William Uricchio | Massachusetts Institute of Technology (MIT) (original) (raw)
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Papers by William Uricchio
Duke University Press eBooks, Jan 23, 2003
Princeton University Press eBooks, Dec 31, 1993
The American Historical Review, Feb 1, 1995
Vitagraph production still from Julius Caesar. The key phrase, "Beware the Ides of March!" (Court... more Vitagraph production still from Julius Caesar. The key phrase, "Beware the Ides of March!" (Courtesy of the Academy of Motion Picture Arts and Sciences) 89 Vitagraph production still from Julius Caesar realizing Gerome's Death oj Caesar. (Courtesy of the Academy of Motion Picture Arts and Sciences) 91 Lithograph after Gerome's Death of Caesar (1867) 91 1908 Vitagraph advertisement in the Views and Film Index 96 Vitagraph production still from Francesca di Rimini. The jester spies on the lovers. (Courtesy of the National Film Archive, London) 101 Illustration from 1883 program for Lawrence Barrett's Francesca da Rimini. The jester spies on the lovers. (Courtesy of the New York Public Library) 101 Vitagraph production still from Francesca di Rimini. Lanciotto prepares to kill the jester. (Courtesy of the National Film Archive, London) 102 Illustration from 1883 program for Lawrence Barrett's Francesca da Rimini. Lanciotto prepares to kill the jester. (Courtesy of the New York Public Library) 102 The Senate Theatre in Chicago the morning after Washington's Birthday. Note the announcement for Washington under the American Flag.
Amsterdam University Press eBooks, Dec 31, 2017
Humans have long defined, assessed, analysed and calculated data as factors in how they navigate ... more Humans have long defined, assessed, analysed and calculated data as factors in how they navigate reality. Indeed, the rules for what constitute data, together with the logics of their assembly, make up a core component of culture. Whether they be omens or numbers, whether they are qualitative or quantitative, whether they involve heuristics, hermeneutics or the rules of mathematics, the dyad of data and their organizing schemes give cultural eras their specificity. Considering developments ranging from Mayan astronomical calendars to Copernicus's heliocentric observations, from seventeenth-century navigational charts to twentieth-century actuarial tables, one might say that this dyad underpins cultural possibility itself. 1 Data have never been more abundant than they are today. Their unprecedented quantity owes as much to the digital encoding of most traceable phenomena as to the production of data by actors beyond our species. Whereas in the past, human observation translated events in the world into data, today, networked non-human actors are capable of directly generating machine-readable data. But as in the past, all that data would be meaningless without an organizing scheme. Behind the quintillions of bytes, behind our computers' ever-growing processing power, is an organizing scheme in the form of the algorithm. Like data, algorithms can be human-or machine-generated. And although an ancient idea, the algorithm has-or so I will argue-reached a tipping point in terms of its cultural operations: it is now being deployed in ways that redefine long-held subjectobject relationships and, in so doing, it poses some rather fundamental epistemological questions. This change in the balance of things has produced its share of anxieties, as familiar ways of doing things seem superseded by 'the algorithm'. The recent explosion of headlines where the term 'algorithm' figures prominently and often apocalyptically suggests that we are re-enacting a familiar ritual in which 'new' technologies appear in the regalia of disruption. But the emerging algorithmic regime is more than 'just another' temporarily unruly 1 Portions of this essay first appeared as William Uricchio, 'Recommended for You: Prediction, Creation and the Cultural Work of Algorithms,'
If you have been to Denver, you may have noticed an idiosyncratic pile of building designed by ar... more If you have been to Denver, you may have noticed an idiosyncratic pile of building designed by architect Daniel Liebskind. Depending on your taste in contemporary trends in architecture, the Fredric C. Hamilton Building is either a masterful execution of evocative form or maybe something that belongs alongside a Jawa sandcrawler on Tatooine.
