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

--3.1.3+++ {11}

3 1 3 (+) [-7+]mCQK sterne-audible_past (182) 20111007 0 -8+ progress/2011/09/notes_for_sterne-audible_past.html
A commanding definition of medium as recurring set of contingent social relations and practices, focused on drama, reading texts, but there are still practices of technological skills determined by the built environment; ours has long surpassed games as virtual realities approaching living writing ancient Greek ideal by programming. (182) A medium is a recurring set of contingent social relations and social practices, and contingency is the key here. As the larger fields of economic and cultural relations around a technology or technique extend, repeat, and mutate, they become recognizable to users as a medium. A medium is therefore the social basis that allows a set of technologies to stand out as a unified thing with clearly defined functions. . . . To use Lukacƒs language, social relations take on a phantom objectivity ; over time, they become associated with technology itself in the minds and practices of users. This is readily apparent today, to offer an oversimplified illustration: casual users associate sound recording with music and entertainment, radio with broadcasting, and telephony with point-to-point communication.

3 1 3 (+) [-6+]mCQK hayles-how_we_became_posthuman (275) 20130930k 0 -1+ progress/2010/03/notes_for_hayles-how_we_became_posthuman.html
Computation as attaching significance to external marks echoes Plato, but with performative function built into utterance. (275) Whereas in performative utterances saying is doing because the action performed is symbolic in nature and does not require physical action in the world, at the basic level of computation doing is saying because physical actions also have a symbolic dimension that corresponds directly with computation.

3 1 3 (+) [-6+]mCQK hayles-print_is_flat_code_is_deep (68) 20110424 0 -3+ progress/2011/04/notes_for_hayles-print_is_flat_code_is_deep.html
Expanding textuality beyond printed page likely retains fascism of semiotics, eliding differences in media. (68) Lulled into somnolence by five hundred years of print, literary studies have been slow to wake up to the importance of media-specific analysis. Literary criticism and theory are shot through with unrecognized assumptions specific to print. Only now, as the new medium of electronic textuality vibrantly asserts its presence, are these assumptions clearly coming into view.

3 1 3 (+) [-6+]mCQK hayles-writing_machines (25-26) 20131101a 0 -8+ progress/2008/09/notes_for_hayles-writing_machines.html
Technotexts interrogate inscription technology. (25-26) When a literary work interrogates the inscription technology that produces it, it mobilizes reflexive loops between its imaginative world and the material apparatus embodying that creation as a physical presence. . . . the physical form of the literary artifact always affects what the words (and other semiotic components) mean. Literary works that strengthen, foreground, and thematize the connections between themselves as material artifacts and the imaginative realm of verbal/semiotic signifiers they instantiate open a window on the larger connections that unite literature as a verbal art to its material forms. To name such works, I propose technotexts, a term that connects the technology that produces texts to the textsƒ verbal constructions. Technotexts play a special role in transforming literary criticism into a material practice, for they make vividly clear that the issue at stake is nothing less than a full-bodied understanding of literature.

3 1 3 (+) [-6+]mCQK johnston-literature_media_information_systems (8) 20130930c 0 -1+ progress/2012/07/notes_for_johnston-literature_media_information_systems.html
Consider Turkle assessment on blindspots of poststructuralism. (8) Indeed, what is perhaps most striking and useful in Kittlerƒs work is how fundamental postructuralist concepts and assumptions are deployed to revitalize and update media and literary theory, while implicitly raising the question of the degree to which technology was always the
impense or blindspot of poststructuralism itself.

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

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

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

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

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

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

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

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

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

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

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

3 1 3 (+) [-6+]mCQK landow-hypertext_3_0 (xiii) 20120906 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
New media theory as bastion of poststructuralism and critical theory. (xiii) Whereas hypertext and other forms of digital media have experienced enormous growth, poststructuralism and other forms of critical theory have lost their centrality for almost everyone, it seems, but theorists of new media.

3 1 3 (+) [-6+]mCQK landow-hypertext_3_0 (2) 20131003 0 -6+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Ideal textuality described by Barthes matches computer hypertext. (2) In
S/Z, Roland Barthes describes an ideal textuality that precisely matches that which has come to be called computer hypertext text composed of blocks of words (or images) linked electronically by multiple paths, chains, or trails in an open-ended, perpetually unfinished textuality described by the terms link, node, network, web, and path.
(2-3) Like almost all structuralists and poststructuralists, Barthes and Foucault describe text, the world of letters, and the power and status relations they involve in terms by the field of computer hypertext. . . .
Hypertext, as the term is used in this work, denotes text composed of blocks of text what Barthes terms a lexia and the electronic links that join them.

3 1 3 (+) [-6+]mCQK landow-hypertext_3_0 (29) 20131003f 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Always losses with gains in media change is a point made by Heim, Benjamin, Eisenstein. (29) In fact, letƒs propose a fundamental law of media change: no free lunch; or, there is no gain without some loss.

3 1 3 (+) [-6+]mCQK landow-hypertext_3_0 (52) 20131003i 0 -3+ progress/2011/07/notes_for_landow-hypertext_3_0.html
The fact of hypertext reveals materiality of print; Hayles media specific analysis. (52) Its [electronic linking/hypertext] effects are so basic, so radical, that it reveals that many of our most cherished, most commonplace, ideas and attitudes toward literature and literary production turn out to be the result of that particular form of information technology and technology of cultural memory that has provided the setting for them. This technology that of the printed book and its close relations, which include the typed or printed page engenders certain notions of authorial property, authorial uniqueness, and a physically isolated text that hypertext makes untenable.
The evidence of hypertext, in other words, historicizes many of our most commonplace assumptions, thereby forcing them to descend from the etherality of abstraction and appear as corollary to a particular technology rooted in specific times and places.

3 1 3 (+) [-6+]mCQK landow-hypertext_3_0 (93) 20131003s 0 -3+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Nelson stretchtext produces reader-activated shimmering signifiers. (93) Ted Nelsonƒs stretchtext, which he advances as a complement to the by-now standard node-and-link form, produces a truly reader-activated form.
(93) Stretchtext, which takes a different approach to hypertextuality, does what its name suggests and stretches or expands text when the reader activates a hot area.
(97) This form of stretchtext, which Lyons created for writing poetry, obviously draws attention to the experience of text itself, intentionally preventing the reader from reading
through the text, from too readily taking the text as transparent.

3 1 3 (+) [-6+]mCQK landow-hypertext_3_0 (201) 20131004k 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Another plug for one-to-many linking. (201) Unfortunately, the World Wide Web, which at present allows only links from a word or phrase to a single destination, does not offer one of the most useful kinds of linking the one-to-many or branching link that offers the reader a choice of destinations at the point of departure.

3 1 3 (+) [-6+]mCQK landow-hypertext_3_0 (309) 20131004z 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Relate losses and gains to Manovich technical cultural elements in NMR introduction. (309) Experiences with these different systems revealed several important points of interest to anyone working with educational hypermedia, the first of which is that the apparently most minute technological change, such as system speed or screen size, can have unexpected, broad effects on reading, writing, and learning with hypertext.

3 1 3 (+) [-6+]mCQK manovich-language_of_new_media (25) 20120819 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Good reason to examine early texts such as those of von Neumann, although Manovich invokes Zuse for using discarded film as his tape. (25) Zuseƒs computer was the first working digital computer. One of his innovations was using punched tape to control computer programs. The tape Zuse used was actually discarded 35mm movie film.
(25) In a technological remake of the Oedipal complex, a son murders his father. The iconic code of cinema is discarded in favor of the more efficient binary one. Cinema becomes a slave to the computer.

3 1 3 (+) [-6+]mCQK manovich-language_of_new_media (115) 20131006b 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Still looking at flat, rectangular surface in body space acting as window into another space. (115) Dynamic, real-time, and interactive, a screen is still a screen. Interactivity, simulation, and telepresence: As was the case centuries ago,
we are still looking at a flat, rectangular surface, existing in the space of our body and acting as a window into another space.

3 1 3 (+) [-6+]mCQK mcgann-radiant_textuality (86) 20131005x 0 -10+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Compare to Alice Fallacy and Ulmer mystory random connections: although I thought it would be about developing the system itself, he is focusing on great insights via poiesis-as-theory resulting from Photoshopping Rossetti images, thus more like 404 errors and gliches in Hayles, behind the blip of Fuller. (86) But that revelation was unusual, and it seemed clear to me that the deformations largely functioned in a pedagogical way. Insofar as these images brought an imagination of the unknown, they were pointing to the
image editor as a critical and interpretive tool.
(86) The critical force of the Photoshop deformations develops from their ability to expose matters that will be generally recognized, once they are seen.
(86) Strange images evoke our interest exactly because they donƒt pretend to supply us with a generic response to the picture.
(86-87) Distortion and original stand in immediately dialectical relation to each other. . . . This is an ancient way of engaging art that was revised in symbolist and surrealist practice. Not surprisingly, it is a view that Rossetti shared.

3 1 3 (+) [-6+]mCQK murray-hamlet_on_the_holodeck (76-77) 20131006l 0 -6+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Comparison between conversation in ELIZA and programming in Zork as reflecting human-computer relationships. (76-77) Whereas ELIZA captured the conversational nature of the programmer-machine relationship,
Zork transmuted the intellectual challenge and frustrations of programming into a mock-heroic quest filled with enemy trolls, maddening dead ends, vexing riddles, and rewards for strenuous problem solving. . . . In order to succeed, you must orchestrate your actions carefully and learn from repeated trial and error. In the early versions there was no way to save a game in midplay, and therefore a mistake meant repeating the entire correct procedure from the beginning.

3 1 3 (+) [-6+]mCQK murray-hamlet_on_the_holodeck (80) 20131006o 0 -6+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Spatial characteristic of digital environments due to both screen display and interactor navigation. (80) The computerƒs spatial quality is created by the interactive process of navigation.
(82) The computer screen is displaying a story that is also a place.
(83) The interactorƒs navigation of virtual space has been shaped into a dramatic enactment of plot. We are immobilized in the dungeon, we spiral around with the insomniac, we collide into a lexia that shatters like a bomb site. These are the opening steps in an unfolding digital dance. The challenge for the future is to
invent an increasingly graceful choreography of navigation to lure the interactor through ever more expressive narrative landscapes.

3 1 3 (+) [-6+]mCQK murray-hamlet_on_the_holodeck (240) 20131007e 0 -4+ progress/2008/11/notes_for_murray-hamlet_on_the_holodeck.html
Cybernetic paradigms from central command, finite state automata, to decentered emergent systems require shifting paradigms of analysis. (240) In the first cybernetic models, systems were thought of as being under a central command structure, like a thermostat, and computer programs were built in simple hierarchies with one master program that controlled other programs, or subroutines. Later systems were often based on the notion of a finite state automaton that chugged from one complex state to another in sequences that could be charted in an neat map of circles connected by lines. But as our models of the world have become more complex, systems have become decentered: their processing operations are distributed among many entities, none of which is in central control, and the possible states of the system as a whole are no longer thought of as finite. The new emergent systems have reached such a degree of intricacy that they are their own description; there is no other way to predict everything they are likely to do than to run them in every possible configuration.

3 1 3 (+) [-6+]mCQK ogorman-ecrit (5) 20131006d 0 -4+ progress/2008/09/notes_for_ogorman-ecrit.html
To Guillory canon debate always history of writers, not writing. (5) While Guillory focuses primarily on the permutations of the category of ƒliterature,ƒ this study is more concerned with the category of ƒacademic writing,ƒ which is the primary vehicle for mediating the ƒimaginary structuresƒ of higher education. As Guillory suggests, the ideology of literary tradition that is at the root of the canon debate is always ƒa history of writers and not of writingƒ (63). Guillory is interested, therefore, in how writing becomes literature. This study, however, asks how writing becomes scholarship, and it does so not only by examining the practices and structures of the academic apparatus, but also by imagining a new method of scholarly writing (hypericonomy) and a new curricular strategy (Electronic Critique).

3 1 3 (+) [-6+]mCQK ogorman-ecrit (24) 20131006m 0 -5+ progress/2008/09/notes_for_ogorman-ecrit.html
Writing under aegis of electracy but still playing language games of Republic of Scholars. (24) I am writing under the aegis of
electracy (elec-trace-y). . . . This Republic of Scholars, with its faith in transparent language, scientific proof, and the text-based, linear, sequential essay, provides the methodology and discourse for all who wish to maintain affiliation within the academic apparatus.

3 1 3 (+) [-6+]mCQK ogorman-ecrit (49) 20131006x 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
Possible to do with Thomas Murner wat Breton did with Freud is task of E-Crit project. (49) Ulmer cites Andre Bretonƒs co-option of Freud to invent surrealism. Since my goal is to invent a mode of discourse that challenges Ramist, print-based methods, I might very well co-opt a pre-Ramist methodology and ask the following question:
Is it possible to do with Thomas Murner what Andre Breton did with Freud?

3 1 3 (+) [-6+]mCQK ogorman-ecrit (87) 20131007m 0 -5+ progress/2008/09/notes_for_ogorman-ecrit.html
Seems Ulmer language is intended to be silly in the sort of indirectional nonsense that is like Blakes childrens works. (87)
The popcycle first appeared in Ulmerƒs Teletheory as a set of guidelines employed in the creation of a mystory, a new critical genre which adds autobiography and pop culture to the scholarly mix. . . . What remains essential in any case is that: (a) the academic category is forced to collide with other influential aspects of an individualƒs life; and (b) the categories are staged around the resolution of a specific problem.

3 1 3 (+) [-6+]mCQK postman-technopoly (16) 20131227h 0 -1+ progress/2013/12/notes_for_postman-technopoly.html
Media at war with each other symptomatic of conflicting collective world views. (16) When media make war against each other, it is a case of world views in collision.

3 1 3 (+) [-6+]mCQK reddell-social_pulse_of_telharmonics (221) 20131008g 0 -6+ progress/2011/11/notes_for_reddell-social_pulse_of_telharmonics.html
There should be no surprise Baudrillard, who flourished in the pre-Internet electrified print culture, completely misses take on this that is analogous to arguing why mutual preparation of meals is an example where a culture of consumption sustains exchange between reciprocating cooks and diners. (221) In his sobering account of mediaƒs tendency to hinder social transformation, 1972ƒs Requiem for the Media, Jean
Baudrillard (2003) discusses the collapse of communication into a closed loop, a systematic failure that he characterizes in terms of information consumption. There is no exchange in consumption, and when communication transforms into the digestion of media objects, social life ceases. . . . The challenge in the Internet Download Sound series is to remain open to fortuitous accidents of random juxtaposition while using file-processing software that essentially eats away at the performance.

3 1 3 (+) [-6+]mCQK ryan-beyond_myth_and_metaphor (595) 20131009r 0 -2+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Internal mode users project themselves as member of fictional world; external mode users are controlling god or navigating a database. (595) In the
internal mode, users project themselves as members of the fictional world, either by identifying with an avatar or by apprehending the virtual world from a first-person perspective. In the external mode, users, are situated outside the virtual world.

3 1 3 (+) [-6+]mCQK ryan-beyond_myth_and_metaphor (604) 20131009y 0 -1+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Predicts virtual genre instantiated as movies with heightened sense of presence. (604) If digital narrative is going to become a significant, and reasonably popular, art form in the twenty-first century, it will be as a movie that creates a heightened sense of presence by opening its world to the body of the spectator and by letting this body watch the action from various perspectives.

3 1 3 (+) [-6+]mCQK ulmer-applied_grammatology (226) 20131020k 0 -1+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Beuys is for performance what Derrida is in philosophy, so select as classroom ideal along with Lacan for lecture. (226) Working in the spirit of Foucaultƒs observation that in our era the interrogation of limits has replaced the search for totality I find in Beuys someone who is as extreme, as singular, as exemplary in the field of performance art as Derrida is in philosophy.

3 1 3 (+) [-6+]mCQK ulmer-florida_out_of_sorts (22) 20131019a 0 -1+ progress/2012/06/notes_for_ulmer-florida_out_of_sorts.html
Heuretics as a response to Nietzschean metaphysics? (22) Our [Robert Ray and Ulmer] discussions of
heuretics (treating theory not as a content or object of study but as a creative or generative poetics) influenced our seminars as well as our research.

3 1 3 (+) [-6+]mCQK wardripfruin_and_montfort-new_media_reader (4) 20131019 0 -3+ progress/2011/01/notes_for_wardripfruin_and_montfort-new_media_reader.html
Murray: pullulating consciousness of print culture challenged by content and metabook navigability; humanists less hopeful than engineers. (4) The problem that preoccupies all of the authors in this volume is the pullulating consciousness that is the direct result of 500 years of print culture.
(4) The engineers articulate a vision of a new metabook, a navigable collection of books that will carry us gracefully to the next level of information control and systematic thought, just as the invention of print did 500 years ago. The humanist voices in this survey start off at a greater distance from the material basis of the new medium, and they are often much less hopeful.

3 1 3 (+) [-6+]mCQK wardripfruin_and_montfort-new_media_reader (20) 20131019d 0 -1+ progress/2011/01/notes_for_wardripfruin_and_montfort-new_media_reader.html
Manovich: assume all algorithms commensurable between humans and machines; I disagree, there are types of computing activity humans must train themselves to approximate in order to try to understand. (20) Digital computers execute most algorithms very quickly however in principle an algorithm, since it is just a sequence of simple steps, can also be executed by a human, although much more slowly.

