This essay proposes going beyond the difference between literary writing and new communication technologies. This appears to be possible by using a genealogical perspective that can recognize the underlying relationships between communication strategies that on the surface seem different. For this, it is necessary to identify the remote and unexpected ascendancies of diverse languages at a moment when the various media express themselves in an increasingly similar style. Even literary language should be considered a medium that shapes and (...) models reality, using codes that are anthropological before they are aesthetic. As Viktor Shklovsky, Italo Calvino, and Paolo Fabbri have shown, literary language explores reality by revealing its incompleteness. On the contrary, ordinary language is confined to that incompleteness with its standard lexicon that would claim to enclose reality within a net of pre-established recurrences. Il saggio invita ad andare oltre il divario esistente tra scrittura letteraria e nuove tecnologie della comunicazione . Questo appare possibile attraverso una prospettiva genealogica che sappia riconoscere le relazioni sotterranee che si stabiliscono tra strategie comunicative che in superficie appaiono diverse. Per questo occorre riconoscere le ascendenze remote e inaspettate dei diversi linguaggi in un momento in cui i vari media si esprimono in maniera sempre più intrecciata. Anche il linguaggio letterario va considerato come un medium che foggia e plasma la realtà utilizzando codici che sono antropologici prima ancora che essere estetici. Come hanno mostrato sia pure in maniera diversa Viktor Šklovskij, Italo Calvino e Paolo Fabbri, il linguaggio letterario esplora la realtà, rivelandone l’incompiutezza alla quale è inchiodato il linguaggio ordinario: quel lessico usuale che pretenderebbe di racchiudere la realtà entro una griglia di ricorrenze prestabilite. (shrink)

The authors of this study deplore the present gulf that lies between the creative writer and the scholar. In five stimulating essays on letters, language, literary history, criticism, and imaginative writing, they challenge our prevailing pedantries and offer a program for revitalizing literary scholarship in the universities. Authoritative and brilliantly written, this book anticipates a fuller place for humane learning in American life. Originally published in 1941. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the (...) latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value. (shrink)

The new contexts of literary education allow for the creation of digital reading and writing practices related to what specialised literature calls digital literature. Among these practices and with an eminently theoretical content and with an example of this content, in this paper, we want to focus our gaze on cyberpoetry, conceived as an exercise in literary creativity that firstly involves use of technology and specific software for the digital creation of poetic texts and, (...) last but not least, knowledge and mastery of poetic language and the literary conventions linked thereto. From this point of view, in initial teacher training, we work with future teachers to create cyberpoems with a dual purpose: on the one hand, to reflect on what literary reading in digital format entails and to rehearse reading mediation processes that can be carried out with this type of literature, and, on the other, to begin in the digital creation of cyberpoems that, later, may be presented and worked in a real context of the school classroom. In this paper, we present digital practices of literary reading that have been created by student teachers in initial training. The creation of these practices has been carried out with the Genially tool. For data collection, the URL of each creation is accessed in order to analyse them. The analysis of the data follows the parameters of the qualitative methodology, specifically based on three categories of analysis for each digital creation: multimodality, hypertextuality and the interaction of each digital reading proposal. The conclusions of all this allow us to affirm that the creation of cyberpoems is an exercise in literary creativity that has to take into account the digital dimension of the literary text and its reading comprehension in a multimodal environment. Thus, the teacher in initial training carries out a digital literary mediation exercise, of a creative type, which he will later carry out in his pedagogical practice. (shrink)

Digital media presents an array of interesting challenges adapting new modes of collaborative, online communication to traditional writing and literary practices at the practical and theoretical levels. For centuries, popular concepts of the modern author, regardless of genre, have emphasized writing as a solo exercise in human communication, while the act of reading remains associated with solitude and individual privacy. "The Community and the Algorithm: A Digital Interactive Poetics" explores important cultural changes in these relationships thanks to (...) the rapid development of digital internet technologies allowing near-instantaneous, synchronous, multimedia interaction across the globe. The radical shift in how we author and consume media as an online, electronic transmission effectively resituates the writing process across the liberal arts as less a solitary act of individual enquiry and reflection, and more an ongoing, collaborative process of creative interaction within a multimedia environment or network. Contributions in this anthology demonstrate a robust history and equally diverse contemporary approach to multimedia interaction for literary and artistic ends. Central to all media formats, computation is explored throughout this volume to critically examine how algorithmic procedures in writing help bring forward many key concepts to building creative communities in a digital environment. Each chapter in this book accordingly introduces readers to various new collaborative experiments using a broad range of different digital media formats, including VR, Natural Language Generation (NLG), and metagaming tools. This book will appeal broadly to students, instructors, and independent artists working in the digital arts, while its emphasis on social interactivity will interest theorists and teachers working in theatre, social media, and cyberpsychology. Its secondary focus on computation and media programming as a site of artistic experimentation will also interest programmers and web designers at various professional levels. (shrink)

The importance of cultivating creativity in language education has been widely acknowledged in the academic literature. In this respect, digital technologies can play a key role in achieving this endeavour. The socio-cultural conceptualization of creativity stresses the role of communication, collaboration and dialogical interaction of creative expression in language education. The objective of this paper is to study the literature focusing on cases of collaborative creativity and technology embedded in language education. To this end, we carry out a (...) systematic revision of state-of-the-art literature consisting of 26 blind peer-reviewed empirical studies selected from several databases that address our main research question, namely, which specific roles and forms of digital technology can be identified in the existing literature that support collaborative creativity in language education. Results show that the features of digital technology unfold a range of learning opportunities in language education and can play three different roles in promoting collaborative creativity: as a tutoring device that guides the implementation of key co-creation skills; as a tool that enables and shapes the development of co-creative thinking skills; and as a medium that creates rich and resourceful environments to stimulate the emergence of collective creative processes. The paper also reveals that these three roles can be performed using a wide range of interactive technologies that encourage students to participate in a rich, co-creative language learning experience and equip learners with key competences to approach complex problems in a globalised and hyper-connected world. Finally, this paper may contribute to developing future language technology-enhanced learning projects capable of promoting key collaborative and creative processes. (shrink)

