Abowd, Gregory, 217 Aura, 73–75. See also Benjamin, Aladdin 148. See also Animated film; Walter Disney, Walt Austen, Jane, 44 Alberti, Leon Battista. See also Linear Automaticity (of mediation), 25, 27– perspective 28, 33, 139–140 and linear perspective, 24, 251 window metaphor, 29, 31, 79, Back to the Future, 246–247 162, 235, 251 Bailly, David, 12, 37 Allegory Balsamo, Anne, 182, 237–240, 248– in digital art, 130, 133, 136–139 249, 252 Myst as, 94–96, 136, 144 Bambi, 173 Allen, Robert C., 193 Barlow, John Perry Alpers, Svetlana, 36–37 “Declaration of Independence,” 74, Altarpieces 76, 179–180 as hypermediated, 34–35 Baroque cabinets American Memory Project, 201 as hypermediated, 35–36 Index Civil war photograph of Atlanta, Barthes, Roland, 30, 268 202 Camera Lucida, 30n, 106, Amsterdam webcam, 82, 208–210. 110–112 See also Web cameras Baseball, 190–191 Amusement parks. See Theme parks Baudelaire, Charles, 72 Anderson, Christopher, 172 Baudrillard, Jean, 174, 194 Anderson, Laurie, 43 notion of simulacrum, 55, 213 Andreesen, Marc, 198 Bazin, Andre´, 25–26, 30 Animated film. See also Film Beauty and the Beast, 147–148. See also as remediation of computer graph- Disney, Walt ics, 147–150 Bell, Charles, 120 Anti-Cartesianism, 250–254. See also Marbles IX, 123–124 Descartes; Jay, Martin Bellocq, Ernest Antonioni, Michelangelo photograph of Mahogany Hall, Blow-up, 268–269 126, 128 films remediated by Myst, 97 Benedikt, Michael, 181 Apple (computer corporation) Benjamin, Walter Knowledge Navigator, 219 The Work of Art in the Age of Mechan- Arcade games, 34, 89–94. See also ical Reproduction, 73–75 Computer games; Video Berners-Lee, Tim, 197–198 games Big, 246–247 and new Times Square, 166–167 Blade Runner (computer game), 98 and social spaces, 102 Bloom, Harold, 49 Arkansas (multimedia splash screen), Body 13 as medium, 237–240, 254 Arlington (brothel in Storyville), 127 remediation of, 236–240 Ars Electronica, 143–144 and technology, 145 Artificial intelligence, 66, 161–162 Bodybuilding, 237–239 A-10 Attack! (computer game), 102 Boeing, 215–216 Atlanta Zoo, 246 Book of Hours (medieval manuscript), Auge´, Marc, 177–179 13 Augmented reality, 213–216. See also Bornstein, Kate, 239 Ubiquitous computing Bourdieu, Pierre, 250 Bowie, David, 42 Communications Decency Act, 210 Brainstorm, 166 Computer Brave New World, 46 as medium, 66 Bricken, Meredith, 22, 245, 251 Computer art. See Digital art and Elec- Britannica Online, 202–203 tronic art Bruckman, Amy, 262, 264 Computer games, 55, 81, 88–103 Bryson, Norman, 25, 27, 54 and pornography, 99–101 Bukatman, Scott, 175 remediate cinema, 47, 96–99 Butler, Judith, 84, 264 Computer (digital) graphics, 11, 26– 28, 106–107. See also Disney, Camelot, 148 Walt; Photorealism Camera lucida, 69 and animated film, 48, 147–150 Camp Snoopy, 175–176 and augmented reality, 216 Cartesian perspectivalism, 24, 249– and computer games, 94 251. See also Descartes; Jay, hypermediacy of, 34 Martin in live-action film, 153–155 and gendered gaze, 79 and movement from immediacy to 287 Catcher-cam, 191 hypermediacy, 128–129 Cathedral popularity of, 23

