Search results for "critical code studies working group"
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[…]are always asking me, oh do you hate Facebook, for example? A lot of my work is about Facebook and critical of Facebook and critical of Mark Zuckerberg. And I mean, yes, in many ways, sure. But I also have gained a lot from Facebook, and I think that’s the complication that deserves attention, that there are interesting things about it. There’s reasons there’s 3 billion people there. It’s not only because it’s a monopoly and dominant, although that’s a big part of it and kind of its own tactic, the corporation’s tactics. But it’s also about a hunger for […]
[…]Perspectives on Ergodic Literature. Baltimore: Johns Hopkins UP, 1997. —–. “Computer Game Studies, Year One.” Game Studies: The International Journal of Computer Game Research 1.1 (2001). www.gamestudies.org. Accessed 1 Mar 2018. Atkinson, Paul. Computer. London: Reaktion Books, 2010. Beck, Melinda and David C. Martin. “A New View of Nuclear War.” Newsweek 18 Aug (1980): 39. Accessed 26 Jan 2018. Blackford, Holly. “PC Pinocchios: Parents, Children, and the Metamorphosis Tradition in Science Fiction.” In Sherman and Koven, eds. 74-92. Brand, Stewart. “Spacewar: Fanatic Life and Symbolic Death Among the Computer Bums.” Rolling Stone 7 Dec 1972. https://www.wheels.org/spacewar/stone/rolling_stone.html. Accessed 24 Dec 2020. […]
[…]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 […]
[…]electronic literature, we often associate writing under constraint with the avant garde literary group Oulipo, which introduced often structurally demanding ways of generating texts and working with limited frameworks (Salter 533). Michelle Grangaud, for example, wrote the poetry collection Stations, which entirely consists of anagrams of Parisian metro station names. The restraints, then, are generally related to the formal characteristics of language or media. In this manner, the constraint resists the ways in which we commonly use language. And the results can be powerful, as Tabbi argues: Resistance too figures not as a political opposition but as a resituation of […]
[…]will become cluttered with emoji trees, the text suddenly overgrown by a forest. The precise workings of the “Cadabra” button can be discovered in the online repository of Abra’s code (Hatcher). A text file contains the names of each of the 39 “spells” that the “Cadabra” button can cast. Next to each spell is number that reflects the likelihood that the particular spell will be cast, with higher numbered spells more likely to occur. One function called “AREA_RANDOM” is given the highest number, 28. The second highest number, 7, belongs to the function “RANDOM_ERASE.” The most frequent numbers assigned to […]
[…]of “Critical Making, Critical Design,” encompassing the rising areas of research-creation, critical making, critical design, practice-based research, and theory as practice. The works in this double issue pair digital works of art and design with critical and scholarly mediations. Please see the gathering in electronic book review. Please see The Digital Review‘s issue as well. –Lai-Tze Fan Editor and Director of […]
[…]Jenny. How to Do Nothing: Resisting the Attention Economy. Black Inc., 2019. Ratto, Matt. “Critical Making: Conceptual and Material Studies in Technology and Social Life.” The Information Society 27.4 (2011): pp. 252-260. Řehůřek, Radim, and Petr Sojka. “Software Framework for Topic Modelling with Large Corpora.” In Proceedings of the LREC 2010 Workshop on New Challenges for NLP Frameworks, Malta, May 2010, pp. 46-50. Roman Holiday. Directed by William Wyler, performances by Audrey Hepburn and Gregory Peck, Paramount Pictures, 1953. Rozendaal, Rafaël. “Abstract Browsing,” 2014. http://www.abstractbrowsing.net Stiegler, Bernard. Taking Care of Youth and the Generations. Translated by Stephen Barker, Stanford University Press, 2010. […]
[…]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 […]
[…]– what if students could decide for themselves whether they wanted introduction to women’s studies to begin with British suffragette or African priestess, early composer or the fur trade? 19th century or 5th? How might the collective identity of feminism be negotiated differently? How would the act of traversal change the reader? I came of intellectual age in a time of Judith Butler’s Gender Trouble and Denise Riley’s “Am I that name: feminism and the category of women in history … ” and so had been interested in challenging the cohesion of identity alongside the development of an understanding that […]
[…]response to the long history of racial tensions and racial injustice that continues today, critical games (or what are sometimes called “serious” games) have emerged such as Freedom, the Underground Railroad (2012) and Rise Up: The Game of People and Power (2017). Such games are developed in an effort to help players and the broader public understand sociocultural issues about race, racism, and anti-racism—each a unique topic, each deserving their own conversation. To begin to understand the critical work of games on racial equity, in October 2020, we gathered in a roundtable to begin theorizing what racial equity game design […]
[…]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 […]
