re-presenting reading

THEORETICAL CLAIMS ------------------------------------------------------------------------------------------------------------------
Jay Bolter & Richard Grusin's Remediation: "No medium today, and certianly no single media event, seems to do its cultural work in isolation from other media, any more than it works in isolation from other social and economic forces. What is new about new media comes from the particular ways in which they refashion older media and the ways in which older media refashion themselves to answer the challenges of new media" (p. 15, Remediation. Cambridge: MIT Press, 1999).
Lev Manovich's Transcoding: "...new media in general can be thought of as consisting of two distinct layers--the "cultural layer" and the "computer layer." Examples of categories belonging to the cultural layer are the encyclopedia and the short story; story and plot; composition and point of view; mimesis and catharsis, comedy and tragedy. Examples of categories in the computer layer are process and packet (as in data packets transmitted through the network); sorting and matching, function and variable; computer language and data structure...the computer layer and the culture layer influence each other. To use another example from new media, we can say that they are being composited together. The result of this composite is a new computer culture--a blend of human and computer meanings, of traditional ways in which human culture modeled the world and the comptuer's own means of representing it" (p 48, The Language of New Media. Cambridge: MIT Press, 2001).
N. Katherine Hayles and MSA (Media Specific Analysis) "To change the physical form of the artifact is not merely to change the act of reading (although that too has consequences the importance of which we are only beginning to recognize) but profoundly to transform the metaphoric network structuring the relation of word to world" (Hayles, N. Katherine. Writing Machines, designer Anne Burdick. Mediawork Series. Cambridge, Mass: MIT Press 2002.) Lulled into somnolence by five hundred years of print, literary studies have been slow to wake up to the importance of MSA (media-specific analysis). Literary criticism and theory are shot through with unrecognized assumptions specific to print. Only now, as the new medium of electronic textuality vibrantly asserts its presence, are these assumptions clearly coming into view" (Hayles, N. Katherine. Writing Machines, designer Anne Burdick. Mediawork Series. Cambridge, Mass: MIT Press 2002.)
Mark B.N. Hansen & Embodiment: "As I see it, the reaffirmation of the affective body as the "enframer" of information correlates with the fundamental shift in the materiality of media: the body's centrality increases proportionally with the de-differentiation of media...Simply put, as media lose their material specificity, the body takes on a more prominent function as a selective processor of information" (New Philosophy for New Media, Cambridge: MIT Press, 2003).
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THEORETICAL CLAIMS
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Jay Bolter & Richard Grusin's Remediation:

"No medium today, and certianly no single media event, seems to do its cultural work in isolation from other media, any more than it works in isolation from other social and economic forces. What is new about new media comes from the particular ways in which they refashion older media and the ways in which older media refashion themselves to answer the challenges of new media" (p. 15, Remediation. Cambridge: MIT Press, 1999).

Lev Manovich's Transcoding:

"...new media in general can be thought of as consisting of two distinct layers--the "cultural layer" and the "computer layer." Examples of categories belonging to the cultural layer are the encyclopedia and the short story; story and plot; composition and point of view; mimesis and catharsis, comedy and tragedy. Examples of categories in the computer layer are process and packet (as in data packets transmitted through the network); sorting and matching, function and variable; computer language and data structure...the computer layer and the culture layer influence each other. To use another example from new media, we can say that they are being composited together. The result of this composite is a new computer culture--a blend of human and computer meanings, of traditional ways in which human culture modeled the world and the comptuer's own means of representing it" (p 48, The Language of New Media. Cambridge: MIT Press, 2001).

N. Katherine Hayles and MSA (Media Specific Analysis)

"To change the physical form of the artifact is not merely to change the act of reading (although that too has consequences the importance of which we are only beginning to recognize) but profoundly to transform the metaphoric network structuring the relation of word to world" (Hayles, N. Katherine. Writing Machines, designer Anne Burdick. Mediawork Series. Cambridge, Mass: MIT Press 2002.)

Lulled into somnolence by five hundred years of print, literary studies have been slow to wake up to the importance of MSA (media-specific analysis). Literary criticism and theory are shot through with unrecognized assumptions specific to print. Only now, as the new medium of electronic textuality vibrantly asserts its presence, are these assumptions clearly coming into view" (Hayles, N. Katherine. Writing Machines, designer Anne Burdick. Mediawork Series. Cambridge, Mass: MIT Press 2002.)

Mark B.N. Hansen & Embodiment:

"As I see it, the reaffirmation of the affective body as the "enframer" of information correlates with the fundamental shift in the materiality of media: the body's centrality increases proportionally with the de-differentiation of media...Simply put, as media lose their material specificity, the body takes on a more prominent function as a selective processor of information" (New Philosophy for New Media, Cambridge: MIT Press, 2003).

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