#Geoffrey Winthrop Young

[amrv-5]

Kittler, Friedrich A. "Introduction." Gramophone, Film, Typewriter. Trans. Geoffrey Winthrop-Young and Michael Wutz. 1999.

[fabiansteinhauer]

MINICURSO

Große Ehre!

Ich kehre Anfang November für einen Monat (eine volle Mondphase lang) nach Recife, die Hauptstadt der Schiff- und Lichtbrüchigen zurück. Recife ist als selbst brüchige Haupt- und Hafenstadt im Nordosten, als Startort des Berichtes aus den Tropen, die zwar traurig, aber nicht nur traurig sind, genau zum richtigen Zeitpunkt der Ort meiner Gastprofessur geworden - und Ort einer Forschung zur Anthropofagie. Nun kehre ich zurück, um einen Kurs zu geben und dort weiter am 'Forschungsbericht' zu arbeiten. Das Programm dieses Kurses steht jetzt.

Disciplina: History and Theory of Inconstant and Polar Law/ / História e teoria de uma lei inconstante e polar

Professor: Fabian Steinhauer

Carga Horária: 15 horas

Período: 11.11. until 28.11.2024

Horário: 14.00-17.00

PROGRAMA

Ementa:

To launch or to lance in twilight: We start from the assumption that whenever something starts, laws and rights start too.  We also start from the assumption that whenever rights and law are translated, transferred and shared, something else than rights or law co-operates - and that this co-operation is resistant and insistent.  Legal science does not master legal knowledge. Its major techniques like speaking, reading and writing are not the only, maybe even not the most important techniques of legal knowledge. We will focus techniques like filing/ protocol, dancing/choreography (german: “reigen”) and using tables. Our course will present Cornelia Vismann and Aby Warburg as scientists of  strange and minor iurisprudences – and by using their inspirations we will work together in a laboratory of uncertain thinking to pursue a history and theory of inconstant and polar law.

Essa é a nossa ‘lança do crepúsculo’: Partimos do pressuposto de que sempre que algo começa, as leis também começam.  Também partimos do pressuposto de que sempre que os direitos e a lei são transferidos e compartilhados, algo além dos direitos ou da lei coopera - e que essa cooperação é resistente e insistente.  A ciência jurídica não domina o conhecimento jurídico, as principais técnicas, como falar, leiar e escrever, não são as únicas, talvez nem mesmo as mais importantes técnicas de conhecimento jurídico. Vamos nos concentrar em técnicas como arquivar, dançar (alemão: “reigen”) e usar mesas e tabelas. Nosso curso apresenta Cornelia Vismann e Aby Warburg como cientistas da “jurisprudências menor”; trabalharemos juntos em um laboratório de pensamento incerto para buscar uma história e uma teoria da lei inconstante e polar.

Metodologia:

A primeira metade do curso consiste em uma introdução ao trabalho de dois pesquisadores diferentes, mas misteriosamente conectados: Aby Warburg (1866-1929) e Cornelia Vismann (1961-2010). Na segunda metade, a sala é transformada em um laboratório e em um espaço de pensamento incerto. Elaboramos projetos de pesquisa futuros, suas perguntas e seus métodos.

O idioma do curso deve ser o inglês. Todos os outros idiomas são bem-vindos se acompanhados de uma tradução para o inglês.

Datas:

Dia 11.11.2024:  Borderline/ Avantgarde.  Research at the Max-Planck-Institute  for legal  history and legal theory

Dia 13.nov.2024:  Cornelia Vismann, oder: Theorie als Folge des Umstandes, dass eine Göttin geschaut hat/ A Teoria como consequência do fato de que uma deusa estava olhando.

Dia 18.nov.2024: Aby Warburg, oder: Theorie als Möglichkeit, die Welt im Rücken zu haben (ihre Regung mitzumachen/ zu tragen)/ A teoria como uma possibilidade de ter o mundo ao seu lado/ as costas (para participar de seu impulso e movimento)

Dia: 20. nov 2024  Laboratory I

Dia: 28. nov 2024  Laboratory II

Bibliografia

Cornelia Vismann: Files. Law and Media Technology, Translated by Geoffrey Winthrop-Young. SERIES: Meridian: Crossing Aesthetics, Stanford University Press 2008

Aby Warburg: Bilderatlas Mnemosyne, Berlin 2020

[yourdailyqueer]

Geoffrey Winthrop Young (deceased)

Gender: Male

Sexuality: Bisexual

DOB: 25 October 1876  

RIP: 8 September 1958

Ethnicity: White

Occupation: Climber, poet, teacher, writer, journalist, veteran

Note 1: In 1917 an explosion caused injuries requiring the amputation of one of his legs. After the amputation, Young walked sixteen miles in two days to avoid being captured by the Austrians. He continued alpine climbing for a number of years – using a specially designed artificial leg that accepted a number of attachments for snow and rock work – and climbed the Matterhorn in 1928.

Note 2:  To support himself and his family he worked for the Rockefeller Foundation, and spent much time in Germany, and – having met Kurt Hahn before the War – helped Hahn immigrate to England in 1934. The now famous Duke of Edinburgh Award scheme and the International Award scheme comes from this co-operation between Kurt Hahn and Geoffrey Young. The Outward Bound movement, after World War II, owes a considerable debt to their friendship.

[publicatiosui]

On a stone surface an erasure is much a sign as an inscription: both attest in equal fashion to the history and to meaning of the monument, and in doing so both presuppose and fully exploit the physical properties of the medium. Nobody understood this better than the Egyptians, for whom the stone medium was the message, given that the sheer duration and longevity of stone represented as well as embodied the 'desire for eternity that seeks its salvation in the sheer persistence and massiveness of its material.'

