Search results for "critical code studies working group"
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[…]work, bridging the gap between cultural studies, history and sociology, is focused on critical animal studies and environmental humanities. In her PhD thesis she analyzed cultural and ideological ramifications of rat control programs. Currently she works on changes in breeding practices in rural Poland before 1989, in order to understand conceptual and material relations between animals, socialism, agriculture and modernity. Her book “Species Cleansing. The Cultural Practice of Rat Control” was published by Vandenhoeck & Ruprecht Verlag (Imprint of BRILL Deutschland) in 2024. Other publications: “Unveiling Dark Sites: Urbex/Rurex as a Method in Critical Animal History”, Journal of Contemporary Archaeology, […]
[…]and artists using language as the material of their artwork; what it was called language art, with groups such as Art and Language as well as independent artists and writers working using language but without a PhD. In the ‘90s, as a visual artist with a background in English Philology, I was interested in different art forms including sound art, installations, performance, and videoart. I explored the use of phonetics, alphabets, visual language, and interaction through performances like Speaking in Tongues (1995) and videos, such as From A to Z (1995), Social Interaction (1996), and Learning a Language (1999). I […]
[…]but a reflection of a deeper, psychological landscape where the social glue that binds such groups dissolves. This interpretation resonates with the ‘megadungeon’ model proposed in recent media studies, which conceptualizes digital spaces as vast, procedurally generated networks where the inherent repetition and absence of clear navigation evoke both complexity and disconnection (Berti, De Vincentis, & de Seta 2023). The repetitive, unremarkable corridors in The Backrooms – lacking distinct markers or any sense of human existence – can be understood as a visual metaphor for modern societal fragmentation. These unvarying, almost mechanical passages mirror a condition in which communities become […]
[…]of the first chapter. This project came from a real interest of the intersection between black studies and game studies and media theory. It came initially from this idea that so many people in game studies talk about choice, but not necessarily about freedom, right? Choice is this often binary thing, or at least this limited movement and so many decision trees and things that we do in games come down to choice, and sometimes choice and freedom are treated as being similar to one another, especially in places like the United States, where getting to make consumer decisions is […]
[…]can be ambiguous and evolving. A well-known example is Nick Montfort’s Taroko Gorge, the source code of which is easily accessible and that has inspired many others to make their own generators by modifying the code. For this reason, the work’s authorship has been described as “a hybrid body of human and synthetic writers and readers” (Marques da Silva & Bettencourt 47). The authorship of the works in the research material could also be regarded as much more complicated than the paratexts are letting on. ChatGPT produces text based on probabilities and patterns from large quantities of data, and its […]
[…]of the first literary journals to be invented online, and remains a central locus for cutting-edge critical discourse, methods that challenge the status quo, and in-depth work addressing the digital future of literature, theory, criticism, and the arts. Tabbi is the author, most recently, of The Cambridge Introduction to Literary Posthumanism. He wrote the biography of the novelist William Gaddis, one of the most important modern/postmodern writers of the 20th century, Nobody Grew but the Business: The Life of William Gaddis. Tabbi is a scholar who has been consistently critically engaged with the various intersections of science and literature, as […]
[…]debate on cybertext, an ecocritical thematic section on natural media, a thread on critical code studies and – most recently – on AI and digital writing), but the journal has been consistently offering new formats of critical interventions and academic exchange, such as riPOSTes, thREADs, essay gatherings, and editorial glosses. All of them are based on the idea of ebr’s intertext, in “contrast to the decontextualized and ahistorical approach to presenting essays” in outlets such as Academia, ResearchGate, and such like (Fan 2023). ebr, circa 2025, is now in the process of gathering contributions whose authors (or readers) have self-consciously […]
[…]we’re talking about your project, Surveillance Microcosms, which is a book project you’ve been working on for a while. Mathias Klang: That’s right. I’ve been kicking around the idea for a long time. I thought first, like you do, it’s a small article, and then I realized, no, it’s grown, and then coincided nicely with the Fulbright. So, I thought, this is amazing. I’ll have time to start writing it, planning it out and developing it. I’ve done some really good work. Scott Rettberg: Excellent. When do you think the book’s going to be published? Mathias Klang: I hope by […]
[…]it sends an automated alert to the police. And they had an independent report on how this was working, that found it wasn’t working, it wasn’t reducing crime. In fact, it was causing extra work for the police and also had other problems. And even so, the politicians urged to increase that; to keep going. They’ve just suggested this in Sweden, where they’re worried about increased violence. Oh, 2,500 surveillance cameras, that’s going to fix it, not looking at the societal problems. SR: Yeah. I wonder if people always argue that it’s going to fix it though, or if they […]
[…]Bruxelles: De Boeck & Larcier, 1996. Landow, George P. Hypertext: the convergence of contemporary critical theory and technology. Parallax. Baltimore: Johns Hopkins University Press, 1992. Marshall, Eric, untitled poem, 3rd International Obfuscated C Code Contest, 1986. https://www.ioccc.org/1986/marshall/marshall.c Nichol, Barrie Philip. First Screening. Toronto: Underwhich Editions, 1984. Papp, Tibor. Orion. alire n° 11 (2000). Rapkin, Lewis, Automatic on the road, 2018 (video). Strachey, Christopher. « The “thinking” machine ». Encounter, no 13 (October 1954): 2531. Vian, Boris. « Un robot-poète ne nous fait pas peur ». Arts, no 1016 (April 1953): 21926. Winder, William. « Le Robot-poète : littérature et critique dans l’ère électronique ». In Littérature, […]
