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[…]in my approach to language, due to the sheer amount of time I’ve spent in front of screens and working with code. My memory and conceptions of space and time are imprinted with the logics of digital systems. That statement is most likely true for many in ELO, for many in our society, and investigation of what we might mean by literature that is “conceptually” electronic, imprinted somehow with the logics of digital systems, is a productive path to explore. It is not as clear to us that we should collect “conceptually” electronic work in an ELC publication if the […]
[…]the next time the game is played. For Woods, whose computing environment required him to add code that limited access to the game during working hours, if the cave closed today, it would open again tomorrow; the dynamite blast also invites the player to think of the cave, too, as transient – something that exists only within the digital world of the computer. Caves Before Adventure Gregory Yob’s 1972 game Hunt the Wumpus presents a very brief textual description of a cave (e.g. “YOU ARE IN ROOM 13 / TUNNELS LEAD TO 12 14 20”). The player is given a […]
[…]a flat or object-oriented ontology] what useful work does the concept of the hyperobject do?” (Critical Inquiry). Although there are rich intersections to be explored via such studies, it clearly becomes difficult to do justice to the many nuances in disciplinary differences between the sciences and the humanities. Science is the lingua franca of our current moment, but how well do academics minimally trained in the sciences translate it? As Bianco’s videos of the eco-disaster sites appear to ask, where does this increasingly anxious conversation turn into action? We can also look at early moments in the recent evolution of […]
[…]is not in the textual output which is always changing and generated through the execution of the code by the computer. It may perhaps be located in the code, which Montfort, like other practitioners of digital poetry, makes available for free for others to hack, copy, manipulate and use in different contexts and in the case of this work, countless remixes over the years. But even here, the code has to follow the scripting rules of the programme used, in this case Python, and the code needs the computer to be executed that creates the language. This brings me to […]
[…]that includes the remediation of forms, remixability, human computer interaction, software and code studies, narratology, trans-lingual, intersemiotic approaches, and multimodal studies in conjunction with the creative practice, and with translation as a creative practice. 3.1 The Poetry Machine One of the platforms we have explored is The Poetry Machine (PM), which is an interactive, participatory, digital literary installation (Woetmann et al. 2012).Peter-Clement Woetmann, Ursula Andkjær Olsen, Martin Campostrini, Jonas Fritsch, Ann Luther Petersen, Søren Bro Pold, Allan Thomsen Volhøj, et al., The Poetry Machine, http://www.inkafterprint.dk/?page\_id=45, 2012-. CAVI & Roskilde Libraries. PM is designed to make people affectively engage with, and […]
[…]noted, practitioners in the games industry who might call what they do something else, scholars working in predominantly critical capacities, the most prolific of which is arguably Anne Karhio. The point that I am making here is simple: Maguire was, for a long time, Irish e-lit’s only representative, and whatever small community we now have owes a considerable debt to his pioneering efforts—to borrow from Grigar and Moulthrop—as I often do—Michael Maguire is Ireland’s pathfinder. When we assess Maguire’s contributions to the field, we need to look beyond what he did as an instigator: not only did he start a […]
[…]Review. August 29, 1993. Delany, Paul and Landow, George P. “Hypertext, Hypermedia, and Literary Studies: The State of the Art.” In Paul Delany and George P. Landow’s (Eds) Hypermedia and Literary Studies. Cambridge, MIT Press, 1991, 3-50. Derrida, Jacques. Archive Fever: A Freudian Impression. Trans. Eric Prenowitz. Chicago, University of Chicago Press, 1996. Foucault, Michel. The Archaeologies of Knowledge. Trans. A.M. Sheridan Smith. New York, Pantheon, 1972. Grigar, Dene, and Stuart Moulthrop. “The Interview with Bill Bly about We Descend.” Pathfinders, http://scalar.usc.edu/works/pathfinders/bly-interview. Kirschenbaum, Matthew G. Mechanisms: New Media and the Forensic Imagination. Cambridge, MIT Press, 2008. Landow, George P. Hypertext 3.0: Critical […]
