The computer and related technologies have invaded our daily lives, have changed the way we commu... more The computer and related technologies have invaded our daily lives, have changed the way we communicate, do business, gather information, entertain ourselves. Even technology once considered distinctly "modern" - photography, the telephone, movies, television - has been altered or replaced by faster and more dynamic media that allow more manipulation and control by the individual. Anyone can now create stunning photographic images without a processing lab; and film no longer earns its name, as the cinema often presents images that were never filmed to begin with, but created or doctored in the digital domain. What are the consequences of these changes for the media and arts they alter? How does digitizing affect the values, ethical and aesthetic, of images, texts, and sounds? How do these technologies change the way we spend our time and relate to other people? In the age of the digital, what becomes of property, of history, of identity? Through a series of careful compari...
cooperatively, dissolve into clear and distinct elements. They drag otherwise unrelated people, p... more cooperatively, dissolve into clear and distinct elements. They drag otherwise unrelated people, places, and objects into the mix. Use your shoe for a pillow. Freeze your compact discs. Hire a philosopher to reorganize your company. Maybe dogs are good at sexing ...
Problematic at best, the desire for a transparent interface nevertheless drives much of digital c... more Problematic at best, the desire for a transparent interface nevertheless drives much of digital culture and technology. But not the Web; or at least, not Web 1.0. Thoroughly commercialized, comfortably parsed into genres, serving billions of pages of predigested content to passive consumers, the World Wide Web as developed in the '90s unabashedly embraces its role as medium. While so many digital technologies work to hide their mediacy--drawing in the user with a total simulated sensorium, dematerializing the resistances of size and weight, untangling the knots of cables tying user to machine and machine to cubicle, minimizing the interface--Web 1.0 proudly clings to the browser as a glaring reminder of its medial character. While Web 2.0 has not forsaken the browser altogether, it nevertheless seems to offer a different sort of mediation. Arising alongside the atomization of browser functions, the ubiquitization of connectivity, and the coincidence of producer and user, Web 2.0...
Programming offers arguably the greatest opportunity for creative investment in the computer. But... more Programming offers arguably the greatest opportunity for creative investment in the computer. But, given the mechanistic relationship between source code and executable and the highly constrained formalisms of programming, it is hard to see where creativity would find a place within the rigor and determinism of code. This paper places this question of creativity in the context of a broader problem of creativity in the digital generally, then identifies an ontological structure, called a fold or edge, that marks the creative moment of digital interaction. In programming, the edge appears in the object, recognizable in object-oriented programming but common to every creative innovation in coding technique.
You are running down a long, ichorous corridor, urged ahead by solid stone walls decorated, as is... more You are running down a long, ichorous corridor, urged ahead by solid stone walls decorated, as is the custom in such contexts, with sconces holding flaming wooden torches. You tend to run wherever you go, but you have an added incentive at this moment: you ...
Sandra Buckley Michael Hardt Brian Massumi ...UNCONTAINED BY THE DISCIPLINES, INSUBORDINATE PRACT... more Sandra Buckley Michael Hardt Brian Massumi ...UNCONTAINED BY THE DISCIPLINES, INSUBORDINATE PRACTICES OF RESISTANCE ...Inventing, excessively, in the between... PROCESSES OF HYBRIDIZATION 27 Sound Ideas: Music, Machines, and Experience Aden Evens 26 Signs of Danger: ...
Computer language is wholly literal. Every line of code derives its meaning precisely from the le... more Computer language is wholly literal. Every line of code derives its meaning precisely from the letters or characters that are used to write it down, and it has no meaning beyond those letters. Some commentators describe a process of interpretation in the translation of a high ...
With its logic and its numbers, what the digital offers technol-ogy is therefore an order. Heideg... more With its logic and its numbers, what the digital offers technol-ogy is therefore an order. Heidegger notes that modern technology always orders the world, demanding that it be made available according to this order. Technology sets upon nature to render it identifiable through cal- ...
Programming offers arguably the greatest opportunity for creative investment in the computer. But... more Programming offers arguably the greatest opportunity for creative investment in the computer. But, given the mechanistic relationship between source code and executable and the highly constrained formalisms of programming, it is hard to see where creativity would find a place within the rigor and determinism of code. This paper places this question of creativity in the context of a broader problem of creativity in the digital generally, then identifies an ontological structure, called a fold or edge, that marks the creative moment of digital interaction. In programming, the edge appears in the object, recognizable in object-oriented programming but common to every creative innovation in coding technique.
cooperatively, dissolve into clear and distinct elements. They drag otherwise unrelated people, p... more cooperatively, dissolve into clear and distinct elements. They drag otherwise unrelated people, places, and objects into the mix. Use your shoe for a pillow. Freeze your compact discs. Hire a philosopher to reorganize your company. Maybe dogs are good at sexing ...
One expresses oneself at the computer almost exclusively through the mouse and keyboard. Vision i... more One expresses oneself at the computer almost exclusively through the mouse and keyboard. Vision is nearly indispensable, and hearing plays a supporting role, but these senses are unusually constrained at the computer, as active input falls to the fingertips. At the computer, you express yourself, communicate your desires, by executing a gesture chosen from among a very few possibilities: you can click a key on the keyboard, move the mouse, or click the mouse. That’s it. Specialized speech-based interface augmentations are available; there are eye motion detectors and other alternative mouse-control techniques; touchscreens are proliferating in certain categories of device. But the great bulk of us continue to use the mouse and keyboard as our primary and even our only means of communicating desire to the computer. It is remarkable that so much desire gets expressed, such a breadth of different ideas passes through this restricted interface, fingertips against plastic. The interface ...
