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  1. Fear and Loathing in Las Vegas (Hunter S. Thompson)
  2. - Your Bookmark on Location 157 | Added on Wednesday, July 15, 2015 6:36:26 PM
  3.  
  4.  
  5. ==========
  6. Fear and Loathing in Las Vegas (Hunter S. Thompson)
  7. - Your Bookmark on Location 186 | Added on Wednesday, July 15, 2015 6:37:05 PM
  8.  
  9.  
  10. ==========
  11. And Another Thing ... (Unknown)
  12. - Your Bookmark on Location 1761 | Added on Wednesday, August 19, 2015 3:56:38 PM
  13.  
  14.  
  15. ==========
  16. And Another Thing ... (Unknown)
  17. - Your Highlight on Location 2069-2069 | Added on Friday, August 21, 2015 10:21:05 PM
  18.  
  19. dipped inside the atmosphere tube, tugging at
  20. ==========
  21. You Say You Want a Revolution (Unknown)
  22. - Your Bookmark on Location 42 | Added on Tuesday, September 15, 2015 4:35:20 PM
  23.  
  24.  
  25. ==========
  26. You Say You Want a Revolution (Unknown)
  27. - Your Bookmark on Location 22 | Added on Tuesday, September 15, 2015 4:36:06 PM
  28.  
  29.  
  30. ==========
  31. You Say You Want a Revolution (Unknown)
  32. - Your Bookmark on Location 257 | Added on Tuesday, September 15, 2015 5:11:31 PM
  33.  
  34.  
  35. ==========
  36. You Say You Want a Revolution (Unknown)
  37. - Your Bookmark on Location 22 | Added on Tuesday, September 15, 2015 5:12:13 PM
  38.  
  39.  
  40. ==========
  41. La Vie Mode D’emploi (Georges Perec)
  42. - Your Bookmark on Location 1416 | Added on Thursday, October 8, 2015 11:00:00 PM
  43.  
  44.  
  45. ==========
  46. La Vie Mode D’emploi (Georges Perec)
  47. - Your Bookmark on Location 1424 | Added on Thursday, October 8, 2015 11:13:26 PM
  48.  
  49.  
  50. ==========
  51. Computing Machinery and Intelligence (Alan Turing)
  52. - Your Highlight on Location 207-208 | Added on Sunday, January 24, 2016 5:58:51 PM
  53.  
  54. Nevertheless I believe that at the end of the century the use of words and general educated opinion will have altered so much that one will be able to speak of machines thinking without expecting to be contradicted.
  55. ==========
  56. Computing Machinery and Intelligence (Alan Turing)
  57. - Your Bookmark on Location 205 | Added on Sunday, January 24, 2016 5:59:56 PM
  58.  
  59.  
  60. ==========
  61. Computing Machinery and Intelligence (Alan Turing)
  62. - Your Highlight on Location 347-349 | Added on Sunday, January 24, 2016 10:48:39 PM
  63.  
  64. It may be used to help in making up its own programmes, or to predict the effect of alterations in its own structure. By observing the results of its own behaviour it can modify its own programmes so as to achieve some purpose more effectively. These are possibilities of the near future, rather than Utopian dreams.
  65. ==========
  66. Computing Machinery and Intelligence (Alan Turing)
  67. - Your Bookmark on Location 347 | Added on Sunday, January 24, 2016 10:48:45 PM
  68.  
  69.  
  70. ==========
  71. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  72. - Your Highlight on Location 19-20 | Added on Wednesday, January 27, 2016 12:29:11 PM
  73.  
  74. For the “message” of any medium or technology is the change of scale or pace or pattern that it introduces into human affairs.
  75. ==========
  76. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  77. - Your Bookmark on Location 15 | Added on Wednesday, January 27, 2016 12:29:21 PM
  78.  
  79.  
  80. ==========
  81. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  82. - Your Highlight on Location 71-72 | Added on Wednesday, January 27, 2016 4:30:18 PM
  83.  
  84. Instead of asking which came first, the chicken or the egg, it suddenly seemed that a chicken was an egg’s idea for getting more eggs.
  85. ==========
  86. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  87. - Your Bookmark on Location 70 | Added on Wednesday, January 27, 2016 4:30:24 PM
  88.  
  89.  
  90. ==========
  91. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  92. - Your Note on Location 184 | Added on Wednesday, January 27, 2016 5:39:51 PM
  93.  
  94. frncais
  95. ==========
  96. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  97. - Your Highlight on Location 182-184 | Added on Wednesday, January 27, 2016 5:39:51 PM
  98.  
  99. For the man in a literate and homogenized society ceases to be sensitive to the diverse and discontinuous life of forms. He acquires the illusion of the third dimension and the “private point of view” as part of his Narcissus fixation, and is quite shut off from Blake’s awareness or that of the Psalmist, that we become what we behold.
  100. ==========
  101. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  102. - Your Note on Location 89 | Added on Wednesday, January 27, 2016 5:40:49 PM
  103.  
  104. francais
  105. ==========
  106. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  107. - Your Highlight on Location 87-89 | Added on Wednesday, January 27, 2016 5:40:49 PM
  108.  
  109. announced that the medium is the message. Is it not evident that the moment that sequence yields to the simultaneous, one is in the world of the structure and of configuration? Is that not what has happened in physics as in painting, poetry, and in communication? Specialized segments of attention have shifted to total field, and we can now say, “The medium is the message” quite naturally.
