Cyberfiction After the Future

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Manovisch says.

Cyberfiction After the Future | SpringerLink

Dynamic windows, pull-down menus, and HTML tables allow the user to work simultaneously with a practically unlimited amount of data on the limited surface of a screen. I can't see anything and wait. I can't see it and wait. I can't see it and ask: where is it? I don't see Martina with Gertrud and Tango as peepshow and Oliver in a blank. I don't see closure in Cyberfiction and Beat in rgb.

All I hear is "six is a good number" and I keep counting them one after the other.

Bibliographic Information

Let's talk about multitasking, says Lev. Multitasking is collage gone binary. Software is avant-garde.


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Software is the programme version of the old avant-garde strategy. I say I see just one after the other. I call it one after the other. I'm looking for avant-garde strategies. Orientation 1. Multitasking means that several different programs can be activated simultaneously. Since a computer usually has only one CPU, alternating timeslots are assigned to each process in turn which then has access to the entire system for this time.

Orientation 2 Multitasking is not something the human brain is naturally capable of, if what is meant is carrying out two or more tasks with the same degree of attention and efficiency, researchers tell us. It is only through switching the window of attention from one task to the other at rapid intervals that a comparative quality in multitasking is possible for conscious cognitive processes.

There you have it, I say. The computer like the human-being: the one is the same as the other. One after the other. I'm looking for the avant-garde. Orientation 3. Avant-garde is what you call all the artistic currents of the 2Oth century, which were "in advance" of all genres, and in the process of overcoming these genres, they proclaimed an irreversible break with out-dated artistic forms.


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Cyberfiction: After the Future explores a world where cybernetics sets the terms for life and culture - our world of ubiquitous info-tech, instantaneous capital flows, and immanent catastrophe. Economics fuses with technology to create a new kind of speculative fiction: cyberfiction. Paul Youngquist reveals the ways in which J. Ballard, Philip K. Dick, Samuel Delany, Octavia Butler, and William Gibson, among others, map a territory where information reigns supreme and the future is becoming a thing of the past.

What if the essential discourse of science fiction is less apparent than commonly supposed? What if, beyond their overt extrapolations, our most valuable SF authors have been concomitantly conducting Gedanken experiments designed to illuminate capitalism s discontents, the semiotics of eroticism, the limits of consensus reality, the mutability of the body, and the intricate web of power relationships that constitute postindustrial society?

Youngquist s insightful and philosophically grounded answers will beguile students of Mary Shelley, Alfred Bester, J.

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Dick, Samuel R. Delany, William Gibson, Octavia Butler, and a dozen other supreme practitioners of speculative literature. Convert currency.

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Cyberfiction: After the Future

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