The computer and related technologies have invaded our daily lives, have changed the way we commu... more The computer and related technologies have invaded our daily lives, have changed the way we communicate, do business, gather information, entertain ourselves. Even technology once considered distinctly "modern" - photography, the telephone, movies, television - has been altered or replaced by faster and more dynamic media that allow more manipulation and control by the individual. Anyone can now create stunning photographic images without a processing lab; and film no longer earns its name, as the cinema often presents images that were never filmed to begin with, but created or doctored in the digital domain. What are the consequences of these changes for the media and arts they alter? How does digitizing affect the values, ethical and aesthetic, of images, texts, and sounds? How do these technologies change the way we spend our time and relate to other people? In the age of the digital, what becomes of property, of history, of identity? Through a series of careful compari...
cooperatively, dissolve into clear and distinct elements. They drag otherwise unrelated people, p... more cooperatively, dissolve into clear and distinct elements. They drag otherwise unrelated people, places, and objects into the mix. Use your shoe for a pillow. Freeze your compact discs. Hire a philosopher to reorganize your company. Maybe dogs are good at sexing ...
Problematic at best, the desire for a transparent interface nevertheless drives much of digital c... more Problematic at best, the desire for a transparent interface nevertheless drives much of digital culture and technology. But not the Web; or at least, not Web 1.0. Thoroughly commercialized, comfortably parsed into genres, serving billions of pages of predigested content to passive consumers, the World Wide Web as developed in the '90s unabashedly embraces its role as medium. While so many digital technologies work to hide their mediacy--drawing in the user with a total simulated sensorium, dematerializing the resistances of size and weight, untangling the knots of cables tying user to machine and machine to cubicle, minimizing the interface--Web 1.0 proudly clings to the browser as a glaring reminder of its medial character. While Web 2.0 has not forsaken the browser altogether, it nevertheless seems to offer a different sort of mediation. Arising alongside the atomization of browser functions, the ubiquitization of connectivity, and the coincidence of producer and user, Web 2.0...
Programming offers arguably the greatest opportunity for creative investment in the computer. But... more Programming offers arguably the greatest opportunity for creative investment in the computer. But, given the mechanistic relationship between source code and executable and the highly constrained formalisms of programming, it is hard to see where creativity would find a place within the rigor and determinism of code. This paper places this question of creativity in the context of a broader problem of creativity in the digital generally, then identifies an ontological structure, called a fold or edge, that marks the creative moment of digital interaction. In programming, the edge appears in the object, recognizable in object-oriented programming but common to every creative innovation in coding technique.
You are running down a long, ichorous corridor, urged ahead by solid stone walls decorated, as is... more You are running down a long, ichorous corridor, urged ahead by solid stone walls decorated, as is the custom in such contexts, with sconces holding flaming wooden torches. You tend to run wherever you go, but you have an added incentive at this moment: you ...
Sandra Buckley Michael Hardt Brian Massumi ...UNCONTAINED BY THE DISCIPLINES, INSUBORDINATE PRACT... more Sandra Buckley Michael Hardt Brian Massumi ...UNCONTAINED BY THE DISCIPLINES, INSUBORDINATE PRACTICES OF RESISTANCE ...Inventing, excessively, in the between... PROCESSES OF HYBRIDIZATION 27 Sound Ideas: Music, Machines, and Experience Aden Evens 26 Signs of Danger: ...
Computer language is wholly literal. Every line of code derives its meaning precisely from the le... more Computer language is wholly literal. Every line of code derives its meaning precisely from the letters or characters that are used to write it down, and it has no meaning beyond those letters. Some commentators describe a process of interpretation in the translation of a high ...
With its logic and its numbers, what the digital offers technol-ogy is therefore an order. Heideg... more With its logic and its numbers, what the digital offers technol-ogy is therefore an order. Heidegger notes that modern technology always orders the world, demanding that it be made available according to this order. Technology sets upon nature to render it identifiable through cal- ...
Programming offers arguably the greatest opportunity for creative investment in the computer. But... more Programming offers arguably the greatest opportunity for creative investment in the computer. But, given the mechanistic relationship between source code and executable and the highly constrained formalisms of programming, it is hard to see where creativity would find a place within the rigor and determinism of code. This paper places this question of creativity in the context of a broader problem of creativity in the digital generally, then identifies an ontological structure, called a fold or edge, that marks the creative moment of digital interaction. In programming, the edge appears in the object, recognizable in object-oriented programming but common to every creative innovation in coding technique.
cooperatively, dissolve into clear and distinct elements. They drag otherwise unrelated people, p... more cooperatively, dissolve into clear and distinct elements. They drag otherwise unrelated people, places, and objects into the mix. Use your shoe for a pillow. Freeze your compact discs. Hire a philosopher to reorganize your company. Maybe dogs are good at sexing ...
One expresses oneself at the computer almost exclusively through the mouse and keyboard. Vision i... more One expresses oneself at the computer almost exclusively through the mouse and keyboard. Vision is nearly indispensable, and hearing plays a supporting role, but these senses are unusually constrained at the computer, as active input falls to the fingertips. At the computer, you express yourself, communicate your desires, by executing a gesture chosen from among a very few possibilities: you can click a key on the keyboard, move the mouse, or click the mouse. That’s it. Specialized speech-based interface augmentations are available; there are eye motion detectors and other alternative mouse-control techniques; touchscreens are proliferating in certain categories of device. But the great bulk of us continue to use the mouse and keyboard as our primary and even our only means of communicating desire to the computer. It is remarkable that so much desire gets expressed, such a breadth of different ideas passes through this restricted interface, fingertips against plastic. The interface ...
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