Geoffrey Winthrop-Young

[equatorjournal]

Mountains of the moon, 1943. Photo by Geoffrey Winthrop Young. From "The six mountain-travel books" by Eric Shipton. https://www.instagram.com/p/Ck1ObRhtTMY/?igshid=NGJjMDIxMWI=

[blackswaneuroparedux]

In this short span between my fingertips and the smooth edge and these  tense feet cramped to a crystal ledge, I hold the life of a man.

- Geoffrey Winthrop Young (British climber and poet 1876-1958)

[corkcitylibraries]

National Heritage Week | Frank O’Connor – Librarian

by Jim McKeon

Writer, Frank O’Connor, was just twenty years of age when he was released from Gormanstown Interment Camp. Cork had been badly hit by the Civil War. It was still a smouldering ruin. Because the city and county had been the focal point of much of the bloodiest fighting the turmoil of the Civil War lingered there longer than it did elsewhere in the country. In the spring of 1924, the city was still edgy. O’Connor had no money and no job. Under the new government all teachers were required to learn the Irish language. For a few months he taught Irish to the teachers at the Protestant school in St Luke’s Cross, near his home. He was paid a few shillings a week for this. He struggled by, a twenty-year old in his father’s patched up, old hand-me-down trousers teaching middle-aged teachers how to speak the Irish language. It was frustrating, especially if you were on the losing side in the Civil War. MacCurtain and MacSwiney had tragically died but he still met Corkery and Seán O’Faoláin regularly. As so often before Daniel Corkery, forever in O’Connor’s background, stepped in and arranged an interview for a job. Cork dramatist, Lennox Robison, who was secretary of the Carnegie Library, was organising rural libraries and he was looking for young men and women to train as librarians. After a tough interview O’Connor got the job. His mother packed his little cardboard suitcase, including a big holy picture of the Sacred Heart, and he set off for Sligo.

 Bust of Frank O’Connor - on display in the City Library, Grand Parade

At last he had enough books to read. Even for 1924, the wages were poor, thirty shillings a week. His lodgings were twenty-seven and sixpence. He had a half-crown (12.5 cent) left for cigarettes and drink. He posted his dirty laundry on to Cork every week. His mother washed it, with unconditional love, and posted it back, and sometimes included five shillings for her son. As a librarian he was all hands. His boss said he was untrainable. He kept busy by reading poetry books and getting them off by heart. He was blessed with a phenomenal memory. The only thing of note in Sligo was that he celebrated his twenty-first birthday far from home. After six months he was sent to Wicklow, where a new library was to be opened.

 When he arrived a local priest wanted to close down the library. Lennox Robinson had just been heavily criticised and fired from his library position because of a controversial story he wrote about a pregnant girl who felt she had mysterious visit by the Holy Ghost. O’Connor’s boss was Geoffrey Phibbs, an influential fellow poet with controversial opinions on many aspects of life. The two young poets became great friends.  Phibbs escorted O’Connor to Dublin and introduced him to Lady Gregory, George Russell (AE) and Yeats. AE was editor of the Irish Statesman and encouraged O’Connor to send him on something for publication. He sent a verse translation of Suibne Geilt Aspires and when AE published it 14 March 1924, it carried for the first time the pseudonym Frank O’Connor. It must be remembered that he was a young civil servant and he may have been contemplating on keeping his job by using a pen name ever since Lennox Robinson’s enforced resignation. He chose his confirmation name, Francis, and his mother’s maiden name, O’Connor. The prominence AE and the Irish Statesman gave him thrust him into literary view. Yeats had great time for O’Connor and said that he did for Ireland what Chekhov did for Russia. But the young librarian missed home and his mother. A vacancy came up in Cork. AE tried to talk him out of it and warned him he’d be miserable back in Cork. It never occurred to O’Connor that he would not return home. Like his father he was, at that stage, a one-town man..

 Notwithstanding AE’s forebodings, he accepted the job of Cork’s first county librarian in December 1925. He was just twenty-two years of age. His salary of five pounds a week was more than anyone in Harrington’s Square had ever dreamed of earning. The library was at twenty-five Patrick Street which was still in the process of being rebuilt.  Minnie was happy that her son was back home again and his father, Big Mick, was impressed that a pension went with his son’s new job. The city was still in a poor condition. The foundation of the Irish Free State in 1922 augured a period of new confidence in Cork. But in 1924 a public inquiry found: 

  …limited progress had been made on rebuilding Cork’s city centre since it had been burned down in 1920. Criticism was made of the poor quality of maintenance of the city streets, many of which were still paved with timber blocks. Part of Anderson’s Quay had fallen into the river. The public water supply was of poor quality…There was virtually no building in progress in the city.  

  In the burning of Cork not alone had many of the character and physical structures of the city been lost, but so also had thousands of jobs and many peoples’ homes. The Cork Examiner reported that thousands were rendered idle by the destruction. The rebuilding was tediously slow mainly because of the shortage of funding. Britain’s refusal to accept blame and pay compensation didn’t help. The Civil War itself and the post-war political divide were also major factors in delaying the building progress. This was another chapter in Frank O’Connor’s Cork, a damaged city struggling to survive. He opened his library over a shop near the corner of Winthrop Street. It was five years since the burning yet major buildings, just yards away, like Roches Stores and Cash & Co, were still rubble. Rebuilding had not yet started in these two well-known shops. In January 1927, Roches Stores finally re-opened for business. Summing up, the burning of Cork had a unifying effect on a people that had been collectively damaged by the event. It also exposed divisions in Cork society at the time. A Church/political divide came to the surface during this traumatic time. It was demonstrated through criticism by councillors of Bishop Coholan for his refusal to condemn the burning. Many republicans were unhappy because they felt the clerical comments were often selective. Frank O’Connor had a huge responsibility for a young and inexperienced man. He was given a cheque for three thousand pounds to set up and stock his library. He made his first mistake. At that time an anti-Catholic bias still lingered in commerce. He naively lodged the cheque in the nearby and more practical catholic bank when the accepted practice was to use the protestant bank. This innocent action caused a major committee dispute and O’Connor was accused of having a personal and ulterior motive. Then, when he insured the building, the insurance company gave him a cheque as a personal thank you. He didn’t want it and kept it for years but never cashed it. He sums up this whole chaotic scenario: 

  By the time the Cork County Council had done with organizing my sub-committee it consisted of a hundred and ten members, and anyone who has ever had to deal with a public body will realize the chaos this involved. Finally I managed to get my committee together in one of the large council rooms, and by a majority it approved my choice of bankers. There was, I admit, a great deal of heat. Some of the councillors felt I had acted in a very high-handed way, and one protested against my appearing in a green shirt – a thing which, he said, he would not tolerate from anybody. 

