Turing's Genius - Defining an apt microcosm.

Alan Turing (1912–1954) is widely acknowledged as a genius. As well as codebreaking during World War II and taking a pioneering role in computer hardware design and software after the War, he also wrote three important foundational papers in the fields of theoretical computer science, artificial intelligence, and mathematical biology. He has been called the father of computer science, but he also admired by mathematicians, philosophers, and perhaps more surprisingly biologists, for his wide-ranging ideas. His influence stretches from scientific to cultural and even political impact. For all these reasons, he was a true polymath. This paper considers the genius of Turing from various angles, both scientific and artistic. The four authors provide position statements on how Turing has influenced and inspired their work, together with short biographies, as a starting point for a panel session and visual music performance

Turing’s Genius – Defining an apt microcosm

Alan Turing (1912–1954) is widely acknowledged as a genius. As well as codebreaking during World War II and taking a pioneering role in computer hardware design and software after the War, he also wrote three important foundational papers in the fields of theoretical computer science, artificial intelligence, and mathematical biology. He has been called the father of computer science, but he also admired by mathematicians, philosophers, and perhaps more surprisingly biologists, for his wide-ranging ideas. His influence stretches from scientific to cultural and even political impact. For all these reasons, he was a true polymath. This paper considers the genius of Turing from various angles, both scientific and artistic. The four authors provide position statements on how Turing has influenced and inspired their work, together with short biographies, as a starting point for a panel session and visual music performance

Computing the Future: Digital encounters in art and science when da Vinci meets Turing

Computing the future, as life and research moves to the Internet, we are engaged increasingly in digital encounters from present to past and into the future with real people, events and documents. This paper focuses on the newly born-digital relationship between Alan Turing, father of computer science, and Leonardo da Vinci, master of Renaissance art and science – both revered as visionary geniuses, prophets of the future. Given the continued growth of digitised materials that are daily entering global consciousness, it is only relatively recently that both da Vinci’s notebooks and paintings, and Turing’s archive, are online and searchable. Thus we are able for the first time to relatively easily juxtapose and compare their work, and see that they have much in common in terms of what it means to human in science, art and the natural world, from da Vinci’s in-depth studies of the mechanisms of the human body, mind, and soul, foundational to his art, and to Turing’s discoveries in Artificial Intelligence (AI), machine learning, and morphogenesis. Considering their points of concurrence in the digital world brings into focus our global network of digital places and spaces, where science, art, and nature, including real and artificial life, become unbounded

"At the edges of perception": William Gaddis and the encyclopedic novel from Joyce to David foster Wallace

"Longer works of fiction," a character in William Gaddis's JR complains of the current literary scene, are now "dismissed as classics and remain . . . largely unread due to the effort involved in reading and turning any more than two hundred pages" (527). This study argues that despite most literary critics constructing American postmodernism as a movement that privileges short works, in contrast to the encyclopedic masterworks of modernism, there are in fact a large number of artistically sophisticated contemporary novels of encyclopedic scope that demonstrate often ignored lines of continuity from works like James Joyce's Ulysses. In arguing this, I attempt not just to draw attention to a neglected strain in contemporary American fiction, but also to provide a more accurate context in which those few recent encyclopedic novels that have assumed centrality, like Gravity's Rainbow, might be evaluated. In doing so, this thesis also seeks to demonstrate the pivotal position of William Gaddis who, despite publishing four impressive novels that engage with the legacy of modernism and pre-empt elements of postmodernism, has been excluded from most studies dealing with the transition between the two movements. Through detailed readings of four encyclopedic novels - Gaddis's The Recognitions, Don DeLillo's Underworld, Richard Powers's The Gold Bug Variations, and David Foster Wallace’s Infinite Jest - I show Gaddis's continuation of encyclopedic modernism, the importance of his example to later writers, and the continuing vitality of the encyclopedic novel beyond the defined limits of modernism. However, as these novels try to encompass the full circle of knowledge, in order to do justice to their diverse learning I have adopted a different approach in each chapter. Very broadly, they attempt to encircle art, psychology, science, and literature, which, taken together, attempt to synthesise a defence of the contemporary encyclopedic novel. While minimalist writers from Raymond Carver to Ann Beattie have affirmed that less is more, this thesis argues that, in some cases, more really is more

American Literature and Science

Literature and science are two disciplines are two disciplines often thought to be unrelated, if not actually antagonistic. But Robert J. Scholnick points out that these areas of learning, up through the beginning of the nineteenth century, “were understood as parts of a unitary endeavor.By mid-century they had diverged, but literature and science have continued to interact, conflict, and illuminate each other. In this innovative work, twelve leaders in this emerging interdisciplinary field explore the long engagement of American writers with science and uncover science’s conflicting meanings as a central dimension of the nation’s conception of itself. Reaching back to the Puritan poet-minister-physician Edward Taylor, who wrote at the beginning of the scientific revolution, and forward to Thomas Pynchon, novelist of the cybernetic age, this collection of original essays contains essential work on major writers, including Franklin, Jefferson, Poe, Emerson, Thoreau, Twain, Hart Crane, Dos Passos, and Charles Olson. Through its exploration of the ways that American writers have found in science and technology a vital imaginative stimulus, even while resisting their destructive applications, this book points towards a reconciliation and integration within culture. An innovative look at a neglected dimension of our literary tradition, American Literature and Science stands as both a definition of the field and an invitation to others to continue and extend new modes of inquiry. A thoughtful collection that reveals how the concept of ‘science’ has evolved from Franklin to cyberpunk, and how it has transformed American literary form and expression. —American Literature Innovative. . . . The first systematic examination of this neglected dimension of the American literary tradition. —American Renaissance Literary Reporthttps://uknowledge.uky.edu/upk_english_language_and_literature_north_america/1013/thumbnail.jp

