Search results for "critical code studies working group"
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[…]up for the first time (and only once) in the concluding chapter. One feels the absence of these critical engagements more and more as the book goes on. Some might commend Chodat for eschewing poststructuralism and following his own, less familiar, critical and philosophical lights. Such “individualism” is indeed commendable, given the right circumstances, given the proper context. In the case of Worldly Acts, the refusal to engage with well-rehearsed, well-known poststructuralist investigations into the philosophy, history, and politics of agency opens up the book to the charge of anachronism. As for the “remarkable range of sentient things” (234) in […]
[…]or Books without End? U. Michigan Press, 2003. Eskelinen, Markku. “The Gaming Situation.” Game Studies 1:1. http://www.gamestudies.org/0101/eskelinen/. Accessed 01-12-2010. Eskelinen, Markku. Travels in Cybertextuality: The Challenge of Cybertext Theory and Ludology to Literary Theory. Doctoral dissertation, University of Jyväskylä, 2009. Grusin, Richard. Premediation: Affect and Mediality After 9/11. Palgrave Macmillan, 2010. Holeton,Richard. Figurski at Findhorn on Acid. Eastgate Systems, 2001. Jackson, Shelley. Patchwork Girl. Eastgate Systems, 1995. Johnson, Steven. Everything Bad Is Good for You: How Today’s Popular Culture is Actually Making Us Smarter. Riverhead, 2006. Joyce, Michael. afternoon, a story. Eastgate Systems, 1987. Manovich, Lev. The Language of New […]
[…]as well as the comments by this volume’s editors. What is most interesting to me about the critical praise deservedly lavished on The Wire is not how it may or may not yield an increase in viewership but how the critical consensus seems to situate the show distinctly within the frame of another medium. For many critics, bloggers, fans, and even creator David Simon himself, The Wire is best understood not as a television series but as a “visual novel.” As a television scholar, this cross-media metaphor bristles – not because I don’t like novels but because I love television. […]
[…]Joss Whedon and Television Creativity.” Slayage: The Online International Journal of Buffy Studies 7. http://slayageonline.com/Numbers/slayage7.htm Lavery, David (2003). “Apocalyptic Apocalypses: The Narrative Eschatology of Buffy the Vampire Slayer.” Slayage: The Online International Journal of Buffy Studies 9. http://slayageonline.com/PDF/lavery2.pdf Lavery, David (2004). “‘I Only Had a Week’: TV Creativity and Quality Television.” Keynote address at Contemporary American Quality Television: An International Conference, Trinity College, Dublin. Lavery, David (2007). “The Island’s Greatest Mystery: Is Lost Science Fiction?” In The Essential Science Fictional Television Reader, edited by J. P. Telotte. Lexington: University Press of Kentucky. Lindelof, Damon (2006). Heroic Origins: An Interview with […]
[…]of the patron saint of elevators. Like the Pompidou Center in Paris, this material exposes the working guts of symbolic structures. The material also, I think, makes a claim for knowledge independent of intuition or basic empiricism – for specialized information not usually found in fiction. Call this information a Thirdsource. The passages about the elevator in turn make the pages of The Intuitionist a textual Thirdspace, for the elevator material is, in Soja’s terms, both real and imagined, researched and invented. The material may seem marginal to plot and character but is central to the book as a hybrid […]
[…]similar to writers and physicists. They come from everything we know that suddenly shifts into a working concept or formula. I wanted to enmesh so-called knowledge and facts with creativity, for lack of a better word. EBR: The term postmodernism has acquired largely negative connotations (e.g., “the cultural logic of late capitalism”), at least in the academy. At the same time, critics and teachers haven’t come up with another term to refer to innovative contemporary fiction. As trivial as they may sound, these taxonomic terms matter when curricula are created, and grants and publishing contracts are awarded. Any suggestions for […]
[…]creative writing programs and book awards in the literary marketplace. Circulation and reception studies invoke the market not only in terms of the dissemination of literary texts but also as a kind of democratic, cosmopolitan public, one that counters older conceptions of the literary text as inviolate, impersonal, and distant from the contaminations of mass culture. These ways of thinking economics into literature are vital to literary studies today. Michael Clune’s American Literature and the Free Market, 1945-2000 persuasively argues for a different, formally sophisticated mode of engaging with economics and literature that provocatively posits an intimate relationship between literary […]
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In the second installment of a six-week discussion, contributors search for examples of Critical Code Studies “in the wild.” Instead of asking how code can be read critically, they examine how code is already being created and disputed by lawyers, programmers, and the general public. Editor’s Note: In the second installment of the discussion that took place in the summer of 2010, Jeremy Douglass leads the Critical Code Studies Working Group in exploring the practical challenges and constraints of reading code critically, with an emphasis on real-world examples. An introduction and overview for this week by Mark Marino and Max […]
Can Critical Code Studies overcome the divide between technology workers and technocultural theorists? Code matters. It matters to the many people who program it, and to those who allow themselves to be programmed by it. It makes a difference how the code is written. It makes a difference on which platform it is executed. It makes a difference who is reading it and what they know about programming. It makes a difference how the programmer imagined the ones who would read her code. Code matters. Its materiality is immaterial when discussing the ways in which segments of code circulate through […]