Alexander R. Galloway
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Protocol: How Control Exists after Decentralization
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published
2004
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11 editions
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Gaming: Essays On Algorithmic Culture (Volume 18) (Electronic Mediations)
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published
2006
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10 editions
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The Interface Effect
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published
2012
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11 editions
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The Exploit: A Theory of Networks (Volume 21) (Electronic Mediations)
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published
2007
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5 editions
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Laruelle: Against the Digital (Volume 31) (Posthumanities)
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published
2014
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5 editions
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Excommunication: Three Inquiries in Media and Mediation
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published
2013
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8 editions
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Les Nouveaux Réalistes
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published
2012
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French Theory Today: An Introduction to Possible Futures
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Fillip 18
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Alexander Galloway. Außer Betrieb: Das müßige Interface (The Unworkable Interface): International Flusser Lectures
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“Although affiliated with materialist philosophy and particularly the historical materialism of Marx, Laruelle’s conception of the real is not simply reducible to a kind of primary matter or empirical reality. He has no interest in debating whether or not the real world exists outside our ability to observe it, or whether or not the real world is constructed out of countless small material atoms. These are the squabbles of philosophy, after all. The real, as non-philosophical, is defined precisely and axiomatically by Laruelle. The real is the unilateral duality specific to an immanent one.”
― Laruelle: Against the Digital
― Laruelle: Against the Digital
“Often interfaces are assumed to be synonymous with media itself. But what would it mean to say that “interface” and “media” are two names for the same thing? The answer is found in the remediation or layer model of media, broached already in the introduction, wherein media are essentially nothing but formal containers housing other pieces of media. This is a claim most clearly elaborated on the opening pages of Marshall McLuhan’s Understanding Media. McLuhan liked to articulate this claim in terms of media history: a new medium is invented, and as such its role is as a container for a previous media format. So, film is invented at the tail end of the nineteenth century as a container for photography, music, and various theatrical formats like vaudeville. What is video but a container for film. What is the Web but a container for text, image, video clips, and so on. Like the layers of an onion, one format encircles another, and it is media all the way down. This definition is well-established today, and it is a very short leap from there to the idea of interface, for the interface becomes the point of transition between different mediatic layers within any nested system. The interface is an “agitation” or generative friction between different formats. In computer science, this happens very literally; an “interface” is the name given to the way in which one glob of code can interact with another. Since any given format finds its identity merely in the fact that it is a container for another format, the concept of interface and medium quickly collapse into one and the same thing.”
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“We are living through a movement from an organic, industrial society to a polymorphous, information system,” wrote Donna Haraway, “from all work to all play, a deadly game.”10 With the growing significance of immaterial labor, and the concomitant increase in cultivation and exploitation of play—creativity, innovation, the new, the singular, flexibility, the supplement—as a productive force, play will become more and more linked to broad social structures of control. Today we are no doubt witnessing the end of play as politically progressive, or even politically neutral.)”
― Gaming: Essays On Algorithmic Culture
― Gaming: Essays On Algorithmic Culture
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