In 1991, Mark Weiser and his team at Xerox PARC declared they were reinventing computers for the twenty-first century. The computer would become integrated into the fabric of everyday life; it would shift to the background rather than being itself an object of focus. The resulting rise of ubiquitous computing (smartphones, smartglasses, smart cities) have since thoroughly colonized our digital landscape. In Actionable Media, John Tinnell contends that there is an unsung rhetorical dimension to Weiser's legacy, which stretches far beyond recent iProducts. Taking up Weiser's motto, "Start from the arts and humanities," Tinnell develops a theoretical framework for understanding nascent initiatives--the Internet of things, wearable interfaces, augmented reality--in terms of their intellectual history, their relationship to earlier communication technologies, and their potential to become vibrant platforms for public culture and critical media production. It is clear that an ever-widening array of everyday spaces now double as venues for multimedia authorship. Writers, activists, and students, in cities and towns everywhere, are digitally augmenting physical environments. Audio walks embed narratives around local parks for pedestrians to encounter during a stroll; online forums are woven into urban infrastructure and suburban plazas to invigorate community politics. This new wave of digital communication, which Tinnell terms "actionable media," is presented through case studies of exemplar projects by leading artists, designers, and research-creation teams. Chapters alter notions of ubiquitous computing through concepts drawn from Bernard Stiegler, Gregory Ulmer, and Hannah Arendt; from comparative media analyses with writing systems such as cuneiform, urban signage, and GUI software; and from relevant stylistic insights gleaned from the open air arts practices of Augusto Boal, Claude Monet, and Janet Cardiff. Actionable Media challenges familiar claims about the combination of physical and digital spaces, beckoning contemporary media studies toward an alternative substrate of historical precursors, emerging forms, design philosophies, and rhetorical principles.
As a pioneer of ubiquitous computing-the embedding of technology in everyday objects from thermostats to doorbells-computer scientist Mark Weiser's descriptions of smart homes, now thirty years later, might seem to approach our reality. Weiser's views certainly influenced our technology's developers-his 1991 Scientific American article "The Computer for the 21st Century" was flagged a must-read by Microsoft's Bill Gates and then circulated among the day's digirati, including those Silicon Valley insiders who crowded his beer garden-based "office hours". Unlike many of his contemporaries, Weiser's vision was motivated by the philosophies of Michael Polanyi and Martin Heidegger, collaboration with anthropologists such as Lucy Suchman, and insights from artists including Natalie Jeremijenko. He hoped to realize "tacit computing" as an escape from a single attention-grabbing screen as a portal to work, entertainment, and education. When rivals such as Nicholas Negroponte at MIT's Media Lab championed the development of smart agents (the ancestors of Siri and Alexa) or pervasive sensing in wearable technologies (proto-Fitbits or Apple Watches), Weiser balked. Weiser wanted computers to be something closer to the white cane a person with low vision might use to navigate the world. Good technology, he argued, should not mine our experiences for data to sell or demand our attention. Technology should not rob its users of the hardships that establish their expertise, but instead give them the ability to conceive of the world in new ways. In this compelling biography of a person and idea, digital studies scholar John Tinnell shows Weiser, who died of cancer at 46, would be heartbroken if he had lived to see the ways we use technology today. Informed by deep archival research and interviews with Weiser's family and Xerox PARC colleagues, this book uses Weiser's life to offer a new history of today's technological reality, an inside view of Xerox PARC during its heyday, and a compelling vision of what computers failed to be"--
Weiss, Propen, and Reid gather a diverse group of scholars to analyze the growing obsolescence of the human-object dichotomy in today's world. In doing so, Radical Interface brings together diverse disciplines to foster a dialog on significant technological issues pertinent to philosophy, rhetoric, aesthetics, and science.
Good,No Highlights,No Markup,all pages are intact, Slight Shelfwear,may have the corners slightly dented, may have slight color changes/slightly damaged spine.
