Search results for "critical code studies working group"

[…]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 […]

[…]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 […]

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 […]