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[…]of value and justice (Eskelinen, 387). The cultural turn is expressed most strongly, though, in studies like Flanagan’s Critical Play, Mia Consalvo’s Cheating, and Miguel Sicart’s Ethics of Computer Games, which created frameworks for a new generation of cultural game studies. The most recent exemplars include Stephanie Boluk and Patrick Lemieux’s Metagaming, Shira Chess’ Ready Player Two, Bo Ruberg’s Video Games Have Always Been Queer, and Melissa Kagen’s Wandering Games. Again, there are no absolute distinctions. The culturalists are often keenly engaged on a formal level – Boluk and Lemieux, for instance, operationalize their theories through conceptual levels and mini-games […]
[…]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 […]
[…]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 […]
[…]sections, Bigelow lists the code for “the Cage text,” which you need to cut and paste into a code converter Bigelow links to. For your labor, you see that the code repeats this sentence over and over: “I have nothing to say, and I am saying it.” The point of all this work isn’t to get to Bigelow’s subjective interior—it’s an homage to Cage’s own play with expectations, dramatizing the mental framework we bring to bear when we an encounter aesthetic object. It also prompts thinking about the work we don’t always realize that we do when we process language […]
[…]of MUDs (environments that have received a good deal of attention from the perspective of cultural studies and computer mediated communication), the semiotics of an arcade-style computer game (a form seldom discussed even by game designers, which so far lacks even a critical vocabulary), and the nature of the “cyborg author” Katherine Hayles reviews Diane Greco’s ‘Cyborg’ and Eliza -descendent Racter (representative of an underexplored form, but one that has benefited from the examination and development done by Janet Murray). These discussions are useful, although not strikingly insightful. The chapter on MUDs, for instance, does not convincingly describe these environments […]
[…]– seems unlikely. The mass media, finally, a “super-system” (N. Binczek) with a “super-code” information/non-information working against the cherished functional differentiation at the heart of Luhmann’s theory? At times, Luhmann himself implicitly seems to point in that direction. Acknowledging the similarities of the proposed code to the new/old distinction (information is new only once; its consecutive redundancy insists on newness!), he discusses the almost neurotic longing for innovation and “the new” as a general trait of modernity. He even proposes new/old as a possible code for the system of art. Thus, newness, innovation, information, actuality – the sheer temporality of […]
[…]– ought to be a key element of any historical method, genealogical or otherwise, that critics working in new media studies bring to bear. Let me suggest that the start-up work of theorizing digital culture has by now largely been done, and that serious and sustained attention to archival and documentary sources is the next step for new media studies if it is to continue to mature as a field. Freidrich Kittler’s Discourse Networks 1800/1900 already does some of this work. And we could also do worse than Internet Time for a summation of the pace of scholarship in new […]
[…]fathom the stakes of the argument, both for my own critical-theoretical agon and for the agon of critical theory itself in this technological era. By describing the book as a “working through” of poststructuralism, Brigham astutely characterizes its “function” for my own intellectual development in a way that foregrounds its particular situatedness; she also finds words to represent what, for me, cannot but remain in some sense or other a lived “drama” of apprenticeship. Brigham’s invocation of the Freudian vocabulary of working-through, trauma, and translation recalls to me my time in graduate school, when I was very much under the […]
[…]a critical talk about this “fire poetry,” including my own work, at the 1991 American Studies Association Conference. San Francisco poet Carol Tarlen showcased this “fire poetry” in a reading commemorating the Triangle Fire in March, 1996; I was one of the poets who read. At the reading Tarlen announced there was a small storefront sweatshop three blocks away in Chinatown. Listening to her, I felt I could no longer just write about the past as a poet or a critic. I felt I needed to act in the present. Returning to Los Angeles, I joined Common Threads, a women’s […]
[…]it can be passed on to the next generation. Thus we find that while the various chimpanzee groups that have been studied in different parts of Africa have many behaviors in common, they also have their own distinctive traditions. This is particularly well-documented with respect to tool-using and tool-making behaviours. Chimpanzees use more objects as tools for a greater variety of purposes than any creature except ourselves, and each population has its own tool-using cultures. One can only imagine that Ferry’s response to this would be to raise the bar once again, so that only those who have read all […]