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Acknowledgments

I have been thinking about the political qualities and potentials of technology, design, and art for over a decade, and hundreds of conversations among friends and colleagues have informed this book. Special thanks go to Nathan Martin for the years of working together on these topics. My friend Hans Meyer was the most instrumental of all in the development of these ideas and also their harshest critic. He is missed, and his nagging skepticism has helped keep my claims in check. Dick Buchanan, Jodi Forlizzi, Judith Model, and Illah Nourbakhsh provided me with discipline and fortitude as a graduate student, and years later, what they taught me remains invaluable. This book would not have been completed without the support of my colleagues at the Georgia Institute of Technology. In particular, I am grateful for the guidance provided by Janet Murray, who patiently read these chapters many times and provided me with a wealth of feedback and encouragement. I am also indebted to Ian Bogost for his mentorship and friendship. In addition, I am thankful for fruitful discussions with my colleagues Jay Bolter, Hugh Crawford, Michael Nitsche, Anne Pollack, and Eugene Thacker. Many others have provided feedback to the ideas in this book, sometimes unwittingly, and I thank Emily Bates, Steve Dietz, Francine Gemeperle, Ian Hargraves, Tad Hirsh, David Holstius, Sabine Junginer, Jon Kolko, Victor Margolin, Phoebe Sengers, Peter Scupelli, Liz Thomas, and Cristen Torrey for the conversations we have had. Cinque Hicks provided enormous editorial feedback and support throughout this process. My family made this book possible. Special thanks go to Carl Frost. My mother and father, Susan and Joseph DiSalvo, taught me the value of contestation and instilled in me an appreciation for the arts and scholarship. And above all, thanks to Betsy, Evy, and Josie for their unwavering support.

 
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