Groniek, 1996
De media zijn in een vrijwel voortdurende staat van verandering, net als de historische verbanden... more De media zijn in een vrijwel voortdurende staat van verandering, net als de historische verbanden waarin ze zijn geworteld. Het tempo en de aard van deze verandering zijn echter alles behalve constant. De ontwikkelingen verschillen bij de diverse media-technologieën (denk bijvoorbeeld aan de relatieve stabiliteit van het formaat van een fIlm (35 mmo e.d.) ten opzichte van de grootte van een computer), in historische periodes (de voorspelbare ontwikkelingen in de media aan het eind van de jaren twintig en in de jaren dertig en veertig in vergelijking met de onstuimige jaren tachtig en negentig), en in nationaal verband (zichtbaar, bijvoorbeeld, in het verschil tussen commerciële en publieke televisie). Tot op zekere hoogte heeft de standaardliteratuur over de geschiedenis van de media deze situatie altijd weerspiegeld met haar afzonderlijke geschiedenissen van fUm, radio of televisie, van bepaalde perioden en van verschillende landen.
Most of the existing scholarly literature on television texts focuses on particular programs. Thi... more Most of the existing scholarly literature on television texts focuses on particular programs. This essay, however, will consider television's dynamics as a larger textual composite. Particularly at a moment when, to invoke Raymond Williams, television's technology and cultural form are very much in transition, the medium's fast changing textual mix and our access to it merit closer consideration. In considering this mix, I will focus on a particular aspect of television's temporality that in effect makes it a time machine, allowing viewers to experience a distinctive kind of time and possibly even notion of history. Television's temporal regime has been in flux since the start of the broadcast era, and I am interested above all in how changing configurations of time and the (re-) sequencing of programming units themselves constitute key elements of the medium's relationship to historical representation. I am interested in using medium-specific attributes to explore television's changing role as a site for the personal construction of historical meaning and as a vehicle for public history. Although the broad contours of this short narrative-the shift over the past 60 years from relatively stable and widespread textual sequences to highly variable and personalized constellations-will not be surprising, by limiting my focus to the interplay of
Early Popular Visual Culture, Aug 1, 2011
The panorama entered the world not as a visual format but as a claim: to lure viewers into seeing... more The panorama entered the world not as a visual format but as a claim: to lure viewers into seeing in a particular way. Robert Barker’s 1787 patent for a 360-degree painting of ‘nature at a glance’ (Nature à Coup d’Oeil) emphasized the construction of a ‘proper point of view’ as a means of making the viewer ‘feel as if really
Routledge eBooks, Jan 25, 2023
Stroemfeld/Roter Stern eBooks, 2000
Tijdschrift voor mediageschiedenis, Dec 1, 1999
montage AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation, 2005
1_William_Uricchio-Formierung-und-Transformation.pdf Nutzungsbedingungen: Terms of use: Dieser Te... more 1_William_Uricchio-Formierung-und-Transformation.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine Weiterverbreitung-keine Bearbeitung) zur Verfügung gestellt. Gewährt wird ein nicht exklusives, nicht übertragbares, persönliches und beschränktes Recht auf Nutzung dieses Dokuments. Dieses Dokument ist ausschließlich für den persönlichen, nicht-kommerziellen Gebrauch bestimmt. Auf sämtlichen Kopien dieses Dokuments müssen alle Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen Schutz beibehalten werden. Sie dürfen dieses Dokument nicht in irgendeiner Weise abändern, noch dürfen Sie dieses Dokument für öffentliche oder kommerzielle Zwecke vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. This document is made available under a Deposit License (No Redistribution-no modifications). We grant a non-exclusive, non-transferable, individual, and limited right for using this document. This document is solely intended for your personal, non-commercial use. All copies of this documents must retain all copyright information and other information regarding legal protection. You are not allowed to alter this document in any way, to copy it for public or commercial purposes, to exhibit the document in public, to perform, distribute, or otherwise use the document in public. By using this particular document, you accept the conditions of use stated above. 14/1/2005 Formierung und Transformation 113 8 Auch wenn man grundsätzlich das Fernsehen der BRD erforschte, entstand der bahnbrechende Artikel von Elsner/Müller/Spangenberg zum frühen deutschen Fernsehen in diesem Kontext.