[…]of poetry by imprisoning the verbal and social elements of poetry within a relatively static codex. Poets working in the age of print were, certainly, aware of how print had transformed the possibilities of their art, leading to experiments like typographic poetry in which the formatting of the words on the printed page make a shape emblematic of the theme of the poem. Nevertheless, poets like Adonis, Mahmoud Darwish, and Fatima Naoot continue to practice poetry as a verbal, social, and ritualistic art form. What Adab and websites like it do is to return even modernist poetry back more squarely […]
[…]“I got nothing out of the poetry I read,” that for him “It was as if poems were written in code,” (Knausgård, 2018, 422), and then he goes straight into this very rigorous and fascinating, in fact virtuoso reading… Joseph Tabbi: But that massive lack is real. And the way that he accesses Celan is more like what Scott described. He reaches up and takes a book off the shelf. I think the essays are some of the best parts in the corpus actually. But one reason they’re some of the best is that we’ve got the writer reflecting on […]
[…]Jussi, « New Materialism as Media Theory: Medianatures and Dirty Matter », Communication and Critical/Cultural Studies, vol. 9, n. 1, 2012, p. 95-100 Peters John Durham , The Marvelous Clouds – Toward a Philosophy of Elemental Media, Chicago : University of Chicago Press, 2015. Petit Victor, « Internet, un milieu technique d’écriture », in E. Rojas (éd.), Réseaux socionumériques et médiations humaines. Le social est-il soluble dans le Web ?, Hermès-Lavoisier, Paris, 2013, p. 155-173 Pignier Nicole et Mitropoulou Eleni (dir.), Former ou formater ? Les enjeux de l’éducation aux médias, Editions Solilang, 2014 Simondon Gilbert, Du mode d’existence des […]
[…]introduction to the work. The usual code for punch cards at the time was EBCDIC (Extended Binary Coded Decimal Interchange Code). Comparing the card perforations and the printed text of the poems in the same cards, the use of EBCDIC is demonstrable. El canto del gallo is a visual poem book, designed in an IBM MT72 composer. When explaining in an article how best-selling novelist Len Deighton composed in 1968 also with an IBM MT72 his novel about World War II, titled Bomber, Mathew Kirchembaum poses that Deighton’s was the first novel ever written on a word processor. He also […]
[…]after another, adopt multiple voices, and carry a mixed assortment of messages and cargo. The code may not be the text – or all of the text – but here a glance at the work’s code helps illustrate the variety of locations, experiences and materials involved. Transmissions have numerous points of departure and arrival; they are situated in specific material locations or places of personal significance: [‘Canada’,’England’,’Ireland’,’Scotland’,’Wales’,’Cornwall’,’New Brunswick’,’Nova Scotia’,’Cape Breton’,’Newfoundland’,’Labrador’,’the Maritimes’,’the Scilly Isles’,’the Hebrides’,’the Orkneys’,’the New World’,’the old country’,’home’] Each message is not only geographically situated, but also embedded in a system of communication that has a technological and material, […]
[…]had been working in collaboration with Jeremy on developing the initial practices of critical code studies, the application of hermeneutics from the humanities to the interpretation of the extra-functional significance of computer source code. That practice involved examining source code as a cultural text in order to discuss its cultural meaning. He models these methods in his new book Critical Code Studies. Together we three scholars set out to read a work of digital literature together using the methods we had been developing separately. The result was a collaborative reading experience that changed the way we saw the digital object […]
[…]Pressman, Mark Marino, and Jeremy Douglass, in Reading Project (2015), or Marino in Critical Code Studies (2020). Literary and artistic works that are written in digital systems cannot be fully understood and explored without the praxis of their processes and interfaces. This approach is fully embodied in creative-critical code practices such as Montfort and Strickland’s “cut to fit the toolspun course” (2010, 2013), a version of annotated code that expands the possibilities for essay-writing in form and content. Their elegant annotations were published in the comments of the source code of the work itself, Sea and Spar Between. In the […]
