . . After Plato the personality which thinks and knows distinguishes itself from the body of knowledge which is thought about and known.
(78) [quoting Julian Jaynes] Writing proceeds from
pictures of visual events to symbols of phonetic events. And that is an amazing transformation! Writing of the later type, as on the present page, is meant to tell a reader something he does not know. But the closer writing is to the former, the more it is primarily a mnemonic device to release information which the reader already has.

3 1 2 (+) [-6+]mCQK neel-plato_derrida_writing (134-135) 20131008h 0 -8+ progress/2009/02/notes_for_neel-plato_derrida_writing.html
Derridean reading is deconstructive like evaluation of student writing by composition teachers, always dismembering it, always finding some flaws, seeking to reveal its unit operations, rather than focus on the value of its content. (134-135)
Our resistance to Derridaƒs readings lets us know how the student writer feels about the way we treat student texts. . . . the teacher who writes in the margins of, between the lines of, between (and even inside) the words of, and in the spaces all around the studentsƒ texts sets out from the beginning to show those moments in the texts where the texts do not accomplish their own goals, even though such analyses may be embedded in considerable praise for what the students have accomplished.
(136) The teacherƒs incisions, like Derridaƒs, depend on clipping out examples of the writing, dismembering the text in order to expose its operations (see
Dissemination, p. 305).
(137) He admits all along to a strategy of transgression, of doing what the text would least like to have done to it.

3 1 2 (+) [-6+]mCQK neel-plato_derrida_writing (147) 20131008l 0 -4+ progress/2009/02/notes_for_neel-plato_derrida_writing.html
Logic is a trope; think hyperlink, logotropos. (147) Throughout
Speech and Phenomena Derrida tries to show that logic, rather than being a maneuver founded in presence and acquainted with the transcendental signified, is a trope, an effect of rhetoric.
(149) Student writers believe in the transcendental signified.
(150) If Derrida is right, no such transcendental signified exists or could exist outside the presence of God. Thus, when we tell our students to pick a thesis or to discover a central idea and treat it fully, we merely exacerbate their fears of writing.

3 1 2 (+) [-6+]mCQK ong-orality_and_literacy (82) 20131007 0 -9+ progress/2008/08/notes_for_ong-orality_and_literacy.html
Landow quotes this passage as example of technology as prosthesis causing interior transformations of consciousness, affecting subjectivity. (82) Technology, properly interiorized, does not degrade human life but on the contrary enhances it. . . . Such shaping of a tool to oneself, learning a technological skill, is hardly dehumanizing. . . . to understand what it is, which means to understand it in relation to its past, to orality, the fact that it is a technology must be honestly faced.

3 1 2 (+) [-6+]mCQK saussure-general_course_in_linguistics (13) 20131009o 0 -2+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
Speech is never a function of the collective; execution is always individual act of will and intelligence. (13) The executive side of it plays no part, for execution is never carried out by the collectivity; it is always individual, and the individual is always master of it. This is what we shall designate by the term
speech.

3 1 2 (+) [-6+]mCQK saussure-general_course_in_linguistics (14) 20131009p 0 -4+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
Language never a function of individual speaker. (14) The language itself is not a function of the speaker. It is the product passively registered by the individual. It never requires premeditation, and reflection enters into it only for the activity of classifying to be discussed below.
(14) Speech, on the contrary, is an individual act of the will and the intelligence, in which one must distinguish: (1) the combinations through which the speaker uses the code provided by the language in order to express his own thought, and (2) the psycho-physical mechanism which enables him to externalize these combinations.

3 1 2 (+) [-6+]mCQK saussure-general_course_in_linguistics (15-16) 20131009q 0 -7+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
Linguistics is a branch of semiology, general science of signs; at general level subsumes distinction between natural and artificial languages so important to Ong for excluding programming languages (see Floridi, Tanaka-Ishii, likely Chomsky, too). (15-16) It is therefore possible to conceive of a science
which studies the role of signs as part of social life. It would form part of social psychology, and hence of general psychology. We shall call it semiology (from the Greek semeion, ƒsignƒ). . . . Linguistics is only one branch of this general science.

3 1 2 (+) [-6+]mCQK saussure-general_course_in_linguistics (15) 20131108b 0 -2+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
Definition of language as system of signs for expressing ideas, comparable to writing. (15) A language is a system of signs expressing ideas, and hence comparable to writing, the deaf-and-dumb alphabet, symbolic rites, forms of politeness, military signals, and so on. It is simply the most important of such systems.