  110. ==========
  111. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  112. - Your Note on Location 70 | Added on Wednesday, January 27, 2016 5:41:56 PM
  113.  
  114. francas
  115. ==========
  116. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  117. - Your Highlight on Location 66-70 | Added on Wednesday, January 27, 2016 5:41:56 PM
  118.  
  119. And the paradox of mechanization is that although it is itself the cause of maximal growth and change, the principle of mechanization excludes the very possibility of growth or the understanding of change. For mechanization is achieved by fragmentation of any process and by putting the fragmented parts in a series. Yet, as David Hume showed in the eighteenth century, there is no principle of causality in a mere sequence. That one thing follows another accounts for nothing. Nothing follows from following, except change.
  120. ==========
  121. The technology and the society (Raymond Williams)
  122. - Your Highlight on Location 21-23 | Added on Wednesday, January 27, 2016 11:16:34 PM
  123.  
  124. Until we have begun to answer them, we really do not know, in any particular case, whether, for example, we are talking about a technology or about the uses of a technology; about necessary institutions or particular and changeable institutions; about a content or about a form. And this is not only a matter of intellectual uncertainty; it is a matter of social practice.
  125. ==========
  126. The technology and the society (Raymond Williams)
  127. - Your Highlight on Location 46-46 | Added on Wednesday, January 27, 2016 11:19:19 PM
  128.  
  129. in altering the scale and form of our societies.
  130. ==========
  131. The technology and the society (Raymond Williams)
  132. - Your Highlight on Location 79-79 | Added on Wednesday, January 27, 2016 11:22:11 PM
  133.  
  134. It is an immensely powerful and now largely orthodox view of the nature of social change.
  135. ==========
  136. The technology and the society (Raymond Williams)
  137. - Your Highlight on Location 87-88 | Added on Wednesday, January 27, 2016 11:23:27 PM
  138.  
  139. It only acquires effective status when it is used for purposes which are already contained in this known social process.
  140. ==========
  141. The technology and the society (Raymond Williams)
  142. - Your Highlight on Location 103-104 | Added on Wednesday, January 27, 2016 11:27:39 PM
  143.  
  144. The technology would be seen, that is to say, as being looked for and developed with certain purposes and practices already in mind.
  145. ==========
  146. The technology and the society (Raymond Williams)
  147. - Your Highlight on Location 119-119 | Added on Wednesday, January 27, 2016 11:31:38 PM
  148.  
  149. The advantages of electric power were closely related to new industrial needs:
  150. ==========
  151. The technology and the society (Raymond Williams)
  152. - Your Highlight on Location 131-131 | Added on Wednesday, January 27, 2016 11:34:10 PM
  153.  
  154. the need for
  155. ==========
  156. The technology and the society (Raymond Williams)
  157. - Your Highlight on Location 153-153 | Added on Wednesday, January 27, 2016 11:40:23 PM
  158.  
  159. Through this whole period two facts are evident: that a system of television was foreseen, and its means were being actively sought;
  160. ==========
  161. The technology and the society (Raymond Williams)
  162. - Your Highlight on Location 176-176 | Added on Wednesday, January 27, 2016 11:46:59 PM
  163.  
  164. In no way is / this a history of communications systems creating a new society or new social conditions.
  165. ==========
  166. The technology and the society (Raymond Williams)
  167. - Your Highlight on Location 277-278 | Added on Thursday, January 28, 2016 12:15:32 AM
  168.  
  169. were systems primarily devised for transmission and reception as abstract processes, with little or no definition of preceding content.
  170. ==========
  171. The technology and the society (Raymond Williams)
  172. - Your Highlight on Location 324-324 | Added on Thursday, January 28, 2016 12:25:38 AM
  173.  
  174. In the early stages of radio manufacturing, transmission was conceived before content.
  175. ==========
  176. The technology and the society (Raymond Williams)
  177. - Your Highlight on Location 371-373 | Added on Thursday, January 28, 2016 12:37:47 AM
  178.  
  179. When there has been such heavy investment in a particular model of social communications, there is a restraining complex of financial institutions, of cultural expectations and of specific technical developments, which though it can be seen, superficially, as the effect of a technology is in fact a social complex of a new and central kind.
  180. ==========
  181. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  182. - Your Note on Location 191 | Added on Thursday, January 28, 2016 11:47:34 AM
  183.  
  184. 7
  185. ==========
  186. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  187. - Your Highlight on Location 190-191 | Added on Thursday, January 28, 2016 11:47:34 AM
  188.  
  189. Print created individualism and nationalism in the sixteenth century.
  190. ==========
  191. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  192. - Your Note on Location 184 | Added on Thursday, January 28, 2016 11:49:13 AM
  193.  
  194. 6
  195. ==========
  196. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  197. - Your Highlight on Location 183-184 | Added on Thursday, January 28, 2016 11:49:13 AM
  198.  
  199. Blake’s awareness or that of the Psalmist, that we become what we behold.
  200. ==========
  201. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  202. - Your Note on Location 160 | Added on Thursday, January 28, 2016 11:54:06 AM
  203.  
  204. 5
  205. ==========
  206. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  207. - Your Highlight on Location 157-160 | Added on Thursday, January 28, 2016 11:54:06 AM
  208.  
