Cybernetics, interfaces, new media

become a touchstone within a series of accounts of this relationship. My starting point here, in this consideration of a particular relationship between technology and culture, is not computer culture per se. I turn first to an account of mass culture. In Signs Taken for Wonders, Franco Moretti discerns the end of literary culture at the hands of mass culture, this new order being prefigured in tensions and strains within literary productions which cannot contain its logic. The move Moretti makes is from the Waste Land, taken as a boarder production where myth

in The arc and the machine
Abstract only
‘Of magic look and meaning’: themes concerning the cultural chess-player

, masculinities, and moralities. An epilogue considers the chess-player from an early twentyfirst-century perspective. Notes  1 D. Martin, Curious Visions of Modernity: Enchantment, Magic, and the Sacred (Cambridge, MA: MIT Press, 2011), p. xiv.  2 Ibid., p. xv.  3 F. Moretti, Graphs, Maps and Trees: Abstract Models for Literary History (London: Verso, 2007), p. 4.  4 P. Metzner, Crescendo of the Virtuoso: Spectacle, Skill, and Self-Promotion in Paris During the Age of Revolution (Berkeley, CA: University of California Press, 1998), p. 1.  5 Oxford English Dictionary

in A cultural history of chess-players
On Elephant

of mass consumer society, after all (see Moretti, 1983: 231 and Chapter 1). Elephant, in the end, as it appears on screen, both offers choices (multiple ways around the site, multiple reasons for the killings) and withdraws them, through a form of interactivity that finds multiple pathways but refuses to offer anybody a choice about which of them to take, and perhaps through a refusal to say, ultimately, if the explanation chosen was right. In tracking these tales through long shots, exposing these fragments, and in returning over and over again to these spaces and

in The arc and the machine