[…]the noninvasive brain sensors, because they are now beginning to track brain signals, they can decode speech. They can decode what you are going to say. They can decode the music you are listening to. They can decode what you are seeing. They can do these under specific conditions, which are usually fMRI, but also magnetic encephalopathy, and in the last two weeks there was a merger between Forest Neurotech and Butterfly. Butterfly produces this handheld ultrasound sensor, which, in the medical context, is very, very helpful. SR: I know a digital artist who’s moved to that company. JJ: Wow. […]
[…]about programmed digital literature; which is to say, literary writing in which the author (or group of authors) creates the program of the work. In this essay, I will first expound the procedural model theory, then indicate how we can compare different theories in it and show some semiotic analyses using the model. I will finish with a general overview covering about 30 years of research, analyses, theoretical frameworks and observations. I will not go into all details and not all analyses will be addressed in the essay. In particular, I will not analyze specific textes-à-voir. 2. A model in […]
[…]Think Deeply Again (2022). These topics are presently highly relevant; several thousand academic studies worldwide have been devoted to how digital media and platforms change our attention and literacy, ranging from students’ in-depth information processing and sustained attention capacity (Delgado, P., & Salmerón, L., 2021), how reading on screen leads to more shallow processing and can hinder reading comprehension (Jensen, R. E., Roe, A., & Blikstad-Balas, M. 2024), and which reading format is better suited for children’s books (Furenes, M. I., Kucirkova, N., & Bus, A. G., 2021). I often wonder, when looking for a main claim, if the core […]
[…]of a certain size. So I adapted TiddlyWiki for longer works. I printed out the TiddlyWiki source code and took it with me on the subway on the way to work. I jotted notes in the margin and highlighted things I didn’t understand. Based on that, I built small command-line tools that allowed me to work in a way that made sense to me, but eventually generated TiddlyWikis. Of course, TiddlyWiki had an open source license, so I could do that. I think platforms build on each other. They don’t usually emerge from nothing. They certainly react to each other. […]
[…]this a little bit, was the idea that in your scholarship, you have a lot of references to game studies and media studies, but also the psychology and psychotherapy, all the way back to Jung, to the present, neurobiology and cognition and theories like Joseph Campbell, who are kind of connecting story and psychology. So, there’s a lot of connections to narratological ways of thinking and really exciting interdisciplinarity, I guess you’d say, which is one of the things we’re trying to think a lot about with the Center for Digital Narrative. What happens when we bring these different perspectives […]
Critical Code Studies: 10 years later Almost 20 years ago, Mark Marino’s Critical Code Studies manifesto in electronic book review called for scholars to explore the extra-functional significance of computer source code in a new field he called Critical Code Studies (Marino, 2006a). After eight biannual working groups, several books, and a special issue of Digital Humanities Quarterly in 2023, not to mention the eponymous manuscript from MIT Press, Critical Code Studies as an approach to algorithms, software and code is thriving (Marino, 2020; Marino and Douglass, 2023). The original essay has been inspirational for a range of practices based […]
[…]Kelly, Our Biometric Future: Facial Recognition Technology and the Culture of Surveillance, Critical Cultural Communication, New York, NY: New York University Press, 2011. Haraway, Donna, “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective,” Feminist Studies 14, no. 3 (1988): 575-99. Magnet, Shoshana Amielle, When Biometrics Fail: Gender, Race, and the Technology of Identity, Durham: Duke University Press, 2011. Maurer, Kathrin and Anders Engberg-Pedersen (ed.): Visualizing War, Emotions, Technologies, Communities, New York and London: Routledge, Taylor & Francis Group, 2018. Mirzoeff, Nicholas, The Right to Look: A Counterhistory of Visuality, Durham and London: Duke University Press, […]
[…]leave right away. I perhaps was trying to console myself. And so, I asked him what else he was working on. And he mentioned a couple of writing projects. And then he said, plus, “I want to teach this new workshop using the computer to make stories that can be read in maybe a variety of, infinite numbers of different orders and sequences that you determine as the reader.” And I said, “Oh, you mean hypertext?” And his eyes lit up, and he looked at me, and he said, “You know about this stuff?” And I said, “Yeah.” And I […]
[…]Day of Wrath, came out in 2014. Bob was born in Charles City, Iowa and got his BA in Slavic Studies from Indiana University. He served in the Navy from 1953 to 1957 and then went on to get an MA from the University of Chicago in 1965. He met his wife, Pilar Coover, née Sans Mallafre, who is Catalan, during his time in the Navy, while port-hopping in the Mediterranean. They retained strong attachments to Spain and Catalan Culture, Bob most ardently through his love of soccer, as a supporter of Barcelona, and his interest in Spanish wines of […]
[…]so much time becoming such a good— WL: But he also is sort of a craftsman. SR: For him, the code is an artform. WL: Absolutely, yeah. SR: And then, “Oh well, I’m going to spend 20 minutes with ChatGPT and have code that does some similar things.” WL: I guess he’s looking into limitations of— SR: Constraints. WL: Constraints, yeah. SR: And it’s not that any of that’s going away, it’s just that this discourse about machine generated content and how we work with text generation generators, or computational narrative systems, as he calls them, that’s changing pretty quickly. […]