Search results for "critical code studies working group"
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[…]Gaddis Scholarship. Want to dive deeper into post-post-modern futurology? The Futures of Gaddis Studies roundtable—featuring CRYSTAL ALBERTS, GREGORY COMNES, TIME CONLEY, BRIGETTE FÉLIX, VICTORIA HARDING, ANJA ZIEDLER, RONE SHAVERS, TOM LECLAIR, and electronic book review’s very own JOSEPH TABBI—delivers reflections, revelations, and recognitions of The Recognitions! JOIN US NEXT TIME FOR MORE ELECTRONIC BOOK REVIEW Tegan Pyke Co-editor, ebr contact@electronicbookreview.com All listed articles come with risk of riPOSTe, re-riPOSTe, and re-re-re-riPOSTe. Authors’ views are their own. Internet connection required for access but not […]
[…]Era: Introduction to the Special Issue on ‘Gaddis at his Centenary’” 2: Futures for Gaddis Studies’ Steven Moore – “New Directions in Gaddis Scholarship” Various Authors – “Futures of Gaddis Studies: Visions for the Next 100 Years’” 3: Gaddis in Context: Peer-reviewed articles Benjamin Bergholtz – “‘Trouble with the Connections’: J R and the ‘End of History’” Jack Williams – “‘A Long and Uninterrupted Decline’: Accumulation, Empire, and Built Environments in William Gaddis’s The Recognitions” Elliot Yates – “Gaddis at Textron: From Fruits of Diversification to Financialization” David Ting – “Indeterminacy as Invention: How William Gaddis Met Physicists, Cybernetics, and Mephistopheles […]
[…]laudable and understandable, especially in the light of Herman & Krafft’s flawless politeness, critical generosity and respect for other critical voices, such a narratological ‘solution into playful irony’ tends to smooth out the often painfully sharp and hurtful edges and contours of specific sentences, passages and characterizations. Considering that Pynchon’s texts always acknowledge ‘our’ immature complicity with the dark sides of power and sin, we should perhaps give his texts some leeway, and in fact come to value their controversial and immature tendencies. Maybe one might even imagine a poetics of “more maturity, more immaturity!” Maybe we should value the […]
[…]2010s was academia. Notwithstanding the biography and letters, there was no further conference, critical monograph, or collection of essays on Gaddis between The Last of Something and the centenary events: not even another conference panel after “Why Now.” The reason may be generational: many of the 20th century’s Gaddis scholars—the generation(s) whose foundational 1970s or 1980s articles, or 1990s monographs, were compiled in Harold Bloom’s 2004 Modern Critical Views —had retired by the early 2000s. Between 2015 and 2022 a third of Bloom’s Gaddisians died. The bibliography of Gaddis scholarship reveals that only a small proportion of Gaddis’s scholars have published […]
[…]is responsible for the advancement of feminism, anticapitalism, posthumanism, postcolonialism and critical race studies.” No. Literature is an art project, not a political project, and should be judged solely on its artistic merit, not for its usefulness in pursuing social justice. Last year a Jane Austen specialist wondered about teaching older novels that fail “to speak to pressing societal issues. Perhaps a world in grave crisis truly doesn’t have time for texts from the past which can’t be instrumentalized by the future.” No concern for artistry, craftsmanship, style, tone, wit, only whether a novel qualifies as a tool for social […]
[…]and the artist’s value and role in a rather disenchanted society, have been recurring topics in critical studies of Gaddis, as they were for the man himself (see for example Angela Allan’s excellent recent study on neoliberalism and the value of art). Due to the encyclopedic and allusive nature of the novels across abundant cultural, religious, and philosophical themes and aesthetic issues, interdisciplinary, intertextual, intermedial, and transgeneric critical approaches suggest themselves. Various of Gaddis’s acknowledged influences have thus been studied; visual art illuminates him through studies of the meaning and implications of perspective and technique of fifteenth-century Flemish painting for […]
[…]2022 N. Katherine Hayles Award for Criticism for editing the first issue of The Digital Review on critical making and critical design. What is The Digital Review, and how is it distinct from other kinds of journals? And also, what is critical making? LF: Thank you for asking that. Because I think a lot of people will associate the editorial work I’ve been doing with ebr, electronic book review, which has been edited by Joseph Tabbi for a long time. TDR came, not necessarily out of the pandemic, but it was manifested in 2020. So, the timing seems as if […]
[…]simply builds on its community focus, since at the heart of all of these essays is the way that a group can use algorithms to do something that really wasn’t possible before. But the ability of these kinds of algorithmic systems to foster creative practices, rather than simply replacing artists, is something that needs more emphasis in our current debates. In a recent Atlantic article, Ian Bogost wrote about how he is using AI image creators like DALL-E to produce visuals to accompany seemingly trivial musings (“My daughter texted, asking what her ‘goth name’ should be; moments later, I sent […]
[…]was a direct response. When hydropower arrived, there were a lot of folks who were in horrible working conditions and, frankly, were undervalued in what they were doing and were out of a job. And so there were a group of folks who used a fellow by the name of Ned Ludd as their sort of spiritual leader, and they decided to fight the rush towards industrialization. And they started, as you said, breaking into factories, breaking the looms, and they worked really hard to target the factories, the mill owners and the people who supported this rush to industrialization. […]
[…]I love the idea of Google Docs. But in practice it’s hard to track, depending on the size of the group that you’re working with. I love that Google Docs is so wide open. You can radically alter the aesthetics of the writing space itself, which adds a whole different level. Lately, I’ve been using Reddit a lot with students, I like it, because it’s easy to create accounts. There you can bracket space by creating a subReddit. And you can define norms for play within that space. You can kind of do your own thing unobstructed for periods of […]