086.
The analog may move backwards or forwards along a line, or even track movement across three or more dimensions, but only with the imposition of the digital code is it possible to cut the terms bounded by the digital line and rearrange them. Rather than an analog movement through space and time, the digital opens the possibility of a three dimensional space in which terms are arrayed along different axes and are drawn together via the code. Rather than a continuous line moving out from a point into a three dimensional space, one imagines rather a three dimensional space of fixed points, which can be called upon by the code to make up a straight line of distinct units. Because it is digital, the game can be ‘saved’. You can return to a point within the space the code describes, and start rolling your Katamari ball all over again.
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Ref: “Thus the digital remakes the world of objects in its image.”
analogue analogues of the real world e.g. clocks, orrallaries (planet moving things) etc always fascinating…and so we have DIRECT analogue INPUT devices (sundial) and INDIRECT analogue devices e.g “clockwork” watch
but doesn’t a quartz watch actually measure something digital (quantum) in the real world? Cerainly an atomic clock does…
SO WHAT
Actually, time isn’t a quantized thing, but rather an analogue phenomena created by human experience. You should google Peter Lynds and read his paper on Zeno’s Paradox.
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“reckless” -> wreckless?
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Bullshit
This is my first major point of departure with your thesis
There is NOTHING CONSCIOUS about the MIEC (Mil Ind Ent Complex) behaviour as a whole. What you describe may be happening: but htings happen without a MIND behind them – See “Blind Watchmaker” by Dawkins for example. This impinges on the whole evolution thing and the future of man machine relationships. But I stress again you’re going waaaaay off beam to suggest it is conscious (surely, i.e. IMHO)
simon,
i’m not saying it is ‘conscious’ so much as that the MEC is a form. It proceeds always and everwhere in the same way.
I wasn’t sure where to plant this comment, since it’s about the form of the book as much as it is about the book’s argument (or maybe someone already made this point somewhere else). It seems this book takes on the form of a game in its own right, where the author, MacKenzie Wark, is the protagonist in a conflict (/agon?) with readers, who argue against it at times, as simon does in his comment above. Academic argument as video game. If so, though, who is winning?
jeff,
its more a form of play, out of which emerge game-like elements, rather than a game, within which play happens, up against its limits. It isn’t a game in that it has conventions rather than rules, no stake and no end-condition.
Its interesting how often videogame theory comes to resemble videogame play. Long quote coming:
“The greatest challenge to computer game studies will no doubt come from within the academic world. Making room for a new field usually means reducing the resources of the existing ones, and the existing fields will also often respond by trying to contain the new area as a subfield. Games are not a kind of cinema, or literature, but colonising attempts from both these fields have already happened, and no doubt will happen again. And again, until computer game studies emerges as a clearly self-sustained academic field.”
That’s from Aarseth’s Game studies: Year one, and it makes the creation of a new discipline sound a lot like Age of Empires, dontcha think?
As I make clear in 016, i’m really not interested in playing that game.
Who are you quoting in the first quotation here? It sounds a bit like Haraway – or is it Anthony Wilden’s?
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