  209. But their failure was as nothing compared to our present one. The American stake in literacy as a technology or uniformity applied to every level of education, government, industry, and social life is totally threatened by the electric technology. The threat of Stalin or Hitler was external. The electric technology is within the gates, and we are numb, deaf, blind, and mute about its encounter with the Gutenberg technology, on and through which the American way of life was formed.
  210. ==========
  211. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  212. - Your Note on Location 114 | Added on Thursday, January 28, 2016 11:55:15 AM
  213.  
  214. 4
  215. ==========
  216. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  217. - Your Highlight on Location 113-114 | Added on Thursday, January 28, 2016 11:55:15 AM
  218.  
  219. De Tocqueville’s contrast between England and America is clearly based on the fact of typography and of print culture creating uniformity and continuity.
  220. ==========
  221. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  222. - Your Note on Location 108 | Added on Thursday, January 28, 2016 11:55:47 AM
  223.  
  224. 3
  225. ==========
  226. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  227. - Your Highlight on Location 107-108 | Added on Thursday, January 28, 2016 11:55:47 AM
  228.  
  229. The typographic principles of uniformity, continuity, and lineality had overlaid the complexities of ancient feudal and oral society.
  230. ==========
  231. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  232. - Your Note on Location 65 | Added on Thursday, January 28, 2016 11:57:46 AM
  233.  
  234. 2
  235. ==========
  236. mcluhan.mediummessage (thomas.gauthier.c@gmail.com)
  237. - Your Highlight on Location 64-65 | Added on Thursday, January 28, 2016 11:57:46 AM
  238.  
  239. It has never occurred to General Sarnoff that any technology could do anything but add itself on to what we already are.
  240. ==========
  241. The technology and the society (Raymond Williams)
  242. - Your Note on Location 176 | Added on Thursday, January 28, 2016 2:05:33 PM
  243.  
  244. important
  245. ==========
  246. The technology and the society (Raymond Williams)
  247. - Your Note on Location 373 | Added on Thursday, January 28, 2016 2:07:04 PM
  248.  
  249. important
  250. ==========
  251. Mullen, McLuhan’s Understanding Media (Unknown)
  252. - Your Highlight on Location 43-49 | Added on Thursday, January 28, 2016 2:28:54 PM
  253.  
  254. Indeed, McLuhan’s writing does seem to target a postmodern reader, one steeped in the disconnected messages of electronic media. As someone schooled in linear prose, perhaps even McLuhan would have had trouble comprehending his own sentences—had he not written them, of course. But his descendants have managed reasonably well. Understanding Media lacks the flow of the realist novel, but it surely packs the sound bite–driven punch of televisual messages. As with television, Understanding Media gives its reader scant opportunity to ponder the provenance of its prophetic revelations.
  255. ==========
  256. Mullen, McLuhan’s Understanding Media (Unknown)
  257. - Your Highlight on Location 35-40 | Added on Thursday, January 28, 2016 2:32:24 PM
  258.  
  259. Indeed, McLuhan’s writing does seem to target a postmodern reader, one steeped in the disconnected messages of electronic media. As someone schooled in linear prose, perhaps even McLuhan would have had trouble comprehending his own sentences—had he not written them, of course. But his descendants have managed reasonably well. Understanding Media lacks the flow of the realist novel, but it surely packs the sound bite–driven punch of televisual messages. As with television, Understanding Media gives its reader scant opportunity to ponder the provenance of its prophetic revelations.
  260. ==========
  261. Mullen, McLuhan’s Understanding Media (Unknown)
  262. - Your Note on Location 73 | Added on Thursday, January 28, 2016 2:34:20 PM
  263.  
  264. contraire a raymonds
  265. ==========
  266. Mullen, McLuhan’s Understanding Media (Unknown)
  267. - Your Highlight on Location 72-73 | Added on Thursday, January 28, 2016 2:34:20 PM
  268.  
  269. He wishes to argue, rather, that as humans bring new media technologies into our lives, the ways we adapt those technologies to our needs help shape future practices and needs.
  270. ==========
  271. Mullen, McLuhan’s Understanding Media (Unknown)
  272. - Your Note on Location 120 | Added on Thursday, January 28, 2016 2:42:10 PM
  273.  
  274. marche pu avec internet parce que pub personalise
  275. ==========
  276. Mullen, McLuhan’s Understanding Media (Unknown)
  277. - Your Highlight on Location 119-121 | Added on Thursday, January 28, 2016 2:42:10 PM
  278.  
  279. “Ideally, advertising aims at the goal of a programmed harmony among all human impulses and aspirations and endeavors. Using handicraft methods, it stretches out toward the ultimate electronic goal of a collective consciousness.
  280. ==========
  281. Mullen, McLuhan’s Understanding Media (Unknown)
  282. - Your Highlight on Location 155-156 | Added on Thursday, January 28, 2016 2:47:04 PM
  283.  
  284. understood Understanding Media not as linear text, to be absorbed sequentially, but as a series of aphorisms, to be sampled more or less at random.
  285. ==========
  286. Man-Computer Symbiosis (J. C. R. Licklider)
  287. - Your Highlight on Location 44-45 | Added on Friday, February 5, 2016 2:22:18 PM
  288.  