  When he finally got his stock of books together and organised his new library, he decided that he should have closer contact with the rural community. If they couldn’t come to him then he’d go to them. He bought a van, packed it with boxes of books, and drove all over the county. After six months this affected his health. He was exhausted from working long hours driving all over West Cork and he wrote almost every night. In a letter to old Wicklow colleague, Phibbs, he wrote, I’m working like a brute beast. He became ill and had to have a serious operation in the Bon Secours Hospital. He spent two weeks in hospital and six weeks convalescing. It shows his stubbornness when he shocked the nuns in the hospital by refusing to receive the sacraments before the operation. 

           Cork had a long tradition of theatre and a critical play-going audience, but in 1927 there was only one drama group in the city, the newly formed Cork Shakespearian Company. Daniel Corkery’s little theatre had closed in 1913 and groups like Munster Players, Leeside Players and Father Matthew Players were also defunct. On 8 August 1927 Micheál MacLiammoir and Hilton Edwards brought their touring company to Cork. They performed The High Steppers’in the Pavillion Theatre in Patrick Street. This venue later became a cinema and is presently HMV music shop. After the opening night there was a party at Seán and Geraldene Neeson’s home. Geraldene was Terence MacSwiney’s bridesmaid when he married in England. MacLiammoir encouraged O’Connor to revive drama in Cork. O’Connor was inspired and was instrumental in forming the Cork Drama League. Although he knew nothing about drama he threw himself headlong at the project. Old friend, Seán Hendrick, recalls: 

  That Michael knew nothing about producing plays and I knew nothing about stage-managing them did not trouble us at all…The producer was to be given a free hand in the choice of both plays and cast and members were bound to accept the parts allotted them. There were to be no stars and an all-round uniformity of performance was to be aimed at. 

  Undaunted, Frank O’Connor tore into their new venture. Lennox Robinson’s play, The Round Table, was to be the first production. It was its first appearance in Cork and there were some slight adjustments to suit the local audience. The curtain-raiser was Chekhov’s The Cherry Orchard. Typically, O’Connor wrote the programme notes, directed The Round Table, and appeared in both plays. The Round Table was a difficult play to produce. It had fourteen characters. Many of them doubled up and played two roles. They had trouble trying to cast the part of Daisy Drennan, but one night Geraldine Neeson brought along a pretty young girl to audition. Although she had a terrible stammer she was a natural actress. Not alone did she get the part but that night O’Connor walked her home. From then on Nancy McCarthy became his leading lady and for years to come she was to flit in and out of his life. The company’s first play opened on 28 February 1928 in Gregg Hall in the South Mall, a theatre venue no longer used in Cork. They got high praise all round especially Nancy McCarthy. They immediately started rehearsing for their second venture, The Cherry Orchard. Cork City was now back on its feet and completely rebuilt and people were getting used to a new freedom and sense of safety. Theatre was a hugely popular event.  Plays at that time generally had an Irish theme and written by the likes of Yeats, Synge, Robinson and T. C. Murray. That had been the custom and they were very popular with Cork audiences. But the young Frank O’Connor had other ideas. He was into French and German and Russian theatre and he wanted to offer the Cork public something different. 

  English drama, no matter how significant it may be in its own setting can have no beneficial effect upon a country which is subjected to cultural influences only from one source. The Cork Drama League proposes to give the best of American and continental theatre, of Chekhov, of Martine Sierra, of Eugene O’Neill and those other dramatists whose work, as a result of the dominating influence of the English theatre, is quite unknown in Cork.  

  That was a more than subtle dig at Fr, O’Flynn, a local priest, who had founded the Cork Shakespearian Company in 1924. The two men did not get on. From 20 December to 30 December1927 they exchanged four letters in the Cork Examiner trading insults. Fr, O’Flynn signed his letters The Producer while O’Connor used his name in Irish. Seán Hendrick joined in the attack calling himself Spectator. Everyone in Cork knew who both men were. Ironically, they were more alike than they cared to admit; they were two proud Cork men, they both loved Shakespeare and they both loved Irish. Two more plays were produced, The Cherry Orchard and A Doll’s House. Both got fine reviews, but the audiences were poor. Maybe the Cork Drama League was going too far too soon, and Cork wasn’t ready for them. By now O’Connor was spending most of his time with Nancy McCarthy. Nancy was a religious girl from a well-known Cork family. He brought her home to see his mother and the couple went on a three-week holiday to Donegal. They stayed in houses three miles apart. They met every day for a year outside of St, Peter and Paul’s church after mass. They were engaged for a while but it did not work out. She would not marry him. He would not marry in a Catholic church and there was no way Nancy would marry outside the Church. She was one of ten siblings and he was an only child. She felt he was spoiled. This was quite true. By now he was being regularly published in the Irish Statesman. He had a poem dedicated to Nancy published 9 May 1928. The last two lines are filled with melodrama: 

  That even within this darkness of our body keeps  

Communion with the brightness of a world we dream  

  Frank O’Connor was beginning to feel that AE was right. He should never have left Dublin. He was no longer enjoying his years in Cork. It was no longer the place he had known. O’Faoláin was in America and recently he had found it difficult to talk to Corkery. He made it plain that he was taking sides and that O’Connor was on the wrong side. O’Connor was restless and felt that Cork was threatening to suffocate him. He missed Wicklow where he could talk literature and art to Phibbs and go on to Dublin to meet AE and Yeats. AE would give him all the latest books and gossip, and Sunday evening he could go to the Abbey Theatre and see a series of continental plays, Chekhov, Strindberg and contemporary German plays. Eventually, getting frustrated with the parochialism of Cork and his lack of success with Nancy McCarthy, he applied for the job as municipal librarian in Ballsbridge. On Saturday 1 December 1928 he packed his case and left for Dublin. He still felt it was only a temporary move. Nothing could cure him of the notion that Cork needed him and he needed Cork. Nothing but death could ever cure him of this. 