3 1 3 (+) [-6+]mCQK wardripfruin_and_montfort-new_media_reader (21) 20131019e 0 -1+ progress/2011/01/notes_for_wardripfruin_and_montfort-new_media_reader.html
Manovich: nothing has existed like high speed electronic computing machinery, whose physical world manifestations include things like pinball machines, automotive control systems, laser printers, and so on. (21) This realization gives us a new way to think about both digital computing, in general, and new media in particular as a massive speed-up of various manual techniques that all have already existed.

3 1 3 (+) [-6+]mCQK wardripfruin_and_montfort-new_media_reader (22) 20131019h 0 -1+ progress/2011/01/notes_for_wardripfruin_and_montfort-new_media_reader.html
Manovich: not just faster calculator, but cybernetic control device: we reach them directly rather than through Manovich asymptotic approach from how it would be done by humans by hand, which I argue humans cannot really apprehend, when the control operations like TCP/IP stream control in electronic circuits are easier for humans to understand than momentary solenoid, switch matrix, lamp, and seven-digit numeric segment displays. (22) So while it is important to remember that, on one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device.

3 1 3 (+) [-6+]mCQK wardripfruin_and_montfort-new_media_reader (341) 20131019k 0 -1+ progress/2011/01/notes_for_wardripfruin_and_montfort-new_media_reader.html
Boal: spectator encouraged to intervene in action and assume role of subject; contrast to Ryan. (341) The spectator is encouraged to intervene in the action, abandoning his condition of object and assuming fully the role of subject.

3 1 3 (+) [-6+]mCQK zizek-enjoy_your_symptom (91) 20110710 0 -3+ progress/2011/07/notes_for_zizek-enjoy_your_symptom.html
Apply postmodern criticism to estrangement of identity for electronics and computer technology. (91) Therein consists one of the tasks of the postmodern criticism of ideology: to designate the elements within an existing social order which in the guise of fiction, i.e., of the utopian narratives of possible but failed alternative histories point toward its antagonistic character and thus estrange us to the self-evidence of its established identity.

3 1 3 (+) [-5+]mCQK rushkoff-program_or_be_programmed (83-84) 20140107g 0 -6+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Digital simulations are simulacra, abstracted representations of games and math; postmodern fear of entrancing simulation resulting in disconnection from people and places, culminating in Turkle robotic moment. (83-84) While games and math might be abstracted representations of our world, our digital simulations are abstracted representations of those games and mathematics. . . . As the postmodernists would remind us, we have stuff, we have signs for stuff, and we have symbols of signs. What these philosophers feared was that as we came to live in a world defined more by symbols, we would lose touch altogether with the real stuff; we would become entranced by our simulated reality, and disconnect from the people and places we should care about.

3 1 3 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (765) 20120825 0 -1+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Compare this to Ryan myth of the Aleph, and Castells invoking the Aleph from Borges for the totalizing submergence of prior discrete media into digital processing, the real virtualities in which we now live much of our perceptual lives: this is really a description of how running software may be understood as texts, along with images, too, going far beyond the zoographia grammata unit operation of antiquity through postliteracy. (765) In this sense,
a text or film is like a limited language in which all the parts are known, but the full potential of their combinations is not.

3 1 3 (+) [-4+]mCQK aarseth-nonlinearity_and_literary_theory (778) 20121127 0 -2+ progress/2012/06/notes_for_aarseth-nonlinearity_and_literary_theory.html
Thus texts and technology studies emphasizes ethnography over textual anthropology, primarily operating in text, hypertext, and cybertext investigations. (778) This empirical evolution makes possible a shift in method from a philological to an anthropological approach in which the object of study is a process (the changing text) rather than a project (the static text). On-line phenomena and particularly MUDs, with their fluid exchanges of textual praxis, offer unique opportunities for the study of rhetoric, semiotics, and cultural communication in general.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Thus the texts and technology position emerged from the same intellectual soil as cybernetics. (9) It is only a slight exaggeration to say that contemporary literary theory is produced by the reflexivity that it also produces (an observation that is, of course, also reflexive).

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Word play of Janet Freed as Freud generating thought points; compare to Kittler double inscription discussion in Draculas Legacy. (82) What are we to make of Janet F., this sign of the repressed, this Freudian slip of a female who, with a flick of a u (the U-shaped table at which she sits?), goes from Freed to Freud, Freud to Freed?

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Literary examples from Dick illustrate points made about reflexivity. (189) Thus Dick uses the inclusion of the observer to opposite effect. Whereas Maturana and Varela use the domain of the observer to recuperate everyday notions like cause and effect, Dick uses it to estrange further consensus reality.
(191) Only a modest accommodation has been reached, infused with multiple ironies, that emphasizes survival and the mixed condition of humans who are at their best when they show tolerance and affection for the creature, biological and mechanical, with whom they share the planet.

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Tie unreflective male embodiment to later when introducing Mark Johnson importance of erect posture. (195) Even those philosophers who do take embodiment seriously tend unreflectingly to take the male body as the norm, as [Elizabeth] Grosz shows in discussing a range of theorists, including Merleau-Ponty, Freud, Lacan, Nietzsche, Foucault, and Deleuze and Guattari.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Computer as inscription technology as long as it instantiates material changes that can be read as marks. (24) The computer also counts as an inscription technology, because it changes electric polarities and correlates these changes with binary code, higher-level languages such as C++ and Java, and the phosphor gleams of the cathode ray tube.
To count as an inscription technology, a device must initiate material changes that can be read as marks.

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

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

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

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

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

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

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

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OGorman residue of scholarship linked to new media; new depthlessness. (6) The postmodern is, however, the force field in which very different kinds of cultural impulses what Raymond Williams has usefully termed residual and emergent forms of cultural production must make their way.
(6) The exposition will take up in turn the following constitutive features of the postmodern: a new depthlessness . . . a consequent weakening of historicity . . . a whole new type of emotional ground tone what I will call intensities . . . the deep constitutive relationships of all this to a whole new technology.

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

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

3 1 3 (+) [-4+]mCQK jenkins-convergence_culture (255) 20130929t 0 -2+ progress/2012/05/notes_for_jenkins-convergence_culture.html
From individual to collective, networked consumption practices. (255) Betsy Frank and other industry thinkers still tend to emphasize changes that are occurring within individuals, whereas this bookƒs argument is that the greatest changes are occurring within consumption communities. The biggest change may be the shift from individualized and personalized media consumption toward consumption as a networked practice.

3 1 3 (+) [-4+]mCQK johnston-literature_media_information_systems (5-6) 20130930a 0 -1+ progress/2012/07/notes_for_johnston-literature_media_information_systems.html
The basic conception of media convergence in contrast to which Jenkins carves his niche. (5-6) If the historical synchronicity of film, phonograph, and typewriter in the early twentieth century separated the data flows of optics, acoustics and writing and rendered them autonomous, current electronic technologies are bringing them back together; in the future a total connection of all media on a digital base will erase the very notion of a medium.

3 1 3 (+) [-4+]mCQK johnston-literature_media_information_systems (6) 20130930b 0 -2+ progress/2012/07/notes_for_johnston-literature_media_information_systems.html
The fifteen year span will expire soon, so it is time to rigorously theorized DN 2000. (6) However, methodological constraints determine that an event inaugurating another discourse network can only be identified retrospectively. Despite intriguing possibilities raised by the current telecommunications assemblage and computer chip architectures, Kittler must therefore remain silent about DN 2000.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Evidence of his psychoanalytic approach in addition to invocation of Lacan. (16) The methodological distinctions of modern psychoanalysis clearly coincide with the distinctions of media technology.
(16) Thus, the symbolic has the status of block letters. . . . Thus, the imaginary has the status of cinema. . . . Thus, the real especially in the talking cure known as psychoanalysis has the status of phonography.

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

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Suggests models of brain developed reciprocally with invention of phonograph; Kittler includes long passages by Guyau, Rilke, Renard, Friedlaender as tutor texts. (29) Thanks to the invention of the phonograph, the very theories that were its historical a priori can now optimize their analogous models of the brain.

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

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

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

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

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

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Repeats topic of Discourse Networks that German literature was targeted to women. (186) The literal meaning of text is tissue. Therefore, prior to their industrialization the two sexes occupied strictly symmetrical roles: women, with the symbol of female industriousness in their hands, wove tissues; men, with the symbol of male intellectual activity in their hands, wove tissues of a different sort called text.

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

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

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Transition to discussion of electronic computers following Schmitt Buribunk story about diary-typing machines, foreshadowing social networking. (243) World history comes to a close as a global typewritersƒ association. Digital signal processing (DSP) can set it. Its promotional euphemism, posthistory, only barely conceals that war is the beginning and end of all artificial intelligence.

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

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

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

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

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

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

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

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

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

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

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

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

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

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Kittler definition of media as culture techniques allowing selection, storage and production of data and signals. (93) ƒmediaƒ are first and foremost cultural techniques that allow one to select, store, and produce data and signals.

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

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

3 1 3 (+) [-4+]mCQK kramer-cultural_techniques_of_time_axis_manipulation (95) 20131002c 1 -9+ progress/2012/08/notes_for_kramer-cultural_techniques_of_time_axis_manipulation.html
Excludes human embodiment, perhaps to study machines first. (95) The first problem is his exclusion of the body as a medium and his omission of human perception. . . . The inattention to the dimension of ƒthose things that cannot be switchedƒ, or in other words to a corporeality that has not yet been transformed into a mechanical apparatus, should not be seen as an oversight but rather as an intentional act on Kittlerƒs part. . . . At this point, it suffices to note the unique condition that humans are excluded as a medium from a historical analysis of media.

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

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

3 1 3 (+) [-4+]mCQK kramer-cultural_techniques_of_time_axis_manipulation (97) 20131002f 0 -7+ progress/2012/08/notes_for_kramer-cultural_techniques_of_time_axis_manipulation.html
Foucault archive limits; dare cross through Derrida? (97) this is the system that magnetizes the influences of the eras, which Foucault terms the ƒarchiveƒ, and which epitomizes the systems of expression that can be documented.
(97) As soon as the monopoly is broken that writing and the book hold on processes of storing and processing, and as soon as other types of discourse networks emerge with technological, analog media, then an archeology of present forms of knowledge can no longer be practiced by discourse analysis but must rather be taken over by technological media analysis. . . . His historical approach transforms discourse analysis into the reflex and symptom of a specific and since ended media epoch. With this move, Kittler takes up technological media as the focal point around which everything is arranged that can even be registered as an analyzable fact after Foucault.

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

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

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

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

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

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

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

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

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Enigma example redeems hermeneutics. (102) A peculiar metamorphosis emerges in this projection of the real as
enigma cryptography, which when brought to a technological stand is almost a rehabilitation of the hermeneutic project of ƒnature as a textƒ. . . . This notion also explains Kittlerƒs fascination with Alan Turingƒs, Claude Shannonƒs and Norber Winerƒs work, who with their crypto-analytic, communications-theoretical, and communications-technological ambitions achieve precisely what will prove to be the computerƒs unique accomplishment: making chance sequences calculable.

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Media convergence explained. (102-103) The binary system provides a universal key that allows one not only to translate each of the numerous formats of image, sound, and textual media reciprocally, but also, and at the same time, to traverse the symbolic-technological boundaries of the epoch of alphabetic writing. . . . The computer connects all of these media, in that it incorporates their input and output into a mathematical procedure of digitalized signal processing with microsecond rhythms (Kittler, 1993a: 187).

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Using technology without understanding how or why it works suggests terrain for philosophers of computing that Kramer argues Kittler does not appreciate; consider Derrida with his Macintosh. (104) We can use technology without needs to understand how, and especially why, it works. In practice, Kittler also refuses to make his distinction. . . . Kittlerƒs leap from methods of operation that are far removed from the sensory to a process of making something useable that marginalizes the sensory thus falls short.
(105) The assumption presents itself that a
theoretical-strategic consideration outweighs Kittlerƒs factual arguments. Kittler develops his concept of media with, but especially in latent opposition to, the father of contemporary media debates, Marshall McLuhan (Kittler, 2002: 24f.).
(105) In other words, McLuhanƒs theories reflect the aspect of the escalating drive of media to surpass that is so crucial to Kittler in a way that does not exclude but rather incorporates man and the organization of his senses into this self-dynamism without thereby needed to fossilize man as the intentional subject of this wave of technologization.

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New form of textuality and writing in Bush trails of hyperlinks. (11) The essential feature of the memex, however, lies not only in its capacities for retrieval and annotation but also in those involving associative indexing --what present hypertext systems term a
link-- the basic idea of which is a provision whereby any item may be caused at will to select immediately and automatically another (34). . . . Bushƒs remarkably prescient description of how the memex user creates and then follows links joins his major recognition that trails of such links themselves constitute a new form of textuality and a new form of writing.
(12) In As We May Think and Memex Revisited Bush proposed the notion of blocks of text joined by links, and he also introduced the terms
links, linkages, trails, and web to describe his new conception of textuality.

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Presents forms of linking: unidirectional, bidirectional, string to lexia, string to string, one to many, many to one linking, typed, on-demand links with advantages and disadvantages. (15) The anchor feature in HTML, which is created by the <a name> tag, thus permits authors to link to a specific section of long documents.
(15) A fully hypertextual system (or document) therefore employs a seventh form,
one-to-many linking linking that permits readers to obtain different information from the same textual site.

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Typed links: this is where him not going farther either invites further study by others making their niche, or (retreat into the) default; see notes in early February 2009. (18) Typed links, our ninth category, take the form of limiting an electronic link to a specific kind of relationship.
(19) The advantage of typed links includes the fact that, when clearly labeled, they offer a generalized kind of previewing that aids reader comfort and helps navigating information space.
(19-20) A potential disadvantage for readers of the typed link might be confusion produced when they encounter too many different actions or kinds of information; in fact, I have never encountered hypertexts with these problems, but Iƒm sure some might exist.

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Viewing an image map of the cybersage workstation Heim imagines, complete with video screens, book shelves, the large writing area Heim recommends, and open book holders potentially created with the journal software inside tapoc shows how on demand links can simulate one to many linking by working with the user to hone in on desire or radically reconfigure the browser field. (20) An equally basic form of linking involves the degree to which readers either activate or even create links. . . . Most writing about hypertext from Bush and Nelson to the present assumes that someone, author or reader functioning as author, creates an electronic link, a so-called hard link. . . . This [new] approach takes the position that the readerƒs actions can create on-demand links. . . . Although some authors, such as the philosopher Michael Heim, perceived the obvious connection between the active reader who uses search tools to probe an electronic text and the active reader of hypertext, the need of the field to constitute itself as a discrete specialty prompted many to juxtapose hypertext and information retrieval in the sharpest terms.

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Easy to compare to postmodern challenge of traditional authorship. (22) The final forms of linking action links, warm links (or reader-activated data-exchange links), and hot linking (automatic data-exchange links) represent, in contrast, kinds that carry the hard, author-created link in other directions.

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Landow does a quick history from orality to literacy to hypermedia, arriving at critique of Baudrillard and praise for Derrida, decentering the book and discovering it as technology. (30) Digital information technology certainly begins with the electronic digital computer, but information technology itself has been around for millennia.
(31) These are not the only advantages and disadvantages of spoken language, for as Derrida (following Plato) urges, it is fundamentally a technology of
presence.
(31) Absence, in other words, also has great value in certain communicative situations, a crucial factor to take into account when considering the gains and losses involved in writing.
(32) Writing, printing, cinema, and video are all forms of asynchronous communication, which, as McLuhan points out in
The Gutenberg Galaxy, permits reflection, abstraction, and forms of thought impossible in an oral culture.
(32) Interword spacing, like the codex (what we generally call a book), eventually changed reading from a craft skill to an ordinary one required of every citizen.
(33) Printing, which thus exemplifies asynchronous, silent communication, provides the conditions for the development of a humanistic and scientific culture dependent on the ability to cite and discuss specific details of individual text. And of course it drastically changes the nature of education, which moves from dictating primary texts to the student to teaching the student modes of critical analysis.
(33) it still, as Bush and Nelson emphasize, confronts the knowledge worker with the fundamental problem of an information retrieval system based on physical instantiations of text namely, the preserving information in a fixed, unchangeable linear format makes information retrieval difficult.

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Soft text is a fundamental change. (34) Computing produces
soft text, and this fundamental change, like all developments in infotech, comes with gains and losses.
(35) First of all, since electronic text processing is a matter of manipulating computer codes, all texts that the reader-writer encounters on the screen are virtual texts. . . . In computing, the virtual refers to something that is [following OED]
not physically existing as such but made by software to appear to do so from the point of view of the program or user (emphasis added).
(36) We must, for example, come to the absolutely necessary recognition that the physical, material conditions of computer devices we use affect our experience of virtual text. . . . Computer text may be virtual, but we who read it are still physical, to read it we rely on physical devices, and it has effects on the physical world.
(37) Digital text can be infinitely duplicated at almost no cost or expenditure of energy.
(38) Networked electronic communication has both dramatically speeded up scholarly communication and created quickly accessible versions of older forms of it, such as online, peer-reviewed scholarly journals, and new forms of it, such as discussion lists, chat groups, blogs, and IRC.

