tag:blogger.com,1999:blog-21813958342449181322024-03-13T03:20:37.031-07:00CaterinaBernardinienglishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-2181395834244918132.post-3197489689746950272013-12-07T15:39:00.001-08:002013-12-07T15:39:24.595-08:00Engagement and Revision<div dir="ltr" style="text-align: left;" trbidi="on">
The last assignment of my "Writing as Inquiry" class is a research paper in any discipline of interest, i.e. my students can choose to write about engineering, food science, archaeology, philosophy, or whatever else. This seemed bizarre to some of them, but overall, students liked it because it enabled them to do research on the areas of their majors. I decided to do this because I firmly believe that the purpose of the course I taught this semester was not that of filling my students with a specific content, but rather to teach them methods of inquiry through the practice of writing and methods of writing through the practice of inquiry. In other words, what I have tried to do as a teacher is to guide my students to practice attitudes of questioning and interpreting that are typical of humanistic <i>formae mentis. </i>Perhaps Alan Liu would call this an instrumental teaching approach quite typical of humanities scholars. Perhaps I am being wrong and delusional to let my students step away from English and from literature and creative writing, and embrace their usually "more scientific" or even more "useful" disciplines for their final writing assignment. But I am convinced that only when they realize that they can very productively apply forms of inquiry typical of humanistic methods in their different areas of study, will they 'understand the lesson' of my course. Honestly, I don't even care they get this conscious understanding, I just care they can write and think provocatively, whatever the field is, whatever the life they live. So, yes, I am (instrumentally?) preparing my students to go off pursuing their majors and apply a humanistic approach to the writing (and, therefore, thinking!) they will be producing in the years to come. <br />
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Now, the problem described by Johanna Drucker, that of the reification of information offered by new digital media, evidently seems to be connected to the philosophy that animates my teaching. As humanists, our contribution is that of avoiding this reification. Just as we teach students how to question assumptions through writing and to learn methods of revision of the current state of thinking regardless of the topic, we need to mobilize rigid and static (re)presentations of knowledge as offered and framed by forms of digital information visualization. "The primary strategy for undoing the force of reification is to introduce parallax and difference, thus taking apart any possible claim to the self-evident or self-identical presentation of knowledge and replacing this with a recognition of the made-ness and constructedness that inhere in any representation of knowledge", Drucker writes. In other words, Drucker calls for both an exposition of humanistic methods and an application of them to digital scholarship and to the production of knowledge in the digital realm, more at large. Which means that humanities need to infiltrate and work from within the digital, and not outside of it. Which means humanities cannot help but being digital, at this point. But this does not imply a corruption, or an alignment with the globalizing digital status quo. In fact, hopefully, it can mean just the contrary.<br />
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I like the use of the word "proleptic" by Liu, which exposes the fragility of the current moment: we are understanding the need of digital humanities, we are working to make them real, and we hope we are doing our best, but we are still at the very beginning. At the same time, we are not doing anything very different from what humanists have always been doing: design knowledge, preserve knowledge, revise and disrupt knowledge and its social and political implications. The acceptance of this continuation of our task implies inevitable modifications which we should embrace with perplexity and yet excitement, at the same time. It's a question of participation and of resistance, but most of all, it's a question of intellectual honesty and political engagement. We can only remain "servants", as Liu observes, if we stay in our protected microcosmos, which, by the way, does not exist any longer, anyway. The real game of knowledge creation, preservation, disruption, is played in a realm called internet, and we can not only participate in it, but even help to redefine and revise its rules. </div>
englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com0tag:blogger.com,1999:blog-2181395834244918132.post-10594242645307563012013-11-30T19:24:00.000-08:002013-11-30T19:36:44.837-08:00Synergies <div dir="ltr" style="text-align: left;" trbidi="on">
I found Katherine Hayles' <i>How We Think: Digital Media and Contemporary Technogenesis </i>to be a perfect book to guide our course on DH toward its conclusion, since Hayles is able to summarize and balance out many questions and debates that we have taken into consideration in these months: what Digital Humanities is/are, whether it is/should be a separate field or discipline, how reductive the idea of 'mere tools' can be, the transformative effects of our interactions with, and creation of, digital cultural objects.<br />
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I was particularly pleased to find, in Hayles, a good answer to the perplexities I had about Moretti's theories of distant reading. Hayles shows us how different modes, such as close, hyper and machine-based, readings, can, should, and do, inevitably, interact, instead of excluding one another. This whole book calls for a dynamic synergistic interaction, and an hybridization, rather than a rigid separation, between TH (Traditional Humanities) and DH; among close, hyper, and machine-based readings and among the pedagogies based on these types of reading; between narrative and database; between spatial and temporal visualizations and representations; between analysis and interpretation. One of the crucial moments of the book is when Hayles, on page 81, argues that the right attitude toward the technogenesis she describes is not that of understanding it as progress but rather, that of adapting to it, and, most of all, to intervene in the activist sense discussed by Anne Balsamo in her call for humanist scholars to develop new tools, and even in the resistant and opposing anti-dominant ideology sense, in Malabou's idea of neural plasticity <i>vs. </i>flexibility. Hayles's book is in this sense, both very lucid and visionary, close to reality and flirting with utopias. It's also a very brave attempt to explore the questions of the redefinition of the boundaries of cognition and perception, their unconscious mechanisms, and the questions of their extendedness and embeddedness. In this sense, this book is an overview of the main questions and problems that crucially regard DH. I think its merits also lie in the curiosity toward multimodal electronic novels such as TOC or toward the spatial aesthetic of OR. I have not read extensively in recent DH theory, but it seems to me pretty rare to find this interest in digital-born literature as conjugated with the praise of algorithmic and computational thinking and operating within DH.<br />