  289. by conceding dominance in the distant future of cerebration to machines alone. There will nevertheless be a fairly long interim during which the main intellectual advances will be made by men and computers working together in intimate association.
  290. ==========
  291. Man-Computer Symbiosis (J. C. R. Licklider)
  292. - Your Highlight on Location 48-49 | Added on Friday, February 5, 2016 2:22:48 PM
  293.  
  294. but those years should be intellectually the most creative and exciting in the history of mankind.
  295. ==========
  296. Man-Computer Symbiosis (J. C. R. Licklider)
  297. - Your Highlight on Location 144-145 | Added on Friday, February 5, 2016 4:01:52 PM
  298.  
  299. we run into billions of bits and, unless things change markedly, billions of dollars.
  300. ==========
  301. Man-Computer Symbiosis (J. C. R. Licklider)
  302. - Your Highlight on Location 145-146 | Added on Friday, February 5, 2016 4:01:59 PM
  303.  
  304. The first thing to face is that we shall not store all the technical and scientific papers in computer memory.
  305. ==========
  306. Man-Computer Symbiosis (J. C. R. Licklider)
  307. - Your Highlight on Location 148-149 | Added on Friday, February 5, 2016 4:02:14 PM
  308.  
  309. (Hopefully, the computer will expedite the finding, delivering, and returning of books.)
  310. ==========
  311. Man-Computer Symbiosis (J. C. R. Licklider)
  312. - Your Note on Location 197 | Added on Friday, February 5, 2016 4:08:58 PM
  313.  
  314. google maps, computer thinking into humans activities, symbiosis
  315.  
  316. ==========
  317. Man-Computer Symbiosis (J. C. R. Licklider)
  318. - Your Highlight on Location 196-197 | Added on Friday, February 5, 2016 4:08:58 PM
  319.  
  320. Who, for example, would depart from Boston for Los Angeles with a detailed specification of the route?
  321. ==========
  322. Man-Computer Symbiosis (J. C. R. Licklider)
  323. - Your Note on Location 249 | Added on Friday, February 5, 2016 4:16:20 PM
  324.  
  325. siri
  326. ==========
  327. Man-Computer Symbiosis (J. C. R. Licklider)
  328. - Your Highlight on Location 248-249 | Added on Friday, February 5, 2016 4:16:20 PM
  329.  
  330. Yet there is continuing interest in the idea of talking with computing machines.
  331. ==========
  332. Man-Computer Symbiosis (J. C. R. Licklider)
  333. - Your Note on Location 272 | Added on Friday, February 5, 2016 4:18:45 PM
  334.  
  335. syllables vs words
  336. ==========
  337. Man-Computer Symbiosis (J. C. R. Licklider)
  338. - Your Highlight on Location 270-272 | Added on Friday, February 5, 2016 4:18:45 PM
  339.  
  340. For real-time interaction on a truly symbiotic level, however, a vocabulary of about 2000 words, e.g., 1000 words of something like basic English and 1000 technical terms, would probably be required.
  341. ==========
  342. Man-Computer Symbiosis (J. C. R. Licklider)
  343. - Your Note on Location 221 | Added on Saturday, February 6, 2016 10:31:19 PM
  344.  
  345. not sure
  346. ==========
  347. Man-Computer Symbiosis (J. C. R. Licklider)
  348. - Your Highlight on Location 220-221 | Added on Saturday, February 6, 2016 10:31:19 PM
  349.  
  350. for effective man-computer interaction, it will be necessary for the man and the computer to draw graphs and pictures and to write notes and equations to each other on the same display surface.
  351. ==========
  352. Man-Computer Symbiosis (J. C. R. Licklider)
  353. - Your Note on Location 186 | Added on Monday, February 8, 2016 12:27:59 PM
  354.  
  355. js
  356. ==========
  357. Man-Computer Symbiosis (J. C. R. Licklider)
  358. - Your Highlight on Location 186-186 | Added on Monday, February 8, 2016 12:27:59 PM
  359.  
  360. through interpretive programs
  361. ==========
  362. Man-Computer Symbiosis (J. C. R. Licklider)
  363. - Your Note on Location 211 | Added on Monday, February 8, 2016 12:32:18 PM
  364.  
  365. changed faster
  366. ==========
  367. Man-Computer Symbiosis (J. C. R. Licklider)
  368. - Your Highlight on Location 210-211 | Added on Monday, February 8, 2016 12:32:18 PM
  369.  
  370. The department of data processing that seems least advanced,
  371. ==========
  372. Man-Computer Symbiosis (J. C. R. Licklider)
  373. - Your Note on Location 211 | Added on Monday, February 8, 2016 12:32:32 PM
  374.  
  375. changed faster
  376. ==========
  377. Man-Computer Symbiosis (J. C. R. Licklider)
  378. - Your Note on Location 184 | Added on Monday, February 8, 2016 12:34:54 PM
  379.  
  380. men = goals, comp = course
  381. ==========
  382. Man-Computer Symbiosis (J. C. R. Licklider)
  383. - Your Highlight on Location 184-184 | Added on Monday, February 8, 2016 12:34:54 PM
  384.  
  385. The Language Problem
  386. ==========
  387. Man-Computer Symbiosis (J. C. R. Licklider)
  388. - Your Note on Location 258 | Added on Monday, February 8, 2016 12:39:16 PM
  389.  
