As part of the seminar Re-reading Petrarch in the Digital Age –taught at the University of Oregon in Winter 2014– a digital close reading of Francesco Petrarca’s Rerum Vulgarium Fragmenta led to a series of parallel and entwined activities and projects. Deeply integrated with the Oregon Petrarch Open Book Project, the course was oriented towards the encoding of Petrarca’s masterpiece based on the implementation of a network of different themes. The various occurrences and data obtained from (...) the encoding were collected into an online database that is still operating and updatable. The results of this qualitative data collection were also compared with a quantitative computer-based research of selected keywords extracted from the various themes. From the beginning of the seminar, the class was divided into groups and each of them read the Rvf focusing on one of themes chosen while at the same time paying attention to the others. The different groups considered these themes as interrelated and interdependent. The poet is the sphere in which all the topics emerge in their specific connotations. However, his sphere is related to, dependent on and intersected with the other four spheres. The encoding allowed measuring the different manifestations, levels and meanings of the intersecting relationships. The study of the visual interpretation of the Rvf in the Inc. Queriniano G V 15 paralleled the close reading and encoding activity and helped students to develop a visual rendering of their themes and a pointed and original and creative interpretation of Petrarca’s masterpiece. (shrink)

This paper presents an original use of Twitter to interpret and rewrite the poems of Francesco Petrarca's Rerum vulgarium fragmenta implemented within the Oregon Petrarch Open Book OPOB). This activity was partially inspired by the idea of Twitterature developed by Alexander Aciman and Emmett Rensin; we believe with them that our digital time should develop new and more functional ways of addressing literary texts but at the same time we are convinced that the "burdensome duty of hours (...) spent reading" cannot be eliminated. On the contrary, the new ways of reading in the digital era as we envisage them are the result and consequence of broader and deeper reading activities. We conceived the project of writing 366 tweets, out of the 366 poems that make the last form of Petrarca’s Rvf, as the result of different philological activities, from reading the texts in the original language to consulting manuscripts, translations and intersemiotic renderings of the texts. Before writing the 140 characters that make one tweet we also elaborated paraphrases, summaries and keywords related to the individual poems. Students created the first version of the tweets during the 2011 UO seminar on Re-reading Petrarca’s Rvf in the Digtal Era. The second version was elaborated in the context of a seminar on the same topic during Winter 2014. This paper presents the two versions of the Twitter Edition of Petrarca's Rvf now available in the OPOB and focuses on the philology connected to the latest edition that provided an English translation of the original tweets written in Italian. The actual Italian and English 366 tweets are published in the Appendix to the article. (shrink)

This paper provides an analysis of the educational use of the Internet and of digital technologies that is neither pessimistic nor optimistic, that is neither critical nor post-critical. Turning to Italian philosopher Giorgio Agamben’s comments on studying and its relationship to the technology of the blank writing tablet, the authors argue that digital devises are a radical transformation in our relationship to the technologies of reading and writing. Traditionally, the scholar was able to experience his or her (...) potentiality to communicate through writing via the blankness of the writing tablet. Yet, according to Agamben, such blankness has become inaccessible in the digital age, where the screen is always full of content. Here the authors argue that Agamben is correct in his diagnosis, yet his own theory of communicability offers up a way to redeem the educational use of digital devices. It is precisely the overflowing saturation of communications on the Internet which produces a new kind of blankness. It is this blankness which should thus become the focus of a studious form of media literacy—one that is not critical or post-critical so much as pre-critical. (shrink)

The overall trend toward globalization in design, greatly enhanced by digital technologies, has raised issues and challenges on how to preserve the cultural differences and values of different societies. There is a tendency to lose touch with local cultural values when designing artefacts for global use, and social nuances and traditions risk to be flattened or stereotyped in the pursuit of developing new technologies and products for the global society. Attempts to reduce the tension between the global and the (...) local in design can be seen in the development of standards and guidelines for cross-cultural design, that are mostly focused on user interface design. However, when moving from preferences, metaphors, appearance, and navigation toward cultural models of interaction and physical design, new methodologies and tools for cross-cultural design are needed. This paper describes a poetry-inspired design method for cross-cultural sharing within the design process. The approach uses poetry to sensitize the designer to the subtleties and diversity of a culture so that the design can be given new aesthetic and cultural significance. The methodology is exemplified by actual design cases developed within the course “Cultural Sensitivity” of the Master’s Degree Program in Industrial Design at Eindhoven University of Technology, where poetry was used for uncovering underlying or implicit assumptions, intercultural differences and similarities, as well as for general sensitization of young designers. (shrink)

This paper articulates the separate accounts of facial education and lecturing found in A Thousand Plateaus in order to theorize a new concept of lecturing for a post-digital university. Many accounts of Deleuze and Guattari in educational theory turn away from lecturing as hierarchical and striated, yet this approach denies Deleuze and Guattari’s deterritorialization of the practice through their description of a lecture by the character Professor Challenger. When read alongside their plateau on facialization, Challenger’s unusual performance can be (...) interpreted as an interruption of the abstract machine of facialization that animates traditional accounts of lecturing. The article concludes with implications for a de-faced form of lecturing for a post-digital university. (shrink)

Digital tools offer new dimensions and additional contexts both in teaching and in researching Petrarch’s Rerum vulgarium fragmenta, providing users with visual insights into his carefully planned work. This essay investigates interactive and visual representations of material and spatial systems of the Fragmenta and the deep interaction between the digital code created to build the Petrarchive’s visual indexes and the original Medieval forms.

This article reflects on the problem of false belief produced by the integrated psychological and algorithmic landscape humans now inhabit. Following the work of scholars such as Lee McIntyre (Post-Truth, MIT Press, 2018) or Cailin O’Connor and James Weatherall (The Misinformation Age: How False Beliefs Spread, Yale University Press, 2019) it combines recent discussions of fake news, post-truth, and science denialism across the disciplines of political science, computer science, sociology, psychology, and the history and philosophy of science that variously address (...) the ineffectiveness, in a digital era, of countering individual falsehoods with facts. Truth and falsehood, it argues, rather than being seen as properties or conditions attached to individual instances of content, should now be seen as collective, performative, and above all persuasive phenomena. They should be practically evaluated as networked systems and mechanisms of sharing in which individually targeted actions are combining with structural tendencies (both human and mechanical) in unprecedented ways. For example, the persuasive agency of apparent consensus (clicks, likes, bots, trolls) is newly important in a fractured environment that only appears to be, but is no longer ‘public’; the control of narratives, labels, and associations is a live, time-sensitive issue, a continuous contest, or ongoing cusp. Taking a social approach to truth yields observations of new relevance; from how current strategies of negative cohesion, blame, and enemy-creation depend crucially on binary ways of constructing the world, to how the offer of identity/community powerfully cooperates with the structural tendencies of algorithm-driven advertiser platforms towards polarisation. Remedies for these machine-learned and psychological tendencies lie in end-user education. So the Arts and Humanities, whether via comparisons with previous historical periods, or via principles of critical thinking and active reading, offer crucial resources to help counter what since 1997 silicon valley executives and scholars have called ‘persuasive technology’ (Fogg in Persuasive Technology: Using Computers to Change What we Think and Do, Morgan Kaufmann, 2003; Hamari et al. (eds) in Persuasive Technology, Springer International Publishing, 2014; Harris in How a Handful of Tech Companies Control Billions of Minds Every Day, 2017; Lanier in Who Owns the Future? Simon & Schuster, 2014 and Ten Arguments for Deleting your Social Media Accounts Right Now, Picador, 2019). The article proposes a paradigm shift in public understandings of this new social environment: from a culture of discovery, where what matters is what exists or is in fact the case, to a culture of iteration, where what matters is what gets repeated. (shrink)

The proliferation of digital technologies is precipitating a transformation in the socio-cultural fabric of human existence. The present study is dedicated to investigating the coexistence of various reading practices among contemporary youth in the modern era. The advent of new forms of reading has resulted in a shift from conventional paper-based reading to electronic formats, which, in turn, has transformed the practice of reading and the way of life associated with it. The methodological foundation of this research is the (...) socio-philosophical theory that the practice of reading, rooted in the habitus of reading, is enacted by practitioners, and organized through public initiatives. The context of the reading practice system is a distinct historical system of circumstances in which practices are reproduced. This study encompasses an empirical component, focusing on the examination of reading practices among young individuals in a large modern city, specifically within the confines of Yekaterinburg (N = 200). The research was conducted between December 2021 and January 2022. This study permits an analysis of the constituent elements of the reader’s habitus model as a form of life. (shrink)

What is a “historical” video game, let alone a successful one? It is difficult to answer this question because all our definitions of history have been constructed in a linear-narrative cultural context that is currently being challenged and in large part displaced by digital media, especially video games. I therefore consider this question from the point of view of historical semantics and in relation to the impact of digital technology on all aspects of the historiographical operation, from (...) the establishment of digital archives, to the production of e-texts, to the digital remediation of visual modes of historical representation. Seen from this dual perspective, video games appear to participate in a process of spatialization and virtualization of historical semantics. In the first place, video games have begun to detach the notion of history from its double reference to the past and to the real—“what essentially happened”—that it had acquired at the end of the eighteenth century. Second, they also challenge the semiotic production of “historic events” that has characterized the construction of modern historical consciousness. Historical video games, in other words, replace representation with simulation and presence with virtuality, thereby marginalizing the oscillation of the modern historical imagination between historical facts and historic events, transcendence and immanence, representation and presence. Although digital reworkings of historical semantics have not produced any grammatical transformation of the signifier, history—nor does this essay propose one—I do argue that the impact of video games on our contemporary historic culture is of paradigmatic proportions similar to those described by Reinhart Koselleck for the dawn of the modern age. Focusing on one of the most successful contemporary video games, Sid Meier’s Civilization, I show how the remediation of cinematic genres by video games is pushing the processes of de-temporalization and de-referentialization of history toward the formation of a new notion of the historical that may be conceptualized as the inversion of the classic Aristotelian paradigm: history has replaced poetry and philosophy as the realm of the possible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Going Around Hungry: Topography and Poetics in Martial 2.14Richard E. PriorMartial paints a social and physical portrait of Flavian Rome unlike those from other periods of the city’s history. A signal feature of Martial’s epigrams is representation of his physical world which often manifests itself through a wealth of topographical references. Through attention to detail, he lays the city of Rome out and illustrates the actual function of each (...) place in the daily lives of his contemporaries, thus becoming an invaluable aid to topographer and social historian alike. Unfortunately, topographers usually read Martial’s epigrams literally, as maps, not as poems. Those few scholars who do read him as a poet pay little or no attention to his use of topography. To use Martial as a mine for Roman topography, one must understand how he approaches the features of the city and employs them in poetic discourse. Likewise, to understand Martial’s poetry, one must have knowledge of Roman topography. The aim of this paper is to explore the social issues and topographical questions involved in a single epigram of Martial, namely 2.14, which details the circuit of a certain Selius who is frantically searching for a dinner invitation. After discussing the social phenomenon central to the poem, dining, I will walk through Selius’ route, pausing at each of his stops to comment on the place itself and Martial’s treatment of the site in this and other poems, showing how neglect of topographical or literary dimensions has led to misguided conclusions and strained topographical evaluations.Martial could see potential for an epigram in nearly any incident, and he appears to have had a short list of behaviors which, whenever observed, were almost guaranteed a place in his poems. Since he depended on daily life for inspiration, it is not surprising that eighty-five poems, nearly an entire book’s worth, relate to so quotidian an experience as dinner—not just any meal, but the cena in particular. 1 His anecdotes graphically reveal the important functions of this meal (beyond alimentary [End Page 121] concerns) in Roman society, and its significance to both host and guest alike. At the most concrete level, an invitation to dinner represented an opportunity for free food. For the poor, this was not a question of gluttony, rather one of survival, or at least a respite from cabbage and pulse. For the niggardly, free food was just that—free. It also served as an opportunity for theft. Martial’s dinner thieves are not content, as are those of Catullus, with merely absconding with linen; they fill the linen with board from the table to sell the next day. 2Invitations to dinner represented a tangible manifestation of the existence of some social alliance. The unimportant or unconnected were never invited; thus, those wishing for connections (and thereby import) scrambled for invitations as marks of social connection. Since dinners reveal a host’s standard of living through both fare and presentation per se, they easily become vehicles through which hosts can display their wealth and self-proclaimed erudition. An invitation to dinner also becomes a mode of exchange. Bad (but monied) poets can buy a flattering audience for the evening; social climbers use promises of dinner to augment their retinue as they go about their daily affairs; hosts even extend dinner invitations in exchange for sexual favors. With such abuses and torments heaped upon guests as the price of admission, one may well wonder whether a willing guest existed at Rome. They did... in abundance. The efforts of these connection-hunters, especially when their designs are frustrated, are sources of great humor to Martial. Nor does he leave himself out of the fray. At 2.18.1, for example, he confesses his own participation in this ritual, albeit with chagrin: Capto tuam, pudet heu, sed capto, Maxime, cenam. (I keep trying to get a dinner out of you, Maximus, I’m ashamed to say, but I keep trying.)Given the importance of dinner invitations, then, the process of wheedling for them was bound to become something of an institution, and in some cases, a virtual science. The agent of the... (shrink)

