Search results for "critical code studies working group"
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[…]and evaluation, which includes the explicit and implicit goals of the project creating it, the group dynamics of that project, and the sources of funding that both facilitate and circumscribe the directions in which the project can be taken. An agent’s construction is not limited to the lines of code that form its program but involves a whole social network, which must be analyzed in order to get a complete picture of what that agent is, without which agents cannot be meaningfully judged. 2. An agent’s design should focus, not on the agent itself, but on the dynamics of that […]
[…]machine, simulated on the reader’s computer, which the reader must learn to operate and decode. All three approaches received substantial critical applause, a lasting following, and (perhaps most importantly) have inspired numbers of subsequent hypertext artists. Joyce’s lyrical hypertextuality finds recent echoes, for example, in Chapman’s (2001) Turning In, Strickland’s (1998) True North, as well as Arnold and Derby’s (1999) Kokura. Moulthrop’s hyperbaton is key to Coverly’s (2000) Califia, Cramer’s (1993) “In Small & Large Pieces,” Eisen’s (2001) “What Fits,” and Amerika’s (1997) Grammatron. McDaid’s artifactual approach, dormant for some years, finds recent expression in Bly’s We Descend, Malloy and […]
[…]Markku (2001). “The Gaming Situation.” Game Studies 1, no.1 (July 2001). http://cmc.uib.no/gamestudies/0101/eskelinen. Frasca, Gonzalo (1999). “Ludology Meets Narratology: Similitude and Differences between (Video) Games and Narrative.” http://www.jacaranda.org/frasca/ludology.htm. Fuller, Mary, and Henry Jenkins (1994). “Nintendo and New World Narrative.” In Communications in Cyberspace, edited by Steve Jones. New York: Sage. Gunning, Tom (1990). “The Cinema of Attractions: Early Film, Its Spectator and the Avant Garde.” In Early Cinema: Space, Frame, Narrative, edited by Thomas Elsaesser with Adam Barker. London: British Film Institute. Jenkins, Henry (1991). What Made Pistachio Nuts?: Early Sound Comedy and The Vaudeville Aesthetic. New York: Columbia University Press. […]
[…]from the urban ghettoes, Rose’s study was one of the first, and still probably the best, critical studies of rap. Sobchack, Vivian. Screening Space: The American Science Fiction. New York: Ungar, l988. Zorn. John. “John Zorn on his Music” [Liner notes]. Spillane. Electra/Nonesuch, 1987. ____________. The Big Gundown: John Zorn plays the music of Ennio Morricone. Icon Records (Electra/Nonesuch), 1976. Lester BOWIE. I borrowed the term “avant-pop” from the title of a 1986 album by Lester Bowie, the great jazz trumpet player and composer best known for his work with the wildly inventive Art Ensemble of Chicago. Listening to the […]
[…]kind, with constant interruptions, embedded interfaces requiring attention, requests for response, codes to remember, and the constant need to back up and track versions of the document being read, composed, or read-as-composed. The electronic disturbance is creatively disruptive, to be sure, but not in the way that literature is disruptive. Writers seeking to break from established forms and hierarchies have always, it is true, worked against the “line” of print. In postmodern fiction nonlinearity (of plot, design, and sentence construction) has been the rule rather than the exception, as Conte points out (following George P. Landow in Hypertext 2.0: The […]
[…]Current political analyses of digital being cannot even figure out how to apply existing criminal codes to Internet MUDs, or intellectual property laws to ordinary software piracy. Historical awareness of digital beings, even if one adopts the omnipresent pose of De Landa’s robot historian, clearly pales next to their anonymous proliferation in the workings of informational society. Perhaps some future historical preservationists will unpack the hard drives of old PCs to chronicle the doings of digital beings as telecommuting, cybersexed, hyperreal-estated lifeforms. Perhaps they will work to save the codes of some major personage’s PDA as his or her biotronic […]