Jim McKeon’s book Frank O’Connor: A Life is available to borrow from Cork City Libraries 

Jim McKeon has been involved in theatre all his life and has many film scripts, plays and books to his name. His best-known work is probably the biography of Frank O'Connor. He also toured Ireland and the US with his one-man-show on the writer's life. Jim is also an award-winning theatre director and poet.

[dejstacey]

I was tagged by my dear friend over at @panicsheerbloodypanic Thank you!

1. Nickname: Damo or Daim

2. Zodiac sign: Virgo

3. Height: 5”8

4. Hogwarts house: if I’m remembering correctly it’s Ravenclaw

5. Last thing I googled: Geoffrey Winthrop Young (interesting chap, check him out)

6. Song stuck in my head: All the Pretty Girls by fun.

7. Number of followers: 145

8. Amount of sleep: Honestly, anywhere between the full eight and nothing at all! Luck of the draw.

9. Lucky number: 17

10. Dream Job: English teacher (secondary level). I’m working towards it, though at the moment I’m a gardener/groundskeeper/odds job man on an estate.

11. Wearing: Well, as I write this it’s nearly half past one in the morning, so I’m wearing my pyjamas.

12. Favourite song: I’m afraid that’s too tricky to answer, I couldn’t whittle it down to just one!

13. Favourite instrument: Bass guitar

14. Favourite author: Mary Shelley or James Edgecombe

15. Favourite animal: Dogs

16. Aesthetic: God only knows, I like pretty things I suppose.

17. Random: I hope you’re all well, and that the world isn’t putting too much lead round your ankles.

I’m going to tag @blackbirdinthebox and @punkenglishnerd

[wolfliving]

Thinking Through Interfaces, a syllabus

*That looks enlightening.

THINKING THROUGH INTERFACES

Co-taught by Zed Adams (Philosophy) and Shannon Mattern (Media Studies)

Tuesdays 4:00 - 5:50pm | 6 East 16th St #1003

Interfaces are everywhere and nowhere. They pervade our lives, mediating our interactions with one another, technology, and the world. But their very pervasiveness also makes them invisible. In this seminar, we expose the hidden lives of interfaces, illuminating not just what they are and how they work, but also how they shape our lives, for better and worse. We also discuss a number of pressing social and political issues, such as why we are quick to adopt some interfaces (e.g., smartphones and social media platforms), but reluctant to embrace others (e.g., new voting machines and Google Glass). 

(...)

RESOURCES

With a few exceptions, all readings will be made available on our class website, at http://www.wordsinspace.net/interfaces/2019/. We’ll provide everyone with a copy of Tom Mullaney’s The Chinese Typewriter and David Parisi’s Archaeologies of Touch.

SCHEDULE OF MEETINGS

WEEK 1: JANUARY 22: INTRODUCTIONS

What is an interface?

How are interfaces differentiated?

Can an interface become a part of our mind?

Do interfaces shape what we use them to do?

What are the limits of interfaces: what problems do they not help us solve?

WEEKS 2 AND 3: CONCEPTUALIZATION 

WEEK 2: JANUARY 29: CONCEPTUALIZATION I 

Nelson Goodman, “The Theory of Notation” (Chapter Four), Languages of Art (Hackett, 1976): 127-173.

Florian Cramer and Matthew Fuller, “Interface” in Software Studies, ed., Matthew Fuller (MIT Press, 2008): 149-53.

Johanna Drucker, “Interface and Interpretation” and “Designing Graphic Interpretation” in Graphesis: Visual Forms of Knowledge Production (Harvard University Press, 2014): 138-97.

WEEK 3: FEBRUARY 5: CONCEPTUALIZATION II

Shannon Mattern, “Mission Control: A History of the Urban Dashboard,” Places Journal (March 2015).

Shannon Mattern, “Things that Beep: A Brief History of Product Sound Design,” Avant (August 2018).

We encourage you to think, too, about how interfaces might embody different cultures and ideologies. Consider, for example, feminist interfaces or indigenous interfaces -- or interfaces that embody universal, accessible design. You'll find some relevant resources in the modules at the end of this syllabus, and we'll explore many of these themes as part of our case studies throughout the semester.

In-Class Workshop (second half of class): small-group interface critiques 

Supplemental: 

Christian Ulrich Andersen and Soren Bro Pold, eds., Interface Criticism: Aesthetics Beyond the Buttons (Aarhus University Press, 2011).

Martijn de Waal, The City as Interface: How New Media Are Changing the City (nai010, 2014).

Johanna Drucker, “Humanities Approach to Interface Theory,” Culture Machine 12 (2011).

Johanna Drucker, “Performative Materiality and Theoretical Approaches to Interface,” Digital Humanities Quarterly 7:1 (2013).

Florian Hadler and Joachim Haupt, “Towards a Critique of Interfaces” in Interface Critique, eds., Florian Hadler and Joachim Haupt (Berlin: Kulturverlag Kadmos, 2016): 7-16.

