Search results for "critical code studies working group"
| Results 1 - 10 of 1119
|
Page 1 of 112
|
|
Sorted by: Date | Sort by: Relevance
|
Results per-page: 10 | 20 | 50 | All
|
[…]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. […]