Search results for "critical code studies working group"
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[…]of the writing and/or (college) teaching profession. Such discussions can address issues of working conditions, salaries, and job availability, issues that I, as part of the sub(if you will)-professional class of English studies in the university, find especially relevant. In the university, I am a Writing Associate laboring under one Director of Writing Assessment and one Writing Center Director. Both PhDs and both men. We (three women) Writing Associates have a “(.50 FTE), academic year assignment” with “a salary of $7,972.20 plus benefits” – reason enough to continue to seek full employment. Still, it’s the first time my family has […]
[…]what we see in most codework writing and art practices is less code per se than the language of code: codework that integrates elements of code into natural languages and brings code to the surface as a medium for literary, artistic, and experimental composition. The codework practice of “netwurker” Mez, which again involves the use of a made-up code language as a mode of artistic composition and everyday communication, is paradigmatic. An overview of Mez’s work can be found in her recent JavaMuseum solo show (February 2002), commemorating her nomination as “Java Artist of the Year 2001.” For a sample […]
[…]That Scott complicates these historiographical assumptions with a romantic nostalgia is well-trod critical territory, Elias notes, but what’s important for her argument is that in doing so, the historical romance summarizes and anticipates this tension within many postmodern novels. Whereas Scott had his sights set on the historical real but stumbled over romance, the postmodern metahistorical romance has its sights set on romance, but sometimes stumbles over the real. There are other issues at work in the book, and one of them is that postmodern writers are as influenced by contemporary historiography as Scott was by the historiography of his […]
[…]I believe to make of Ground Zero what they could. A photograph, a mark, a memory, a silence. A group of groups of which in many respects (certainly from the limited point of view of the terrorists) I am a part. Crowds passing under my window. Many from overseas. Yet mostly they are terrorist’s Americans I know alive or dead; still more really they have been, when they reach the ramp, more like Robert Frost’s people on the beach, who “cannot look out far…/ [and] cannot look in deep./ But when was that ever a bar / To any watch […]
[…]greatest gift, however: the published volume also comes packaged with a CD-ROM, which contains “working versions of some of the most important new media artifacts ever created…games, tools, digital art, and more — with selections of academic software, independent literary efforts, and home-computer era commercial software.” I had an opportunity to preview some of this material along with my advance copy of the Reader, and it is indeed an embarrassment of riches: Spacewar!, Weizenbaum’s Eliza, Will Crowther’s Adventure, Atari and Apple games (Karateka, anyone?), early hypertext including lost poems by William Dickey, an anatomy of Stuart Moulthrop’s “Forking Paths,” the […]
[…]So does the Web’s ability to draw into interaction communities from many different language groups, including groups whose languages have not been part of the standardization process but who nevertheless wish to use the network to speak in other registers. See Crystal, Language and the Internet. To some extent, then, what seems on the surface least political about the Web may be what is most important: providing raw bandwidth to those whose voices and languages have been pushed away by standardization. (However, the relative difficulty of sustaining broadcast media technologies in nonstandard languages such as low-power radio and television stations […]
[…]I. Schiller in the early seventies. Reflecting its origins, the department had a reputation for critical studies and support of free speech. The courses utilize texts such as Paolo Freire and Robert McChesney which emphasize the need for community empowerment and access to communications resources. Those very issues were to come home in late spring of 2000, as the department became embroiled in a struggle around freedom of speech that put to the test some of the theoretical concepts regularly featured in the midterm exams of undergrads and dissertation drafts of the graduate students. This struggle was over the Burn! […]
[…]Yes, it does, and it seems to me to explain why your work has been taken up particularly by critical studies of technoscience, people who are working in English, or rhetoric, or cultural studies. D Or performance art. L Performance art, exactly. D Yeah, I get taken up much more by artists in the broad sense, who often get what I’m doing both critically and in terms of more life-affirming stuff, not that criticism isn’t life-affirming, but that it isn’t the whole story. I get much more taken up by artists in that double way than I […]
[…]faculty intellectual property rights in “the coming battle.” Few people seriously engaged in critical information studies would necessarily jump to the conclusion that defense of faculty IP rights can serve as a core strategy for combating informationalism, This is not to suggest that there aren’t circumstances where the notion of intellectual property rights, as in the struggle to resist the exploitation of indigenous knowledges, can’t be mobilized with great tactical effectiveness (Coombs). but the real issue is the sudden swiftness with which Noble’s informatic struggle seems to have opened and closed. If academic informationalization isn’t just another Hundred Days’ War, […]
[…]we have learned from the Frankfurt School how devastating the culture industry is for working class and other democratizing movements, it behooves us to understand the potentials of the technology, to learn how they may be deployed in constructing cultural forms more appropriate to a democratic lifeworld, and not to become obsessed with every outrage perpetrated by the ruling class. Such an attitude of creative appropriation is encouraged by the discourse of cultural studies and by countless artists and creators across the globe. Certainly cultural critics need to attend to the moves of the establishment, but we must equally be […]