  390. speech recognition history
  391. ==========
  392. Man-Computer Symbiosis (J. C. R. Licklider)
  393. - Your Highlight on Location 258-258 | Added on Monday, February 8, 2016 12:39:16 PM
  394.  
  395. likely to develop.
  396. ==========
  397. Man-Computer Symbiosis (J. C. R. Licklider)
  398. - Your Note on Location 283 | Added on Monday, February 8, 2016 12:41:47 PM
  399.  
  400. yeah... right
  401. ==========
  402. Man-Computer Symbiosis (J. C. R. Licklider)
  403. - Your Highlight on Location 283-283 | Added on Monday, February 8, 2016 12:41:47 PM
  404.  
  405. down to perhaps five years,
  406. ==========
  407. Computing Machinery and Intelligence (Alan Turing)
  408. - Your Note on Location 476 | Added on Sunday, February 28, 2016 1:51:18 PM
  409.  
  410. kinda stupid
  411. ==========
  412. Computing Machinery and Intelligence (Alan Turing)
  413. - Your Highlight on Location 475-476 | Added on Sunday, February 28, 2016 1:51:18 PM
  414.  
  415. Our hope is that there is so little mechanism in the child brain that something like it can be easily programmed. The amount of work in the education we can assume, as a first approximation, to be much the same as for the human child.
  416. ==========
  417. Computing Machinery and Intelligence (Alan Turing)
  418. - Your Note on Location 486 | Added on Sunday, February 28, 2016 1:53:55 PM
  419.  
  420. viruses
  421. ==========
  422. Computing Machinery and Intelligence (Alan Turing)
  423. - Your Highlight on Location 485-486 | Added on Sunday, February 28, 2016 1:53:55 PM
  424.  
  425. If he can trace a cause for some weakness he can probably think of the kind of mutation which will improve it.
  426. ==========
  427. Video Games and Computer Holding Power (Sherry Turkle)
  428. - Your Highlight on Location 53-53 | Added on Friday, March 18, 2016 9:28:25 PM
  429.  
  430. or, as children usually express it, “You are Pac-Man.”
  431. ==========
  432. Video Games and Computer Holding Power (Sherry Turkle)
  433. - Your Highlight on Location 92-93 | Added on Friday, March 18, 2016 9:32:27 PM
  434.  
  435. here all of the action is in a programmed world, an abstract space.
  436. ==========
  437. Video Games and Computer Holding Power (Sherry Turkle)
  438. - Your Highlight on Location 317-318 | Added on Saturday, March 19, 2016 4:21:57 PM
  439.  
  440. Video games encourage identification with characters— from science fiction, or sports, or war stories—but leave little room for playing their roles.
  441. ==========
  442. Video Games and Computer Holding Power (Sherry Turkle)
  443. - Your Highlight on Location 426-427 | Added on Saturday, March 19, 2016 4:22:27 PM
  444.  
  445. Some use their bodies as a material much as Jimmy uses his game, “playing with” their appearance, their dress, and their weight.
  446. ==========
  447. Video Games and Computer Holding Power (Sherry Turkle)
  448. - Your Highlight on Location 468-469 | Added on Saturday, March 19, 2016 4:22:47 PM
  449.  
  450. David likes video games when they can serve as the perfect mirror, the perfect measure of who he is.
  451. ==========
  452. Video Games and Computer Holding Power (Sherry Turkle)
  453. - Your Highlight on Location 44-44 | Added on Sunday, March 20, 2016 8:21:26 PM
  454.  
  455. a world that you enter, and, to a certain extent, they are something you “become.”
  456. ==========
  457. The Media Equation: How People Treat Computers, Television, and New Media Like Real People and Places (Byron Reeves, Clifford Nass)
  458. - Your Highlight on Location 30-31 | Added on Sunday, March 20, 2016 10:41:44 PM
  459.  
  460. ease with which humans automatically identify personality.
  461. ==========
  462. p174-hollan (thomas.gauthier.c@gmail.com)
  463. - Your Highlight on Location 305-307 | Added on Sunday, April 3, 2016 5:22:46 PM
  464.  
  465. Such data, in our view, should belong to users, and it should be their decision what is recorded and how it might be shared. Encryption should be used to prevent data from being obtained without the owner’s permission.
  466. ==========
  467. Cromwell - Préface (Victor Hugo)
  468. - Your Highlight on Location 316-316 | Added on Sunday, September 18, 2016 2:38:27 PM
  469.  
  470. Pour
  471. ==========
  472. Cromwell - Préface (Victor Hugo)
  473. - Your Highlight on Location 480-480 | Added on Sunday, September 18, 2016 2:41:57 PM
  474.  
  475. On
  476. ==========
  477. Cromwell - Préface (Victor Hugo)
  478. - Your Note on Location 437 | Added on Sunday, September 18, 2016 2:43:10 PM
  479.  
  480. stop
  481. ==========
  482. Cromwell - Préface (Victor Hugo)
  483. - Your Highlight on Location 437-437 | Added on Sunday, September 18, 2016 2:43:10 PM
  484.  
  485. Mais,
  486. ==========
  487. Cromwell - Préface (Victor Hugo)
  488. - Your Note on Location 708 | Added on Sunday, September 18, 2016 3:25:56 PM
  489.  