As a pioneer of ubiquitous computing-the embedding of technology in everyday objects from thermostats to doorbells-computer scientist Mark Weiser's descriptions of smart homes, now thirty years later, might seem to approach our reality. Weiser's views certainly influenced our technology's developers-his 1991 Scientific American article "The Computer for the 21st Century" was flagged a must-read by Microsoft's Bill Gates and then circulated among the day's digirati, including those Silicon Valley insiders who crowded his beer garden-based "office hours". Unlike many of his contemporaries, Weiser's vision was motivated by the philosophies of Michael Polanyi and Martin Heidegger, collaboration with anthropologists such as Lucy Suchman, and insights from artists including Natalie Jeremijenko. He hoped to realize "tacit computing" as an escape from a single attention-grabbing screen as a portal to work, entertainment, and education. When rivals such as Nicholas Negroponte at MIT's Media Lab championed the development of smart agents (the ancestors of Siri and Alexa) or pervasive sensing in wearable technologies (proto-Fitbits or Apple Watches), Weiser balked. Weiser wanted computers to be something closer to the white cane a person with low vision might use to navigate the world. Good technology, he argued, should not mine our experiences for data to sell or demand our attention. Technology should not rob its users of the hardships that establish their expertise, but instead give them the ability to conceive of the world in new ways. In this compelling biography of a person and idea, digital studies scholar John Tinnell shows Weiser, who died of cancer at 46, would be heartbroken if he had lived to see the ways we use technology today. Informed by deep archival research and interviews with Weiser's family and Xerox PARC colleagues, this book uses Weiser's life to offer a new history of today's technological reality, an inside view of Xerox PARC during its heyday, and a compelling vision of what computers failed to be"--
In 1991, Mark Weiser and his team at Xerox PARC declared they were reinventing computers for the twenty-first century. The computer would become integrated into the fabric of everyday life; it would shift to the background rather than being itself an object of focus. The resulting rise of ubiquitous computing (smartphones, smartglasses, smart cities) have since thoroughly colonized our digital landscape. In Actionable Media, John Tinnell contends that there is an unsung rhetorical dimension to Weiser's legacy, which stretches far beyond recent iProducts. Taking up Weiser's motto, "Start from the arts and humanities," Tinnell develops a theoretical framework for understanding nascent initiatives--the Internet of things, wearable interfaces, augmented reality--in terms of their intellectual history, their relationship to earlier communication technologies, and their potential to become vibrant platforms for public culture and critical media production. It is clear that an ever-widening array of everyday spaces now double as venues for multimedia authorship. Writers, activists, and students, in cities and towns everywhere, are digitally augmenting physical environments. Audio walks embed narratives around local parks for pedestrians to encounter during a stroll; online forums are woven into urban infrastructure and suburban plazas to invigorate community politics. This new wave of digital communication, which Tinnell terms "actionable media," is presented through case studies of exemplar projects by leading artists, designers, and research-creation teams. Chapters alter notions of ubiquitous computing through concepts drawn from Bernard Stiegler, Gregory Ulmer, and Hannah Arendt; from comparative media analyses with writing systems such as cuneiform, urban signage, and GUI software; and from relevant stylistic insights gleaned from the open air arts practices of Augusto Boal, Claude Monet, and Janet Cardiff. Actionable Media challenges familiar claims about the combination of physical and digital spaces, beckoning contemporary media studies toward an alternative substrate of historical precursors, emerging forms, design philosophies, and rhetorical principles.
Brief narratives," or medieval precursors to the modern short story, are compositions couched in the form of a tale of reasonable short length. They began with writings in Latin and, eventually, made their way into the vernacular languages of Europe. They include the fable, the apologue, the exemplum, the saint's life, the miracle, the biography, the adventure tale, the romance, the jest, and the anecdote, among others. In Spain, the oldest extant brief narratives in written form are in verse and date from the late twelfth and early thirteenth centuries. The earliest examples include La vida de Santa Maria Egipciaca and El libre dels tres reys d'Orient. Both are concise enough to be read in one sitting and were probably read before or after meals as entertainment. In Pious Brief Narrative in Medieval Castilian and Galician Verse, John E. Keller studies the structure of the pious brief narrative, including such works at the Cantigas de Santa Maria of Alfonso X and Gonzalo de Berceo's Milagros de Nuestra Senora, among others. He examines which narrative techniques were employed by their authors, including versification, music, and the pictorial arts as aids to narration. Using nine basic elements—plot, setting, conflict, characterization, theme, style, effect, point of view, and mood or tone—Keller shows how writers in medieval Spain employed more sophisticated uses of these techniques than has previously been recognized.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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