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Hayles is even able to discuss code and related visions of it as a <i>lingua franca</i>, and even has time to dig into the changes brought about by telegraphy and its bearing on the understanding, and the practicing, of language and writing. Indeed, Hayles is successful to show, or at least to indicate the path of, the changes that the "technogenetic spiral" is bringing forth, and its "strong aesthetic dimension as well as neurocognitive and technical implications"(247). I would have not been happy with this book if I felt it was only about showing that there is no other option but adapting to, or aligning with, the digital technogenesis. This book is, more importantly, about intervening within it and, possibly, against it. In this sense, the proposed object of study of Comparative Media Studies seems to me to be a good counterpoint to Manovich's theorization about the dissolving status of the very concept of media. Yes, Hayles call for the hibridization of forms of reading and of cognitive patterns of imagination and representation, but she also argues that the materiality of different media (and not only of software!) and its interactions with human understanding should be studied, while differences between and among media should be emphasized and observed in their evolution. In other words, she proposes synergies and ruptures, continual transformation but also resistant identities. And, most of all, she helps us develop an awareness of the reciprocal causality between the human and the technological, to accept of the coexistence of the old and the new, and, possibly, to create fruitful interactions between the two. Hayles' book is both cynical and hopeful. It refuses simplistic explanations, and proposes complex questions, it shows how much is unconsciously happening to us but also how much we can actively do, how much we can consciously try to make happen. </div>
englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com2tag:blogger.com,1999:blog-2181395834244918132.post-25459478021561897642013-11-23T14:23:00.001-08:002013-11-25T16:39:13.307-08:00Graphs, Maps, Trees and... Language<div dir="ltr" style="text-align: left;" trbidi="on">
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". . . In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied an entire City, and the map of the Empire, an entire Province. In time, these Excessive Maps did not satisfy and the Schools of Cartographers built a Map of the Empire, that was of the Size of the Empire, and which coincided point for point with it. Less Addicted to the Study of Cartography, the Following Generations understood that that dilated Map was Useless and not without Pitilessness they delivered it to the Inclemencies of the Sun and the Winters. In the Deserts of the West endure broken Ruins of the Map, inhabited by Animals and Beggars; in the whole country there is no other relic of the Disciplines of Geography.</div>
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<span style="background-color: white; font-style: italic;">Suárez Miranda: Viajes de varones prudentes, libro cuarto, cap. XLV, Lérida, 1658."</span></div>
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J. L. Borges, "Del Rigor En La Ciencia", <i>El Hacedor, </i>1960 (translation by Diego Doval)</div>
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"Texts are certainly the real objects of literature [...] but they are not the right objects of knowledge for literary history" (76), writes Moretti in <i>Graphs Maps Trees</i>. Moretti is calling for a renewed formalism without close reading, and for a "materialist conception of form" that could save comparative literature from its decay: "take a form, follow it from space to space, and study the reason for its transformations" (90). A renewed literary history capable of taking into account not only the canonical list of works of Western literature, but to study and compare the literatures of many a country and many a class, and to go "from the extraordinary to the everyday" (3), from "the form of an object to the forces that have been at work" (57). Wonderful. But let's go back to the first quote: texts. Moretti invites us to try and go beyond them, to develop strategies and techniques that allow us to take a comprehensive overlook at them and to look for cycles, patterns, clusters, within them and, most of all, among them. Thus, we can abstractly "explain general structures" (91) instead of continuing with the classic "interpretation of individual texts" (91) which, for Moretti, usually corresponds to that scholarly practice for which we tend to ask "only questions for which we already have an answer"(26). Texts.<br />
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Texts, and literary markets, and politics, and economics, and questions of readership and reception, and questions of influence and divergence. Moretti's perspective is provocative and inspirational, because it calls for new (more scientific, if we want to call them so, but certainly more complex, in terms of the socio-contextual interconnections they are interested in) approaches to a historicized and neomarxist study of literature. Moretti acknowledges at the beginning of the book how, while "the quantitative approach to literature can take several different forms - from computational stylistics to thematic debates, book history, and more"(4) he is only dealing, at least in this book, with book history. And perhaps this latter is a 'safer' and potentially more successful area for experimenting with the study of genres, of chronotopes and of stylistic mutations, because it depends less directly on the primary material that constitutes texts, i.e. language. But in the case of stylometrics or thematic debates, there come some problems, I think, because texts are made by language and by a 'literary' use of it, with all the rhetorical strategies of allusion, symbolism, lyricism, etc., and with all the secret codes that this use of language implies, and I am not sure that a distant reading can grasp that. I feel that language, and texts, have an ultimate capacity to escape any categorization, and to prove them wrong. Or perhaps it's us, readers, it's what is born from that reading, that escapes the singularity of patterns and of explanations and remains open to the plurality of our interpretations. Because texts belong to a historical context, participate in the making or unmaking of a political agenda, embody a marketing strategy, and imitate one another or diverge from one another, but texts are made of language, and language is constantly being made and remade by us, who are constantly being made and remade by it. There is always something that escapes the logic of explanation and the logic of communicative linearity which some quantitative approaches are necessarily based upon: the logic of the "from me to you, with no misunderstanding". But in that path "from me to you", there, I find impossible to give up on the value of reading, closely, and of re-reading, even (because the questions do stay open, no matter how we try to close them down, even through our impeccable scholarly writing).</div>