The new contexts of literary education allow for the creation of digital reading and writing practices related to what specialised literature calls digital literature. Among these practices and with an eminently theoretical content and with an example of this content, in this paper, we want to focus our gaze on cyberpoetry, conceived as an exercise in literary creativity that firstly involves use of technology and specific software for the digital creation of poetic texts and, last but (...) not least, knowledge and mastery of poetic language and the literary conventions linked thereto. From this point of view, in initial teacher training, we work with future teachers to create cyberpoems with a dual purpose: on the one hand, to reflect on what literary reading in digital format entails and to rehearse reading mediation processes that can be carried out with this type of literature, and, on the other, to begin in the digital creation of cyberpoems that, later, may be presented and worked in a real context of the school classroom. In this paper, we present digital practices of literary reading that have been created by student teachers in initial training. The creation of these practices has been carried out with the Genially tool. For data collection, the URL of each creation is accessed in order to analyse them. The analysis of the data follows the parameters of the qualitative methodology, specifically based on three categories of analysis for each digital creation: multimodality, hypertextuality and the interaction of each digital reading proposal. The conclusions of all this allow us to affirm that the creation of cyberpoems is an exercise in literary creativity that has to take into account the digital dimension of the literary text and its reading comprehension in a multimodal environment. Thus, the teacher in initial training carries out a digital literary mediation exercise, of a creative type, which he will later carry out in his pedagogical practice. (shrink)

This article is an analysis of the use of digital education in Polish philological education, both at schools and at public universities. The author presents how Polish lessons and classes are fulfilled using technology, which electronic resources are worth using in education, and identifies the needs of schoolteachers and lecturers. She also answers the question whether the Polish-language virtual landscape is a natural extension of the social-communication environment to which the young generation is accustomed, and whether education platforms (...) are eagerly used in Polish education. (shrink)

Excerpt from Poetarum Philosophorum Fragmenta Plagulis correctis indicibusque non sine taedio confectis dum respiro et laetiore animo quid praefandum sit meditor, ecce nuntius longe tris tissimus afi'ertur, georgium kaibelium nobis litterisque acerba morte ereptum esse, qui non solum studiorum societate inde a beatissimo oon tu'oernio - Bonnensi mihi erat coniunctissimus, sed in hoc quoque communi amicorum opere velut auspex et signifer, cuius auctoritatem me aequi et decebat et iuvabat. Nam singularis graecae artis cognitio, quae in illo fuit, in nullo genere (...) litterarum magis enituit quam in Comicis, unde splendidum ante biennium factum est huius Corporis initium. Iam adu lescentem prima tirocinia in Aristophane ponere memini eundemque audio supremam fuisse moribundi curam ac querelem. Inter bos vitae laboriosae et fructuosae terminos omnem graecitatem peragravit et undique messem uberrimam rettulit; at nusquam libentius et intentius versabatur quam in atticae comoediae reliquiis. Dorienses enim, quos edidit, propter illos cpinor tetigerat.' quodsi verum est cum primi illins voluminis perfectione vix unam alteramve aequalium editionem recte posse eom parari, quid prasstaturum eum fuisse credimus, si fatum concessisset, ut ipsam 'atticam comoediam nobis ex fragmentis instauraret, in qua totus habitabat et spirabat! Aut nemo mortalium aut, si quisquam, ille et natus erat et paratus ad Menandri et aequalium umbras ex inferis citandas et in vitae lucem revocandas. Adeo in intimam eorum consuetudinem inde fesso labore atque fortasse magis etiam sensus quadam cognatione se insinuaverat. Nam tota eius indoles ad atticum istum saporem facta erat. Ut scripture eius elegantia apicum prae ceteris nitebat, ut suavissima sermocinatio mirum quantum amicos tenebat, priusquam morbi ingra veseentie tormentis animi serenitas obscurari coepta est, ita tota eius ars versus graecos et exblicandi et pangendi Praxiteleo quodam perfusa erat nitore. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Being exposed to the Nominalist expansion in early modernity, Petrarch and Shakespeare are highly preoccupied with a Nominalist dimension of language and representation. Against this background, the study shows how these Renaissance poets advanced a special notion of subjectivity and identity as rooted in negativity, otherness, and representation. The book thus argues for a new understanding of negative modes of subjectivity in Petrarch and Shakespeare. A new and sharpened understanding emerging from an interpretation of Francesco Petrarch's notion of exile and (...) of love in his great poetical cycle Rerum vulgarium fragmenta as well as a meticulous examination of the concept of nothingness in William Shakespeare's works. Petrarch and Shakespeare poetically show how identity is alien and decentred - yet also free and expanding. In other words, these poets illustrate how subjectivity is constituted by heterogeneity. Moreover, pointing to other examples of this negative subjectivity in Renaissance philosophy and poetry, the study suggests that these models for subjectivity could be extended to other early modern writers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Poetic Garlands: Hellenistic Epigrams in ContextPeter E. KnoxKathryn J. Gutzwiller. Poetic Garlands: Hellenistic Epigrams in Context. Berkeley and Los Angeles: University of California Press, 1998. 358 pp.Cloth, $45.The publication of Alan Camerons The Greek Anthology from Meleager to Planudes in 1993 set a coronis upon one stage in the efforts of modern scholars to sort out the untidy garden that we know as ancient Greek epigram. We now (...) know as much about the history of this corpus as we are likely to discover without the introduction of new evidence, and scholarly attention might logically be expected to return to the interpretation and criticism of these poems. Transmitted for the most part in the socalled Palatine Anthology and filtered through the agency of anthologists ancient and medieval, the epigrams of the ancient practitioners of this minor genre have tended to be studied individually, [End Page 628] like gemstones dislodged from their original settings. The luster of each piece may be easily admired, but what has been lost is the color and clarity that is imparted by the contrast with its neighbors. The ambitious task that Kathryn Gutzwiller has set herself in this closely argued and learned book is no less than to recover from the collecta membra of the Palatine Anthology the contours of the epigram books of nine poets from the early Hellenistic period to Meleager in the first century B.C.E.The opening chapter provides an introduction, which, taken together with the following chapter ("Hellenistic Epigram Books"), lays the foundation for the remainder of the work and establishes its basic premise, that all the Hellenistic epigrammatists composed their work for "publication" in carefully constructed books, arranged on principles which Gutzwiller can recover. This is the basis for what she terms "a new interpretative strategy" in the criticism of Hellenistic epigrams, "to read them as if"—her emphasis—"we knew their place in historical collections" (7). The remainder of the book is occupied by her reconstructions of the epigram books of Anyte, Nossis, Leonidas of Tarentum, Asclepiades, Posidippus, Hedylus, Callimachus, Antipater of Sidon, and Meleager. Readers who are convinced by her arguments in these opening chapters will be swept along by her hypothetical arrangements, which she supports with close readings of individual poems set in their new contexts. Others, myself included, will remain suspicious of the solidity of the foundations of this edifice, while still finding much to admire in her sophisticated interpretations of individual poems.Much of Gutzwiller's theoretical underpinning depends upon rather strict adherence to the orthodox view of what she characterizes as the "Callimachean aesthetic preference for the miniature, the intricate, and the fragmented" (4). The Hellenistic epigram books that she posits correspond neatly with Callimachean aesthetics so described. She rejects out of hand Cameron's arguments for the social role of epigram in a sympotic setting, in favor of the bookish background described by (e.g.) Peter Bing. The hypothesis of a neat and well– ordered world of Hellenistic poetry books, as outlined by some modern scholars, is not undisputed, but readers will not hear much about that here. Gutzwiller sweeps aside skeptical challenges to this picture, and the possibility, for example, that Callimachus produced a collected edition of his poetry, advanced only as a hypothesis by Rudolf Pfeiffer, is here (19) represented as "the probability... that Callimachus published his complete oeuvre, ordered and divided into books." Her summary of the papyrus evidence paints a far more stable picture of the situation of books in the manuscript culture of the Hellenistic world than the evidence safely allows. For Gutzwiller, any references to the of a poet "indicate an authorially compiled epigram book" (20). This naïve extension of Pfeiffer's theory of the composition of a "Collected Works" of Callimachus, and unswerving allegiance to the communis opinio of Callimachean aesthetics, are recurring themes in Gutzwiller's reconstructions of ancient epigram books. Having settled upon the essential aesthetic that determines the [End Page 629] configuration of the book, it remains only to attach the surviving poems to this framework. Not surprisingly, the reconstructed books then offer further confirmation of the underlying assumptions. On this shaky foundation, for example, Gutzwiller... (shrink)

Knowledge does not float free of the technologies available for its production and presentation. The intimate connection between ideas and praxis - embodied, technological, social - exemplified in any knowledge practice is, in the terms of Ihde & Selinger (2004), an 'epistemology engine'. This refers to the material-semiotic connections that obtain for any specific rendering of an idea. Often this material-semiotic connection is easier to recognise in the case of art than in that of knowledge, where it appears more-or-less obvious (...) that the rendering of an idea in poetic rather than prose form, in musical rather than linguistic form, in plastic rather than digital form, makes a difference to the idea. However, it is also recognisable (if not always actually recognised) in science, where there is a keen awareness of visual media alongside or instead of discursive media. -/- Ideas on the Internet shift and change as they pass through different networks of meaning production and communication, in different media and modalities. Different disciplines and modes of knowledge have either embraced these possibilities of transmogrification or remained aloof. Philosophy is one of the latter, and seems still steadily rooted to the discursive world. However, as a discipline, it overlaps in interesting ways both with science and with art. What are the epistemology-engines that apply to philosophy, and are there specific philosophy-engines? This is the background against which the applications to e-learning in philosophy will be considered. -/- In previous work, I claimed that the nature of philosophical argument cannot simply be assumed to remain constant even in the use of relatively simple discursive technologies such as discussion boards (Carusi 2006). In the present paper I consider a range of other technologies that form the technological culture of philosophy, or which mediate it. The paper aims to open a line of enquiry into these underlying technologies and the kinds of philosophy-engine that emerge from them, individually or by way of a convergence of a set of technologies. In particular, I focus on text-mining techniques, visualisations, and modeling showing what potential they have for disturbing, derailing, re-shaping or transforming the mode, form or substance of philosophy. -/- . (shrink)