[…]thank the students whose work was featured here. We are grateful to the Creative DH Frameworks Working Group. Works Cited Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Johns Hopkins University Press, 1997. Accessed 7 July 2020. Akazawa, Chloe. “Individual and Group Final Projects – DIGHUM 101.” GitHub Repository, 2020, github.com/chloeaka/Digital-Humanities-Project. Accessed 1 Sept. 2020. “Akazawa Video 2020.” Akazawa, Chloe. Google Drive, 2020, drive.google.com/file/d/1Nn3rEaQyZsBxCFoVYJlSOCjrnj2jkS2E/view. Accessed 1 Sept. 2020. “Art Up Close”. Akazawa, Chloe, 2020, artupclose.wordpress.com/. Accessed 1 Sept. 2020. “Art Up Close Blueprint 2020.” Akazawa, Chloe. Google Drive, 2020, https://drive.google.com/file/d/1gUaGubLdqVp-J9ZGzQ2l9En5MwdSPKz2/view. Accessed 1 Sept. 2020. “Berkeley News.” Public Affairs, UC Berkeley, […]
[…]Story People. Blood & Laurels. Linden Research, Inc., 2014. Marino, Mark C. Critical Code Studies: Initial Methods. MIT Press, 2020. Mateas, Michael. “Procedural Literacy: Educating the New Media Practitioner.” On The Horizon. Special Issue. Future of Games, Simulations and Interactive Media in Learning Contexts, vol. 13, no. 1, 2005. Mateas, Michael, and Andrew Stern. Façade. Microsoft Windows. Procedural Arts, 2005. Maxis Software, Inc. The Sims. Microsoft Windows. Electronic Arts, Inc., 2000. McCoy, Josh, et al. “Prom Week: Designing Past the Game/Story Dilemma.” Proceedings of the 8th International Conference on the Foundations of Digital Games, Society for the Advancement of the […]
[…]of projects that demonstrate how Western subjectivity is contingent upon BIPOC labor, like Black Code Studies, Liquid Blackness, or Lisa Nakamura’s “Indigenous Circuits,” in which she excavates how Fairchild Semiconductor exploited and racialized indigenous Navajo labor to establish a foothold in Silicon Valley. Such histories are also a part of e-lit’s, though direct connections have yet to be made. Aesthetically, antiracism recuperates imagination from the logic of white supremacy and resituates it among a dynamic array of material and symbolic structures. My attempt, then, is not to say anything new, as novelty is complicit in the colonial wanderlust for expansion, […]
[…]that we are sorely in need of more input from electronic literature authors and researchers working in critical race studies, both to bring in documentation of works and criticism of e-lit that addresses race and diversity, and to tag records in the database that already address these matters. The Knowledge Base has “controlled vocabularies” for core bibliographic information, but not for themes and content descriptions. In this case, we use a folksonomic “tagging” system that is idiosyncratic precisely because it is open – each individual contributor tags the records they contribute or develop using an uncontrolled vocabulary. In my course, […]
[…]City. McGill-Queen’s UP, 2006. Smith, A.J.M. Introduction. The Book of Canadian Poetry: A Critical and Historical Anthology, edited by Smith, W.J. Gage, 1943, pp. 3-31. Spinosa, Dani. “Toward a Theory of Canadian Digital Poetics.” Studies in Canadian Literature, vol. 42, no. 2, 2018, pp. 237-255. Starnino, Carmine. Introduction. The New Canon: An Anthology of Canadian Poetry, Signal Editions, 2005, pp. 15-36. Waber, Dan. “On First Screening.” First Screening, by bpNichol, edited by Jim Andrews et al., vispo.com, 2007. http://vispo.com/bp/introduction.htm. Warner, Michael. Publics and Counterpublics. Zone Books, 2005. Wunker, Erin, and Travis Mason. Introduction. “Public Poetics.” Public Poetics: Critical Issues in […]
[…]E. Lewin, Cambridge University Press, 1997. Greenberg, Clement. “Collage.” Art and Culture: Critical Essays, Beacon Press, 1961, pp. 70–83. —. “Modernist Painting.” Modern Art and Modernism: A Critical Anthology, edited by Francis Franscina and Charles Harrison, Westview Press, 1982, pp. 5–10. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Early Cinema: Space Frame Narrative, edited by Thomas Elsaesser, British Film Institute, 1990, pp. 56–62. Hayles, N. Katherine. “Print Is Flat, Code Is Deep: The Importance of Media-Specific Analysis.” Poetics Today, vol. 25, no. 1, 2004, pp. 67–90. Higgins, Dick. Horizons: The Poetics and Theory of […]
[…]just started my first real job; I was still kind of really full of all these ideas from critical code studies – the project that Mark Marino had been developing; and my work as a grad student with Rita Raley, and thinking about ‘Z-space’, was something that occupied my mind for a good chunk of time. One thing that I take from that experience is that what is so great about ebr – what ebr offers that no other journal that I’ve ever worked on really offers – is the opportunity for improbably improvisational criticism, on-the-fly conversations, real-time responses to […]