My question in this paper is whether digital technologies transform humanity and make politics impossible. Digital technologies, no doubt, are revolutionary. But I argue that what they have done in the Post-Cold War era are: (1) to further contract the spaces between politicians and the people; (2) transform actors from subjects to objects, such that we may in addition to social identities, talk about digital identities; (3) relocate the public sphere from squares to ilosphere where individuals are (...) granted enormous expressive powers but at the same time become vulnerable to large scale manipulations; (4) and escalate the tools of politics. My argument will be that digital technologies in a subtle way are transforming humanity in the digital space and that this might have costly moral consequences not only in politics generally but specifically in liberal democracy. However, I will contend that this transformation of humanity does not make politics impossible; it only escalates it with troubling consequences like those we saw in the 2016 American presidential election. (shrink)

Digital spaces are saturated with metaphor: we have pages, sites, mice, and windows. Yet, in the world of digital textuality, these metaphors no longer function as we might expect. Martin Paul Eve calls attention to the digital-textual metaphors that condition our experience of digital space, and traces their history as they interact with physical cultures. Eve posits that digital-textual metaphors move through three life phases. Initially they are descriptive. Then they encounter a moment of fracture (...) or rupture. Finally, they go on to have a prescriptive life of their own that conditions future possibilities for our text environments - even when the metaphors have become untethered from their original intent. Why is "whitespace" white? Was the digital page always a foregone conclusion? Over a series of theses, Eve addresses these and other questions in order to understand the moments when digital-textual metaphors break and to show us how it is that our textual softwares become locked into paradigms that no longer make sense. Contributing to book history, literary studies, new media studies, and material textual studies, Theses on the Metaphors of Digital-Textual History provides generative insights into the metaphors that define our digital worlds. (shrink)

_Strategies of Deconstruction _ was first published in 1991. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. In the past two decades, the "movement" of deconstruction has bad tremendous impact on a number of academic, disciplines in the United States. However, its force has been rather limited in the field of philosophy, despite the fact that in Europe the practice of deconstruction (...) emerged in the work of philosophers. Although the reasons for this can be debated, two of the more obvious explanations are the mainstream Anglo-American philosophers rarely studied the German and French philosophical traditions in great detail, and deconstruction's focus on discourse and interpretation has made it more attractive to the literary and humanistic disciplines. With this context, _Strategies of Deconstruction _ focuses on the early work of Jacques Derrida, the French philosopher who introduced deconstruction in _Speech and Phenomena_,his study of Edmund Husserl, and _Of Grammatology_, and whose philosophical reputation stems in no small part from his work on Husserl. In examining the philosophical import of Derrida's theories of reading, text, and language, specifically as they related to _Speech and Phenomena_,J. Claude Evans makes careful reference to Husserl's own texts. His analysis indicates that there are many systematic irregularities in Derrida's study and that without those irregularities Derrida's conclusions cannot be substantiated. (shrink)

The times of restricting reading to just sitting with a book in a cozy armchair are gone. If you ask a modern teenager or university student how they would prefer to do it, the chances are fairly high that the answer you’ll get is a computer screen or an iPad. Digital technologies have become an ordinary tool for everybody dealing with literature, including common readers, students in the field, and professional scholars who have dedicated their lives to literary (...) research. This means the time has come to simultaneously revise the way literature is taught and explored, and this is where the volume Literary Education and Digital Learning: Methods and Technologies for Humanities Studies, edited by Willie van Peer .. (shrink)

Why are the fundamentals of education apparently so little changed in our era of digital technology? Is their obstinate persistence evidence of resilience or obsolescence? Such questions can best be answered not by imagining an uncertain high-tech future, but by examining a well-documented past--a history of instruction and media that extends from Gilgamesh to Google. Norm Friesen looks to the combination and reconfiguration of oral, textual, and more recent media forms to understand the longevity of so many educational (...) arrangements and practices. Friesen examines the interrelationship of reading, writing, and pedagogy in the case of the lecture and the textbook--from their premodern to their postmodern incarnations. Over hundreds of years, these two forms have integrated textual, oral, and (more recently) digital media and connected them with changing pedagogical and cultural priorities. The Textbook and the Lecture opens new possibilities for understanding not only mediated pedagogical practices and their reform but also gradual changes in our conceptions of the knowing subject and of knowledge itself. Drawing on wide-ranging scholarship in fields as diverse as media ecology and German-language media studies, Foucauldian historiography, and even archaeological research, The Textbook and the Lecture is a fascinating investigation of educational media. (shrink)

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, (...) or determining the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)