Introduction: All is trash that reason cannot reach : unenlightened writers and the postmodern world -- Learning to read, learning to listen in Robinson Crusoe -- The hymns of Isaac Watts and postmodern worship : aesthetic knowledge as a response to the Enlightenment critique of religion -- Jonathan Swift's information machine and the critique of technology -- Christopher Smart's poetry and the dialogue between science and theology -- Festival and discipline in revolutionary France and postmodern times -- Remembering things (...) past : tradition as a way of knowing in Edmund Burke and Hans-Georg Gadamer -- Reconciling the heart with the head : the poetry of William Cowper and the thought of Michael Polanyi. (shrink)

It has been widely argued that digital technologies are transforming the nature of reading, and with it, our brains and a wide range of our cognitive capabilities. In this article, we begin by discussing the new analytical category of deep-reading and whether it is really on the decline. We analyse deep reading and its grounding in brain reorganization, based upon Michael Anderson’s Massive Redeployment hypothesis and Dehaene’s Neuronal Recycling which both help us to theorize how the capacities of brains (...) are transformed by acquisition of new skills. We examine some of the difficulties in comparing reading using technologies such as the web-browser, the tablet and E-Reader, with reading using the pre-existing print culture. While learning to read undoubtedly changes the brain, we examine what evidence there is for this being tightly tied to particular material substrates and find this lacking. Instead we attempt to situate cognitive changes around the new reading within the context of the specific new cognitive ecologies incorporating both screen and page. This involves a reconsideration of the role of material culture in the cognitive abilities. (shrink)

Excerpt from Cultures and Institutions of Natural History: Essays in the History and Philosophy of Science This volume consists mainly of papers delivered at two meetings cosponsored by the Museo Civico di Storia Naturale in Milan and the California Academy of Sciences in San Francisco. The first, on the Culture of Natural History, was held in Milan, November l4-l 6, I996. The second, on Institutions of Natural History, was held in San Francisco, October 5 - 7, 1998. They followed two (...) earlier conferences on Biology as History (pinna and Ghiselin I996; Ghiselin and Pinna I996) likewise held in Milan and San Francisco. We intend to continue the series of meetings and have publications based on them in commemoration of the Academy's sesquicentennial in 2003. The emphasis here is mainly upon natural history museums and the kind of science that goes on in them. Although the essays were originally written to stand by themselves, when arranged in chronological order they suggest a common theme. To paraphrase Darwin, the culture and institutions of natural history have been, and are being, evolved. They have adapted to local circumstances, diversified, and sometimes even progressed. We may hope that the future holds more than just retrogression and extinction in store. Read as case studies the essays provide valuable insights into not just how, but why, the institutions have come into being and subsequently been transformed. Previous generations had quite different ideas than we do about how a collection of naturalia is supposed to function and how it should be organized. And there were con icting goals and serious disputes about policy, much as there are today. Often, though not always, the institutions turn out to be very different from what had been envisioned by their founders. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Radical Change Theory and Synergistic Reading for Digital Age YouthEliza T. Dresang (bio) and Bowie Kotrla (bio)Books with digital age characteristics... stimulate curiosity and foster community.—Elizabeth Lennox Keyser, 1999Today’s students think and process information fundamentally differently from their predecessors.—Marc Prensky, 2001PrologueOne of our favorite books is McGillis’s The Nimble Reader: Literary Criticism and Children’s Literature.1 McGillis applies various literary theories—among them the New Criticism, structuralism, feminism, and (...) postmodernism—to much-loved, time-honored books such as E. B. White’s Charlotte’s Web (1952), in each case coming up with a fresh interpretation of a well-known text. The Nimble Reader makes the point that the meaning of any object, experience, or creative endeavor can be evasive and changes according to the lens through which it is viewed. Theory uncovers, illuminates, reveals, explains, predicts, and adds value and dimensions to what otherwise might have been overlooked. [End Page 92]That is what we hope Radical Change Theory does—we hope that it stimulates thinking, brings new perspectives, and adds value to what is already recognized as an immense treasure: the body of children’s literature and the young (and old) readers who love and appreciate it. As an addition to the assortment of approaches McGillis covered, we anticipate that Radical Change Theory is a way to see the mosaic of contemporary children’s literature in a new light, to examine and explain some parts of it that may have gone unnoticed. We offer it as a way to think about contemporary youth in relation to their literature, and we suggest applying Radical Change Theory in retrospect in order to highlight and appreciate “radical” authors and illustrators of the past who wrote for “radical readers” in their times. Radical Change Theory is only one perspective among many, and we realize that the phenomena it addresses could be explained or augmented in other ways, as McGillis demonstrated.IntroductionThe 2008 Caldecott Award for the most outstanding picture book for children published in the United States in the previous year was presented to Brian Selznick, author and illustrator of The Invention of Hugo Cabret, which is hundreds of pages longer than an ordinary picture book.2 Approximately 300 of its 533 pages are wordless black and white sketches that tell the story—not illustrating the text but replacing it. Hugo Cabret is a twelve-year-old boy living in the walls of a Paris train station in 1931; he becomes involved in a mystery adventure with the pioneer silent film maker George Méliès, a fitting element for a largely visual book. Selznick notes that he thinks of the book as somewhere between a graphic novel, a picture book, and a film.3 Each sequence of drawings can itself become a miniature silent move if the reader employs a flipbook technique. Hugo Cabret offers a highly interactive reading experience with vivid visual appeal, intertextuality, and multiple layers of meaning. It also provides a dramatic departure from the typical picture-book tradition and joins a number of other radically changed books that have special appeal for digital age youth.While it was perfectly clear to almost everyone during the 1990s that technology was changing, almost no one acknowledged the concomitant change in a sizeable and growing cadre of handheld books for youth. Some of those who did notice expressed puzzlement and regret at the break from a more traditional form and format; others expressed curiosity. Some others sought explanations.4 One purpose of this essay is to provide one explanation for the nature and character of these “changed” books and to demonstrate that they are somewhat different from but firmly rooted in more traditional children’s literature.But not only are books changing—at least some young readers are as well. In the 1990s, as youth who were born in the late 1970s began to mature, [End Page 93] we, along with some other educators and scholars, noted what seemed to be a change from previous generations in how many youth approached thinking, learning, creating, and engaging with media, including reading handheld books. Various terms, including the net generation, digital natives... (shrink)

The process of integration of digital technologies into the structure of social production and distribution leads to a series of definite trends in capitalist development. These trends are regular and interdependent. The acceleration of information exchange provides an opportunity to replace the Fordism with a thriftier network model, which involves outsourcing and reducing the longevity of contractual obligations and hiring relationships, which leads to the precarization of labor of a certain social group, which can be described as “precariat”. The (...) change in working conditions leads to the change in ways of increasing labor productivity, which is the reason for the emergence of “societies of control” characterized by: distributed power, embedding previously external coercion into the personality, affective engineering, prolongation of the educational process, increasing tempo and rhythm of work, spreading the project as the form of work replacing routine forms, and the emergence of a liquid short-term identity inherent in representatives of the precariat. This article aims to discover and demonstrate the interconnection between these processes. Achieving this goal will open the way to a more thorough separate study of each of these processes in the future but this research will be made from the perspective of their systemic unity. According to the purpose of the article, the structure of work is the following: the first section is devoted to the acceleration of social time, which is connected with the compression of social space and with the change in scale in which commercial and state enterprises can operate. Quick positive feedback, which is provided by the digital network, leads to changes in the infrastructure of enterprises and the transformation of production and logistics models. In addition, the acceleration of the feedback between the employee and the employer leads to the precarization of labor, which is accompanied by the appearance of “societies of control”. (shrink)

Mobile phones are reportedly the most rapidly expanding e-reading device worldwide. However, the embodied, cognitive and affective implications of smartphone-supported fiction reading for leisure (m-reading) have yet to be investigated empirically. Revisiting the theoretical work of digitization scholar Anne Mangen, we argue that the digital reading experience is not only contingent on patterns of embodied reader–device interaction (Mangen, 2008 and later) but also embedded in the immediate environment and broader situational context. We call this the situation constraint. Its application (...) to Mangen’s general framework enables us to identify four novel research areas, wherein m-reading should be investigated with regard to its unique affordances. The areas are reader–device affectivity, situated embodiment, attention training and long-term immersion. (shrink)

This article turns towards the spatial life of ‘digital infrastructures’, i.e. code, protocols, standards, and data formats that are hidden from view in everyday applications of computational technologies. It does so by drawing on the version control system Git as a case study, and telling the story of its initial development in order to reconstruct the circumstances and technical considerations surrounding its conception. This account engages with computational infrastructures on their own terms by adopting the figure of the ‘stack’ (...) to frame a technically informed analysis, and exploring its implications for a different kind of geographic inquiry. Drawing on topology as employed by Law and Mol, attention is given to the multiplicity of spatialities and temporalities enrolled in digital infrastructures in general, and Git specifically. Along the lines of the case study and by reading it against other literatures, this notion of topology is expanded to include the material performation of fundamentally arbitrary, more-than-human topologies, as well as their nested articulation, translation and negotiation within digital infrastructures. (shrink)

After a brief introduction to the history of the Husserl Archives I focus on the methodological specificities in studying Husserl’s work on the basis of his manuscripts and of his archives. In a second step I expound on the effects that the current shift from an analogous to a hybrid analogous and digital archives is producing in the self-understanding of the practices of our institution. Particularly, developing digital technology means that the Husserl Archives are entering a new (...) phase in respect to how archival and editorial impulses will affect the presentation of Husserl’s writings. Finally, I offer some perspectives about how the planned virtual platform, which will give direct access to his manuscripts, is designed to promote a new understanding of Husserl’s specific process of philosophical writing, of his unique wording of thoughts. (shrink)

Many digital technologies, designed and controlled by intensive data-driven corporate platforms, have become ubiquitous for many of our daily activities. This has raised political and ethical concerns over how they might be threatening our personal autonomy. However, not much philosophical attention has been paid to the specific role that their hyper-designed (sensorimotor) interfaces play in this regard. In this paper, we aim to offer a novel framework that can ground personal autonomy on sensorimotor interaction and, from there, directly address (...) how technological design affects personal autonomy. To do this, we will draw from enactive sensorimotor approaches to cognition, focusing on the central notion of habits, understood as sensorimotor schemes that, in networked relations, give rise to sensorimotor agency. Starting from sensorimotor agency as a basis for more complex forms of personal autonomy, our approach gives us grounds to analyse our relationship with technology (in general) and to distinguish between autonomy-enhancing and autonomy-diminishing technologies. We argue that, by favouring/obstructing the enactment of certain (networks of) habits over others, technologies can directly act upon our personal autonomy, locally and globally. With this in mind, we then discuss how current digital technologies are often being designed to be autonomy-diminishing (as is the case of “dark patterns” in design), and sketch some ideas on how to build more autonomy-enhancing digital technologies. (shrink)

During the past decade, several governmental reports have discussed how information technology can transform Danish society. Most important among these reports is Digital Denmark from 1999.In this article, the authors examine how to analyze Digital Denmark by considering two strategies for engaging reports. The first aims at uncovering and making explicit hidden assumptions or ideologies in the text. This approach is called “reading against the text.” The second approach—inspired by science, technology, and society studies—considers where a (...) text goes and what it does rather than how to critically interpret it. Texts may be read as material-semiotic actors, having effects on their environment that exceed or bypass discussions of content or motivation. This approach is called “reading with the text,” and the authors argue that traveling with Digital Denmark makes visible the limitations of critical analyses, while adding agency to the report as it moves in between practices. (shrink)