[…]Press, 1992. Polyani, Michael. The Tacit Dimension. Doubleday and Co., 1967. Rosner, Daniela. Critical Fabulations: Reworking the Methods and Margins of Design. The MIT Press, 2018. Ruecker, Stan, et al. “Drilling for Papers in INKE.” Scholarly and Research Communication, vol. 3, no. 1, 2012, p. 5. Schön, Donald A. The Reflective Practitioner: How Professionals Think In Action. Basic Books, 1983. Simon, Herbert A. “The Science of Design: Creating the Artificial.” Design Issues, vol. 4, no. 1/2, 1988, p. 67. Crossref, https://doi.org/10.2307/1511391. Sterling, Bruce. “Made Up Symposium Keynote, January 29, 2011.” Made Up: Design’s Fictions, Art Center Graduate Press, 2017, pp. […]
[…]Perspectives on Ergodic Literature. Baltimore: Johns Hopkins UP, 1997. —–. “Computer Game Studies, Year One.” Game Studies: The International Journal of Computer Game Research 1.1 (2001). www.gamestudies.org. Accessed 1 Mar 2018. Atkinson, Paul. Computer. London: Reaktion Books, 2010. Beck, Melinda and David C. Martin. “A New View of Nuclear War.” Newsweek 18 Aug (1980): 39. Accessed 26 Jan 2018. Blackford, Holly. “PC Pinocchios: Parents, Children, and the Metamorphosis Tradition in Science Fiction.” In Sherman and Koven, eds. 74-92. Brand, Stewart. “Spacewar: Fanatic Life and Symbolic Death Among the Computer Bums.” Rolling Stone 7 Dec 1972. https://www.wheels.org/spacewar/stone/rolling_stone.html. Accessed 24 Dec 2020. […]
[…]Álvaro Seiça’s “lit mods” (Seiça 2020a; Seiça 2020b), or in the insistence of critical code studies that we must look at the underlying code, as well as at the interface and the content (Marino 2020). Traditional speculative fiction, in the form, for instance, of a science fiction novel or television series, involves world-building, and proposes new possible worlds and societies for readers to imagine and think with and through. afternoon and many other early works of electronic literature tell completely realistic stories, with no science fiction or fantasy or other speculative elements. Their speculation is all in the interface, in […]
[…]33) – or perhaps, another ‘godless cult’ in the words of Kracauer. This characterization of code makes sense not only in relation to the role of code in computing, but also in the everyday use of computers – and not being able to understand the functioning of large global platforms, even from the inside or through reading the code. The mass perspective of profiling: the Nooscope Following both a history of minimalism and computationalism, we see that a central difference between the metainterface spectacle and former spectacles lies in particular instrumentalist hiding of the production of the mass perspective. To […]
The Critical Code Studies Working Group 2020 (CCSWG ‘20) was another watershed moment for this burgeoning field. On the one hand, it celebrated 10 years since the first Working Group. On the other hand, the fact that we were still convening working groups meant that scholars still needed help finding their way through code. Notably, we were also hosting this Working Group the year that MIT Press published Critical Code Studies. We took the opportunity of the book launch to spend Week 1 introducing Critical Code Studies (CCS) to the participants in a new way. While the Working Groups always […]
Main thread: http://wg20.criticalcodestudies.com/index.php?p=/discussion/70/week-2-indigenous-programming-main-thread Despite being taught around the world, programming languages are written primarily in English. Why is English our default? While an increase in support for the international text encoding standard Unicode has allowed developers to create computing languages in their native tongues, their widespread adoption is far from the norm. In Week Two of the Critical Code Studies Working Group, Dr. Jon Corbett (a Cree/Saulteaux Métis media artist, computer programmer, and sessional faculty at the University of British Columbia), Dr. Outi Laiti (a Sámi Associate Researcher at the University of Helsinki’s Indigenous Studies program and project manager at […]
Main Thread: http://wg20.criticalcodestudies.com/index.php?p=/discussion/87/week-3-feminist-ai-main-thread According to its 2019 fourth quarter earnings report, Google nets $15 billion US dollars annually, and the building block of its revenue is ad sales from Search. As the internet began to expand in the early 1990s, the need to search its uncatalogued environment became a critical building block for digital interconnectedness. Two approaches to the logic of searching the internet emerged: American investor Bill Gross promoted search results as sites to be auctioned to the highest bidder, while Larry Page and Sergey Brin vehemently opposed advertising and developed an algorithm. These two search logics (algorithm or […]
