Search results for "critical code studies working group"
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[…]of the writing and/or (college) teaching profession. Such discussions can address issues of working conditions, salaries, and job availability, issues that I, as part of the sub(if you will)-professional class of English studies in the university, find especially relevant. In the university, I am a Writing Associate laboring under one Director of Writing Assessment and one Writing Center Director. Both PhDs and both men. We (three women) Writing Associates have a “(.50 FTE), academic year assignment” with “a salary of $7,972.20 plus benefits” – reason enough to continue to seek full employment. Still, it’s the first time my family has […]
[…]what we see in most codework writing and art practices is less code per se than the language of code: codework that integrates elements of code into natural languages and brings code to the surface as a medium for literary, artistic, and experimental composition. The codework practice of “netwurker” Mez, which again involves the use of a made-up code language as a mode of artistic composition and everyday communication, is paradigmatic. An overview of Mez’s work can be found in her recent JavaMuseum solo show (February 2002), commemorating her nomination as “Java Artist of the Year 2001.” For a sample […]
[…]That Scott complicates these historiographical assumptions with a romantic nostalgia is well-trod critical territory, Elias notes, but what’s important for her argument is that in doing so, the historical romance summarizes and anticipates this tension within many postmodern novels. Whereas Scott had his sights set on the historical real but stumbled over romance, the postmodern metahistorical romance has its sights set on romance, but sometimes stumbles over the real. There are other issues at work in the book, and one of them is that postmodern writers are as influenced by contemporary historiography as Scott was by the historiography of his […]
[…]I believe to make of Ground Zero what they could. A photograph, a mark, a memory, a silence. A group of groups of which in many respects (certainly from the limited point of view of the terrorists) I am a part. Crowds passing under my window. Many from overseas. Yet mostly they are terrorist’s Americans I know alive or dead; still more really they have been, when they reach the ramp, more like Robert Frost’s people on the beach, who “cannot look out far…/ [and] cannot look in deep./ But when was that ever a bar / To any watch […]
[…]greatest gift, however: the published volume also comes packaged with a CD-ROM, which contains “working versions of some of the most important new media artifacts ever created…games, tools, digital art, and more — with selections of academic software, independent literary efforts, and home-computer era commercial software.” I had an opportunity to preview some of this material along with my advance copy of the Reader, and it is indeed an embarrassment of riches: Spacewar!, Weizenbaum’s Eliza, Will Crowther’s Adventure, Atari and Apple games (Karateka, anyone?), early hypertext including lost poems by William Dickey, an anatomy of Stuart Moulthrop’s “Forking Paths,” the […]
[…]So does the Web’s ability to draw into interaction communities from many different language groups, including groups whose languages have not been part of the standardization process but who nevertheless wish to use the network to speak in other registers. See Crystal, Language and the Internet. To some extent, then, what seems on the surface least political about the Web may be what is most important: providing raw bandwidth to those whose voices and languages have been pushed away by standardization. (However, the relative difficulty of sustaining broadcast media technologies in nonstandard languages such as low-power radio and television stations […]
[…]I. Schiller in the early seventies. Reflecting its origins, the department had a reputation for critical studies and support of free speech. The courses utilize texts such as Paolo Freire and Robert McChesney which emphasize the need for community empowerment and access to communications resources. Those very issues were to come home in late spring of 2000, as the department became embroiled in a struggle around freedom of speech that put to the test some of the theoretical concepts regularly featured in the midterm exams of undergrads and dissertation drafts of the graduate students. This struggle was over the Burn! […]
[…]Yes, it does, and it seems to me to explain why your work has been taken up particularly by critical studies of technoscience, people who are working in English, or rhetoric, or cultural studies. D Or performance art. L Performance art, exactly. D Yeah, I get taken up much more by artists in the broad sense, who often get what I’m doing both critically and in terms of more life-affirming stuff, not that criticism isn’t life-affirming, but that it isn’t the whole story. I get much more taken up by artists in that double way than I […]
[…]faculty intellectual property rights in “the coming battle.” Few people seriously engaged in critical information studies would necessarily jump to the conclusion that defense of faculty IP rights can serve as a core strategy for combating informationalism, This is not to suggest that there aren’t circumstances where the notion of intellectual property rights, as in the struggle to resist the exploitation of indigenous knowledges, can’t be mobilized with great tactical effectiveness (Coombs). but the real issue is the sudden swiftness with which Noble’s informatic struggle seems to have opened and closed. If academic informationalization isn’t just another Hundred Days’ War, […]
[…]we have learned from the Frankfurt School how devastating the culture industry is for working class and other democratizing movements, it behooves us to understand the potentials of the technology, to learn how they may be deployed in constructing cultural forms more appropriate to a democratic lifeworld, and not to become obsessed with every outrage perpetrated by the ruling class. Such an attitude of creative appropriation is encouraged by the discourse of cultural studies and by countless artists and creators across the globe. Certainly cultural critics need to attend to the moves of the establishment, but we must equally be […]