This article is about professional skill and what happens when work is instrumented with technology. The purpose is to contribute to the understanding of the professional skill, its role and development in an increasingly digitalized working life. The article also argues that more research is needed to understand what is at stake in terms of professional skill in the age of digital technology. The research on which the article is based shows that people adapt their way of (...) thinking and perceiving reality to the technology they use. This means that people are gradually becoming more and more like machines. There is an ongoing intellectual inner mechanization, which can be contrasted with the outer mechanization of human muscle power that the industrial revolution entailed. The intellectually mechanized man observes and describes reality in the terms of technology and loses the ability to discern nuances and make qualified judgments gradually. The concepts of Turing’s man and functional autism capture these phenomena. Tacit engagement is a concept that captures the tacit knowledge that can only be expressed when people share physical space. The concept draws attention to the importance of the physical space and the body and what is at stake in terms of interpersonal knowledge in the wake of digital communication technology. It is not machines with supposedly human abilities and characteristics that we need to pay attention to when working life becomes increasingly digitalized, but people who gradually become like machines. What is required to safeguard the knowledge that is unique to man is bildung, i.e., to see the limits of the technology and the abstract theoretical models one uses. Art, classical literature, and drama, with their more plastic language, can reach areas where mathematics and natural science cannot reach. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and LearningRalph A. Smith (bio)IntroductionIt appears to be a defining characteristic of Rembrandt’s works—as important as the brushstrokes, the underdrawing, the types of ground and the paints used—that they move people exceedingly. [T]hey help us feel something of what the artist may have felt about youth, old age, friendship, isolation, and love.—Anthony Bailey[For] Rembrandt, imperfections are the norm of humanity, which is why he will always speak across (...) centuries to those for whom art might be something other than the quest for ideal form.—Simon SchamaArt can arouse the senses, touch the feelings, and stir the passions. In exercising these formidable powers, the artist should respect certain limits of good taste and moral propriety. Rembrandt possessed unequal skill in depicting the passions in original ways without breaking the code. Well, hardly ever.—Gary SchwartzThe National Endowment for the Humanities (NEH) Rembrandt Project was designed to apply state-of-the-art digital technology to the development of the multiple competencies needed for understanding and appreciating [End Page 101] Rembrandt and his time. As educational consultant to the project, I was given the assignment of conceptualizing a framework that would accommodate and illuminate the project’s purposes. This meant that I not only had to refamiliarize myself with seventeenth-century Dutch art and culture and with the national and state standards for the visual arts but also acquaint myself with the standards for socials studies; both sets of standards occupy a prominent place in the project and are the subject of the third section of this article. The overarching viewpoint from which I approached my assignment, however, was that of the humanities, a topic to which I turn first. Furthermore, since the project’s foremost concern is with masterpieces of the visual arts, I thought it apposite to address briefly some issues in aesthetics, especially those that relate to experiencing artworks appropriately. Having surveyed the project from the perspectives mentioned, I then ask to what extent it was successful in avoiding the pitfalls that often frustrate the implementation of novel ideas and methods.1The HumanitiesThe following interpretation of the humanities is condensed from the writings of two distinguished philosophers, Albert William Levi and Walter Kaufmann, and the historian Paul Gagnon. Levi, an early member of the National Council for the Humanities and for most of his career a distinguished professor of the humanities at Washington University, was once asked to define the essence of the humanities. He replied that the purposes of the humanities are to encourage persons to “to think critically, to communicate successfully, and to walk proudly with [their] tradition.”2 Noteworthy in this terse statement is its emphasis on the procedural aspects of the humanities, that is, their effects on human actions and attitudes. Such emphasis accorded well with the tradition of the Middle Ages, which construed the humanities as skills of organizing and understanding human experience. Levi, however, also acknowledged the Renaissance conception of the humanities as subject matters, thereby paying tribute to the endeavors of Renaissance scholars who devoted themselves to recovering and transmitting the literary texts of antiquity. A strong believer in historical continuity, Levi synthesized the Medieval and Renaissance traditions by proposing that the humanities be understood as skills of communication, continuity, and criticism. These skills have their substantive grounding in languages and literatures, history, and philosophy, the latter conceived as critical reflection.3 After pondering Levi’s interpretation, I added another “c,” the arts of creation, to his troika. Thus, the humanities can be understood as indispensable to human experience because they are the arts of creation, communication, continuity, and criticism.Another view of the purposes of the humanities and their relevance to the project can be found in the writings of the historian Paul Gagnon. He [End Page 102] stressed the importance of preparing the young for citizenship, personal cultivation, and vocation within a curriculum committed to the values of equity and competence.4 Gagnon interpreted the study of history as providing critical checks on reality, imparting insights into the various ways in which persons have used historical knowledge to find their place in the flow of events, and... (shrink)

This article reports on a survey of youth in Brussels and their ownership and use of digital technologies, focusing specifically on the social and cultural diversity within this group. Socio-cultural diversity includes differences regarding ethnicity and gender, language and educational attainment, as well as social and economic status. The relationship of these socio-cultural differences with the digital divide in terms of ownership and use is investigated. The data show a persistent ownership divide between socially weaker versus stronger groups (...) accompanied by an emerging socially compensatory function of instrumentally oriented user profiles among the socially weaker groups. (shrink)

Will language as we know it cease to exist? What could this mean for the way we live our lives? Shining a light on the technology currently being developed to revolutionise communication, The Future of Language distinguishes myth from reality and superstition from scientifically-based prediction as it plots out the importance of language and raises questions about its future.From the rise of artificial intelligence and speaking robots, to brain implants and computer-facilitated telepathy, language and communications expert Philip Seargeant surveys (...) the development of new digital 'languages', such as emojis, animated gifs and memes, and investigates how conventions of spoken and written language are being modified by new trends in communication. From George Orwell's fictional predictions in Nineteen Eighty-Four to the very real warnings of climate activist Greta Thunberg, Seargeant explores language through time, traversing politics, religion, philosophy, literature, and of course technology, in the process. Tracing how previous eras have imagined the future of language, from the Bible to the works H. G. Wells, and from Star Wars to Star Trek, the book reveals how perfecting language and communication has always been a vital component of utopian dreams of the future. Questioning the potential ramifications of recent and future developments in communication on society and its ideals, The Future of Language is a no holds barred investigation into the state of civilisation and the impact that changes in language could have on our lives"--Publisher's description. (shrink)

This collection of articles from both distinguished and emerging authors working at the intersections of philosophy, literary theory, media, and technology does not intend to fix new moral rules. Instead, the volume explores the ethos of digital environments, asking how we can orient ourselves in them and inviting us to renewed moral reflection in the face of dilemmas they entail.