[…]lays out all the textual loops for the bit-player to click through in advance. To fabricate a critical ecology in the context of hypertext writing, one seeks to maintain a certain duplicitious relation to the medium. On the one hand, one manufactures the critical ecology according to some of the rules of the hypertext game. (It is especially necessary to simulate the medium when the text is appearing on the Net, of course.) On the other hand, the critical ecology comes designed with an infrastructure that enables it to play itself out of some of the hypertext game’s constrictions. The […]
[…]critical technical practices: it entails having one foot in an AI Lab and the other in science studies or cultural studies. I.e., the other foot needs to be in an area that can give one perspective on the limits of what one is doing back at the lab. Perhaps, following Noah (Wardrip-Fruin and Moss, 2002), one needs three feet to participate in a critical technical practice. That may be the case, but my point is simply that those of us who right now call what we do a critical technical practice have all, at one time or another, found our […]
[…]translates the universal flashing LED, the lingua franca of the peizo electric squeal, the date code, the bar code, the telephone ringer adapter that translates that familiar ring, the tingling insistent trill of an incoming call, into “a well-known phrase of music”Patent #5014301 (May 7, 1991). (an approach that has since become popular in cell phones, where this function is useful in differentiating whose phone is ringing), or the unrelated patent that translates the caller identification signal into a vocal announcement. Within the translators there are distinct attitudes; for instance, the impassive reporting, almost a “voice of nature.” This is […]
[…]studies over the last two decades. Originally from Mumbai, India and today living and working as a professor of Women’s Studies at Hamilton College in the United States, Mohanty has added much to the debates on feminist epistemology and the politics of location. I enjoyed re-reading many of these texts, and their collection in a single volume is highly illustrative of the contribution and the challenges Mohanty has made to cross-cultural feminist scholarship. The arguments in these texts will be familiar to many feminist researchers, whether they are re-reading them or encountering them for the first time. Indeed, at times […]
[…]Theory and Cultural Forms. London and New York: Routledge, 1997. Critical Art Ensemble. http://www.critical-art.net/ Critical Art Ensemble Defense Fund. http://www.caedefensefund.org/ Cassel, David. “Hacktivism in the Cyberstreets.” AlterNet. 30 May 2000. 16 June 04. http://www.alternet.org/story/9223 Griffis, Ryan. “Tandem Surfing the Third Wave: Part 3, interview with subRosa.” YOUgenics. 2003. 16 June 04. http://yougenics.net/subRosaInt.htm Haraway, Donna. “The Cyborg Manifesto.” Simians, Cyborgs and Women. New York: Routledge, 1991. [1985] 149-181. Harmon, Amy. “`Hacktivists’ of All Persuasions Take Their Struggle to the Web.” New York Times on the Web. 31 Oct 1998. 16 June 04. http://www.thehacktivist.com/archive/news/1998/Hacktivists-NYTimes-1998.pdf Hayles, N. Katherine. How We Became Posthuman. Chicago: […]
[…]and the Subversion of Identity. New York: Routledge, 1999. de Lauretis, Teresa. Ed. Feminist Studies/Critical Studies. Bloomington: Indiana University Press, 1986. Derwin, Susan. The Ambivalence of Form: Lukács, Freud, and the Novel. Baltimore: Johns Hopkins University Press, 1992. Docherty, Thomas. After Theory. Edinburgh: Edinburgh University Press, 1997. Eliot, George. Adam Bede. Ed. Stephen Gill. Harmondsworth: Penguin, 1980. Frye, Joanne, S. Living Stories, Telling Lives: Women and the Novel in Contemporary Experience. Ann Arbor: University of Michigan Press, 1989. Geniwate. “Language Rules.” Electronic Book Review. 28 Jan. 2005, 3 March 2005. Genette, Gérard. Narrative Discourse. Trans. Jane E. Lewin. Oxford: Blackwell, […]
[…]viruses, spyware, or other threats. By comparison, Microsoft’s Internet Explorer is closed-code. Only Windows employees are allowed to see the code that makes the browser work and as such only a limited number of individuals are able to make improvements to the code. While one might think that the open-source Firefox is more vulnerable to attack than Explorer (because hackers have access to the code), this study by Brian Livingston on the website TechRepublic demonstrates the speed with which Firefox is able to respond to perceived threats as opposed to the glacial pace that Microsoft addresses security flaws in a […]