In this paper, we explore the idea of digital technologies as truth‐bearers in health care and argue that devices like SenseCam, which facilitate reflection and memory recall, have a potentially vital role in healthcare situations when questions of veracity are at stake (e.g., when best interest decisions are being made). We discuss the role of digital technologies as truth‐bearers in the context of nursing people with dementia, as this is one area of health care in which the topic (...) of truth‐telling has been hotly debated. People with dementia have been excluded from research studies and decisions that affect their lives because they are not regarded as truth‐bearers—that is, as being capable of giving truthful accounts of their experiences. Also, considerable research has focused on the ethics of lying to and deceiving people with dementia. Given their increasing prominence in healthcare settings, there has been surprisingly little discussion of what role digital technologies might play in relation to these questions of truth and deception. Drawing on theories from science and technology studies (STS), we explore their possible future role in some of the truth‐making processes of health care. In particular, we discuss the potential value of constraints on use of SenseCam to support the accounts of people with dementia as part of their care. (shrink)

Il saggio si interroga sul rapporto tra immagine di libro e lettura, muovendo dalla constatazione che solo la trasformazione dei lettori in ambito umanistico (con il rifiuto della glossa) ha cambiato l’idea del libro diffusa nel Medioevo. Il nuovo disegno della pagina, di maggiore ordine e leggibilità, si è consolidato nei secoli, e la nuova immagine di libro è rimasta immutata, nonostante le innovazioni, nell’editoria moderna. Solo l’avvento delle nuove tecnologie digitali ha suggerito una nuova immagine, che, tuttavia, non è (...) ancora né pienamente definita né ben consolidata; alle posizioni di chi ha individuato il libro nuovo nella forma dell’ipertesto (letto anche sui vecchi pc), il saggio affianca le riflessioni di chi cerca l’immagine nuova nell’e-book letto su un e-reader, sottolineando tuttavia che si è solo agli inizi di una lunga trasformazione. This essay concerns the relationship between the image of the book and how it reads. It begins from the observation that only the change of the readers during the humanistic age has transformed the widespread perception of the book in the Middle Ages. The new layout of the page, neater and more readable, became well established in the following centuries, and that image of the book in the modern publishing industry has remained unchanged, in spite of innovations. New digital technologies have proposed a new image, that however is neither clearly defined nor well established. The essay underlines the observations of those who believe that the hypertext form is the new book, even readable on the old pc, and the observations of those that think of e-book as a new image, that can be read only on the e-reader. The essay ends with the idea that we are at the beginning of a long change. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.2 (2002) 257-273 [Access article in PDF] The Colonial Subject in Ovid's Exile Poetry P. J. Davis IN RECENT YEARS ONE FOCUS FOR THE DISCUSSION of Ovid's poetry, including of course the exile poetry, has been its relationship to the Augustan regime. Although employing essentially the same critical assumptions, scholars have divided into more and less conservative camps, arguing for a pro- or anti-Augustan Ovid. (...) 1 However, in the case of the exile poetry at least, this situation has been altered by a chapter in a recent book by Thomas N. Habinek, in which he argues for what might be termed a conservative (i.e., pro-Augustan) reading, but employing forms of argument that, in classical studies at least, are decidedly unconservative. 2 Drawing on the work of the cultural materialists, 3 Habinek draws an analogy between Tristia and Epistulae ex Ponto and later European colonization narratives in order to argue that "Ovid's laments from exile and dispatches from the contact zone of Pontus sentimentalize his own and his readers' involvement in the project of Roman imperialism." 4The suggestion that Ovid's representation of Tomis and the Black Sea region in the first century C.E. has affinities with later European accounts of foreign and especially colonized territories is an intriguing one that clearly merits consideration. Habinek takes the idea still further and suggests that Ovid's mental attitude in Tomis is akin to that of a colonist living in one of the European colonial empires. Indeed, he quotes D. K. Fieldhouse's explanation of the durability of these empires: "The [End Page 257] basis of imperial authority was the mental attitude of the colonist. His acceptance of subordination—whether through a positive sense of common interest with the parent state, or through inability to conceive of any alternative—made empire durable." 5 For us, who are primarily concerned with Ovid, the important issue here is: who is the colonist with whom Ovid is being compared? After all, between the sixteenth and twentieth centuries, across two American continents, Asia, Africa, and Australia, European colonies took many different forms, incorporated many different peoples and embodied widely varying relationships with the metropolitan power. In fact, Fieldhouse's concern here is with the startling character of the American Revolution, for he argues that "loyalty was the norm and rebellion a break with long-established tradition"(1966, 103). For Fieldhouse the colonist whose mental attitude is so important is a male inhabitant of one of Britain's North American colonies in the second half of the eighteenth century. Fieldhouse is not concerned with colonists in general. How appropriate is the situation of this colonist, say, a locally born resident of pre-Revolutionary Boston or New York, as an analogy for that of Ovid among the Tomitans? The resemblance is not immediately striking.Although citing Fieldhouse's analysis of the nascent United States, Habinek makes it clear that in fact he has a very different kind of colony in mind, a colony in which a European power has control over a numerically superior non-European population: "A comparable claim can be made with regard to the agents of Roman imperialism—soldiers, administrators, and culture workers alike—especially as the Roman system was transformed during the Augustan age from what Conrad's Marlow called 'merely a squeeze' to a colonial system of pacification backed up by an idea, namely, the superiority of Roman culture to that of its subject populations." 6 The use of the phrase "White Man's Burden" 7 as the title for this section of the chapter and the reference to Joseph Conrad's Heart of Darkness 8 suggest that Habinek conceives of Roman Moesia as [End Page 258] analogous to one of Britain's twentieth-century Asian or African colonies. How appropriate is this analogy? No doubt there were soldiers and administrators in the province. Indeed, Ex Ponto 4.7 is addressed to Julius Vestalis, prefect of the maritime coast, 9 while 4.9 refers to L. Pomponius Flaccus, who had held... (shrink)

You have the camera, or intend to. You have the desire. Now, you have personalized instruction from PC Magazine "The play of light and color on the human imagination." That's how Daniel and Sally Wiener Grotta define photography. They'll lead you through choosing a digital camera and using all its amazing features, but photography is more than technology. These renowned experts liberally share their knowledge of lighting, settings, focus, file formats, communicating with pictures, and more. Read a little, (...) then go shoot some pictures, study them, and read some more. See what you and that camera can do -- together. Go one-on-one with the pros Choose a camera that fits your needs Understand resolution, compression, pixels, and file formats Use shutter speed, lighting, and depth of field Learn about white balance and color adjustment Organize your shots on the camera Shoot photos for company publications or online auctions Pick up tips for getting great photos Get your pictures out of the camera, easily Edit, print, and e-mail photos. (shrink)

Excerpt from Caroli Lachmanni in T. Lucretii Cari De Rerum Natura Libros Commentarius Iterum Editus Itaque recensendi mnnere ita functus sum nt quod Gumque bonum et verum esset'aut in utroque aut in alter utro codice id sine ullo dubitationis indicio exhiberem ver suum autem erdinem eum quo essent a veteribus librariis scripti, numeris appositis indicarem: emendafionem his re bus contineri arbitratus sum primum ut versus a. Librariis traiecti in suum locum reducerentur; quod ubi evenit nu meri sese naturali ordine (...) excipere non petuerunt: deinde nt ipsa versuum vocabula ubi vel perissent vel depravata es sent, quantum fieri posset, reciperarentur, ita tamen nt sin gula ad codicum fidemscripta cum singnlis commentariernm particulis praefigerentur, tum in imis paginis carminum enn merarentur. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