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Still, I agree with Moretti. Comparative literature does need to go beyond the boundaries of national canons, and western canons, and finally study the <i>Weltliteratur </i>prefigured by Goethe and by Marx and Engels. We do need to be more aware of the socio-economic embeddedness of literary genres and trends, and of the stylistic mutations related to them. (This is something that not only Moretti, but also other literary historians and comparatists, such as Gayatri C. Spivak or Claudio Guillen, have been arguing for years, although from quite different perspectives.) In this sense, I am really excited to see what can be done for literary history through the use of computational approaches. But I hope that, precisely because we claim the importance of having a "materialist conception of form", we do not forget that the first material of literature is language, and that we consider not only its socio-politico-economical referentiality, but also that intrinsic, rhetorical capacity of what we call its 'literary' usage, i.e. escaping from mere communication and open up new domains of creative redefinition of the world. Now, on this last note, one could argue that, in fact, quantitative approaches to literature do not usually regard poetry. But who says that prose never uses (and redefines) language in the way poetry uses (and redefines) it? How can we draw those limits?</div>
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englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com3tag:blogger.com,1999:blog-2181395834244918132.post-42586357276010888732013-11-17T00:50:00.001-08:002013-11-17T10:10:23.365-08:00What a Softwarized World<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">I have read Manovich's account of "the secret
history of our software culture" (5) quite voraciously. I believe I have already taken some of the questions posed by Manovich into more or less conscious consideration,
multiple times, as I think most of the people living nowadays, already have. But even if the questions of this book are not particularly
new or original, the inquiries into them are absolutely refreshing, because
Manovich comfortably faces, explains, plays with the complexities of a
softwarization that we all perceive and yet most of us feel intimidated
to explore in real proximity. I do find both the history of softwarization and
the call for software studies illuminating: "we have to address software itself (if not, it means we are dealing with effects rather than causes)" (9). I also agree with the idea that
"software development is gradually getting more democratized"(17),
although I still, frustratingly, feel part of that “not-fish-nor-meat,” as we
say in Italian, category of users/maybe not merely consumers/ but certainly not
programmers, that Manovich relegates to a parenthesis on page 31 "(Being
able to read and modify HTML markup, or copy already pre-packaged lines of
Javascript code is very different from programming)". But Manovich
also acknowledges, on page 108, that Kay and Goldberg’s idea(l) of having
“everybody develop new tools” (104), since “the task of defining new
information structure […] was given to the user, rather than being the sole
province of designers” (83), seems to be today pretty far from being real. The
problem of easy-device-passive-consumerism is there, but only for a few lines
(and this is perhaps the most evident flaw of the book), same for "the need to study the cultural and social forces that are shaping the development of software itself" (11).<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">I am very interested in the comparative
connections opened by Manovich between software culture and modernist
avant-gardes, although I tend to look at these latter as less media-specific, than
he does (I am convinced, for example, that Whitman's poetical experimentalism was directly inspirational for many </span>avant-gardes film makers, and that Russian futurists were not all about sound, and that Gertrude Stein was not all about language.)<span style="font-family: inherit;"> Manovich's narration indicates that a shift from documents to performances,
pure, independent media to</span><span style="font-family: inherit;"> hybrid meta-media has taken place
only and fully within the realm of software culture. More importantly, he talks
about an imaginary database finally turning real within software culture, and a destabilization of the
conventions of cultural communication, and about a “human understanding not
limited to language” (233). All true things, </span><i style="font-family: inherit;">cose sacrosante</i><span style="font-family: inherit;">. And yet, I think Manovich could have been a little
more generous in acknowledging the importance of Modernism’s anticipations. I
am referring, here, specifically about Jacques Rancière’s ideas on
the redistribution of the sensible as enacted by, as he calls it, the
pre-modernist and modernist aesthetic regime of art, whose motto
was that of ‘shuttling’ between art and life, and representing a common
sensorium based on their permeability. Modernist art operated a perceptual
rupture and a perceptual reframing of reality, which was inevitably political,
since it corresponded to “a dissensual reconfiguration of the common experience
of the sensible” (</span><i style="font-family: inherit;">Dissensus </i><span style="font-family: inherit;">140). (The modernist (re)distribution of the
sensible becomes, in this sense, the level where the question of the
relationship between aesthetics and politics can be raised: “the level of the
sensible delimitation of what is common to the community, the forms of its
visibility and of its organization.” [</span><i style="font-family: inherit;">The Politics of Aesthetics </i><span style="font-family: inherit;">18]) (How) can software culture be aesthetically, and therefore, politically, dissensual?<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">Manovich book does not pose nor it answers this question. At least not directly. Instead, it focuses on taking us beyond the old conceptual framework of media and the old materials, off
to algorithms and data structure, data structure and algorithms, and to the
necessity of the development of an adequate software epistemology that can help us understand how software is shaping our culture, and vice versa. And to thinking
of a new massive number of species, as obtained by deep remixability, by continual change and
permanent expandibility. We are off to recognize, and imagine, new aesthetics, and collective
creations, and to the “opening of an unbounded space of creative possibilities”
(330). Software is a new thinking, a new designing, therefore it implies a series of new languages and meta-languages, and
more than that. </span><span style="font-family: inherit;">I see software do amazing things with language(s), I see
translation finally take place as an unending process of cultural contact, a space of
foreignization and poetic electricity. I see searchability, linkability,
modularity, become the new bones of the interconnected skeleton of any text. I see arts
hybridize, and lands connect, and concepts and assumptions being revisited, new
knowledge being made. Can you </span>really make it new, software?</div>
<div class="MsoNormal">
<span style="font-family: inherit;">“I hear babies cry...... I watch them grow <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">They'll learn much more.....than I'll never know <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">And I think to myself .....” <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
