Page 152 - Cyberculture and New Media

Nicole Anderson and Nathaniel Stern 143
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have gone from the most basic form of interactivity, interruption to selection
… to the highest form of interactivity, responsiveness …” (Ibid, p. 290; her
emphasis).
40
Brian Eno in K Kelly, ‘Gossip is Philosophy: An Interview with Brian
Eno,’ Wired, Volume 3 Number 5, May, 1995
<http://www.wired.com/wired/3.05/eno.html?pg=4&topic= > (viewed
January, 2002).
41
M Morse, Virtualities: Television, Media Art, and Cyberculture, Indiana
University Press, Bloomington, Indianapolis, 1998, p. 16.
42
K Feingold, ‘The Interactive Art Gambit’ in M Rieser and A Zapp (eds),
The New Screen Media: Cinema/Art/Narrative, BFI Publishing, London,
2002), p. 127.
43
P Levy, ‘The Art of Cyberspace’ in T Drucker (ed), Electronic Culture:
Technology and Visual Representation, Aperture Press, London, 1996, p.
366.
44
Morse, Virtualities, p. 34. It is important to remember that interactive
computing more broadly has many downsides, as Lev Manovich clearly
articulates in a recent chapter entitled “The Myth of Interactivity” (The
Language of New Media, MIT Press, Boston, 2001). Here, interactivity (on,
for example, the World Wide Web), at worst becomes a glorified delivery
system for commodities, or at best allows us to be swept away by someone
else’s vision. Alongside these downsides, Manovich warns that too much
facile interactivity inculcates a mistaken sense in the user that the world is
fragmented, conditional and subject to their control. Jean Baudrillard too
rings bells of warning with regards to the increase use of interactivity: “… we
are threatened on all sides by interactivity … distance is everywhere
abolished” and so-called “tactile interactivity” (‘Violence of the Virtual and
Integral Reality,’ International Journal of Baudrillard Studies, 2005
<http://www.ubishops.ca/baudrillardstudies/vol2_2/baudrillard.htm> (viewed
January 27, 2006), p. 7) in which we “become actors” provides a closed
feedback loop that destroys agency and “strangerness” (Ibid, p. 15).
45
Ridgway, forthcoming 2008.
46
Ibid, from her footnote: See for example, S Helmling, ‘Constellation and
Critique: Adorno’s Constellation, Benjamin’s Dialectical Image,’
Postmodern Culture, Volume 14 Number 1, 2003
<http://www.aith.virginia/edu/pmc> (viewed February 4, 2004) and L
Lawlor, Imagination and Chance: The Difference Between the Thought of
Ricoeur and Derrida, State University of New York Press, New York, 1992.
47
D Rokeby, ‘David Rokeby - Media Installation Artist,’ 2002
<http://homepage.mac.com/davidrokeby/home.html> (viewed January 16,
2006).