Today I received notice that the “↑Open Source Annual 2007″ will go to the printer on 25 February 2007, and will be presented to the public on 15 March 2007 at the CeBIT. The volume will contain a 15-page article by Yours Truly, which I christened “Die Deutungsoffenheit der Quelle” [The source’s interpretative flexibility], and today’s e-mail notice is one of a chain of long e-mail to-and-fros. What I want to stress is the fact that since long I haven’t felt so comfortable with a board of editors like in the case of the people in charge of the “Open Source Annual”. Those people indeed take their task seriously and really deliver sensible and constructive feedback—cooperation at its best. I could name several examples of editorial boards who seemingly let your ↑accepted manuscripts vanish into a mælstrom black-hole-style, but those concerned know whom I am talking about, I guess. It is absolutely the contrary with above hailed crew. They furnish professional supervision which at times makes you feel to be some superstar author.
projects
Some time or other I have read that ↑Captain Sir Richard Francis Burton at his home in Trieste had twelve wooden desks. On each desk the material of one particular book project he was working on, was stacked. Not that I dare to compare my humble self to the immortal RFB—god forbid—, but yesterday I cleaned up the mess I call my office and found that currently there are six articles I am writing, or am trying to write. In consequence I am in dire need of method and order, ↵as Hercule Poirot would put it. Folders on the harddrive are all very well, but somehow I felt the urge for something haptic …
naturealism
In connection with computergames the term “realistic graphics” is a blunt misnomer—seen from a philosophical, respectively epistemological vantage point. Computergame graphics are an instance of artistical depiction. Already for a long time there is a precise differentiation between “nature” and “reality” in fine art theory. A painting which as accurately as possible simulates what human beings—conditioned in, or by a given culture—visually percept within the outside world of physical things is not to be called “realistic,” but “naturalistic”, or “painted in a naturalistic style.”
The above picture is a clipping from a “hyperreal” oil painting by Robert Bechtle. ↑Jos Stam explains:
The next blunt misnomer, you say? Concepts generated without order and method in the analytical sense? In a way yes, but then all this terms are idiosyncrasies of a specific cultural group, the “art world” in that case.
second person view
There are ↑first-person shooters (FPS) and ↑third-person shooters (TPS)—what about the second person’s vantage point? Imagine a game where you always are looking through the eyes of the non-player character (NPC) with which your avatar currently interacts. In the case of e.g. a ↑shooter game you may see your actions from the perspective of the character you are about to shoot … from the perspective of your victim.
Wikipedia says about ↑second-person narrative:
Second-person narration is a narrative technique in which the protagonist or another main character is referred to by employment of second-person personal pronouns and other kinds of addressing forms, e.g. the English second-person pronoun “you”. […]
Traditionally, the employment of the second-person form in literary fiction has not been as prevalent as the corresponding first-person and third-person forms, yet second-person narration is, in many languages, a very common technique of several popular and non- or quasi-fictional written genres such as guide books, self-help books, D.I.Y-manuals, interactive fiction, role-playing games, Choose Your Own Adventure series of novels, pop song lyrics, advertisements, etc.
virtualism
The thing that’s going to be quaint about “cyberspace” (that already is, really) is the inherent assumption that it’s a realm unto itself; that it’s in any way elsewhere or other.
—↑William Gibson
According to Edward Said Orientalism is the notion, that “[…] as much as the West itself, the Orient is an idea that has a history and a tradition of thought, imagery, and vocabulary that have given it reality and presence in and for the West.” (Said 1978:5) For this condition he blamed a distinctive body of academic work which rose under the shield and by the force of nineteenth-century colonial domination, and didn’t vanish with the formal structures of colonial rule but continues to reflect the ongoing interests of the West in the East. This academic work, still according to Said, stereotypes the ‘Orient’ and the ‘Orientals’, denies history and agency. (Clifford 1988, Spencer 1996:407) In a nuthshell: the ‘Orient’ is constructed as a negative pendant to the ‘Occident’ unto which every fear and notion of evil is projected—amazingly enough sometimes phantasies of paradise, too.
On the one hand there is much talk about the Internet as an incredible chance to humankind: A democratic space where information can be traded freely without censorship, a possibility for the not-so-well-off nations to participate in the ‘first world’ and even to catch up with it, a system which stores all the knowledge of the world and grants access to it to everyone, a means of communication which bridges cultural, political, and economic divides, and so on.
