“we are publishing a draft of the Innovator’s Patent Agreement, which we informally call the “IPA”. The IPA is a new way to do patent assignment that keeps control in the hands of engineers and designers. It is a commitment from Twitter to our employees that patents can only be used for defensive purposes. We will not use the patents from employees’ inventions in offensive litigation without their permission. What’s more, this control flows with the patents, so if we sold them to others, they could only use them as the inventor intended.”—Twitter Blog: Introducing the Innovator’s Patent Agreement (via nickgrossman)
But “algorithmic criticism” — criticism prompted by the algorithmic manipulation of literary texts — either does not exist, or exists only in nascent form. The digital revolution, for all its wonders, has not penetrated the core activity of literary studies, which, despite numerous revolutions of a more epistemological nature, remains mostly concerned with the interpretive analysis of written cultural artifacts. Texts are browsed, searched, and disseminated by all but the most hardened Luddites in literary study, but seldom are they transformed algorithmically as a means of gaining entry to the deliberately and self-consciously subjective act of critical interpretation. Even text analysis practitioners avoid bringing the hermeneutical freedom of criticism to the “outputted” text. Bold statements, strong readings, and broad generalizations (to say nothing of radical misreadings, anarchic accusations, agonistic paratextual revolts) are rare, if not entirely absent from the literature of the field, where the emphasis is far more often placed on methodology and the limitations it imposes.
At Anthroparodie, we provide the elite and fashionably adventurous dreamers and artists with an illusion of a Bohemian lifestyle, while still promoting bourgeois decadence. Offering found vintage items that we design ourselves (and assemble in sultry third-world locales) our 153+ retail shops are a one-of-a-kind boutique.
Here’s a thought: I’m probably not alone in that a lot of my cultural exposure comes first through its being parodied. When I want to catch up on the news, I will watch back episodes of The Daily Show. If I want to learn about pop culture, I scan places where people can comment cynically.
Sometimes, I reflect that I don’t know who the first-order cultural consumers are.
“…one thing I am ready to fight for as long as I can, in word and act: that is, that we shall be better, braver and more active men if we believe it right to look for what we don’t know than if we believe there is no point in looking because what we don’t know we can never discover.”—Socrates, Meno