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englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com1tag:blogger.com,1999:blog-2181395834244918132.post-18581631947944111472013-10-25T09:49:00.001-07:002013-10-25T09:49:08.804-07:00Kirschenbaum's Mechanisms<div dir="ltr" style="text-align: left;" trbidi="on">
"Textual studies should be recognized as among the most sophisticated branches of media studies we have evolved" (16), provocatively argues Kirschenbaum at the beginning of the book, a book whose "forensics"is a "theoretically and technically rigorous account of electronic texts as artifacts - mechanisms- subject to material and historical forms of understanding" (17). What a fascinating and complex topic! The encounter of 'traditional' philological and textual studies with electronic editing and digital storage and preservation is undoubtedly one of the most exciting challenges for digital humanists.<br />
<br />
Kirschenbaum makes us rediscover the materiality of texts in their digital realm, and makes us ask questions about versioning, variations, volatility that are central not only for digital born literature. His argument that "forensics is a signature discourse network of modernity at the juncture of instrumentation, inscription, and identification"(250) invites me to ponder about the work of the Walt Whitman Archive, with which I have been collaborating for a couple of years. T<span style="font-family: 'Times New Roman'; font-size: 12pt;">he epochal watershed for Whitman Studies was represented, by the appearance on the site, by April 2005, of all six, full
length American editions of </span><i style="font-family: 'Times New Roman'; font-size: 12pt;">Leaves of Grass </i><span style="font-family: 'Times New Roman'; font-size: 12pt;">as XML files but also in
facsimiles images, freely accessible to general readers: something that had
never happened before in the same printed volume collecting Whitmans' work. The
internationally widespread tendency to read, study, write about and translate
Whitman's writings almost exclusively by using the first (1855) or last edition
(1891-1892) of </span><i style="font-family: 'Times New Roman'; font-size: 12pt;">Leaves, </i><span style="font-family: 'Times New Roman'; font-size: 12pt;">which are also the editions usually published – a
tendency that heavily overshadowed the extremely evolving nature of Whitman's
creative work – was in this way seriously, and finally, undermined. As argued
by Prof. Price, the constantly expandable nature of the electronic </span><i style="font-family: 'Times New Roman'; font-size: 12pt;">Archive </i><span style="font-family: 'Times New Roman'; font-size: 12pt;">seems
to be particularly suited to Whitman's work, since this latter</span><span style="font-family: 'Times New Roman'; font-size: 12pt;"> </span><span style="font-family: 'Times New Roman'; font-size: 12pt;">“defies the constraints of the book.
Whitman's work was always being revised, was always in flux, and fixed forms of
print do not adequately capture his incessant revisions.” (“About the </span><i style="font-family: 'Times New Roman'; font-size: 12pt;">Archive</i><span style="font-family: 'Times New Roman'; font-size: 12pt;">”)</span><i style="font-family: 'Times New Roman'; font-size: 12pt;">
</i><span style="font-family: 'Times New Roman'; font-size: 12pt;">The opportunity to collect the editions in the same, digital space is also
paralleled by that of offering high-resolution images and the corresponding
transcriptions of Whitman’s manuscripts (not only of poetry, but also
correspondence, annotation and notebooks materials) otherwise scattered at over
100 different repositories across the world. </span><br />
<span style="font-family: 'Times New Roman'; font-size: 12pt;"><br /></span>
<span style="font-family: 'Times New Roman'; font-size: 12pt;">Are we doing it in the 'right' way? What is the 'right' way, anyway? Is one of the keys to do it 'right' that of profoundly understanding the tools we use for our digital representation and preservation of what we call 'texts'? In these days, I am in the process of starting to work on an electronic bibliography of Cather's works: the aim is to reproduce a bibliography printed on paper and to trans-port it and trans-form within the digital Cather Archive. How do I do it? How can I use the different resources I have, in comparison to what the author of the printed bibliography had? How can I do an old job in a new, more thorough scholarly way? How can I engage, acknowledge, and favorably apply the renewed materiality of my philological act of textual preservation?</span><br />
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englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com2tag:blogger.com,1999:blog-2181395834244918132.post-50250584815575967572013-10-12T21:26:00.003-07:002013-10-12T22:45:21.713-07:00Beyond the Aura. On Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction"<div dir="ltr" style="text-align: left;" trbidi="on">
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I read "The Work of Art in the Age of Mechanical Reproduction" as Benjamin's draft of a prognostic theory of cinema within a larger reconsideration of the role of art in the age of mechanical reproduction. Benjamin historicizes the changing role of art in different ages and studies "the developmental tendencies of art under present conditions of production" (2), for he is convinced that "during long periods of history, the mode of human sense perception changes
with humanity’s entire mode of existence. " (2). Before the advent of technological reproducibility, the value assigned to art was a cult and ritual value and/or an exhibition value, and art was relegated to a dimension completely separated from that of politics, but mechanical reproduction has destroyed the idea of art's aura, i.e. the traditionally idealized authenticity and precious uniqueness assigned to art creations, which originated from concepts such as creativity and genius, eternal value and mystery.</div>
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But Benjamin sees beyond the aura, beyond the realm of <i>art pour l'art </i>(and its Fascist instrumentalizations) that the concept of aura implicates. He sees a series of redemptive (and Communist) potentials in the new conditions of art creation and fruition. He sees that the technological reproducibility of the artwork "changes the reaction
of the masses toward art” (15) by substituting the old "unique" experience with a mass, simultaneous experience, and also by altering the usual distinction between author
and public and by altering the type of receptive attitude traditionally
expected from the audience. In this sense, Benjamin is far from, if not opposite to, Adorno's rejection of the fruition of art by masses and from his defense of art's autonomy and disinterestedness, and "The Work of Art .." can be taken as a theory of cinema that deals with questions such as the transformation of our perception of the world through cinema, the audience's identification with the camera, the collective reception-in-distraction. But it is also, more largely, a draft of a new theory of an art that "instead of being based on ritual, it begins to be based on another practice - politics" (9).</div>