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Baudrillard criticized for neglecting verbal text and emphasizing binarity. (43) Unlike Derrida, who emphasizes the role of the book, writing, and writing technology, Baudrillard never considers verbal text, whose absence glaringly runs through his argument and reconstitutes it in ways he obviously did not expect.
(44) In concentrating on nonalphanumeric media, and in apparently confusing analog and digital technology, Baudrillard misses the opportunity to encounter the fact that digitalization also has the potential to prevent, block, and bypass linearity and binarity, which it replaces with multiplicity, true reader activity and activation, and branching through networks.
(45) The
manipulability of the scholarly text, which derives from the ability of computers to search databases with enormous speed, also permits full-text searches, printed and dynamic concordances, and other kinds of processing that allow scholars in the humanities to ask new kinds of questions.
(46) Book, which now define the scholarƒs tools and end-products, will gradually lose their primary role in humanistic scholarship.

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Extravagant claims by Derrida of openness, intertextuality, discrete reading units instantiated in basic nature of electronic forms, as articulated by Ulmer and Bogost; cryptic concepts of Barthes, Deleuze and Guattari also realized in hypertext. (53) Like Barthes, Foucault, and Mikhail Bakhtin, Jacques Derrida continually uses the terms
link (liasons), web (toile), network (reseau), and interwoven (sƒy tissent), which cry out for hypertextuality; but in contrast to Barthes, who emphasizes the writerly text and its nonlinearity, Derrida emphasizes textual openness, intertextuality, and the irrelevance of distinctions between inside and outside a particular text. These emphases appear with particular clarity when he claims that like any text, the text of ƒPlatoƒ couldnƒt not be involved, or at least in a virtual, dynamic, lateral manner, with all the worlds that composed the system of the Greek language (Dissemination, 129). Derrida in fact here describes extant hypertext systems in which the active reader in the process of exploring a text, probing it, can call into play dictionaries with morphological analyzers that connect individual words to cognates, derivations, and opposites. Here again something that Derrida and other critical theorists describe as part of a seemingly extravagant claim about language turns out precisely to describe the new economy of reading and writing with electronic virtual, rather than physical, forms.

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Decentering for Derrida transforms subjectivity, similar to Zizek on Lacanian nature of reality. (57) As Derrida points out in Structure, Sign, and Play in the Discourse of the Human Sciences, the process or procedure he calls decentering has played an essential role in intellectual change. . . . [responding to Serve Doubrovsky] I believe that the center is a function, not a being - a reality, but a function.

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He mentions LANs, Ethernet, WANs, TCP/IP while citing Derrida extensively. (63) Network in this fullest sense refers to the entirety of all those terms for which there is no term and for which other terms stand until something better comes along, or until one of them gathers fuller meanings and fuller acceptance to itself:
literature, infoworld, docuverse, in fact, all writing in the alphanumeric as well as Derridean senses.

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Making links between hypertext concepts, structuralist, and poststructuralist concepts of text go accompany link to postmodernism, invoking Barthes, Derrida, Bakhtin, Foucault, later Levi-Strauss. (63) The analogy, model, or paradigm of the network so central to hypertext appears throughout structuralist and poststructuralist theoretical writings.
(63) The general importance of non- or antilinear thought appears in the frequency and centrality with which Barthes and other critics employ the terms link, network, web, and path. More than almost any other contemporary theorist, Derrida uses the terms link, web, network, matrix,and interweaving associated with hypertextuality; and Bakhtin similarly employs links, linkage, interconnectedness, and interwoven.
(63) Like Barthes, Bakhtin, and Derrida, Foucault conceives of text in terms of the network, and he relies precisely on this model to describe his project, the archaeological analysis of knowledge itself.
(64) The model of the network has captured the imaginations of those working on subjects as apparently diverse as immunology, evolution, and the brain.

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Mentions conversations with Ulmer about Derrida gram equaling link. (67-68) In conversation with me, Ulmer mentioned that since Derridaƒs gram equals link, grammatology is the art and science of linking the art and science, therefore, of hypertext.

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Could argue against objectivity of poem markup even though full-text search systems yield similar results, since its assumptions built into the searches represent particular analytical strategies. (75) Using the capacities of Intermedia and Storyspace to join an indefinite number of links to any passage (or block) of text, the reader moves through the poem along many different axes. . . . its use of link paths that permit the reader to organize the poem by means of its network of leitmotifs and echoing sections. . . . Although Lanestedt, various students, and I created these links, they represent a form of objective links that could have been created automatically by a full-text search in systems such as Microcosm.

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Blogging craze exemplifies active reader-author of Nelson and others. (78) Blogging, the latest Internet craze, has major importance for anyone interested in hypertext because one form of it provides the first widely available means on the Web of allowing the
active reader-author envisaged by Nelson, van Dam, and other pioneers.

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Example of Gyford online scholarship that students are likely to use that emerged from outside the academy. (80) Gyford has not only made an appropriate Web translation of a classic text [Samuel Pepysƒs diary] but he has also contributed importantly to the creation of a new form of public, collaborative online scholarship. . . . This elaborate scholarly project, which one expects that any Web-savvy undergraduate or graduate student will use, exists completely
outside the Academy.
(81) In fact, one of the most interesting effects of blogging lies in the way it unsettles our accustomed borders between the private and public spheres.

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Derrida visual element for pictographic writing transcendence of logocentrism answered in hypertext. (84) Derrida argues for the inclusion of visual elements in writing as a means of escaping the constraints of linearity. . . . Derrida, who asks for a new pictographic writing as a way out of logocentrism, has to some extent had his requests answered in hypertext.
(85) The cursor, which the user moves either from the keypad by pressing arrow-marked keys or with devices like the mouse, rollerball, or trackpad, provides a moving intrusive image of the readerƒs presence in the text. . . . In a book one can always move oneƒs finger or pencil across the printed page, but oneƒs intrusion always remains physically separate from the text.

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Treating visual aspects of texts, materiality, reveals preconceptions of late age of print, which Joyce and McGann take much farther. (89) This blindness to the crucial visual components of textuality not only threatens to hinder our attempts to learn how to write in electronic space but has also markedly distorted our understanding of earlier forms of writing. . . . Once again, as with the scholarly editing of medieval manuscripts and nineteenth-century books, digital word and digital image provide lenses through which we can examine the preconceptions the blinders of what Michael Joyce calls the late age of print (
Of Two Minds, 111).

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Unitary textuality, versus dispersed and multiple, may already not be a core belief for many digital natives, but still colors scholarship in its unanalyzed state as manuscript example demonstrates. (99) Loss of a belief in unitary textuality could produce many changes in Western culture, many of them quite costly, when judged from the vantage point of our present print-based attitudes.
(100-101) Presenting the history and relation of texts created within a manuscript culture in terms of the unitary text of modern scholarship certainly fictionalies and falsifies their intertextual relations.
(101) A new conception of text is needed by scholars trying to determine not some probably mythical and certainly long-lost master text but the ways individual readers actually encountered Plato, Vergil, or Augustine in a manuscript culture.

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Problem that hierarchical structures for text markup such as TEI can be completely subverted by hypertext. (108) Hypertext subverts hierarchy in text and in so doing might seem to subvert markup languages and call into question their basic usefulness.
(109) This textual polymorphism in turn suggests that in such environments text is alive, changing, kinetic, open-ended in a new way.

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Hypertext helps escape fetishism of work as closed object and forces rethinking centrality. (113) Hypertext redefines not only beginnings and endings of the text but also its borders its ides, as it were. Hypertext thus provides us with a means to escape what Gerard
Genette terms a sort of idolatry, which is no less serious, and today more dangerous than idealization of the author, namely, the fetishism of the work conceived of as a closed, complete, absolute object (Figures, 1470).
(114) Hypertext therefore undergoes what Derrida describes as a sort of overrun [
debordement] that spoils all these boundaries and divisions ( Living On, 83).

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Problem of hierarchy exercised in Barthes S/Z. (120) The entire procedure or construction of
S/Z, for example, serves as a commentary on the political relationships among portions of the standard scholarly text, the problem of hierarchy.
(122) In hypertext, the main text is that which one is presently reading. So one has a double revaluation: with the dissolution of this hierarchy, any attached text gains an importance it might not have had before.

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Ede and Lunsford dialogic mode of collaboration. (140) After arguing against univocal psychological theories of the self (132) and associated notions of an isolated individualism, Ede and Lunsford call for a more Bakhtinian reconception of the self and for what they term a
dialogic, rather than hierarchical, mode of collaboration.
(140) As McLuhan and other students of the cultural influence of print technology have pointed out, modern conceptions of intellectual property derive both from the organization and financing of book production and from the uniformity and fixity of text that characterizes the printed book.

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What are the material specific aspects of hypertext apparatus: consider McGann giving attention to bibliographic codes. (151) If to communicate effectively, hypermedia authors must employ devices suited to their medium, two questions arise. First, what are the defining characteristics or qualities of hypertext as reading and writing medium? Second, to what extent do they depend on specific hardware and software? What effect, for example, does the presence of absence of color, size of oneƒs monitor, and the speed of oneƒs computer have on reading hypertext?
(152) First, what must one do to orient readers and help them read efficiently and with pleasure? Second, how can one help readers retrace the steps in their reading path? Third, how can one inform those reading a document where the links in that document lead?

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Distance and cost of traversing links could be depicted in the link, but the default form is homogeneous. (153) Because hypertext linking takes relatively the same amount of time to traverse, all linked texts are experienced as lying at the same distance from the point of departure.

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Dynamic tracking map an intermedia feature not present in current web browsers. (157) The most important Intermedia feature that current systems, particularly web browsers, lack is its system-generated dynamic tracking map, whose basic idea evolved through three stages.
(159) IRIS next developed the Local Tracking Map, a
dynamic hypergraph whose icons represented the destinations of all the links in the current document. Upon opening a new lexia or activating a previously opened one, this graphic navigational tool morphed, informing readers where links in the new lexia would bring them. This dynamic hypergraph, which did much to prevent disorientation, became even more useful in its third and final version, the Web View, with the addition of two more features: a graphic representation of the readerƒs history and transformation of the icons into links.
(159) Although this feature succeeded well in orienting the reader, it worked even better when combined with author-generated concept maps, such as the overviews (sitemaps) I have employed on systems including Intermedia, Interleaf World View, Storyspace, Microcosm, MacWeb, and the World Wide Web.
(160) Unfortunately, current World Wide Web browsers are very disorienting because they provide no overall view of materials and neither do they indicate to readers where links will take them. The use of sitemaps, HTML documents that list or graphically display destinations of links, have greatly contributed to web usability, and many sites now include them.

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What does the absence of dynamic hypergraphing as standard web browsing reflect about this apparently ideal feature? (160) Intermediaƒs dynamic hypergraph proved so valuable as a means of disorientation and navigation that I hope someone will develop an equivalent application either as part of widely used World Wide Web viewers or as an add-on that will function with them.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (177) 20131004f 0 -5+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Believes one-to-many linking could alter reading expectations; another ideal feature that has not been implemented, although Engelbart hyperscope includes them. (177) Such careful linking becomes especially important in writing hypertext for the World Wide Web, since current browsers lack one-to-many linking, and it does not seem likely after more than a decade that they will ever incorporate it. . . . I find that the effect of being reminded of branching possibilities produces a different way of thinking about text and reading than does encountering a series of one-to-one links sprinkled through a text.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (184) 20131004g 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Consideration given to representing annotations when converting footnotes and endnotes. (184) Perhaps the most elegant solution employs Java scripts to create small pop-up windows for each note.
(184) Wherever possible, the best and most obvious solution to the problem of representing annotations in Web documents involves concerting all bibliographical notes to the current Modern Language Association (MLA)
in-text citation form, whether one links all such citations to a list of references or just includes the relevant bibliographical items in each lexia.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (186) 20131004h 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
He uses the term dynamic differently than as instantaneous generation of a new text. (186) Such dynamic data place the reader in a relatively passive role and turns hypermedia into a broadcast, rather than an interactive, medium.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (187) 20131004i 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Could criticize this on points of openness of protocol and implementations, as well as basic problem McGann had with markup. (187) The one digital form that does not create problems for hypermedia is the fundamentally controllable multimedia document created by Appleƒs Quicktime VR (Virtual Reality) or rival software like Ipix and Live Picture.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (195) 20131004j 0 -9+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Reading requires attention to surrounding text and bibliographic codes as writing has become more visual in addition to alphanumeric, collage; digital text always virtual. (195) First, we realize that such collage writing produces a new kind of reading in which we must take into account not only the main text but also those that surround it. Second, this emphasis on the increasing importance of the spatial arrangement of individual lexias leads to the recognition that writing has become visual as well as alphanumeric.
(195-196) Digital text is virtual because we always encounter a virtual image, the simulacrum, of something stored in memory rather than encounter any so-called text itself or physical instantiation of it.
(196) The collage of collage cubism therefore depends for its effect on a kind of juxtaposition not possible (or relevant) in the digital world that between physical and semiotic.
(197)
montage might be a better term than collage. . . . one nonetheless always experiences a hypertext as a changeable montage.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (219) 20131004l 0 -3+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Using hypertext as lens to reveal previously unnoticed features of textuality, as in Hayles MSA. (219) This approach therefore uses hypertext as a lens, or new agent of perception, to reveal something previously unnoticed or unnoticeable, and it then extrapolates the results of this inquiry to predict future developments.
(220) One interesting approach to discussing hypertextual narrative involves deducing its qualities defining characteristics of hypertext its non- or multilinearity, its multivocality, and its inevitable blending of media and modes, particularly its tendency to marry the visual and verbal. Most who have speculated on the relation between hypertextuality and fiction concentrate, however, on the effects it will have on linear narrative.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (229) 20131004n 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Still writing for finite readers, although machine reading becoming sizable component of scholarship (Manovich). (229) Coover proclaims that endings will and must occur even in infinitely expandable, changeable, combinable docuverses.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (232) 20131004o 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
New bricolage unity in hypertext through reader action analyzing Joyce afternoon, making more like bard than audience of listeners. (232) Such
bricolage, I suggest, provides a new kind of unity, one appropriate to hypertextuality.
(234) Although the reader of hypertext fiction shares some experiences, one supposes, with the audience of listeners who heard oral poetry, this active reader inevitably has more in common with the bard, who constructed meaning and narrative from fragments provided by someone else, by another author or by many other authors.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (243) 20131004p 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Software studies connection: Guyer design, interface and software choice reflect intentional feminist ideology. (243) Guyerƒs emphasis on an active reader, as opposed to simply a responsive, attentive one, relates directly to her conception of hypertext as a form of feminist writing.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (247) 20131004q 0 -11+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Stories overlay and augment reality. (247) Whereas virtual reality (VR) immerses the user within a world of represented data,
augmented reality overlays information on top of the physical world in which one lives.
(247-248) The very idea of augmented reality prompts one to observe that stories always overlay and thus augment reality. . . . Like David Yunƒs Web-based
Subway Story, 34 North 118 West uses a map of a city as an overview that permits access to many narratives.
(249) In the storyworld and noncombative adventure game, reader-viewers assume the positions of protagonist and their reward comes in the form of experience, not as a reward one might attain. . . . But this form of hypertext narrative does not so much do away with climaxes as emphasize multiple ones.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (251) 20120927 0 -3+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Counter Murray, Mateas and others who try to fit games into traditional literary and cinematic studies, new group of ludologists see simulation as hermeneutic Other of narrative, but Landow rejects as informative for hypertext; nonetheless, promise in the proximity of storyworlds and virtual environments for electronic literature like my Macy Conference game, clues in his analysis of film theory suggest unthought connections. (251) In contrast to the self-proclaimed Aristotelians, who argue that literary and cinematic studies of narrative have much to tell us about games, another group led by Espen Aarseth, Markku Eskelinen, and Raine Koskimaa argue that computer and other games require a new discipline ludology.
(252) [quoting Aarseth Genre Trouble in
First Person, 52] Simulation is the hermeneutic Other of narratives: the alternative mode of discourse, bottom up and emergent where stories are top-down and preplanned.
(254) In conclusion, although computer games have something to tell us of relevance to digital text and art, virtual reality, and educational simulations, they do not seem closely enough related to hypertext to tell us much about it.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (264-265) 20131004r 0 -7+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Lukacs proposition that each age has a chief narrative form; will ours become branching story lines, so that poetry is reified links? (264-265) Georg Lukacsƒs
Theory of the Novel (1923) proposed that each age has its own chief narrative form. . . . Looking back at the brief history of hyperfiction, one is surprised to note how few works have accepted the challenge of Michael Joyceƒs afternoon to create branching story lines.
(265-266) Since the characterizes hypertext, and links are reified associations, a poetic mode or form seems especially suited to hypertext. Looking at a range of digital works, we see that much hyperfiction actually takes the form of hyperpoetry.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (277) 20131004s 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Like software reusability, Landow envisions synergistic integration and reuse of all teaching materials, as well as scholarly works. (277) All the qualities of connectivity, preservation, and accessibility that make hypertext an enormously valuable teaching resource also make it equally valuable as a scholarly tool. The mediumƒs integrative quality, when combined with its ease of use, offers a means of efficiently integrating oneƒs scholarly work and work-in-progress with oneƒs teaching.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (281) 20131004t 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Avoiding phonocentrism is another way hypertext instantiates theories of Derrida. (281) By giving an additional means of expression to those people shy or hesitant about speaking up in a group, electronic conferencing, hypertext, and other similar media shift the balance of exchange from speaking to writing, thus
addressing Derridaƒs calls to avoid phonocentricism in that eccentric, unexpected, very literal manner that, as we have seen before, characterizes such hypertext instantiations of theory.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (283) 20131004u 0 -5+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Altered sense of time, desegregating academic temporal units; asynchronous communication. (283) Two of the most exciting and objectively verifiable effects of using educational hypertext systems involve the way the change the limiting effects of time. . . . The division segregation, really of individual weeks into isolated units to which we have all become accustomed has the unfortunate effect of habituating students to consider in isolation the texts and topics encountered during these units.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (291) 20131004v 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Example of hypertext exercises may seem quaint now, the coding subsumed by social media cultural software such as blogs. (291) Each week, when the question sets arrive, I respond to them by return email, often adding interlinear comments, after which I place the reading question in a previously prepared template, and upload it to the relevant section of the website. Starting with the second week of the course, I teach the class HTML tags that create paragraphs, indented passages, and various forms of emphasis, so after the first few weeks the students become HTML experts and I have to do little formatting.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (295) 20131004w 0 -5+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Works must be teachable (Ohmann); consider to OGorman scholarly remainder, Ulmer mystories. (295) Within academia, however, to come under the gaze, works must be teachable.
(299) As Richard
Ohmann has so chillingly demonstrated in The Shaping of a Canon: U.S. Fiction, 1960-1975, the constraints of the marketplace have even more direct control of recent fiction, both bestsellers and those few books that make their way into the college curriculum.
(302) Such an enterprise, which encourages student participation, draws upon all the capacities of hypertext for team teaching, interdisciplinary approaches, and collaborative work and also inevitably redefines the educational process, particularly the process by which teaching materials, so called, develop.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (307) 20131004x 0 -9+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Ulmer mystory as exemplary educational hypermedia. (307) Many student-created webs exemplify that new form of discourse proposed in Gregory Ulmerƒs
Teletheory. . . . This genre, which Ulmer terms mystory, combines autobiography, public history, and popular myth and culture. . . . Ulmerian mystory provides us with a first, possibly preliminary, model of how to write hypermedia.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (308) 20131004y 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Return to Pack for electronic texts reflecting on experience of a digital native. (308) Jeffrey Packƒs
Growing Up Digerate, which now forms a part or subweb of the Cyberspace, Virtual Reality, and Critical Theory Web, combines theory, here chiefly relating to cyberspace, and autobiography of someone who grew up ƒdigitally literate,ƒ that is, having a familiarity with computers.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (322) 20131005c 0 -8+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Lovink sees governmental and commercial interference ending short summer of the internet. (322) [Geert]
Lovink, one of many who believe that it is time to say goodbye to the short summer of the internet (19), fears that governmental and commercial interference with the Internet threatens to choke off its potential for political good.
(323) Chinaƒs decade-long efforts to censor the Internet, the U.S. governmentƒs tracking Internet users, and Microsoftƒs continuing attempts to control the consumer and business market exemplify narrowing the possibilities of Internet freedoms.
(325) The notorious failure of push media, I would argue, demonstrates that users believe that user-centered hypermedia best serves their needs and that networked computer environments do in fact empower users to act as more than mere consumers.
(325) The most extreme doubters include those like Espen Aarseth, who denies the possibility that hypertext in any way empowers or liberates its users. . .

