Search results for "critical code studies working group"
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[…]points of view, focusing as they do on “Brian” and “Brad”‘s activities apart from the group consciousness. Yet, as with everything in The Sluts, what is real is indeterminate. What is real is only language, and much of it floats, unanchored in veracity or certainty. If the violence of the prose in the George Miles Cycle often reduces character to language, to inscribability, in The Sluts even language is unsettled – the words used to describe Brad are comically, emphatically inconsistent. As Baker has observed, the information reported by his reviewers gives Brad seven different heights, ten different weights; his […]
[…]Elisha Scudder. Boston, 1899. eBook. The Cambridge Poets. Marcuse, Herbert. One Dimensional Man: Studies in the Ideology of Advanced Industrial Society. 2nd ed. New York: Routledge, 2002. Print. Routledge Classics. McLuhan, Marshall. “Playboy Interview: ‘Marshall McLuhan – A Candid Conversation with the High Priest of Popcult and Metaphysician of Media.”The Essential McLuhan. Ed. Eric McLuhan and Frank Zingrone. New York: Basic Books, 1995. 233-269. Print. Pascal, Blaise. Pensées. Trans. Roger Ariew. Indianapolis: Hacket Publishing, 2005. Print. Stevens, Wallace. The Collected Poems of Wallace Stevens. New York: Vintage 1990. White, Curtis. “The Late Word.” Lapham’s Quarterly: Roundtable. Oct. 2011. Web. January […]
[…]and body, one being metaphorized by the other throughout VAS, Square hopes to act upon his body by working on his text. “Just a little editing” is one of the recurring phrases bringing together text and body, this one aimed at belittling the consequences of the operation, seen as but an amendment brought on the manuscript of Square’s body. He tries to become more familiar with the surgery awaiting him by playing on words, their sounds and mutations, as well as by calling upon earlier examples of similar “procedures”, to use the term referring to the vasectomy in VAS. The […]
[…]via apps, from individual artists, like Christine Wilks, and small collaborative teams, like the group behind the narrative-driven audio app for runners, “Zombies Run!” The latter might not qualify as literature or art, despite being co-created by a prize-winning literary novelist, Naomi Alderman, but the work of the former, including Wilks multiple award-winning piece “Underbelly,” most definitely does. But even “Zombies Run!,” with its fantastically successful Kickstarter funding drive, shows new ways for writing and writers to make their mark – with Alderman’s literary abilities harnessed in this way, perhaps “Zombies Run!” will be included in someone’s idea of a canon, […]
[…]pleasure or pain is precisely calibrated and coded to the information. The pornographic image is coded for desire, the image of a child coded for sympathy. Intense pain is unmeasured, uncoded, and yet utterly consuming for the sufferer. The abjection or terror I feel in the face of suffering may be in response to this “sublime” distance, a sublimity that maps the edges of the network. The sufferer of intense pain who suffers in and through every image and every word is possibly a model of reference, of the mapping of the body to the network. Referentiality is precisely not […]
[…]of reading and language, it also creates new ones. “Spacing Reading” aims to foreground the critical potential of the shift in dynamics and the capacity it enables to redefine language relations, such as syntax, semantics, translation, genre. I have called this “inextrinsic” because it embodies a contradiction, or tension (“in-ex”); “intrinsic” because it takes the human reader into deep or underlying structures of poetic language invisible before digital media and the virtual; “extrinsic” because this new way of reading then moves to foreground associative, or metonymic, traces. A new Subjectivity in language is glimpsed, while at the same time, language […]
[…]young Townshend to “installations combining vibrant colour, lighting, TV screens, and complex coded music” (56). The American painters Larry Rivers and Ron Kitaj, both of who rejected Abstract Expressionism to create flat, parodist distortions of figuration and realism, teach at Ealing Art College, too. The most influential mentor at school is the Fluxus or Anti-Art figure Gustav Metzger; decades after his Ealing Art College days, Townshend bankrolls Metzger’s first solo show at MOMA Oxford (464). Born into a Jewish family in Nuremberg, Metzger fled Nazi Germany. As an expatriate artist in England in the 1940s and ’50s, Metzger found that, […]
[…]brief references. It is with this aspect in mind that Melley’s book needs to be approached; the critical tradition that it operates within obviously exists in conjunction to an argument that, on the face of it, submits no clear vectors of resistance. Yet to interpret it in a light of an unhappy but exitless narrative of resignation is to miss the point, which lies less in the articulation than in an application of a process of thought that insists on a critical, uncompromising response to the state of emergency. “[W]e have institutionalized undemocratic means of preserving our democracy” (222): the […]
[…]of non-fictional texts. Social discourses are activated to provide the site of Tomasula’s critical intervention. In other words, the decision to cut off the signifier of the severing operation–using “vas” for vasectomy, or in other words, reducing vasectomy to “vas”—symbolically disables the State apparatus organizing the sterilization campaigns, literally depriving it of its capacity to contain people, vasectomizing the vasectomizers, so to speak. The morphological neutralization of vasectomy by subtraction finds a macro-structural equivalent in the strategic juxtaposition of biopolitical positions and their refutations. Such a layout desemanticizes the aggressive declarations by blocking their full deployment to avoid turning VAS into […]
[…]and Lawson Jaramillo, Cynthia. 2007. “Dovetailing Details Fly Apart—All Over, Again, in Code, in Poetry, in Chreods.” http://www.slippingglimpse.org/pocode Strickland, Stephanie, Cynthia Lawson Jaramillo and Paul Ryan. 2007. slippingglimpse. http://slippingglimpse.org/ Stoppard, Tom. 1993. Arcadia. Faber and Faber: London. Thom, René. 1980. Modèles mathématiques de la morphogénèse. Christian Bourgeois Editeur. Tomasula, Steve. 2004. [First published in 2002] VAS: AN OPERA IN FLATLAND. [Art Design by Stephen Farrell]. Chicago : University of Chicago Press. Waddington, Conrad Hal 1977. “Stabilisation in Systems: Chreods and Epigenetic Landscapes.” Futures. Volume 9, Issue 2, April 1977, 139–146. […]