3 1 2 (+) [-6+]mCQK saussure-general_course_in_linguistics (67) 20131009z 0 -6+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
The linguistic sign is arbitrary is the first principle, demonstrated by differences between and very existence of different languages; symbol an awkward term since they are never entirely arbitrary; finally, arbitrary does not mean free choice of speaker. (67)
the linguistic sign is arbitrary.
(68) This is demonstrated by differences between languages, and even by the existence of different languages.
(68) This use of the word
symbol is awkward, for reasons connected with our first principle. For it is characteristic of symbols that they are never entirely arbitrary.
(68) The word
arbitrary also calls for comment. It must not be taken to imply that a signal depends on the free choice of the speaker.

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

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

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (763) 20131024 0 -2+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Informative and interpretable aspects of texts. (763) We then have two perspectives: the text as a technical, historical, and social object and the text as it is individually received and understood. These aspects, which we might call the
informative and the interpretable, are governed by different rules, but they are interdependent and influence (and sometimes intrude on) each other in many ways.

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

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

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

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (766) 20131024f 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Textonomical version of topology studies ways various sections of text connected in terms of intentional design rather than physical appearance. (766) the
textonomical version of topology may be described as the study of the ways in which the various sections of a text are connected, disregarding the physical properties of the channel (paper, stone, electromagnetic, and so on), by means of which the text is transmitted.

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

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

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

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

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (769) 20131024k 0 -2+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
I Ching as expert system, readerless text; this answers a question I have been asking myself for years. (769)
The Book of Changes may not be the worldƒs first text, but it is certainly the first expert system based on the principles of binary computing that very much later became automated by electricity and the vacuum tube.
(770) The user of
I Ching relates the scripton directly to his or her individual situation, and the interpretation, following the ritual of producing the hexagram, can only be done by the individual.

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

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

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

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (774) 20131024o 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Absent structure of determinate cybertext is the plot. (774) If the absent structure of narrative is the key problem in literary hypertext, in determinate cybertext the absent structure is the plot.

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

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

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (777) 20131024r 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Cybertextuality adds ontological category of simulation. (777) Cybertextuality has an empirical element that is not found in fiction and that necessitates an ontological category of its own, which might as well be called
simulation.

3 1 2 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (777) 20131024s 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Examples of nonlinear rhetorical unit operations, following Pierre Fontanier: forking, linking/jumping, permutation, computation, polygenesis. (777) If we turn to rhetoric, we see that nonlinearity is clearly not a trope, since it works on the level of words, not meaning; but it could be classified as a type of figure, following Pierre
Fontanierƒs taxonomy of tropes and figures.

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

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

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

3 1 2 (+) [-4+]mCQK barthes-myth_today (80-81) 20131024b 2 -5+ progress/2011/07/notes_for_barthes-myth_today.html
As a message, is myth therefore a subset of texts, are all myths textual? (80-81) It can consist of modes of writing or of representations, not only written discourse, but also photography, cinema, reporting, sport, shows, publicity, all these can serve as a support to mythical speech. . . . Mythical speech is made of a material which has
already been worked on so as to make it suitable for communication: it is because all the materials of myth (whether pictorial or written) presuppose a signifying consciousness, that one can reason about them while discounting their substance.

3 1 2 (+) [-4+]mCQK barthes-myth_today (81) 20110731 0 -2+ progress/2011/07/notes_for_barthes-myth_today.html
Just as SGML is not popular, whereas HTML and XML are, no semiology yet; make a footnote in dissertation. (81) For mythology, since it is the study of a type of speech, is but one fragment of this vast science of signs which Saussure postulated some forty years ago under the name of semiology. Semiology has not yet come into being.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (102) 20131006c 0 -6+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Compare invocation of Hockey to Hayles and Turkles way of casting questions: what does it mean that society asks these questions about technology, rather than about the implications of the answers. (102) The object of critical reflection is not ultimately directed to the sign as such but to the rhetorical scene and its functional (social) operators, not least of all the person(s) engaged in the acts of deformance we commonly locate in a filed headed Interpretation.
(103) Susan
Hockey organized an important occasion for addressing the first question, What is Text? . . . What were the constraints keeping the vast majority of scholars of the book from serious practical engagements with this new medium of textuality?

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (106) 20131006e 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Is this the sort of conclusion apparent from texts and technology studies? (106) To understand a work of art, interpreters try to close with a structure of thought that represents its essential idea(s).
(106) We will argue that concept-based interpretation, reading along thematic lines, is itself best understood as a particular type of performative and rhetorical operation.