Digital technology can facilitate collaboration and data sharing among humanities scholars, and therefore is sometimes seen as a catalyst for attempts to revise problematic canonical traditions in literary history. In this paper, I interrogate how specific ways of organising scholarly labour make possible certain forms of knowledge, and I study the obstacles scholars face when trying to adapt established organisational models. For this purpose I draw on fieldwork in a large European database project, launched to create empirical (...) knowledge about “forgotten” women writers. Literary studies is characterised by monograph-oriented scholarship, situated in regional disciplinary contexts. The collaborative use of a database, however, requires an integration of individual research practices, and it blurs the division of labour between scholars and information professionals. In the present case, the inertia of established infrastructural arrangements manifested itself as a conflict between what was required to gen.. (shrink)

In the past two decades digital technologies have fundamentally changed the way we think about, make and use popular music. From the production of multimillion selling pop records to the ubiquitous remix that has become a marker of Web 2.0, the emergence of new music production technologies have had a transformative effect upon 21st Century digital culture. Sonic Technologies examines these issues with a specific focus upon the impact of digitization upon creativity; that is, what musicians, cultural producers (...) and prosumers do. For many, music production has moved out of the professional recording studio and into the home. Using a broad range of examples ranging from experimental electronic music to more mainstream genres, the book examines how contemporary creative practice is shaped by the visual and sonic look and feel of recording technologies such as Digital Audio Workstations. (shrink)

Due to technological advances, English as a Foreign Language (EFL) students who previously relied on printed books have switched to digital books. Higher education is, therefore, one of the levels of education currently one of the most heavily touched by digital technologies. This study aims to determine Indonesian students' perceptions regarding using digital books in reading classes. 127 students from a private university in Indonesia took part in this research. This type of research was a mixed-method design (...) that used a five-point Likert Scale survey and semi-structured interviews to improve and support the results of the previous quantitative methods. The conclusion of this study covers students' past experiences, usefulness, preference for digital books vs. printed books, and English learning with digital books. In terms of students’ past experiences, 84% of students have read digital books on computers or tablets, and 92% always use their phones. Moreover, in terms of usefulness, the interviews showed that many participants did not know the highlighting and note-taking features of the digital book. 64% of students prefer digital books, but some interviewees prefer printed books with some justification. In addition, 88% said digital books helped them learn English, especially in reading class, supported by interviews with several participants who said they were better at learning vocabulary from the digital book. (shrink)

Natural language processing is a critical part of the digital transformation. NLP enables user-friendly interactions between machine and human by making computers understand human languages. Intelligent chatbot is an essential application of NLP to allow understanding of users’ utterance and responding in understandable sentences for specific applications simulating human-to-human conversations and interactions for problem solving or Q&As. This research studies emerging technologies for NLP-enabled intelligent chatbot development using a systematic patent analytic approach. Some intelligent text-mining techniques are applied, including (...) document term frequency analysis for key terminology extractions, clustering method for identifying the subdomains, and Latent Dirichlet Allocation for finding the key topics of patent set. This research utilizes the Derwent Innovation database as the main source for global intelligent chatbot patent retrievals. (shrink)

The present study assessed the language teachers' pedagogical beliefs and orientations in integrating technology in the online classroom and its effect on students' motivation and engagement. It utilized a cross-sectional correlational research survey. The study respondents were the randomly sampled 205 language teachers (μ= 437, n= 205) and 317 language students (μ= 1800, n= 317) of select higher educational institutions in the Philippines. The study results revealed that respondents hold positive pedagogical beliefs and orientations using technology-based teaching in (...) their language classroom. Test of difference showed that female teachers manifested a firmer belief in student-centered online language teaching than their male counterparts. However, the utilization and attitude towards technology in the language classroom is favorably associated with the male teachers. As to students' level of language learning motivation and engagement, it was found out that male and female students have high level of language learning engagement. Further, the test of relationship showed that the higher the teachers' belief in utilizing student-centered teaching to integrate technology in the language classroom, the higher the students are motivated and engaged in learning. In like manner, it was also revealed that teacher-centered belief is negatively correlated to student’s motivation and engagement in online language learning. In this regard, the pedagogical assumptions that hold EFL teachers positively to integrate technology in the language classroom. This study generally offers implications for enhancing language teacher's digital literacy to promote motivating, fruitful, and engaging language lessons for 21ts century learning. (shrink)

