Search results for "critical code studies working group"
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[…]the functions specified by the program), and intentions (it intends to compile/interpret the code and execute the commands and routines specified there). Although the human writes the code (and other humans have constructed the hardware and software essential to the computer’s operation), he is not in control of the lines that scroll across the screen, which are determined by the randomizing function and the program’s processes. What is the point of such generative programs? I think of John Cage’s aesthetic of “chance operations,” which he saw as a way to escape from the narrow confines of consciousness and open his […]
[…]Portrait(s) [as Other(s)]” and Judd Morrissey’s “The Jew’s Daughter.” I will introduce a critical vocabulary for examining these works, grouped around the following concepts: “The Holy Grails of Electronic Literature,” “Six Varieties of Crisis,” and the “Surrealist Fortune Cookie.” Respectively, these describe: the contradictions inherent between paradigms of science and paradigms of literature and how they have shaped motivations by creators; the manner in which writers of electronic works can provide “non-trivial” reading experiences in the absence of standard literary paradigms premised on apocalyptic (or simply “plotted”) narrative; and a concept of the basic unit of the sentence in an […]
[…]Lifeon Earth (2nd ed.). New York: W.H. Freeman. Marino, M. C. (2010, September 15). “Critical Code Studies and the electronic book review: An Introduction.” EBR : Electronic Book Review. Retrieved September 20, 2011, from http://www.electronicbookreview.com/thread/firstperson/ningislanded Matthew G. Kirschenbaum. (1997, 98). Lucid Mapping and Codex Transformissions in the Z-Buffer. Retrieved February 9, 2011, fromhttp://www2.iath.virginia.edu/mgk3k/lucid/ Mauler, H. (2004). The Zoo « ZEITGUISED. Retrieved September 20, 2011, from http://zeitguised.wordpress.com/2004/05/24/the-zoo/ Merleau-Ponty, M. (1962). Phenomenology of Perception. New York: Humanities Press. Mitchell, W. J. T. (1995). Picture Theory: Essays on Verbal and Visual Representation (1st ed.). University Of Chicago Press. Mitchell, W. J. T., & Hansen, M. B. N. (Eds.). (2010). Critical Terms for Media […]
[…]The group psychological meaning of secrecy is a relation between knowledge and ignorance: as the group configures its group dynamics around a secret, its cohesion depends on the maintenance of an illusion (42). In this lengthy passage, Krapp illustrates that digital technologies and the types of discourse that find growth in them essentially segregate themselves from anything outside its discursive regime. If one accepts that conspiracy theory is finding itself rooted in digital discourse, the truth object pursued by these theorists will forever remain outside of their knowledge, as that is the only way for the interested parties to sustain […]
[…]writing was focused on the technology of books and print. Implicit in its capacity to provoke critical thinking about the form of the book is the capacity to direct this critical attention to the broader tools of literary representation, including digital interfaces and code. However, it is against the backdrop of network textuality that the fullness of this technical estrangement can be explored. While Jakobson’s use of the word “ordinary” always carried connotations with the power to categorize, command, and declare, it is the prospect of the global, networked analytic process that produces the most potent realization of such “ordinary” […]
[…]of computational art (387)—projects that invite, if not require, attention to various forms of code. Code-core cybertextualism has undeniable virtues: it usefully drives innovation both in poetic practice and critical thinking, and it builds a detailed foundation for understanding, and eventually teaching, next-generation digital literacy. Long may its models and schemas endure. At the same time, concentrating on the core obviously does not help at the margins, where we confront more ambiguous encounters between writing and information systems. Beyond providing a dour reminder of forsaken rigor, hardcore cybertextualism sheds little light on my promiscuous confusion of récriture and database/interface poetics. […]
[…]of radio and art. Radio art is radio by artists. The third example manifesto comes from PizMO, a group of sound artists working in France for over 50 years. Thir manifesto reads, We create experiences and ambiances with audio architecture. We are an anonymous collective of artists and musicians experimenting w/ audio & radio. We reactualize a drifting theory thru post-radio, sound-systems and computers. We explore portable, mobile, temporary & immersive audio spaces and campings. We favor loading forms, immaterial works and time-based objects. We experiment with micro-forms & replicas & duplicatas [sic] & palimpsests. We develop social tactics & […]
[…]in my approach to language, due to the sheer amount of time I’ve spent in front of screens and working with code. My memory and conceptions of space and time are imprinted with the logics of digital systems. That statement is most likely true for many in ELO, for many in our society, and investigation of what we might mean by literature that is “conceptually” electronic, imprinted somehow with the logics of digital systems, is a productive path to explore. It is not as clear to us that we should collect “conceptually” electronic work in an ELC publication if the […]
[…]the next time the game is played. For Woods, whose computing environment required him to add code that limited access to the game during working hours, if the cave closed today, it would open again tomorrow; the dynamite blast also invites the player to think of the cave, too, as transient – something that exists only within the digital world of the computer. Caves Before Adventure Gregory Yob’s 1972 game Hunt the Wumpus presents a very brief textual description of a cave (e.g. “YOU ARE IN ROOM 13 / TUNNELS LEAD TO 12 14 20”). The player is given a […]
[…]a flat or object-oriented ontology] what useful work does the concept of the hyperobject do?” (Critical Inquiry). Although there are rich intersections to be explored via such studies, it clearly becomes difficult to do justice to the many nuances in disciplinary differences between the sciences and the humanities. Science is the lingua franca of our current moment, but how well do academics minimally trained in the sciences translate it? As Bianco’s videos of the eco-disaster sites appear to ask, where does this increasingly anxious conversation turn into action? We can also look at early moments in the recent evolution of […]