  490. stop
  491. ==========
  492. Cromwell - Préface (Victor Hugo)
  493. - Your Highlight on Location 708-708 | Added on Sunday, September 18, 2016 3:25:56 PM
  494.  
  495. non une poésie.
  496. ==========
  497. Cromwell - Préface (Victor Hugo)
  498. - Your Highlight on Location 833-833 | Added on Sunday, September 18, 2016 3:26:57 PM
  499.  
  500. Voici
  501. ==========
  502. Six Characters in Search of an Author (Pirandello, Luigi, 1867-1936)
  503. - Your Highlight on Location 682-683 | Added on Friday, October 14, 2016 7:54:11 AM
  504.  
  505. It’s better to imagine it though, because if they fix it up for you, it’ll only be painted cardboard, painted cardboard for the rockery, the water, the plants.
  506. ==========
  507. Pirandello's Theatre of Living Masks: New Translations of Six Major Plays (Lorenzo Da Ponte Italian Library) (Mariani, Umberto;Mariani, Alice Gladstone)
  508. - Your Highlight on Location 3371-3371 | Added on Saturday, October 15, 2016 12:46:00 PM
  509.  
  510. DIRECTOR.
  511. ==========
  512. Pirandello's Theatre of Living Masks: New Translations of Six Major Plays (Lorenzo Da Ponte Italian Library) (Mariani, Umberto;Mariani, Alice Gladstone)
  513. - Your Highlight on Location 3413-3413 | Added on Saturday, October 15, 2016 12:47:21 PM
  514.  
  515. isn’t there?
  516. ==========
  517. Pirandello's Theatre of Living Masks: New Translations of Six Major Plays (Lorenzo Da Ponte Italian Library) (Mariani, Umberto;Mariani, Alice Gladstone)
  518. - Your Highlight on Location 4158-4159 | Added on Saturday, October 15, 2016 12:48:20 PM
  519.  
  520. DIRECTOR.
  521. ==========
  522. Media, Technology, and Performance (thomas.gauthier.c@gmail.com)
  523. - Your Highlight on Location 26-27 | Added on Sunday, October 23, 2016 10:08:04 AM
  524.  
  525. Digital Performance
  526. ==========
  527. Media, Technology, and Performance (thomas.gauthier.c@gmail.com)
  528. - Your Highlight on Location 31-32 | Added on Sunday, October 23, 2016 10:11:45 AM
  529.  
  530. multimedia performance, intermedial performance, performance and technology, cyborg theatre, digital performance, virtual theatre, and new media dramaturgy.
  531. ==========
  532. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  533. - Your Highlight on Location 275-275 | Added on Sunday, October 23, 2016 2:47:57 PM
  534.  
  535. total elimination of the human actor–performer
  536. ==========
  537. Racing the Beam (Nick Montfort;Ian Bogost)
  538. - Your Highlight on Location 1957-1957 | Added on Wednesday, October 26, 2016 1:42:52 PM
  539.  
  540. All of these games clearly take advantage of the line-by-line nature of VCS graphics.
  541. ==========
  542. Racing the Beam (Nick Montfort;Ian Bogost)
  543. - Your Highlight on Location 2021-2022 | Added on Wednesday, October 26, 2016 1:58:27 PM
  544.  
  545. The choice of the scorpion and cobra obstacles in Pitfall! evolved from a similar process, motivated more by how convincingly these opponents could be rendered than by any prior interest in those creatures.
  546. ==========
  547. Racing the Beam (Nick Montfort;Ian Bogost)
  548. - Your Note on Location 2127 | Added on Wednesday, October 26, 2016 2:10:14 PM
  549.  
  550. only two buttons
  551. ==========
  552. Racing the Beam (Nick Montfort;Ian Bogost)
  553. - Your Highlight on Location 2127-2127 | Added on Wednesday, October 26, 2016 2:10:14 PM
  554.  
  555. (run, jump)
  556. ==========
  557. Racing the Beam (Nick Montfort;Ian Bogost)
  558. - Your Highlight on Location 494-496 | Added on Wednesday, October 26, 2016 2:32:07 PM
  559.  
  560. When an earlier game is the basis for a VCS game, it can almost never be reproduced on the VCS platform with perfect fidelity. The platforms are not the same computationally, for one thing, which is particularly important. The contexts of home play are not the same, either.
  561. ==========
  562. Racing the Beam (Nick Montfort;Ian Bogost)
  563. - Your Highlight on Location 542-543 | Added on Wednesday, October 26, 2016 4:22:37 PM
  564.  
  565. Bill Gates may have thought that 640K should be enough for anybody; Mayer and Milner figured that 4K would do.
  566. ==========
  567. Racing the Beam (Nick Montfort;Ian Bogost)
  568. - Your Highlight on Location 583-584 | Added on Wednesday, October 26, 2016 4:27:32 PM
  569.  
  570. the television picture is a comb of horizontal lines, each section rendered on CRT phosphor with the color set at the last alteration of the TIA’s registers.
  571. ==========
  572. Racing the Beam (Nick Montfort;Ian Bogost)
  573. - Your Highlight on Location 602-602 | Added on Wednesday, October 26, 2016 4:30:12 PM
  574.  
