Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Skene

434 views

Published on

SLSA 2012 and UWA 2013.

Published in: Education
  • Be the first to comment

  • Be the first to like this

Skene

  1. 1. Helen J. Burgess burgess@umbc.edu
  2. 2. (Edgar Barrier ofMercury Theater, thevoice of the Polyrhetor.Who wouldn’t trust avoice that looked likethat?)
  3. 3. Artist’s model of a “Turing machine,” Mike Davey
  4. 4.  Enhanced iBook Each chapter contains four threads:  Context  Chronotope  Specters  Machines Read by chapter or by individual thread
  5. 5. Context Specters-- documents and film showing the -- model of the Polyrhetor, soundworld’s fair and futurama exhibits recordings-- 3D printable model cars from the -- chair and speaker to simulate the oralexhibit experienceChronotope Machine-- maps and diorama models of the -- electronic workbench for assemblingspaces of the fair different interactive devices (eg makey-- Google API maps of the interstate makey)system over time
  6. 6.  Wulf comes from an novel called “Wulfsyarn” by Phillip Mann featuring a machinic character called “Wulf the Autoscribe”. Wulf says, about being the narrator of the story: “I too am here, a stranger at the crossroads, waiting in the moonlight, ready to give directions and guide you.” (loc 59)
  7. 7.  “Presumably the child brain is something like a notebook as one buys it from the stationers. Rather little mechanism, and lots of blank sheets. (Mechanism and writing are from our point of view almost synonymous.)” [Turing, A.M. (1950). Computing machinery and intelligence. Mind, 59, 433- 460.]
  8. 8.  “Whereas designers typically use form, color and materials to make an object express some human element (a drill handle may have a pattern that looks aggressive, a toaster might have knobs and dials that seem friendly), we’re entering a time when sound, light and movement are equally important parts of the creative palette. Everyday objects whose expressive elements have long been static will now glow, sing, vibrate and change position at the drop of a hat.” (NYT, Carla Diana, “Talking, Walking Objects,” Jan. 26 2013.)

×