Search results for "critical code studies working group"
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[…]concepts (such as “postmodern” and “simulation”) which are in danger of degenerating from critical clarity into cliché. The scope of Punday’s argument is striking, as he ranges an analytical alphabet from Adorno to Žižek, and employs diverse and difficult critical concepts with remarkable clarity and fluency. However, there are certain points where the centrifugal forces and ambitions of the analysis appear to strain at the limits of the restrictive structuring motif. For example, although the grouping of Walker and Warhol under the archive heading highlights certain salient parallels between their respective projects, the absence of any commentary on their markedly […]
[…]by considering, among other things: cognitive science, bioethics, disciplinarity, disability studies, representationalism, architecture, photography, and film. The book’s critical intervention, that is to say, unfolds on many fronts, and the specific force of Wolfe’s posthumanism lies in its pointed vigilance, its ongoing responsibility, and its wary humility. As part of the refusal to see posthumanism as “the triumphal surpassing or unmasking of something”, What is Posthumanism? develops a thoroughly persuasive case for attending with care and patience to the specificity of the human – its ways of being in the world, its ways of knowing, observing, and describing – by…acknowledging […]
[…]a work of sociology…[ranging] from literary theory and criticism to political economy and critical legal studies” but “proper to none of these fields” (13). When Striphas declares his work to come from the cultural studies tradition, it seems, however, that he means this more in terms of a Marxist theory of commodification than defending – what David Parry calls – “the place of ‘justice,’ that which is beyond critique.” In fact, the title of Late Age itself indicates this point, adopting Jay David Bolter’s phrase with a nod to Frederic Jameson, “the late age of print.” More than arguing for […]
[…]identity-of-difference to which the first-order system must remain blind if it is to use that code to carry out its own operations and observations. But the same is true for any second-order observations as well.” That, as Wolfe puts it, the “joke” of Blur is on buildings that think they really are buildings brings to mind the “con games” of postmodern art is, arguably, not that far afield. See Ira Livingston’s Between Science and Literature: An Introduction to Autopoetics (2006).According to Luhmann, form effects the observation of art, and, so, to rewrite this “joke” in the parlance of systems theory, […]
[…]or recuperable for writers whose every word is no more than data entered in the hexadecimal codes of a software program. Kittler remarks, in fact, that “no human being writes anymore…. Today, human writing runs through inscriptions burnt into silicon by electronic lithography…. The last historic act of writing may thus have been in the late seventies when a team of Intel engineers [plotted] the hardware architecture of their first integrated microprocessor.” Dialing back as far as Frank Norris’s McTeague (1899), Wutz shows how profoundly disturbing was the introduction of the typewriter to “Norris’s idea of authorial agency, registering as […]
[…]hole and dust) for the dossier they must submit to the City authorities to make their legal case. Working in close proximity, in the dark, leads to an affective exchange between the two tenants. Elizabeth feels Ernest’s anxiety (the only emotion, Jacques Lacan claimed, that doesn’t lie and an indicator of one’s proximity to the Real) and is so affected by his compassion that she falls in love, first with him and then with something larger, something more universal: He opened the front door as wide as it would go. Then he studied her with a worried expression. – Is […]
[…]consciousness, but rather with determining what the brain is. This return to ontology in cognitive studies, concerning what we know not how knowledge is constructed or narrated, has found a popular audience that eludes contemporary literary and cultural studies. A recent school in the field of New Media, known as “Object-Oriented Ontology,” similarly reflects this turn away from introspection, meaning, and agency, while bidding fair to activate a new popular audience through the sustained use of blogs, networks, and a whole range of media affordances that become, themselves, objects of knowledge. It’s that last characteristic, the creation and activation of […]
[…]produced in dialogue with the reader’s interpretation; (2) sociocultural norms and values are critically interrogated; (3) common formal literary and linguistic conventions are skillfully deployed (even experimented with), while maintaining the evocative force of (1). The notion of the phantasmal as mental image and ideological construction is at the heart of the majority of highly regarded literary works, crucially distinguishing the imaginary in literary fiction from that in many other modes of art production. This dual notion is also at the heart of phantasmal media. Yet, because media today are mostly computational systems, the mental imagery they evoke needs to […]
[…]even of a spider swimming through a tree, practiced in our actual perceptions. Which we’re working on, to see better like a quantum counterpart or osmosis we’re in the midst of. So, like witness, weighty impediment, reciprocal lens seeming to tell us about ourselves with each other, is water thus our shared incompleteness? Doubting the Gaia theorists, I am willing to wait, a form of listening, for signs that the Gulf Stream is a living organism even if just the conveyor for passengers, such as plankton, Sargassum weed, dolphins, and, at least until recently, 600-pound bluefin tuna. In the current […]
[…]phrases, drawings and medical reports. There are four fonts, including Braille, and several color-coded words. On one level, the narrative in House of Leaves moves toward synthesis and order, as Truant, Navidson, and Zampanò amass and interpret information about the house and, perhaps unintentionally, about their own cluttered minds. But the discontinuities, presumptions, errors, and formal irregularity intensify as the novel progresses, exemplified by this passage, in which Truant encounters a monster in the tattoo parlor; horrified, Truant drops a tray of ink and coats himself in its blackness: The rest is in pieces. A scream, a howl, a roar. […]