Search results for "critical code studies working group"
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[…]and Bell 2007) with an awareness of close reading as a historical medium specific practice. code: As critics primarily and coders peripherally, we recognize the importance of code in digital fiction, and we do so on a continuum. On the one end, the incorporation and recombination of elements of programming language, binary code, and mark-up conventions implicitly affects the semantic space of the text. On the other end, the same codestuff can be used explicitly, infecting and inflecting the text to defamiliarize the work of art. cybersomatics and corporeality: We believe that the reading of digital fiction involves a different kind of […]
[…]Geomancy: The Kids of the Book Machine, The Collected Research Reports of The Toronto Research Group, 1973-1982 (Vancouver: Talonbooks, 1992): 60. * * * Around 1650, Georg Philipp Harsdörffer devised an ingenious ballet. It’s simple: first, give each dancer a board inscribed with a letter of the alphabet; then watch as new words or phrases emerge from dance. The very movement of the dancer’s bodies will act as a combinatory mechanism from which language springs.Jan C. Westerhoff, “Poeta Calculans: Harsdörffer, Leibniz, and the Mathesis Universalis,” Journal of the History of Ideas 60.3 (1999): 465. There is no evidence that Harsdörffer […]
[…]also links to a 37,000-page archive of chemical industry documents assembled by the Environmental Working Group (EWG), a group that also operates the Human Toxome Project’s “Mapping the Pollution in People.” Links to this project provide users with a catalogue of particular toxicants found in human bodies all over the world. The project couples this chemical data with detailed portraits of real people who have tested positive for various toxicants and chemicals. Alaimo argues that such electronic literatures combine scientific data, medical narratives, and political calls to action to provide new practice of meaning-making for ordinary experts to use in […]
[…]the functions specified by the program), and intentions (it intends to compile/interpret the code and execute the commands and routines specified there). Although the human writes the code (and other humans have constructed the hardware and software essential to the computer’s operation), he is not in control of the lines that scroll across the screen, which are determined by the randomizing function and the program’s processes. What is the point of such generative programs? I think of John Cage’s aesthetic of “chance operations,” which he saw as a way to escape from the narrow confines of consciousness and open his […]
[…]Portrait(s) [as Other(s)]” and Judd Morrissey’s “The Jew’s Daughter.” I will introduce a critical vocabulary for examining these works, grouped around the following concepts: “The Holy Grails of Electronic Literature,” “Six Varieties of Crisis,” and the “Surrealist Fortune Cookie.” Respectively, these describe: the contradictions inherent between paradigms of science and paradigms of literature and how they have shaped motivations by creators; the manner in which writers of electronic works can provide “non-trivial” reading experiences in the absence of standard literary paradigms premised on apocalyptic (or simply “plotted”) narrative; and a concept of the basic unit of the sentence in an […]
[…]Lifeon Earth (2nd ed.). New York: W.H. Freeman. Marino, M. C. (2010, September 15). “Critical Code Studies and the electronic book review: An Introduction.” EBR : Electronic Book Review. Retrieved September 20, 2011, from http://www.electronicbookreview.com/thread/firstperson/ningislanded Matthew G. Kirschenbaum. (1997, 98). Lucid Mapping and Codex Transformissions in the Z-Buffer. Retrieved February 9, 2011, fromhttp://www2.iath.virginia.edu/mgk3k/lucid/ Mauler, H. (2004). The Zoo « ZEITGUISED. Retrieved September 20, 2011, from http://zeitguised.wordpress.com/2004/05/24/the-zoo/ Merleau-Ponty, M. (1962). Phenomenology of Perception. New York: Humanities Press. Mitchell, W. J. T. (1995). Picture Theory: Essays on Verbal and Visual Representation (1st ed.). University Of Chicago Press. Mitchell, W. J. T., & Hansen, M. B. N. (Eds.). (2010). Critical Terms for Media […]
[…]The group psychological meaning of secrecy is a relation between knowledge and ignorance: as the group configures its group dynamics around a secret, its cohesion depends on the maintenance of an illusion (42). In this lengthy passage, Krapp illustrates that digital technologies and the types of discourse that find growth in them essentially segregate themselves from anything outside its discursive regime. If one accepts that conspiracy theory is finding itself rooted in digital discourse, the truth object pursued by these theorists will forever remain outside of their knowledge, as that is the only way for the interested parties to sustain […]
[…]writing was focused on the technology of books and print. Implicit in its capacity to provoke critical thinking about the form of the book is the capacity to direct this critical attention to the broader tools of literary representation, including digital interfaces and code. However, it is against the backdrop of network textuality that the fullness of this technical estrangement can be explored. While Jakobson’s use of the word “ordinary” always carried connotations with the power to categorize, command, and declare, it is the prospect of the global, networked analytic process that produces the most potent realization of such “ordinary” […]
[…]of computational art (387)—projects that invite, if not require, attention to various forms of code. Code-core cybertextualism has undeniable virtues: it usefully drives innovation both in poetic practice and critical thinking, and it builds a detailed foundation for understanding, and eventually teaching, next-generation digital literacy. Long may its models and schemas endure. At the same time, concentrating on the core obviously does not help at the margins, where we confront more ambiguous encounters between writing and information systems. Beyond providing a dour reminder of forsaken rigor, hardcore cybertextualism sheds little light on my promiscuous confusion of récriture and database/interface poetics. […]
[…]of radio and art. Radio art is radio by artists. The third example manifesto comes from PizMO, a group of sound artists working in France for over 50 years. Thir manifesto reads, We create experiences and ambiances with audio architecture. We are an anonymous collective of artists and musicians experimenting w/ audio & radio. We reactualize a drifting theory thru post-radio, sound-systems and computers. We explore portable, mobile, temporary & immersive audio spaces and campings. We favor loading forms, immaterial works and time-based objects. We experiment with micro-forms & replicas & duplicatas [sic] & palimpsests. We develop social tactics & […]
[…]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 […]