Search results for "critical code studies working group"
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[…]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 […]
[…]33) – or perhaps, another ‘godless cult’ in the words of Kracauer. This characterization of code makes sense not only in relation to the role of code in computing, but also in the everyday use of computers – and not being able to understand the functioning of large global platforms, even from the inside or through reading the code. The mass perspective of profiling: the Nooscope Following both a history of minimalism and computationalism, we see that a central difference between the metainterface spectacle and former spectacles lies in particular instrumentalist hiding of the production of the mass perspective. To […]
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 […]
[…]journal. Vernacular by default, the early web was made of half-finished homepages, alien looking code, broken links and error messages. It was also a period of creative possibilities and utopian dreams for free personal expression in networked groups. With few large hubs to connect people, islands of communities formed around trying to figure out what the web might be. Lialina’s own innovative digital art, as with the “net art” movement in general, was made in the context of this emerging web folk culture. She writes: “…although I consider myself to be an early adopter–I came late enough to enjoy and […]
[…]sequences, both common and uncommon. It is urgent that we open the door of negative speculation in critical digital media studies. We should be free to think about what could possibly go wrong without having to prove that it already has (even when, sometimes, it already has gone wrong). And though there are other voices out there doing the same, Kirschenbaum’s piece comes in the right place and the right time to help frame the reception of a highly hyped piece of popular technology. In that spirit, I would like to push Kirschenbaum’s critique a bit further. Here, I consider […]
[…]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 […]
In “Interferences: [Net.Writing] and the Practice of Codework,” Rita Raley analyzes the poetics of Mez’s “neologistic net.wurked language… m[ez]ang.elle,” which incorporates “made-up code language as a mode of artistic composition and everyday […]
[…]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 […]