John Haugeland, “Representational Genera” in Having Thought: Essays in the Metaphysics of Mind, ed. Haugeland (Harvard Univ Press, 1992): 171-206.

Branden Hookway, Interface (MIT Press, 2014)

Interface Critique (journal).

Steven Johnson, Interface Culture (Basic Books, 1999)

Matthew Katz, “Analog Representations and Their Users,” Synthese 193: 3 (June 2015): 851-871.

Kimon Keramidas, The Interface Experience - A User’s Guide (Bard Graduate Center, 2015).

Shannon Mattern, “Interfacing Urban Intelligence,” Places Journal (April 2014).

Don Norman, The Design of Everyday Things (Basic Books, 2013).

Mitchell Whitelaw, “Generous Interfaces for Digital Cultural Collections,” Digital Humanities Quarterly 9:1 (2015).

Jeff Johnson, Designing with the Mind in Mind (Morgan Kauffmann, 2014).

WEEKS 4 AND 5: TYPEWRITER KEYBOARDS 

Our first case study is the QWERTY keyboard. This case raises fundamental questions about why interfaces are adopted in the first place, the extent to which their original designs constrain how they are subsequently used, and how particular linguistic politics and epistemologies are embodied in our interfaces. 

WEEK 4: FEBRUARY 12: KEYBOARDS & QWERTY

Andy Clark, Chapters One through Three, and Ten, Being There: Putting Brain, Body, and World Together Again (MIT Press, 1998): 11-69 and 193-218.

S. J. Liebowitz and Stephen E. Margolis, “The Fable of the Keys,” The Journal of Law & Economics 33:1 (1990): 1-25.

WEEK 5: FEBRUARY 19: OTHER KEYBOARDS

Thomas S. Mullaney, The Chinese Typewriter: A History (MIT Press, 2017): Chapter 1, 35-74; Chapter 4, 161-93; Chapter 6, 237-53 (up through “How Ancient China Missed…”; and Chapter 7, 283-8 (through “China’s First ‘Model Typist’”).

Kim Sterelny, “Minds: Extended or Scaffolded?” Phenomenology and the Cognitive Sciences 9:4 (2010): 465-481.

See Marcin Wichary’s forthcoming book about the global history of keyboards, as well as his research newsletters.

4-5pm: Skype TBD 

Supplemental: 

Louise Barrett, Beyond the Brain (Princeton University Press, 2015).

Andy Clark and David Chalmers, “The Extended Mind,” Analysis 58:1 (1998): 7-19.

Friedrich A. Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz (Stanford University Press, 1986).

Lisa Gitelman, Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era (Stanford University Press, 1999).

John Haugeland, “Mind Embodied and Embedded,” Having Thought (Harvard University Press, 1998): 207-237.

Richard Heersmink, "A taxonomy of cognitive artifacts: function, information, and categories." Review of philosophy and psychology 4.3 (2013): 465-481.

Richard Heersmink, "The Metaphysics of Cognitive Artefacts," Philosophical Explorations 19.1 (2016): 78-93.

Neil M. Kay, “Rerun the Tape of History and QWERTY Always Wins,” Research Policy 42:6-7 (2013): 1175-85.

Prince McLean, “Inside the Multitouch FingerWorks Tech in Apple’s Tablet,” Apple Insider (January 23, 2010).

Jan Noyes, “QWERTY - The Immoral Keyboard,” Computing & Control Engineering Journal 9:3 (1998): 117-22.

Kim Sterelny, The Evolved Apprentice: How Evolution Made Humans Unique (MIT Press, 2012).

Cassie Werber, “The Future of Typing Doesn’t Involve a Keyboard,” Quartz (November 23, 2018).

Darren Wershler-Henry, The Iron Whim: A Fragmented History of Typewriting (Cornell University Press, 2007).

WEEKS 6 AND 7: HAPTICS 

WEEK 6: FEBRUARY 26: PUSHING BUTTONS 

H. P. Grice, “Some Remarks About the Senses,” in Analytical Philosophy, First Series, ed. R. J. Butler (OUP Press, 1962): 248-268. Reprinted in F. MacPherson (ed), The Senses (OUP Press, 2011): 83-101.

Matthew Fulkerson, “Rethinking the Senses and Their Interactions: The Case for Sensory Pluralism,” Frontiers in Psychology (December 10, 2014).

Rachel Plotnick, “Setting the Stage,” in Power Button: A History of Pleasure, Panic, and the Politics of Pushing (MIT Press, 2018): 3-16.

Rachel Plotnick, “Force, Flatness, and Touch Without Feeling: Thinking Historically About Haptics and Buttons,” New Media and Society 19:10 (2017): 1632-52.

WEEK 7: MARCH 5: HAPTICS II 

David Parisi, Archaeologies of Touch: Interfacing with Haptics from Electricity to Computing (University of Minnesota Press, 2017): Introduction, 1-40; Chapter 3, 151-212; and Chapter 4, 213-264.

4-5pm: Skype with Dave Parisi 

Supplemental: 

Sandy Isenstadt, “At the Flip of a Switch,” Places Journal (September 2018).

Mathias Fuchs, Moisés Mañas, and Georg Russegger, “Ludic Interfaces,” in Exploring Videogames: Culture, Design and Identity, eds., Nick Webber and Daniel Riha (Interdisciplinary-Net Press): 31-40.  

Matthew Fulkerson, The First Sense: A Philosophical Study of Human Touch (MIT Press, 2013).

Gerard Goggin, “Disability and Haptic Mobile Media,” New Media & Society 19:10 (2017): 1563-80.

Kim Knight, “Wearable Interfaces, Networked Bodies, and Feminist Interfaces,” MLA Commons (2018).

Brian Merchant, The One Device: The Secret History of the iPhone (Little, Brown, 2017).

Stephen Monteiro, The Fabric of Interface: Mobile Media, Design, and Gender (MIT Press, 2017).