[…]Hi, everyone. I’m Jin Sol, I’m also a Co-Editor on the special issue of tdr and ebr, “Critical Making, Critical Design”. I am currently going into my fifth year of the PhD at the University of Waterloo. I’m in the department of English and I am studying the cross sections of critical race theory and digital photography. LL: Cool. Thank you, Jin Sol. So let’s start off with a land acknowledgement. So based in [00:01:00] Canada, the electronic book review would like to acknowledge that this land is made up of more than 630 First Nations communities representing more than […]
[…]Press, 1992. Polyani, Michael. The Tacit Dimension. Doubleday and Co., 1967. Rosner, Daniela. Critical Fabulations: Reworking the Methods and Margins of Design. The MIT Press, 2018. Ruecker, Stan, et al. “Drilling for Papers in INKE.” Scholarly and Research Communication, vol. 3, no. 1, 2012, p. 5. Schön, Donald A. The Reflective Practitioner: How Professionals Think In Action. Basic Books, 1983. Simon, Herbert A. “The Science of Design: Creating the Artificial.” Design Issues, vol. 4, no. 1/2, 1988, p. 67. Crossref, https://doi.org/10.2307/1511391. Sterling, Bruce. “Made Up Symposium Keynote, January 29, 2011.” Made Up: Design’s Fictions, Art Center Graduate Press, 2017, pp. […]
[…]writing, est. 2020) are proud to announce their first collaboration: a special double issue on “Critical Making, Critical Design” that pairs digital works of making or design with critical and scholarly mediation. See the Table of Contents of The Digital Review issue as well. From prose and art installations to craftwork and video games, creative works are often released without giving artists the opportunity to explain their processes, contexts, and motivations. Else, creative works may be examined through through separate forms of static, print-based scholarly publishing that risk isolating works from their creative impulses and taking works out of their […]
[…]Restoring Embodied Experience to Critical Making” Jason Lajoie – “Applied Media Theory, Critical Making, and Queering Video Game Controllers” Lai-Tze Fan, Kishonna Grey, and Aynur Kadir – “Designing Games that Promote Racial Equity” Kyle Booten – “How to Re-Hijack Your Mind: Critical Making and the ‘Battle for Intelligence'” Anne Burdick – “Indexical Structures and Human Readers: The Intermediary Knowledge Claims of Trina” Jin Sol Kim and Lulu Liu – “In Conversation with the Decameron 2.0 Collective” Featured artist: Caitlin Fisher – “River: Forking Paths, Monsters, Simultaneous Timelines and Continuity over 25 Years of Creative Practice” the digital review Gabriel […]
[…]body/minds around was discussed by each and every artist we talked to over Zoom in March 2021, working on a forthcoming documentary skillfully produced and videographed by Ashleigh Steele. For many pandemic crisis has been experienced as both an intense, extended period relieved from FOMO, and as sheer boredom and utter restlessness. Most of us have experienced the intrusion of platforms like video conferencing into our very living rooms and bedrooms, which has led to the emergence of critical awareness but also to a way of getting used to being together across screens. In this sense, old distinctions between online and […]
[…]For all the benefits of asynchronous organization for some aspects of conferences, the networking purpose is harmed rather than helped. This must be balanced. Opportunities to meet and chat should be synchronous, but more time at less intensity could be productive here as well. For example, networking sessions for particular topics or especially for newcomers can make for more intimate spaces more conducive to finding the right people, as well as generally being smaller and less overwhelming. Online conferences also fundamentally alter what kinds of presentations can be included, as we saw with the impossibility of translating installation art. It’s […]
[…]possibilities could resolve Murphet’s parrhesic/polyphonic predicament (permission to create a working prototype of DOABY for research purposes has been granted by David Higham Associates). In Coetzee’s novel, the format and the book medium are strained. Creating a digital DOABY could resolve this strain, or at the very least transform how the work is constructed. It is important, however, to tread carefully when adapting and contrasting digital and print text formats. In her critique of the works of Borges and practice-led research into digressive digital literature, hypertext theorist J. Yellowlees Douglas (2000) criticizes ‘The Garden of Forking Paths’ as a print […]
[…]projects. Its concerns range from autoethnography to close reading to something like critical code studies, from the abstractions of Wallace Stevens to the polychrome delights of “trash spinning.” It is both a critical study and a guide to creative practice. The mixed nature of the work flows from our subject, which is both a tool for making and a made thing. Twine is an unlikely proposition—a software platform crafted entirely by volunteers, some of whom have never met in person, and a worldwide community of creators who explore and expand the platform. To understand this phenomenon, we do a kind […]
[…]no input while they run. These systems are open to some types of interaction. One can study the code and can choose to interact with it by making changes; at least one critic has tweeted (@ugly_feelings, May 28, 2020) that he has done this with The Truelist (Klobucar 2019). I don’t know of “remixes” or “forks” of Autopia or The Truelist that have been released. There are many modifications of other simpler text generators of mine, such as “Taroko Gorge,” with several modified versions collected at https://collection.eliterature.org/3/collection-taroko.html. That poetry generator, while often riffed upon, is a more conventional work computationally […]