Duke University Press eBooks, Jan 23, 2003
Princeton University Press eBooks, Dec 31, 1993
The American Historical Review, Feb 1, 1995
Vitagraph production still from Julius Caesar. The key phrase, "Beware the Ides of March!" (Court... more Vitagraph production still from Julius Caesar. The key phrase, "Beware the Ides of March!" (Courtesy of the Academy of Motion Picture Arts and Sciences) 89 Vitagraph production still from Julius Caesar realizing Gerome's Death oj Caesar. (Courtesy of the Academy of Motion Picture Arts and Sciences) 91 Lithograph after Gerome's Death of Caesar (1867) 91 1908 Vitagraph advertisement in the Views and Film Index 96 Vitagraph production still from Francesca di Rimini. The jester spies on the lovers. (Courtesy of the National Film Archive, London) 101 Illustration from 1883 program for Lawrence Barrett's Francesca da Rimini. The jester spies on the lovers. (Courtesy of the New York Public Library) 101 Vitagraph production still from Francesca di Rimini. Lanciotto prepares to kill the jester. (Courtesy of the National Film Archive, London) 102 Illustration from 1883 program for Lawrence Barrett's Francesca da Rimini. Lanciotto prepares to kill the jester. (Courtesy of the New York Public Library) 102 The Senate Theatre in Chicago the morning after Washington's Birthday. Note the announcement for Washington under the American Flag.
Amsterdam University Press eBooks, Dec 31, 2017
Humans have long defined, assessed, analysed and calculated data as factors in how they navigate ... more Humans have long defined, assessed, analysed and calculated data as factors in how they navigate reality. Indeed, the rules for what constitute data, together with the logics of their assembly, make up a core component of culture. Whether they be omens or numbers, whether they are qualitative or quantitative, whether they involve heuristics, hermeneutics or the rules of mathematics, the dyad of data and their organizing schemes give cultural eras their specificity. Considering developments ranging from Mayan astronomical calendars to Copernicus's heliocentric observations, from seventeenth-century navigational charts to twentieth-century actuarial tables, one might say that this dyad underpins cultural possibility itself. 1 Data have never been more abundant than they are today. Their unprecedented quantity owes as much to the digital encoding of most traceable phenomena as to the production of data by actors beyond our species. Whereas in the past, human observation translated events in the world into data, today, networked non-human actors are capable of directly generating machine-readable data. But as in the past, all that data would be meaningless without an organizing scheme. Behind the quintillions of bytes, behind our computers' ever-growing processing power, is an organizing scheme in the form of the algorithm. Like data, algorithms can be human-or machine-generated. And although an ancient idea, the algorithm has-or so I will argue-reached a tipping point in terms of its cultural operations: it is now being deployed in ways that redefine long-held subjectobject relationships and, in so doing, it poses some rather fundamental epistemological questions. This change in the balance of things has produced its share of anxieties, as familiar ways of doing things seem superseded by 'the algorithm'. The recent explosion of headlines where the term 'algorithm' figures prominently and often apocalyptically suggests that we are re-enacting a familiar ritual in which 'new' technologies appear in the regalia of disruption. But the emerging algorithmic regime is more than 'just another' temporarily unruly 1 Portions of this essay first appeared as William Uricchio, 'Recommended for You: Prediction, Creation and the Cultural Work of Algorithms,'
If you have been to Denver, you may have noticed an idiosyncratic pile of building designed by ar... more If you have been to Denver, you may have noticed an idiosyncratic pile of building designed by architect Daniel Liebskind. Depending on your taste in contemporary trends in architecture, the Fredric C. Hamilton Building is either a masterful execution of evocative form or maybe something that belongs alongside a Jawa sandcrawler on Tatooine.