[…]journal. Vernacular by default, the early web was made of half-finished homepages, alien looking code, broken links and error messages. It was also a period of creative possibilities and utopian dreams for free personal expression in networked groups. With few large hubs to connect people, islands of communities formed around trying to figure out what the web might be. Lialina’s own innovative digital art, as with the “net art” movement in general, was made in the context of this emerging web folk culture. She writes: “…although I consider myself to be an early adopter–I came late enough to enjoy and […]
[…]sequences, both common and uncommon. It is urgent that we open the door of negative speculation in critical digital media studies. We should be free to think about what could possibly go wrong without having to prove that it already has (even when, sometimes, it already has gone wrong). And though there are other voices out there doing the same, Kirschenbaum’s piece comes in the right place and the right time to help frame the reception of a highly hyped piece of popular technology. In that spirit, I would like to push Kirschenbaum’s critique a bit further. Here, I consider […]
[…]S. (2017). Towards a Tension-Based Definition of Digital Literature. Journal of Creative Writing Studies 2. 1. Chen, J. (2012). Refashioning Print Literature: Internet Literature in China. Comparative Literature Studies 49. 4, pp. 537-546. Croft, W. B., D. Metzler, and T. Strohman. (2015). Search Engines: Information Retrieval in Practice. Pearson Education. Dillon, A., and B. A. Gushrowski. (2000). Genres and the Web: Is the Personal Home Page the First Uniquely Digital Genre? Journal of the American Society for Information Science 51. 2, pp. 202-205. El Bouyahyaoui, S. and L. Al-Khemar. (2014). _Hafanāt Jamr (Bunches of Embers). http://narration-zanoubya.blogspot.com/, accessed on Sept. 6, […]
[…]2016. I met Mark Marino in LA when I was living there. I’d been following his work in critical code studies from afar for years, and I had been wanting to talk to scholars of code about the way code is used in some types of LARPs. There’s a reason for this bizarre moment, for this sort of liquid — what Colin Wilbert has called technogenic life — when the technology in our life restructures things. As I studied code-based LARPs I was realizing the timing matched up — these are computing practices bleeding into an analog practice where we’re […]
[…]fact that the fundamental disputes within copyright law effectively reiterate this hoary literary-critical debate. But the larger problem Gaddis is identifying is that in attempting to clarify experience to enable justice, legal language designed for business contracts fails to make sense of aesthetic experience without deforming it. Oscar cannot elucidate his point in the deposition, easily led into traps the Hollywood studio’s pricey lawyer sets for him. In that sense, corporate law cannot make sense of the heresy of paraphrase because it does not see the profit in the heresy and cannot monetize the particular aesthetic experience represented (and heresied). […]
[…](Peters; Parikka, A Geology of Media; Fan; Starosielski) and – with respect to the context in critical data studies – data as an assemblage (Kitchin and Laurialt) of wider cultural techniques of sensing, aggregation – and site-specificity. These helped to also outline techniques of knowledge beyond enumeration as they come to address infrastructures of data and the materiality of the digital (Offenhuber). Here the move from electronic literature on network platforms to the sites and infrastructures through which data, sensing, and inscription are expanded to elemental media becomes core to our argument. To execute this idea, our stories shift between […]
[…]is intended to give its reader some sense of what we talk about when we talk about New Media Studies. Matthew Kirschenbaum reviews what is undoubtedly the most important publication in New Media Studies released this year, The New Media Reader, published by the MIT Press and edited by Noah Wardrip-Fruin and Nick Montfort. The Reader is an 800-plus page tome (with CD-ROM) that aggregates articles, papers, and creative work developed in the formative years of the new media from the 1940s until the development of the World Wide Web. The Reader ‘s publication is an important event, as it […]
[…]always situated within absolute zones of material and ideological circumstance. What is software studies then? Software studies is what media theory becomes after the bubble bursts. Software studies is whiteboards and white papers, business plans and IPOs and penny-stocks. Software studies is PowerPoint vaporware and proofs of concept binaries locked in time-stamped limbo on a server where all the user accounts but root have been disabled and the domain name is eighteen months expired. Software studies is, or can be, the work of fashioning documentary methods for recognizing and recovering digital histories, and the cultivation of the critical discipline to […]
