27.12.12
Laura Cull - Theatres of Immanence. Deleuze and the ethics of performance - Palgrave Macmillan, Uk, October 2012
Theatres of Immanence: Deleuze and the Ethics of Performance is the first monograph to provide an in-depth study of the implications of Gilles Deleuze's philosophy for theatre and performance. Engaging with a wide range of interdisciplinary practitioners including Goat Island, Butoh, Artaud, John Cage, the Living Theatre, Robert Wilson and Allan Kaprow, as well as with the philosophies of Deleuze and Guattari, Henri Bergson and François Laruelle, the book conceives performance as a way of thinking 'immanence': the open and endlessly creative whole of which all things are a part.
Theatres of Immanence builds upon Deleuze's emphasis on immanence, affect, change and movement to provide new approaches to five key topics in theatre and performance: 1) authorship and collaboration, 2) voice and language, 3) animals in performance, 4) audience participation and 5) time or duration. The book provides an accessible introduction to Deleuze's ideas and draws attention to the ethical dimensions of performance, asking: 'what good is theatre, and particularly immanent theatre, anyway?'
Contents: Immanent Authorship: From the Living Theatre to Cage and Goat Island
Disorganizing Language, Voicing Minority: From Artaud to Carmelo Bene, Robert Wilson & Georges LavaudantImmanent Imitations, Animal Affects: From Hijikata Tatsumi to Marcus Coates
Paying Attention, Participating in the Whole: Allan Kaprow Alongside Lygia Clark
Ethical Durations,Opening to Other Times: Returning to Goat Island with Wilson
In-Conclusion: What 'Good' is Immanent Theatre? Immanence as an Ethico-aesthetic Value
LAURA CULL is Senior Lecturer in Theatre Studies at the University of Surrey, UK. She is editor of Deleuze and Performance(2009) and co-editor with Karoline Gritzner of On Philosophy and Participation (2011) – an issue of the journal Performance Research. She has published chapters on Deleuze and performance in the edited collections Deleuze and Ethics andContemporary French Theatre (both, 2011) and a range of articles on Performance and Philosophy including in Theatre Research International (2009 & 2012). Laura is Secretary of Performance Studies international (PSi) and the founder and Chair of the PSi Performance and Philosophy working group.
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25.12.12
Axel Cherniavsky - Concept et méthode : La conception de la philosophie de Gilles Deleuze - Publications de la Sorbonne, Fr, Novembre 2012
La philosophie est définie par Gilles Deleuze comme une création de concepts. Elle implique l'invention d'une écriture et comporte une part inévitable de fiction. Elle s'apparente ainsi à l'art littéraire et au travail de l'écrivain. Deleuze lui-même revendique cette filiation : " Je ne sais pas si je me considère comme un écrivain en philosophie, déclare-t-il ; je sais que tout grand philosophe est un grand écrivain ". La démarche d'Axel Cherniavsky consiste ici à étudier la conception de la philosophie de Gilles Deleuze sous l'angle de cette question de la mise en oeuvre en la confrontant à la pratiques philosophiques des philosophes comme Hume, Kant, Spinoza ou Bergson qui ont accompagné son parcours et nourri sa réflexion.
§ § §
L’insistance avec laquelle Gilles Deleuze a essayé d’ouvrir la philosophie aux non-philosophes est directe-
ment proportionnelle à la force qu’il a mise à saisir sa singularité. C’est pourquoi sa conception de la philosophie est une des plus précises et systématiques de l’histoire de la discipline. Elle se divise en une théorie des éléments, qui comporte le concept,
le plan d’immanence et les personnages
conceptuels, et en une théorie de la création
qui comprend une théorie de la méthode malgré la méfiance que Deleuze exprimait à
l’égard de cette notion, une histoire de la
philosophie qui lui valut un grand nombre de
reproches, et une conception du discours philosophique, peut-être implicite, certes, mais
non moins consistante.
