Search results for "critical code studies working group"
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[…]actively promoted) that appears to have calcified and entrapped Acker herself when she fell out of critical favor. Thus, if her “life was a fable,” it was one “created through means both within and beyond her control” (14, 15). Kraus’s novelistic powers are also on display throughout After Kathy Acker. Kraus is adept at recreating particular scenes, such as the description of one of Acker’s apartments in New York: “Mornings, the sound of the boiler kicking on wakes them up early, and they go back to sleep. Steam heat moves through the pipes, but it never fully warms the room. […]
[…]parasitic audience with a flexible backbone who neglect knowledge and culture, who harm the working class with a disregard for culture and live their lives, never seriously taking anything into account.» However, the fate of non-half-intellectuals was not too rosy. For example, Khvylovy shot himself in 1933, protesting against the arrests of his friends, and most of them were killed by the Soviet government in 1937 (the generation of Ukrainian artists liquidated that year is often called Executed Renaissance). The half-intellectual author at long last always became both a bad engineer and a poor writer, but when in the time […]
James O’Sullivan is the Founding Editor of New Binary Press and Digital Literary Studies, a freelance journalist, and writer. He took up a lectureship at University College Cork in July 2017, and there he will host the 2019 conference of the Electronic Literature […]
Daniel Schulz, studies History and English Studies at the University of Cologne. In 2016 he finished his BA with the thesis “Body, Text, and Society in the Work of Kathy Acker.” From March 7th to September 15th 2017 he carried out the inventory of the Kathy Acker Study at the University of Cologne, which he is currently […]
[…]Towards Preventing and Controlling Cancer with Diet and Lifestyle. NJ, Wayne, Avery Publishing Group, 1982. Kushi Michio; Alex Jack, The Cancer Prevention Diet: Michio Kushi’s Nutritional Blueprint for the Prevention and Relief of Disease. New York, St. Martin’s Press, 1994. Michael Learner, Choices in Healing: Integrating the Best of Conventional and Complementary Approaches to Cancer. MA, Cambridge, MIT Press, 1994. Patrick Quillin; Noreen Quillin, Beating Cancer with Nutrition: Clinically Proven and Easy to Follow Strategies to Dramatically Improve Your Quality and Quantity of Life and Increase Chances for a Complete Remission. OK, Tulsa, Nutrition Times Press, 1994. The list reproduced […]
[…]I ask: in the era of fake news and the need to reclaim the Internet, where is the place of the critical academe? For scholars, cliquishness is also not helpful. We are not trying to shape a critique for an ivory tower academe. In fact, we share even with “fake news” noise ever-growing skepticism of buzzwords—including “fake news”—that I believe is a symptom of what Bruno Latour described in 2004 as critique’s “running out of steam.” In May 2017, I participated in a roundtable at the Canadian Comparative Literature Association entitled, “Revisiting and Renewing Critique,” during which our conversation turned […]
[…]Civil Liberties Union. 2018. Judge Allows ACLU Case Challenging Law Preventing Studies on ‘Big Data’ Discrimination to Proceed. American Civil Liberties Union. April 2, 2018. https://www.aclu.org/news/judge-allows-aclu-case-challenging-law-preventing-studies-big-data-discrimination-proceed. Bratton, Benjamin H. 2016. The Stack: On Software and Sovereignty. Cambridge, MA: The MIT Press. Eubanks, Virginia. 2018. Automating Inequality: How High-Tech Tools Profile, Police, and Punish the Poor. New York, NY: St. Martin’s Press. Haraway, Donna J. 2016. Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke Univiversity Press. Lyon, David. 2015. Surveillance After Snowden. Cambridge; Malden, MA: Polity. MacCormack, Patricia. 2012. Posthuman Ethics: Embodiment and Cultural Theory. Farnham, Surrey, […]
[…]not simply a machine for the creative generation of language, but a machine for the generation of critical, possibly evaluative, riPOSTes that are conscious of the institutional framing of the text they […]
[…]theory and practice: ebr invites the e-literature community to engage with the essay’s wonderful critical and creative play by submitting their own responses (500 — 1000 words). The deadline has been extended to early April. Of these responses, 13 will be selected to be featured in ebr in the near future, to be organized by Editor-in-Chief Joseph Tabbi. * Gordon Calleja, who has previously collaborated with Espen J. Aarseth, offers the essay “The Role of Imagination in Narrative Indie Games” this month, which connects with Will Luers’ essay from February 2018 on the construction of virtuality in video games, as […]
[…]parasitic audience with a flexible backbone who neglect knowledge and culture, who harm the working class with a disregard for culture and live their lives, never seriously taking anything into account.” Nestelieiev suggests that even upon revisiting some of the archived documents of many “half-intellectual” Soviet authors, their “internal restrictions” resulted in work that was considered invaluable artistically, leading him to deduce that “to be in captivity of their own reservations and prejudices is more terrible than among the artificial limitations.” One might note that the rigidity and limitation with which such authors wrote might make these documents valuable in […]
[…]simply a machine for the creative generation of language, but a machine for the generation of the critical, possibly evaluative, riPOSTes that are conscious of the institutional framing of the text they generate?” Certainly through riPOSTes, ebr encourages hyper-awareness in critical editing, and our next objectives in the future of scholarly publication aim to think through interaction and response in terms of vibrant textual ecologies. What these textual ecologies look like, however, depend on that which is generated by the community—by readers-as-writers like you. * ebr is in the process of updating the site’s author pages. If you have written an […]
