Search results for "critical code studies working group"
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[…]S. (2017). Towards a Tension-Based Definition of Digital Literature. Journal of Creative Writing Studies 2. 1. Chen, J. (2012). Refashioning Print Literature: Internet Literature in China. Comparative Literature Studies 49. 4, pp. 537-546. Croft, W. B., D. Metzler, and T. Strohman. (2015). Search Engines: Information Retrieval in Practice. Pearson Education. Dillon, A., and B. A. Gushrowski. (2000). Genres and the Web: Is the Personal Home Page the First Uniquely Digital Genre? Journal of the American Society for Information Science 51. 2, pp. 202-205. El Bouyahyaoui, S. and L. Al-Khemar. (2014). _Hafanāt Jamr (Bunches of Embers). http://narration-zanoubya.blogspot.com/, accessed on Sept. 6, […]
[…]2016. I met Mark Marino in LA when I was living there. I’d been following his work in critical code studies from afar for years, and I had been wanting to talk to scholars of code about the way code is used in some types of LARPs. There’s a reason for this bizarre moment, for this sort of liquid — what Colin Wilbert has called technogenic life — when the technology in our life restructures things. As I studied code-based LARPs I was realizing the timing matched up — these are computing practices bleeding into an analog practice where we’re […]
[…]fact that the fundamental disputes within copyright law effectively reiterate this hoary literary-critical debate. But the larger problem Gaddis is identifying is that in attempting to clarify experience to enable justice, legal language designed for business contracts fails to make sense of aesthetic experience without deforming it. Oscar cannot elucidate his point in the deposition, easily led into traps the Hollywood studio’s pricey lawyer sets for him. In that sense, corporate law cannot make sense of the heresy of paraphrase because it does not see the profit in the heresy and cannot monetize the particular aesthetic experience represented (and heresied). […]
[…](Peters; Parikka, A Geology of Media; Fan; Starosielski) and – with respect to the context in critical data studies – data as an assemblage (Kitchin and Laurialt) of wider cultural techniques of sensing, aggregation – and site-specificity. These helped to also outline techniques of knowledge beyond enumeration as they come to address infrastructures of data and the materiality of the digital (Offenhuber). Here the move from electronic literature on network platforms to the sites and infrastructures through which data, sensing, and inscription are expanded to elemental media becomes core to our argument. To execute this idea, our stories shift between […]
[…]is intended to give its reader some sense of what we talk about when we talk about New Media Studies. Matthew Kirschenbaum reviews what is undoubtedly the most important publication in New Media Studies released this year, The New Media Reader, published by the MIT Press and edited by Noah Wardrip-Fruin and Nick Montfort. The Reader is an 800-plus page tome (with CD-ROM) that aggregates articles, papers, and creative work developed in the formative years of the new media from the 1940s until the development of the World Wide Web. The Reader ‘s publication is an important event, as it […]
[…]always situated within absolute zones of material and ideological circumstance. What is software studies then? Software studies is what media theory becomes after the bubble bursts. Software studies is whiteboards and white papers, business plans and IPOs and penny-stocks. Software studies is PowerPoint vaporware and proofs of concept binaries locked in time-stamped limbo on a server where all the user accounts but root have been disabled and the domain name is eighteen months expired. Software studies is, or can be, the work of fashioning documentary methods for recognizing and recovering digital histories, and the cultivation of the critical discipline to […]
[…]the essays also touch on earlier threads, in particular “Writing Postfeminism,” “Critical Ecologies.” Recalling that Donna Haraway’s Cyborg was never meant to be a wired, blissed-out bunny, Bousquet and Wills recover the political dimension in socialist-feminist thought. “The Politics of Information” brings class back into cultural studies, considers the Web as crucial to the expanding “informatics of domination,” and recovers the cyborg as a key figure for an entire world of labor and lifeways. The authors in this wide-ranging collection, most of them pioneers in the development of Internet content, address the concerns not only of designers and users, but […]
[…]Cayley, Raley, Marino, and others, “Dovetailing Details Fly Apart – All Over, Again, In Code, In Poetry, In Chreods” by Strickland and Lawson Jaramillo carries the debate into the analysis of specific poems and poetic practices, both written and spoken, graphic and sonic, alphabetically and digitally coded. The essay also introduces a new reference for the debate – namely, the work of Gregory Bateson, who is cited not just as a supporting ‘theory’ or philosphical framework, but in the spirit of differential discourse that distinguishes Bateson’s work. This essay-meditation is itself ‘poured over code’; like several image/text collaborations featured in […]
[…]intertextuality, dialogism and parody. Despite having articulated all these concepts, the critical-ludic-transgressive attitude of Portuguese poetry involves, in her opinion, an enhanced “operation of translation in the sense of a critical rereading of tradition” (20). To creatively explore the plagiotropic relationships between Helder and Brandão’s work, we have engaged in our own plagiarian experiment in the creation of a third work. The text generator, also entitled Húmus, draws upon its predecessors as databases, allowing readers to, once again, re-read the tradition and conceptualize the links between its historical forbears. 1. Re-reading, Re-writing The topic of critical rereading of tradition is […]
[…]of value and justice (Eskelinen, 387). The cultural turn is expressed most strongly, though, in studies like Flanagan’s Critical Play, Mia Consalvo’s Cheating, and Miguel Sicart’s Ethics of Computer Games, which created frameworks for a new generation of cultural game studies. The most recent exemplars include Stephanie Boluk and Patrick Lemieux’s Metagaming, Shira Chess’ Ready Player Two, Bo Ruberg’s Video Games Have Always Been Queer, and Melissa Kagen’s Wandering Games. Again, there are no absolute distinctions. The culturalists are often keenly engaged on a formal level – Boluk and Lemieux, for instance, operationalize their theories through conceptual levels and mini-games […]