Concept et méthode se propose de dévelop- per cette conception de la philosophie à partir de la formule que Deleuze a employée pour définir la discipline depuis ses premiers travaux jusqu’aux derniers : « création de concepts ». Elle est elle-même une création conceptuelle, mais qui ne dévoile toute son originalité que si on la replace dans la tradition.
Concept et méthode se propose de dévelop- per cette conception de la philosophie à partir de la formule que Deleuze a employée pour définir la discipline depuis ses premiers travaux jusqu’aux derniers : « création de concepts ». Elle est elle-même une création conceptuelle, mais qui ne dévoile toute son originalité que si on la replace dans la tradition.
Axel Cherniavsky : Docteur en philosophie de l’université Paris 1 Panthéon-Sorbonne et de l’université de Buenos Aires, Axel Cherniavsky est profes- seur de philosophie contemporaine et de métaphysique à la faculté de philosophie de l’université de Buenos Aires. Il est l’auteur de Exprimer l’esprit. Temps et langage chez Bergson (L’Harmattan, 2009).
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Read more on Sorbonne website
23.12.12
The Deleuze Dictionary - Edited by Adrian Parr - Columbia University Press, Usa, 21 nov. 2012 (Paperback)
This dictionary, the first dedicated to the work of Gilles Deleuze, offers an in-depth and lucid introduction to one of the most influential figures in continental philosophy. It defines and contextualizes more than 150 terms relating to Deleuze's philosophy, including “becoming,” “body without organs,” “deterritorialization,” “difference,” “repetition,” and “rhizome.” The entries also explore Deleuze's intellectual influences and the ways in which his ideas have shaped philosophy, feminism, cinema studies, postcolonial theory, geography, and cultural studies. More than just defining and describing specific terms, the dictionary elaborates on Deleuze's ideas to reveal the varied applications of his philosophy.
The contributors, who include some of the most prominent Deleuze scholars, bring their expert knowledge and critical opinion to bear on the entries. Their work provides a range of theoretical, historical, and aesthetic contexts for anyone interested in Deleuzian thought.
Contributors include: Ronald Bogue, University of Georgia; Rosi Braidotti, Utrecht University; Claire Colebrook, University of Edinburgh; Tom Conley, Harvard University; Eugene Holland, Ohio State University; Tamsin Lorraine, Swarthmore College; Paul Patton, University of New South Wales; Kenneth Surin, Duke University; Alberto Toscano, Goldsmiths College
Adrian Parr is professor of contemporary art and design at the Savannah College of Art and Design. She is the coeditor (with Ian Buchanan) of Deleuze and the Contemporary World.
Read more on CUP
22.12.12
In betweens (live vjing for Viral Utopias!)
Francesco Tacchini, Tony Sampson, Nik Vaughn and Tim Vogt perform live for Mute Magazine's party, hosted in London at Limehouse Town Hall on the 16th of November.
More on the performance on Sampson's blog. More on the visuals on Tacchini's blog.
This underneath is not a recording of the night but the full demo of the live performance.
More on the performance on Sampson's blog. More on the visuals on Tacchini's blog.
This underneath is not a recording of the night but the full demo of the live performance.
16.12.12
13.12.12
The Dark Side of the Digital - May 2-4 2013, Milwaukee, Usa
At least since the 1980s, the digital has been the occasion for enthusiastic, often utopian, dreams. In almost every area of human and nonhuman endeavor—finance, consumer culture, technoscience, education, medicine, communication, or the arts—digital technologies have been heralded as revolutionary if not redemptive. But there has always been a dark side to such digital enthusiasm—dark places that scholars of the digital tend to overlook as they illuminate new fields and paths; dark practices that intensify social inequalities and accelerate environmental destruction; and dark politics that often remain obscure to global media users. Devastating labor conditions at factories like FoxConn in China are exacerbated by the appetite for next generation iPhones or iPads. Securitization and data mining are fueled by the eagerness of contemporary media users to share their search patterns, location, and affective labor. And the environmental destruction from disposing the hazardous waste of still functioning but outmoded media devices, or mining for the precious metals that the continued production of these new devices require, is mostly invisible to the consumers of new tablets, mobile phones, HD monitors, and netbooks.