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (356) 20131005g 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Hypertext as way of thinking about postcolonial issues. (356) The value of hypertext as a paradigm exists in its essential multivocality, decentering, and redefinition of edges, borders, identities. As such, it provides a paradigm, a way of thinking about postcolonial issues, that continually serves to remind us of the complex factors at issue.

3 1 3 (+) [-4+]mCQK landow-hypertext_3_0 (362) 20131005h 0 -3+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Fails to mention that Slashdot is a news aggregator whose content is determined by user postings of stories, echoing previous democratization examples. (362)
Slashdot, the famous multiuser site that uploaded almost 13,000 blogs in 2003, represents an important experiment in online democracy and large-scale collaboration because it uses its readers to moderate submissions.
(363)
Slashdot represents a fascinatingly successful experiment in large-scale online collaboration and reader empowerment. It does not, however, embody cyber-utopian Internet anarchy, for, as Maldaƒs history of the site reveals, he quickly discovered that Slashdot needed a moderator to protect it from vandals.

3 1 3 (+) [-4+]mCQK levin-modernity_and_hegemony_of_vision (24) 20131003h 0 -15+ progress/2011/08/notes_for_levin-modernity_and_hegemony_of_vision.html
To Romanyshyn and Ulmer, mode of vision characteristic of television challenges culture of book. (24) According to [Robert D.]
Romanyshyn, we stand today at a crossroads. Until recently, modernity was determined by the hegemony of a literate vision, the vision that created and reproduced the culture of the book. . . . This historically new mode of vision, immediate, emotionally engaged, participatory, rooted in the body of experience, no longer confined to the metaphysical dualisms of modernity (subject-object, center-periphery, foreground-background), is a way of looking and seeing the corresponds to the omnipresence of television, and it challenges the older mode of vision that corresponds to the modern culture of the book.
(24) For Romanyshyn, television is the shadow side of a book consciousness that he identifies with the history of modernity. . . . as the shadow of the book, television makes visible the pathology of verbo-ocular-ego-consciousness by challenging its values of linear rationality, contextual coherence, focused concentration . . . and neutral objectivity.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (xv) 20131005 0 -1+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Visual Esperanto fulfilled by computer technology. (xv) In this respect, the computer fulfills the promise of cinema as a visual Esperanto a goal that preoccupied many film artists and critics in the 1920s, from Griffith to Vertov.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (9-10) 20131005a 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Cinema is primary perspective of digital materialism; compare to Hayles MSA, which seems to privilege literature, and imagine beginning with software some day in the future. (9-10) The theory and history of cinema serve as the key conceptual lens through which I look at new media. . . . Its overall method could be called digital materialism.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (19) 20110114 0 -10+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Kittler makes same convergence argument translating all existing media to numerical data; five principles: numerical representation, modularity, automation, variability, and cultural transcoding. (19) today we are in the middle of a new media revolution the shift of all culture to computer-mediated forms of production, distribution, and communication. . . . In contrast [to photography], the computer media revolution affects all stages of communication, including acquisition, manipulation storage, and distribution; it also affects all types of media texts, still images, moving images, sound, and spatial constructions.
(20) The translation of all existing media into numerical data accessible through computers. . . . This list reduces all principles of new media into five numerical representation, modularity, automation, variability, and cultural transcoding.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (78) 20131005t 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Language of cinema is moving images rather than print text. (78) This is consistent with a general trend in modern society toward presenting more and more information in the form of time-based audiovisual moving image sequences, rather than as text. As new generations of both computer users and computer designers grow up in a media-rich environment dominated by television rather than by printed texts, it is not surprising that they favor cinematic language over the language of print.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (112-113) 20131006 0 -7+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Study fresco and mosaic versus Renaissance painting to analyze different logics of hardwired, in place versus mobile virtual spaces. (112-113) The fact that the fresco and mosaic are hardwired to their architectural setting allows the artist to create a continuity between virtual and physical space. In contrast, a painting can be put in an arbitrary setting, and therefore, such continuity can no longer be guaranteed. . . . Therefore, if in the simulation tradition, the spectator exists in a single coherent space the physical space and the virtual space that continues it in the representational tradition, the spectator has a double identity. She simultaneously exists in physical space and in the space of representation.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (113) 20131006a 0 -5+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Amusement ride as another example of transition from panorama to VR. (113) In this respect, the nineteenth-century panorama can be thought of as a transitional form between classical simulations (wall paintings, human-size sculpture, diorama) and VR.
(114) Eventually, the VR apparatus may be reduced to a chip implanted in the retina and connected by wireless transmission to the Net. From that moment on, we will carry our prisons with us.
(115) Rather than disappearing, the screen threatens to take over our offices and homes. Both computer and television monitors are getting bigger and flatter; eventually, they will become wall-sized.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (125) 20131006c 0 -2+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Critique by Gombrich and Barthes of romantic ideal of artist creating totally from scratch; electronic art began from new principle of modifying already existing signals. (125) Ernst
Gombrich and Roland Barthes, among others, have critiqued the romantic ideal of the artist creating totally from scratch, pulling images directly from his imagination, or inventing new ways to see the world all on his own.
(126) In contrast, electronic art from its very beginning was based on a new principle:
modification of an already existing signal.

3 1 3 (+) [-4+]mCQK manovich-language_of_new_media (187-188) 20120828 0 -6+ progress/2011/01/notes_for_manovich-language_of_new_media.html
Compare his use of three approaches to studying cinema to techniques in the history of software and the software industry. (187-188) While for Bazin realism funcitons as an Idea (in a Hegelian sense), for Comolli it plays an ideological role (in a Marxist sense); for David Bordwell and Janet Staiger, realism in film is connected first and foremost with the industrial organization of cinema. . . . One of the advantages of adopting an industrial model is that it allows the authors to look at specific agents manufacturing and supplying firms and professional associations (250). The latter are particularly important, since it is in their discourses (conferences, trade meetings, and publications) that the standards and goals of stylistic and technical innovations are articulated.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (xii) 20121105 0 -7+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Hypermedia are profane resurrection of once-sacred models of communication; the medium is the message. (xii) However toddling they appear, contemporary instruments of hyper- and multimedia constitute a profane resurrection of those once-sacred models of communication. . . . In the rediscovered Grotesque art of the Middle Ages was heard the metaphor is deliberately mixed the first premonition of the famous proverb that would define the coming of the digital age a century later: the medium is the message.
(xiii) Recall that even before we began creating formal systems of visual signs systems that generate this very sentence-object you are now reading the language we use is woven from audible and visible elements.
(xiv) Computational systems are not designed like the first sentence of the previous paragraph.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (xiv) 20131005c 0 -5+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Print is flat but expresses human complexities requiring quantum models; code is deep but based on von Neumann architecture designed to negotiate disambiguated, fully commensurable signifying structures. (xiv) The empirical data of consciousness are texts and semiotic phenomena of all types - autopoetic phenomena, in the terms of Humberto Maturana and Francesco Varela. This book will argue that our classical models for investigating such data are less precise than they might be and that quantum dynamical models should be imagined and can be built.
(xv) Quantum poetics in this study does not signify certain figures and tropes that stimulated the practices of a certain group of historically located writers. On the contrary, it comprises a set of critical methods and procedures that are meant to be pursued and then applied in a general way to the study of imaginative work.
(xv) We propose to build it in the hope that it may stimulate others to develop and build more adequate critical tools.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (56) 20120909 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Expands on claim by Kittler that it is challenging to study media because the study itself takes place with and through media. (56) Their problems arise because they deploy a book form to study another book form. This symmetry between the tool and its subject forces the scholar to invent analytic mechanisms that must be displayed and engaged at the primary reading level for example, apparatus structures, descriptive bibliographies, calculi of variants, shorthand reference forms, and so forth.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (81) 20131005t 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Finally his point about what makes electronic texts special. (81) In a certain sense all editions end up doing that. Shakespeare and the Bible and our entire archive of textual works undergo repeated re-editing because we respond to the inadequacies and limits of previous editions.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (82) 20131005u 0 -1+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Ong and McLuhan make this point that only through study of new media systems are the limits and affordances of older media systems revealed. (82) We began our work of building the archive under an illusion or misconception in any case, a transparent contradiction: that we could know what was involved in trying to imagine what we didnƒt know.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (85) 20131005w 0 -6+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Gives example of making crucial design discoveries by playing with Photoshop deformations: does this relate to Hayles notions of transformations of subjectivity? (85) What is important and new about our electronic deformations, however, is their arbitrary character. . . . The deformed images suggest that computerized art editing programs can be used to raise our perceptual grasp of aesthetic objects.
(85) There are critical opportunities to be exploited in the random use of these kinds of deformation.

3 1 3 (+) [-4+]mCQK mcgann-radiant_textuality (89) 20120920 0 -9+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Image/text another expression of surface/depth; he invokes the Unix Mac split, and claims consciousness of this division is built into his project: putting aside his critical, his instrumental engagement with technology through texts if visual, oriented to sight rather than sound, although he does mention the audial a few times; mump down to his description of Mallarme equivocating digital and book characteristics, and the concept of the Ivanhoe Game as a model for future virtual reality digital humanities scholarship projects. (89) The computerized imagination is riven by this elementary split, as everyone knows. It replicates the gulf separating a Unix from a Mac world. It also represents the division upon which
The Rossetti Archive was consciously built.
(89) We arrived at two schemes for achieving what we wanted. One involved a piece of original software we would develop, now called Inote. The other plan was to develop an SGML markup design that would extend well beyond the conceptual framework of TEI, the widely-accepted text markup scheme that had spun off from SGML.
(89) The overlapping structures of literary works and their graphical design features are not easily addressed by TEI markup.
(90) Texts have bibliographical and linguistic structures, and those are riven by other concurrencies: rhetorical structures, grammatical, metrical, sonic, referential. The more complex the structure the more concurrencies are set in play.

3 1 3 (+) [-4+]mCQK mcluhan-understanding_media (58) 20120927 0 -3+ progress/1994/08/notes_for_mcluhan-understanding_media.html
East-side story quoted in Landow, though he misses the following West-side story that seems appropriate to effect of hypermedia on subjectivity. (58) That is only the East-side story, for the electric implosion now brings oral and tribal ear-culture to the literate West. Not only does the visual, specialist, and fragmented Westerner have now to live in closest daily association with all the ancient oral cultures of the earth, but his own electric technology now begins to translate the visual or eye man back into the tribal and oral pattern with its seamless web of kinship and interdependence.
(59) The oral manƒs inner world is a tangle of complex emotions and feelings that the Western practical man has long ago eroded or suppressed within himself in the interest of efficiency and practicality.

3 1 3 (+) [-4+]mCQK mcluhan-understanding_media (210) 20120926 0 -15+ progress/1994/08/notes_for_mcluhan-understanding_media.html
Easy to connect games to media and literary, dramatic, and oral performance: computer games instantiate the artificial paradise McLuhan describes; see Frasca, Murray, Hayles, Gee, Turkle, and many others who connect games to literature. (210) Games are a sort of artificial paradise like Disneyland, or some Utopian vision by which we interpret and complete the meaning of our daily lives.
(211) A game is a machine that can get into action only if the players consent to become puppets for a time. . . . Our games help both to teach us this kind of adjustment and also to provide a release from it. . . . Already the Freudian patterns of perception have become an outworn code that begins to provide the cathartic amusement of a game, rather than a guide to living.
(211-212) When cultures change, so do games. Baseball, that had become the elegant abstract image of an industrial society living by split-second timing, has in the new TV decade lost its psychic and social relevance for our new way of life.
(212) In contrast [to baseball], American football is nonpositional, and any or all of the players can switch to any role during play.
(212-213) Art and games need rules, conventions, and spectators. They must stand forth from the over-all situation as models of it in order for the quality of play to persist.

3 1 3 (+) [-4+]mCQK montfort_bogost-racing_the_beam (27) 20131024k 0 -1+ progress/2012/11/notes_for_montfort_bogost-racing_the_beam.html
Is McLuhan characterization of television theory skeumorphic, or does it merely echo prior concretized materialities? (27) As Marshall McLuhan mused, the scanning finger of the TV screen is at once the transcending of mechanism and a throwback to the world of the scribe.

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Anticipates new storyteller who is both hacker and bard; has the hacker motivation been shunted by availability of cultural software tools? (9) As I watch the yearly growth in ingenuity among my students, I find myself anticipating a new kind of storyteller, one who is half hacker, half bard. The spirit of the hacker is one of the great creative wellsprings of our time, causing the inanimate circuits to sing with ever more individualized and quirky voices; the spirit of the bard is eternal and irreplaceable, telling us what we are doing here and what we mean to one another.

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Universal fantasy machine of Star Trek holodeck to go with Bush memex, Nelson Xanadu and other imagined equipment. (15) The
Star Trek holodeck is a universal fantasy machine, open to individual programming: a vision of the computer as a kind of storytelling genie in the lamp.

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The fear accompanying new representational technologies. (18) The paralyzing alien kiss is the latest embodiment of the fear with which we have greeted every powerful new representational technology from the bardic lyre, to the printing press, to the secular theater, to the movie camera, to the television screen.
(18) Aldous Huxleyƒs
Brave New World (1932), set six hundred years from now, describes a society that science has dehumanized by eliminating love, parenthood, and the family in favor of genetic engineering, test-tube delivery, and state indoctrination.
(21) For Huxley and Bradbury, the more persuasive the medium, the more dangerous it is. As soon as we open ourselves to these illusory environments that are as real as the world or even more real than reality, we surrender our reason and join with the undifferentiated masses, slavishly wiring ourselves into the stimulation machine at the cost of our very humanity.

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Frightening future not of technologized docility but violent fragmentation; compare to Edwards cyborg narratives. (21-22) Starting in the 1970s and 1980s, the same fears provoked by the advent of film and television began to be expressed against videogames, which added interactivity to the sensory allures of sight, sound, and motion. . . . The nightmare vision of a future totalitarian state has been replaced by the equally frightening picture of a violently fragmented world organized around cyberspace, where ruthless international corporations, secret agencies, and criminal conspiracies struggle for control.

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Multiform story presenting single situation in multiple versions has many examples prior to electronic versions. (30) I am using the term
multiform story to describe a written or dramatic narrative that presents a single situation or plotline in multiple versions, versions that would be mutually exclusive in our ordinary experience. Perhaps the best-known example of a multiform plot is Frank Capraƒs beloved Christmas story, Itƒs a Wonderful Life (1946).
(30) But for many postmodern writers, the quintessential multiform narrative is the much darker story in Jorge Borgesƒs The Garden of Forking Paths (1941).
(34) Part of the impetus behind the growth of the multiform story is the dizzying physics of the twentieth century, which has told us that our common perceptions of time and space are not the absolute truths we had been assuming them to be.