Groniek, 1996
De media zijn in een vrijwel voortdurende staat van verandering, net als de historische verbanden... more De media zijn in een vrijwel voortdurende staat van verandering, net als de historische verbanden waarin ze zijn geworteld. Het tempo en de aard van deze verandering zijn echter alles behalve constant. De ontwikkelingen verschillen bij de diverse media-technologieën (denk bijvoorbeeld aan de relatieve stabiliteit van het formaat van een fIlm (35 mmo e.d.) ten opzichte van de grootte van een computer), in historische periodes (de voorspelbare ontwikkelingen in de media aan het eind van de jaren twintig en in de jaren dertig en veertig in vergelijking met de onstuimige jaren tachtig en negentig), en in nationaal verband (zichtbaar, bijvoorbeeld, in het verschil tussen commerciële en publieke televisie). Tot op zekere hoogte heeft de standaardliteratuur over de geschiedenis van de media deze situatie altijd weerspiegeld met haar afzonderlijke geschiedenissen van fUm, radio of televisie, van bepaalde perioden en van verschillende landen.
Most of the existing scholarly literature on television texts focuses on particular programs. Thi... more Most of the existing scholarly literature on television texts focuses on particular programs. This essay, however, will consider television's dynamics as a larger textual composite. Particularly at a moment when, to invoke Raymond Williams, television's technology and cultural form are very much in transition, the medium's fast changing textual mix and our access to it merit closer consideration. In considering this mix, I will focus on a particular aspect of television's temporality that in effect makes it a time machine, allowing viewers to experience a distinctive kind of time and possibly even notion of history. Television's temporal regime has been in flux since the start of the broadcast era, and I am interested above all in how changing configurations of time and the (re-) sequencing of programming units themselves constitute key elements of the medium's relationship to historical representation. I am interested in using medium-specific attributes to explore television's changing role as a site for the personal construction of historical meaning and as a vehicle for public history. Although the broad contours of this short narrative-the shift over the past 60 years from relatively stable and widespread textual sequences to highly variable and personalized constellations-will not be surprising, by limiting my focus to the interplay of
Early Popular Visual Culture, Aug 1, 2011
The panorama entered the world not as a visual format but as a claim: to lure viewers into seeing... more The panorama entered the world not as a visual format but as a claim: to lure viewers into seeing in a particular way. Robert Barker’s 1787 patent for a 360-degree painting of ‘nature at a glance’ (Nature à Coup d’Oeil) emphasized the construction of a ‘proper point of view’ as a means of making the viewer ‘feel as if really
Routledge eBooks, Jan 25, 2023
Stroemfeld/Roter Stern eBooks, 2000
Tijdschrift voor mediageschiedenis, Dec 1, 1999
montage AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation, 2005
1_William_Uricchio-Formierung-und-Transformation.pdf Nutzungsbedingungen: Terms of use: Dieser Te... more 1_William_Uricchio-Formierung-und-Transformation.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine Weiterverbreitung-keine Bearbeitung) zur Verfügung gestellt. Gewährt wird ein nicht exklusives, nicht übertragbares, persönliches und beschränktes Recht auf Nutzung dieses Dokuments. Dieses Dokument ist ausschließlich für den persönlichen, nicht-kommerziellen Gebrauch bestimmt. Auf sämtlichen Kopien dieses Dokuments müssen alle Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen Schutz beibehalten werden. Sie dürfen dieses Dokument nicht in irgendeiner Weise abändern, noch dürfen Sie dieses Dokument für öffentliche oder kommerzielle Zwecke vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. This document is made available under a Deposit License (No Redistribution-no modifications). We grant a non-exclusive, non-transferable, individual, and limited right for using this document. This document is solely intended for your personal, non-commercial use. All copies of this documents must retain all copyright information and other information regarding legal protection. You are not allowed to alter this document in any way, to copy it for public or commercial purposes, to exhibit the document in public, to perform, distribute, or otherwise use the document in public. By using this particular document, you accept the conditions of use stated above. 14/1/2005 Formierung und Transformation 113 8 Auch wenn man grundsätzlich das Fernsehen der BRD erforschte, entstand der bahnbrechende Artikel von Elsner/Müller/Spangenberg zum frühen deutschen Fernsehen in diesem Kontext.