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (106) 20131006f 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Bogost unit operations. (106) To understand a work of art, interpreters try to close with a structure of thought that represents its essential idea(s).
(106) We will argue that concept-based interpretation, reading along thematic lines, is itself best understood as a particular type of performative and rhetorical operation.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (159-160) 20131007b 0 -3+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Compare McGann game rethinking Ivanhoe to Wikipedia. (159-160) The game is to rethink
Ivanhoe by rewriting any part(s) of its codes. Two procedural rules pertain: First, all recastings of the codes must be done in an open-text environment such that those recastings an be themselves immediately rewritten or modified (or unwritten) by others; second, codes can only be recast by identifiable game-players, digital or human, who have specifically assumed a role in the game.
(160) The roles may be played in various forms: in conversation or dialogue, through critical commentary and appreciation, by rewriting any received text, primary or secondary, seen to pertain to Scottƒs work.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (216-217) 20131008d 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Unrealized critical possibilities concealed in charming surfaces of existing projects. (216-217) Concealed in the cool codes and charming surfaces of projects like AARON, BRUTUS, and RACTER lie our own unrealized critical possibilities. Letƒs try to think about using such creatures that same way we use traditional paper-based instruments as vehicles for self-awareness and self-reflection.

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

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

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

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (219) 20131008h 0 -16+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Basins, strange attractors, field concept of quantum approach: compare his initial game rules to what ludologists depict as typical characteristics of all games. (219) The discourse field of
Ivanhoe Scottƒs romance is itself what topologists call a basin of dynamic order arbitrarily (consciously) taken out of an encompassing and indeterminate social space. That space is pervaded by strange attractors that organize around themselves local dynamic basis of order. . . where the concept work is replaced by a field concept.
(220) This initial set of rules was kept, deliberately, simple.
(1) That all game moves by a player get executed under the auspices of a particular and explicit role to be taken by the player. . . .
(2) That each player keep a player-file . . . . Thus the game involves two lines of material: the line represented by the playerƒs moves (always a fully public line) and the line represented by the player-file, which documents the playerƒs commentaries on the moves being played in the game.
(221) The point of the game is for players to hypothesize and then extrapolate ideas about the discourse field of
Ivanhoe within a performative and dynamic intellectual space.

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

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

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

3 1 2 (+) [-4+]mCQK mcgann-radiant_textuality (225) 20131008n 0 -3+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
IVANHOE game moves employ computer database, public and nonpublic player moves, and computer interventions in MOO and email. (225) In IVANHOE, however, every move, when made, itself gets added to the initial discourse field, which in this case is the computational database. The database therefore grows from three sets of additions: the public moves made by the players, their nonpublic analytic moves located in the player-files, and the computerƒs interventions in the gameplay.
(225) The game space is extended to include a MOO, where the player roles can execute their dialogical moves in real time, a chat room, where the players can discuss the course of the game play, and various other functionalities, including dynamically generated analytical displays of the gameplay as it stands at any point in time.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Does he really mean that orality could not critique itself, or that critiques only come with literacy? (2-3) Our understanding of the differences between orality and literacy developed only in the electronic age, not earlier. Contrasts between electronic media and print have sensitized us to the earlier contrast between writing and orality. The electronic age is also an age of ƒsecondary oralityƒ, the orality of telephones, radio, and television, which depends on writing and print for its existence.

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

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

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

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

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Homer stitched together prefabricated parts. (22) The meaning of the Greek term ƒrhapsodizeƒ,
rhapsoidein, ƒto stitch song togetherƒ (rhaptein, to stitech; oide, song), became ominous: Homer stitched together prefabricated parts. Instead of a creator, you had an assembly-line worker.
(23) Moreover, the standardized formulas were grouped around equally standardized themes, such as the council, the gathering of the army, the challenge, the despoiling of the vanquished, the heroƒs shield, and so on and on.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Is electronics to be Ongs term for what follows literacy, noting at the conclusion of the book (page 174) he refers to the sequels of literacy as print and the electronic processing of verbalization. (133-134) the sequential processing and spatializing of the word, initiated by writing and raised to a new order of intensity by print, is further intensified by the computer, which maximizes commitment of the word to space and to (electronic) local motion and optimizes analytic sequentiality by making it virtually instantaneous.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Challenge philosophemes by taking founding ideas literally; I feel a connection to technological instantiation noted by Turkle. (62) Epithymics, that is, challenges the catachreses of the philosophemes by taking the metaphors of the founding ideas literally.

