Search results for "critical code studies working group"
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[…]everyday life and working relations? As a very junior faculty member participating in a women’s studies faculty study group in the mid 80’s, when I tried to explain that I was investigating the politics of making distinctions between what has been called “the oral” and “the written,” a more senior historian impatiently insisted, “Something just is oral or written!” Although each feminist there cared about and taught the importance of denaturalizing cultural categories feminists critiqued, to no one was it obvious that orality and literacy were variations on nature and culture. When I was a postdoc in another university a […]
[…]frame for assessing the options available for meeting Bérubé’s goal of bringing critical studies knowledge to bear on policy making. Bérubé’s decision to work within the mode of journalism, the magazine medium, makes perfect sense in the apparatus of literacy. My response, however, is to reconsider this decision in the light of the shift in our apparatus from literacy to electracy. I am basing my speculations about the nature of electracy on a poststructuralist epistemology. …A further quandary for the poststructural consultant wanting to influence policy using the electronic media has to do with the dissolution of the communications model […]
[…]Design. London: Kogan Page Limited. Eskelinen, Markku (2001). “The Gaming Situation.” Game Studies 1, no.1 (July 2001). http://cmc.uib.no/gamestudies/0101/eskelinen/ Eskelinen, Markku, and Raine Koskimaa, editors (2001). Cybertext Yearbook 2000. Saarijärvi: Publications of the Research Centre for Contemporary Culture, University of Jyväskylä. Frasca, Gonzalo (1998). “Don’t play it again, Sam: One-session games of Narration.” http://cmc.uib.no/dac98/papers/frasca.html. —. (2001). “Videogames of the Oppressed.” M.A. Thesis: School of Literature, Communication and Culture, Georgia Institute of Technology, Atlanta (2001). http://www.jacaranda.org/frasca/thesis/. —. (1999). “Narratology meets Ludology: Similitude and Differences Between (Video)games and Narrative.” Parnasso 3: 365-371. http://www.jacaranda.org/frasca/ludology.htm. Freire, Paulo (2000). Pedagogy of the Oppressed. New York: Continuum. […]
[…]As Richard Coyne notes: “Information is thought to be the essence of life, as in the DNA code. To record and break the code is to have mastery over life” (Coyne 1995, 80). The most common organizational pattern identified in all systems is networking. All living systems are arranged in a network fashion. Since the 1920s, when ecologists began studying food chains, recognition of networks became essential to many scholars, in different forms. Cyberneticists in particular tried to understand the brain as a neural network and to analyze its patterns. The structure of the brain is enormously complex, containing about […]
[…]matter. Fuller examines three types of software that represent useful interventions into software studies: critical software, social software, and speculative software. The first of these, critical software, is software that investigates software. Fuller describes two modes by which critical software operates. The first looks at evidence of normalized software in order to disclose how the process of normalization becomes manifest. Critical software works “by using the evidence presented by normalized software to construct an arrangement of the objects, protocols, statements, dynamics, and sequences of interaction that allow its conditions of truth to become manifest” (23). Critical software, then, engages the […]
[…]can generate these dreams (a trivial side product of the bodies’ real purpose, which is to go on working, and to expand their networking endlessly). We see it in The Sims and numerous other computer games, in which players conduct virtual characters through career choices, commodity purchases, and social networks. What we don’t get in these highly developed simulations is the cultivation of any capacity to imagine an alternative to the operations of simulation and commodity consumption. Hayles is of course right to point out how, since the telegraph technology of James’s late nineteenth century, information has penetrated ever further […]
[…]some poems, some mini-essays. One even sent a power-point presentation. This enactment of net-working across diasporic distance was a way to generate creative energy, which I find is most stimulated through conversation and interaction; hence the need for collaboration in the last decade or so. I asked specifically that they comment, if they could, on the “textuality” of the pieces: that is, how they could be “read.” But I also stipulated that any kind of response – a photograph or a drawing – would be acceptable. I got wonderfully varied answers from a range of poets, friends, and colleagues. Ed […]
[…]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 […]