David Parisi, “Games Interfaces as Bodily Techniques,” Handbook of Research on Effective Electronic Gaming in Education, ed. Richard Ferdig (IGI Global): 111-126.

David Parisi, Mark Paterson, and Jason Edward Arches, eds., “Haptic Media” Special Issue, New Media & Society 19:10 (October 2017).

Rachel Plotnick, “At the Interface: The Case of the Electric Push Button, 1880-1923,” Technology and Culture 53:4 (October 2012): 815-45.

MARCH 11 @ NOON 

Share your final project and presentation proposal with Zed and Shannon. See “Assignments” for more detail. 

WEEK 8: MARCH 12 

Individual meetings to discuss presentations and final projects

MARCH 19: NO CLASS: SPRING BREAK

WEEKS 9-10: VOICE 

WEEK 9: MARCH 26: History of Vocal Interfaces (Zed away)

Mara Mills, “Media and Prosthesis: The Vocoder, the Artificial Larynx, and the History of Signal Processing,” Qui Parle 21:1 (Fall/Winter 2012): 107-49.

Danielle Van Jaarsveld and Winifred Poster, “Call Centers: Emotional Labor Over the Phone,” in Emotional Labor in the 21st Century: Diverse Perspectives on Emotion Regulation at Work, ed. Alicia Grandey, Jim Diefendorff, and Deborah Rupp (LEA Press, 2012): 153-73.

Confirm the assigned text for your presentation: send to Shannon and Zed a complete Chicago-style citation and either a high-quality pdf or a link to the online resource before class today, so we can update our class website with everyone’s material.

WEEK 10: APRIL 2: Contemporary Vocal Interfaces 

Adelheid Voshkul, “Humans, Machines, and Conversations: An Ethnographic Study of the Making of Automatic Speech Recognition Technologies,” Social Studies of Science 34:3 (2004).

Andrea L. Guzman, “Voices in and of the Machine: Source Orientation Toward Mobile Virtual Assistants,” Computers in Human Behavior (2018).

Halcyon M. Lawrence and Lauren Neefe, “When I Talk to Siri,” Flash Readings 4 (September 6, 2017) {podcast: 10:14}.

Halcyon M. Lawrence, “Inauthentically Speaking: Speech Technology, Accent Bias and Digital Imperialism,” SIGCIS, Computer History Museum, March 2017 {video: 1:26 > 17:16}

Lauren McCarthy, LAUREN. A human smart home intelligence (review press, too).

4-5pm: Skype with Halcyon M. Lawrence

Supplemental: 

Meryl Alper, Giving Voice: Mobile Communication, Disability, and Inequality (MIT Press, 2017).

Michel Chion, Sound: An Acoulogical Treatise (Duke, 2016).

Karin Bijsterveld, “Dissecting Sound: Speaker Identification at the Stasi and Sonic Ways of Knowing,” Hearing Modernity (2018).

Trevor Cox, Now You’re Talking: The Story of Human Communication from the Neanderthals to Artificial Intelligence (Counterpoint, 2018).

Brian Dumaine, “It Might Get Loud: Inside Silicon Valley’s Battle to Own Voice Tech,” Fortune (October 24, 2018).

Larry Greenemeier, “Alexa, How Do We Take Our Relationship to the Next Level?” Scientific American (April 26, 2018).

Jason Kincaid, “A Brief History of ASR,” descript (July 12, 2018).

Halcyon M. Lawrence, “Siri Disciplines,” in Your Computer is on Fire, eds., Marie Hicks, Ben Peters, Kavita Philips and Tom Mullaney (MIT Press, forthcoming 2019).

Halcyon Lawrence and Lauren Neefe, “Siri’s Progeny: Voice and the Future of Interaction Design,” Georgia Tech, Fall 2016.

Xiaochang Li and Mara Mills, “Vocal Features: From Voice Identification to Speech Recognition by Machine,” Technology and Culture (forthcoming 2019).

Luke Munn, “Alexa and the Intersectional Interface,” _Angles (June 2018).

Quynh N. Nguyen, Ahn Ta, and Victor Prybutok, “An Integrated Model of Voice-User Interface Continuance Intention: The Gender Effect,” International Journal of Human-Computer Interaction (2018).

Winifred Poster, “Sound Bites, Sentiments, and Accents: Digitizing Communicative Labor in the Era of Global Outsourcing,” in digitalSTS: A Field Guide for Science & Technology Studies, eds., David Ribes and Janet Vertesi (Princeton University Press, forthcoming April 2019).

Winifred Poster, “The Virtual Receptionist with a Human Touch: Opposing Pressures of Digital Automation and Outsourcing in Interactive Services” in Invisible Labor: Hidden Work in the Contemporary World, eds. Marion G. Crain, Winifred R. Poster, and Miriam A. Cherry (University of California Press, 2016): 87-111.

Thom Scott-Phillips, Speaking our Minds: Why Human Communication is Different, and How Language Evolved to Make it Special (Palgrave Macmillan, 2015).

Craig S. Smith, “Alexa and Siri Can Hear This Hidden Command. You Can’t,” New York Times (May 10, 2018).

Dave Tompkins, How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks (Stop Smiling Books, 2011).

Mickey Vallee, “Biometrics, Affect, Autoaffection and the Phenomenological Voice,” Subjectivity 11:2 (2018): 161-76.

Bruce N. Walker and Michael A. Nees, “Theory of Sonification” in The Sonification Handbook, eds. Thomas Hermann, Andy Hunt, and John G. Neuhoff (Logos Publishing, 2011).

[nstaaf-book]

The Roof Climber’s Guide to Trinity - Geoffrey Winthrop-Young

[vexful]

“[Human] essence escapes into apparatuses. Machines take over functions of the central nervous system, and no longer, as in times past, merely those of muscles. And with this differentiation — and not with steam engines and railroads — a clear division occurs between matter and information, the real and the symbolic […] So-called Man is split up into physiology and information technology. All data streams flow into a state n of Turing's universal machine; Romanticism notwithstanding, numbers and figures become the key to all creatures.”