On the other hand each group seems to find its haunting nemesis, its individual phantom menace, inside the conceptual space generated by CMC, too: For USamerican puritan moral-guards its the place where porn is uncontrollably exchanged, for German authorities the Neo-Nazis organize themselves there, for the People’s Republic of China the critics of the government, separatists and Falun Gong dwell there, for the music industry its the realm of the bootleggers, for the economists’ establishment it is the dungeon out of which evil hackers threaten there infrastructure, for Microsoft it is the network of the Open Source community, and for the latter it is the system through which Microsoft strives for world domination, and so on. On a more abstract level it is seen as the technology which’s usage quickly can develope into pathologic patterns (Young 1998, Davis 1999)—a threat to the human individual itself. Those notions are examples of manifest Virtualism, as the concept already has led to words and actions.
It does not matter if ‘cyberspace’ is stylized as an utopia or as a dystopia. In both cases it is brandished as a ‘Gegenwelt’, as a reality decidedly distinguished from the ‘real one’. Unfortunately science gives support to this construction when it labels it to be ‘virtual’. By the sheer use of this label in connection with CMC, science has become guilty of latent Virtualism, the unconscious, untouchable certainty about what the CMC-mediated realms are. They are seen as separate, eccentric, and silently different. Their change and value are always judged in terms of, and in comparison to, the familiar offline-world. In consequence cyberspace always remains the inferior, the malleable and conquerable, the Other.
From a phenomenological point of view the dichotomy real-virtual can not be upheld anymore when speaking about CMC. We have to accept that CMC does not constitute another world. Like every other means of communication it is an augmentation of the possibilities to make experience. Granted, the Internet makes new social phenomena possible, which have not been seen before, and even new cultures may emerge which on first glance are completely alien to us. But when we do research on these new cultures, from the start on we have to be very careful about the terms we use, or sooner or later we will have to face the same accusation with which Said confronted the western scholars of ‘oriental’ cultures. To be careful in this respect means to discard the prefix ‘virtual’ when speaking about CMC, as it forcefully constructs distance and otherness and implies a fundamental homogeneity of all experiences made online. Just as an orientalistic stance brings forth the notion of a monolithic ‘cultural area’ called Orient.
By definition all experiences made online are mediated by technology, happen in Sterling’s “place between the phones”—of course. Analogously correct is the banal observation that the geographical region called Orient is situated in physical space. But physical space houses an enormous social and cultural diversity. Accordingly: “What characterizes the new system of communication, based in the digitized, networked integration of multiple communication modes, is its inclusiveness and comprehensiveness of all cultural expressions.” (Castells 1996:405) Castells overdoes it, hence, what he postulates is still to prove. In my opinion the project of proof and subsequent research is worthwhile, but we can not do it on the basis of a virtualistic panoramic view of whole cyberspace, but rather with differentiating methods and concepts that allow space for the dynamic variety of human experience. A fragmentation of the experience of reality combined with a subsequent judgement of the resulting parts in terms of value does not serve the cause of research on CMC. Just as it didn’t serve western science and philosophy when it was introduced into those by christian theology. (Baigent and Leigh 1997)
If the rejection of Orientalism is an erasure of the line between ‘the West’ and ‘the Other’, as Said concludes, the rejection of Virtualism is the erasure of the boundary between real and virtual.
light on earth
Daylight, two days later. After the planet has revolved around itself for a little more than two times full circle, an e-mail from her plonks into one of his inboxes. Actually it’s not exactly from her, but triggered by her actions online. It’s a little hidden among the plethora of messages continuously trickling in, but nevertheless quickly spotted, standing out in a way. Obviously she not only has googled him, but used the search engine of some more or less obscure ‘business club’ as well. Within the machine-generated e-mail the non-human system of said club tells him that she has invited him to be one of her contacts. Duly he starts to go through the process of accepting. The message she attached to the invitation appears on the screen. The system has tagged it as her cause for trying to establish contact: “Beautiful interconnected world! :-) [According greetings. Signed.]“ Somewhat unconnectedly the thought creeps up inside him that he definitely should spend more money on hardware.
night on earth
mor gui
bravissimo
↑KerLeone just told me that ↵thousand reminded him of the famous ↑Bravia television commercial:
In an age when CGI is commonplace, this makes the commercial all the more extraordinary. Every single frame was shot over two days—with the main sequence involving a 23-man camera crew and only one chance to get it right.
An entire block was closed off and special compressed-air cannons shot the balls into the air, while earth moving equipment poured thousands down the street. Not that you’d know it from the finished product, but these balls can do some damage, so all the cars were props and crew members went so far as to having protective shields and crash helmets.
But when you get it right, you get it right. The goal at the beginning was to deliver a “really simple, visual celebration of colour”. We think you’ll agree the results speak for themselves.
I am perfectly aware that what I am going to say right now is the worst kind of conservative “cultural criticism” possible—especially if it is voiced by someone who dares to say that he is doing academical research on, and in the vicinity of computer games and gaming culture. But, especially after having watched the “making of”, I have to ask: where the hell are we, having 23 people working for days and burning resources for catching 250,000 jumping rubber balls on film?