the information
explosion could generate physiological unfitness of the body in just the same
way as information deprivation could
a silicon chip the
size of a fingernail could now store millions of characters
The question of whether
Thursday, August 7, 2014
Wednesday, July 30, 2014
"Digital Cinema: Convergence or Contradiction?" Thomas Elsaesser
convergence --- technological economic cultural
THE CINEMATIC VERSUS THE DIGTIAL
DIGTIAL-- FLAT
THE CINEMATIC VERSUS THE DIGTIAL
DIGTIAL-- FLAT
Monday, July 28, 2014
wirelessness
chapter 4 p61
contemporary wirelesses is framed by a large-scale communication shift to the medium of electromagnetic waves
Maxwellian physics
By 1900, many different relations of connection, transfer, proximity, and influence were imagined around electromagnetic or wireless waves
Sungook Hong (2001) in his history of wireless invention
Isabelle Stengers
Electromagnetic oscillation is an event whose scope could be measured by multiplicity of its interpretations.
There are some common elements to problem, such as how to create a continuous signal(periodic waveform), how to propagate it effectively(antenna design), and how to pick up and amplify the signal at a distance.
In contrast to wired media, as the 2007 IEEE 802.11 standard states, wireless is "a medium that has neither absolute nor really observable boundaries"(IEEE 2007, 23)
p66 The sheer density of wireless transmissions creates fresh problems of regulation, interference, competition, and overload.
p.66 Air as Algorithmic Envelope
The air interface is a term for that part of a wireless or mobile telephone network that lies between the antennae of a device and a base station. It is an elusive interface,…
however, is synthesized by technical processes expressed in algorithms.
How to Make a World Hang Together: Noise
p70. The juxtaposition of different components constructs a signal envelop or composite waveform that is open in certain ways and heavily closed in other ways. Information is coded in a sequence of steps, but these steps take account of each other. Information is encoded a number of times to allow different relations to be entwined with other.
p76 A waveform produced by FFT is "conscious of itself" to the extent that the date stream entering at the start of the process has been parceled in such as way as minimize the effects of their inevitable collisions with and alteration by other signals in a given setting. In the ways it spaces and times the signal, the algorithm imprints into the waveform a certain awareness of possible encounters as well as variations in direction and speed typical of urban life and mobilities. Any contemporary sense of media streaming or constantly-on communications in the city relies on such differential quotients and tendencies.
p78 The algorithm dating from 1967 (Viterbi) is widely used in telecommunications networks to maintain the sequence of information flows. It has become a fundamental element in commercial wireless, satellite, and space communications. Andrew Viterbi, a now retire telecommunications engineer, designed the algorithm and started a company (Qualcomm 2005) that designs and fabricates semiconductors based around the algorithm. In telecommunications applications, these chips enable satellite, cellular phone, and wireless networks to communicate despite high levels of electromagnetic noise.
If the FFT is like a courier company that resorts to bicycle couriers in downtown areas, the Viterbi algorithm is like the recipient of a deluge of partly addressed parcels trying to work out who they are meant for, and which was sent first.
Chapter 5 Acting wirelessly: From Antenna to Node Database
p122 although the equipment had been designed to cover distances of around 100 meters, people began attaching new antennae that increased the range of wireless networks.
p123 Elevation is what allows Wi-Fi signals to stretch great distances. One recurring trait of antenna builders is their pursuit of rooftops, upper stories of buildings, high towers, and long poles.
p127 "Labours of Location: Acting in the Pervasive Media Space" Minna Tarkka
contemporary wirelesses is framed by a large-scale communication shift to the medium of electromagnetic waves
Maxwellian physics
By 1900, many different relations of connection, transfer, proximity, and influence were imagined around electromagnetic or wireless waves
Sungook Hong (2001) in his history of wireless invention
Isabelle Stengers
Electromagnetic oscillation is an event whose scope could be measured by multiplicity of its interpretations.
There are some common elements to problem, such as how to create a continuous signal(periodic waveform), how to propagate it effectively(antenna design), and how to pick up and amplify the signal at a distance.
In contrast to wired media, as the 2007 IEEE 802.11 standard states, wireless is "a medium that has neither absolute nor really observable boundaries"(IEEE 2007, 23)
p66 The sheer density of wireless transmissions creates fresh problems of regulation, interference, competition, and overload.
p.66 Air as Algorithmic Envelope
The air interface is a term for that part of a wireless or mobile telephone network that lies between the antennae of a device and a base station. It is an elusive interface,…
however, is synthesized by technical processes expressed in algorithms.