Time Tells is a grand study of time, technology, performance, the attention economy, and comedy. Using the cinematic time-jump, "a numerical shorthand for a fated intermission," to weave a narrative of chronopolitics, memoir, and cultural study, Masha Tupitsyn constructs a unique literary and visual phenomenology on the loss of time, presence, and attention in the digital age. Structured into two interlocked inquiries--Time and Acting--Time Tells focuses on the internet to talk about the ethics of presence and attention, (...) comedy to talk about timing and the language of critique, and lying masculinity, the double, and acting to talk about performance and the reign of falsehood. Both volumes intersect to examine our inability to experience coherence and integration in the post-truth era. In the first volume, Time, Tupitsyn covers wide-ranging cultural touchstones such as the '90s TV show Felicity, Hitchcock's Vertigo, Luca Guadagnino's Call Me by Your Name, Joan Didion's The Year of Magical Thinking, Pretty Woman, Wong Kar-wai's 2046, David Fincher's Zodiac, Jean-Luc Godard, the Beastie Boys, Wim Wenders, the art of style, memory and music in the post-internet age, and the lost ontology of cinema. Using what Tupitsyn terms "screen-shot criticism," Time Tells makes innovative critical thinking accessible to anyone interested in American culture today. (shrink)

In his Feature Article ‘Represent me: please: Towards an ethics of digital twins in medicine’1, Mattias Braun considers several important bioethical issues in relation to the use of digital twin simulations in health and medical contexts. He focuses on the ways these simulations are used or are proposed to be deployed in these domains, including to what extent they are a ‘true’ or ‘real’ representation of human bodies. In this response, I want to take a step back and (...) delve into the metaphor of the ‘digital twin’. I consider the implications of using this metaphor in the context of medical care and how this choice of language participates in what science and technology scholars term the ‘sociomaterial imaginaries’ that are used to support and promote novel technologies.2 Language is important. It matters. The choice of language is both symbolic and persuasive. It intervenes in political and policy debates and research and healthcare funding decisions.2 It has material effects and affects: to some of which Braun has gestured in his piece. The …. (shrink)

The question of whether animals have technologies is studied in this article in three genealogical steps according to the development of human technologies: tools, machines and digital technologies. In the age of tools, animals were regarded as lacking technologies. In the age of machines, observations in animals show tool usage. However, Marx attributes both machines and tools only to humans in order to avoid a break between premodern humanity that had only tools, to modern humanity that invented and used (...) machines. In the age of digital technologies, animals have been observed using and inventing tools as well as complex technics like language and agriculture. These genealogical steps conform to Calarco’s mapping of animality into identity, difference and indifference, which allow us to think not only of the identity between humans’ and animals’ technologies but also of the differences. (shrink)

A Religion of Progress has taken shape over the last 21 centuries, from the Enlightenment to present times. It is quite simple to follow a thread from Hermeticism to today, however, several facts have altered its content, therefore, reformulating some of its promises and vision of the world. This paper attempts to evaluate how that Religion of Progress has become a sort of Techno-Hermeticism 2.0. Digital technologies have redefined old hermetic myths into a high-tech religion with dire environmental consequencies. (...) Some of those myths are the resurrection of the bodies, the construction of the City of God, the Adamic universal language and so forth. Now religion must confront the upcoming collapse, however, it is unable to provide satisfactory answers. This goes for all the different churches, from accelerationists (Nick Land) to extinctionists and believers of digital solutionism. That leaves possible imaginative responses to that sociecological crisis without any relevant proposals. (shrink)

This book makes available for the first time in English—and for the first time in its entirety in any language—an important yet little-known interview on the topic of photography that Jacques Derrida granted in 1992 to the German theorist of photography Hubertus von Amelunxen and the German literary and media theorist Michael Wetzel. Their conversation addresses, among other things, questions of presence and its manufacture, the technicity of presentation, the volatility of the authorial subject, and the concept of memory. (...) Derrida offers a penetrating intervention with regard to the distinctive nature of photography vis-à-vis related technologies such as cinema, television, and video. Questioning the all-too-facile divides between so-called old and new media, original and reproduction, analog and digital modes of recording and presenting, he provides stimulating insights into the ways in which we think and speak about the photographic image today. Along the way, the discussion fruitfully interrogates the question of photography in relation to such key concepts as copy, archive, and signature. Gerhard Richter introduces the volume with a critical meditation on the relationship between deconstruction and photography by way of the concepts of translation and invention. Copy, Archive, Signature will be of compelling interest to readers in the fields of contemporary European critical thought, photography, aesthetic theory, media studies, and French Studies, as well as those following the singular intellectual trajectory of one the most influential thinkers of our time. (shrink)

The culture of reading is shaped by a number of individually and socially determined factors arising from the cultural tradition of a given environment, making the status of books inseparable from the entire value system of a given society. The teacher of the native tongue is a key figure in the process of literary maturation of the future reading public; the role of the teacher is hindered by social changes in the modern “digital” world, in which the position (...) of the reader and the book are now significantly different than in the recent past. Digital media cannot be solely blamed for the reduced interest of pupils in reading books. This paper will discuss the complexity of the field of education, the culture of reading in the new online environment, and changes brought by the current Croatian language subject curriculum. The advantages and disadvantages of using IT technologies in educational processes will be critically examined; guidelines will also be offered for the functional implementation of internet tools and ready-made applications in Croatian language teaching. Children’s upbringing is closely tied to digitalisation and social networks, the influence of which are not necessarily negative; this influence must simply be used functionally to direct attention towards the unquestionable potential of good books. The justification for required reading will be noted, as will the problem of disregarding the reading interests of young pupils. The paper will offer a methodical contribution for the interpretation of required reading titles through the implementation of creative online tools. (shrink)

