by ibull

was going to just delete this paragraph of word vomit from the top of my thesis introduction, but something is compelling me to keep it. i present this word vomit as it has existed for the last several days; it is ephemera. fwiw, it would probably be better forgotten:

the danger in assuming that politics are benign: the virtual world becomes the preferred world because it allows for the cyborg body in a way that materializes the subjective self in a way that is not damaging to the environment. the cyborg is co-optable in a humanistic project that seeks to divorce the perceived self from the material world: transcendence. security is always bodily relational; how able is the body to resist change, a perceived process of (in part) erasure. 

Edit: the following are additions to the trashbin:

For the purposes of understanding what different components of a Java program are made for, let’s imagine that a simulation experience can be reduced to two states of being: expression and form. The simulation of expression is shaped by some source of input. This could be a player moving their mouse to orient their perspective, or using the buttons on the mouse to click on objects they see on their computer monitor. Form shapes how expression affects what is being modeled within the simulation. 

Accounting for the production of a body within the OOP paradigm is necessarily a recursive process of writing the body in and out of the simulation. A programmer is a body limited by the linguistic commands that can be expressed to the machine, the avatar body is a simulacrum for the user, the input controls themselves limit the expressiveness of the biological/organic body. As a method/ology for simulating the virtual, OOP and Java obscures the organic within its own mechanical artifice. Computation that renders where and what the body is, then, ultimately reveals the boundaries of the bounded self, of subject/ivity; the simulated body is not porous in the sense that the simulation moves in, through, and with the body; rather, within the relativistic framework of the program, the body is cleaved and loosely grounded in the simulation—easily removed and always threatened with a loss of access (cf. Golumbia).

These worlds, which are often procedurally generated by the software program, represent co-constituting codes of meaning; for example, an ice block looks like an ice block, and when it is made to melt, it becomes a source water block. For the program, the aesthetic graphics themselves are not imbued with meaning, but players map meaning onto those aesthetics—a code in itself—that is used to determine how the program simulates relationships between different entities and events.