— Friedrich Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz, Stanford University Press, 1999.

[fabiansteinhauer]

Visioning Vismann

In the Anglophone world, German legal historian and critical legal theorist Cornelia Vismann (1961–2010) is best known as an innovative interpreter of French high theory, especially of Jacques Derrida, Jacques Lacan, and Michel Foucault. This type of reception is, however, limited in the sense that at the same time as it tries to establish common ground that would enable Vismann to take part in the discursive constellations of Anglo-American legal theory, it also neglects the very specifically German soil from which her scholarship arose. For Vismann the media theorist, the critical study of law was first and foremost a practically oriented critical discipline that addressed law’s operations as media and ‘cultural techniques’.

This workshop is not intended to be about Vismann, but to be inspired by her. Papers proposing to analyse specifically Vismann and her work are, of course, more than welcome, as well. Working towards an edited collection and/or a special issue of a journal, the main aims of this pluridisciplinary event (social sciences, humanities, fine arts) are to, among other things:

investigate Vismann’s media-theoretical contributions and to assess their relevance for the study of law;

examine her collaborations with other media theorists such as Friedrich A. Kittler, Markus Krajewski, Sybille Krämer, Jussi Parikka, Bernhard Siegert, Anna Tuschling, Geoffrey Winthrop-Young, and others;

create further synergy between scholars in the various disciplines; and, finally

assess what these media-theoretical insights might offer the critical study of law more generally.

The workshop does not assume that the disciplines involved could be brought together into a tranquil interdisciplinary melange but, rather, that agonistic encounters between the disciplines have the potential of opening up genuinely new and innovative paradigms.

[nemesisbinxartifactseries]

Artifact Series G

Gabriel, comte de Montgomery’s Lance Splinters

Gabriel Voisin's Empennage

Gaius Appuleius Diocles' Chariot

Galen of Pergamon's Scalpel

Galileo Galilei's Astrolabe *

Galla Placidia’s Gold Glass Medallion

Gallus Mag’s Suspenders

Galvarino's Knives

Ganesha's Broken Tusk

Ganges River Water

Gan Ning's Bells

Gardner Fox’s Filing Cabinets

Garrett Scott's Tie-Dye Bracelet

Garðar Svavarsson's Ship

Gary Brolsma's Glasses

Gary Busey's Motorcycle Helmet

Gary Coleman's SAG Card *

Gary Larson's Tear-Away Calander

Gaspard de Coligny's Gauntlet

Gaspar Melchor de Jovellanos' Desk

Gas Station Sign from the 1973 Oil Crisis

Gavrilo Princip's FN-Model 1910 Pistol

Gazala, Horse of Baldwin I of Jerusalem's Battle Armor *

Gear Shift Knob

Geber's Battery

Geber's Glassblower

Gene Autry’s Hollywood Star

Gene Krupa's Drum Set

Gene Roddenberry’s Glasses

Gene Siskel's Popcorn Bucket

General Electric Can Opener

The General Lee

General Store from Agloe, New York

General Tso's Pet Chicken's Bones *

Ghengis Khan's Mace *

Genghis Khan's Saddlebag

Geoffrey Barkas' Collar Stud

Geoffrey Chaucer's First Poems

Geoffroi De Charny's Helmet

Geogina Winthrop's Blue Porcelain Teapot *

Georg Friedrich Treitschke's Butterfly Display

Georg Wilhelm Richmann's Metal Tongs

Georg Joachim Rheticus' Compass and other effects *

George III's Crown

George Armstrong Custer's Bugle

George Bellows’ Fight Ticket

George Bernard Shaw's Academy Award & Nobel Prize

George Boleyn's Prebendal Stall Cushion

George Bush Sr.'s Tie

George C. Parker's Deed to the Brooklyn Bridge

George Carlin's Microphone

George Catlin's Bead Necklace

George Cayley's Coat

George Dantzig's National Medal of Science Award

George Ernest's Film Reel

George Fan's Sketchbook

George Formby Sr’s Penny Dreadful

George Frideric Handel's Baton

George Green’s Dentistry Tools

George Harrison's Copy of "He's So Fine"

George Harrison's Stolen Guitar

George Herbert's Shaving Kit

George Joyce's Uniform

George the Magician's Lightning Electrodes *

George Martin's Original Studio Master of "Rain"

George Orwell's Microphone

George Patton's Grenade

George Patton's Steel Military Helmet *

George Reeves' Eyeglasses *

George Renninger's First Batch of Candy Corn

George Romero's Camera

George Romero's Director's Chair

George Romero's Flashlight

George R. R. Martin's DOS Computer

George Stokes’ Fluorite

George Takei's Blanket

George Vanderbilt's Keys to the Biltmore Estate

George Wallace’s Podium

George Washington's Colichemarde

George Washington's Jigger

George Washington's Pewter Ice Cream Pots

George Washington's Shaving Brush *

George Washington's Teeth (canon)

George Went Hensley's Bible *

George Westinghouse's Fountain Pen

Georges Cuvier's Handkerchief *

Georges de la Tour’s Candle

Georges-Louis Le Sage’s Telegraph

Georges Mochet's Pedal Car *

Georges-Pierre Seurat's "A Sunday Afternoon on the Island of La Grande Jatte"

