While O’Sullivan points to Milch’s HBO series John From Cincinnati in his notes, Milch’s extensive involvement with the long-running TV serial NYPD Blue, which he co-created with writer/producer Steven Bocho, is also relevant to discussions of his experience with seriality. While O’Sullivan points to Milch’s HBO series John From Cincinnati in his notes, Milch’s extensive involvement with the long-running TV serial NYPD Blue, which he co-created with writer/producer Steven Bocho, is also relevant to discussions of his experience with seriality.

For more on Milch, see his Wiki. Also, for the first in a series of “Milch on Milch” videos in which he describes the creative process on Deadwood while also discussing his larger themes of Order vs. Chaos and Civilizaion vs. The Wild, see here: David Milch of Deadwood. For more on Milch, see his Wiki. Also, for the first in a series of “Milch on Milch” videos in which he describes the creative process on Deadwood while also discussing his larger themes of Order vs. Chaos and Civilizaion vs. The Wild, see here: David Milch of Deadwood.

Some of McCaffery’s interaction with Vollmann is documented in “Expelled From Eden:” (a William T. Vollmann Reader), which McCaffery edited along with Michael Hemmingson.

The claim seems to be that the worm reproduces the heteronormativity of tennis marketing, no matter the gender, orientation, or motive of the coder or clicker (a qualification that is teased out later in the discussion). The critical point seems to be that the code is an INSTANCE of and/or (not sure which) a FIGURE for heteronormativity. But don’t both ways to read this critical point make the actual code irrelevant? If this is heteronormative interpellation at work, why do you need to understand code to understand that? The claim seems to be that the worm reproduces the heteronormativity of t… continue

Douglas’ argument operates in interesting tension with Jill Walker’s essay on the nature of quests in World of Warcraft. Walker argues that “a game is a network of fragments, most of which are not necessary to experience the game fully, and yet which cumulate into a rich experience of a storied world.” In other words, Douglas identifies an immovable cultural concept in WoW, hard-coded racial specificity, in a universe that otherwise depends on fluid and adaptive experience. Douglas’ argument operates in interesting tension with Jill Walker’s essay on the nature of quests in World of Warcraft.… continue