I want to argue…that to read Rossetti’s religious poetry with understanding requires a more or less conscious investment in the peculiarities of its Christian orientation, in the social and historical particulars which feed and shape the distinctive features of her work. Because John O. Waller’s relatively recent essay on Rossetti, “Christ’s Second Coming: Christina Rossetti and the Premillenarianist William Dodsworth,” focuses on some of the most important of these particulars, it seems to me one of the most useful pieces of (...) scholarship ever written on the poet. The essay locates the special ground of Rossetti’s religious poetry in that peculiar Adventist and premillenarian context which flourished for about fifty years in mid nineteenth-century culture. In point of historical fact—and it is a historical fact which has enormous significance for the aesthetic character of Rossetti’s poetry—her religious verse is intimately meshed with a number of particular, even peculiar, religious ideas.18 From the vantage of her strongest poetry, the most important of these ideas were allied to a once powerful religious movement which later—toward the end of the century—slipped to a marginal position in English culture.The whole question [of premillenarianism] was overshadowed first and last by the Tractarian Movement, Anglo-Catholicism, and the resulting Protestant reaction. And we can see in retrospect that all through the years [1820-1875] the theological future actually belonged to liberal, or Broad Church, principles. By the middle 1870s, apparently [the issues raised through the premillenarian movement] were no longer very alive.19­­In this context we may begin to understand the decline of Rossetti’s reputation after the late nineteenth century, when she was still regarded as one of the most powerful and important contemporary English poets. Her reputation was established in the 1860s and 1870s, when Adventism reached the apogee of its brief but influential career. Thereafter, the availability of religious poetry was mediated either through the Broad Church line or through the High Church and Anglo-Catholic line . The premillenarian and evangelist enthusiasm which supported Rossetti’s religious poetry had been moved to the periphery of English culture when the canon of such verse began to take shape in the modern period.To read Rossetti’s poetry, then, we have to willingly suspend not only our disbelief in her convictions and ideas but also our belief in those expectations and presuppositions about religious poetry which we have inherited from those two dominant ideological lines—Broad Church and High Church and Anglo-Catholic. Waller has drawn our attention to the general premillenarian content of her work, and I should like to follow his lead by emphasizing another crucial and even more particular doctrinal feature of her poetry. 19. Waller, “Christ’s Second Coming,” p. 477. For a general discussion of millenarianism in the early nineteenth century, see J. E. Harrison, The Second Coming, Popular Millenarianism, 1780-1850 . Jerome J. McGann is the Doris and Henry Dreyfuss Professor of Humanities at the California Institute of Technology. His two most recent books are The Romantic Ideology. A Critical Investigation and A Critique of Modern Textual Criticism . His previous contributions to Critical Inquiry are “Formalism, Savagery, and Care; or, The Function of Criticism Once Again” and “The Meaning of the Ancient Mariner”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Catullan Provocations: Lyric Poetry and the Drama of PositionCarole E. NewlandsWilliam Fitzgerald. Catullan Provocations: Lyric Poetry and the Drama of Position. Berkeley, Los Angeles, and London: University of California Press, 1995. x 1 310 pp. Cloth, $45 (US), £35 (foreign). (Classics and Contemporary Thought, 1)Fitzgerald’s richly provocative book on Catullus is the first in a promising series edited by Tom Habinek entitled Classics and Contemporary Thought. As the (...) title Catullan Provocations suggests, Fitzgerald’s book and Catullus’ poetry are related in their provoking of readers to reflect on the specific nature of poetic practice. Fitzgerald aims to replace the Romantic construct of Catullus as the individualistic, confessional sufferer with a poet “who explores the terms and possibilities of the poetic licence we have given him” (236). Fitzgerald pursues three layers of argument in each chapter: he explores the positional drama that takes place between poet, poem, and reader in Catullus’ lyric poetry; he situates that poetry within a Roman cultural context, broadly defined; and he critically examines the agenda underlying modern constructs of Catullus. Yet for a book that self-consciously claims an innovative approach, Catullan Provocations is curiously lacking in attention to specifics of gender and readership.Fitzgerald’s methodology is ambitious. He reads together poems that are usually put in separate categories. For instance, in chapter 2 he groups with c. 2 not c. 3, the other sparrow poem, but c. 15 and c. 16 (along with references to other poems), on the grounds that all three poems engage the position of the reader in relationship to the poet’s teasing sexuality. This unconventional grouping is refreshing and forces us to examine entrenched preconceptions. However, Fitzgerald’s habit of often excerpting from the poems and treating them piecemeal sometimes makes the line of argument hard to follow. In addition, wrong citations within the text—poem 16 instead of poem 15 (48), poem 98 instead of poem 58 (79)—give the reader unnecessary provocation. His method depends on careful editing, and here the University of California Press has done Fitzgerald a disservice by omitting two or three columns—around 30 poems—from the “Index of Catullun [sic] Poems Cited.”Catullan Provocations performs a valuable task in undermining the narratives that underpin the traditional constructs of Catullus. In chapter 1 Fitzgerald provides an enjoyable critique of two aspects of the scholarly refashioning of Catullus: first, the anchoring of a varied collection of poems to a single novelistic psyche, and second, the relationship between the poet and the modern scholar who, in producing a master narrative of love and betrayal, becomes, so Fitzgerald suggests, a better substitute for Lesbia in his or her putative greater understanding of the poet. Fitzgerald concludes the book with an interesting examination in chapter 9 of the misogynistic response to Catullus’ poetry by recent creative writers.In the main chapters of the book (2 through 8) Fitzgerald removes the tormented individual from center stage and focuses on the aggressive poetics that [End Page 468] situate Catullus in relation to questions of masculinity, obscenity, urbanity, social and sexual hierarchies, and cultural identity. Through a daring range of linguistic and dramatic strategies Catullus plays with the ambiguous nature of the poet’s position and unsettles the rigid “positives” of Roman social relations, such as the aristocratic network of mutual obligations. These chapters are stimulating, particularly chapter 8, where Fitzgerald argues that not passion for Lesbia or grief for his brother so much as Catullus’ anxieties about his Transpadane origins produce the poet’s most daring experiments in poetic mode and form. However, Fitzgerald’s conscious decision to position Catullus’ poetry not specifically within the culture of the 60s and 50s B.C. but “more broadly in the culture of his time in order to describe the meeting of the lyric genre with Roman preoccupations and norms” (236) sometimes leads to a lack of historical specificity. Aesthetic considerations dominate ethical, social, and political concerns, and questions of publication, circulation, and actual performance within the turbulent cultural milieu of late Republican Rome are not addressed.In addition, Fitzgerald’s judgments are not always supported by full analysis of the poems in question, but rather... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry by Pauline A. LeVenTom PhillipsPauline A. LeVen. The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge: Cambridge University Press, 2014. x + 377 pp. Cloth, $99.The “New Music” of the late fifth and early fourth centuries b.c.e. has been subject to a revival of interest in recent years. Most scholarship, however, has (...) tended to focus either on socio-historical aspects of performance culture or on the philological problems posed by texts such as Timotheus’ Persians. The corpus of fourth-century hymns by authors such as Aristonous and Philodamus has likewise been a minority pursuit, addressed in the main by historians of religion and epigraphers rather than literary critics. This monograph provides a welcome change in emphasis. Resolutely literary in her approach, LeVen elaborates readings that challenge assumptions about a qualitative decline in late classical literature, arguing instead for reading these texts in terms of their particular interpretative demands and situating them in a continuum of literary developments. The New Musicians emerge not as vapidly showy musical and dramatic virtuosos, but as composers of considerable verbal sophistication who developed and extended traditional poetic techniques while also demanding new kinds of emotional and interpretative engagement from audiences. The textual strategies at work in the hymnic corpus are also brought into sharper relief, particularly as regards the effects created by the interplay of performance and material inscription. The result is a valuable contribution to scholarship: as well as situating the New Music in relation to earlier song culture, LeVen shows how some of the strategies [End Page 357] employed by Timotheus and his contemporaries anticipate literary developments in the Hellenistic period. As such, this book will be of interest to all students of ancient Greek poetry.The book begins with an overview of poetic activity in the late classical period, including a useful set of tables that present the literary and epigraphic sources grouped by type. LeVen also surveys developments in scholarship on the New Music, recapitulating the case for caution when assessing the evidence of ancient critics and comedians, and making a strong case for the importance of engaging with the poems’ “dynamics of allusion, emulation, and intertextuality” (69). The rest of the book consists of case studies concerned with individual authors and corpora, and thematic chapters discussing the New Musicians’ linguistic innovations. The first group includes a chapter on Philoxenus of Cythera (chap. 3), a discussion of the Dinner Party attributed to Philoxenus (chap. 6), and readings of the inscribed hymns (chap. 7). The discussion of Philoxenus of Cythera focuses mainly on the anecdotes about his life preserved by Athenaeus, Machon, and other later authors. LeVen explores these texts’ persistent concern with the interrelated issues of food, xenia, and poetry, and their varying figurations of Philoxenus’ character. She also argues convincingly that the Dinner Party (PMG 836) should be attributed to Philoxenus of Cythera (114–18), and a good part of chapter 6 is devoted to an analysis of this text. Her readings emphasize the poem’s creation of an interpretative dialogue: the speaker presents not just an ekphrasis but also an “appeal to his own feelings and to those of his internal addressee” which underlines the “social dimension” of dining (257). More controversially, she also argues that it was performed as a dithyramb: as a text performed on the public stage, its detailed descriptions of fine dining “collaps[e] the distinction between... the public competitions at festivals and sacrifices and the private elegant home” (261).In her concluding remarks about the role played by the symposium in fourth-century poetic culture, LeVen sees the distinctiveness of the period not in poems being performed in multiple locations but in “the open traffic” between public and private performance settings, “the symposium importing passages from the dramatic stage and exporting some of its traditional motives and forms of expression to more public settings, dramatic and beyond” (268). The remainder of chapter 6 is concerned with the hymns to Virtue and Health of Aristotle and Ariphron, while chapter 7 deals with inscribed hymns such as the Erythrean paeans, Aristonous’ Hymn... (shrink)