This review examined the studies on the role of technology-based English as a foreign language academic motivation. A significant positive correlation between academic motivation and educational technology use has been approved in related studies. However, there is a dire need for studying the effect of Mobile-Assisted Language Learning and Computer-Assisted Language Learning on learners’ motivation. The literature showed that purposeful attractiveness, effectiveness, and usefulness of digital instruments can positively affect learner motivation. There are also some reasons for (...) increasing learner motivation in educational technology contexts, such as learners’ integration with the community, familiarising with different societies and cultures, input flooding opportunities, engagement in academic contexts, and interaction with native speakers. In the end, the paedagogical implications are expounded to promote the learners’ grit and diminish anxiety for better performance. This review also provides suggestions for further research to clarify our perspective on emotional variables like motivation. (shrink)

This paper analyzes a contemporary conception of digital despotism through themes drawn from classical Greek philosophy. By taking as a measure some of the most radically excluded categories of human existence, Aristotle’s slave and slavish types, I offer a way to understand digital despotism as a syndrome of overlapping risks to human impairment, brought about by the advent of automated data processing technologies, which dispossesses people along i) ontological and ii) cognitive dimensions. This conception aims to balance the (...) appeal to the _language_ of slavery in recent global historical, Marxist, republican, and postcolonial discourses on digital technology, while distinguishing itself from the coercive, material violence involved in the experiences of slavery itself. Unlike prior conceptions, this thematic idea of digital despotism moreover suggests political vulnerability to forms of despotic rule and integrates various risk factors that can therefore be better recognized in both policy intervention, and individual and/or collective resistance. (shrink)

In the history of literary experimentation, the writer has evolved into a social medium for literary readings of numerous literary works that were previously only known to those with a keen interest in literature and literary genres. As a result, many well-known literary works have been succinctly summarised in front of everyone in a way that is both helpful and provides details while still remaining concise. In this essay, the researcher wants to show how Twitter (...) has developed into a literary form, competing with other well-known literary works like novels, plays, short stories, and poetry, particularly haiku. Beginning with an introduction to Twitter literature and its definition, the study then focuses on the format in which literary tweets are provided, including the word count and length of the presentation of the literary work. Then, the literary subgenres that appeared on Twitter were criticised. The paper provides instances of literary accounts on Twitter and distinguishes the literary genres on Twitter. The study also discusses Twitter’s literary value in educating readers about a variety of literary works, particularly those who are uninterested in or uninterested in literature. Moreover, the distinction between reading literary works in their authentic forms vs their Twitter-based forms. The researcher contrasts the literary subgenres that are best suited for Twitter distribution. As a complement to the other well-known literary genres and in keeping with the varied, quick, and advanced modern day, the researcher concludes by presenting Twitter as one of the crucial literary genres of the new millennium that must be given significance and relevance. However, this study makes the case that Twitter might be. It is seen as an expression of an experimental platform for postmodern electronic literature that can ensure a revival of the steadily dwindling fantasy reading habit that is appealing to the generation of technology enthusiasts. (shrink)

This book makes available for the first time in English—and for the first time in its entirety in any language—an important yet little-known interview on the topic of photography that Jacques Derrida granted in 1992 to the German theorist of photography Hubertus von Amelunxen and the German literary and media theorist Michael Wetzel. Their conversation addresses, among other things, questions of presence and its manufacture, the technicity of presentation, the volatility of the authorial subject, and the concept of memory. (...) Derrida offers a penetrating intervention with regard to the distinctive nature of photography vis-à-vis related technologies such as cinema, television, and video. Questioning the all-too-facile divides between so-called old and new media, original and reproduction, analog and digital modes of recording and presenting, he provides stimulating insights into the ways in which we think and speak about the photographic image today. Along the way, the discussion fruitfully interrogates the question of photography in relation to such key concepts as copy, archive, and signature. Gerhard Richter introduces the volume with a critical meditation on the relationship between deconstruction and photography by way of the concepts of translation and invention. _Copy, Archive, Signature_ will be of compelling interest to readers in the fields of contemporary European critical thought, photography, aesthetic theory, media studies, and French Studies, as well as those following the singular intellectual trajectory of one the most influential thinkers of our time. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

It is well known that AI-based language technology—large language models, machine translation systems, multilingual dictionaries, and corpora—is currently limited to three percent of the world’s most widely spoken, financially and politically backed languages. In response, recent efforts have sought to address the “digital language divide” by extending the reach of large language models to “underserved languages.” We show how some of these efforts tend to produce flawed solutions that adhere to a hard-wired representational preference for certain languages, which (...) we call language modeling bias. Language modeling bias is a specific and under-studied form of linguistic bias were language technology by design favors certain languages, dialects, or sociolects with respect to others. We show that language modeling bias can result in systems that, while being precise regarding languages and cultures of dominant powers, are limited in the expression of socio-culturally relevant notions of other communities. We further argue that at the root of this problem lies a systematic tendency of technology developer communities to apply a simplistic understanding of diversity which does not do justice to the more profound differences that languages, and ultimately the communities that speak them, embody. Drawing on the concept of epistemic injustice, we point to the broader ethico-political implications and show how it can lead not only to a disregard for valuable aspects of diversity but also to an under-representation of the needs of marginalized language communities. Finally, we present an alternative socio-technical approach that is designed to tackle some of the analyzed problems. (shrink)

In this original study, Rachel Coventry expands Heidegger's philosophy of art to include his ontological account of poetry and technology. Following Heidegger's definition of technology as preventing authentic poetic language, alongside his argument that poetry can successfully confront technology, Coventry considers the possibility of great poetry in the digital age.

