[…]‘the humanities’ own methodological toolkits’ with theoretical insights from software, critical code and platform studies” (Pitman, Taylor 4). While I don’t disagree with the potential of this approach to DH, what I am suggesting inverts the traditional Humanities discursive order more radically, by situating making and materiality alongside or, even better, as conceptual undertaking, by taking the place of the immateriality of the rational logos. In order to avoid falling in the trap of instrumentalization, my e-lit framework does not “supplement” traditional humanities’ methodologies but inverts its rational order and asserts the importance of creativity over or, more accurately, within […]
[…]constructs indistinguishable from the ones that are built in. In essence, a macro is a block of code that exploits homoiconicity by temporarily treating another code block as if it were data (before passing it back to the compiler as code). You are not expected to understand this. You know what would be really great? If people took a piece of a live coding performance — this one or another — recorded their own live commentary over it, and then put that in the comment thread. It’s easy! Even the simplest video editor will let you do this. And really, isn’t […]
One of the earlier proponents of critical software studies was Lev Manovich in The Language of New Media. Cambridge: MIT Press, 2001, p. […]
[…]to elaborate complexity without constraint, and an incipient sclerosis in contemporary critical studies is discussed by Andrew McMurray in his introduction to Critical Ecologies circa […]
[…]code irrelevant? If this is heteronormative interpellation at work, why do you need to understand code to understand that? (The coder and clicker were both interpellated in advance – why do you need code to get that?) If the point is that the structure of the code somehow RESEMBLES interpellation, then couldn’t any kind of “wormy moment,” with any kind of ideological content, stand in? Later in the discussion, Marino answers the second critique by basically making the first point (code as symptomatic of its social context), but in that case, the first critique still […]
[…]computing and technoscience – and his explicitly chosen media keep him immediately allied with codeworking colleagues, Sondheim’s work must also be read against earlier and contemporary writers working within or with a sense of the formally and aesthetically innovative traditions of poetics, and not only the poetics which intersects with Burroughs and Acker. With the implication that Sondheim’s writing needs to be judged as such and should not necessarily be granted a special credit of affect or significance because of its instantiation in new media. In the necessity to read the work in both a programmatological context and in the […]
[…]“Oh, don’t worry, my Toby never bites!” every critic warms to his subject, feels what he studies or the way he studies it is good in the way belief. But I think the rest of us should be leery of Toby. He’s descended from wolves; it’s in his nature to bite. So there is something to be said for a critical stance that refuses to make nice right up to the bitter end, keeps its distance from that which it can’t help but admire. Anyway, the new physiocracy can take care of itself. Leave the note of hope to the […]
[…]tension, which we might see at work in any number of fields, is particularly fraught for media studies. Critical anthologies within media studies necessarily raise questions of temporality along two axes, namely in terms of the institutional and the material parameters of the field. Around the turn of the twenty-first century, numerous critical collections appeared on the market with the implicit intent both to crystallize the contemporary intellectual, cultural, and political concerns of the then-emergent project of media studies and also, in the same gesture, to legitimize media studies as an academic field. These attempts at legitimization, efforts to ground […]
[…]a number of different types of voices. The six characters sort of represent different age groups, different socioeconomic groups, as well as different types of reactions to the events. Some of this was again based loosely on the documentary research that Rod and his students did. The voice of the fisherman character for example, and some elements of his story were adapted from interviews of longshoremen that Rod’s students found in union archives. The voice of the FEMA worker, in a way serves an expository role, to bring in factual information about all of these toxic waste sites on the […]
[…]119, my translation) It is worth mentioning in this regard the call “for a de-Westernization of critical data studies, in view of promoting a reparation to the cognitive injustice that fails to recognize non-mainstream ways of knowing the world through data” (Milan and Treré “Big Data from the South(s)” 319). In their introductory essay for a special journal issue that explores “Big Data from the South”, Stefania Milan and Emiliano Treré acknowledge the valuable work done by many researchers over the past few years counterbalancing the “hyperbolic narratives of the ‘big data revolution’” (320), by interrogating on the cultural, social […]