as hypermediated space, 34 ray-traced image, 124 Index Cavell, Stanley, 26, 26n, 27, 58 reality of, 58 on artist and the self, 121, 234, remediates painting, 69, 115– 236 119 on film and television, 186 remediates photography, 105, on modernist art, 270 129–130 The World Viewed, 58n and the self, 232, 235, 243, 245, CBS News, 269 252 CD-ROM (as medium), 42, 44–47, Computer interface, 29, 42. See also 53, 200 Graphical user interface CETH (Center for Electronic Texts in and PACMAN, 91 the Humanities), 201 Coney Island, 169, 178 Chase, Linda, 120–122 postcards of, 14, 170 Chatrooms, 261–262 Convergence, 185, 220–226. See also Chicago Columbian Exposition, 173 Push Chinatown, 97 economic aspects of, 222–223 Cinema of attractions. See Film Cooper, Alice, 42 Cinerama, 157 Cosmetic surgery, 237–239 Clark, T. J., 54n Cotten, Bob, 31 Clarke, Arthur C., 48, 58n Cottingly fairy photographs, 106– Classroom 2000, 217 107, 128 CNN Interactive (web site), 9, 209, Crary, Jonathan, 25, 37, 249 267–268 Cyberspace, 62, 74, 76, 168–183. See CNN News, 10, 189–191, 204. See also Internet; Virtual reality also Television and definition of the self, 166, Collage, 38–39, 41, 155 232, 251–254 digital photography as, 107 networked computer games as, Command-line interface, 32. See also 103 Computer interface; Graphical in Neuromancer, 181, 226 user interface as a nonplace, 179 Cyberspace (cont.) Doom (computer game), 29, 42, 55, remediates earlier media, 162 93 rhetoric of, 54 as desktop virtual reality, 48 and sexual transgressions, as interactive film, 47 260–261 as social space, 102–103 theology of, 180–183, 222 Dotan, Uri Hummingbird, 134–135 Daguerre, Louis Jacques Mande´, 70, Dragon’s Lair (arcade game), 94 72 Duchamps, Marcel Dawkins, Richard, 144 The Bride, 134 Degrees of freedom, 243–246 Dungeons and Dragons (game), 248, de Lauretis, Teresa, 82 258 Derrida, Jacques, 53n, 56 Du¨rer, Albrecht, 24 Of Grammatology, 30n and gendered gaze, 78–79, 83– Dery, Mark, 239–240 84 Descartes, Rene´ Unterweysung der Messung, 79 288 critique of, 250–254 Dutch art dualism, 237, 252 hypermediacy of, 36 and the ego or self, 248–254 Dutch painters

Index Meditations, 248 as remediators, 45 and perspectivalism, 24 DVD (Digital Video Disk or Digital Desktop interface. See Graphical user Versatile Disk) See CD-ROM interface Desktop metaphor. See Graphical user Eastman, George, 70 interface Edgerton, Samuel, 24n Diana, Princess, 268–269 Edison, Thomas Alva, 174 Digital art, 132–145 Ekphrasis, 45 and automaticity, 139–140 Electronic art, 143–145. See also Digi- fantasy and allegory in, 135–139 tal art Digital compositing Electronic mail. See Email in film, 23, 48, 154 Email, 197 in television, 188 Embodiment. See Body Digital graphics. See Computer Emergency Broadcast Network (rock graphics music group), 53–54 Digital photography, 104–112. See Telecommunications Breakdown, 42– also Photography 43, 46, 257 and the desire for immediacy, Empathy, 245–246 110–112 Encarta (CD-ROM Encyclopedia by as hybrid, 28, 72 Microsoft), 46 and movement from immediacy to Encyclopedias, 46, 202–203 hypermediacy, 128 Englebart, Douglas, 31 and photographic truth, 106–110 Erasure (of mediation), 25, 27–28, 37, Diorama, 37 45, 54, 74, 101 Disclosure, 166 ESPN (television sports network), Disney, Walt, 169–173 191 Disneyland, 170–174 Estes, Richard, 120 Disney World, 170, 173, 177–178, Expanded Books (software by Voyager 226 Company), 46 Fairy Tale: A True Story, 106, 128 Gender. See also Body; Gendered gaze; Fantasia, 171 Self Fantastic voyage, 214 and MUDs, 262–265 Fantasy and remediation, 78–84 in digital art, 135–139 Gendered gaze, 78–84, 236–240, Feminist theory 253–254, 264–265 on gender, 264 Georgia Institute of Technology, 4, and the mediation of the body, 77, 163–164, 217, 246–247 237–240 Gergen, Kenneth Film, 146–158. See also Animated The Saturated Self, 257n film; Interactive film Gibson, William Benjamin on, 74–75 Neuromancer, 166, 175, 181, 226 cinema of attractions, 81, 155– Goings, Ralph, 120–123 158, 174, 254 Still Life with Creamer, 122–123, experimental or avant–garde, 125 154 Goldberg, Ken and gendered gaze, 78–83 Telegarden, 144 289 reality of, 58 Goodman, Nelson relationship to television, Languages of Art, 30n, 112

