Search results for "critical%20code%20studies%20working%20group"
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[…]of the agrarian and the environmental, which is still a fundamentally neglected aspect of ecocritical and environmental thought, becomes the centerpiece of Smith’s reading of Berry’s oeuvre, and it colors all of his writings. So Berry’s agrarian politics become a lens through which we all might achieve a more environmental vision. The problem, of course, is that when we think of agrarianism, per se, we naturally think of farming; and Berry does to. Berry may “insist that the family farm is the chief repository of virtues critical to the republic,” but these values are “ecological rather than political” and are […]
[…]marked increase in high-end ads with sophisticated dynamic textuality. We need tools for its critical reading. The major exposition of Saul Bass’s graphic and film title work at London’s Design Museum was, therefore, essential. Saul Bass was the first film title designer to be given a screen credit by the Director’s Guild of America (for Preminger’s Carmen Jones 1954) and remains an all but uniquely name-checkable artist in the film titles field. Yet his fame derives equally if not in greater measure from his related, more purely graphic work, where he is a central figure in that late-50s, early-60s school […]
[…]in our heads). The horizontal is associated with the immanent and the lateral, as with two authors working side by side passing ideas from brain to brain. H&N’s methods of thinking, their style of writing, and the content of their thoughts all imply each other, as with their openness to hybrids and miscegenation. Their books are self-exemplifying, and as such stand as autonomous poetic structures. They write from within, and in behalf of, a world-design that is radically different from the world-designs of most of their critics. Their materialist world-design should be thought of as their world-poem, surely reflecting their […]
[…]in feminism … characterized by a sustained interest in reassessing feminism through the critical lens of poststructuralist and postmodern thinking.” I take this to mean that the implementation of the hacktivism, that is `how’ the hacktivism is carried out, is what is more important than whether I belong to a cyberfeminist collective or not, and furthermore, must be demonstrative in someway of the `critical lens of poststructuralist and postmodern thinking’, whether in reference to the discourse on feminism, or society as a whole. Two central premises, however, must still hold true: cyberfeminists are not anti-technology nor are they anti-feminist (Guertin). […]
[…]culture” is through the establishment of a creative commons exemplified in the actions of such groups as the nonprofit group Creative Commons. He writes that the aim of the Creative Commons is “to build a layer of reasonable copyright on top of the extremes that now reign” (282). Under such a system authors (construed broadly) decide what protections they want their works to have. “Content is marked with the CC mark, which does not mean that copyright is waived, but that certain freedoms are given” (283). The Creative Commons website states that they “use private rights to create public goods: […]
[…]what David MiallMiall, David. 2004. Reading Hypertext: Theoretical Ambitions and Empirical Studieshas described as the “additional complications that the digital medium places on the work of interpretation”; what poet John Cayley has called the “literal art” of “networked and programmable media”; and what the electronic book review has probingly called electropoetics. My own insistence on attending to forms of digital writing that not only maintain but also perhaps intensify the interpretive role of reader as audience, viewer, or critic should not detract from the overall contribution of this review, which clearly has a divergent focus. All in all, the authors […]
[…]once comfortably removed, now interfering at every turn of every written phrase. A novelist working in print can seek (either unconsciously or, like Berry, with fertile self-consciousness) a more lasting, more consistent basis for exploring the fictions, inconsistencies, and less than frank expressions of everyday communication. But the result will be more reflective than creative. The frankness of communication is not, and cannot be, the truth of fiction. To be meaningful, fiction needs to dissemble, and it needs to revel in the awareness that nothing—literally, nothing—can stop the production of meaning, and still different meanings, from spoken words and written […]
[…]Its underlying faith is that human subjectivity, both collective and individual, is self-critical. Because reality as we presently live it—what Tabbi characterizes, in words from Frank, as “living too peacefully in THIS NOW HERE”—is so self-defeating, humans simply must overcome themselves. I can see two ways of understanding Tabbi’s reservations about this Hegelian metanarrative, one associated with Lyotard, the other with Wittgenstein. In Lyotard’s famous characterization of postmodernity as “incredulity toward metanarratives” (The Postmodern Condition [1979; translation 1984]), any representation of “an untamed America” or of anything else our culture has “cast out” would depend for its legitimation on Hegel’s […]
[…]does not need to be the solidarity of mass culture. Group identity doesn’t have to promote group-think along racial, gendered, or nationalist lines, not when the identity that writers do share, generally, comes in the first place from membership in (or aspiration to) the professional classes that maintain the current world-system. Wallerstein, no less than Wittgenstein, should be required reading in literary seminars and writing workshops because the loss of an “outside” and the appearance of new constraints on creativity are not exclusively philosophical propositions. (See Immanuel Wallerstein, World-Systems Analysis: An Introduction [2004].) Rather, the discovery of a “surprising,” “untamed,” […]
[…]That is, either Slade is a man working for a medium-sized U.S. business, a medium-sized man working for a U.S. business, or a businessman working for a medium-sized U.S. The ambiguity appears to be intentional, and each reading can be supported. The beheading of Brent Marshall is described as not going very smoothly “because of Marshall’s exceptionally thick neck.” Thus the brutality of the slaying is blamed on Marshall, a Virginia “thick-neck” of the type we have learned to feel less compassion for over the years because a thick neck represents a “dumb jock,” “a red neck,” “a hick.” “Big […]