How to Think (with) Thinkertoys: Electronic Literature Collection, Volume 1 by Adalaide Morris

his long-term goal was to sabotage the linear-thinking that not only generates these notions of testing but makes the world safe for slogans, sound-bytes, and by-the-book spiritualities. Administered from the top-down and engineered to shape both knowledge and the students who absorb it into manageable “subjects,” school systems, he writes, “all run on the same principles: iron all subjects flat then proceed, in groups, at a forced march across the flattened plane” (308).

.. If in Nelson’s terminology each of these texts is a “thinkertoy” – “a computer display system that helps you envision complex alternatives” (330)

.. In calling the microcomputer a “thinkertoy,” Nelson claims it for tinkerers who want to go beyond the linear rigidities – the mental rods, logical connectors, conceptual end caps, pulleys, and spools – in place since Euclid, Newton, and Descartes. The difference that gave Nelson hope for the education system was the clarity, power, speed, fluidity, and on-the-fly versatility of digital culture’s conceptual toolkit.

.. Most of the collection’s poems not only dash but actively smash the conventions of the mainstream lyric. Properly speaking, only a few contain anything that resembles lines or stanzas: the basic unit of these pieces is, in fact, often either a letter

.. the reader of a digital poem may experience herself in one of a number of uneasy subject positions: adrift in a quasi-paranoid place in which everything signifies but nothing clearly declares its meaning

.. If there’s no speaker, no biographically or psychologically recognizable poet, no fixed or predictable rhyme or meter, and a scarcity of stabilizing aphorisms and culminating images, what makes these multimedia constructions “poems”?

.. Nelson’s manifesto rides on the faith that sustained most sixties liberation movements: the idea that once we rid the world of restraints, we can reclaim our birthright – the amplitude of our freedom and sexuality, racial justice and equality, equitable distribution of economic assets, and, not least, “our intelligence, curiosity, enthusiasm, and intellectual initiative and self-confidence.”

.. computers have not so much liberated us as reconfigured notions of control and freedom, protocol, power, and subjectivity for a decentralized, post-industrial, networked information society.15

.. The gaze of the teacher, like the gaze of a patriarch, sergeant, shop steward, physician, psychiatrist, or prison guard, does not, in Foucault’s account, “repress” some essential pre-given nature – an amplitude we are “born with” – so much as produce the norms and possibilities within and against which we improvise a life.

.. The waning of books and teachers’ dirty looks is happening, however, not, as Nelson predicted, through “computer lib” but rather through what might appear to be its flipside: digital technology’s increasing capacities for “continuous control and instant communication”

Text of the 2014 Commencement address by Bill and Melinda Gates

When Paul Allen and I started Microsoft, we wanted to bring the power of computers and software to the people – and that was the kind of rhetoric we used. One of the pioneering books in the field had a raised fist on the cover, and it was called Computer Lib. At that time, only big businesses could buy computers. We wanted to offer the same power to regular people – and democratize computing.

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Arcangelo Corelli: Christmas Concerto, Adagio Op. 6 No. 8 Voices of Music

The adagio from the Christmas Concerto for two violins, cello, strings and basso continuo in G Minor “Fatto per la notte di Natale,” Op. 6 No. 8. by Arcangelo Corelli. Performed on original instruments by the San Francisco Early Music Ensemble Voices of Music. Featuring Katherine Kyme, Lisa Grodin, Cynthia Miller Freivogel and Carla Moore, baroque violins (left to right); Ondine Young, baroque viola; William Skeen and Shirley Hunt, baroque cellos; Josh Lee, violone; Dominic Schaner and David Tayler, archlute; Hanneke van Proosdij, harpsichord. Soundtrack available at
http://tinyurl.com/ChristmasConcerto

Voices of Music performs in and records our concerts in St. Mark’s Lutheran, SF. Visit us on the web at www.voicesofmusic.org