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No more cult, but politics, then. And if Fascism tends to re-introduce the cult function of art (i.e. to aestheticize politics) in order to create a mass politics for which the <i>status quo </i>remains untouched, Communism responds by politicizing art, by formulating "revolutionary demands in the politics of art" (2). Ok, Benjamin's ending is controversial, but perhaps it is useful to consider these categories as less fixed than what they seem to be. Perhaps it is useful to consider the regressive/progressive understandings of art's function that Fascism and Communism respectively embody in Benjamin's famous formulation. Perhaps it is still useful for us to go back to this text to strengthen our understanding of an art finally beyond the aura, of a technological art of the masses that can help us change (instead of escaping from) social reality. </div>
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Post scriptum: I went to watch Alfonso Cuar<span style="font-family: Times, Times New Roman, serif;"><em style="background-color: white; font-style: normal; line-height: 16px; text-align: -webkit-auto;">ón's</em> "</span>Gravity" yesterday, and I suspect Benjamin would have hated it. But I'll let you guess why. </div>
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englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com1tag:blogger.com,1999:blog-2181395834244918132.post-24048852916768875282013-10-05T18:41:00.003-07:002013-10-06T14:27:24.285-07:00Mc Luhan's "Instant Inclusive Embrace" <div dir="ltr" style="text-align: left;" trbidi="on">
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How
does <i>Understanding Media </i>understands media? What are its epistemological
and argumentative strategies? I chose to quote Mc Luhan's own words (on page
349 in my 2011 MIT Press edition, in the "Automation" chapter) in my
title because I think they represent both the author's thought on the nature of
media as "make happen agents," (48) and his own way to tackle this
topic. Mc Luhan's writing seems in fact to proceeds via instant
illuminations, via moments of electric divination, and it is founded on a
totalizing, inclusive approach which seeks to describe the same redefinition
of 'classical,' distant cognition into a sensuous intellectual embrace that is
being operated by media. <o:p></o:p></div>
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One
thing that struck me in reading this book is to have found some analogies with
Heidegger's "The Question Concerning Technology," notwithstanding the
authors' stylistic, critical and ideological differences: with Heidegger, Mc
Luhan shares a theoretical faith in the possibility of , and the need for , an
understanding of the "nature" of media. Also, the attempt to show how
automation, i.e. "the invasion of the mechanical world by the
instantaneous character of electricity" (349) can abolish old dichotomies
between science and art, culture and technology, work and leisure (347), seems
to be one point Heidegger would have favorably looked at, and certainly called for, within his understanding of technology. <o:p></o:p></div>
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Another
striking part of the book for me is Mc Luhan's interest in language, his
argument that "the first technology was the spoken word" (57), and
the consequential idea of a total and inclusive translation operated by media
that could gradually make it possible for us to not need "any
verbalization whatsoever" (80). This ideal community of thought would do
away with the "separateness of the individuals created by phonetic
alphabet" (84), and with all that derived from it. It would be an organic
world of <i>gestalts </i>rather than a mechanical world of language. In this
regard, I am perplexed about this idea of a serene, unified global village, a
"single consciousness" (61), an embodied global network-central
nervous system of perception that does away with language's schematisms and
perceptual limitedness and numbness, and eliminates any separation. I believe
this question of separation/(re)unification is fundamental in Mc Luhan's
thinking. The relationship between media, for example, is fundamental for
creating a new non-linear ratio, and "the hybrid or the meeting of two
media is a moment of truth and revelation from which freedom is born"
(55), but, at the same time, Mc Luhan underlines how there is a sort
of oppositional 'relational identity building' reaction between
media: "the film has confirmed the writer in verbal economy [...] where
the film cannot rival him" (288). In this sense, media influence each
other but they also contrast, battle each other: so, how can that unity, that
freedom, be achieved? Should we think that this unity and freedom only happens
occasionally, only when artists as Ejzenstein and Rene' Clair are able to
create "a free interplay among the senses and the media" (289)?<o:p></o:p></div>
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While
reading this book, I concentrated on this idea of separation, and I started
thinking about Guy Debord's "The Society of the Spectacle." (1967) I did not
remember his harsh criticism of Mc Luhan, to be honest, and now that I re-read
it, I find it rather exaggerated and unfair. Yes, Mc Luhan writes that
"electric changes have nothing to do with ideologies" (352), which is
what mostly upsets Debord. Yes, Mc Luhan does have moments of technological
determinism to which some readers are tempted to respond: ok, "media as extensions of our
senses institute new ratios (also among themselves)" (53) but can you also concentrate on their political, economical, social uses and effects, and not only the changes in cognition and the implosion of space and time you are talking about? And these same readers would ask: what comes first, anyway, social, ideological processes or media processes? And yet
Debord, just as well as Mc Luhan, just as well as Heidegger, share a fundamental thing, i.e. a radical
understanding of technological media, one that is far more complex than the
common debates about mass media in the way we generally intend them and perform them ( in terms of representation, simulacra, etc.). In this sense, I want to
conclude my post by including some old notes of mine about Debord's concept of
separation, because I believe they can work here as an interesting
dialectic force in connection to our reading of Mc Luhan. <o:p></o:p></div>
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In
"The Society of the Spectacle," chapter one is entitled “Separation
perfected”, and, in fact, separation is a recurring, pivotal concept used by
Debord in his description of the spectacle. On page 25, he even calls
separation “the alpha and omega of the spectacle”. For Debord, “The spectacle
is not a collection of images, but a social relation among people, mediated by
images.” The spectacle “is a world vision which has become objectified” (5),
“the main production of present-day society” (10), “the existing order’s
uninterrupted discourse about itself, its laudatory monologue” (24) and “the
preservation of unconsciousness within the practical change of the conditions
of existence” (25). The separation of the worker and his products implies the
end of personal communication among producers and the constant reinforcement of
this isolation, and the alienated worker, and spectator, finds him/herself in a
world which has become foreign to him/her, and this brings to the total
estrangement of men and women among themselves and in relation to their
products.<o:p></o:p></div>
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The
abstraction of labor and the abstraction of production are perfectly
represented by the spectacle, whose mode of being concrete is also abstraction.