How to Make a World Hang Together: Noise
p70. The juxtaposition of different components constructs a signal envelop or composite waveform that is open in certain ways and heavily closed in other ways. Information is coded in a sequence of steps, but these steps take account of each other. Information is encoded a number of times to allow different relations to be entwined with other.
p76 A waveform produced by FFT is "conscious of itself" to the extent that the date stream entering at the start of the process has been parceled in such as way as minimize the effects of their inevitable collisions with and alteration by other signals in a given setting. In the ways it spaces and times the signal, the algorithm imprints into the waveform a certain awareness of possible encounters as well as variations in direction and speed typical of urban life and mobilities. Any contemporary sense of media streaming or constantly-on communications in the city relies on such differential quotients and tendencies.
p78 The algorithm dating from 1967 (Viterbi) is widely used in telecommunications networks to maintain the sequence of information flows. It has become a fundamental element in commercial wireless, satellite, and space communications. Andrew Viterbi, a now retire telecommunications engineer, designed the algorithm and started a company (Qualcomm 2005) that designs and fabricates semiconductors based around the algorithm. In telecommunications applications, these chips enable satellite, cellular phone, and wireless networks to communicate despite high levels of electromagnetic noise.
If the FFT is like a courier company that resorts to bicycle couriers in downtown areas, the Viterbi algorithm is like the recipient of a deluge of partly addressed parcels trying to work out who they are meant for, and which was sent first.
Chapter 5 Acting wirelessly: From Antenna to Node Database
p122 although the equipment had been designed to cover distances of around 100 meters, people began attaching new antennae that increased the range of wireless networks.
p123 Elevation is what allows Wi-Fi signals to stretch great distances. One recurring trait of antenna builders is their pursuit of rooftops, upper stories of buildings, high towers, and long poles.
p127 "Labours of Location: Acting in the Pervasive Media Space" Minna Tarkka
Wednesday, June 18, 2014
titles
Heidegger's confrontation with Modernity Michael Zimmerman
The question concerning technology Heidegger
Problems in Materialism and Culture Raymond Williams "Advertising: The magic system"
Wireless imagination
how television invented new media
Resolutions 3: global networks of video
The question concerning technology Heidegger
Problems in Materialism and Culture Raymond Williams "Advertising: The magic system"
Wireless imagination
how television invented new media
Resolutions 3: global networks of video
Wednesday, June 11, 2014
Cinema Futures: Cain, Abel or Cable? The screen arts in the digital age edited by Thomas Elsaesser and Kay Hoffmann (Amsterdam University Press, 1998)
Louis Lumiere-- the cinema's First Virtualist? Thomas Elsaesser 45-61
whether there were some deeper-- cultural, ideological, technological- - reasons for its emergence, or what was it that the so-called inventors thought they were inventing and was the cinema what the world had been expecting?
whether there were some deeper-- cultural, ideological, technological- - reasons for its emergence, or what was it that the so-called inventors thought they were inventing and was the cinema what the world had been expecting?
Friday, May 30, 2014
reading guiding questions
http://www.douban.com/note/341846174/
1. Write a very brief abstract (a few sentences), starting with, "In a nutshell, X argues that ...." Polish this; make it as complete AND as concise as possible.
2. Divide the essay into sections, identifying the important steps of the argument. Think about what size units feel right for this purpose. If the author has divided the essay into sections (subheadings, dividers of some sort), you almost certainly need to subdivide further and identify smaller units. On the other hand, it doesn't need to be paragraph by paragraph either.
3. Write a "functional" or "dynamic" outline using these divisions, that is, focus on what the author does in each section. ("The author raises the question . . . " "the author refutes . . . " "the author distinguishes between . . . "). Take care over the verbs: make them as precise and expressive as possible. Let's agree to ban generics like "says" or "states." Be sparing with "explains."
4. What is this essay's intended audience? Be specific: in most cases, the audience will be broadly academic. But within that? Is the essay addressed to specialists in a small field/ people already familiar with the texts and/or main issues, or does it seek to include literary scholars more broadly? Does it seek to include readers beyond literary studies? Beyond academia? How can you tell? Identify a few good examples of what you're describing.