continent. 1.3 (2011): 201-207. “Poetry is experience, linked to a vital approach, to a movement which is accomplished in the serious, purposeful course of life. In order to write a single line, one must have exhausted life.” —Maurice Blanchot (1982, 89) Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school graduation he was incessantly educated, reading the entire private library of his granddad, comprising mainly (...) the Orthodox Church Fathers and the ancient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again: “I carry sorrow like a cage/ I got no birds/ as I come back from her hair/ I see the profit emptied/ cool from terror.” (1993, Ι, 101) Nowadays—and ridiculously recently—we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expenditure without any type of investment, sometimes not (even) symbolic. In the vaults of the European unconscious, this imprudent stance still conjures a “capital punishment” in the form of de-capitation, reflecting back the fear of excess and the terror of its consequences.1 Thus the Greek way of living is very close to what a stranger could have termed as “the Greek way of dying.” Yet, what is not often understood is that the Greek esprit , the same one that invented the maxim μηδ?ν ?γαν (“nothing in excess”), does not experience death solely as an imminent fear of bankruptcy. For it miraculously combines its unconditional acceptance with the promise of a resurrection that is always there in the scents of Spring, from Dionysus to the orthodox Christ: “Everyone resurrects himself through dying [….] Resurrection is the switching of mortalities.” (2002, 94) Hence, if an entire library was imprudently traded for a plate with seven olives, a sliced tomato and some fresh goat cheese, let us not be fooled: this is not the meal of the pauper, but that of “an aristocrat from God” (1993, II, 491) feeding his eloquent loudmouth, ridiculously cut open in an otherwise rock-solid caput . *** To speak of the Greek experience is to speak about a half-dead language that still utters in life what is seemingly excluded from it and thus forbidden to be talked about: death. Death as anything that is out of this world, as something that will never return . Still, along with an experience of death that recently waned as a worn-out academic fashion, the Greek experience is dead too. Nearly 2300 years of written words separating Homer from the fall of Byzantium equal 500 books on a library traded for money: “I am with the killed. Hence my deepest solitude. I do not feel this tremendous macho society, beyond from the fact that it is a ruthlessly consuming one. It is me who pays all the time .” (2002, 57) Let us do the math and see how much this dealing with the Greek experience is costing the poet and how much dealing with the Greek experience might cost us today. *** “I do not guarantee a single word.” (Karouzos, 1993, II, 454) Through its various dialects and forms, the Greek language speaks through an incessant historical dissemination. Anyone who is aware of this terrifying polymorphy and still calls himself a poet, must stand against a white sheet of paper, pen-in-hand, with a very particular duty: to be as fully inconsistent as possible. In the formally ironic uniqueness of the poem, the poet functions as “a band-aid for lesser and greater antinomies.” (1993, I, 251) Of course these antinomies are not exhausted in language—they are historical, political and, alas, existential. Yet, beyond appearances , it is language that ruthlessly encodes them through history, submitting the poet to the temptation of placing them one next to the other on a single white sheet. The closer their neighboring, the greater the scattering of the writer in the ironic uniqueness of the paper. In a work where poetic license is described as a “freedom-impasse” (2002, 51), this task is undertaken in full conscience of its personal consequences: “what I am interested in is to escape my individuality (envisioning the non-ego) […] Nevertheless, my dissociations never achieve duration.” (2002, 74-75) Hence, though poetry is the “deserted direction of will,” (1998, 62) the stance of the poet is not that of a Nietzschean “great man.”2 Whereas drunkenness provides a thread between the poem and the excess it both presupposes and infuses (“Poetry always enlarges. ‘Drunkenness’ is nothing more than that,” (2002, 85)), whereas language flashes in loudmouth spurts of déraison (“When I am alone I do something else. I utter words. For example, while having my ouzo and listening to music I am most likely capable of randomly shouting ‘Electricity!’” (2002, 138)), the poet never gives in to the double affirmation that would eventually risk the “element of pleasure in discourse.” (2002, 80)” It is exactly because the gap of the antinomies is so vast that poetry is not meant to be written with a hammer. Neither does writing consist in a reevaluation of those elements. In short, poetry is not an affirmation of difference, but the surprising beauty of chiming antinomies. We might never transcend them, but it is up to us to put them together. Yet again, this voisinage is not to be identified with the necessity of chance as an eternal return.4 On the contrary it is a return from that very return : Let us treat Yes as a No to No and No as a Yes […] And let us not forget that this pissed affirmation crumbled down Nietzsche’s intellect in the dark paths of this world. (2002, 88) This return from the “vicious circle” should in no way be taken as a form of artistic prudence. Rather it can be seen as a dribble of demonic inconsistency as Dionysus transforms himself into a Christ that is in turn de-theologized: “Who can forbid that? Every man is capable of his own theology, nothing can stop him.” (2002, 73-74) This is a turn towards an existential vision of the world, historically coinciding with a particular political defeat of the Left, to which the poet devoted all his life: after the defeat of the popular front I raised the question “why do we exist?” while others were asking “why we failed.” (2002, 57)5 But most of all it is a return to poetry that exceeds the existential question itself, going beyond the issue of faith. Poetry comes in as a question of return after a defeat that is confessed in full profanity. Though it accepts the necessity of the defeat, it does not affirm it. Though it negates it, the negation is not in the name of a promise to be delivered in the kingdom of heavens. Following a historical and existential defeat, poetry is born post mortem . It signals a return to Christ as “groundless religiousness in the surprise of the real as such” (2002, 72) which is at once a return to the refuge of childhood. It is not a question of endurance towards an eternal return. Rather it is a question on the possibility of an existential return. Returning in a world as someone who cannot enjoy any returns exactly because he is averse to guarantees. A return without returns. *** PHOTOCOPY OF HAPPINESS When I was young I used to pin down cicadas and step on ant nests. I used to stand there silent for hours. With threads I decapitated bees. Now I am a dead man breathing. (Karouzos, 1993, II, 336.) The return to the “paradise of childhood” (2002, 68) constitutes the devouring refuge of its own memory when defeat becomes the synonym of adulthood. The political struggles of a young communist in a country torn up by a civil war right after World War II fraught with incarcerations and exiles. Historically they resulted in the defeat of the communist movement in Greece and opened up a long turbulent road that would peak in the dictatorship of 1967. Existentially they led to a series of disillusionments: mental breakdown, divorce, abandonment of studies in law school. To the question “why do we exist” the answer was poetry. Still this exposé should not be read as a sweeping chronography of a man. For it actually happens to coincide with the historical fate of a nation that after its modern constitution never stopped dreaming of the glories of its past youth, in a present that was (and is) sweepingly disappointing. But isn’t this return to youth finally a way of compensating for a loss of youth that necessarily results in a losing adulthood? Will Greeks, the eternal children of Plato and Nietzsche, ever learn? How to return without dying, how to remember without wasting time? WE ARE IN THE OPEN MEANING Living the coldest mauve night right across Parthenon I went to take a piss on some foliage and I was enjoying the foliage as it was steaming. (Karouzos, 1993, II, 340) Beyond the historical tragedies of modern Greece and away from any personal disappointments, the relation that this land holds with language and history is mediated through the Greek light—whose omnipresence is the very condition of its transcendence. All historical contradictions from Dionysus to Christ took place under this light; all those disseminated dialects were spoken beneath its warmth. To paraphrase Lévinas,6 light is both the condition of the world and of our withdrawal from it—a withdrawal towards the invisibility of God, of the dead, of meta-physics, resulting from the temptation that all is still here, behind this light the visibility of which they once evaded: “birds, the allurement of God.” (1993, I, 17) Under that luminous sky, if Greeks can do anything at all, it is to envision a return that will never come. All they can do is write poetry—which is doing nothing; other than lending an ear to a disseminated language whispering a unity that cannot be promised, as an adulthood in defeat is ready to recognize. Trying “to trap the invisible in visibility” (1993, II, 483) they forget that they have grown up and one day they die—with the promise of return. Hence an additional meaning must be given to this return to childhood. It does not signal salvation but rather its promise. To the ears of an aged continent it means that the return to/of poetry is a losing game, a return without returns. “Europe, Europe… you are nothing more than the continuation of Barabbas.” (1993, I, 295) *** “Life is not there to verify theories.”7 The records show that Karouzos was finally given a second-class pension from the Greek government, at the time when he was being recognized by the literary press as one of Greece’s major contemporary poets. Being neither a bourgeois nor a nobelist, he proclaimed himself to be an anarcho-communist, unconditionally faithful to the utopia of a classless society. He also drank, heavily. “Capitalism made an animal out of man/ Marxism made an animal out of truth/ Shut up.” (1993, II, 369) Perhaps one of the most scandalous divides of our times has been the one between the living and the dead, the latent prohibition that the living should not be concerned with the dead based on the mere impossibility of the dead to be concerned with the living in the first place. What adds to this scandal is that this divide abuses anything that cannot return to us by subsuming it under the same futility. Hence death is no longer “loss” in the usual sense. It no more refers to the things we lost but to our “loss” (of time, money and well-being) as we insist to dwell on them. Death is a waste —of time. It is this waste that we find in the insouciance of Greek expenditure; the waste in dealing with a language that most of its historical part is no longer spoken (a dead language); the waste in translating a poet who is ex definitio untranslatable; the waste of his vision, his money, his life. The waste of dealing with anything that cannot return and that cannot bring in any returns . But it is also the waste of life that poetry itself presupposes, the waste of dealing with invisibility, with anything that is out of this world and thus invokes the fear of death that is in turn—and surprisingly— nowhere to be found. Instead of death, what is there, beyond the light, is the being without us (to recall the Lévinasian il y a ), the mumble of our own nothingness which constitutes the price to be paid for writing poetry under an evergreek light. To understand this to-and-fro, is to realize that poetry is something out of this world that nevertheless takes place in this world, by virtue of this world. But to ridiculously equate this to-and-fro with death as non-existence, is to exile poetry along with its own possibility from this same old world: I do not believe that poetry will ever disappear from this world. […] But I am also sure that it does not have many chances of playing, as you say, a redemptive role in our vertiginous technological future. Without being endangered as a creative need, it will be placed on the side of history. (2002, 32) It is mainly there that we would like to locate the meaning of Nikos Karouzos’s poetry today. If we are willing to include the Greek original it is because we consider that it will be both a waste of time for us to do so (since most of you cannot read Greek) and because it might induce you to the even larger waste of learning it. We would additionally be glad if this small introduction served as an equally wasteful, academically useless piece of reading, gesturing towards a taboo of investing in anything Greek—that is in anything dead among the living, in anything that will never come back and maybe was never here in the first place. This is the only way to reserve for ourselves the possibility of poetry and preserve the light of its promise. “To return: that is the miracle.” (1993, I, 17) Athens, Greece July 10, 2011 NOTES 1 “ Capitale (a Late Latin word based on caput “head”) emerged in the twelfth to thirteenth centuries in the sense of funds, stock of merchandise, sum of money or money carrying interest.[…] The word and the reality it stood for appear in the sermons of St. Bernardino of Siena (1380-1444) ‘… quamdam seminalem rationem lucrosi quam communiter capitale vocamus ’, ‘that prolific cause of wealth that we commonly call capital’” (Braudel, 1992, 232-233). 2 “A great man – a man whom nature has constructed and invented in the grand style – what is he? First : there is a long logic in all of his activity, hard to survey because of its length, and consequently misleading; he has the ability to extend his will across great stretches of his life and to despise and reject everything petty about him, including even the fairest, ‘divinest’ things in the world.” (Nietzsche, 1968, 505, §962) 3 Cf. Deleuze, 1986, 186-9. 4 “Return is the being of becoming, the unity of multiplicity, the necessity of chance: the being of difference as such or the eternal return.” (Deleuze, 189)5 In this 1982 interview Karouzos refers to the defeat of the communist movement in Greece after the civil war of 1946-1949 between the Governmental Army and the Democratic Army of Greece, the military division of the Greek communist party. Karouzos’s father was a member of the communist National Liberation front (EAM) members of which formed the mainl resistance movement (ELAS) in Greece during WWII. The poet was a member of the United Panhellenic Organization of Youth (EPON), which was a youth division of EAM. After the end of the war, ELAS was called to disarmament in view of the formation of a National Army. The members of EAM resigned from the government of national unity and a series of protests led to a 3 year civil war between ELAS and the Government Army. After the defeat of ELAS the Communist party was outlawed and many communists were exiled in deserted Greek islands. Karouzos, who took action in the Greek resistance and was active during the Greek civil war, was exiled in Icaria on 1947 and in Makronisos on 1953 where he was called two years earlier to do his military service. 6 “Existence in the world qua light, which makes desire possible, is then, in the midst of being, the possibility of detaching oneself from being. To enter into being is to link up with objects; it is in effect a bond that is already tainted with nullity. It is already to escape anonymity. In this world where everything seems to affirm our solidarity with the totality of existence, where we are caught up in the gears of a universal mechanism, our first feeling, our ineradicable illusion, is a feeling or illusion of freedom. To be in the world is this hesitation, this interval in existing, which we have seen in the analyses of fatigue and the present.” (Lévinas, 1988,43-4) 7from a TV interview. THE POETRY OF NIKOS KAROUZOS From Redwriter [ Ερυθρογρ?φος ], in Collected Works, Vol . II, Athens: Ikaros. 1993, 463-4. [Athens: Apopeira, 1990, 9-10.] JESUS ANTI-OEDIPUS* Why were we once saving till the fifth day the Paschal lamb? The scriptures say: with this victim’s meat we ought to cleanse all of our senses. To give life to the whitest wave miraculous odors in the extension of the chest. Ideals to death. For us to witness the illustrious dawns of Absinthe and for the soul to be a deeply carved ornament on the fore we named will. Then many deer running amidst the evergreen growth with watery hymns, then, the unintended angels descending with heights spiraling in their momentum offer themselves to the luminous Adventure. Whence the need for speech and our sufferings covered with flags like the glorified dead. An incorporeal finger pointing at the flamboyant and fragrant holocausts within the tired horizons and the exhausted breadths with joys of the mistletoe on fire and shivering all of the green-leaved love. Something would have chirped again had we not driven it away— maybe the ewe’s grass. Something would have called us to the eternal resurrection— maybe the grace of spring. But now our heart is fiercely blinded, withdrawn to the appearances of Hades. Silence and ice incessantly cover the Infant Spirit in thatched times. While the cherry trees are dreaming faintly glowing in absolute darkness there’s nothing the Babylonians can contemplate in labs with automatic colored lights. How to rejoice now in the fifth day of the lamb? We have forked the stars. We’ve gradually become supposedly sublime with plucked chimeras in our hands. Avenged relentlessly by science. *Though the poem appears in a 1990 collection, it was actually written in 1968. Hence the reader must be aware in not associating Karouzos’ Anti-Oedipus with the famous 1972 work of Deleuze and Guattari, given that the former precedes the latter. ΙΗΣΟΥΣ ΑΝΤΙ-ΟΙΔΙΠΟΥΣ Γιατ? κρατο?σαμε κ?ποτε ?ς την π?μπτη μ?ρα το πασχαλιν? πρ?βατο; Τα κε?μενα λ?νε: μ’ αυτο? του θ?ματος το κρ?ας ?πρεπε να καθαρ?σουμε ?λες τις αισθ?σεις. Για να δ?σουμε κ?μα στη ζω? λευκ?τατο θαυμ?σιες ευωδι?ς στην ?κταση του στ?θους. Ιδανικ? στο χ?ρο. Για να βλ?πουμε τα λαμπρ? χαρ?ματα του ?ψινθου και να ’ναι η ψυχ? στ?λισμα βαθυχ?ρακτο της πλ?ρης που την ε?παμε θ?ληση. Τ?τε πολλ?ς δορκ?δες τρ?χοντας αν?μεσα στην καταπρ?σινη φ?ση με τους υδ?τινους ?μνους, τ?τε, κατεβα?νοντας οι αθ?λητοι ?γγελοι με κυλινδο?μενο το ?ψος στην ορμ? τους χαρ?ζονται της αστραφτερ?ς Περιπ?τειας. ?θεν η μιλι? γι’ αυτ? χρει?ζεται και τα δειν? σκεπ?ζονται ωσ?ν τους τιμημ?νους νεκρο?ς με σημα?ες. Ασ?ματο δ?χτυλο δε?χνει τα φλογ?δη και μοσχοβ?λα ολοκαυτ?ματα στους κουρασμ?νους ορ?ζοντες στα εξουθενωμ?να πλ?τη καθ?ς αν?βουν οι χαρ?ς του νερα?δ?ξυλου και τρ?μει ολ?κληρη η πρασιν?φυλλη αγ?πη. Κ?τι θα κελαηδο?σε π?λι αν δεν το δι?χναμε— μπορε? της προβατ?νας το χορτ?ρι. Κ?τι θα μας καλο?σε στην απ?ραντη αν?σταση— μπορε? του ?αρος η χ?ρη. Μα η καρδι? μας ?γρια τυφλ?θηκε π?ρασε στα φαιν?μενα του ?δη. Σιγ? και π?γος αδι?κοπα σκεπ?ζει στους αχυρ?νιους καιρο?ς το Ν?πιο Πνε?μα. Την ?ρα που ονειρε?ονται οι βυσσινι?ς και λ?μπουν αμυδρ? μεσ’ στο απλ?τατο σκοτ?δι τ?ποτα δε στοχ?ζονται οι βαβυλ?νιοι στα εργαστ?ρια με τ’ αυτ?ματα χρωματιστ? φ?τα. Π?ς να χαρο?με πια την π?μπτη μ?ρα του προβ?του; Φουρκ?σαμε τ’ αστ?ρια. Γ?ναμε σιγ?-σιγ? δ?θεν υπ?ροχοι με μαδημ?νες χ?μαιρες στα χ?ρια. Μας ν?μεται σκληρ? η επιστ?μη. From: Redwriter [Ερυθρογρ?φος], in Collected Works, Vol. II, Athens: Ikaros. 1993, 472. [Athens: Apopeira, 1990, 18.] DIALECTΙCS OF SPRING Christ the straight angle; Christ the Pythagorean theorem. Christ the infinitesimal calculus from above the blessed Sets Christ. Christ the tessellation of massive particles Christ the zero mass. Hence we spray numbers and fields of lust. We are carabineers of diseased logic plus something— Observed means observer and Hekate The darkness luminous and light in the dark Astarte banqueters demons from today. ΔΙΑΛΕΚΤΙΚΗ ΤΟΥ ΕΑΡΟΣ Χριστ?ς η ορθ? γων?α· Χριστ?ς το πυθαγ?ριο θε?ρημα. Χριστ?ς ο απειροστικ?ς λογισμ?ς ?νωθεν ?λβια Χριστ?ς τα Σ?νολα. Χριστ?ς η ψηφιδογραφ?α στα μαζικ? σωμ?τια Χριστ?ς η μ?ζα μηδ?ν. ?ρα ψεκ?ζουμε αριθμο?ς και πεδ?α λαγνε?ας. Ε?μαστε τυφεκιοφ?ροι νοσο?σης λογικ?ς και κ?τι-- παρατηρο?μενο σημα?νει παρατηρητ?ς και Εκ?τη σκ?τος το π?μφωτο και φως εν τ? σκοτ?? η Αστ?ρτη συνδαιτημ?νες δα?μονες απ’ ?ρτι. From: Redwriter [Ερυθρογρ?φος], Athens: Apopeira, 1990, 18. [1993, II, 472]. CREDO (as we are used to say in Latin) Α I believe in one Poet expelled from heavens / fugitive from the god and vagabond, Empedocles / and here on earth / exile on the earth etc. of Baudelaire /. Β I believe in one Computer inside thunder and through matter. Γ Suffering undefiled / substantive / the Poet uplifts himself slow-burning suicidal implying lengthy sleeps. Δ Cutting down on prospective mistakes. Ε Of all things visible and invisible officiating the onion-peelings. Ζ The Poet has nothing / see the departed /. Η I believe in one Poet that says: madness I enjoy; he ridicules existence; let me light up from my mana. Θ Syntax he doesn’t care about when musicality commands him. Along with still more licenses, and Ts are played according to the concept sound anywhere. E.g. the winters here, he winters there; it will not come—I will not rest, etc. etc. Ι The Poet exercises thought until it’s stripped down. Κ And if he’s Greek he must always study the fineness of Attica, in light, mountains, fields and sea. For this fineness teaches language. Λ And if he’s deeply destined the Poet expresses the unexplainable of the explained; he happens to be a rightful heir to the scientist and his predecessor. Μ On the froth he does not last; the Poet blusters at the bottom of the pot. Ν Flamebred and never redeemed. Ξ The Poet must sometimes say: what a consumption of presence — be a bit lonely for a change! Ο The Poet is twilit. Π He is susceptible of deaths and resurrections. Ρ He looks from the corner of his eye and exists in a glance. Σ He follows behind the mother. Τ Eveningless when it comes to age. Υ I believe in one Poet who says: let the purities coincide. Until the Corinth of the Universe or even further. Φ In a higher despair. Χ In a brighter quintessence. Ψ In one sensation that lifts off. Ω Forgiving everyone. CREDO (ως ε?θισται να λ?με λατινιστ?) Α Πιστε?ω εις ?να Ποιητ?ν εκτ?ς ουρανο? / φυγ?ς θε?θεν και αλ?της, Εμπεδοκλ?ς / και επ? της γης / εξ?ριστος π?νω στη γη κ.λπ. του Βωδελα?ρου /. Β Πιστε?ω εις ?να Υπολογιστ?ν εντ?ς κεραυνο? και δια της ?λης. Γ Υποφ?ροντας ?χραντα / ουσιαστικ?ν / ο Ποιητ?ς ανατε?νεται βραδυφλεγ?ς αυτ?χειρας εξυπακο?οντας πολ?ωρους ?πνους. Δ Τα υποψ?φια λ?θη λιγοστε?οντας. Ε Ορατ?ν τε π?ντων και αορ?των ιερουργ?ντας την αποκρομμ?ωση. Ζ Ο Ποιτ?ς ?χει τ?ποτα / βλ?πε τους αναχωρ?σαντες /. Η Πιστε?ω εις ?να Ποιητ?ν που λ?ει: η τρ?λα μ’ αρ?σει· γελοιοποιε? την ?παρξη· ας αν?ψω απ’ τη μ?να μου. Θ Συνταχτικ? δεν το γνοι?ζεται στην προσταγ? της μουσικ?τητας. Μαζ? και μ’ ?λλες ακ?μη λευτερι?ς, και τα νυ πα?ζονται κατ? την ?ννοια ?χος οπουδ?ποτε. Π.χ. τον χειμ?να εδ?, το χειμ?να εκε?· δε θ? ’ρθει – δεν θα καταλαγι?σουμε, κ. λπ. κ.λπ. Ι Ο Ποιητ?ς γυμν?ζει τη σκ?ψη σε απογ?μνωση. Κ Κι αν ε?ναι ?λληνας οφε?λει να σπουδ?ζει π?ντοτε της Αττικ?ς τη λεπτ?τητα, σε φως, βουν?, χωρ?φια και θ?λασσα. Διδ?σκει γλ?σσα η λεπτ?τητα το?τη. Λ Κι αν ε?ναι βαθι? πεπρωμ?νος ο Ποιητ?ς εκφρ?ζει το ανεξ?γητο του εξηγητο?· τυγχ?νει ν?μιμος δι?δοχος του επιστ?μονα και προκ?τοχ?ς του. Μ Στον αφρ? δεν ?χει δι?ρκεια· στο πατοκ?ζανο μα?νεται ο Ποιητ?ς. Ν Φλογοδ?αιτος και ποτ? ξελυτρωμ?νος. Ξ Ο Ποιητ?ς κ?ποτε πρ?πει να λ?ει: μεγ?λη καταν?λωση παρουσ?ας – γενε?τε και λ?γο μοναξι?ρηδες! Ο Ο Ποιητ?ς ε?ναι αμφ?φλοξ. Π Επιδ?χεται θαν?τους και αναστ?σεις. Ρ Ακροθωρ?ζει και υπ?ρχει σε ξαφνοκο?ταγμα. Σ Ε?ναι ουραγ?ς της μητ?ρας. Τ Αν?σπερος απ? ηλικ?α. Υ Πιστε?ω εις ?να Ποιητ?ν που λ?ει: να συμπ?σουν οι αγν?τητες. Μ?χρι την Κ?ρινθο του Σ?μπαντος ? μακρ?τερα. Φ Σε αν?τερη απελπισ?α. Χ Σε φαειν?τερη πεμπτουσ?α. Ψ Σε μια α?σθηση που πτηνο?ται. Ω Συγχωρ?ντας τους π?ντες. From Large Sized Logic [ Λογικ? μεγ?λου σχ?ματος ], Athens: Erato, 1989, n.p. [1993, II, 521-3]. (shrink)