[…]the essays also touch on earlier threads, in particular “Writing Postfeminism,” “Critical Ecologies.” Recalling that Donna Haraway’s Cyborg was never meant to be a wired, blissed-out bunny, Bousquet and Wills recover the political dimension in socialist-feminist thought. “The Politics of Information” brings class back into cultural studies, considers the Web as crucial to the expanding “informatics of domination,” and recovers the cyborg as a key figure for an entire world of labor and lifeways. The authors in this wide-ranging collection, most of them pioneers in the development of Internet content, address the concerns not only of designers and users, but […]
[…]Cayley, Raley, Marino, and others, “Dovetailing Details Fly Apart – All Over, Again, In Code, In Poetry, In Chreods” by Strickland and Lawson Jaramillo carries the debate into the analysis of specific poems and poetic practices, both written and spoken, graphic and sonic, alphabetically and digitally coded. The essay also introduces a new reference for the debate – namely, the work of Gregory Bateson, who is cited not just as a supporting ‘theory’ or philosphical framework, but in the spirit of differential discourse that distinguishes Bateson’s work. This essay-meditation is itself ‘poured over code’; like several image/text collaborations featured in […]
[…]intertextuality, dialogism and parody. Despite having articulated all these concepts, the critical-ludic-transgressive attitude of Portuguese poetry involves, in her opinion, an enhanced “operation of translation in the sense of a critical rereading of tradition” (20). To creatively explore the plagiotropic relationships between Helder and Brandão’s work, we have engaged in our own plagiarian experiment in the creation of a third work. The text generator, also entitled Húmus, draws upon its predecessors as databases, allowing readers to, once again, re-read the tradition and conceptualize the links between its historical forbears. 1. Re-reading, Re-writing The topic of critical rereading of tradition is […]
[…]of value and justice (Eskelinen, 387). The cultural turn is expressed most strongly, though, in studies like Flanagan’s Critical Play, Mia Consalvo’s Cheating, and Miguel Sicart’s Ethics of Computer Games, which created frameworks for a new generation of cultural game studies. The most recent exemplars include Stephanie Boluk and Patrick Lemieux’s Metagaming, Shira Chess’ Ready Player Two, Bo Ruberg’s Video Games Have Always Been Queer, and Melissa Kagen’s Wandering Games. Again, there are no absolute distinctions. The culturalists are often keenly engaged on a formal level – Boluk and Lemieux, for instance, operationalize their theories through conceptual levels and mini-games […]
[…]Through Reflective Game Design Practices.” Game Studies, vol. 18, no. 3, Dec. 2018. Game Studies, http://gamestudies.org/1803/articles/marcotte. Murphy, Sheila. “Controllers.” Routledge Companion to Video Game Studies, Routledge, 2013, pp. 19–24. O’Gorman, Marcel. “Broken Tools and Misfit Toys: Adventures in Applied Media Theory.” Canadian Journal of Communication, vol. 37, no. 1, 2012, pp. 27–42, doi:10.22230/cjc.2012v37n1a2519. O’Gorman, Marcel. Making Media Theory: Thinking Critically with Technology. Bloomsbury Publishing USA, 2020. O’Gorman, Marcel. Necromedia. University of Minnesota Press, 2015. Pullin, Graham. Design Meets Disability. MIT Press, 2009. Raley, Rita. Tactical Media. University of Minnesota Press, 2009. Ruberg, Bonnie. Video Games Have Always Been Queer. NYU […]
[…]Future work could specify and nuance our considerations, drawing on insights from domains like critical race studies, gender and sexuality studies, disability studies, labor and working class studies, and geography and area studies. Developing attunement also means being attentive to the specific context of your making project, campus, and makers. We have gestured to our own specifics in the examples above, but asking similar questions about your own contexts may lead you to very different answers or even entirely new questions. Notes Tech fields have a long history of these exclusionary practices, especially when it comes to questions of gender […]