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Theoretical foundation for new set of techniques leveraging machine cognition and Hayles style intermediation: see page 107. (65) The idea put to work hypomnetically . . . is not the signified concept, then, but the letters/phonemes of the word itself, which are set free to generate conceptual material
mechanically (without the intention or presence of the subject) by gathering into a discourse terms possessing these letters (often using the pun or homophone).

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Unity of signified dissolved into component usages, chemical rationale of grotesquery, linguistic symptoms of schizophrenia exploited by applied grammatology. (65) The unity of a signified (whether of a proper name, or the name of a concept) is
dissolved into its component usages.
(66) The capacity for metamorphosis within words may also be recognized as the chemical rationale of grotesquery.
(67) The loss of subject and of identity in schizophrenia (and its linguistic symptoms) provide a further model foreclosure as dehiscence which an applied grammatology can exploit in its search for a new writing.

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For using hypomnesis Plato condemning whole theory of relation of memory to thought through example of writing as he does also with pharmakon. (69) A review of Derridaƒs argument in Platoƒs Pharmacy reveals that Plato is condemning writing not just as writing-down but as a whole theory of the relation of memory to thought.
(70) It is worthwhile, then, to review some of the features of the history of artificial memory before discussing the function of mnemonics in grammatology.

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Goal of grammatology to reverse phoneticization that privileges ideographic via transduction to visual program; rebus writing principle model. (71) The reversal of phoneticization the reduction of the phonetic in favor of the ideographic element in writing which is the goal of grammatology, takes as its model the principle of
rebus writing, both as it appears in the historical analysis of nonphonetic scripts and (as we shall see) as it is theorized in psychoanalysis.

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

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Writing secondary as logic of simulacrum. (81) For a sign to be a sign, in other words, it must be repeatable, must already be a repetition (hence the mystery of the origin, the paradox of the first sign). Retracing the historical and structural nature of this mystery, grammatology sets up writingƒs secondarity as the logic of the simulacrum, of the originary ersatz.

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

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Resurgence of interest in allegory by poststructuralists, deconstructionists, postmoderns; coming from other direction is Tanaka-Ishii. (89) Nonetheless, allegory is the mode of representation most adaptable to Derridaƒs purposes, especially when one realizes that the essential linguistic structure of allegory, according to recent studies, is the pun.
(89-90) Not the metaphor of plot (and even less what such a plot might symbolize), but the language itself in terms of sounds and spellings, contains the key to meaning.

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Pun strategy to liberate allegorical narrative from ontotheological ideology, since the foundation of analogy for sustaining reasoning is in question. (90) Here Derridaƒs use of the punning strategy departs from the intention of the genre, for grammatology pushes beyond the polysemies displayed in Quilliganƒs analysis to dissemination in order to liberate the allegorical narrative from its ontotheological ideology.

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

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

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

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

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Interested in invention of intermedia Writing, pointing toward The Post Card. (99) such works he does not deconstruct but translates, looking toward the discovery of an
intermedia Writing.
(99) Derridaƒs innovation is to expand this band, giving it at least equal status with the conventionally discursive portions.
(100) In this chapter I shall review the lessons of Derridaƒs theory and practice for this grafting of discourse to exemplary and pictorial material. This will be followed in the next chapter by a reading of Derridaƒs most elaborate composite production to date
The Post Card.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3 1 2 (+) [-2+]mCQK aarseth-nonlinearity_and_literary_theory (764) 20131024a 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
This is a bizarre claim to which on first reading I object giving the example of ontological interactivity that lies and pretends to be linear: perhaps Aarseth intends the obvious, believing that all print texts are linear, static, and that static texts do not secretly compute; and nonlinear as implying ontological interactivity require their electronic substrate. (764) the linear can flirt with nonlinearity, but the nonlinear cannot lie and pretend to be linear.

3 1 2 (+) [-2+]mCQK havelock-muse_learns_to_write NULL 20130924a 0 0+ progress/2012/05/notes_for_havelock-muse_learns_to_write.html
Bibliography contains other key texts about orality and literacy, texts and technology.

