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[…]has a long history in electronic literature. She considers, for example, the role of the source code and its manipulability in Nick Montfort’s “Taroko Gorge” and the many remixes and revisions produced thereafter. She even looks back to John Cage’s chance procedures and use of computational processes to identify that this process even predates what we now call electronic literature. The movement towards embracing the computer as co-producer of the literary work is an unstoppable current, she seems to suggest at the essay’s end, observing that “[w]e are now on the verge of developments that promote our computational symbionts to […]
[…]essay? If not, why not? For “the distinction”, as Peter Boxall writes, “between creative and critical writing is becoming harder to sustain” in the twenty-first century. And if everything, as Professor Einstein might put it, is relative with no consistent frame of reference, how can our shared social categories that define writing and genre hold? Yet, not everyone subscribes to the view that there is a contemporary melding of creative and critical practices. Recent computational approaches by Andrew Piper have revealed that this breakdown of boundaries is less pronounced than we might imagine. Piper shows, for example, that machine classification […]
[…]Ecco, 2017. Hecht, Paul J. “Distortion, Aggression, and Sex in Mary Wroth’s Sonnets.” SEL Studies in English Literature 1500-1900, vol. 53, no. 1, 2013, pp. 91–115. Project MUSE, doi:10.1353/sel.2013.0000. Klein, Richard. “The Future of Literary Criticism,” Literary Criticism for the Twenty-First Century, special issue of PMLA, vol. 125, no. 4, 2010, pp. 920–23. ProjectMuse. Klimas, Chris. “Twine: Past, Present, Future.” chrisklimas.com. 21 June 2019. https://chrisklimas.com/twine-past-present-future/. Levine, Caroline. Forms: Whole, Hierarchy, Network. Princeton University Press, 2015. Ligman, Chris. You Are Jeff Bezos. 2018. https://direkris.itch.io/you-are-jeff-bezos. Montfort, Nick. Twisty Little Passages: An Approach to Interactive Fiction. MIT University Press, 2003. Moulthrop, Stuart. “Stuart […]
[…]are not random (non-conscious) but formed within the social organization of our respective groups. Interestingly, this doesn’t mean that our feelings are not real or felt in our bodies, but rather that they are always representational, discursive. Wetherell’s explanation is thus an interesting way of approaching representation as the very foundation of our felt everyday lives. It also urges us to consider non-traditional spaces of meaning-making. Building on this, I argue that the routines and relational patterns that are created through the affective practices of care are themselves creating meaning; one that manifests itself not only in signs, codes and […]
[…]of an imperilled global Anthropos. In his Stanford Blog, Mentz notes the problematic of adopting uncritically the planetary grandeur of Anthropocene rhetoric, which elides the unequal distribution of its origins and impacts, and thus observes its supplanting by the “Neologismcene” in the environmental humanities – cataloguing dozens of varied ‘cenes that seek to highlight what their originators contend are the key culprits, symptoms, and ethical demands of the present moment: Anglocene, Capitalocene, Chthulucene, Homogenocene, Oliganthrocene, Plantationocene, Thermocene, and Trumpocene, to name a few. A shared motivation behind these colourful labels is a recognition that the phenomena, dynamics, and potentials of […]
[…]fast. The screen is what allows the users to visualize and operate the interface, which decodes the continuous flow (Chatonsky 88). Flux is useful in order to address the incessant movements of information between devices: impossible to comprehend in their entirety. It is in these terms that Galloway addresses culture and the interface, to which I will return shortly, but I can already state that those effects are fundamental incompatibilities: it is the impossibility of reading the present as historical. « Laisse venir » which means “let it come” in french is also very similar to this notion of flux. In a […]
[…]and we should dedicate some time to discussing how we reached the selection criteria used in the working-prototype presented. The algorithm is (currently) tasked with finding a ‘goodness of fit’ of a 5/7/5 syllable structured poem (sometimes referred to as a Haikù poem originating from Japanese literature) latent within the finite set of words detected on each double page. The algorithm semantically parses the set terms, filters for English ‘stopwords,’ which NLP classifies as generic, but necessary, parts-of-speech (for example pronouns, particles, conjunctions and prepositions) and ranks the words by degree of ‘salience.’ Salience in this context is measured using […]
[…]of practices located across a great mire of communities and cultures. Ireland, with artistic and critical communities existing on the edge of Europe, lost between the great institutional powers that can be found within Britain and North America, is the ideal place to explore the peripheral” (see O’Sullivan 2019). This special issue is intended as a continuation of that exploration, comprised of scholarly essays and artistic interventions that demonstrate the great breadth of intellectual and creative endeavour pursued by members of this community. It is only a snapshot of that which was presented in the halls of the Kane and […]
[…]by Scott Rettberg – January 2021 Exploring Creative Research Practice “Digital Creativity as Critical Material Thinking: The Disruptive Potential of Electronic Literature” by Alex Saum – August 2020 “Addressing Significant Societal Challenges Through Critical Digital Media” by Scott Rettberg and Roderick Coover – August 2020 “What Should the System Say? Humanities Interpretation Guiding E-Lit Technology” by Noah Wardrip-Fruin – December 2020 Proposing Critical Reading Methodologies “Collaborative Reading Praxis” by Jeremy Douglass, Mark Marino and Jessica Pressman – September 2020 “Lit Mods” by Álvaro Seiça – September 2020 “Unhelpful Tools: Reexamining The Digital Humanities through Eugenio Tisselli’s degenerative and regenerative” by […]
[…]perpetuate a deep faith in the promises of technological advancements at the expense of more critical and dystopian attitude to the high-tech issues that are at play in contemporary media art and its criticism. Unlike e-literature, new media art and its hacktivism (e.g. the recent drone art projects) contribute new devices and tactics to civil society (and to the social citizen science); issues of aesthetics are pushed aside in media art situated beyond the technopositivist ideology. Unfortunately, the significant part of digerati are not familiar with the procedures that demonstrate the malfunction and the role of high technology in the […]