[…]Through Reflective Game Design Practices.” Game Studies, vol. 18, no. 3, Dec. 2018. Game Studies, http://gamestudies.org/1803/articles/marcotte. Murphy, Sheila. “Controllers.” Routledge Companion to Video Game Studies, Routledge, 2013, pp. 19–24. O’Gorman, Marcel. “Broken Tools and Misfit Toys: Adventures in Applied Media Theory.” Canadian Journal of Communication, vol. 37, no. 1, 2012, pp. 27–42, doi:10.22230/cjc.2012v37n1a2519. O’Gorman, Marcel. Making Media Theory: Thinking Critically with Technology. Bloomsbury Publishing USA, 2020. O’Gorman, Marcel. Necromedia. University of Minnesota Press, 2015. Pullin, Graham. Design Meets Disability. MIT Press, 2009. Raley, Rita. Tactical Media. University of Minnesota Press, 2009. Ruberg, Bonnie. Video Games Have Always Been Queer. NYU […]
[…]Future work could specify and nuance our considerations, drawing on insights from domains like critical race studies, gender and sexuality studies, disability studies, labor and working class studies, and geography and area studies. Developing attunement also means being attentive to the specific context of your making project, campus, and makers. We have gestured to our own specifics in the examples above, but asking similar questions about your own contexts may lead you to very different answers or even entirely new questions. Notes Tech fields have a long history of these exclusionary practices, especially when it comes to questions of gender […]
[…]sections, Bigelow lists the code for “the Cage text,” which you need to cut and paste into a code converter Bigelow links to. For your labor, you see that the code repeats this sentence over and over: “I have nothing to say, and I am saying it.” The point of all this work isn’t to get to Bigelow’s subjective interior—it’s an homage to Cage’s own play with expectations, dramatizing the mental framework we bring to bear when we an encounter aesthetic object. It also prompts thinking about the work we don’t always realize that we do when we process language […]
[…]of MUDs (environments that have received a good deal of attention from the perspective of cultural studies and computer mediated communication), the semiotics of an arcade-style computer game (a form seldom discussed even by game designers, which so far lacks even a critical vocabulary), and the nature of the “cyborg author” Katherine Hayles reviews Diane Greco’s ‘Cyborg’ and Eliza -descendent Racter (representative of an underexplored form, but one that has benefited from the examination and development done by Janet Murray). These discussions are useful, although not strikingly insightful. The chapter on MUDs, for instance, does not convincingly describe these environments […]
[…]– seems unlikely. The mass media, finally, a “super-system” (N. Binczek) with a “super-code” information/non-information working against the cherished functional differentiation at the heart of Luhmann’s theory? At times, Luhmann himself implicitly seems to point in that direction. Acknowledging the similarities of the proposed code to the new/old distinction (information is new only once; its consecutive redundancy insists on newness!), he discusses the almost neurotic longing for innovation and “the new” as a general trait of modernity. He even proposes new/old as a possible code for the system of art. Thus, newness, innovation, information, actuality – the sheer temporality of […]
[…]– ought to be a key element of any historical method, genealogical or otherwise, that critics working in new media studies bring to bear. Let me suggest that the start-up work of theorizing digital culture has by now largely been done, and that serious and sustained attention to archival and documentary sources is the next step for new media studies if it is to continue to mature as a field. Freidrich Kittler’s Discourse Networks 1800/1900 already does some of this work. And we could also do worse than Internet Time for a summation of the pace of scholarship in new […]
[…]fathom the stakes of the argument, both for my own critical-theoretical agon and for the agon of critical theory itself in this technological era. By describing the book as a “working through” of poststructuralism, Brigham astutely characterizes its “function” for my own intellectual development in a way that foregrounds its particular situatedness; she also finds words to represent what, for me, cannot but remain in some sense or other a lived “drama” of apprenticeship. Brigham’s invocation of the Freudian vocabulary of working-through, trauma, and translation recalls to me my time in graduate school, when I was very much under the […]
[…]a critical talk about this “fire poetry,” including my own work, at the 1991 American Studies Association Conference. San Francisco poet Carol Tarlen showcased this “fire poetry” in a reading commemorating the Triangle Fire in March, 1996; I was one of the poets who read. At the reading Tarlen announced there was a small storefront sweatshop three blocks away in Chinatown. Listening to her, I felt I could no longer just write about the past as a poet or a critic. I felt I needed to act in the present. Returning to Los Angeles, I joined Common Threads, a women’s […]
[…]it can be passed on to the next generation. Thus we find that while the various chimpanzee groups that have been studied in different parts of Africa have many behaviors in common, they also have their own distinctive traditions. This is particularly well-documented with respect to tool-using and tool-making behaviours. Chimpanzees use more objects as tools for a greater variety of purposes than any creature except ourselves, and each population has its own tool-using cultures. One can only imagine that Ferry’s response to this would be to raise the bar once again, so that only those who have read all […]
[…]of the unborn. I want to point out that this little exercise in rhetorical analysis and critical legal studies was undertaken not by a cultural studies theorist, nor by someone dependent on the knowledge industry run by bourgeois sellouts like me, but by an ordinary citizen of these United States, operating in extraordinary circumstances not of her own making. But more important, I want to pass along to you what this exchange has taught me: first, that sometimes, the cost of selling out to the discourses of policymakers is too steep to bear, particularly if it means disavowing the languages […]