3 1 2 (+) [-2+]mCQK neel-plato_derrida_writing (80) 20131007h 0 0+ progress/2009/02/notes_for_neel-plato_derrida_writing.html
Obviously invoking Platos Pharmacy in Dissemination, from which there will be many quotations starting sections. (80)

3 1 2 (+) [-2+]mCQK saussure-general_course_in_linguistics (5) 20131009i 0 -3+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
Necessary depravity of style using formerly inappropriate expressions; compare to inventions of Derrida and Ulmer. (5) footnote 1) To require that one should restrict oneself to a linguistic terminology corresponding to linguistic realities is to presuppose that we have already solved the mysteries surrounding these realities. But this is far from being the case. So, in what follows we shall not hesitate occasionally to use expressions which were formerly censured as inappropriate.

3 1 2 (+) [-1+]mCQK ong-orality_and_literacy (1) 20131006 0 0+ progress/2008/08/notes_for_ong-orality_and_literacy.html
Ok, so typing in the passages I underlined while reading is a waste of time when there is probably an online version of the text to copy and paste, but the act of retyping Ongs text, does it have something to do with memory, remembering, just as the act of underlining and making marginal notes enhances the experience of reading? (1)


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=2) 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

AuthorTitleStartedRelLatestReadNotesMLAhours
abbateinventing_the_internet08 20138.302014050690%50%Y3
bijker_hughes_pinchsocial_construction_of_technological_systems09 20138.302013102550%25%Y4
bolter_and_gromalawindows_and_mirrors03 20118.302013090825%25%Y0
bowker_and_starsorting_things_out07 20118.302013091225%25%Y0
bynum_rogersonethics_in_the_information_age01 20148.302014040150%5%Y8
derridadissemination02 20128.302013102850%50%Y0
du_gaydoing_cultural_studies03 20128.302013102850%25%Y4
ensmengercomputer_boys_take_over03 20148.302014030290%5%Y6
freiberger_and_swainefire_in_the_valley02 20018.302013103090%5%Y0
fullerbehind_the_blip04 20128.302013103090%50%Y2
fullersoftware_studies10 20118.302013103090%50%Y4
heilbronerdo_machines_make_history04 20148.302014041825%25%Y2
heimmetaphysics_of_virtual_reality05 19988.302013110275%25%Y0
jenkinsconvergence_culture05 20128.302014082975%50%Y2
kitchin_and_dodgecode_space09 20138.302013112490%50%Y4
kittlerdiscourse_networks_1800_190012 20128.302013100190%50%Y8
kittleroptical_media01 20128.302013110390%25% 8
kraftprogrammers_and_managers09 20138.302014012090%50%Y6
kuhnstructure_of_scientific_revolutions11 19938.302012082575%50% 0
latouraramis10 20138.302013081650%25%Y12
lessigcode_version_208 20138.302013090725%25%Y12
levi_straussstructural_study_of_myth02 19968.30201309085%5% 0
levycollective_intelligence02 20158.302014111550%5%Y12
levyhackers05 20128.302013100490%25%Y0
manerunique_ethical_problems_in_information_technology04 20138.302013042250%5%Y4
manovichsoftware_takes_command03 20128.302013112490%50%Y6
mazlishfourth_discontinuity04 20148.302014041825%25%Y2
mitchamthinking_through_technology02 20128.302014031075%5%Y8
mumfordauthoritarian_and_democratic_technics04 20148.302014041825%25%Y2
mumfordtechnics_and_nature_of_man04 20148.302014041825%25%Y2
postmantechnopoly12 20138.302013123190%25%Y3
raeknow_how_tradition04 20148.302014041825%25%Y2
saussuregeneral_course_in_linguistics06 20118.302013110875%50%Y0
scharff_and_dusekphilosophy_of_technology06 20078.302013113025%5%Y8
smithon_the_origin_of_objects09 20138.302014021925%25%Y0
stephensonin_the_beginning_was_the_command_line06 20128.302014071090%90%Y2
thriftremembering_technological_unconscious09 20138.302014042490%90%Y1
turklealone_together06 20128.302014080890%75%Y2
turkleinner_history_of_devices08 20108.302013101425%25%Y8
uffenbeckmicrocomputers_and_microprocessors07 20048.302013110825%25% 0
ulmerinternet_invention03 20128.302013110925%25%Y0
wardrip_fruinexpressive_processing03 20128.302013110925%25%Y14
wardripfruin_and_montfortnew_media_reader01 20118.302013110950%50%Y0
woolgarreconstructing_man_and_machine04 20148.302014042190%50%Y1
Items [44] Research Remaining [162] Refinement Remaining [162]