In this sense, “in the spectacle, one part of the world represents itself to
the world and is superior to it. The spectacle is nothing more than the common
language of this separation. What binds the spectators together is no more than
an irreversible relation at the very center which maintans their isolation. The
spectacle reunites the separate, but reunites it as separate”
(26). Separation is, then, the central factor that founds the spectacle,
and at the same time the spectacle founds and continually strenghtens this new
type of alienation, no more based on the shift from being to having, but on
that from having to appearing.<o:p></o:p></div>
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I like to compare Debord's view of thinking with Pierpaolo Pasolini’s ideas on the passivity and
repression imposed on people by what he called the new fascism of the new
communication media, which produced the total, illusory, omologation of the
proletariat to consumerist ways of life, with the consequent abandonment
of any sense of class consciousness and, therefore, any possibility of
struggle for the abolition of the classes. But Debord’s idea of the spectacle
seems to me a more profound and creative rewriting of a Marxist understanding
of capitalism, than Pasolini’s one, because it does not concentrate so much
neither on mass media or consumerism, but is instead, radically aimed to reveal
the total commodification of reality and the ways in which “the commodity
contemplates itself in a world it has created” (51).<o:p></o:p></div>
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Would
Mc Luhan agree or not with this? Can a meeting point between Debord and Mc
Luhan be found? What do we have to say about media and separation, from our
present 2013 perspective? Anyway, I hope placing Debord, Heidegger, and even
Pasolini here did not distract you from Mc Luhan too much. I admire the
revolutionary and prophetic value of his thinking, and I value his
"concern with effect rather than meaning" (26). I would love to write on the use of the image of light all over the book, but this would take another post. And perhaps I
should stop before it's too late, for I feel very much like the professor in
the theater queue of Woody Allen's <i>Annie Hall</i>, at this point. <o:p></o:p></div>
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englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com2tag:blogger.com,1999:blog-2181395834244918132.post-86800889404586866592013-09-28T18:59:00.001-07:002013-09-28T19:04:54.165-07:00Disconnections <div dir="ltr" style="text-align: left;" trbidi="on">
To my understanding, the post-human "situation" described by Kittler diagnoses literature with a terminal illness, if it does not register a death which has already happened: "the dream of a real visible or audible world arising from words has come to an end"(14), and "under the conditions of high technology, literature has nothing more to say" (263). For Kittler, the differentiation of the Lacanian orders of the real/the imaginary/the symbolic respectively associated to the emergence of phonography, cinematography and of new writing techniques such as typewriting, "exploded Gutenberg's writing monopoly around 1880." (16) The Lacanian triumvirate used by Kittler works well for the argument of the book, but I am not sure it conveys the complexity of the question of "mediality" as raised by the translators in the introduction to his book.<br />
<br />
I see the association of phonography with the order of the real, although I wonder about its validity when I think of how music, which preexisted recording and audio techniques, prevails over white noise or recording of daily life noises or of silence, in our usage of audio devices. I see the association of cinematography with the order of the optical imaginary, although I am convinced that cinema is linked with the real, even if, as argued by Kittler, "instead of recording physical waves, generally speaking it only stores their chemical effects on its negatives"(119). What I don't even see very clearly is that the symbolic order embodied by the typewriter "now encompasses linguistic signs in their materiality and technicity" (15). But this might simply be due to my dumbness.<br />
<br />
To move on, Kittler argues, in a very Foucauldian move, that "understanding media remains an impossibility
precisely because the dominant information technologies of the day
control all understanding and its illusions" (XL) and that "what remains
of people is what media can store and communicate" (XL), but even the
mere fact that he is <i>writing</i> <i>this</i> <i>book</i> proves his
perspective to be a little too schematic and assertive and that there
are residuals of human resistance to the assumed reality for which
"numbers and figures become the key to all creatures" (19). "Understanding" might not be the right word, but "studying" and even "sensing" media and even our own "understanding" as modified by them, remains a possibility.<br />
<br />
As an open ending, I will share the questions that I kept asking myself after reading this book. Is the agency of writing really gone because of the discursive changes brought in by Kittler's triumvirate of technologies? Isn't writing (<i>graphein </i>in Ancient Greek) an indissoluble part of these inventions, as the words which define them (phonography; cinematography; typography) inscribed in them? Don't we still write literature, even in different <i>ways</i>, today? And is literature today either only meta-literature or a nostalgic, romantic embodiment of a human activity which cannot make any sense of the world in which it is created? Was the printed word really the hegemonic queen of human perception before the 1880s? And, last but not least: what do we mean by words, and what do we mean by literature? </div>
englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com3tag:blogger.com,1999:blog-2181395834244918132.post-35829080007638552372013-09-21T10:11:00.003-07:002013-09-21T10:12:47.549-07:00DH as τέχνη<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #1a1a1a;">Before starting, I have to admit that
I am quite moved by Heidegger's "The Question Concerning Technology,"
and for a series of different reasons. First, I can't stop noticing and
admiring how the text is formally capable to <i>embody</i> the
arguments it makes (and un-makes.) "The Question Concerning
Technology" is in fact an incredibly complex, mysterious
"constellation" of ideas, to borrow one of my favorite images in
the text (and an image that is also central in W. Benjamin's writings,) rather
than a self-contained piece of linear knowledge. The text exposes the
contradictions and shortcomings of a consequential linearity of thinking that
is employed as a method and at the same time is discarded, or, at least, is shown
to be “never quite enough.”<o:p></o:p></span></div>
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<span style="color: #1a1a1a;">Another thing that strikes me and
moves me, is to realize how crucial and up-to-date Heidegger's reflections are
for the current state of DH theory, and not simply because Heidegger's
perspective can be easily put into efficient use to dismiss that
"instrumental conception of technology" which constitutes the center
of many reductive interpretations of DH work. Another thing that Heidegger’s
piece <i>does</i>, for DH, is to show that there is a larger and far more