The Dark Side of the Digital seeks proposals for critical, historical, and theoretical papers and creative presentations that shed light on some of the dangerous but overlooked consequences of the 21st-century transformation from mechanical reproduction to digital remediation. We are especially interested in work that pays particular attention to the conjunction of neoliberalism and socially networked digital media, in order to offer some suggestions about how the digital can best move forward in the 21st century. In particular we seek papers and presentations that pursue instances of specific digital technologies in such realms as:
- surveillance and security
- cyberwar and drone warfare
- technoscience
- media, arts, or culture
- communication
- education
- economy and finance
- energy, resource, and waste management
- medicine and healthcare
Proposals should also address strategies for resisting some of the more perfidious elements of the digital, including those that emerge from and must remain in the interstices of the 21st century networked society of control. We invite contributions from practitioners of digital arts and sciences, media theorists and philosophers, historians, cultural critics, sociologists, anthropologists, political scientists, and other analysts of digital technologies and culture.
Please send your abstract (up to 250 words) and a brief (1-page) CV by Friday, January 4 to Richard Grusin, Director, Center for 21st Century Studies, c21@uwm.edu. read more
11.12.12
Joe Hughes - Philosophy After Deleuze - Continuum, Uk, 2012, Deleuze Encounters
Philosophy After Deleuze provides a concise and accessible introduction to Deleuze in relation to philosophical inquiry. The book shows how Deleuze's work contributes to contemporary debates in each of the major areas of philosophy: metaphysics, epistemology, ethics, aesthetics, and political philosophy. Joe Hughes also examines philosophical method from a Deleuzian perpective, aiming to explain and justify Deleuze's often complex and challenging use of language by placing it within a discussion of the ends and methods of philosophical inquiry. He goes on to examine each of the major fields of philosophy through Deleuze's key concepts, showing how Deleuze challenges, articulates and contributes to contemporary debates in a way that has practical applications for anyone doing philosophy today. The book concludes with a chapter on bio-ethics, a field of emerging importance in both philosophy and Deleuze Studies. This is the ideal introduction to Deleuze for any student of philosophy.
'Philosophy After Deleuze is a bold, wide-ranging and informative book. Joe Hughes affirms unequivocally that there is a Deleuzian philosophy and then shows us how to find it despite the many changes in subject matter and vocabulary that characterize Deleuze's work. He traces the outlines of a Deleuzean philosophy across key manifestations in the fields of ontology, ethics, aesthetics and politics. He provides insightful accounts of Deleuze's engagements with familiar interlocutors such as Kant, Spinoza, Bergson and Nietzsche, but also his less studied engagements with figures such as Blanchot, Klossowski and Hume. This book is essential reading for every serious student of Deleuze.' -- Paul Patton, Professor Of Philosophy At The University Of New South Wales, Australia
Introduction; 1. Philosophical Method: Transcendental Empiricism or Intuition as Method; 2. Metaphysics; Ontology: The One and the Multiple; 3. Epistemology: The Production of Truth; 4. Ethics: Counter-actualizing the Event; 5. Aesthetics; 6. Political Philosophy; 7. Bio-Ethics; Further Reading; Index.
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10.12.12
La petite Borde - Auteur : Emmanuelle Guattari - Mercure de France, Fr, 2012
Résumé
Le récit d'une enfance passée à La Borde, célèbre clinique psychiatrique fondée en 1953, par la fille de l'un des médecins qui dirigea cet établissement. Premier roman.