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Jenkins prosumer texual poaching makes global fanzine of WWW. (41) This textual poaching, as media critic Henry
Jenkins has called it, has become even more widespread on the World Wide Web, which functions as a global fanzine.

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Turkle MUD studies reveal evocative environments; one day do a study of the SCA. (44) As the social psychologist Sherry
Turkle has persuasively demonstrated, MUDs are intensely evocative environments for fantasy play that allow people to create and sustain elaborate fictional personas over long periods of time.

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Strategic use of sound and music to achieve immersion in games to be like movie amusement rides. (53-54) On the other hand, some game designers are making good use of film techniques in enhancing the dramatic power of their games. For instance, the CD-ROM game
Myst (1993) achieves much of its immersive power through its sophisticated sound design. . . . The music shapes my experience into a dramatic scene, turning the act of discovery into a moment of dramatic revelation.

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Examples of virtual reality installations, AI experiments, interactive narrative demonstrate storytelling by computer scientists (Laurel and Strickland). (59) Researchers in fields like virtual reality and artificial intelligence, who have traditionally looked to the military for technical challenges and funding, have recently turned from modeling battlefields and smart weapons to modeling new entertainment environments and new ways of creating fictional characters.
(59-60) The bicycle interface [at Mitsubishi Electronics Research Laboratory] acts like the vehicles in a movie-ride in that it makes the distances seen on the screen seem much more concrete by tying the visual movement to a kinetic environment. However, here the world is not built for adrenaline rushes but for socializing exploration.
(60-61) One of the most intriguing such installations is the
Placeholder world created by Brenda Laurel and Rachel Strickland for Interval Research Corporation in California. Laurel, who holds the worldƒs first Ph.D. in interactive narrative, has been designing games and user interfaces since the 1970s. . . . Once inside the Placeholder world, they can enter the bodies of virtual animals and move as they move.
(61) Perhaps the least encumbered holodeck experience available right now is in front of the twelve-foot computer screen set up by the ALIVE project of MITƒs Media Lab as a magic mirror in which interactors see their own reflection placed beside the cartoon images of virtual characters designed in the lab.
(62) When the Media Lab setup is not in use for these advanced projects, graduate students play
Doom by projecting its cavelike landscape on the screen and standing in front of it holding a plastic gun.

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Weizenbaum ELIZA demonstrated procedural property of digital environments. (72) Weizenbaum stands as the earliest, and still perhaps the premier, literary artist in the computer medium because he so successfully applied procedural thinking to the behavior of a psychotherapist in a clinical interview.
(73-74) The lesson of ELIZA is that the computer can be a compelling medium for storytelling if we can write rules for it that are recognizable as an interpretation of the world. The challenge for the future is how to make such rule writing as available to writers as musical notation is to composers.

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Differences between compiled and interpreted code to introduce participatory property of digital environments. (76) Compiling your code before running it is like writing a book and then hiring someone to translate it for your readers. Using an interpreter is the equivalent of giving a speech with simultaneous translation. It provides more direct feedback from the machine and a more rapid cycle of trail and revision and retrial. . . . Running LISP on a time-sharing system meant that its dynamic interpreter could immediately return an evaluation of any coded statement you typed into it.

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Object orientation implicit in LISP facilitated the game design; also discusses demon processes. (78) Because LISP programmers were among the first to practice what is now called object-oriented software design, they were well prepared to create a magical place like the world of
Zork. That is, it came naturally to them to create virtual objects such as swords or bottles because they were using a programming language that made it particularly easy to define new objects and categories of objects, each with its own associated properties and procedures.
(78) In fact, most interactive narrative written today still follows a simple branching structure, which limits the interactorƒs choices to a selection of alternatives from a fixed menu of some kind.

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Narrative constraints scripting the player necessary to create a virtual world with the available resources; Wardrip-Fruin, Bogost and many other depart from this early conclusion. (79) The lesson of
Zork is that the first step in making an enticing narrative world is to script the interactor. . . . By using these literary and gaming conventions to constrain the playersƒ behaviors to a dramatically appropriate but limited set of commands, the designers could focus their inventive powers on making the virtual world as responsive as possible to every possible combination of these commands.

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Encyclopedic characteristic of digital environments evidenced by fan culture. (84-85) One early indication of the suitability of epic-scale narrative to digital environments is the active electronic fan culture surrounding popular television drama series. As an adjunct to the serial broadcasting of these series, the Internet functions as a giant bulletin board on which long-term story arcs can be plotted and episodes from different seasons juxtaposed and compared.
(85) But as the Internet becomes a standard adjunct of broadcast television, all program writers and producers will be aware of a more sophisticated audience, one that can keep track of the story in greater detail and over longer periods of time.

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Authority of constraints bestowed by programmed environment create illusion of complete coverage, but hide political and design assumptions as SimCity critics point out. (88) Simulations like these take advantage of the authority bestowed by the computer environment to seem more encyclopedically inclusive than they really are. As its critics pointed out, the political assumptions behind
SimCity are hidden from the player. . . . Nevertheless, the basic competitive premise of the game is not emphasized as an interpretive choice.
(89-90) But the encyclopedic capacity of the computer can distract us from asking why things work the way they do and why we are being asked to play one role rather than another. . . .

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Rehearses the story of Bush Memex and Nelson Xanadu. (91) This earliest version of hypertext reflects the classic American quest a charting of the wilderness, an imposition of order over chaos, and the mastery of vast resources for concrete, practical purposes.
(91) He [Nelson] sees associated organization as a model of his own creative and distractible consciousness, which he describes as a form of hummingbird mind. . . . Nelsonƒs vision of hypertext is akin to William Faulknerƒs description of novel writing as a futile but noble effort to get the entire world into one sentence.

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Eliot objective correlative for capturing emotional experience in cluster of events in literary works; how this operates in hypermeida an gamelike features of simulation remains unstudied and incunabular. (93) T.S. Eliot used the term objective correlative to describe the way in which clusters of events in literary works can capture emotional experience. . . . The more we see life in terms of systems, the more we need a system-modeling medium to represent it and the less we can dismiss such organized rule systems as mere games.
(93) Current narrative applications overexploit the digressive possibilities of hypertext and the gamelike features of simulation, but that is not surprising in an incunabular medium.

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Learning to swim in participatory immersive environments. (98-99) The experience of being transported to an elaborately simulated place is pleasurable in itself, regardless of the fantasy content. We refer to this experience as immersion. . . . But in a participatory medium, immersion implies learning to swim, to do the things that the new environment makes possible.

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Discussion of LARP mechanics regulating arousal suggest study the SCA as real virtual reality. (122) In live-action role-playing games, the narrative conventions that control the boundary between the real world and the illusion are called mechanics.
LARP mechanics are a kind of abstract mimicry for behaviors that would otherwise require props, danger, or physical involvement.
(125) The computer is providing us with a new stage for the creation of participatory theater. We are gradually learning to do what actors do, to enact emotionally authentic experiences that we know are not real.

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Aesthetic pleasure of agency, pleasures of navigation, story in mazes (Borges pullulating web), rapture of rhizome are characteristics of electronic narratives and games. (128-129) Agency, then, goes beyond both participation and activity. As an aesthetic pleasure, as an experience to be savored for its own sake, it is offered to a limited degree in traditional art forms but is more commonly available in the structured activities we call games. Therefore, when we move narrative to the computer, we move it to a realm already shaped by the structures of games. Can we imagine a compelling narrative literature that builds on these game structures without being diminished by them?

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Games as symbolic dreams include interesting interpretation of Tetris as enactment of overtasked American lives and rain dance of postmodern psyche. (144) Tetris allows us to symbolically experience agency over our lives. It is a kind of rain dance for the postmodern psyche, meant to allow us to enact control over things outside our power.
(144-145) The violence and simplistic story structure of computer skill games are therefore a good place to examine the possibilities for building upon the intrinsic symbolic content of gaming to make more expressive narrative forms.

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Constructivism exemplar MMORPGs virtually instantiate the well-run LARP game; how does her prediction fit with decline in popularity of Second Life and rise of casual construction games? (151) Perhaps the most successful model for combining player agency with narrative coherence is a well-run LARP game.
(152) Producing such systems will require the union of computer science expertise with participatory storytelling artistry.

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Attribution of procedural authorship by interactor mistakes agency in digital narrative for content and game mechanics creation. (152-153) Authorship in electronic media is procedural.
Procedural authorship means writing the rules by which the texts appear as well as writing the texts themselves. . . . The procedural author creates not just a set of scenes but a world of narrative possibilities.
(153) Contemporary critics are attributing authorship to interactors because they do not understand the procedural basis of electronic composition. The interactor is not the author of the digital narrative, although the interactor can experience one of the most exciting aspects of artistic creation - the thrill of exerting power over enticing and plastic materials. This is not authorship but agency.

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Kaleidoscopic subjectivity may be emerging transformation facilitated by computer media experience from print based single perspective fixity. (161-162) We no longer believe in a single reality, a single integrating view of the world, or even the reliability of a single angle of perception. Yet we retain the core human desire to fix reality on one canvas, to express all of what we see in an integrated and shapely manner. The solution is the kaleidoscopic canvas that can capture the world as it looks from many perspective complex and perhaps ultimately unknowable but still coherent.

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Compare transformative power of enactment in virtual realities to Gee projective identity. (170-171) Enacted events have a transformative power that exceeds both narrated and conventionally dramatized events because we assimilate them as personal experiences. The emotional impact of enactment within an immersive environment is so strong that virtual reality installations have been found to be effective for psychotherapy. . . . The inner changes brought on by such experiential learning then allow them to apply the same behaviors to the real world.
(173) The goal of mature fictional environments should not be to exclude antisocial material but to include it in a form in which it can be engaged, remodeled, and worked through.

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Can there be sense of tragic inevitability in digital narrative, Eco sense of destiny, thinking of Ryan? (178) Could a digital narrative offer a higher degree of agency while still preserving the sense of tragic inevitability? Can we have an interactive story that still retains what Umberto Eco calls its sense of destiny?
(179-180) What is more, a digital narrative could capture something we have not been able to fix as clearly in linear formats: not just a tragic hero or a tragic choice but a tragic process.

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Bardic recreations from underlying pattern better model for cybertexts than fixed work model of print texts; authorship also shifts from individual performer, as IT integration, to milieu of working code. (194) But what it conserves is not a single particular performance but the underlying patterns from which the bards can create multiple varied performances. Their success in combining the satisfactions of a coherent plot with the pleasures of endless variation is therefore a provocative model of what we might hope to achieve in cyberspace. To do so we must reconceptualize authorship, in the same way Lord did, and think of it not as the inscribing of a fixed written text but as the invention and arrangement of the expressive patterns that constitute a multiform story.

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CMU Oz group envisioned by Stephenson in Diamond Age. (202) The Oz group [at CMU] is attempting to create a system that a writer could use to tell stories that would include an interactor, a story world with its own objects, computer-based characters who act autonomously, and a story controller that would shape the experience from the perspective of the interactor.

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Computer is performance instrument expertly manipulated by cyberbard following moral physics, not autonomous source of plot. (207) Since plot is a function of causality, it is crucial to reinforce the sense that the interactorƒs choices have led to the events of the story. . . . Stories have to have an equivalent moral physics, which indicates what consequences attach to actions, who is rewarded, who is punished, how fair the world is.
(207-208) By generating multiple stories that look very different on the surface but that derive from the same underlying moral physics, an author-directed cyberdrama could offer an encyclopedic fictional world whose possibilities would only be exhausted at the point of the interactorƒs saturation with the core conflict. The plots would have coherence not from the artificial intelligence of the machine but from the conscious selection, juxtaposition, and arrangement of elements by the author for whom the procedural power of the computer makes it merely a new kind of performance instrument.

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Over a decade later this prediction has not been realized; instead, non-immersive social media forms an accompaniment rather than replacement reality. (271-272) As the virtual world takes on increasing expressiveness, we will slowly get used to living in a fantasy environment that now strikes us as frighteningly real. But at some point we will find ourselves looking through the medium instead of at it. . . .

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Her vision of Hamlet on the holodeck is stories emerging from whole system simulation. (280-281) The most ambitious promise of the new narrative medium is its potential for telling stories about whole systems. The format that most fully exploits the properties of digital environments is not the hypertext or the fighting game but the simulation: the virtual world full of interrelated entities, a world we can enter, manipulate, and observe in process. We might therefore expect the virtuosos of cyberdrama to create simulated environments that capture behavioral patterns and patterns of interrelationships with a new clarity.
(281) But twentieth-century science has challenged our image of ourselves and has perhaps outrun our ability to imagine our inner life. A linear medium cannot represent the simultaneity of processing that goes on in the brain the mixture of language and image, the intimation of diverging possibilities that we experience as free will.
(282) The narrative imagination has the power to play leapfrog with analytical modes of understanding. . . . the coming cyberdrama may help us reconcile our subjective experience of ourselves with our rapidly expanding scientific knowledge of biology. . . . A computer-based literature might help us recognize ourselves in the machine without a sense of degradation.
(283) Finally, the experience of the Habitat community described in chapter 9 suggests that the collective virtuosity of the role-playing worlds may provide a tradition of stories around the themes of violence and community.
(284) But it is first and foremost a representational medium, a means for modeling the world that adds its own potent properties to the traditional media it has assimilated so quickly.

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Born from Frankfurt school; compare E-Crit interdisciplinary program architected by OGorman combining English, Communications, CIS, and Fine Art to DH programs Hayles surveys in How We Think. (xiii) E-Crit is an interdisciplinary program that combines English, Communications, Computer Information Systems, and Fine Art.
(xiii) (endnote 1) the term ƒnew mediaƒ is historically determined.
(xiii-xiv) E-Crit was born out of the Frankfurt School / poststructuralism sensibility of two of my colleagues and their students, who positioned resistance and vigilant critique as the cornerstones in a new media studies curriculum that opposes the compartmentalization of knowledge. . . . The goal, then, is to position discourse in such a way that it can play a formative role in reshaping the academic apparatus.

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Failure of theory; recall the readings for A Companion to Digital Humanities. (xv) One way of explaining this sense of disappointment in the ƒfailure of theoryƒ is to investigate how attempts to apply deconstruction toward the materialization of revolutionary scholarly practices have been largely ineffectual. . . somewhere in the early 1990s, the major tenets of deconstruction (death of the Author, intertextuality, etc.) were displaced into technology, that is, hypertext. Or to put it another way, philosophy was transformed, liquidated even, into the materiality of new media. This alchemical transformation did not result in the creation of new, experimental scholarly methods that mobilize deconstruction via technology, but in an academic fever for digital archiving and accelerated hermeneutics, both of which replicate, and render more efficient, traditional scholarly practices that belong to the print apparatus.

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Remainder is other of scholarly language, deemed cute, junvenile, like Pataphysics, unstylish poststructual writing, what I call VSP. (4) All of the linguistic tools that account for the poetics of this study - a poetics I have called hypericonomy - might be classified under what Jean-Jacques Lecercle has termed ƒthe remainderƒ of language. Puns, anagrams, false etymologies, macaronics, and metaphor of all breeds fall into this repressed category, this ƒother of languageƒ (99). More importantly here, the remainder is the ƒotherƒ of academic or scholarly language. It is deemed as nonsense or rubbish, classified as ƒcuteƒ or juvenile, the stuff of childrenƒs literature, fantasy, and folklore, and lately, as unstylish poststructural writing.

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Material, representational, pictorial remainder of scholarly discourse includes rejected submissions to refereed journals and conferences, yet must eventually distinguish between misunderstood and junk. (6) Since the essay I submitted to the journal was non-traditional from an academic perspective, the refereeƒs comments, as reproduced here, should act as a sort of warning for the inventors of new modes of academic discourse, namely, this is what to expect when you submit ƒremainder-workƒ to a traditional journal. . . . The first type of remainder is taken directly from Lecercle and Deleuze/Guattari, and it relates to the rhizomatic principle of structure disdained by traditional, rigorous humanities scholars: the structural remainder. The second type is more grammatological in nature; it concerns the repressed technological element of humanities scholarship, and the resistance of scholars to certain communications technologies: the material remainder. The third type of remainder, which is closely allied to the second, accounts for a great deal of the theoretical writing in this book: the representational remainder of scholarly discourse, which might also be termed the pictorial remainder.

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Attempt to write Manovich language of new media. (8) My submission was, to borrow Lev Manovichƒs term, an attempt to write (in) the language of new media. The suggestion that it should be ƒput into conventional essay form . . . . before it goes deconstructiveƒ is indicative of the refereeƒs oppressive print-centricity.
(9) As I will argue throughout this book, it is a definitive characteristic of traditional scholars to reject any mode of discourse that diverges from the path of the conventional, hierarchical essay format.

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This good sense of nonsense of Deleuze seems like a special kind of intellectual, intentional nonsense rather than the ramblings of a drug-crazed, street corner schizophrenic; I think of a certain story by Paul Auster. (14) sense, according to
Deleuze, is present in every utterance, even in so-called nonsense, which should not be understood as lack of sense (or direction) at all, but as an overproduction of sense (indirection=too many directions at once, no single direction). . . . It is in this sense that the language of new media, with its multi-discursive, diachronic structure, is nonsensical.
(16) The
who of good sense is obvious, then, and the why might be answered by pointing to the history and tradition of scholarly discourse, with its roots in early print technology and the structure of the first universities. But there are other, more political, more confrontational answers to this why of scholarly discourse, which have to do with the unlikely coupling of traditionalists who seek to maintain a certain complacent, bourgeois, academic status quo, and techno-bureaucratic university administrators seeking to run a viable business.