The metaphor of machine has been very fertile throughout modernity: it served not only to think but also to design strategies for intervening objects as diverse as cities and the solar system, going through such basic institutions as the school or the factory. The human body also was caught in this movement that insists on identifying all life with some sort of mechanism. Even though that gesture has remained current since the beginning of industrialism, it has suffered significant alterations, especially (...) in recent decades. We will attempt to unravel some senses of the historical transformations that are reconfiguring the fusion of life and machines, in synch with the rapid advances of digital technology. (shrink)

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to (...) libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library T126964 Anonymous. By Benjamin Franklin. Only 100 copies printed. London: printed in the year, 1725. 32p.; 8°. (shrink)

Literary writing in the digital era is evolving using languages that have a much greater dynamic potential than those known hitherto. The very phrase `text processing' implies the notion of writing `in process', which has very recently been joined by another possibility, the unrestricted circulation of texts on networks on a worldwide scale, without spatial limits and in real time. In the arena of writing that is no longer simply textual but hypertextual, literary writing is becoming highly (...) dynamic, intertextual, fragmentary, interactive and playful. In this article the author discusses the implications of digital publishing and warns of the unexpected consequences of replacing the book, entirely or partly, with new instruments and techniques of communication and information. (shrink)

There is an ongoing debate about the ethics of research on lifespan extension: roughly, using medical technologies to extend biological human lives beyond the current “natural” limit of about 120 years. At the same time, there is an exploding interest in the use of artificial intelligence (AI) to create “digital twins” of persons, for example by fine-tuning large language models on data specific to particular individuals. In this paper, we consider whether digital twins (or digital doppelgängers, as (...) we refer to them) could be a path toward a kind of life extension—or more precisely, a kind of person extension—that does not rely on biological continuity. We discuss relevant accounts of consciousness and personal identity and argue that digital doppelgängers may at least help us achieve some of the aims or ostensible goods of person-span extension, even if they may not count as literal extensions of our personhood on dominant philosophical accounts. We also consider relational accounts of personhood and discuss how digital doppelgängers may be able to extend personhood in a relational sense, or at least secure some of the goods associated with relevant relationships. We conclude by suggesting that a research program to investigate such issues is relevant to ongoing debates about the ethics of extending the human lifespan. (shrink)

The rapid innovations in digital technology deeply influence views on language and information processing. These exciting developments raise many questions for researchers, and shed new light on old approaches. Researchers are drawn to closely investigate the relation between form and content, the ways that linguistic utterances change information content, and the dynamics of information change. Logic, as an established method of valid argumentation, is a tool that researchers can use to gain insight in these questions of language and (...) computation. In answer to these linguistic and computational questions, this book presents a broad range of logical investigations into language and information processing. The topics surveyed include the notion of 'reasonable belief' in commonsense reasoning, perceptual reports in natural languages, and the logic of creation and modification of objects. The book also presents work on the verification of temporal aspects of reactive systems, analysis of scope by combining model theory and situation semantics and semantic analysis of the information articulation of linguistic statements. This volume exemplifies the abundant development of logical methods and tools in an interdisciplinary context. (shrink)

How philosophy transformed human knowledge and the world we live in Philosophical investigation is the root of all human knowledge. Developing new concepts, reinterpreting old truths, and reconceptualizing fundamental questions, philosophy has progressed—and driven human progress—for more than two millennia. In short, we live in a world philosophy made. In this concise history of philosophy's world-shaping impact, Scott Soames demonstrates that the modern world—including its science, technology, and politics—simply would not be possible without the accomplishments of philosophy. Firmly rebutting (...) the misconception of philosophy as ivory-tower thinking, Soames traces its essential contributions to fields as diverse as law and logic, psychology and economics, relativity and rational decision theory. Beginning with the giants of ancient Greek philosophy, The World Philosophy Made chronicles the achievements of the great thinkers, from the medieval and early modern eras to the present. It explores how philosophy has shaped our language, science, mathematics, religion, culture, morality, education, and politics, as well as our understanding of ourselves. Philosophy's idea of rational inquiry as the key to theoretical knowledge and practical wisdom has transformed the world in which we live. From the laws that govern society to the digital technology that permeates modern life, philosophy has opened up new possibilities and set us on more productive paths. The World Philosophy Made explains and illuminates as never before the inexhaustible richness of philosophy and its influence on our individual and collective lives. (shrink)

This paper aims to highlight the life of computer technologies to understand what kind of ‘technological intentionality’ is present in computers based upon the phenomenological elements constituting the objects in general. Such a study can better explain the effects of new digital technologies on our society and highlight the role of digital technologies by focusing on their activities. Even if Husserlian phenomenology rarely talks about technologies, some of its aspects can be used to address the actions performed by (...) the digital technologies by focusing on the objects’ inner ‘life’ thanks to the analysis of passive synthesis and phenomenological horizons in the objects. These elements can be used in computer technologies to show how digital objects are ‘alive.’ This paper focuses on programs developed through high-order languages like C++ and unsupervised learning techniques like ‘Generative Adversarial Model.’ The phenomenological analysis reveals the computer’s autonomy within the programming stages. At the same time, the conceptual inquiry into the digital system’s learning ability shows the alive and changeable nature of the technological object itself. (shrink)

A new analytical framework for understanding literary videogames, the literary-ludic spectrum, illustrated by close readings of selected works. In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on (...) a digital medium (unlike, for example, conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology. After establishing the theoretical underpinnings of her proposal, Ensslin introduces the L-L spectrum as an analytical framework for literary games. Based on the phenomenological distinction between deep and hyper attention, the L-L spectrum charts a work's relative emphases on reading and gameplay. Ensslin applies this analytical toolkit to close readings of selected works, moving from the predominantly literary to the primarily ludic, from online hypermedia fiction to Flash fiction to interactive fiction to poetry games to a highly designed literary “auteur” game. Finally, she considers her innovative analytical methodology in the context of contemporary ludology, media studies, and literary discourse analysis. (shrink)

