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The authors consider reflexive games that describe the interaction of subjects (agents) making decisions based on an awareness structure, i.e., a hierarchy of beliefs about essential parameters, beliefs about beliefs, and so on. It was shown that the language of graphs of reflexive games represents a convenient uniform description method for reflexion effects in bélles-léttres.
Songlines is a musical creation / mythical world that players shape in real-time by performing physical gestures. The experience synthesizes a simple and universal allegory with the emotional power of gesture and music. It uses the Kinect platform.
A change has taken place in the human mind…. The conviction is already not very far from being universal, that the times are pregnant with change; and that [our era]…will be known to posterity as the era of one of the greatest revolutions…in the human mind, and in the whole constitution of human society…. The first of the leading peculiarities of the present age is, that it is an age of transition.
--John Stuart Mill, "The Spirit of the Age" (1831)1
Consider this definitive instance of the profound self-reflexiveness of which a new medium is capable. In the third chapter of Part II of Don Quixote (Part I, 1605; Part II, 1615) the hero consults with his squire Sancho Panza and the learned scholar Sampson Carrasco, who is to report on the mysterious publication of Part I of the novel. This volume has appeared as if "by magic art," and much to Quixote's discomfort, even while
This insistence on the limits of the book we hold in our hands, and especially Cervantes' recurring tactic of allowing the novel's several narrators to intrude into Quixote's story and to interrupt it, deflects attention toward what has been called the drama of the telling, a drama concerned not with the protagonist's adventures themselves but with the problems and difficulties of writing about them. The Quixote is, among other things, then, a book about the making of books and the nature of story telling. Its daring self-reflexive comedy is also a systematic exploration of the special properties of the infant medium of the novel.15
As the example of Don Quixote implies, often the most powerful explorations of the features of a new medium occur in comedy.16 Many forms of self-reflexiveness are inherently skeptical, self-mocking, hostile to pretension. The early television comedian Ernie Kovacs regularly toyed with audience's expectations about the visual bias of television, creating anarchic comedy in absurd synchronizations of classical music with mundane activities (such as cracking open eggs to the 1812 Overture). In one segment, Kovacs places a portable radio in front of the camera while the radio announcer's voice describes a woman in a revealing bathing suit. Here as elsewhere Kovacs seems to wink at the audience, as if to suggest that there are some things best enjoyed on television. In another skit, Kovacs makes the soundtrack visible on screen, exploring the possibility that even audio may have an arresting visual component. Kovacs assumes that his viewers actively watch television, fixated on the novelty of the image, in contrast to some more recent television producers who have assumed that spectators divide their attention between television and other household tasks.
If emerging media are often experimental and self-reflexive, they are also inevitably and centrally imitative, rooted in the past, in the practices, formats and deep assumptions of their predecessors. The first printed book, The Gutenberg Bible (c. 1455), contains a stunning emblem of this unvarying law of media evolution. For in what seems today a perverse failure to exploit the defining feature of print as against scribal texts, Gutenberg's landmark book has been elaborately and painstakingly illustrated by hand-artisans in the established style of the medieval illuminated manuscript. The striking if perverse continuity thus created was dramatized in a recent exhibition by the Huntington Library, which juxtaposed a copy of the Gutenberg, open to a richly illuminated page, with the famous Ellesmere manuscript of Chaucer's Canterbury Tales (c. 1400), also beautifully illustrated by a scribal artist (see fig. 1.1). The print revolution-the power to reproduce a large number of identical texts-is latent but invisible here, suppressed or ignored by an impulse of continuity, a need to experience this new medium under the aspect of established ways of reverence and of art.20
As many have argued, something of the same principle can be seen in the history of the movies, which begin in a borrowing and restaging of styles, formats and performances taken from a range of older media such as theater, still photography, visual art, and prose fiction. A second powerful source for early cinema was such public attractions as carnivals, the circus, amusement parks, vaudeville. Some film historians have argued that the defining attribute of the birth of the movies was the contention between a self-reflexive and populist "cinema of attractions," (to use Tom Gunning's helpful term) and a more respectable, even middle-class tendency toward narrative as inspired by theater and print.24 Such perspectives remind us that the forms achieved by a "mature" medium do not comprise some perfect fulfillment of its intrinsic potential but represent instead both a range of limited possibilities and promises unexplored, roads not taken.