[…]and external (the marketing), might just as well be found in a larger subset of bibliographic codes (copyright notices, author photos, margin size, etc.), since blurbs, of course, migrate craftily onto covers, and, in certain trade paperbacks, to the inside leaves. Let us now jump quickly from “blurb” to “font,” another impossible nexus place of crass intention and pure meaning. The word ‘font’ derives from the Middle French fonte (think: fondue): a melting together in both the casting of type and the smelting of external occurrence with internal transmission. In the space of the “font,” the real and the unreal […]
[…]and critical practices; as such, both books add to the on-going conversations in American Studies and American literary studies. Along with recent scholarship such as Brent Hayes Edwards’ Practicing Diaspora, Penny Von Eschen’s Satchmo Blows Up the World, and Scott Saul’s Freedom Is, Freedom Ain’t, Soto and Martinez’s books confront the centrality of ethnic and racial experiences to the narratives that make up American identity. Rather than erasing those experiences, they examine the crucial role that race and ethnicity play in our understanding of the Lost and Beat generations and thus the role that both play in our cultural identities. […]
[…]stuck in an inextricable web of intrigues, whereby he apparently becomes the plaything of radical groups both on the left and the right who, in the apparent knowledge that he is a fake spy, try to scapegoat and even eliminate him to equalize their mutual debts (or is all this a pathetic joke of his Paris friends?). His life as a double agent, his supposed grand scheme which was going to dispel the idea that he was working for the CIA by paradoxically exposing his intelligence activities, eventually entirely robs him of the possibility of individual agency. “My game had […]
[…]retrieve a realist attitude”: To retrieve a realist attitude, it is not enough to dismantle critical weapons so uncritically built up by our predecessors as we would obsolete but still dangerous atomic silos. If we had to dismantle social theory only, it would be a rather simple affair; like the Soviet Empire, those big totalities have feet of clay. But the difficulty lies in the fact that they are built on top of a much older philosophy, so that whenever we try to replace matters of fact by matters of concern, we seem to lose something along the way. It […]
[…]to enable U to see what she sees, and vice versa. Craig Saper, in The Two Ulmers in e-Media Studies: Vehicle and Driver, ingeniously interprets Ulmer as an object of study, as both a vehicle and driver of signification. Ultimately Saper’s goal is to offer a critical approach to understanding Ulmer’s work, particularly in relation to its historical development. How he does this is an act of invention that adapts Ulmer’s peripatetic ‘philosophy over lunch’ motif (also glimpsed in Jon McKenzie’s piece) as a way of analyzing Ulmer as Ulmer analyzes his subject matter. Written in the style of a […]
[…]files. I spent my year as a Creative Writing student assembling infinite hypertext networks of critical theory quotes in which nearly every word was “hotlinked,” as we said back then. SCULD: [n] Goddess of fate: Future. See also: Norn. My education in theory, then, was classical, acquired by a word-for-word transcribing of “the masters” from print to screen. Longinus himself would have approved of this method, which also describes how I learned HTML, “stealing” code from the web pages of others. This writer shows us, if only we were willing to pay him heed, that another way (beyond anything we […]
[…]transposition that views literature itself as history – the position of contemporary cultural studies, which is committed to the demolition of such “obsolete” categories as poetic autonomy, poetic truth, and formal and rhetorical value. (9) Whether or not one agrees with Perloff’s representation of cultural studies, her arguments for treating poetry (in the largest sense of the term) as itself worthy of close study on its own terms, of practicing what she calls poetics, are interesting and valuable. By pointing to examples of the kind of criticism she admires (some of the early studies of Ulysses, The Pound Era, for […]