[…]a number of different types of voices. The six characters sort of represent different age groups, different socioeconomic groups, as well as different types of reactions to the events. Some of this was again based loosely on the non-fiction research that Rod and his students did. The voice of the fisherman character, for example, I adapted the style of that voice, and some elements of his story, from interviews that Rod’s students did with longshoremen in Philadelphia. And the voice of the FEMA worker, in a way he serves an expository role, as a way to bring in that factual […]
[…]of national, regional, and stylistic varieties and combinations of natural and computational codes. The media in which these expressive forms occur shape the potential uses and meanings of various semiotic modes, and each digital language art-efact thus has to be seen as a stand-alone, unique manifestation of the semio-medial liberties that digital language artists have at their disposal, or indeed create for their own practices and those of others. Although the illness metaphor evoked by Cayley’s titular suffixation may seem inhibiting, the complexity of his underlying ideas helps to move us toward an idealist image of humanity faced with the […]
[…]information of a cursor with a plot triggers a bell sound created by additive synthesis. The vocoders only use 3 samples: a cello sound lasting one second, a whisper in a musical atmosphere of 50 seconds and the lapping of a river of 14 seconds. Due to the digital processing of sounds, these samples can be recognized only at certain times. The whisper can be heard only at the beginning of the work and the sound of the water only at the end. In other words, the “primitive” sounds of the piece can only be heard in specific geometric configurations […]
[…]our final instalment of the 4-part series on the metainterface—“a reconsideration of interface studies.” Scott Rettberg and Shelley Jackson’s “Room for So Much World,” is a special conversation with celebrated writer Jackson, detailing her experiments with writing mediums (including fresh snow and skin) and with materiality/language in more classic forms (see her newest novel Riddance). “Room for So Much World” anticipates themes in a forthcoming ebr gathering, Natural Media, edited by Editors Eric Dean Rasmussen and Lisa Swanstrom. Please look forward to what we have to offer in the next few months! For this month and the next, ebr will continue to […]
[…]has a long history in electronic literature. She considers, for example, the role of the source code and its manipulability in Nick Montfort’s “Taroko Gorge” and the many remixes and revisions produced thereafter. She even looks back to John Cage’s chance procedures and use of computational processes to identify that this process even predates what we now call electronic literature. The movement towards embracing the computer as co-producer of the literary work is an unstoppable current, she seems to suggest at the essay’s end, observing that “[w]e are now on the verge of developments that promote our computational symbionts to […]
[…]essay? If not, why not? For “the distinction”, as Peter Boxall writes, “between creative and critical writing is becoming harder to sustain” in the twenty-first century. And if everything, as Professor Einstein might put it, is relative with no consistent frame of reference, how can our shared social categories that define writing and genre hold? Yet, not everyone subscribes to the view that there is a contemporary melding of creative and critical practices. Recent computational approaches by Andrew Piper have revealed that this breakdown of boundaries is less pronounced than we might imagine. Piper shows, for example, that machine classification […]
[…]and academic forms of born-digital writing. Submitted essays may be exploratory, provocative, critical and/or polemical takes on any topic related to the issue theme (see below for the next issue theme). Essays must be multimodal, interactive and/or computational and made of HTML and JavaScript, video, audio or any browser-friendly software. Accepted works will receive some web development and design assistance, if needed. CFP: Issue 02 (2022) – “(digital) performance” Editor: Laura Hyunjhee Kim Co-Editors: Darija Medić, Kevin Sweet, Brad Gallagher The journal The Digital Review invites submissions for an issue on “(digital) performance.” We are interested in born-digital arts and […]
[…]can be framed as “experimentalism + mass culture” and she does this by looking at case studies of experimental and conceptual writing, such as the example of Manuel Puig’s Boquitas pintadas. Un folletín (1969) or Heartbreak Tango. A Serial and Pablo Katchadjian’s El Aleph engordado (2009) or The Fattened Aleph, which is a reworking or conceptual experiment with Jorge Luis Borges’s 1945 short story “The Aleph” that saw a court case with several appeals against Katchadjian amidst claims of plagiarism. Kozak frames Katchadjian’s experiment with Borges in the context of conceptual writing (popularized and made infamous by Kenneth Goldsmith) and argues […]
[…]Clarke entitled “Margulis, Autopoiesis, Gaia,” in which Clarke recounts his own process of critically and pedagogically working with the concept of “gaia” (the relations of things, as they exist on our planet, in relation the sun) through scientific discourse. In Lynn Margulis’s work What is Life? and Symbiotic Planet, Clarke comes to the realization that “if Gaia is a system, then Gaia theory is a form of systems theory” that can also articulate autopoietic or self-producing systems. Embracing approaches to autopoiesis, Clarke describes the expansion of autopoiesis beyond its scientific contexts, inquiring into recursiveness in several well-known concepts and texts, with particular […]