Search results for "critical code studies working group"
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[…]Jesper. Games Telling Stories? Game Studies, vol. 1, no. 1, 2001, http://gamestudies.org/0101/juul-gts/, http://gamestudies.org/0101/juul-gts/. Kracauer, Siegfried. Cult of Distraction: On Berlin’s Picture Palaces. New German Critique, vol. 40, 1987, pp. 91-96, doi:DOI: 10.2307/488133, www.jstor.org/stable/488133. —. The Mass Ornament. translated by Thomas Y. Levin, Harvard University Press, 1995. Landow, George P. Hypertext the Convergence of Contemporary Critical Theory and Technology. Johns Hopkins University Press, 1992. Latham, Alan. The Power of Distraction: Distraction, Tactility, and Habit in the Work of Walter Benjamin. Environment and Planning D: Society and Space, vol. 17, no. 4, 1999, pp. 451-473, doi:10.1068/d170451, https://journals.sagepub.com/doi/abs/10.1068/d170451. Mencia, Maria et al. Electronic […]
[…]Jenny. How to Do Nothing: Resisting the Attention Economy. Black Inc., 2019. Ratto, Matt. “Critical Making: Conceptual and Material Studies in Technology and Social Life.” The Information Society 27.4 (2011): pp. 252-260. Řehůřek, Radim, and Petr Sojka. “Software Framework for Topic Modelling with Large Corpora.” In Proceedings of the LREC 2010 Workshop on New Challenges for NLP Frameworks, Malta, May 2010, pp. 46-50. Roman Holiday. Directed by William Wyler, performances by Audrey Hepburn and Gregory Peck, Paramount Pictures, 1953. Rozendaal, Rafaël. “Abstract Browsing,” 2014. http://www.abstractbrowsing.net Stiegler, Bernard. Taking Care of Youth and the Generations. Translated by Stephen Barker, Stanford University Press, 2010. […]
[…]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 […]
[…]the Atari VCS, around not just about Combat, but that whole platform, and about the platform studies approach as we saw it. So, Ian and I wrote a book called Racing the Beam. And we also started a series with MIT Press, Platform Studies. Racing the Beam incorporates these ideas, it has a methodology to it, we reverse engineered some of the cartridges, we looked at the material history of the system, by analogy to book history, or the material history of texts. We did a few interviews, but it was not a qualitative social science approach that we took, […]
[…]by now why such poems by Fisher might be respected by poets from both the Cambridge and London groups, and indeed there are moments when he might be thought of himself as a member of one group — But it is precisely with a poetics of the sublime – and Keith Tuma’s original fisher by obstinate isles thought he might “maintain ‘the sublime’ / in the old sense…Unaffected by the ‘march of events'” – that I want to leave this Fisher of the latter-days and all but conclude this essay. I am not alone in thinking that A Furnace may […]
[…]“cheating,” operating against the implicit code of mystery-reading behavior. The implicit code of reading most types of fiction in codex book format favors starting at the first page and moving to the last. Hypertext readers rarely have such a developed implicit code of behavior to react with or against. A Storyspace hypertext generally provides the reader with choices to move from any given lexia only to those other lexias the author has linked. The link in any case is a predetermined avenue of navigation. Whether the link has been directly chosen by the author, randomly determined by the computer, or […]
[…]effective strategy of www.McSpotlight.org which is focused on research, outreach, and activist networking was never repeated on the same scale. Why not? Should we continue to make the distinction between good content and networking projects and “bad” criminal hackers? (No, but people still do.) Ricardo Dominguez: Geert’s breakdown of net.activism into a binary of good activism (www.McSpotlight.org), or digitally correct activism, vs. the bad hacktivism of the Electronic Disturbance Theater (EDT) strikes me as far too simple. EDT’s work was and is tactical theater; McSpotlight.org was a long-term strategic action. So to compare one with the other disregards the context […]
[…]to harass Web authors to remove images, corporate logos and even corporate names from websites critical of their activities. In order to highlight the absurd extremities to which IP police powers have been extended, McLeod took out a trademark himself–on the phrase “freedom of expression.”TM He owns it. You do not. The efforts of absurdist media pranksters such as ®TMark are the subject of Caren Irr ‘s essay, which seeks to describe ways in which their efforts to use the system of socio-ideological reproduction to send new messages can be linked to a more capacious opposition to dominant forms of […]
[…]such as Cygnus have convinced the market that you do not need to be proprietary about source codes to make a profit: the code might be free, but tech support, packaging, installation software, regular upgrades, office applications, and hardware are not. In 1998, when Netscape went “open source” and invited the computer tinkers and hobbyists to look at the code of its new browser, fix the bugs, improve the package, and redistribute it, specialized mailing lists exchanged opinions about its implications. It is an established pattern of the computer industry, in fact, that you might have to give away your […]
[…]an interdisciplinary approach and a disciplinary approach. Gaming programs should integrate gender studies, film and television theory, computer science, sociology, digital art, and cultural studies into computer gaming curriculums, (and allow for different emphases.) We also need to discover what would be specific to a discipline of game design and gaming studies. Developing such an interdisciplinary and also disciplinary program would allow for a common language to be shared among programmers and artists, as well as informing gaming culture in general. There is much territory yet to be explored and we should prepare our students to better understand both the […]