Quatrième de couverture
On était ceux de La Borde. Dans le village de Cour-Cheverny du début des années soixante, la Clinique constituait encore une présence fantastique. La peur des Fous était tangible. Elle nous a sensiblement mis dans le même sac, une bande de drôles de loustics qui laissaient des Fous circuler dans un parc sans barrières et vivaient avec eux. Nous savions que les Pensionnaires étaient des Fous, évidemment ; mais La Borde, avant tout, c'était chez nous. Les Pensionnaires, on disait aussi les Malades, n'étaient ni en plus ni en moins dans notre sentiment. Ils étaient là et nous aussi. Fondé en 1953, l'établissement de La Borde est célèbre dans le monde de la psychiatrie. Cette clinique hors normes entendait rompre avec l'enfermement traditionnel qu'on destinait aux malades mentaux et les faire participer à l'organisation matérielle de la vie collective. Ce lieu doit beaucoup à Félix Guattari, psychanalyste et philosophe qui codirigea la clinique jusqu'en 1992. Quand on habite enfant à La Borde parce que ses parents y travaillent, l'endroit est surtout perçu comme un incroyable lieu de liberté : un château, un parc immense, des forêts et des étangs. À travers une série de vignettes et par touches impressionnistes, Emmanuelle Guattari évoque avec tendresse son enfance passée dans ce lieu extraordinaire où les journées se déroulent sous le signe d'une certaine fantaisie. La petite Borde est le premier roman d'Emmanuelle Guattari.
9.12.12
Emmanuelle Guattari - La petite Borde @ Librairie Mollat, Fr, 2012
Emmanuelle Guattari vous présente son ouvrage "La petite Borde". Parution le 22 août 2012 aux éditions Mercure de France. Rentrée littéraire automne 2012.
3.12.12
2.12.12
Lo stalking democratico by Serena Danna @ Corriere della sera, 2 dicembre 2012
Lo stalking democratico di Serena Danna
Corriere della sera, 2 dicembre 2012
Harper Reed è la mente hi-tek di Obama. Qui racconta come ha stanato gli elettori USA.
Tra le foto che circolano in Rete di Harper Reed — la mente tecnologica della campagna elettorale di Barack Obama — ce n’è una capace di spiegare la vittoria del presidente più delle brillanti analisi politiche. Raffigura il neoeletto mentre abbraccia Reed, occhiali scuri da hipster e ciuffo rosso in evidenza. Un gesto dovuto: è (anche) grazie a questo ingegnere con la passione per il death metal, se Obama governerà gli Stati Uniti per altri quattro anni. Reed, 34 anni, ha pensato, organizzato e diretto la più grande operazione di data-mining (letteralmente estrazione e analisi di dati) della storia. Con un unico scopo: rieleggere Obama. Operazione compiuta grazie a cento statistici, ingegneri, matematici e scienziati — età media: trent’anni — prelevati dalle compagnie all’avanguardia nel settore tecnologico scientifico. Un team di nerd — come l’ha definito Alexis Madrigal sulla rivista «The Atlantic» — senza affezione per la politica, ma con una conoscenza di hardware e software paragonabile a quella dell’intera Silicon Valley.
Ora che il presidente è al sicuro, le informazioni e i dettagli sul progetto Narwahl (nome ispirato al grande cetaceo con l’«unicorno» del Mar Glaciale Artico) sono finalmente disponibili. E Reed, corteggiato da mesi attraverso i canali social e no della Rete, ha voglia di parlare: lo fa al telefono da Chicago, dove si gode il riposo insieme all’amata moglie giapponese Hiromi (viene nominata dieci volte durante una conversazione telefonica di 40 minuti e due volte in quattro mail).
