Search results for "critical code studies working group"

[…]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 […]

[…]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 […]

[…]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 […]

[…]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 […]