Controversial at its heart, yet refreshingly provocative, this book challenges readers to consider life without a destination and discovery without a compass.
Kenneth O. Stanley and coauthor Joel Lehman are both experienced artificial intelligence researchers whose scientific discoveries led to the insights in "Why Greatness Cannot Be Planned." Stanley, an associate professor at the University of Central Florida, has published over 80 peer-reviewed articles (10 of which have won best paper awards) and is regularly invited to speak at venues across the world. Lehman is currently a post-doctoral fellow at the University of Texas at Austin. In August 2015 he begins as an assistant professor at the IT University of Copenhagen.
Drawing from a broad array of archival materials, Krajewski reveals how expanding commercial relations, growing international scientific agreements, and an imperial monopolization of the political realm spawned ambitious global projects. World Projects contends that the late nineteenth-century networks of cables, routes, and shipping lines—of junctions, crossovers, and transfers—merged into a “multimedia system” that was a prerequisite for conceiving a world project. As examples, he presents the work of three big-thinking “plansmiths,” each of whose work mediates between two discursive fields: the chemist and natural philosopher Wilhelm Ostwald, who spent years promoting a “world auxiliary language” and a world currency; the self-taught “engineer” and self-anointed authority on science and technology Franz Maria Feldhaus, who labored to produce an all-encompassing “world history of technology”; and Walther Rathenau, who put economics to the service of politics and quickly transformed the German economy.
With a keen eye for the outlandish as well as the outsized, Krajewski shows how media, technological structures, and naked human ambition paved the way for global-scale ventures that together created the first “world wide web.”
Jeff Scheible argues that pronounced shifts in textual practices have occurred with the growing overlap of crucial spheres of language and visual culture, that is, as screen technologies have proliferated and come to form the interface of our everyday existence. Specifically, he demonstrates that punctuation and typographical marks have provided us with a rare opportunity to harness these shifts and make sense of our new media environments. He does so through key films and media phenomena of the twenty-first century, from the popular and familiar to the avant-garde and the obscure: the mass profile-picture change on Facebook to equal signs (by 2.7 million users on a single day in 2013, signaling support for gay marriage); the widely viewed hashtag skit in Jimmy Fallon’s Late Night show; Spike Jonze’s Adaptation; Miranda July’s Me and You and Everyone We Know; Ryan Trecartin’s Comma Boat; and more.
Extending the dialogue about media and culture in the digital age in original directions, Digital Shift is a uniquely cross-disciplinary work that reveals the impact of punctuation on the politics of visual culture and everyday life in the digital age.