[…]sections, Bigelow lists the code for “the Cage text,” which you need to cut and paste into a code converter Bigelow links to. For your labor, you see that the code repeats this sentence over and over: “I have nothing to say, and I am saying it.” The point of all this work isn’t to get to Bigelow’s subjective interior—it’s an homage to Cage’s own play with expectations, dramatizing the mental framework we bring to bear when we an encounter aesthetic object. It also prompts thinking about the work we don’t always realize that we do when we process language […]
[…]of MUDs (environments that have received a good deal of attention from the perspective of cultural studies and computer mediated communication), the semiotics of an arcade-style computer game (a form seldom discussed even by game designers, which so far lacks even a critical vocabulary), and the nature of the “cyborg author” Katherine Hayles reviews Diane Greco’s ‘Cyborg’ and Eliza -descendent Racter (representative of an underexplored form, but one that has benefited from the examination and development done by Janet Murray). These discussions are useful, although not strikingly insightful. The chapter on MUDs, for instance, does not convincingly describe these environments […]
[…]– seems unlikely. The mass media, finally, a “super-system” (N. Binczek) with a “super-code” information/non-information working against the cherished functional differentiation at the heart of Luhmann’s theory? At times, Luhmann himself implicitly seems to point in that direction. Acknowledging the similarities of the proposed code to the new/old distinction (information is new only once; its consecutive redundancy insists on newness!), he discusses the almost neurotic longing for innovation and “the new” as a general trait of modernity. He even proposes new/old as a possible code for the system of art. Thus, newness, innovation, information, actuality – the sheer temporality of […]
[…]– ought to be a key element of any historical method, genealogical or otherwise, that critics working in new media studies bring to bear. Let me suggest that the start-up work of theorizing digital culture has by now largely been done, and that serious and sustained attention to archival and documentary sources is the next step for new media studies if it is to continue to mature as a field. Freidrich Kittler’s Discourse Networks 1800/1900 already does some of this work. And we could also do worse than Internet Time for a summation of the pace of scholarship in new […]
[…]fathom the stakes of the argument, both for my own critical-theoretical agon and for the agon of critical theory itself in this technological era. By describing the book as a “working through” of poststructuralism, Brigham astutely characterizes its “function” for my own intellectual development in a way that foregrounds its particular situatedness; she also finds words to represent what, for me, cannot but remain in some sense or other a lived “drama” of apprenticeship. Brigham’s invocation of the Freudian vocabulary of working-through, trauma, and translation recalls to me my time in graduate school, when I was very much under the […]
[…]a critical talk about this “fire poetry,” including my own work, at the 1991 American Studies Association Conference. San Francisco poet Carol Tarlen showcased this “fire poetry” in a reading commemorating the Triangle Fire in March, 1996; I was one of the poets who read. At the reading Tarlen announced there was a small storefront sweatshop three blocks away in Chinatown. Listening to her, I felt I could no longer just write about the past as a poet or a critic. I felt I needed to act in the present. Returning to Los Angeles, I joined Common Threads, a women’s […]
[…]it can be passed on to the next generation. Thus we find that while the various chimpanzee groups that have been studied in different parts of Africa have many behaviors in common, they also have their own distinctive traditions. This is particularly well-documented with respect to tool-using and tool-making behaviours. Chimpanzees use more objects as tools for a greater variety of purposes than any creature except ourselves, and each population has its own tool-using cultures. One can only imagine that Ferry’s response to this would be to raise the bar once again, so that only those who have read all […]
[…]of the unborn. I want to point out that this little exercise in rhetorical analysis and critical legal studies was undertaken not by a cultural studies theorist, nor by someone dependent on the knowledge industry run by bourgeois sellouts like me, but by an ordinary citizen of these United States, operating in extraordinary circumstances not of her own making. But more important, I want to pass along to you what this exchange has taught me: first, that sometimes, the cost of selling out to the discourses of policymakers is too steep to bear, particularly if it means disavowing the languages […]