185–187 Graham, Billy, 171, 173 Index remediated by computer games, Graphical browser, 221 96–99 Graphical user interface (GUI), 31– remediates digital technology, 48, 32, 35, 47 149 and computer games, 90 as remediator of earlier technolo- and desire for immediacy, 23 gies, 67, 69 influence on television, 40 on virtual reality, 247 remediated by augmented reality, Film noir, 97 216 Filters (in computer graphics), Graphic design, 39 141–142 and the World Wide Web, Fisher, Philip, 58–59 197–200 Flaˆneur, 174 Greenaway, Peter Flight simulation (computer games), The Pillow Book, 155 9–11, 102 Prospero’s Books, 155 Flitterman-Lewis, Sandy, 186–187 Greenberg, Clement, 38, 38n, 39, 54, Fox (television network), 191 54n, 58, 58n Foucault, Michel, 21n, 37 Greene, Graham, 98 Frankenstein (film), 136 Grolier’s Electronic Encyclopedia, 46 Frankfurt School, 78 Grontkowski, Christine, 79 French Quarter (New Orleans), 177 Grossberg, Larry, 194 Freud, Sigmund, 81n Guinea Pig Television (web camera Fried, Michael, 54n, 58, 58n site), 208 Fry, Tony, 57n Gunning, Tom, 30, 81, 155–157, Futurists, 54, 74 174. See also Film, cinema of attractions Gabriel, Peter Gutenberg, Johannes, 68–69 Xplora 1, 42 GVU (Graphics, Visualization, and Gamman, Lorraine, 84 Usability) Center, Georgia In- Gargoyle MUD, 259. See also MUD stitute of Technology, 4 Hamilton, Richard, Interface designers, 248 Just What Is It That Makes Today’s Internet, 48, 180, 189–190 197, Homes So Different, So Appeal- 200–201, 203, 267. See also Cy- ing?, 38–39 berspace; World Wide Web Haptic feedback, 252 and convergence, 223 Haraway, Donna, 182 as cultural, political, economic notion of cyborg, 77, 237 force, 76, 182 Harpold, Terry, 101 and death of Diana, 269 Hart, Michael, 201 and democracy, 60, 74 Hayles, N. Katherine, 250–252 and freedom of expression, 210 Heart of Darkness, 201 monitoring function of, 223 Hegel, G. W. F. phone service on, 204 concept of sublation, 55n remediates and is remediated by Heim, Michael, 182 television, 224 Hine, Lewis, 70 remediates the telegraph, 197 Hitchcock, Alfred and ubiquitous computing, 222 290 and cinema of attractions, 157 and virtual community, 232, 258 narrative style remediated in The and web cameras, 205–207 Last Express, 98 Irigary, Luce, 79

Index Vertigo, 49, 80, 82, 97, 150–153, Ivins, William 165, 238–239 On the Rationalization of Sight, 24n Hodges, Larry, 4 and Virtual Gorilla, 247 James, William, 233–234, 248 experiment in virtual acrophobia, Jameson, Fredric, 56–57 163–166 Java (programming language), 210 Hollywood style, 150–153, 155–156. Jay, Martin, 24, 24n, 30n, 79, 249, See also Film 251 Holtzman, Steven, 49 Jeffords, Susan Homosexuality Seeing Through the Media, 189 as hypermediacy, 84 Jet Propulsion Laboratory, 205–206, Hotwired web site, 8 268. See also Mars Pathfinder Huhtamo, Erkki, 42, 157 Johnny Mnemonic, 166 Hybrids Johnston, Lisa Latour’s concept of, 57–58, 67 Sattelight, 134, 136 in media, 58–59, 61, 72, 209, Joyce, Michael, 43 222, 224 Judovitz, Dalia, 249 Hypermedia, 31, 39, 53–54 Jumbo Kanaha Kam (web camera), Hypertext, 33, 43–44, 248 205 Jurassic Park (film), 154 Identity. See Self Jurassic Park (novel), 46 Imax, 157 Immersion, 162, 251 Kay, Alan, 31 Impressionism, 125 Keller, Evelyn Fox, 79, 237 Interactive film, 47, 94–99. See also Kellner, Douglas Film; Myst Media Culture, 67 Interactivity, 28–29, 33, 162, 199, Kelly, Kevin 243 “Kill Your Browser,” 221–226 and immediacy, 81 Kiss (rock music group), 42 and the Internet, 204 