  575. the "pixel" defined by these is rectangular, not square. This shape became a design feature;
  576. ==========
  577. Racing the Beam (Nick Montfort;Ian Bogost)
  578. - Your Highlight on Location 733-733 | Added on Wednesday, October 26, 2016 5:17:23 PM
  579.  
  580. However, to do so would have required changes in the game’s logic, not just in the data settings that map variation to sprite appearance.
  581. ==========
  582. Racing the Beam (Nick Montfort;Ian Bogost)
  583. - Your Highlight on Location 931-932 | Added on Thursday, October 27, 2016 4:40:07 PM
  584.  
  585. A clear view of the horizontal symmetry that is usually seen in VCS playfield graphics—in this case, from Combat.
  586. ==========
  587. Racing the Beam (Nick Montfort;Ian Bogost)
  588. - Your Highlight on Location 996-996 | Added on Thursday, October 27, 2016 4:40:33 PM
  589.  
  590. This means that the hardware is set up for horizontal wraparound,
  591. ==========
  592. Racing the Beam (Nick Montfort;Ian Bogost)
  593. - Your Highlight on Location 1032-1033 | Added on Thursday, October 27, 2016 4:41:08 PM
  594.  
  595. objects—two sprites, two missiles, and one ball. The Atari VCS was engineered with Pong and Tank in mind,
  596. ==========
  597. Racing the Beam (Nick Montfort;Ian Bogost)
  598. - Your Highlight on Location 1052-1052 | Added on Thursday, October 27, 2016 4:41:32 PM
  599.  
  600. in new ways, something that produces interesting results when combined with creative goals.
  601. ==========
  602. Racing the Beam (Nick Montfort;Ian Bogost)
  603. - Your Highlight on Location 1094-1094 | Added on Thursday, October 27, 2016 4:42:28 PM
  604.  
  605. The shapes of objects were not the only thing motivated by technical itricnacies.
  606. ==========
  607. Multimedia Performance (Scheer, Edward; Klich, Rosemary)
  608. - Your Highlight on Location 1745-1746 | Added on Saturday, November 26, 2016 10:12:03 PM
  609.  
  610. the subsequent discussion is confined to the context of highly technological Western society.
  611. ==========
  612. Multimedia Performance (Scheer, Edward; Klich, Rosemary)
  613. - Your Highlight on Location 1825-1826 | Added on Saturday, November 26, 2016 10:33:43 PM
  614.  
  615. both suspicious of the idealism and commercialisation in which it is embedded and at the same time affirming that which is real and functional as our culture begins to inhabit cyberspace:
  616. ==========
  617. Multimedia Performance (Scheer, Edward; Klich, Rosemary)
  618. - Your Highlight on Location 1869-1870 | Added on Saturday, November 26, 2016 10:41:12 PM
  619.  
  620. by incorporating the recorded aspects into the performance, the nature of theatre not as a ‘medium’, but as a ‘hypermedium’ was revealed.
  621. ==========
  622. Multimedia Performance (Scheer, Edward; Klich, Rosemary)
  623. - Your Highlight on Location 2025-2025 | Added on Saturday, November 26, 2016 11:15:29 PM
  624.  
  625. the place of the body in mediated culture.
  626. ==========
  627. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  628. - Your Highlight on Location 386-386 | Added on Sunday, November 27, 2016 1:37:17 PM
  629.  
  630. Thus, in Tatlin’s work, construction and texture were set into motion through the dynamic medium of light.
  631. ==========
  632. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  633. - Your Highlight on Location 422-423 | Added on Sunday, November 27, 2016 1:41:12 PM
  634.  
  635. Not unlike the new media’s shifting interest from the screen to physical, media-augmented space, the stage too offered the Constructivist’s machine imagination the possibility to explode the surface of the easel and the painting’s frame.
  636. ==========
  637. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  638. - Your Highlight on Location 427-427 | Added on Sunday, November 27, 2016 1:41:34 PM
  639.  
  640. nakedly exposing all technological mechanisms to the audience.
  641. ==========
  642. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  643. - Your Highlight on Location 433-433 | Added on Sunday, November 27, 2016 1:42:09 PM
  644.  
  645. oscillating position between observer and performer.
  646. ==========
  647. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  648. - Your Highlight on Location 444-445 | Added on Sunday, November 27, 2016 1:43:36 PM
  649.  
  650. lighting and fluid, dynamic staging that would result in what he called a cinefication of the theater.
  651. ==========
  652. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  653. - Your Highlight on Location 492-493 | Added on Sunday, November 27, 2016 1:47:25 PM
  654.  
  655. Biomechanics enabled Meyerhold’s actors to use Popova’s installation as a kind of performance instrument—what
  656. ==========
  657. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  658. - Your Highlight on Location 496-496 | Added on Sunday, November 27, 2016 1:47:55 PM
  659.  
  660. “workplace for the actors”
  661. ==========
  662. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  663. - Your Highlight on Location 497-497 | Added on Sunday, November 27, 2016 1:51:51 PM
  664.  
  665. the painter and designer were forever banished from the theater, with the engineer and the constructor taking their place.
  666. ==========
  667. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  668. - Your Note on Location 497 | Added on Sunday, November 27, 2016 1:52:43 PM
  669.  
  670. programmers and technicians?
  671. ==========
  672. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  673. - Your Highlight on Location 530-530 | Added on Sunday, November 27, 2016 1:54:18 PM
  674.  