We explore the question of whether machines can infer information about our psychological traits or mental states by observing samples of our behaviour gathered from our online activities. Ongoing technical advances across a range of research communities indicate that machines are now able to access this information, but the extent to which this is possible and the consequent implications have not been well explored. We begin by highlighting the urgency of asking this question, and then explore its conceptual underpinnings, in (...) order to help emphasise the relevant issues. To answer the question, we review a large number of empirical studies, in which samples of behaviour are used to automatically infer a range of psychological constructs, including affect and emotions, aptitudes and skills, attitudes and orientations (e.g. values and sexual orientation), personality, and disorders and conditions (e.g. depression and addiction). We also present a general perspective that can bring these disparate studies together and allow us to think clearly about their philosophical and ethical implications, such as issues related to consent, privacy, and the use of persuasive technologies for controlling human behaviour. (shrink)

On the basis of a close reading of three authors , I try to elucidate what the growing presence of digital technologies in our lives implies for the sphere of schooling and education. Developing a technocentric perspective, I discuss whether what is happening today concerns just the newest form of humankind's fundamental dependency on a technological milieu or that it concerns a fundamental shift. From Flusser, I take the idea that the practice of writing shapes human subjectivity, as well (...) as our very sense of history and progress, and that with the advent of digital technologies the possibility of a posthistorical era is granted. I confront this idea with Stiegler's analysis of technological tools and practices as strongly materialized memories, which amounts to a plea for securing the link with the particular history behind the technologies we use. Here, education should play a conservative role and take responsibility for using technologies in a correct way. I argue that Stiegler is not wholly consistent on this point and, moreover, that his view precludes the possibility to rethink the very meaning of education under present conditions. This possibility is opened if we turn to a philosopher which is ruthlessly criticized by Stiegler for being a technophobe: Agamben. I argue, however, that a more detailed reading of Agamben—n combination with Flusser—might show a completely different and far more positive appreciation for digital technology and that this view offers an opening for rethinking what education is all about. (shrink)

Gunter Anders' Philosophy of Technology is the first comprehensive exploration of the ground-breaking work of German thinker Gunter Anders. Anders' philosophy has become increasingly prescient in our digitised, technological age as his work predicts the prevalence of social media, ubiquitous surveillance and the turn to big data. Anders' ouevre also explored the technologies of nuclear power and the biotech concerns for the human and transhuman condition which have become so central to current theory. Babette Babich argues that Anders offers (...) important resources on streaming digital media through his writings on radio, television and film and is, unusually, both a comprehensive and profound thinker. Anders' relationship with key philosophers like Hannah Arendt and Walter Benjamin and his thinking on Goethe, Nietzsche and Rilke is also explored with a focus on the deep impact he made on his peers. It reflects specifically on the intersection of Anders' thought Heidegger and the Frankfurt school and how influential a figure he was on the landscape of 20th century philosophy. A compelling rehabilitation of a thinker with profound contemporary relevance. (shrink)

