Gloss on Critical Code Studies and the electronic book review: An Introduction
Ryan Brooks
September 16, 2010
P:nth-child(7)
In “Interferences: [Net.Writing] and the Practice of Codework,” Rita Raley analyzes the poetics of Mez’s “neologistic net.wurked language… m[ez]ang.elle,” which incorporates “made-up code language as a mode of artistic composition and everyday communication.”
Gloss on HBO’s Deadwood and Serial Necessity: A Response to Sean O’Sullivan’s “Reconnoitering the Rim: Thoughts on Deadwood and Third Seasons”
Ed Finn
September 1, 2010
P:nth-child(8)
Worden’s reading of the show as a staging ground for neoliberal individualism echoes a number of critiques of contemporary gaming culture, particularly Jan Van Looy’s reading of the player as uomo economicus in Dungeons & Dragons.
Gloss on Critical Code Studies Conference – Week One Discussion
Ryan Brooks
August 31, 2010
P:nth-child(43)
Mark C. Marino’s talk at the 2009 Digital Arts Conference will be published in a forthcoming edition of Leonardo Electronic Almanac. Mark C. Marino’s talk at the 2009 Digital Arts Conference will be published in a forthcoming edition of Leonardo Electronic Almanac.
Gloss on Reconnoitering the Rim: Thoughts on Deadwood and Third Seasons
Andrew Burchiel
July 31, 2010
P:nth-child(13)
While Deadwood’s HBO website no longer exists, The Sopranos and Six Feet Under can still be viewed. While Deadwood’s HBO website no longer exists, The Sopranos and Six Feet Under can still be viewed.
Gloss on Reconnoitering the Rim: Thoughts on Deadwood and Third Seasons
Andrew Burchiel
July 31, 2010
P:nth-child(66)
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.
Gloss on Reconnoitering the Rim: Thoughts on Deadwood and Third Seasons
Andrew Burchiel
July 31, 2010
P:nth-child(4)
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.
Gloss on Roderick Coover, Larry McCaffery, Lance Newman and Hikmet Loe: A Dialogue about the Desert.
Andrew Burchiel
July 6, 2010
P:nth-child(44)
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.
Gloss on Critical Code Studies Conference – Week One Discussion
Ryan Brooks
August 31, 2010
P:nth-child(58)
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
Gloss on Multiculturalism in World of Warcraft
Ed Finn
June 30, 2010
P:nth-child(6)
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
Gloss on Multiculturalism in World of Warcraft
Andrew Burchiel
June 4, 2010
P:nth-child(1)
World of Warcraft, or WoW, is a massively multiplayer online role-playing game (MMORPG), a genre of computer role-playing games in which a very large number of players interact with one another within a virtual game world. The game’s community website can be found here: WoW Community Site and its wiki here: WoW Community Site World of Warcraft, or WoW, is a massively multiplayer online role-playing game (MMORPG), a genre of computer role-playing games in which a very large number of players interact with one another within a virtual game world. The game’s community website can be found here: W… continue