  675. fusion of science, technology, and the machine.
  676. ==========
  677. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  678. - Your Note on Location 531 | Added on Sunday, November 27, 2016 1:54:52 PM
  679.  
  680. early internet tout le monde est egal
  681. ==========
  682. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  683. - Your Highlight on Location 530-531 | Added on Sunday, November 27, 2016 1:54:52 PM
  684.  
  685. utopian, potentially democratic possibilities of a new kind of human molded by socialism
  686. ==========
  687. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  688. - Your Highlight on Location 570-572 | Added on Sunday, November 27, 2016 1:57:38 PM
  689.  
  690. machine-like bodies and the environment itself would be conducted from a central control table in the hands of a master director or “show creator” who through electromechanical means orchestrated not only the direction of movement but also sound, image, and light.
  691. ==========
  692. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  693. - Your Highlight on Location 578-579 | Added on Sunday, November 27, 2016 1:58:03 PM
  694.  
  695. conceptual groundwork for thinking about the mapping or transduction of input from one media domain (e.g., voice) into another (light).
  696. ==========
  697. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  698. - Your Highlight on Location 644-645 | Added on Sunday, November 27, 2016 2:07:19 PM
  699.  
  700. which stage and spectator disappear in a blur of technological wizardry.
  701. ==========
  702. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  703. - Your Highlight on Location 686-688 | Added on Sunday, November 27, 2016 3:02:13 PM
  704.  
  705. In contrast to the call for electrification in the face of industrial age modernization, Expressionism was resolutely opposed to contemporary technology’s encroachment into cultural forms.
  706. ==========
  707. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  708. - Your Note on Location 819 | Added on Sunday, November 27, 2016 3:26:10 PM
  709.  
  710. projection surpasse ke static backdrop
  711. ==========
  712. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  713. - Your Highlight on Location 818-819 | Added on Sunday, November 27, 2016 3:26:11 PM
  714.  
  715. “No more stage painting! … The stage,” wrote Kiesler, “is not a buttonhole that should be decorated.
  716. ==========
  717. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  718. - Your Highlight on Location 865-867 | Added on Sunday, November 27, 2016 3:29:16 PM
  719.  
  720. As increased technologization would bring aesthetic practice in line with the realms of quotidian life, designer–artists like Kiesler saw a moral and ethical imperative intertwined with design, particularly in formulating new ways by which aesthetic practice could deal with real-life problems.
  721. ==========
  722. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  723. - Your Highlight on Location 891-892 | Added on Sunday, November 27, 2016 3:31:46 PM
  724.  
  725. achievement was Piscator’s intersplicing of filmic sequences choreographed with live action, a first in the history of live performance.
  726. ==========
  727. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  728. - Your Highlight on Location 904-904 | Added on Sunday, November 27, 2016 3:33:39 PM
  729.  
  730. “the theater’s fourth dimension
  731. ==========
  732. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  733. - Your Highlight on Location 907-908 | Added on Sunday, November 27, 2016 3:33:57 PM
  734.  
  735. technical standpoint but also a dramaturgical one—a
  736. ==========
  737. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  738. - Your Highlight on Location 936-938 | Added on Sunday, November 27, 2016 3:36:21 PM
  739.  
  740. Accused of favoring technological apparatuses over dramatic storytelling, Piscator continually maintained that technology was not an end but rather an instrument to promote a revolutionary political agenda through a new kind of dramaturgy.
  741. ==========
  742. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  743. - Your Highlight on Location 945-947 | Added on Sunday, November 27, 2016 3:37:07 PM
  744.  
  745. technology was as an instrument used to enlarge the sense of historical events themselves—to construct a dialectical relationship with an audience in order to catalyze a Marxist political revolution.
  746. ==========
  747. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  748. - Your Highlight on Location 970-971 | Added on Sunday, November 27, 2016 3:39:40 PM
  749.  
  750. [O]f course we had to make use of complicated machinery if we were to show modern processes on the stage”
  751. ==========
  752. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  753. - Your Highlight on Location 985-986 | Added on Sunday, November 27, 2016 3:41:21 PM
  754.  
  755. for the very immersion of the spectator in a torrent of sensations would drastically mitigate her ability to take a critical stance to what she saw.
  756. ==========
  757. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  758. - Your Note on Location 1026 | Added on Sunday, November 27, 2016 3:45:02 PM
  759.  
  760. digital creatw new space
  761. ==========
  762. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  763. - Your Highlight on Location 1025-1026 | Added on Sunday, November 27, 2016 3:45:02 PM
  764.  
  765. The book culminated in the exploration of space as a dynamic material through built (i.e., architectural) form.
  766. ==========
  767. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  768. - Your Highlight on Location 1149-1150 | Added on Sunday, November 27, 2016 3:53:32 PM
  769.  
  770. “accumulate a collection of fanciful technical apparatus and gimmickry,” but rather a tool for “the most fantastic experimental creations of a stage director of the future”
  771. ==========
  772. Space 1: Scene/Machine (1876–1933) - MIT Press Scholarship (MIT Press Scholarship)
  773. - Your Highlight on Location 1198-1199 | Added on Sunday, November 27, 2016 3:57:59 PM
  774.  
  775. tried to mechanize the stage as the rehearsal room for a new kind of human being inhabiting a technologized environment,
  776. ==========
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