complex question to be asked, when thinking about the way in which we deal with
technology, a question that can also be illuminating for understanding the
origins of that same "instrumental conception" which shapes the
thinking of many of us, and not only regarding technology. <o:p></o:p></span></div>
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<span style="color: #1a1a1a;">To put it simply, Heidegger is
bothered, he is bothered by the "illusion that everything man encounters
exists only insofar as it is his construct" (332), he is bothered by the
fact that, since Descartes on, the separation of subject and object, of Being
and being(s), of (humanistic) thinking-thinking and (scientific) calculating-thinking
has become an accepted and predominant way of reasoning. And this same
separation has also brought to the separation of arts from crafts and sciences
and to arts’ isolation (and possibly, neutralization) in the realm of the
"aesthetic." So Heidegger goes back to when τέχνη was still (also)
art and was still, just as art, a "bringing forth," "a
revealing" activity in which subject and object, intellect and thing,
still corresponded to one another. And Heidegger calls for a re-union of art
and technology, or better, for the coming into existence of a <i>poetical </i>technology,
i.e. for a revealing technology, a technology that makes, and does not merely
serve, a technology that brings into presence new understandings and new
conceptions, new contacts with primal truths, a technology that questions
thinking, and therefore language, for "all ways of thinking lead through
language in a manner that is extraordinary" (311). <o:p></o:p></span></div>
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<span style="color: #1a1a1a;">Of course, and thank god, I am not sure of what Heidegger
means, with this final provocation about technology and art. That's why I am
sure I could re-read it a thousand times and still enjoy it. But for the
purpose of this post, written today, for this class, I would say that DH can
benefit from Heidegger’s provocation by working, theoretically and practically,
on configuring and imagining itself as a new τέχνη, as a form of scholarship of
which thinking and making, philosophizing and calculating are indissoluble
components, and in fact, indistinguishable from each other. "The Question
Concerning Technology" suggests the potentials of liberating both art and
technology from their respective places of relegation and unite them to better
think about their essence, and the potentials of liberating our own thinking
about technology from its conceptual relegations, so that it could look at
larger pictures, beyond the frames that <i>technological</i>
thinking tends to create. And perhaps Heidegger is explicitly assigning to art
the role of teaching us how to do this, which I believe is a significant fact
to consider when we talk about the contribution of 'traditional' humanists to
DH. Heidegger suggests that the fear of technology by which these humanists
often feel overwhelmed comes from a poor understanding, or perhaps from a
forgetting of, technology’s <i>poetical</i>
essence.</span><o:p></o:p></div>
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englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com7tag:blogger.com,1999:blog-2181395834244918132.post-45975358226016392002013-09-14T13:06:00.001-07:002013-09-14T19:32:06.168-07:009/16. (In)finite Thinking: a Question of Limits. <div dir="ltr" style="text-align: left;" trbidi="on">
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I am sorry, this is not going to be a funny post.
If you like dark comedy, well, maybe yes. I have been suffering from a severe
form of apeirophobia since the age of 5. Concentrating on the problem of
infinity, on the idea that I am a finite human being with a capacity for a
potentially infinite thinking, scares me to death: I feel entrapped, in a cage,
choking. I am serious! I go insane, until I find distraction. Being raised a
Catholic does not help, for the concept of eternity works as a materialized
version of the pure panic I experience when I try to grasp the heavy concept of
infinity. When I encountered Maths, I felt attracted and disgusted at the same
time: it looked like a brave, possibly self-delusional, attempt to symbolize
and systematize what cannot really be symbolized and systematized. I
preferred to take refuge in language(s): I identified with its openly
acknowledged confusion, imprecision, arbitrariness. What I failed to
understand is that Maths could have actually helped me to contain and give
shape to my logical and existential uneasiness. Leibniz's idea that "human
thought can be reduced to calculation" (Davis 121) never crossed my mind:
using thinking to control thinking, embody thinking and make it more efficient,
but most of all, using thinking to understand the same mechanisms of thinking and
to free it from its own paradoxical limits, is something I never really took
into serious consideration.<br />
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After an intimidated and "foggy" reading
of Davis, a question of limits emerges as a crucial point in my reflections.
Let's try to think in these terms: computers are limited machines that respond
to algorithms imposed by limited human beings. We give them inputs, and they do it. We delimit what we think is
computable and we create these machines that each time redefine our logical
limits. In fact, we cannot keep everything under control, Leibniz's optimistic "<i>calcolemus!</i>"
is not enough. Among other things, the undecidability of the so-called halting
problem is a negative answer to the <i>Entscheidung</i> problem, and again, it poses a
question of limits. There is something that inevitably escapes our logical
thinking, we are still dwelling between the finite and the infinite, we try to
delimit our thinking and, yet, we can't. </div>
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Reading Davis not only made me feel extremely fascinated by - and full of intellectual respect for- logic, but it also made me smile ironically at my long-time
rejection of Maths as "the enemy." Obviously enough, things are not so simple, and
abstract maths and logic are in fact naturally interconnected with what we
call "the humanities." In this sense, Davis' book can be used to prove
"traditional humanists" wrong in regarding computers as "the
enemies," because, in the end, they are not only products, but also
representations and co-actors of our own human thinking. And what do they do
for our thinking? They empower it, and they help it to move further: they
embody its limits and push them forward. In this sense, they are subjected to
our thinking, but they also change it, they are our slaves and our masters. They depend on us and we depend on them. DH, then, can be regarded as a rather
pragmatic acceptance of the new ways in which we try to make sense of the
world, an acceptance that will presumably, gradually bring to a renovated
understanding of how we form knowledge and of what we consider knowledge to be. <o:p></o:p></div>
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englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com3tag:blogger.com,1999:blog-2181395834244918132.post-84800930665061259272013-09-07T15:42:00.001-07:002013-09-08T10:41:00.191-07:009/9 DH Manifestos <div dir="ltr" style="text-align: left;" trbidi="on">