Contemporary art based on new media is situated at the intersection of art-as-we-know-it, smart technologies, digital and algorithmic culture, networked economy, politics, as well as bio and techno sciences. Contemporary art enters into intense relations with these fields, including interactions, adoption of methodological devices and approaches, changes of the areas of activity, hybridization and amalgamation. This text explores those features of contemporary life and culture which are affected by digital art and the recombination, appropriation, remediation, reusing, repurposing, and (...) transfer of artistic procedures/tools from one context or field to another. (shrink)

This short paper serves as an introduction to the Projects section of this issue of Humanist Studies & the Digital Age, since the contributions are connected by the authors' participation in a roundtable at the Modern Language Association Annual Conference in 2017. The papers explore the research outcomes from developing and deploying different Digital Humanities projects with Italian Studies materials. The introduction outlines the different methodologies, critiques of digital approaches, and implications for the field offered by the (...) four contributions. The essay ultimately argues that through their humanistic engagement with the technology that drive the projects, the scholars connect their approaches to timely concerns facing all consumers and critics of digital and computational products. (shrink)

The paper describes the circumstances in which digital technology arises; the change is recognized in the literature as the basis of digital transformation. This transformation is understood as a deterministic economic process. However, the analysis of the deeper circumstances of this process shows that we are dealing with a vast change in the ways of understanding and describing the world, i.e. with an epistemological change. This change concerns, on the one hand, the method of creating general mathematical (...) (including geometric) structures that are the basis of models used to describe the world, and on the other hand—tools for its description, e.g. network theory, systems theory, complexity theory. Such a broadly understood change makes the deterministic description proposed by the digital transformation too simple and shallow. Instead, the concept of predigital transformation is proposed. It includes not only the omitted historical part but also creates better and richer conditions for understanding the digital transformation process, as well as for developing appropriate conceptual tools for its use. (shrink)

An examination of the ways human movement can be represented as a formal language and how this language can be mediated technologically. In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion through languages of movement and technological mediation. He argues that technology transforms the representation of movement and that representation in turn transforms the way we move and what we understand to be movement. Humans communicate through movement, physically and mentally. To record and capture integrated (...) movement (both bodily and mental), by means of formal language and technological media, produces a material record and cultural expression of our evolving kinetic minds and identities. Salazar Sutil considers three forms of movement inscription: a written record (notation), a visual record (animation), and a computational record (motion capture). He focuses on what he calls kinetic formalism—formalized movement in such pursuits as dance, sports, live animation, and kinetic art, as well as abstract definitions of movement in mathematics and computer science. He explores the representation of kinetic space and spatiotemporality; the representation of mental plans of movement; movement notation, including stave notation (Labanotation) and such contemporary forms of notation as Choreographic Language Agent; and the impact of digital technology on contemporary representations of movement—in particular motion capture technology and Internet transfer protocols. Motion and Representation offers a unique cultural theory of movement and of the ever-changing ways of representing movement. (shrink)

Exploring the status of the semantic unit in recent linguistic and literary theories--the sign itself--Richard Waswo relates present-day literary concerns to Renaissance thought about the connections between language and meaning. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal (...) of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Excerpt from Essays, Literary, Moral and Political Some people are subject to a certain delicacy of passion, which makes them extremely sensible to all the accidents of life, and gives them a lively joy upon every prosperous event, as well as a piercing grief, when they meet with misfortunes and adversity. Favours and good offices easily engage their friendship while the smallest injury provokes their resentment. Any honour or mark of distinction elevates them above measure; but they are as (...) sensibly touched with contempt. People of this character have, no doubt, more lively enjoyments, as well as more pungent sorrows, than men of cool and sedate tempers but, I believe, when everything is balanced, there is no one, who would not rather be of the latter character, were he entirely master of his own disposition. Good or ill fortune Is very little at our disposal: and when a pe_r_son. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

There is an ongoing debate about the ethics of research on lifespan extension: roughly, using medical technologies to extend biological human lives beyond the current “natural” limit of about 120 years. At the same time, there is an exploding interest in the use of artificial intelligence (AI) to create “digital twins” of persons, for example by fine-tuning large language models on data specific to particular individuals. In this paper, we consider whether digital twins (or digital doppelgängers, as (...) we refer to them) could be a path toward a kind of life extension—or more precisely, a kind of person extension—that does not rely on biological continuity. We discuss relevant accounts of consciousness and personal identity and argue that digital doppelgängers may at least help us achieve some of the aims or ostensible goods of person-span extension, even if they may not count as literal extensions of our personhood on dominant philosophical accounts. We also consider relational accounts of personhood and discuss how digital doppelgängers may be able to extend personhood in a relational sense, or at least secure some of the goods associated with relevant relationships. We conclude by suggesting that a research program to investigate such issues is relevant to ongoing debates about the ethics of extending the human lifespan. (shrink)

Danaher and Nyholm ( 2024a ) have recently proposed that digital duplicates—such as fine-tuned, “personalized” large language models that closely mimic a particular individual—might reduce that individual’s _scarcity_ and thus increase the amount of instrumental value they can bring to the world. In this commentary, we introduce the notion of _relational scarcity_ and explore how digital duplicates would affect the value of interpersonal relationships.