Recent publications on digital health technologies highlight the importance of ‘responsible’ use. References to the concept of responsibility are, however, frequently made without providing clear definitions of responsibility, thus leaving room for ambiguities. Addressing these uncertainties is critical since they might lead to misunderstandings, impacting the quality and safety of healthcare delivery. Therefore, this study investigates how responsibility is interpreted in the context of using digital health technologies, including artificial intelligence (AI), telemonitoring, wearables and mobile apps. We conducted (...) a scoping review with a systematic search in PubMed, Web of Science, Embase, CINAHL and Philosopher’s Index. A total of 34 articles were included and categorized using a theoretical framework of responsibility aspects, and revealed two main findings. First, we found that digital health technologies can expand and shift existing ‘role responsibilities’ among caregivers, patients and technology. Second, moral responsibility is often equated with liability or accountability, without clear justification. Articles describe new ways in which physicians can be held accountable, particularly in the context of AI, and discuss the emergence of a ‘responsibility gap’ where no-one can be fully responsible for AI-generated outcomes. The literature also shows that m-Health technologies can increase patients’ accountability for their own health. However, there was limited discussion in the reviewed literature on whether these attributions of accountability are appropriate. We conclude with implications for practice and suggestions for expanding the theoretical framework of moral responsibility, recommending further study on responsibility of collectives and artificial entities, and on the role of virtue in digital health. (shrink)

Digital technologies are frequently considered as lacking material aspects. Today, it is evident that behind digital technologies lies a huge and complex material infrastructure in the form of fiber optic cables, servers, satellites, and screens. Postphenomenology has theorized the relations to material things as embodiment relations. Taking into account that technologies can also have hermeneutic aspects, this theory defines hermeneutic relations as those in which we read the world through technologies. The article opens with a review of some (...) theoretical developments to hermeneutic relations with a special focus on digital technologies. The article suggests that in the digital world, material hermeneutics needs to be updated as it shifts from a scientific to an everyday technological context. Now, technologies not only “give voice” to things, they also produce new meanings to informational structures and direct users to certain meanings. When it comes to digital technologies, especially those involving artificial intelligence (AI), the technology actively mediates the world. In postphenomenological terms, it possesses a technological intentionality. The postphenomenological formula should be updated to reflect this type of technological intentionality, by reversing the arrow of intentionality so that it points to the user, rather than from the user. (shrink)

This paper explores the political potential of digital failure as a refusal to work in service of today’s dataveillance society. Moving beyond criticisms of flawed digital systems, this paper traces the moments of digital failure that seek to break, rather than fix, existing systems. Instead, digital failure is characterized by pesky data that sneaks through the cracks of digital capitalism and dissipates into the unproductive; it supports run-away data prone to misidentifications by digital marketers, (...) coders, and content moderators; and it celebrates data predisposed to “back-talk” with playful irreverence toward those that seek to bring order through normative categorization and moderation. I call these data entropic, fugitive, and queer and explore their mischievous practices through three case studies: the unaccountable data in identity resolution, public shaming of the ImageNet training data, and reading practices of sex worker and influencer, @Charlieshe. Together these case studies articulate the political potential of digital failure as a process of unbecoming the good data subject by pushing past the margins of legibility, knowability, and thinkability, to reveal what is made illegible, unknowable, and unthinkable to data’s seeing eye. As predictive analytics, automated decision-systems, and artificial intelligence take on increasingly central roles in public governance, digital failure reveals how data itself is a flawed concept prone to political abuse and social engineering to protect the interests of the powerful, while keeping those marginalized over-surveilled and underrepresented. (shrink)

Previous studies have found that narrative input conveyed through different media influences the structure and content of children’s narrative retellings. Visual, televised narratives appear to elicit richer and more detailed narratives than traditional, orally transmitted storybook media. To extend this prior work and drawing from research on narrative elaboration, the current study’s main goal was to identify the core plot component differences (the who, what, where, when, why, and how of a story) between children’s retellings of televised versus traditional storybook (...) narratives. However, because children also differ individually in their IQ, we further incorporated this variable into our analysis of children’s narrative retellings. For our purpose, a novel coding schema was developed, following and extending the existing narrative elaboration approaches. Participants were 46 typically developing children aged 4–5 years from Germany. The current study incorporated two narrative input conditions to which children were randomly assigned: in the video condition, children watched a non-verbal, visually conveyed, televised story from a DVD; and in the book condition, children read the story with an adult and experienced an orally conveyed version in the form of a book with minimal accompanying pictures. In both conditions, the same story was conveyed. After including IQ as a covariate in our analyses, results show that the children from the video condition gave significantly more elaborated retellings, particularly across the who, what, and where (sub-)components. Differences between the conditions in the component when, how and why did not reach statistical significance. Our findings indicate that different media types entail differential cognitive processing demands of a story, resulting in type-specific memories and narratives. The effect of different medial conditions was significant and persisted when individual differences in cognitive development were considered. Consequences for children’s development, education, and interaction with and within today’s digital world are discussed. (shrink)

In the history of literary experimentation, the writer has evolved into a social medium for literary readings of numerous literary works that were previously only known to those with a keen interest in literature and literary genres. As a result, many well-known literary works have been succinctly summarised in front of everyone in a way that is both helpful and provides details while still remaining concise. In this essay, the researcher wants to show how Twitter has developed into a literary (...) form, competing with other well-known literary works like novels, plays, short stories, and poetry, particularly haiku. Beginning with an introduction to Twitter literature and its definition, the study then focuses on the format in which literary tweets are provided, including the word count and length of the presentation of the literary work. Then, the literary subgenres that appeared on Twitter were criticised. The paper provides instances of literary accounts on Twitter and distinguishes the literary genres on Twitter. The study also discusses Twitter’s literary value in educating readers about a variety of literary works, particularly those who are uninterested in or uninterested in literature. Moreover, the distinction between reading literary works in their authentic forms vs their Twitter-based forms. The researcher contrasts the literary subgenres that are best suited for Twitter distribution. As a complement to the other well-known literary genres and in keeping with the varied, quick, and advanced modern day, the researcher concludes by presenting Twitter as one of the crucial literary genres of the new millennium that must be given significance and relevance. However, this study makes the case that Twitter might be. It is seen as an expression of an experimental platform for postmodern electronic literature that can ensure a revival of the steadily dwindling fantasy reading habit that is appealing to the generation of technology enthusiasts. (shrink)

Foundational theories of the public sphere prioritize civic speech while distrusting forms of visuality. As a corrective to this model of the public sphere, rhetorical theorists have recently emphasized visuality as a constitutive mode of contemporary public culture, but they nevertheless tend to prioritize the civic actor over the civic spectator. A productive alternative would begin to distinguish an emerging shift from “deliberative publicity” to “photographic publicity.” The bourgeois public sphere innovated verbal communicative practices that produced a specifically deliberative publicity, (...) enabling one resolution to the core political problems of an earlier (feudal) era. Likewise, contemporary publics utilize emerging digital technologies to produce a specifically photographic publicity, allowing them to address fundamental limitations of the bourgeois public sphere. Photographic publicity helps us rethink the problem of the public sphere in terms of theatricality and civic spectatorship. (shrink)

The rapidly expanding universe of information, media, and learning experiences available through digital technology is creating unique opportunities and vulnerabilities for children and adolescents. These issues are particularly salient during the developmental window at the transition from childhood into adolescence. This period of early adolescence is a time of formative social and emotional learning experiences that can shape identity development in both healthy and unhealthy ways. Increasingly, many of these foundational learning experiences are occurring in on-line digital (...) environments. These expanding vulnerabilities and opportunities are being further amplified for young adolescents growing up in low resourced settings around the world. Cultural and contextual factors influence access, use, and appropriation of digital technology. Further, neurobehavioral changes associated with the onset of puberty often coincide with entry into social media and more autonomous use of technology. In low-and-middle-income countries (LMICs), disparities in access, use, and appropriation of digital media can amplify prevailing economic gaps, and compound gender inequalities during early adolescence. In LMICs, adolescents are often the early adopters of mobile technology and social media platforms. While the impact of social media on the well-being, particularly mental health, of young adolescents has been a focus of research in high-income countries (HICs), much less is known about the impacts of social media use on young adolescents in LMICs. In this paper, we review what is known about the interaction between digital media and early adolescent development. We highlight crucial gaps in the evidence in LMICs; and describe some hypotheses and areas for future research to address these compelling issues. (shrink)

The Alexandrian emphasis on smallness, elegance, and slightness at the expense of grand themes in major poetic genres was not preciosity for its own sake: although the poetry was written by and for scholars, it had much larger sources than the bibliothecal context in which it was composed. Since the time of the classical poets, much had changed. Earlier Greek poetry was an intimate part of the life of the city-state, written for its religious occasions and performed by its citizens. (...) But eh conquests of Alexander had altered the structure and the boundaries of the Greek world to an astonishing degree. Alexandria, the center of the poetic culture of the new age, was a city that had not even existed at the time of Euripides; it was in Egypt, not in Greece, and was a huge, polyglot community. As immigrants immersed in a new, impersonal, and bureaucratic society, the poets not unreasonably sought out what was small, intimate, and personal in their verses. The heroes of early Greek poetry are larger than life; those of Alexandrian poetry are life-size. They are human, like us; they have a childhood and an old age; they are afraid or in love or caught in a rainstorm. It was simply one way of reducing the world to more manageable dimensions. At the same time, the new world of Alexandria needed a new poetry. To continue writing epics about a mythology that seemed very far away was senseless; it was impossible to recapture either the style or the immediacy of Homer, lyric poetry, or Attic tragedy. The scholar-poets of Alexandria admired the literature of classical Greece; for them Homer was incomparable and inimitable, to be studied—but not to be copied. Far better, then, to find a new voice on a more manageable scale: instead of oral epic, erudite epyllion; instead of lyric, epigram; instead of tragedy, mime. The poets of an urban and unheroic world might long for but could never re-create the grandeur of the past. James E. G. Zetzel is associate professor of classics at Princeton University and editor of the Transactions of the American Philological Association. He is the author of Latin Textual Criticism in Antiquity and, with Anthony T. Grafton and Glenn W. Most, has translated Friedrich August Wolf’s Prolegomena ad Homerum. (shrink)

ABSTRACT In this article, we discuss the potential of Virtual Reality (VR) technologies for the creation and adaptation of stories aimed at children and young adult, focusing on the specificities of their usage protocols. We begin by introducing narratives in VR and their connection to the field of children and young adult literature. Subsequently, 360º videos targeted at children and young people are presented, along with the reading and engagement protocols that arise from their peculiarities. Starting from the field of (...) Cinematic Virtual Reality (CVR), we discuss about the main challenges posed by this medium for the enjoyment of immersive works, based on the analysis of the work Invasion!, produced by the Baobab studio. Thus, we conclude that both the production and reception of narratives in Virtual Reality presuppose the management of the viewer’s vision and attentional focus, considering the reading protocols already learned and naturalized through other media. (shrink)

Heralded as revolutionary in their potential to improve efficiency, transparency, and sustainability, blockchain technologies promise new forms of large-scale coordination between actors that do not necessarily trust each other. This paper examines blockchain imaginaries and associated metaphors. Our analysis focuses on bitcoin and ethereum, today’s most prominent blockchains that use the proof-of-work consensus mechanism. We identify three principles that organise blockchain imaginaries: substantial, morphological, and structural. These principles position blockchain as an enabler of economic, political and epistemological practices, respectively. Blockchain (...) infrastructure and protocols rely on substantial metaphors (e.g. gold, gas) to govern resource allocation, morphological metaphors (e.g. work, trust) to generate consensus and structural metaphors (e.g. chain, transaction) to establish shared knowledge. Those imaginaries rely on metaphorical displacements of meaning that make blockchain technology relevant and intelligible while simultaneously shaping the direction of technological development and positing these technologies as new forms of economic, political and epistemological organisation. They are not merely descriptive but performative. We conclude by showing how these principles partially overlap with three symbolically generalized media: money, power and truth. Money organises scarcity within the economic system, power organises consensus within the political system, and truth organises knowledge within the science system. (shrink)