Kowinski, William, 175 Lacan, Jacques, 81n, 83, 236n McLuhan, Marshall, 185–187, LambdaMOO (interactive environ- 239–240 ment), 260 Understanding Media, 45, 76–78 Lanham, Richard, 38–39, 41 Mahogany Hall Lanier, Jaron, 22, 246, 251 computer graphic of, 119, Last Express, The (computer game), 126–128 98–99 Male gaze. See Gendered gaze Latour, Bruno, 24n, 57–58, 62, 67 Mall of America, 175–176 Science in Action, 58n Malle, Louis We Have Never Been Modern, 58n Pretty Baby, 128 Lawnmower Man, 166 Marinetti, Filippo Tommaso, 54, 74 Le Flashing, 218 Marquez, Gabriel Garcia, 107 Levinson, Paul Mars Pathfinder (space mission), 180, The Soft Edge, 59n 205–207, 215, 268 Library of Congress, 201–202 Marvin, Carolyn Lin, John When Old Technologies Were New, photorealistic graphic of Chartres, 233n, 259n, 261n 291 12 Mawson Station (web camera in Ant- Linear perspective, 11, 24–25 arctica), 205–206

and Cartesian rationality, 248 Medium Index claim to be natural, 30, 72 defined through remediation, in computer graphics, 26, 125 65–68 and gendered gaze, 78–79, 84 Metsu, Gabriel, 36–37 and immersion, 251 Metz, Christian, 30n, 82 in painting, 30, 34, 73, 235, 251, Meyer, Pedro, 139 261 Emotional Crisis, 107–108 and the self, 235 Mona Lisa in the Wax Museum, and transparent immediacy, 24–25 108–109 Live-action film, 153–155. See also Truths and Fictions, 107–110 Film Miami Beach Cam, 207 Liveness. See also Television Microsoft, 58 and death of Diana, 269 Mitchell, William J., 26, 31, 106 and rock music, 9, 42 Mitchell, W. J. T., 30n, 39n, 45 and World Wide Web, 197 Modernism, 38, 58, 235 Los Angeles and self–expression in art, 121 as mediated space, 174 Modernist art Lost World, The, 154, 157 and digital art, 134 Lowell, Robert and the logic of hypermediacy, 38, Vanishing Point, 133–134 41, 54 Lumie`re brothers, 174 and novelty, 270 The Arrival of a Train at the La Cio- and reality of media, 58 tat Station, 155 Mona Lisa Luna Park, 169 remediated in digital photogra- electrocution of Topsy at, 174 phy, 108–109 Lynx (computer program), 198 Mondo 2000 (magazine), 31, 39 MOO. See MUD McCaffrey, Anne, 258 MTV, 53–54, 152–153 Machover, Tod MUD Brain Opera, 144 and definition of the self, 258–262 MUD (cont.) automaticity of, 27, 33 and gender, 262–265 and death of Diana, 268–269 remediates earlier communications and desire for immediacy, 110– technologies, 258 112, 261 as social space, 102–103 immediacy of, 30, 38, 268 textual and visual, 248 as perfection of linear perspective, Mulvey, Laura, 80–82, 150, 248 25 Myst (computer game), 55, 102, 152 and photorealism, 28, 120–124 as allegory, 94–96, 136, 144 reality of, 58, 126 and death of Diana, 268 social status of, 70, 72 as desktop virtual reality, 48 Photomontage, 38–39, 155 as interactive film, 47, 94–98 Photorealism, 133 and transparent immediacy, 42 in computer (digital) graphics, 28, view of island in, 29, 95 55, 105–106, 114–130 in live–action film, 154 Nanomachines, 218 manual, 120–124 292 Nass, Clifford and movement from immediacy to The Media Equation, 58n hypermediacy, 128–129 Natural Born Killers, 6 Photorealistic Piper Seneca III, 10. See