«Per me relax significa lettura — afferma —, una passione che ho dall’infanzia: sarà che sono cresciuto in Colorado, dove non avevo tante alternative, ma quando penso alle vacanze immagino me sdraiato con un libro tra le mani». Il libro del momento è Ventus, il primo romanzo dello scrittore di fantascienza Karl Schroeder: «Un testo incredibile», puntualizza. Sul suo blog (https://harperreed.org), dove Reed si definisce «l’uomo più cool del mondo», sono raccolti i volumi letti negli ultimi dieci anni: titoli di economia, hardboiled, fantascienza, tecnologia. Non sorprendetevi per l’abitudine da «precisino», Reed è un lifelogger: da tre anni misura tutto quello che mangia, percorre, scrive. Ha iniziato quando Hiromi — entusiasta di un articolo che raccontava la storia di un hacker dimagrito pesando in maniera ossessiva se stesso e gli alimenti più volte al giorno — ha consigliato al marito in sovrappeso di provare quel metodo. La pancia non è scomparsa, in compenso la misurazione compulsiva — chilometri percorsi, numero di passi, calorie, tweet — è diventata una pratica quotidiana: «Mia moglie dice che sono matto — spiega —, ma il calcolo mi aiuta ad avere più consapevolezza del mio corpo e delle mie giornate».
Probabilmente solo un lifelogger avrebbe potuto creare software capaci di stanare gli elettori di Obama, uno per uno, individuandone gusti, abitudini, preferenze, domande. In un anno e mezzo la poderosa macchina di microtargeting — divisa in tre settori: tecnologia, digitale (guidata da Joe Rospars) e analisi dei dati (gestita da Dan Wagner) — ha raccolto attraverso siti, social network, tv, telefonate e porta-a-porta informazioni tali da schedare 29 mila votanti solo in Ohio. «Non esistono “i lettori”, “gli utenti”, “i cittadini” — puntualizza Reed —, ma ogni elettore è diverso dall’altro. Solo con questa consapevolezza si riesce a intercettarlo e magari a convincerlo». Per la campagna di fundraising, di raccolta fondi, ad esempio, sono stati elaborati 11 modelli di mail per ciascuno Stato: ogni mail veniva poi testata su 18 persone diverse. Solo dall’incrocio di questi dati scaturiva il legame tra mail e destinatario.
Se nel 2008 i social media sono stati un veicolo fondamentale per le idee di Obama, nel 2012 diventano — alla faccia della privacy — un bacino indispensabile di informazioni sugli elettori. Nella fase finale della campagna gli utenti Facebook iscritti al sito BarackObama.com hanno ricevuto mail che chiedevano esplicitamente di convincere l’«amico» X (schedato come indeciso) a votare per il presidente. Uno su cinque di questi messaggi è andato a buon fine. Strumenti come Dashboard, una app che mette in comunicazione i volontari in tempo reale; Call Tool, il programma per telefonate gratuite; i Facebook e Twitter blasters, che consentono di mandare miliardi di mail contemporaneamente; e The Optimizer, un software capace di mandare in onda il messaggio promozionale nel momento di massima attenzione del telespettatore, hanno permesso al presidente di catturare i suoi elettori in un’operazione più vicina al cyberstalking che al data-mining. Per riuscirci non bastavano i bravi ragazzi con enormi ambizioni politiche e buone conoscenze del web — come Alec Ross, animatore della campagna social 2008 e oggi consigliere per l’innovazione di Hillary Clinton —, servivano i nerd. Quelli che, finito il lavoro, hanno solo voglia di tornare in garage a inventare un’altra start-up e a disegnare un nuovo software. «Se Obama dovesse chiamarmi alla Casa Bianca, non credo che accetterei», confessa Reed. Possibile? «Una cosa è lavorare per una campagna elettorale, altra lavorare per il governo — spiega placido —. La campagna era una start-up. Dovevamo essere rapidi e correggere nell’immediato tutti gli errori» L’opposto di un impiego politico che deve fare i conti con la lenta burocrazia.