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What Heidegger dreaded as a technological language machine taking over all discourse including the repose of poetry and scholarship, namely Kittler Republic of Scholars. (20) This is the episteme of what Friedrich
Kittler has called the Republic of Scholars, a republic entirely committed to ƒendless circulation, a discourse network without producers or consumers, which simply heaves words aroundƒ (Kittler 1990: 4). It is this form of scholarly discourse, this discursive circuit, which renders itself visible through the production of banal treatises and dissertations.
(21) To put it in the bluntly economic terms of Katherine
Hayles, we are in a situation of ƒtoo many critics, too few texts,ƒ and the result has not been innovation, but repetition, recycling, and reduction.

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Definition of heuretics. (21) (endnote 5) a
definition of heuretics . . . ƒWithout relinquishing the presently established applications of theory in our disciplines (critique and hermeneutics), heuretics adds to these critical and interpretive practices a generative productivity of the sort practiced in the avant-gardeƒ (Ulmer 1994a: xii).

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Ulmer electracy introduced in endnote. (25) (endnote 8) Gregory Ulmer, who coined the term ƒelectracy,ƒ explains it in the following manner: ƒIn the history of human culture there are but three
apparatuses: orality, literacy, and now electracy. We live in the moment of the emergence of electracy, comparable to the two principle moments of literacy (The Greece of Plato, and the Europe of Galileo)ƒ.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (25) 20131006n 0 -1+ progress/2008/09/notes_for_ogorman-ecrit.html
This as any classicist will tell you is an incorrect plural form of the fourth-declension noun apparatus: does it matter that OGorman circulates this error? (25) (endnote 8) Gregory Ulmer, who coined the term ƒelectracy,ƒ explains it in the following manner: ƒIn the history of human culture there are but three
apparatuses: orality, literacy, and now electracy.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (26) 20131006o 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
You have to be familiar with them in order to visualize the graph, and still may be a flaw of picture theory. (26) imagine the various intersections, linkages, and lines of flight incited by the following plotting of points on a graph: from Jonathan Craryƒs historical evalution of ƒScopic Regimesƒ to W.J.T. Mitchellƒs identification of a ƒpictorial turnƒ; from E.H. Gombrichƒs theory of the ƒmental setƒ to Rosalind Krausƒs ƒoptical unconscious.ƒ
(26) There is no print-based artifact so accommodating that it could represent the complex network of possibilities posed by the intersection of the various texts that I wish to gather here under the aegis of picture theory.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (29) 20131006p 0 -5+ progress/2008/09/notes_for_ogorman-ecrit.html
Under Gombrich mental set inidividual vision form of projection attempting to match shapes in field of vision to mental schemata. (29) Gombrichƒs crucial theoretical contribution to this study is the ƒmental set,ƒ a subjective ƒhorizon of expectationƒ (60) that guides an individualƒs optical impressions. Vision, in Gombrichƒs model, is a form of projection, and each individual possesses mental schemata against which s/he attempts to match the shapes in her/his field of vision. Thus, that which ƒwe call reading an image,ƒ Gombrich suggests, ƒmay perhaps be better described as testing it for its potentialitiesƒ (227).
(30) There are, however, certain methods of classification within ƒthe filing systems of our mindƒ (Gombrich 1969: 105) that are not culturally determined, but that are entirely personal and subjective, the result of an individualƒs psychic experience. These mental images may not even be recognized by the individual herself, although they may have radical effects on the way she organizes visual stimuli.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (31) 20131006q 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
Recall Hayles attack on Shannon model of communication where neither the sender nor the receiver play any role in massaging the medium or the message: of course this model exists for the sake of emphasizing the external, material, technological components of the system that is the object of electrical engineering. (31) In order to withstand the image bombardment being deployed in the current mediascape, readers and viewers must possess a means of filtration that will allow them to consciously organize visual information and arrange it into manageable patterns. But in order to develop such an apparatus, it seems that a reader must dismiss the notion of transparent communication, and accept the impossibility of a universal perspective, or of ƒa purely responsive act of reading - an act which will decode the transmission in precisely the way that the sender desiresƒ (McGann 1991: 37).

3 1 3 (+) [-4+]mCQK ogorman-ecrit (33) 20131006r 0 -3+ progress/2008/09/notes_for_ogorman-ecrit.html
Barthes claims image always subordinated to encapsulating written text. (33) The image, he [
Barthes] insists, is always subordinated to the message imposed upon it by the written text, whether it is a caption, a headline, or some other written form.
(34) Despite the apparent ingenuousness of Magritteƒs painting [
La trahison des images], Foucault identifies it as a dialectical enigma, a scene of seduction into which the viewer is irresistibly drawn.
(34) When, years after painting
La trahison des images, Magritte moved his pipe and caption to a blackboard mounted on an easel, it is as if he was directly targeting the academic apparatus, taunting it with a form of discourse which it could not possibly accommodate.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (34) 20131006s 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Mitchell metapicture exemplified by Foucault not a pipe essay, instructing us about relation between image and text, also hypericon. (34) According to W.J.T.
Mitchell, Foucaultƒs short essay [ƒCeci nƒest pas une pipeƒ] demonstrates that La trahison des images is not only a metapicture, a picture about pictures that instructs us on the ƒinfinite relationƒ between image and text; it is also a hypericon that ƒprovides a picture of Foucaultƒs way of writing and his whole theory of the stratification of knowledge and the relations of power in the dialectic of the visible and the sayableƒ (1994: 71).
(37) what I am seeking in the development of a new mode of academic discourse lies between Druckerƒs ƒseriousƒ theoretical work and her artistsƒs books.
(39) At the beginning of each chapter of
The Optical Unconscious, we find an icon - a detail from a painting, drawing, or photograph - that serves as the title. The title of each chapter, then, is represented by a pictorial mise en abyme, a conceptually - and ideologically - loaded image that captures the central argument of each chapter.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (49) 20131006w 0 -5+ progress/2008/09/notes_for_ogorman-ecrit.html
Rather than allow the default to prevail in humanities scholarship, invent new methods to shape the digital apparatus as did the scholarly method of Ramus for print apparatus. (49) New media have done little to alter the practices of humanities scholars, except perhaps by accelerating - by means of more accessible databases - the rate at which hermeneutics can be performed. . . . Just as Ramusƒs scholarly method had a great influence in shaping a print apparatus that has persisted for five centuries, might it not be possible to invent scholarly methods to shape the digital apparatus?

3 1 3 (+) [-4+]mCQK ogorman-ecrit (74) 20131007d 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
That this figure occurs in a text means, minimally, a picture (ta zoographia) is involved. (74) figure 4.1) Wendy and Michael Magnifier, 1998: McDonaldƒs
Peter Pan Happy Meal toy.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (76) 20131007e 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
Heim historical drift and gains and losses expressed as shifts in hierarchy of cognitive processes; relate to decline of symbolic cognitive in favor of iconic and visual noted by Manovich. (76) My argument, then, is not that visual media have made us, or our children, more intelligent than our predecessors, but that development in the materiality of media lead to shifts in the hierarchy or matrix of cognitive processes.
(77) The
camera obscura, as described by Krauss, might serve as a convenient hypericon for encapsulating the classical understanding of visuality which the avant-garde challenged.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (78) 20131007f 0 -2+ progress/2008/09/notes_for_ogorman-ecrit.html
Influence of Lacan in Krauss Optical Unconscious? (78) In
The Optical Unconscious, Krauss relies heavily on the work of Max Ernst in order to demonstrate the surrealistsƒ undoing of the figure/ground binary.
(80) the contemporary popularity of surrealist imagery which stunned and baffled its initial audience, demonstrates the advanced level of optical sophistication possessed by the average contemporary consumer.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (86) 20131007l 0 -7+ progress/2008/09/notes_for_ogorman-ecrit.html
Semiotic square too rigid for 1/0 example, use Ulmer choral square popcycle. (86) The semiotic square, employed on its own, is a much too rigid and positivist apparatus. For this reason, 1\0 relies heavily on a more pliable apparatus known as the ƒchoral square.ƒ The choral square, which first appears in Ulmerƒs Heuretics, is a descendant of Platoƒs notion of chora, which was picked up by Jacques Derrida. Like the mnemonic strategy of classical rhetoric or oratory, chorography relies upon the generative potential of a specific place. In Ulmerƒs chorography, the subject provides the place of invention, with the intention of generating a poetics. The term place here is somewhat inadequate, however, since it actually refers to the space of a quadripode graph which Ulmer calls the popcycle, and within which the chorographer (or mystorian) plots him/herself by filling in the following coordinates or slots: ƒFamily, Entertainment, School, Discipline.ƒ
(86-87) What really matters for the sake of mystory, however, is that the categories are filled in before the project actually begins, and they are pursued faithfully as if they formed a set of rules for the deployment of the project.

3 1 3 (+) [-4+]mCQK ogorman-ecrit (90) 20131007p 0 -9+ progress/2008/09/notes_for_ogorman-ecrit.html
This is the connection between OGorman avant-garde method and science of Freud and Lacan, which poststructuralists will endorse, stating like a political ad, I am poststructuralism, and I approve of this message. (90) Lacan frequently employed images to instill this ƒ
sublime of stupidityƒ in his audience. On the cover of each volume of his seminars, for example, is a hypericonic image taken from classical painting - an ƒorganizing image of the discourse, not to be interpreted but to serve as a point of departure for working through a theoretical problemƒ (Ulmer 1989: 194). . . . In Lacanƒs mnemonic technique, we have the precursor, the theoretical bud, of which hypericonomy is indeed in full bloom.
(94) Could it be that to produce a hypericonomy of this sort is to place oneself in the presence of a sublime object? An object which, in the Kantian/Derridean sense, invokes a ƒviolence done to the sensesƒ (Derrida 1987: 130)? An object beyond the grasp of comprehension, beyond calculation and without end?

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (XIII) 20131008a 0 -5+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Foreword: Ulmer sums up term cool as chorally defined. (XIII) Analogy in this case is filled with an array of the creative practices that Rice summarizes in the term
cool, defined, as he notes, chorally (that is, using every meaning of the term). . . . At one level the approach reminds us of one of the peculiarities of our discipline, which is that we study about our inventors but rarely consider learning anything from them with respect to our own practices.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (8) 20131008b 0 -1+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Rice admits to be inventing a new media writing that advances the agenda he and Ulmer care about. (8) With cool, I find that chora, appropriation, juxtaposition, commutation, nonlinearity, and imagery are the rhetorical moves that comprise a specific new media writing I am inventing.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (13) 20131008c 0 -8+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
McLuhan use of cool for high-participatory nature of media forms like television, telephone, comic books joined with detached, calm African-American reaction to white authority: both moments excluded from historical narrative of composition studies. (13) Marshall
McLuhan employed cool to describe the high-participatory nature of certain media forms (TV, the telephone, comic books) as opposed to the low-participatory characteristic of other forms he called hot (film, radio, print). At the same time, in Blues People, Amiri Baraka used cool to describe the African-American reaction to a white, oppressive authority as calm, noninvolved, detached. Meanwhile, Robert Farris Thompson, working in West Africa and later recording his observations in Flash of the Spirit, discovered that African-American terms like cool have their origins in indigenous, African societies such as the Yoruba, who use it as a form of visual writing in order to express in art and aesthetics a lifestyle characteristic of appeasement, conciliation, and calmness. Together, these writers discover cool as something beyond its immediate and established connotations of popularity or personality. . . . Yet why have these moments found themselves excluded from composition studiesƒ historical narrative?

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (14) 20131008d 0 -2+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Digital problem version of Havelock oral problem is importance of rhetorics of digital culture despite lack of attention by composition studies. (14) What Havelock calls the oral problem (the importance of orality and its history to literacy and meaning making), I call the digital problem, the understanding that rhetorics of digital culture have been circulating and discussed since the fieldƒs rebirth even if composition studies has not paid attention to these rhetorics in a significant way.
(16) Iƒm not critiquing North when I problematize the grand narrative; I am critiquing how that narrative remains unchallenged and accepted as de facto history, how its recitation continues to be sounded out in our conferences, journals, and work, how it has become, in Foucaultƒs language, the permanence of a theme.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (23) 20131008e 0 -4+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Important 1963 works by Weaver, Booth and Corbett on composition research that seemed to miss technological, visual, and cultural influences surrounding their claims. (23) Basing their studies on the concept of the student as variable, these texts
[Research in Written Composition and Themes, Theories, and Therapy], which have become two of the most influential 1963 theoretical works on composition pedagogy, attempt to transfer composition pedagogy from a hodgepodge collection of anecdotes and teaching stories to the clear and coherent reasoning of how classroom practice can best succeed. They keyword in this kind of research is control, control over who and what are being studied, and control over how these studies are employed to maintain some degree of standardized practice.
(25) I am curious as to how those individuals writing in 1963 could have missed the technological, visual, or cultural influences occurring around them
as they made their claims.
(27) The unification of theory and practice is a widely circulated trope seldom acted upon in the manner I am attempting: to write both a textbook and a theoretical book on the same subject.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (28-29) 20131008f 0 -6+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Follow Manovich drawing attention to general tendencies of computerized culture by introducing six rhetorical principles conductive to cool. (28-29) Like Lev
Manovich in his influential text The Language of New Media, I want to draw attention to specific rhetorical features conducive to new media what Manovich calls the general tendencies of a culture undergoing computerization (27). In place of Manovichƒs interests in databases, variability, transcoding, and other applications, I discuss these six rhetorical principles I have found conducive to cool. . . . To produce knowledge in what McLuhan names The Gutenberg Galaxy, we are obligated to learn the rhetoric of a newly emerging electronic apparatus centered in acts of appropriation, sampling, hacking, and other related moves.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (33) 20131008g 0 -5+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Danger in dependence on topoi, which served print-based writing instruction well, in age of new media. (33) The topoi have served print-based writing instruction by allowing students (and often instructors) the ability to work from a common repository of ideas. . . . But, as I will show, the danger might be more with our dependence on the topoi in the age of new media.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (33-34) 20131008h 0 -9+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Chora is Ulmer inspired hyper-rhetoric practice updating topoi: associative, engaged meanings, discovering juxtapositions, hyperlinked, performative. (33-34) Cool as cultural studies, cool as technology, and cool as visual writing all individually operate from different topos-based positions. My usage of all these positions at once is associative, not categorical or permanent, as the Aristotelean method demands. Gregory
Ulmer names this strategy I employ chora, a hyper-rhetoric practice that updates the topoi for new media. . . . Ulmer names this electronic writing practice chorography and offers a set of instructions for how to be a chorographer: do not choose between the different meanings of key terms, but compose by using all the meanings (Heuretics 48).
(35) Cool media operate by a choral logic: Users of a given termƒs various meanings must actively engage with those meanings in rhetorical ways, discovering unfamiliar and unexpected juxtapositions of these meanings as they compose. Readers, too, respond to chora in a participatory manner unlike typical definitions of meaning or analytical understandings.

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (42) 20131008i 0 -9+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Ironically, his map of cool/ituti is all made of words rather than images. (42) Cool, or
ituti, indicates a form of visual writing employed in order to express in art and aesthetics a lifestyle characteristic of appeasement, conciliation, and calmness. Yoruban culture articulated cool as a visual aesthetic in sculpture, weaving, and dance. . . . Any kind of computer-oriented rhetoric must account for the iconic display of information. . . .

3 1 3 (+) [-4+]mCQK rice-rhetoric_of_cool (43-44) 20131008j 0 -6+ progress/2009/02/notes_for_rice-rhetoric_of_cool.html
Ramist handbook hinders inventive rhetorical moves: what did Foucault say about the specificity of Greek hypomnemata? (43-44) Too concerned with the division and arrangement of separate and distinct categories to study (which we can today recognize as modes, process, punctuation, or types of grammatical error), the Ramist tradition hinders the handbookƒs potential to voice inventive rhetorical moves and gestures. . . . Both McLuhan and Burroughs situate the handbook as a new media collection whose role is to demonstrate and teach rhetorical production.
(44) The focus of these assignments is the exploration of a given term (which is up to the studentƒs discretion) relevant to the studentƒs area of study (Nursing, Education, Accounting, Biology, etc.

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All meaning exchangeable like memory in a computer, thus the importance of the dynamically redrawn video screen supplanting the teletype and static, printed page: connection to Baudrillard cool discourse, which no doubt connects to McLuhan as well. (96) Cool discourse, as Baudrillard defines it, challenges writing instruction to reimagine the notion of a permanent writing space based on a fixed (and real) experience.
(97)
Rolling Stoneƒs point is that cool is allusive and indefinable, yet even so, the magazineƒs arbitrary categories and ability to shift selections from one list to another indicates that cool is an exchangeable rhetorical act.

3 1 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (54-55) 20140105g 0 -1+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Digital recording fundamentally different phenomenon than analog; like virtual communication of last chapter and formant synthesis. (54-55) But the problem is not that the digital recording is not good enough it is that itƒs a fundamentally different phenomenon from the analog one.

3 1 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (77-78) 20140107d 0 -5+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Reliance on familiar brands, trusted authorities, generic symbols to gain bearings due to abstraction and lack of local interaction. (77-78) On a more subtle level, the abstraction intrinsic to the digital universe makes us rely more heavily on familiar brands and trusted authorities to gain our bearings. . . . Learning, orienting, and belonging online depend on universally accepted symbols or generically accessible institutions.