Index Netscape, 58, 198 also flight simulator New Times Square, 166–167, Pinocchio, 173 173–174 Point of view Niepce, Joseph Nice´phore, 27, 72 and computer games, 97 Nintendo Game Boy, 90 and computer graphics, 245–246 Nonplaces, 175–180 and empathy, 247 Nordling, Chris and film, 97, 245–246 Netwash6.9, 134, 137 multiplicity of, 245 Novak, Marcos, 180–181, 249, 251 and television, 5, 245–246 verbal or literary, 245 Old Yeller, 173 and virtual reality, 162, 245–246, Oliver, Richard, 31 253–254 Olympics, 192 visual, 245–246 Omnimax, 157 Pong (arcade and video game), Orlan, 239–240 90–91 Popper, Karl, 181 PACMAN (video game), 90–92 Pornography Painting. See also Linear perspective and computer games, 99–102 in linear perspective, 73 and MUDs, 260–261, 264 Palace, 262–263, 265. See also MUD Postmodernism Panofsky, Erwin and media, 56–57 Perspective as Symbolic Form, 24 Poststructuralist theory Panorama, 162 and media, 56–58 Penny, Simon, 32, 252 Prelude to the Kiss, 246–247 Performance art Programming, 27, 33 and the remediation of the body, Project Gutenberg, 200–201 239–240 Push (media technology), 61, 221, Phenakistoscope, 37 223–226 Photography. See also Digital photography Quake (computer game), 93, 102 Rabinowitz, Lauren as mediated through various tech- Seeing Through the Media, 189 nologies, 231 Rajasingham, Lalita modernist view of, 235 In Search of the Virtual Classroom, in printed novel, 262 216 romantic view of, 234 Rape unmediated, 236 in cyberspace, 260–261 virtual, 166, 231–232, 234, 242– depicted in Strange Days, 166 254, 257–258 Reality of media, 58–59, 117–118, William James on, 233–234 179, 191–194, 219, 222, Sex 268–269 as remediation, 260 Redolfi, Michael Shaw, Jeffrey Liquid Cities, 144 The Legible City, 144–145 Reeves, Byron Shopping mall, 174–177 The Media Equation, 58n Siechen, Todd Repurposing, 45, 49–50, 68, Kodak Film, 129 171–172 Simulacrum, 55. See also Baudrillard 293 Residents, The Smith, Alvy Ray, 119 Freak Show, 42–43 Snow White, 171

Rheingold, Howard, 22, 24, 29, 74 Social construction Index Richter, Tobias and hypermediacy, 73 Atlantis, My Love, 137 Social determinism. See also Williams, Riven (computer game), 29, 55, 98. Raymond See also Myst as counterpart to technological de- Robinson, Henry Peach, 70 terminism, 77 Rock music Sorkin, Michael, 175, 177 experience of, 71–72 Space exploration, 245 and hypermediacy, 42–43, 53 Space Invaders (arcade game), 93 liveness of, 9, 42 Spielberg, Steven, 157 and remediation, 46 Squire, Joseph Rock music productions, 71 Urban Diary, 7 Rogge, Jan-Uwe, 194 Stafford, Barbara, 35–36 Rokeby, David, 42, 218 Star Trek Borg: The Interactive Movie, Ro¨tzer, Florian, 253 98–99 Rousseau, Jean Jacques Star Trek fans, 245 Nouvelle He´loise, 261 Star Trek: The Next Generation, 239 Steadman, Philip, 115–118 Saenredam, Pieter, 11 Steeplechase Park, 169 S.Bavo in Haarlem, 11 Stelarc, 145, 239–240 Sander, August, 70 Stereoscope, 37–38, 100 Schwarz, Vanessa, 81 and feeling of immersion, 162 Self. See also Subject Stickland, Sherry G. and the body, 236–240 ray-traced computer graphic Descartes on, 248–254 image, 124 and film technology, 248–249 Stone, Allucque`re Rosanne, 182, and gender, 262–265 251–252 hypermediated or networked, Stone, Oliver 232–234, 236, 256–265 Natural Born Killers, 154–155 Strange Days, 3–4, 6, 24, 166, 234, remediated by new media, 3 270 remediates and is remediated by borrows from Vertigo, 49, 150, 165 the Internet, 224 compared to contemporary virtual Terminator 2, 153 reality, 22 Theme parks, 34, 169–180. See also and cyberspace, 181 Disney, Walt and first–person point of view, 97, This is Cinerama, 157 150 Thomas, Chris and gendered gaze, 82 The Many Brains of Media, 138 the wire in, 3, 24, 54, 181, 234 Tiffin, John Striptease In Search of the Virtual Classroom, and gendered gaze, 80 216 Stroget (market street in Cøpen- Tolkien, J. R. R., 258 hagen), 177 The Lord of the Rings, 94 Subject. See also Self Tomas, David, 181 Enlightenment view of, 234– Too Much Is Not Enough (computer 294 235 arcade), 166–167 Subjective camera, 150, 165–166 Toy Story, 48, 148–149. See also Ani- Sun (computer corporation) mated film; Disney, Walt