Critical Programming: Toward a Philosophy of Computing

Beliefs about the relationship between human beings and computing machines and their destinies have alternated from heroic counterparts to conspirators of automated genocide, from apocalyptic extinction events to evolutionary cyborg convergences. Many fear that people are losing key intellectual and social abilities as tasks are offloaded to the everywhere of the built environment, which is developing a mind of its own. If digital technologies have contributed to forming a dumbest generation and ushering in a robotic moment, we all have a stake in addressing this collective intelligence problem. While digital humanities continue to flourish and introduce new uses for computer technologies, the basic modes of philosophical inquiry remain in the grip of print media, and default philosophies of computing prevail, or experimental ones propagate false hopes. I cast this as-is situation as the post-postmodern network dividual cyborg, recognizing that the rational enlightenment of modernism and regressive subjectivity of postmodernism now operate in an empire of extended mind cybernetics combined with techno-capitalist networks forming societies of control. Recent critical theorists identify a justificatory scheme foregrounding participation in projects, valorizing social network linkages over heroic individualism, and commending flexibility and adaptability through life long learning over stable career paths. It seems to reify one possible, contingent configuration of global capitalism as if it was the reflection of a deterministic evolution of commingled technogenesis and synaptogenesis. To counter this trend I offer a theoretical framework to focus on the phenomenology of software and code, joining social critiques with textuality and media studies, the former proposing that theory be done through practice, and the latter seeking to understand their schematism of perceptibility by taking into account engineering techniques like time axis manipulation. The social construction of technology makes additional theoretical contributions dispelling closed world, deterministic historical narratives and requiring voices be given to the engineers and technologists that best know their subject area. This theoretical slate has been recently deployed to produce rich histories of computing, networking, and software, inform the nascent disciplines of software studies and code studies, as well as guide ethnographers of software development communities. I call my syncretism of these approaches the procedural rhetoric of diachrony in synchrony, recognizing that multiple explanatory layers operating in their individual temporal and physical orders of magnitude simultaneously undergird post-postmodern network phenomena. Its touchstone is that the human-machine situation is best contemplated by doing, which as a methodology for digital humanities research I call critical programming. Philosophers of computing explore working code places by designing, coding, and executing complex software projects as an integral part of their intellectual activity, reflecting on how developing theoretical understanding necessitates iterative development of code as it does other texts, and how resolving coding dilemmas may clarify or modify provisional theories as our minds struggle to intuit the alien temporalities of machine processes

Passions, Pedagogies, and 21st Century Technologies

Once again, Gail Hawisher and Cynthia Selfe offer a volume that will set the agenda in the field of computers and composition scholarship for a decade. The technology changes that scholars of composition studies face as the next century opens couldn\u27t be more dramatic or deserving of passionate study. While we have always used technologies (e.g., the pencil) to communicate with each other, the electronic technologies we now use have changed the world in ways that we have yet to identify or appreciate fully. Likewise, the study of language and literate exchange, even our understanding of terms like literacy, text, and visual, has changed beyond recognition, challenging even our capacity to articulate them.https://digitalcommons.usu.edu/usupress_pubs/1118/thumbnail.jp

Forms of Life: Goethe’s Impact on Twentieth-Century Anglophone Botany and Morphology

This dissertation examines the impact of the German naturalist and literary figure Johann Wolfgang von Goethe’s ideas on twentieth century Anglophone plant morphology and biology. Goethe interpreted the organ forms of flowering plants as metamorphoses of each other. His literary, historical, and philosophical writings suggest themes of alienation from and disenchantment of the natural world resulting from mathematical and mechanistic scientific interpretations of nature that have lost their connection to the senses. In twentieth-century debates on plant morphology, Goethe’s metamorphosis theory represented the “Old Morphology” that did not fit with the growing phylogenetic interpretation of forms brought about by Darwinism and the emerging Modern Synthesis. Some, like the English botanist Agnes Arber, saw this as a positive feature of Goethe’s and used it as an example of “Pure Morphology” which she stressed should be carried out before any phylogenetic interpretations. Goethe’s themes of alienation and disenchantment appeared as Arber’s interests in morphology expanded into philosophy and mysticism. Despite his critiques against the overuse of mathematics, in the twentieth century Goethe’s morphology was connected with it in two different ways. The Scottish naturalist D’Arcy Thompson extended Goethe’s morphology into a “Science of Form” as a part of his On Growth and Form where he applied physical methods to biological subjects. Thompson’s background in botany was an factor important for his new science. The English Goethean scientists George Adams and Olive Whicher used projective geometry to integrate Goethe’s morphology with the cosmology of the Swiss esoteric philosopher Rudolf Steiner. With Adams and Whicher, themes of alienation and disenchantment found in Goethe appear again.