[…]expectations, however, are insurmountable obstacles in changing the nature of online learning. Working in new registers of medium-scale, team production or large-scale, corporate production undoubtedly can transform the current understandings of job control, working conditions, and career development shared by many academics toiling away in contemporary research universities. The development of disciplinary-software systems, such as Mathematica, Web CT, and Blackboard Course Info are leading to a curricular economy that is no longer one tied to handicraft work. Instead, these corporate innovations suggest that distance and distributed learning will become embedded in more factory-like, industrial organizations, involving integrated teams of labor, […]
[…]can act to change the world – the question of agency. Employing theories from both cultural studies and media studies, we problematize the mass media’s role in the ideological side of social control and investigate possibilities for resistance. Students study the media’s techniques of persuasion and manipulation, as well as activist attempts to use the media’s own conventions (such as those in advertising) for subversive ends. Course assignments build upon one another throughout the semester and all assignments contribute elements to the creation of the final project hypertexts. The course is structured so that we address its two threads – […]
[…]what we know as the discipline specialist, prefaced here by the parenthetical but increasingly critical prefix, multi. Without going into too much detail here, I want to suggest that the role of the unidisciplinary specialist is in many ways uniquely tied to print culture and thus imperiled in this `late age of print'” (120). The fan site is the first new form of scholarship to appear on the Web and provides us with a guide for how to transform our students into active researchers. The fan occupies a marginal position in popular culture and is often represented as a socially […]
[…]in the U.S. and abroad. Forming the FRE grew out of dissatisfaction with the old “reading group” approach to collaboration. I had always participated in one reading group or another, organized around theory. The practice is familiar: an interdisciplinary group of scholars would agree on a list of books, usually works of French theory, and we would meet regularly to discuss and argue. I learned a great deal from these sessions, and if anything they died of their own success, in that the groups tended to become too large. The chief source of dissatisfaction, however, was the homogeneity of the […]
[…]would be delighted to see the manifesto on the World-Wide-Web and to go ahead and mark it up (i.e. code it for hypertextual interplay). He probably regrets ever having sent me that message and agreeing to do it, because now, as Alt-X’s site manager, he helps me encode and design an average of 300k worth of new data (not including images) every month! By the Fall of 1994 things were moving very fast in the global vaporware market (otherwise known as the new media industry), and this caused some real critical reflection on my part. Being digitally-networked seemed to provide […]
[…]“are two important ways of being public…but what I want to call for is a practice of cultural studies that articulates the theoretical and critical work of the so-called public intellectual to the movements of public policy” (12). Bérubé is right to criticize “cultural studies theorists of the left [who] often express outright disdain for the policy implications of their work” (11), and to locate the source of this disdain in our tendency to value most in our intellectual work and indeed in ourselves whatever we assume is so unconventional, transgressive, or “cutting edge” that it can be used to […]
[…](in general, i mean), i think he does an excellent job in his article of demonstrating why english studies has become anguish studies, and what english faculty might do about it – that is, how to act without repression, and with a sense of solidarity… but what happened next was, in retrospect, to be expected… ———– Subject: Re: Poetry and the Academy i really do think that the alternatives are not simply the “professional” as currently construed over and against the “hobbyist”… and although one may locate oneself outside of academe per se (thankfully) the reality is that academe per […]
[…]Marie-Laure. “Beyond Myth and Metaphor: The Case of Narrative in Digital Media” in Game Studies, volume 1, issue 1, July 2001, http://www.gamestudies.org/0101/ryan/ Simon, Herbert. “Literary Criticism, A Cognitive Approach,” Stanford Electronic Humanities Review, volume 4, issue 1: “Bridging the Gap,” Updated 8 April 1995, online at http://www.stanford.edu/group/SHR/4-1/text/simon1.html Trippi, Laura. “Networked Narrative Environments,” Oct. 2003. […]
[…]they probably do not see the same outcome for this struggle. Indeed they should not, if game studies have any critical value. Do Not Immerse Murray’s approach to new media seems both culturally and technically conservative; for some indeed this may be its main virtue. Like the design theorists she most admires, Laurel and her mentor Donald Norman, Murray assumes that new media should provide highly efficient, minimally obtrusive tools. She seems to agree with Norman that the best computer is an invisible computer, at least where narrative is concerned: Eventually all successful storytelling technologies become “transparent”: we lose consciousness […]
[…]Tom Ray’s Tierra attained early notoriety. Around the same time, some robotics researchers were working with emergent paradigms of robot behavior; many of these were grouped around Luc Steels in Belgium and Rodney Brooks at MIT. Since the late 1980s, the notion of semi-autonomous software entities has proven a rich catalyst for experimentation in both the fine and the applied ends of the electronic arts. In recent years, complex autonomous entities called agents have been a subject of much excitement, and subgenres of research such as “socially intelligent agents” have arisen. In my presentation at one such gathering, the 1997 […]