Index Starfire, 219 and photorealism, 125 Trompe l’oeil, 25, 30, 155, 158 Tagg, John Turing, Alan, 27, 66, 161 Burden of Representation, 109–110 Turkle, Sherry Talbot, William Henry Fox, 30, 69, Life on the Screen: Identity in the Age 72, 120 of the Internet, 233n, 258–260 The Pencil of Nature, 27, 38 The Second Self, 233n TBS (television network), 190–191 Turner Field, 177–178 Technological determinism, 75–78, 20,000 Leagues Under the Sea, 172 187. See also McLuhan, Mar- shall; Williams, Raymond Ubiquitous computing, 61, 194, Teleoperators, 214 212–219. See also Augmented Telepresence, 213–216. See also Ubiq- reality uitous computing and convergence, 222 medical, 214 hypermediacy of, 216–219 microsurgical robot application, and the self, 235 215 UFO debate, 71 Television, 48, 184–194, 267–269 Ulmer, Gregory commercials, 192–194 Teletheory 57n and death of Diana, 269 Ultima Online (networked computer as hybrid, 67 game), 103 and hypermediacy, 93, 210 USA Today (newspaper), 31, 40, 209 and liveness, 26n, 81, 187–188, USA Today (web site), 41, 209 191 U2 (rock music group), 42 monitoring function of, 47, 93, 188, 194, 226 van Kalker, Arnt, 35 news, 189–192 VCR, 185–186 and point of view, 5 and pornography, 100 relationship to film, 185–187 transforms film in television, 204 remediated by The Legible City, Velasquez, Diego 144 Las Meninas, 37 Vermeer, Jan, 37 and hypermediacy, 207–208 painting (The Music Lesson) remedi- jukebox, 8, 207–208 ated, 115–119 monitoring function of, 204 Vertigo, 49, 97, 150–153, 157. See also remediation of television, 208 Hitchcock Sulphur Mountain webcam, 6 and acrophobia, 165 Webcams. See Web cameras and desire for immediacy, 80, 82, Weiser, Mark, 217 238–239 Weston, Edward, 11, 70 Video, 57, 186. See also Television WGN (television station), 190–191 Video arcade. See Arcade games White, Mimi, 192 Video games, 89–94, 102. See also White City, 173 Computer games; Arcade Who Framed Roger Rabbit, 149, 152 games Williams, Linda, 81 as repurposed television, 91 Williams, Raymond, 75–78, 185–186 Virtual acrophobia, 163–166 Williams, Robin, 148 Virtual community, 232 Windowed style 32–33, 47. See also Virtual Gorilla, 246–247 Graphical user interface 295 Virtual museums, 201, 209 Wired (magazine), 31, 39 Virtual reality, 27–28, 48, 77, 145, “Kill Your Browser,” 221–226

149, 160–167 Wittig, Monique, 264 Index and gendered gaze, 240 Wolf, Gary head-mounted display, 4, 29 “Kill Your Browser,” 221–226 and immediacy, 11, 21–24 World Wide Web, 81, 196–210, 224, opposite number of ubiquitous 267. See also Internet computing, 213, 219 as book, 225 realism of, 119 censorship of, 209–210 remediates film, 55, 163–166, compared to television, 204 270 and graphic design, 39–40 and the self, 166, 232, 234–235, heterogeneity of, 208–210 240, 242–254, 257–258 as hybrid, 19 and telepresence, 214–215 and hypermediacy, 43–44, and utopian narrative, 216 207–208 Virtual Valerie (pornographic computer and liveness, 197 game), 101 and pornography, 100 von Neumann, John, 27 reality of, 58, 194, 226 Voyager Company, 46 remediates television, 208 VRML (Virtual Reality Modeling Lan- as remediator, 46–47, 60, 69 guage), 210 as revolutionary, 270 and transparency, 205–206 Wallace, John Wright, Richard, 140, 142–143 photorealistic graphic of Chartres, Wunderkammer, 35–36 12 WallStreet Journal, 224 Xerox PARC, 31, 217 Walser, Randall, 162–163, 252–253 Wearable computers, 218 Young, Paul, 81 Weather Channel, The 204 Web cameras, 5–6, 204–208 Zˇ izˇek, Slavoj, 55n, 236n Bird feeder webcam, 5 Zork (computer game), 94