Search results for "critical code studies working group"
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[…]just started my first real job; I was still kind of really full of all these ideas from critical code studies – the project that Mark Marino had been developing; and my work as a grad student with Rita Raley, and thinking about ‘Z-space’, was something that occupied my mind for a good chunk of time. One thing that I take from that experience is that what is so great about ebr – what ebr offers that no other journal that I’ve ever worked on really offers – is the opportunity for improbably improvisational criticism, on-the-fly conversations, real-time responses to […]
[…]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. […]
[…]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 […]
[…]33) – or perhaps, another ‘godless cult’ in the words of Kracauer. This characterization of code makes sense not only in relation to the role of code in computing, but also in the everyday use of computers – and not being able to understand the functioning of large global platforms, even from the inside or through reading the code. The mass perspective of profiling: the Nooscope Following both a history of minimalism and computationalism, we see that a central difference between the metainterface spectacle and former spectacles lies in particular instrumentalist hiding of the production of the mass perspective. To […]
The Critical Code Studies Working Group 2020 (CCSWG ‘20) was another watershed moment for this burgeoning field. On the one hand, it celebrated 10 years since the first Working Group. On the other hand, the fact that we were still convening working groups meant that scholars still needed help finding their way through code. Notably, we were also hosting this Working Group the year that MIT Press published Critical Code Studies. We took the opportunity of the book launch to spend Week 1 introducing Critical Code Studies (CCS) to the participants in a new way. While the Working Groups always […]
Main thread: http://wg20.criticalcodestudies.com/index.php?p=/discussion/70/week-2-indigenous-programming-main-thread Despite being taught around the world, programming languages are written primarily in English. Why is English our default? While an increase in support for the international text encoding standard Unicode has allowed developers to create computing languages in their native tongues, their widespread adoption is far from the norm. In Week Two of the Critical Code Studies Working Group, Dr. Jon Corbett (a Cree/Saulteaux Métis media artist, computer programmer, and sessional faculty at the University of British Columbia), Dr. Outi Laiti (a Sámi Associate Researcher at the University of Helsinki’s Indigenous Studies program and project manager at […]
Main Thread: http://wg20.criticalcodestudies.com/index.php?p=/discussion/87/week-3-feminist-ai-main-thread According to its 2019 fourth quarter earnings report, Google nets $15 billion US dollars annually, and the building block of its revenue is ad sales from Search. As the internet began to expand in the early 1990s, the need to search its uncatalogued environment became a critical building block for digital interconnectedness. Two approaches to the logic of searching the internet emerged: American investor Bill Gross promoted search results as sites to be auctioned to the highest bidder, while Larry Page and Sergey Brin vehemently opposed advertising and developed an algorithm. These two search logics (algorithm or […]
[…]journal. Vernacular by default, the early web was made of half-finished homepages, alien looking code, broken links and error messages. It was also a period of creative possibilities and utopian dreams for free personal expression in networked groups. With few large hubs to connect people, islands of communities formed around trying to figure out what the web might be. Lialina’s own innovative digital art, as with the “net art” movement in general, was made in the context of this emerging web folk culture. She writes: “…although I consider myself to be an early adopter–I came late enough to enjoy and […]
[…]sequences, both common and uncommon. It is urgent that we open the door of negative speculation in critical digital media studies. We should be free to think about what could possibly go wrong without having to prove that it already has (even when, sometimes, it already has gone wrong). And though there are other voices out there doing the same, Kirschenbaum’s piece comes in the right place and the right time to help frame the reception of a highly hyped piece of popular technology. In that spirit, I would like to push Kirschenbaum’s critique a bit further. Here, I consider […]