3 1 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (78) 20140107e 0 -1+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
All media are biased toward abstraction, representing other media. (78) In fact, all media are biased toward abstraction in one way or another.

3 1 3 (+) [-4+]mCQK rushkoff-program_or_be_programmed (80) 20140107f 0 -4+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Hypermedia disconnection from author and context, forming nexus of abstracted connections, a world of symbols about symbols; think in terms of Benjamin aura and postmodern simulacrum. (80) Finally, the digital age brings us hypertext the ability for any piece of writing to be disconnected not just from its author but from its original context.
(80) But from a practical and experiential perspective, we are not talking about the real world being so very connected and self-referential, but a world of symbols about symbols. Our mediating technologies do connect us, but on increasingly abstracted levels.
(81) The original painting, hanging in the very cathedral for which it was painted perhaps, has what Benjamin called an aura, which is at least partly dependent on its context and location.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (594) 20131009p 0 -1+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Look for media-specific plot types distinctive for digital media. (594) The answer to this question is crucially dependent on what constitutes the truly distinctive resource of digital media, namely, the ability to respond to changing conditions in the global state of the computer.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (595) 20131009q 0 -2+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Four forms of interactivity based on Aarseth typology of user functions in cybertexts from two by two matrix internal/external interactivity and exploratory/ontological interactivity yielding four genres with different narrative possibilities, although often conflated. (595) For the purpose of my argument I would like to distinguish four strategic forms of interactivity on the basis of two binary pairs: internal/external and exploratory/ontological. These two pairs are adapted from Espen
Aarsethƒs (1997: 62-65) typology of user functions and perspectives in cybertexts, which is itself part of a broader cybertext typology.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (596) 20131009s 0 -6+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Exploratory mode users navigate but do not alter virtual world; ontological mode users alter history, often into different forking paths: compare to McHale distinction between epistemological and ontological dimensions of modernist and postmodernist periods. (596) In the
exploratory mode, users navigate the display, move to new observation points, alter their perspective, or examine new objects in order to learn more about the virtual world. But this activity does not make fictional history, nor does it alter the plot; users have no impact on the destiny of the virtual world. In the ontological mode, by contrast, the decisions of the users send the history of the virtual world on different forking paths.
(596) My dichotomy also bears some resemblance to Brian
McHaleƒs (1987: 9-11) distinction between an epistemological dimension, dominant in modernist literature, and an ontological one, dominant in the postmodernist era.
(596) The cross-classification of the two binaries leads to four combinations. Each of them is characteristic of different genres and affords different narrative possibilities.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (596-597) 20131009t 0 -5+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
External-exploratory interactivity involves choice of routes across textual space, but does not affect physical space of narrative setting: narrative possibilities involve different ways of putting together pieces of already determined puzzle. (596-597) Interactivity resides in the freedom to choose routes across a textual space, but this space has nothing to do with the physical space of a narrative setting. . . . The only way to preserve narrative coherence under such conditions is to regard the text as a scrambled story that the reader puts back together, one lexia at a time.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (597) 20131009u 0 -6+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Mystery plot, parallel plot, spatial narrative, and narrative of place are types of plot afforded by internal-exploratory interactivity in which user has virtual body in fictional world but limited to inconsequential actions like the Golden Ass of Apuleius. (597) In the texts of this category, the user takes a virtual body with her into the fictional world - to paraphrase Brenda Laurel (1993: 14) - but her role in this world is limited to actions that have no bearing on the narrative events.
(598) This type of interactivity lends itself to several types of plot: [bullets] The mystery plot, in which two narrative levels are connected: one constituted by the actions of the detective, the other by the story to be reconstructed. The parallel plot, or soap opera type, in which a large cast of characters acts simultaneously in different locations, so that it is necessary for the user to move from one location to another to another to follow every thread in the plot. The spatial narrative, whose main theme is travel and exploration. The narrative of place, which is a combination of parallel plot and spatial narrative. The purpose of the narrative space is not to travel across vast expanses, as does the narrative of space, but rather, to explore in depth a specific location, to look at all the objects contained in it, and to meet all of its inhabitants.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (598-599) 20131009v 0 -5+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
External-ontological interactivity provides gratification of contemplation of whole field of possibilities with little stake in any particular branch. (598-599) Holding the strings of the characters, from a position external to both the time and the space of the fictional world, the user specifies their properties, makes decisions for them, throws obstacles in their way, and creates different destinies for them by altering their environment. . . . Since the operator of the narrative system is external to the fictional world, he or she has no strong interest at stake in any particular branch of its virtual history; gratification resides in the contemplation of the whole field of possibilities.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (604) 20131010 0 -10+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
If skill development was also built into games, then they could have other confluences between contemplation and action. (604) The two other genres, computer games and hypertext, stand at the opposite ends of the cultural spectrum: one a widely popular form of entertainment consumed for its own sake, especially by teenage males, the other an arcane academic genre read mostly by theorists and prospective authors by people more interested in writing about it than in reading it. . . . On the shelves of computer stores, there is only room for the gaming equivalent of John Grisham and Stephen King narratives. What is needed for computer games to fulfill their artistic potential (and of course will not happen in todayƒs society) is an emancipation from the tyranny of the market. . . . The
competitive involvement of the game player is basically incompatible with the detached contemplation of the aesthetic experience, and my proposal will only be viable if the works I am imagining are able to foster a new attitude in the user, namely, the willingness to switch back and forth between the contemplative and the active stance.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (605) 20131010a 0 -6+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Hypertext authors aim for high end of literary culture, entering contemporary culture in conceptual art; raises Eco concern that reading no longer necessary after feeling basic concept grasped. (605) Since most hypertext authors aim at the high end of literary culture, they take a deliberately experimental approach to the new writing technology. . . . It is indeed as conceptual art that hypertext has carved out for itself a modest place in contemporary literary culture. The danger with the conceptual route has been clearly seen by Umberto
Eco (1989: 170-71): once readers have grasped the basic concept, they may feel that reading is no longer necessary.

3 1 3 (+) [-4+]mCQK ryan-beyond_myth_and_metaphor (605-606) 20131010b 0 -13+ progress/2012/03/notes_for_ryan-beyond_myth_and_metaphor.html
Disagrees with Coover that golden age of digital literature already passed; future of digital narrative in multimedia enhancement of verbal storytelling, such as artists books and other engagements of text and picture with small stories. (605-606) Here I must fundamentally disagree with Robert
Coover (2000), who thinks that the golden age of digital literature came to an end when hypertext ceased to be purely verbal. To me the future of digital narrative or more broadly, the future of digital textuality lies in the enhancement of verbal storytelling with visual and audio documents. . . . The literary model for this new type of digital narrative is not the multicursal novel, such as Mark Saportaƒs Composition No. 1 (1961) or Milorad Pavicƒs Dictionary of the Khazars (1988), but the artistƒs book, such as Tom Phillipsƒs A Humument, or recent literary works that propose an original dialogue between text and picture, such as The Emigrants (1996) by the German author W. G. Sebald. . . . From a cognitive point of view, small stories are more efficient than large narrative patterns that need to be chunked up, because this chunking necessitates constant interruptions and digressions that make it very difficult for the reader to hold onto a thread.

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Ideal of garden with many carefully designed paths combining designed space and serendipitous discovery over becoming lost in wilderness of Aleph and sucked onto freeway. (607-608) Narrative will have to learn to share the spotlight with other types of sensory data; to accept a subordinate role, as in games, or limit itself to certain plot types. Conversely, the medium will have to give up some of its fluidity to allow narrative meaning to solidify in the mind of the reader. . . . To borrow a metaphor from Mark Bernstein of Eastgate Systems (1998), the compromise between being lost in the wilderness and being sucked onto the freeway is to be invited into a garden with many carefully designed paths. . . . This combination of designed space and serendipitous discovery, mapped trails and surprise attractions, contained area and expanding vista make the garden look much bigger than it really is. This may be the closest one gets to the mythical Aleph, without entering a jungle where narrative meaning chokes in the brambles of uncontrollable multiplicity.

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Translator Introduction: Saussure committed to distinction between diachronic evolutionary and synchronic static linguistics, necessarily privileging the latter because of position that linguistic sign intrinsically arbitrary. (x) It was a position which committed Saussure to drawing a radical distinction between
diachronic (or evolutionary) linguistics and synchronic (or static) linguistics, and giving priority to the latter. For words, sounds and constructions connected solely by processes of historical development over the centuries cannot possibly, according to Saussureƒs analysis, enter into structural relations with one another more than Napoleonƒs France and Caesarƒs Rome can be structurally united under one and the same political system.

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Many historical accounts of the development of literacy, print, and electronic forms of communication present similar narratives, stepping through nearly identical sequences of inventions, canonical examples, and social adaptations to them, from early forms of picture writing, alphabets, manuscript, mechanical printing, electrified mass production, to the digital codes, virtual environments, and Internet based media.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (34-35) 20131014m 0 -4+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Applied grammatology informed by chemical senses of contact that link Derrida to Einstein and electronics to guide writing with video (ironically, since there could be tactile and other language machines), as visual and aural senses link Kant and Hegel to Newton: electronics worth studying to help with this understanding. (34-35) Derridaƒs move is simply to hypothesize a thinking, an intelligibility, that would function in terms of that part of the sensible excluded from consideration the chemical senses ( why not? ).
(35) Derrida, interested in the
techne as enframing (the essence of technology, which is not itself technological but artistic), examines the science of electronics, which reveals that a major difference between Newtonian and Einsteinian physics is that the former is a theory of action at a distance, while the latter is a theory of action by contact, based on the experiments of Faraday and Maxwell in electromagnetism.
(35) Derridaƒs conceptualization of the chemical or contact senses, then, correlates with Einsteinƒs physics just as Kantƒs and Hegelƒs idealizations based on the objective senses correlate with Newtonƒs.

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What are pedagogic principles associated with poststructuralist epistemology: television-centric rather than ECT because he is writing in early years of personal computer revolution/commodification. (157) The question to be posed has to do with the pedagogical rationale for the Writing described in part I, a rationale more accurately termed post(e)-pedagogical, in order to indicate that it is both a move beyond conventional pedagogy and a pedagogy for an era of electronic media (with poste meaning in this context television station or set). My purpose in this chapter is to open the question of the nature of the educational presentation (the manner of the transmission of ideas) adequate to a poststructuralist epistemology and to air some of the rhetorical and polemical notions relevant to a pedagogy of general writing.

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Use of models of pictures and puns to provoke thought: Lacan as shaman. (223-224) The lesson of Lacanƒs seminar for applied grammatology is just this use of models of pictures and puns to provoke thought, working through a double intervention.

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Besides displacement of root metaphors of Western thought, stimulate desire to create in lived, sociopolitical world. (264) The method of grammatology, then, shared by Derrida and Beuys, is the display and displacement of the literal sense of the root metaphors of Western thought dialectic and rhetoric, science and art. At the same time that this analytical function is at work, a further pedagogy of creativity is also set in motion, intended not only to show people the principles of creativity and how to put them into practice but also and here is the particular power of the new pedagogy, beyond deconstruction to stimulate the
desire to create (not necessarily in art, but in the lived, sociopolitical world).

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (265-266) 20131020n 0 -7+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Language continuously exposed to cinema and television means heavily influenced by word-things and images, for which multimedia writing becomes the natural context, just as Turkle finds computers the natural context for instantiating postmodern ideas. (265-266) Film and video (audio-visual writing) are in fact the media in which the word-things of AG seemingly so bizarre in Derridaƒs books, Lacanƒs seminars or Beuysƒs performances find a natural context. The pedagogy of grammatology is, finally, an
educational discourse for an age of video. Its instructional procedures are the ones appropriate for students (for a culture), whose experience of language is largely shaped by continuous exposure to cinema and television. . . . That Eisenstein first worked out his theory of montage using analogies drawn from hieroglyphics in general, and Japanese ideograms in particular, makes his work a good point of departure for this articulation.

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Imagines film essay maturing an intellectual medium like philosophy out of myth: what has happened with digital media, can software be the site for the double inscription? (266) AG assumes that teachers-scholars will not only perform the double inscription in the classroom but that they will turn to film/video as the means most adequate for a postmodernized academic essay (in any case, video makes the teaching performance publishable). . . . The second phase marks the maturing of film into an intellectual medium capable of carrying out the work of the disciplines of knowledge (rehearsing thus something similar to the emergence of philosophy out of myth).

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (269) 20131020p 0 -5+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Kristeva semanlysis seeks to dissolve the sign as basic culture thinking unit. (269) Julia
Kristeva helps explain the importance of Eisensteinƒs theories of montage is ideogrammatic and hieroglyphic writing as an example of grammatology (a theory itself formulated as a repetition of the history of writing) when she defines the fundamental task for semanalysis as the investigation of the constitutional kernel element of semiotics the sign in a way that would dissolve it, thus breaking with the Stoic notion of the sign which has dominated Western thinking. . . . AG, of course, proposes to extend the semanalytic intervention in the history of the sign to the discourse of the school.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (271-272) 20131020q 0 -4+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Video-text as performance of Marx suggesting other translations projects of written works to multimedia as tasks for AG; compare to McGann call for digital editions. (271-272) One of the most interesting ideas of the twentieth century, from the perspective of AG, is Eisensteinƒs project to make a film of Marxƒs
Capital. This project is at least as fecund as Saussureƒs hints about the possibility of a science of signs, although it is only now beginning to find its practice. This film was intended to be a popularization of the central theoretical work of the Russian revolution, and as such it suggests what might be the first task for a pedagogy of the video age the translation (transduction) of the principal intellectual works of Western civilization into the language of cinema/television.
(273) In terms of its content, Capital would have been something like a filmed version of Roland Barthesƒs Mythologies; that is, a collection of essays exposing the myths (ideologies) of bourgeois society.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (285) 20131020s 0 -4+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Foregrounding homonyms, homophones and puns anticipating everyday computational phenomena doing work formerly attributed to rich subjectivity. (285) The point to be emphasized is that the aspect of Eisensteinƒs experiments which has been renewed his use of filmic meatphors, the montage imagery of the gods sequence is precisely the dimension of his work most relevant to AG. The most innovative or experimental feature of grammatology the foregrounding of the homonym, homophone, or pun may be recognized in this context as the enabling device for the rhetoric of filmic writing.
(289) Eisenstein was interested in a kind of arche-writing, then (to use Derridaƒs term). Joyce, in
Ulysses and Finnegans Wake, had developed the double method, combining subjective and objective presentation as far as it could go in literature.

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Barthes S/Z connection to develop inner voice developed through verbal images. (295) The practical value of inner speech may be better appreciated when it is realized that Roland Barthesƒs
S/Z expounds a version of this theory. In this context, S/Z may be recognized as a useful text for AG in that its theory of codes is as applicable to pedagogical narratives as it is to literary and cinematic ones. It suggests how the psychoanalytic dimension (the symbolic code) interacts with the Cultural or referential code (the domain of inner speech).
(296) What we hear, therefore, is the
displaced voice which the reader lends, by proxy, to the discourse: the discourse is speaking according to the readerƒs interests. Whereby we see that writing is not the communication of a message which starts from the author and proceeds to the reader; it is specifically the voice of reading itself: in the text only the reader speaks (151).
(299) The key signifiers organizing a film-essay, as opposed to a narrative film, will, of course, be theoretical terms, philosophemes, concepts or proper names treated as literalisms.

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See Ong Interfaces of the Word for open-system models. (304) Walter Ongƒs observation that our culture is now drawn to open-system models for conceptual representation, which he links to our new orality, identifies what is at stake in AG. . . . Ong adds that open-system thinking, defined as being interactional, transactional, development, process-oriented, has already deeply affected the university curriculum in the form of interdisciplinary courses of study and open classroom procedures.

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Replace hope that media specific affordances for deep processing of thought can be discerned for television with wholly new media types, such as Internet technologies that leverage writerly reading. (305) Another point in [Gavriel] Salomon relevant to AG is that the new media should not be used (or are ineffective when used) for purposes originally devised for other media. Rather, new ends that exploit the strengths of the new media should be developed. . . . television has the potential for deep processing of thought, but for this potential to be realized new compositions must be devised that make use of the specific capacities of the medium for cognitive ends.
(307-308) Although Jacquinot points out that there are almost no available examples of modernist educational films, she mentions Eisensteinƒs intellectual montage and Brechtƒs learning plays as possible models for a practice, with the theories of Levi-Strauss and Umberto
Eco offering a rationale for the project. It may be useful to conclude my study with a discussion of Eco, since he has explored most fully the openness that must inform the new pedagogy.

3 1 3 (+) [-4+]mCQK ulmer-applied_grammatology (311-312) 20131020z 0 -24+ progress/2009/02/notes_for_ulmer-applied_grammatology.html
Eco interpretant related to Pierce dynamic object, in which reality is result rather than datum; also fits Suchman and Gee situated knowledge; important for rethinking subjectivity in age of ECT. (311-312) One consequence of the open aesthetic on which the open pedagogy is based is a new definition of form -- form as a field of possibilities (
Obra, 156). . . . In Pierceƒs pragmatism, Eco notes, reality is a result, not a datum. To understand a sign amounts to learning what to do in order to gain acquaintance with the object of the term. This object is not the item itself in reality, however, but is the dynamic object, constituted by all the information available about the object, the semantic spectrum through which many possible paths may be taken. A term entails the globality of information about it (Role, 188). The interpretant is that part of the global possibilities activated or selected by the knower.
(312-313) The notion of the interpretant, as Eco explains, solves all the problems of meaning raised by the spectrum of positions from subjectivist psychologism to behaviorism. . . . [quoting] Once the interpretant is equated with any coded intentional property of the content, since these properties cannot be isolated but under the form of the other signs, the elements of the content become something physically testable (
Role, 197). . . . Moreover, these interpretants require a combination of word and thing presentations. . . . In short, Ecoƒs account of the interpretant indicates how the principle of inner speech connected with montage imagery might be extended into a new, heterogeneous construction. These constructions, built in terms of the open aesthetic, offer a clue to the pedagogy of grammatology.
(313) AG proposes to supplement the conventional means by which scholarship works this knowledge with strategies derived precisely from the history of hypomnesis (from the
Ad Herennium to the computer).