Georges Pierre Seurat's Bathers at Asnieres *

Georges Vézina’s Leg Guards

Georgia Guidestones

Georgia O'Keeffe’s Ram Skull

Georgia O'Keeffe's Watering Can

Gerald Holtom's Flags

Gerardus Mercator’s Globe

Gerolamo Cardano's Dice

Geronimo's Skull

Gertrude Jekyll's Paintbox

Gettysburg Civil War Bonesaw

GFS Cooking Spray *

Ghostbuster Proton Pack

Ghosts of Christmas History's Robes

Ghyslain Raza's Golf Ball Retriever

Giacomo Casanova's Chunk of Black Marble

Giacomo Casanova's Hair Tie

The Gibsons' Knife Block

Gil Perez's Helmet

Gilbert Bates’ American Flag

Gilbert Vernam's Paper Tape

Gilbert U-238 Atomic Energy Lab

Gilles de Rais' Key Ring

Gilles de Montmorency-Laval's Closet Key

Ginnie Wade's Bread Dough

Giotto di Bondone's Lantern

Giovanni Boccaccio’s Laurel Wreath

Giovanni Bragolin's Original "Crying Boy" and "Crying Girl"

Giovanni Caselli’s Pantelegraph

Giovanni De Ventura's Beak Mask

Giovanni Malatesta's Gloves

Giovanni Martino's Cavalry Trumpet

Girolamo Savonarola's Crucifix

Giuseppe Arcimbaldo's Fruit Basket

Giuseppe Caspar Mezzofanti’s Zucchetto

Gladys Aylward’s Lotus Shoes

Glafira Alymova's Harp

Glass Coca-Cola Bottle

Glass Eye

Glass Jar from the Donner Party *

Glass Plate

Glass Shards from Kristallnacht

Glauce's Wedding Dress

Glenn Beck's Chalkboard

Gloria Swanson's Brush *

Glowing Highlighter Pens

Glue from Victor Clairmont's

Gluttonous Cake Fork

Goblet of Severan *

Godfrey of Bouillon's Battle Helmet *

Sir Godfrey Newbold Hounsfield's Prototype EMT Scanner

Godfrid's Ladle *

Goetz Open Feather 0-10 Telephone Token

Gold Bar from Fort Knox

Gold Bond Bottle Caps

Golden Cap

Golden Easter Egg

Golden Egg

The Golden Fleece

Golden Girls Dining Set

The Golden Hind

Golden Nugget Ashtray

The Golden Rope *

Golden Scale

Gold Spike from the Trans-Continental Railroad *

The Gordian Knot

Gordon Gekko's Cellphone *

Gordon Gould's Laser Notebook

Gordon Ramsay's Chef Knives

Gottfried Mind’s Copper Plate

Gottfried Wilhelm Leibniz's Arithmometer

Gotz von Berlichingen's Prosthetic Arm

The Governor's Knife

Grace Cossington Smith’s “Interior in Yellow”

Grace Hopper’s Log Book

Grace Hopper's Naval Reserve Medal

Graduation Ceremony Outfit

Graham Chapman's Bobby Cap

Graham Young’s Teapot

Grand Central Terminal Rotary Convertor

Grant Devolson Wood's "American Gothic"

The Grapes of Wrath *

Greased Lightning

Great Tent of Wola

The Green Thumb

Gregor-Bavari Perfume Bottle

Gregor Mendel's Glasses

Gregor Mendel's Magnifying Glass

Grenade from Adolf Hitler's Bunker *

Greta Garbo's Make-Up Kit

The Griffin and St. Lawrence Memorial Medallions

Grigory Vakulinchuk's Sailor Cap

Grigori Rasputin's Prayer Rope *

Grinling Gibbon's Whet Wheel

Grover Davis' Necklace

Groucho Marx's Honorary Oscar *

Guardian Scarecrow

Guglielmo Embriaco’s Siege Engine

Guglielmo Marconi's Electronic Oscillator *

Guglielmo Marconi's Ring

Guillaume Duchenne's Electrodes

Guillermo del Toro’s Notebook

Günter Schabowski’s Note

Gustaf Nordenskiöld’s Trowel

Gustav Klimt's Eugenia Primavesi *

Gustave Dore's Unpublished Engravings

Gutzon Borglum's Presidential Busts

Guru Gobind Singh's Kirpan

Guru Gobind Singh's Kangha

Guru Gobind Singh's Kara

Guru Gobind Singh's Kacchera

Guru Gobind Singh's Preserved Kesh

Guru Har Gobind's Chakrams

Gustavus Franklin Swift’s Refrigerator Car

Guy Bradley’s Skiff

Guy de La Brosse's Garden

Guy Fawkes Mask

Guy Fawkes' Gunpowder and Gun

Guy Fawkes' Day Fireworks

György Dózsa's Crown

György Dózsa's Pitchfork

Gypsy Rose Lee's Veils *

[oral-history]

Editing our Recursions book series is fun – both for the sake of getting to work with Anna Tuschling and Geoffrey Winthrop-Young and because we are able to help in getting great books in media theory into the world. The most recent one is the just published translation of Erich Hörl’s Sacred Channels: The Archaic Illusion of Communication. I believe the endorsement by Michael Wutz is a perfect summary of the book’s significance: “Erich Hörl’s Sacred Channels is as original and innovative as they come. The book articulates an archaeology of modern notions of the sacred and the primitive and draws upon a wide-ranging theoretical framework that includes philosophy (phenomenology, Heidegger, and deconstruction), anthropology, media theory, and breakthrough developments in modern science. The substantial preface by Jean-Luc Nancy, and the excellent translation by Nils. F. Schott, make Sacred Channels(by now a classic in the German-speaking world) a groundbreaking book finally available to an English-speaking audience.” – Michael Wutz, Weber State University The website includes also a free preview PDF of Nancy’s preface and the table of contents (link opens as PDF). by Jussi Parikka https://ift.tt/2ySKEpx November 01, 2018 at 07:27AM

https://jussiparikka.net/2018/11/01/sacred-channels/

[blackswaneuroparedux]

In this short span between my fingertips and the smooth edge and these tense feet cramped to a crystal ledge, I hold the life of a man.

- Geoffrey Winthrop Young (British climber and poet 1876-1958)