Sembrerà strano, eppure i dubbi Reed li ha avuti persino quando, nella primavera del 2011, gli hanno offerto il ruolo di Chief Technology Officer della campagna elettorale: «Avevo molti progetti in corso — racconta —, accettare significava mettere in standby la mia vita per 18 mesi. In caso di vittoria, avremmo vinto tutto. Ma, in caso contrario, avrei perso tutto». Una posta in gioco troppo alta per chi, non sazio di progetti come Threadless — la community dalle uova d’oro che disegna, produce e vende online t-shirt insieme agli utenti —, nel tempo libero «craccava» la app per il trasporto urbano di Chicago «pubblicando» le informazioni (il motivo reale era rendere più agevoli gli spostamenti di Hiromi), e costruiva piattaforme open data (CityPayments.org) sugli appalti dell’amministrazione cittadina. Ma se il senso civico e la passione per i diritti umani sono nel dna di
Reed (la sua band si chiama «Jugglers against omophobia»), il «Palazzo» continua a essere lontano dai suoi interessi: «Mi piacerebbe dire che il mio rapporto con la politica è cambiato dopo la campagna, ma non è così: ho imparato tantissime cose e oggi rispetto di più chi ha scelto quella strada, ma resta un mondo diverso dal mio». Irriverente? Forse, ma basta dare uno sguardo al suo profilo «aperto» di Facebook per capire che dietro la faccia tosta piena di piercing, c’è un’idea di libertà tutta americana. Tra le immancabili foto di Hiromi, ne spunta una in cui l’ingegnere con i tatuaggi appare senza veli nella vasca da bagno. Difficile immaginare un politico europeo a suo agio con una tale immagine pubblica di un collaboratore. «Obama — racconta — non ha mai fatto una battuta sul mio aspetto, che continua a non essere un problema negli ambienti di lavoro che frequento».
Anzi, il look di Reed (curato nei minimi dettagli) finisce con l’accrescere la convinzione che i professionisti dei dati siano davvero le rockstar del nuovo millennio. È successo già con Nate Silver, lo statistico-blogger del «New York Times» che, grazie alle sue analisi predittive, ha anticipato il risultato delle elezioni americane. Il «New Yorker» del 19 novembre ospitava una (finta) lettera d’amore di una bambina diretta a Silver, che recitava: «Non riesco a smettere di pensare ai tuoi sondaggi e ai tuoi modelli di calcolo. Hai sempre ragione e questo è davvero carino». Altro che Twilight, sono gli statistici «i nuovi vampiri sexy». Erik Brynjolfsson, direttore del Centro per il Digital Business delMit di Boston, ha spiegato: «Sono diventati cool proprio come lo erano i programmatori informatici negli anni Novanta e gli assi della finanza negli anni Ottanta: i fattori che trainano l’economia danno potere alle persone, e le rendono infintamente sexy».
Se da un lato è vero che gli Usa entro il 2018 avranno bisogno di un numero di nuovi professionisti dei dati compreso tra 140 mila e 190 mila (fonteMcKinsey Global Institute), dall’altro, sembra la moda del momento: «Non penso che i Big Data siano il futuro di economia, politica, finanza — spiega Reed —. Meritano grande attenzione, ma non possiamo pensare che siano la soluzione di tutti i problemi. L’industria dei dati sta crescendo in maniera esponenziale: le aziende sono a caccia di statistici e di tecnici, ma non basta raccogliere dati, tocca saperli interpretare». Che detto dal più grande cacciatore di Big Data del mondo, fa più effetto che vederlo nudo nella vasca da bagno.
Election Day: A great team !
https://harperreed.org
https://harperreed.org
Artifactual Playground
In 1958, the American physicist William Higinbotham created what is one of the first instances of what we would today call a modern “video game”. The game, named Tennis For Two, was built at the Brookhaven National Laboratory for their yearly open-house presentations of the lab’s activities. The game was built using an oscilloscope and a programmable analog computer, the Donner Model 30. It simulated a simple tennis match between two players, with a sideways perspective of the net and a ball bouncing back and forth, controlled by two player-manipulated inputs.
