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In Week 3 of a six-part series, Critical Code Studies contributors spelunk the mysteries of Colossal Cave Adventure, a seminal text adventure game. Delving into close readings of the original FORTRAN code, the group plots the twisty passages linking media theory, deconstruction and philosophies of programming. Group Code Annotation: Colossal Cave Adventure According to Donald Knuth, 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, […]
My parents had to have my dog put down when I was a kid. Later in life, I had a finely bred cat that went crazy and had to be destroyed. I have hemophobia which makes an ordinary blood-test an ordeal. So much I share with Helen, the narrator of Lynne Tillman’s recent novel American Genius, A Comedy. Further references will be given in the text to AGAC. No doubt there are other things we have in common, for Helen’s compulsively repetitive monologue at once invites and irritatingly repels such easy forms of identification. AGAC, of course, is a book […]
In Week 4, Critical Code Studies contributors kept the magic alive as they discussed Wendy Hui Kyong Chun’s “On Sourcery and Source Codes,” the first chapter of her forthcoming Programmed Visions: Software and Memory. Informed by Chun’s psychoanalytic reading and her awareness of the materiality of code work, the conversation deals with fetishism, gender, genetics, and performativity in ways both abstract and tangible. Week 4 of the CCS discussion began with a reading from the first chapter of Wendy Hui Kyong Chun’s recent book, Programmed Visions: Software and Memory. We are grateful to MIT Press for allowing us to share […]
I feed too much on inward sources; I live too much with the dead. My mind is something like the ghost of an ancient, wandering about the world and trying mentally to construct it as it used to be, in spite of ruin and confusing changes. -George Eliot Art destined to live has the aspect of a truth of nature, not of some coldly worked out experimental discovery. -Eugenio Montale Let’s get it on, sugar. Let’s get it on.- Marvin Gaye In January 2001, Guardian Unlimited published Jeff Noon’s manifesto, “Post Futurism,” in which Noon laments the contemporary state of […]
This essay was first published by The MIT Press in 2009 in the collection Third Person: Authoring and Exploring Vast Narratives, edited by Pat Harrigan and Noah Wardrip-Fruin. High Magic Comics belong to an interstitial form, occupying a privileged place between the dominant media of word and image. They are enough like long-form prose narrative for some to be known as graphic novels, and they are first cousins to storyboards, important genetic material for most films. Indeed, as Scott McCloud suggests, a comic is a bit like a film reel with a slow playback rate (8). Yet we should also […]
The essays collected in Against the Grain were first presented in 2008 during the International Pynchon Week conference that took place in Munich, Germany. Mainly devoted to Pynchon’s seventh book, Against the Day, the collection reminds readers of the questions that any scholarship devoted to this most intertextual, allusive, encyclopedic, and thoroughly investigated writer must necessarily address: how to make an original contribution to a “Pyndustry” (to use the editor’s term [12]) that has been thriving for over thirty-five years; how to do justice, in 15-25 pages, to a novel of over 1,000 pages; how to distinguish between the casual […]
In an increasingly monolingual, globalized world, the second volume of the Electronic Literature Collection may just offer a map of the territory. The question the reviewer, John Zuern, poses is how do we navigate this terrain going forward? Although we can now make what we write instantly available more or less everywhere in the world, every act of writing takes place somewhere, in a particular location, at a particular time, in a particular dialect of a particular language, and within the corresponding geopolitical, historical, cultural, and linguistic parameters. Moreover, every act of writing is somatically situated, exerting a strain, often […]
In a 1997 interview, Dennis Cooper lamented that his novels’ formal qualities often got lost in the attention bestowed upon his extreme subject matter (qtd. Canning 309). The five-novel George Miles Cycle (Closer, Frisk, Try, Guide, Period) explores the eroticization of death amid a swirling confusion of fantasy and reality, and the sex is often as violent and graphically depicted as the murders. Cooper’s cycle presents such transgressions as queer sex, incest, pedophilia, kiddie and snuff porn with uncomfortable rigor and a brutally disengaged tone. Within them, the figure of George Miles circulates, sometimes named George, sometimes taking other names, […]
Ted Pelton’s review of the 2006 &Now conference discusses the history of FC2 and how Tomasula picks up the thread of the novelistic in presumably stable discourse by choosing as his subject Alan Sokal’s infamous fraudulent essay on quantum gravity in Social Text. Ted Pelton’s review of the 2006 &Now conference discusses the history of FC2 and how Tomasula picks up the thread of the novelistic in presumably stable discourse by choosing as his subject Alan Sokal’s infamous fraudulent essay on quantum gravity in Social […]
Arriving on the literary scene in the early ’90s, Jay David Bolter’s Writing Space: The Computer, Hypertext, and the History of Writing is one of those pro-hypertext books whose earnest boosterism leaves you feeling a little embarassed. Nonetheless, Bolter’s book has recently been seen changing hands around graphic design graduate programs — I once heard it referred to as “the only interesting writing about new media.” While interesting isn’t a word I would use to describe the writing itself, the book does touch upon a central area of interest to graphic designers: the impact of technology on the material embodiment […]