5. How does the essay involve its readers? Does it directly address us? Take us along? Coopt us? Antagonize us? Puzzle us? Find good examples.
6. How does the essay deal with other scholars in the field? Does it quote a lot? Effectively? Does it provide an overview of previous scholarship? Does it insert itself into that broader field, or try to distinguish itself from it? Does it build on other people's work, or bounce off it? Does it use "strawmen" (i.e., weak arguments introduced solely for the purpose of being knocked over)? Is it collegial, antagonistic . . . ? Find good examples.
7. How would you describe the essay's voice? (You can even play games if you like: how do you picture the author? How does she look/what does she wear/age? Where does he sit as he writes? How do you imagine his or her speaking voice sounds? Now try to account for these impressions: where do they come from?) Is the author trying to establish a voice, or seeking to remain neutral?
8. Is the essay clearly argued? Does it mean to be "easy" to follow, or is it aiming to challenge and puzzle you? Are there places where you get lost? Why is that? Would you advise the author to fix that? How?
9. Look at the opening paragraph (or paragraphs—you decide what constitutes "the opening"). Divide it into functional steps, much as you did for the whole essay in 2. and 3. What does the author do to introduce the problem/question/issue we'll be looking at? How does the author motivate you to enter into the discussion with her? Does the author give a "thesis statement" or preview his or her conclusion? Entirely/partially? How? Do you like the opening paragraph(s)?
10. Look at the ending: how does the author leave things? Is there a summation? A looking ahead to further questions? Some kind of special effect? Is it effective?
11. Note any other observations that didn't come under any of these questions.
1. Write a very brief abstract (a few sentences), starting with, "In a nutshell, X argues that ...." Polish this; make it as complete AND as concise as possible.
2. Divide the essay into sections, identifying the important steps of the argument. Think about what size units feel right for this purpose. If the author has divided the essay into sections (subheadings, dividers of some sort), you almost certainly need to subdivide further and identify smaller units. On the other hand, it doesn't need to be paragraph by paragraph either.
3. Write a "functional" or "dynamic" outline using these divisions, that is, focus on what the author does in each section. ("The author raises the question . . . " "the author refutes . . . " "the author distinguishes between . . . "). Take care over the verbs: make them as precise and expressive as possible. Let's agree to ban generics like "says" or "states." Be sparing with "explains."
4. What is this essay's intended audience? Be specific: in most cases, the audience will be broadly academic. But within that? Is the essay addressed to specialists in a small field/ people already familiar with the texts and/or main issues, or does it seek to include literary scholars more broadly? Does it seek to include readers beyond literary studies? Beyond academia? How can you tell? Identify a few good examples of what you're describing.
5. How does the essay involve its readers? Does it directly address us? Take us along? Coopt us? Antagonize us? Puzzle us? Find good examples.
6. How does the essay deal with other scholars in the field? Does it quote a lot? Effectively? Does it provide an overview of previous scholarship? Does it insert itself into that broader field, or try to distinguish itself from it? Does it build on other people's work, or bounce off it? Does it use "strawmen" (i.e., weak arguments introduced solely for the purpose of being knocked over)? Is it collegial, antagonistic . . . ? Find good examples.
7. How would you describe the essay's voice? (You can even play games if you like: how do you picture the author? How does she look/what does she wear/age? Where does he sit as he writes? How do you imagine his or her speaking voice sounds? Now try to account for these impressions: where do they come from?) Is the author trying to establish a voice, or seeking to remain neutral?
8. Is the essay clearly argued? Does it mean to be "easy" to follow, or is it aiming to challenge and puzzle you? Are there places where you get lost? Why is that? Would you advise the author to fix that? How?
9. Look at the opening paragraph (or paragraphs—you decide what constitutes "the opening"). Divide it into functional steps, much as you did for the whole essay in 2. and 3. What does the author do to introduce the problem/question/issue we'll be looking at? How does the author motivate you to enter into the discussion with her? Does the author give a "thesis statement" or preview his or her conclusion? Entirely/partially? How? Do you like the opening paragraph(s)?
10. Look at the ending: how does the author leave things? Is there a summation? A looking ahead to further questions? Some kind of special effect? Is it effective?
11. Note any other observations that didn't come under any of these questions.
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