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I want to start my reflections about these first readings for ENGL 946 by concentrating on John Unsworth's title "What is Humanities Computing and What is Not?" and I have <b>two specific reasons</b> for wanting to start from there.<b> The first</b> <b>reason</b> is my radical predilection for the term <b>Humanities Computing </b><i>in lieu </i>of <b>Digital Humanities</b>. It's not a nostalgic move toward a better, simpler past: when Digital Humanities were still Humanities Computing I was still completely unaware of their existence as a new field, discipline, or, better, "practice of representation and way of reasoning,"(Unsworth) "social category" (Alvarado) or "social undertaking" (Kirschenbaum), "array of convergent practices" (DH Manifesto '09), "set of ontological commitments" (Unsworth), and so on and so forth. I like "Humanities Computing" better because I feel that what "Digital Humanities" might be doing, as a term, is exactly to reinforce that commonplace view of the digital as mere tool which people invested in this work are constantly fighting against. While "Digital" is, and feels, semantically, as an adjective, an addition which does not substantially change the noun it precedes, "Computing" is this versatile -ing form which juices up the noun it follows. My preoccupation might sound somehow over-linguistic, pedantic and even irrelevant, and yet I think that the second part of Unsworth's title, the question "What is Not?" justifies my worry. So here I come to<b> </b>my<b> second reason. </b>It seems to me that the "anxiety for self definition" by which the discipline (yes, this is how I want to call it, and I'll be sure to explain why later) is affected, according to Alvarado (and many many others,) is producing not only a number of affirmative and rather beautiful definitions but also many negative definitions (which remind me of a manifesto-of-poetics line by Italian poet Eugenio Montale, "All I can tell you now is this: / what we are not, what we do not want".) Unsworth specifies what HC, or DH, is not, and even talks about charlatanism referring to pseudo-DH enterprises, the Manifesto repeats the same move and underlines it through its graphically emphatic "Is(n't)" and its "process not product" slogan, Burdick <i>et al. </i>also devote some paragraphs to make sure misunderstanding do not take place. Now, if it's true that such an anxiety for a self-definition that has to be achieved not only through constitutive, affirmative declarations, but also through negations aimed to avoid common misunderstandings, exists, the choice of "Digital Humanities" seems to me particularly unfortunate. <br />
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I have to confess that I admire this negative, dialectical component of DH's construction of identity for which it is necessary to declare what one is, but most of all what one is NOT. Perhaps because my primary field is <b>literary translation</b>, I feel sympathy for complex, interdisciplinary "modes of scholarship"(Burdick <i>et al.</i>) that struggle for recognition in academia and fight against the stereotypes that label them as mechanic, linear, applicative approaches that "do not really change or contribute to the understanding of the texts they are working with; they only facilitate their reading" (I intend text veeeery largely, of course. Also, I do not know who I am quoting but you know that somebody - multiplied per thousands- have said that.) I am convinced that DH and literary translation share a lot: they both tend to produce "material" interpretations and arguments
instead of theorizing them; they both have a certain utopian excitement about their
potential achievements, followed by an always present, counterbalancing dystopian
sense of the limits of what can and cannot effectively be done,
considering one’s resources and one’s existing ‘language’, a language
that always has to be respected, even if it can definitely be
progressively challenged and renovated.And perhaps for this reason I felt attracted by DH, to the point of moving to Nebraska from Italy in order to learn more about them. Since then, my obsession has been and still is a fully theoretical and fully utopian, possibly delusional, one. Let me expose it briefly: Matthew Kirschenbaum argues that “Digital Humanities is about a scholarship and a pedagogy that are publicly visible in ways to which we are generally unaccustomed.” Well, this is an appealing idea as applied to translation. Translation needs this visibility, as invoked by Lawrence Venuti (see http://www.translationindustry.ir/Uploads/Pdf/venuti.pdf) : it needs to expose its own decisional processes and make them visible to the readers. And it needs to offer readers a critical apparatus (which could consist of a commentary on alternative solutions; explanatory and analytical digressions; contextual sections; semantic fields) that traditional print-based editions do not allow, for space reasons, but also because of the fixed, classical idea of translation as a finite operation. Translation needs to expose its non-finiteness and its non-autonomy, it needs to denaturalize its supposed function of neutral communicative transfer, and show its interpretative moves as well as the inevitability of its teleology. It needs to make visible its processes of constant revision, and it needs to interact with readers and with other translations (for example, of the same text in the same language, or in different languages and historical moments). This visibility is one that DH would not merely facilitate and enhance, but create and define, thus illuminating the nature of the complex, impossible, and yet ever-necessary task of translation.<br />
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And now I come to my final point. I did promise to clarify why I choose to call DH a <b>discipline</b> and here I am. Notwithstanding my enthusiasm and two full Nebraskan winters, I have only moved the first steps in the DH world, and my translations have not yet been substantially changed in the way I create them and represent them. Why? Because I am still a literary translator who needs to learn lots of skills and to start doing real work and get "dirty hands" before, hopefully, developing into a real digital humanist who does literary translation. But students to come could be given the chance to be "born so," by having been fully and "deliberately trained to be digital humanists" (Unsworth)<i> </i>with specializations in history, literature, translation, sociology, geography, and so forth, from the very beginning of their academic career. In this sense, I am strongly convinced that DH needs to be regarded as a new discipline, or better, interdiscipline, and to be institutionally legitimated as such.<br />
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englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com4tag:blogger.com,1999:blog-2181395834244918132.post-66012186763835095552013-09-07T10:49:00.002-07:002013-09-07T11:54:14.895-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
This blog was created for the purpose of participating in class discussions for ENGL946 , 'Readings in Digital Humanties' (Prof. Stephen J. Ramsay, UNL). </div>
englishponambrosolihttp://www.blogger.com/profile/14306735854505994482noreply@blogger.com0