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[…]based electronic assemblage of privately owned public spaces, stands condemned as only the latest medium into which capitalism can alienate wealth, power, and identity. In his most striking image Wilson describes cyberculture as an empty room containing a television policed by Robocop (226). Wilson contrasts the “antiarchitecture” represented by Robocop and his milieu to the folksy comforts of Gothic and Baroque architecture. In Wilson’s hands these familiar architectural styles share a positive investment in an organic aesthetic. They mimic biological forms and, by doing so, provide spaces which encourage “permeable boundaries,” and thereby create environments which allow bodies to stay […]
[…]and narrative do share many elements, but as Espen Aarseth argues (Aarseth 1997), it is necessary to study games through a cybernetic approach. Unlike narrative, which is constituted by a fixed series of actions and descriptions, videogames need the active participation of the user not just for interpretational matters, but also for accessing its content. Narrative is based on semiotic representation, while videogames also rely on simulation, I am often criticized for using the term “simulation” in a very broad sense, particularly by colleagues with a computer science background. Traditionally, simulations model real systems and connote an intention of scientific […]
[…]it and the scripts operating within it. Immersive Interactives: Beyond Shootouts and Hunt-quests [T]oday’s most successful interactive artists ultimately see interactivity as an evolutionary (rather than revolutionary) step for storytelling. –Brent Hurtig (1998), “The Plot Thickens” Not surprisingly, the earliest digital interactives, videogames, drew their cues heavily from a singular schema, turning the early commercial computer games into jazzed-up versions of video arcade games. Whether by accident or design, early game developers had hit digital paydirt by founding their first ventures on the bedrock of two essentials: a recipe for interaction that all but guaranteed a deeply immersive experience and […]
[…]rain.” Outwater, pp. 88-9. The displacement of an ecological balance of buffalo [tongue] (see my novel Women and Men) and prairie dogs (with their enormously complex and habitat-friendly underground tunnels) by cattle and plowing, the end of natural fires as a renewal agent and grasses which held the soil in place…, ultimately led to the dust bowl and irrigation technology which, discovering water at greater depths, used it prodigally. What properties are here? Not only water’s, though as if a Pascalian pressure on a volume of water yielding pressure everywhere particulates Thales’ “Water is everything” into “Water yields any thought […]
[…]she used them only as a means for something else, yet that too turned out to be a kind of means… [S]he flirted…with knowledge she wanted him to come so close to he would palpably reckon his failure to possess it. (426) The substance of this “knowledge” (and it is more like an epiphany that a mere “sneaking suspicion” corroborated) is presented not thirty pages before Sylvia says “Don’t end it”. It is the strict, factual truth of Hind’s paternity – or, better yet, filialness – in a devastatingly offhanded way. Red Grimes is a professor of linguistics whose relationship […]
[…]the day. For instance, Al Gore’s An Inconvenient Truth, does a great job of presenting all the latest scientific facts and figures about global warming, and it gives jaw-dropping examples of the potential consequences of inaction. Then, in its last five minutes, the film addresses its audience directly, taking up the question of what is to be done. Its answer is that viewers should reduce their personal carbon emissions by carpooling, checking their tire pressure, buying low-wattage light bulbs, changing the settings on their thermostats, and so on. This conclusion falls horribly flat after the film has spent so much […]
[…]finding those places where the dimensions interact, as Mark said ‘when code does what it says’ [to paraphrase] or thinking about the ways in which semantics and operational characteristics interact, such as certain words being chosen for a particular audience of programmers because they make sense to that audience. Reply by Jonathan Cohn on February 2, 2010 at 6:24pm Hm, well maybe it’s not so much a “desire” as the recognition that there’s a difference between “close reading” text (or code as text) on the one hand, and paying close attention to the way in which software (as a package) […]
[…]language C: n219 for (; ;) ( uch = gtchr(); if (!(n & 31)) ( for (i = 0; i64; i++) 1 [ctr[i] = k[i] + h[n - 64 + i] Hash512 (wm, wl, level, 8); ) I found this section quoted in this article: “When Efforts To Conceal May Actually Reveal: Whether First Amendment Protection Of Encryption Source Code and the Open Source Movement Support Re-Drawing The Constitutional Line Between the First Amendment and Copyright ” by Rod Dixon in the Columbia Science and Technology Law Review. The article begins, provocatively enough: Computer source code is speech-that is the […]
[…]designer of the “literate programming paradigm,” Colossal Cave Adventure is the “ur-game for computers” (Knuth 1998/2002). Because computer games have, for decades, been a point of connection between the worlds of technology (from the Greek techne, “skill”) and art (from the Latin ars artis, also meaning “skill), it seems fitting to revisit Adventure” in the context of Critical Code Studies (CCS). I’m thrilled at the opportunity to invite the CCS community to collaborate on an annotated edition of Will Crowther’s original source code, using a series of public-editable files. The appendix at the bottom of this page shows the oldest […]
[…]space of a painting or the physical space that can be taken in by the viewer all at once … [S]patial narrative did not disappear completely in the 20th century, but rather, like animation, came to be delegated to a minor form of Western culture-comics. (322-323) The historical nonconformity of comics may have more than academic interest. Keepers of the great traditions, as opposed to true critics like Manovich, have little time for “minor” practices. Meanwhile, those less attached to the cultural center find value at the margins. Take, for instance, Jimi Hendrix’s or Neil Young’s distortion-rich guitar styles from […]