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EmerAgency, linked to Florida Research Ensemble that pays homage to Beuys Free International University, with accompanying mystory popcycle risks rejection at border of seriousness. (21) The EmerAgency is a virtual consultancy whose purpose is to deconstruct instrumental consulting by using the Internet to bring to bear arts and letters knowledge and method to public policy formation. For its contribution to the consultancy, the Florida Research Ensemble (FRE a faculty group at the University of Florida) selected Miami in general, and the Miami River in particular, as the community wound to address in its experimentation with a new mode of inquiry called choragraphy (Ulmer 1994).

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Compare FRE to Underacademy and Platform Studies, among other collectives of variable substantiality. (21) Part of this documentation should include a genealogy of the FRE itself as an example of collaborative inquiry. . . . The rationale goes back to my encounter with the work of Joseph Beuys and his Free International University (FIU), which was a conceptual institution. . . . He used the publicity generated by his provocative installations and performances as a means to disseminate his ideas about the practical relevance of art to politics and policy formation. . . . The FRE in Miami is in homage to the FIU.

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Though it could be argued that Plato and Aristotle were inventors exploring heuretic potentials of their new medium; feel comparison between Ulmer macaronic, emergent language creations and spaghetti code and object conglomerations. (22) William Bartramƒs descriptions of the underground rivers, springs, and prairies of North Central Florida in his Travels found their way into this poem whose legendary city lent its name to the visionary network of the man who invented the term hypertext (Ted Nelson), not to mention the homes of the real Bill Gates and the fictional Citizen Kane. . . . The Florida School does not want to follow in the footsteps of Plato and Aristotle, the inventors of literacy, but to seek the equivalent of literacy for digital technology electracy.

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Imagine consultation as tourist guide description. (23) One way to imagine the consultation is as an unpacking of the tourist guide description, or as a tour of that part of downtown considered irrelevant to the guide.

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Chaos theory strange attractor. (24-25) The FRE premise, however, is that problems are emergent phenomena in a quantum world picture, such that they must be addressed holistically: to analyze the river into its elements is to make problem disappear, its qualities being not parts (the properties of a conceptual description) but a localized manifestation of a global condition. . . . The EmerAgency attempts not to confuse holism with totalization. The river itself, as it flowed around the hull of a barge pushing upstream, provided an image of what was needed to grasp the zone as a whole (a
strange attractor).

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Poetic encounter attunement via photography reaching to reach metonym. (26-27) The FRE constituted itself as a theoria --after the institution created by ancient city-states; a group of citizens sent to the site of a rumored disturbance in order to determine what had happened, whose task was to render a true account. The challenge was to find a holistic approach to the river, beginning with a way to bring the zone into representation. This representation, given our commitment to finding a specifically electrate mode of reason, had to be an image: a photograph in this case. . . . Out of thirty rolls of film and twenty hours of videotape, a pattern emerged that, through group work, produced an illumination (epiphany). This fragment of a June 1998 interview with Simon Lubin, a Haitian owner of one of the boats caught in Operation Safety Net, is a metonym for the condition of Haitians working in the zone.

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Chora contains sorting principles of the civilization. (28-29) The river for an egent (consultant for the EmerAgency) is not addressed as an object of study, and certainly not as a problem to be solved, but as a chora or sacred space (the usage based on Derridaƒs reading of Platoƒs
Timaeus) within which may be experienced the agentƒs situation. . . . The intractability of problems is due to the fact that the conditions manifested in the social breakdowns are in us as well, not external but extimate (outside within, figured in Lacanƒs topology as a moebius strip). . . . Chora contains the sorting principles of a civilization (how that society sorts chaos into the kings of being).

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Mystory popcycle genre for holistic simultaneous writing with all individual interpellated discourses; lends itself to interactive networked multimedia. (30) The mystory is a genre created to write holistically or simultaneously with all the discourses into which an individual has been interpellated, the core discourses being those of family, entertainment, school (community history), and career (disciplinary field).
(30-31) Mystory assumes that alienation as an experience of dissociation and reification may be overcome in electracy by a practice adopted to the digital capacities of multimedia. This practice is fundamentally aesthetic. Following Lacanƒs reading of Joyce, mystory brings the discourses into correspondence (uniting them into a popcycle ) by means of signifiance ( signifierness )--the repetition of a signifier through the details of each discourse, the circulating prop that organizes any well-made narrative, like the letter that passes from character to character in Poeƒs Purloined Letter. . . . The prop that circulated through Barbara Jo Revelleƒs popcylce was a mattress.

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Lacan/Zizek quilting point. (32) The quilting points for a collective order are embodied in certain scapegoat figures, whose exclusion sutures the gap in the mythological system, fills the hole of incompleteness that prevents any identity from coinciding with itself. The quilting point for America, at least as manifested in the river zone, is the Haitian.

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Murray: in 1980s practice became self-conscious for serious discourse about digital artifacts. (7) But it was not until the 1980s that practice became self-conscious enough to allow for a serious discourse about digital artifacts. . . . Newer media such as photography, radio, film, and television could now be seen in the longer history that stretched back beyond the printing press to oral composition and the invention of writing.
(7) Surveillance can now be extended not just inside the walls of our houses but inside our brain where we can witness the retrieval of a memory almost neuron by neuron.
(8) All was ideology, and at the bottom of these vast nested pyramids of ideological representation was language itself, which was left to point at nothing real beyond our own consciousness, nothing external beyond our shared hallucinations.
(8) For the computer scientists, on the other hand, the 1970s were a time of great earnestness and exhilarating possibilities as the computer was coming into its own as a new medium of representation.

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Murray: rhizome network pattern familiar to computer scientists formed way out of pullulating paralysis of print, beyond subverting hierarchies. (9) The new ideal of form was the
rhizome an erudite word for a very down to earth thing: a potato root system. . . . It forms a pattern familiar to computer scientists: a network with discrete interconnected nodes. Here was a way out of the pullulating paralysis, one that went beyond the subversion of all existing hierarchies.

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Manovich: famous eight propositions of new media: not cyberculture, distributed, software controlled, mix of conventions, early aesthetics, faster execution, encoding avante garde, parallel articulation. (16)

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Manovich: Differentiation of cultural and software conventions can be fine tuned by critical analysis of software creation and use cultures; insights come from working code, and are essential to critical programming studies. (18) It is not hard to understand why automation in computer games is much more advanced than in cinema. Computer games are one of the few cultural forms native to computers; they began as singular computer programs (before turning into a complex multimedia productions which they are today) rather than being an already established medium (such as cinema) which is now slowly undergoing computerization.
(18) Given that the principles of modularity, automation, variability and transcoding are tendencies that slowly and unevenly manifest themselves, is there a more precise way to describe new media, as it exists today? . . . on the one hand, the conventions of already mature cultural forms (such as a page, a rectangular frame, a mobile point of view) and, on the other hand, the conventions of computer software and, in particular, of HCI, as they have developed until now.
(19) To sum up: new media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The old data are representations of visual reality and human experience, i.e., images, text-based and audio-visual narratives what we normally understand by culture. The new data is numerical data.

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Manovich: does this mean that all new media go through the same stages, certain identifiable patterns of expression? (19) some authors have suggested that every modern media and telecommunication technology passes through is new media stage. . . . This perspective redirects our research efforts: rather than trying to identify what is unique about digital computers functioning as media creation, media distribution and telecommunication devices, we may instead look for certain aesthetic techniques and ideological tropes which accompany every new modern media and telecommunication technology at the initial stage of their introduction and dissemination.

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Manovich: examples of aesthetic strategies based on media affordances include documentary style film and moving images on computer desktop; Engelbart did the equivalent of a 120 minute DV tape. (19-20) two examples of aesthetic strategies . . . documentary style . . . a filmmaker can keep shooting for a whole duration of a 60 or 120 minute DV tape as opposed to the standard ten-minute film roll.
(20) [Second] the development of moving image technology throughout the nineteenth century and the development of digital technologies to display moving images on a computer desktop during the 1990s.

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Manovich: new media encoding modernist avant-garde in metamedia; compare to Misa. (22) [citing his book] The techniques invented by the 1920s Left artists became embedded in the commands and interface metaphors of computer software. In short, the avant-garde vision became materialized in a computer.
(23) the key role played by the material factors in the shift towards postmodernist aesthetics; the accumulation of huge media assets and the arrival of new electronic and digital tools which made it very easy to access and re-work these assets.

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Manovich: likely parallels between the Baroque and new media as example of cultural periods generating relevant ideas, like avant-garde of 1920s. (23) Along with the 1920s, we can think of other cultural periods that generated ideas and sensibilities particularly relevant to new media. In the 1980s a number of writers looked at the connections between Baroque and post-modern sensibilities; given the close link between post-modernism and new media I just briefly discussed, it would be logical if parallels between the Baroque and new media can also be established.

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Kluver: perhaps a way to think about computer-generated art such as experiences within games and virtual realities: yes, people take screenshots of their Farmville plots; however, the artistic experience is really in the direct connection between the user interacting as creating and the system. (213) Just as in every moment we see and experience a new and changing world, Jeanƒs [Tinguely] machine created and destroyed itself as a representation of a moment in our lives. The art of the museum is related to a past time that we cannot see and feel again. The artist has already left his canvas behind. This art then becomes part of our inherited language, and thus has a relation to our world different than the reality of the immediate now.
Lƒart ephemere, on the other hand, creates a direct connection between the audience, between the construction and the destruction.
(219) [
Yvonne Ranierƒs remote-controlled dance] This part will consist of sequential events that will include movie fragments, slide projections, light changes, TV monitored close-ups of details in the dance-proper, tape recorded monologues and dialoges, and various photo-chemical phenomea, several involving ultra-violet light.

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Picking out Adorno helps link Zizek to the background of texts and technology. (85) Where does the necessity of these repeated lapses into vulgar sociologism come from? Far from attesting to Adornoƒs theoretical weakness, they present the way thoughtƒs constitutive limit is inscribed within the thought itself.

3 1 3 (+) [-4+]mCQK zizek-enjoy_your_symptom (88) 20131019 0 -4+ progress/2011/07/notes_for_zizek-enjoy_your_symptom.html
Another example tying texts and technology is investigating how to comport with unknown knowns of technology. (88) In other words,
rational totality clings to an inert piece of the real precisely insofar as it is caught in a vicious circle. For that reason, Hegel converts the Fichtean I = I into the absolute contradiction Spirit = Bone, i.e., into the point of absolute nonmirroring, the identity of the subject qua void with the element in which he cannot recognize his mirror image, with the inert leftover, the bone, the rock, the hindrance which prevents the absolute self-transparency of the pure performative: the subject is posited as correlative to an object which precisely cannot be conceived as the subjectƒs objectivization.

3 1 3 (+) [-4+]mCQK zizek-enjoy_your_symptom (89) 20130909 0 -5+ progress/2011/07/notes_for_zizek-enjoy_your_symptom.html
How this does work with the identity of technology, following the examples of the state and dialectical analysis, how might this conception alter the trajectory of AI research and development? (89) Thereby we reach the paradox of a universal feature (quality) the suspension of which maintains its field the paradox which is ultimately that of identity itself: the identity of a state resides in the monarch, this irrational supplement which sticks out and suspends its essential quality (its rational character); the identity of a dialectical analysis resides in the vulgar lapses which suspend its essential quality (the delicacy of dialectical stratagems) . . . . Therein consists the crucial shift that has to be made with reference to the deconstructionist commonplaces about identity.

3 1 3 (+) [-4+]mCQK zizek-enjoy_your_symptom (90) 20131019e 0 -1+ progress/2011/07/notes_for_zizek-enjoy_your_symptom.html
Just as today we transpose onto Islamic extremists the role of terrorists also played by members of our own society, bolstering the fantasy image of an America united against terrorism: save for a footnote in the dissertation. (90) by transposing onto the Jew the role of the foreign body which introduces in the social organism disintegration and antagonism, the fantasy-image of society
qua consistent, harmonious whole is rendered possible.

3 1 3 (+) [-4+]mCQK zizek-enjoy_your_symptom (197) 20131019a 0 -1+ progress/2011/07/notes_for_zizek-enjoy_your_symptom.html
Focus on tension in gap separating explicit narrative from diffused message between the lines. (197) This tension between the two levels is what I want to focus on: the gap that separates the explicit narrative line from the diffused threatening message delivered between the lines of the story.

3 1 3 (+) [-4+]mCQK zizek-enjoy_your_symptom (203) 20131019c 0 -2+ progress/2011/07/notes_for_zizek-enjoy_your_symptom.html
Web cam sites realizing Truman Show reflect need for fantasmatic Others gaze to guarantee being of subject. (203) Does not the recent trend of web cam sites that realize the logic of
The Truman Show display this same urgent need for the fantasmatic Otherƒs gaze serving as the guarantee of the subjectƒs being?
(203) And Hitchcock is at its most uncanny and disturbing when he engages us directly with the poitn of view of this external fantasmatic gaze.

3 1 3 (+) [-4+]mCQK zizek-enjoy_your_symptom (204) 20131019d 0 -5+ progress/2011/07/notes_for_zizek-enjoy_your_symptom.html
A digital media studies link in Hitchcock in implicit resonance of multiple endings. (204) There is yet another, third, aspect that adds a specific density to Hitchcockƒs films: the implicit resonance of multiple endings.
(205) This feature allows us to insert Hitchcock into the series of artists whose work forecasts todayƒs digital universe.
(206) This perception of our reality as one of the possible often even not the most probable outcomes of an open situation, this notion that other possible outcomes are not simply cancelled out but continue to haunt our true reality as a specter of what might have happened, conferring on our reality the status of extreme fragility and contingency, implicit clashes with the predominant linear narrative forms of our literature and cinema, they seem to call for a new artistic medium in which they would not be an eccentric excess, but its proper mode of functioning. The notion of creation also changes with this new experience of the world: it no longer designates the positive act of imposing a new order, but rather the negative gesture of choice, of limiting the possibilities, of privileging one option at the expense of all others. One can argue that the cyberspace hypertext is the new medium in which this life experience will find its natural, more appropriate objective correlative, so that, again, it is only with the advent of cyberspace hypertext that we can effectively grasp what Altman and Kieslowski -and, implicity, also Hitchcock were effectively aiming at.

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

3 1 3 (+) [-2+]mCQK hayles-writing_machines (105) 20130928f 0 -7+ progress/2008/09/notes_for_hayles-writing_machines.html
Interesting point about life cycles of literary theories but beyond the scope of this book. (105) Too many critics, too few texts was the way I expressed this situation, leading to a dynamic in which the economics require that old texts must be capable of being read in new ways if literary scholars are to publish new research. . . .
Literary theories thus have life cycles distinctively different from that of scientific theories.
(106) At the moment, we are near the beginning of a theory of media-specific analysis in literary studies.
(107) Literary texts, like us, have
bodies, an actuality necessitating that their materialities and meanings are deeply interwoven into each other.

3 1 3 (+) [-2+]mCQK kittler-draculas_legacy (50 note) 20121119 0 -1+ progress/2012/05/notes_for_kittler-draculas_legacy.html
Now reading on occasion of death of Friedrich Kittler. (50 note) This article was written on the occasion of the death of Jacques Lacan.

3 1 3 (+) [-2+]mCQK landow-hypertext_3_0 (319-320) 20131005a 0 -1+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Several UCF instructors made course websites public blogs, even inviting participation of authors whose texts were being studied. (319-320) Second, course websites are almost always closed to the public, thereby losing opportunities to obtain contributions of useful materials and to show off what the class is doing.

3 1 3 (+) [-2+]mCQK landow-hypertext_3_0 (330) 20131005d 0 -2+ progress/2011/07/notes_for_landow-hypertext_3_0.html
Five page attack on Aarseth seems out of place; follows with an analysis of Jameson humanist technophobia. (330) Compare this to what we may turn the
Aarseth principle the idea that if two different information technologies contain essentially the same information, no difference exists between them. As in the searches for information about medications, this hypertextual presentation of news about a current event clearly empowers the user if by empower we mean, as I do here, provides information that would be difficult if not impossible to obtain otherwise.

3 1 3 (+) [-1+]mCQK mcgann-radiant_textuality (x) 20131005 0 0+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Dan Pitti is noted in acknowledgments, whose work was mentioned at THATCamp. (x)

3 1 3 (+) [0+]mCQK rushkoff-program_or_be_programmed (53) 20140105f 0 -2+ progress/2014/01/notes_for_rushkoff-program_or_be_programmed.html
Analog recording based on physical inscription, digital series of choices via engineered transduction into discreet differences. (53) The analog recording is a physical impression, while the digital recording is a series of choices.
(54) In the digital recording, however, only the dimension of the sound can be measured and represented in numbers are taken into account.


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=3) 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
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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]