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Letteratura e cultura dei Paesi di lingua inglese
Definizione di ipertestoElectronic Literature collection
Shelley Jackson
PatchworkGirl at Brown University
http://www.cyberartsweb.org/cpace/cpace/ht/pg/pglinks.html
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Shelley Jackson is a gifted writer, illustrator, performer, and electronic artist who, very playfully, very disturbingly, takes the body apart and puts it back together again, always in startlingly imaginative ways.
Her highly intelligent, yet immediate and accessible fictions, whether written for paper or screen, are deliciously crafted, maintaining always a fine balance between outrageous comedy and profound melancholy. She is a writer's writer, but a reader's writer, too, and one of the most poised and original talents of her generation.
Shelley's central themes were established—almost as though discovered there—in her elegantly designed, complexly interwoven hypertext narrative, Patchwork Girl, published by Eastgate Systems in 1995. One of the two or three classic works of electronic writing from the past decade, Patchwork Girl is a subtle and provocative parody of Mary Shelley's Frankenstein, in which Mary Shelley plays the Dr. Frankenstein role and the monster is a woman, the "Patchwork Girl."
Robert Coover, "Body Games", New Voices Commentaries
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Roland Barthes, "Proust et les Noms", in Le degré zéro de l’écriture suivi de Nouveaux essais critiques, Paris, Seuil 1972
Pouvoir d’essentialisation
pouvoir de citation
pouvoir d’exploration
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Frank Baum, Patchwork Girl di Oz
Dr Pipte la moglie Margolotte
obbedienza, gentilezza, verità, giudizio, intelligenza, coraggio, ingenuità, conoscenza, poesia, sicurezza
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Yves Rossy Jet Man on youtube http://www.youtube.com/watch?v=UPCg5LYaAB0 + ali di leonardo
Principe di San Severo: http://www.daltramontoallalba.it/personaggi/principesansevero.htm
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Karel Capek (1890-1938), RUR (Rossum’s Universal Robots), 1920
"robota" significa lavoro servile: il robot sostituiva l’uomo nel lavoro di modo che si potesse occupare al suo piacere
Fritz Lang, Metropolis
Charlie Chaplin, Modern Times
Tim Burton, The Nightmare Before Christmas Trailer
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I Robot di Asimov dovevano rispettare le tre Leggi della robotica:
1) un robot non può recare danno agli esseri umani, né può permettere che con, a causa del suo mancato intervento, ricevano danno. (Terminator)
2) Un robot deve obbedire agli ordini impartiti dagli esseri umani, a meno che tali ordini siano in conflitto con la prima legge
3) un robot deve salvaguardare la propria esistenza, purché ciò non contrasti con la prima e la seconda legge.
Asimov ha classificato così le sue creature:
- robot non umani: hanno forma di animali, scatole, uomini; sono gli attuali robot industriali > robots in stile patetico
- immobili (computers): la differenza tra computer e robots è che il secondo è intelligente e ha una personalità
- di metallo (tradizionali): non hanno aspetto umano
- umanoidi: androidi: sono tanto simili all’uomo da poterli confondere
- Donovan e Powell
- Susan Calvin: robopsicologa (1982-2064) che si occupa delle aberrazioni dei robot.
cyborg = "cybernetig organism"
Dragon Ball
Gakeen
Gatchaman, la battaglia dei pianeti
Godam
Goldrake
Danguard
Daltaniuous
Daitarn
Cyndarella
M azinga
Jeeg Robot
****Donna Haraway, Manifesto Cyborg
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I principi guida del postumano sono:
(1) The posthuman view privileges informational pattern over material instantiation, so that embodiment in a biological substrate is seen as an accident of history rather than an inevitability of life. (2) It considers consciousness, regarded as the seat of human identity in the Western tradition long before Descartes thought he was a mind thinking, as an epiphenomenon, an evolutionary upstart that tries to claim it is the whole show when in actuality it is only a minor sideshow. (3) It thinks of the body as the original prosthesis we all learn to manipulate, so that extending or replacing the body with other prostheses becomes a continuation of a process that began before we were born. (4) Most importantly, by these and other means the posthuman view configures human being so that it can be seamlessly articulated with intelligent machines. In this view there are no essential differences between bodily existence and computer simulation, cybernetic mechanism and biological organism, robot teleology and human goals.
N. Katherine Hayles, “The Posthuman Body: Inscription and Incorporation in Galatea 2.2 and Snow Crash”, Configurations, 5.2, 1997, pp. 241-266
1) la visione postumana privilegia il modello informativo sulla materialità, per cui il substrato biologico è visto come un incidente della storia piuttosto che un fatto inevitabile nella vita;
2) considera la coscienza, quale sede dell’identità umana nella tradizione Occidentale, solo una questione secondaria minore;
3) il corpo umano è una protesi che chiunque può imparare a manipolare, così che estendere o sostituire il corpo con altre protesi è vista come la continuazione di un processo cominciato prima della nascita (PG esisteva prima della sua nascita);
4) l’essere umano è visto articolato come e con macchine intelligenti per cui meccanismi cibernetici sono assimilati a organismi biologici (come voleva la H appunto).
I teorici sono Catherine Waldby, N. Katherine Hayles, Thomas Foster, Neil Badmington
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… working in Storyspace, I persistently saw the rectangular corrals with their enclosed plots of smaller rectangles as cemeteries I was privileged to hover over, resurrecting text from this grave or that at will; an accident of resemblance, but a beautiful one. Hence the section of Patchwork Girl that is structured like a graveyard, where you dig up body parts and learn their histories. Of course these rectangles full of rectangles also brought to mind a quilt. Which is not unlike a graveyard, since traditional quilts are often machines for reminiscence, bringing together scraps of fabric, once in use, that memorialize family members and important times. And is also very like a Frankenstein monster (these multiply determined metaphors kept turning up). So I made a quilt, where each patch is itself a patchwork (in crazy-quilt style) of quotes from divers sources.
“Stitch Bitch: The Hypertext Author As Cyborg-Femme Narrator ”,intervista a Shelley Jackson, http://www.heise.de/tp/english/inhalt/kolu/3193/1.html#0
Shelley Jackson creates
a new kind of self which doesn't fetishize so much, grounding itself in the dearly-loved signs and stuff of personhood, but has poise and a sense of humor, changes directions easily, sheds parts and assimilates new ones. Desire rather than identity is its compositional principle. Instead of this morbid obsession with the fixed, fixable, everyone composing their tombstone over and over. Is it that we want to live up to the dignity of our dead bodies?
Shelley Jackson, "Stitch Bitch: the Patchwork Girl”, §"Everything at Once". Transcript of Jackson's presentation at the Transformations of the Book Conference held at MIT on October 24-25, 1998 http://web.mit.edu/comm-forum/papers/jackson.html.
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Mary Shelley dice: "Invention consists in the capacity of seizing on the capabilities of a subject: and in the power of moulding and fashioning ideas suggested to it",
e ancora: ogni cosa “must be linked to”.
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Bob Coover:
Suddenly, as many of my student electronic writers remarked, we were able to read and write in the way that we think, creating and/or accessing the various elements of a narrative the way one accesses the fragments of one’s life story held in memory, say, or the way that one backpacks through a strange country, making hypertext not the latest fantasy tool, but a kind of neorealism. And, once we got used to it, there was no reason we could not achieve that sort of focused, deeply imagined, "lost" reading experience we so treasured in books.
Robert Coover, “Literary Hypertext: The Passing of the Golden Age”, in FEED, http://www.feedmag.com/document/do291_master.html (4 gennaio 2001)