Given the historical context, there is nothing surprising in this idea of a computer simulating a physical phenomenon such as a bullet or a missile. In the 1950′s, computers were still emerging from World War II era cybernetic formulations of “telelogical” or “self-regulating” machines, precipitated in large part by the acceleration of faster and faster flying weapons that required new techniques for shooting them out of the sky (cf. V-2 Countermeasures). The history of interactivity is traversed by this question of simulation, i.e. by the idea of adaptive mathematical and physical models that could allow machines to regulate themselves in real-time, based on constantly evolving conditions. So while it might be considered a historical curiosity that post-war cybernetic machines would produce the modern video game, it is unsurprising that such a game would be constructed out of a physical simulator of bouncing balls or flying bullets and missiles.
*
This post first appeared on Douglas Edric Stanley’s blog. For more interesting observations keep reading there.
William Higinbotham, Tennis For Two, Brookhaven National Laboratory, 1958
Although it would take a few more years, namely 1962 and the game “Spacewar”, before we could see the emergence of a true modern form of “gameplay”, “Tennis for Two” nevertheless contains enough basic elements of interactive play to connect it to more contemporary descendants, for example the iconic Nintendo hit, “Wii Tennis”. While there are a few missing details here and there, such as avatars, scoring and the various forms invented to interact with the machine, fundamentally there is very little that has changed since “Tennis for Two”. It contains all the modern tropes of animated algorithmic representation, namely a highly kinetic visual form that emerges in real-time from within the game via its gameplay. From this perspective, it is one of the forebears for “arcade” style games. The game is fast and dynamic, and only by interacting with the system does the image emerge.
But perhaps most importantly, “Tennis for Two” is significant in that it is not only a representation of playable interactive visual forms, but that these forms represent something greater than their graphical output: the game is in fact a physics simulator of a ball moving through space and interacting with objects in its path. Watch how the ball bounces against the net and then try to imagine what it would take to program such a movement, even today; then remember that Higinbotham was working back in 1958. For its time, this is a sophisticated simulator of physical interactions:
“The ‘brain’ of Tennis for Two was a small analog computer. The computer’s instruction book described how to generate various curves on the cathode-ray tube of an oscilloscope, using resistors, capacitors and relays. Among the examples given in the book were the trajectories of a bullet, missile, and bouncing ball, all of which were subject to gravity and wind resistance. While reading the instruction book, the bouncing ball reminded Higinbotham of a tennis game and the idea of Tennis for Two was born.”
—Brookhaven National Laboratory, The First Video Game?, p.2.
In other words, Tennis for Two was not only the first “Pong” game, but also the first physics game, à la Box2D and its shameless re-branding in the infinitely more popular form, Angry Birds. And like Angry Birds’ relation to Box2d, the underpinnings for the game “Tennis for Two” were already inscribed in the routines of the machine itself, the Donner Model 30. These routines were then re-contextualized using what we would today call “joysticks” and voilà: a modern arcade game.
Given the historical context, there is nothing surprising in this idea of a computer simulating a physical phenomenon such as a bullet or a missile. In the 1950′s, computers were still emerging from World War II era cybernetic formulations of “telelogical” or “self-regulating” machines, precipitated in large part by the acceleration of faster and faster flying weapons that required new techniques for shooting them out of the sky (cf. V-2 Countermeasures). The history of interactivity is traversed by this question of simulation, i.e. by the idea of adaptive mathematical and physical models that could allow machines to regulate themselves in real-time, based on constantly evolving conditions. So while it might be considered a historical curiosity that post-war cybernetic machines would produce the modern video game, it is unsurprising that such a game would be constructed out of a physical simulator of bouncing balls or flying bullets and missiles.
*
This post first appeared on Douglas Edric Stanley’s blog. For more interesting observations keep reading there.