Search results for "critical%20code%20studies%20working%20group"
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[…]we have learned from the Frankfurt School how devastating the culture industry is for working class and other democratizing movements, it behooves us to understand the potentials of the technology, to learn how they may be deployed in constructing cultural forms more appropriate to a democratic lifeworld, and not to become obsessed with every outrage perpetrated by the ruling class. Such an attitude of creative appropriation is encouraged by the discourse of cultural studies and by countless artists and creators across the globe. Certainly cultural critics need to attend to the moves of the establishment, but we must equally be […]
[…]expectations, however, are insurmountable obstacles in changing the nature of online learning. Working in new registers of medium-scale, team production or large-scale, corporate production undoubtedly can transform the current understandings of job control, working conditions, and career development shared by many academics toiling away in contemporary research universities. The development of disciplinary-software systems, such as Mathematica, Web CT, and Blackboard Course Info are leading to a curricular economy that is no longer one tied to handicraft work. Instead, these corporate innovations suggest that distance and distributed learning will become embedded in more factory-like, industrial organizations, involving integrated teams of labor, […]
[…]can act to change the world – the question of agency. Employing theories from both cultural studies and media studies, we problematize the mass media’s role in the ideological side of social control and investigate possibilities for resistance. Students study the media’s techniques of persuasion and manipulation, as well as activist attempts to use the media’s own conventions (such as those in advertising) for subversive ends. Course assignments build upon one another throughout the semester and all assignments contribute elements to the creation of the final project hypertexts. The course is structured so that we address its two threads – […]
[…]what we know as the discipline specialist, prefaced here by the parenthetical but increasingly critical prefix, multi. Without going into too much detail here, I want to suggest that the role of the unidisciplinary specialist is in many ways uniquely tied to print culture and thus imperiled in this `late age of print'” (120). The fan site is the first new form of scholarship to appear on the Web and provides us with a guide for how to transform our students into active researchers. The fan occupies a marginal position in popular culture and is often represented as a socially […]
[…]in the U.S. and abroad. Forming the FRE grew out of dissatisfaction with the old “reading group” approach to collaboration. I had always participated in one reading group or another, organized around theory. The practice is familiar: an interdisciplinary group of scholars would agree on a list of books, usually works of French theory, and we would meet regularly to discuss and argue. I learned a great deal from these sessions, and if anything they died of their own success, in that the groups tended to become too large. The chief source of dissatisfaction, however, was the homogeneity of the […]
[…]would be delighted to see the manifesto on the World-Wide-Web and to go ahead and mark it up (i.e. code it for hypertextual interplay). He probably regrets ever having sent me that message and agreeing to do it, because now, as Alt-X’s site manager, he helps me encode and design an average of 300k worth of new data (not including images) every month! By the Fall of 1994 things were moving very fast in the global vaporware market (otherwise known as the new media industry), and this caused some real critical reflection on my part. Being digitally-networked seemed to provide […]
[…]“are two important ways of being public…but what I want to call for is a practice of cultural studies that articulates the theoretical and critical work of the so-called public intellectual to the movements of public policy” (12). Bérubé is right to criticize “cultural studies theorists of the left [who] often express outright disdain for the policy implications of their work” (11), and to locate the source of this disdain in our tendency to value most in our intellectual work and indeed in ourselves whatever we assume is so unconventional, transgressive, or “cutting edge” that it can be used to […]
[…](in general, i mean), i think he does an excellent job in his article of demonstrating why english studies has become anguish studies, and what english faculty might do about it – that is, how to act without repression, and with a sense of solidarity… but what happened next was, in retrospect, to be expected… ———– Subject: Re: Poetry and the Academy i really do think that the alternatives are not simply the “professional” as currently construed over and against the “hobbyist”… and although one may locate oneself outside of academe per se (thankfully) the reality is that academe per […]
[…]Marie-Laure. “Beyond Myth and Metaphor: The Case of Narrative in Digital Media” in Game Studies, volume 1, issue 1, July 2001, http://www.gamestudies.org/0101/ryan/ Simon, Herbert. “Literary Criticism, A Cognitive Approach,” Stanford Electronic Humanities Review, volume 4, issue 1: “Bridging the Gap,” Updated 8 April 1995, online at http://www.stanford.edu/group/SHR/4-1/text/simon1.html Trippi, Laura. “Networked Narrative Environments,” Oct. 2003. […]
[…]they probably do not see the same outcome for this struggle. Indeed they should not, if game studies have any critical value. Do Not Immerse Murray’s approach to new media seems both culturally and technically conservative; for some indeed this may be its main virtue. Like the design theorists she most admires, Laurel and her mentor Donald Norman, Murray assumes that new media should provide highly efficient, minimally obtrusive tools. She seems to agree with Norman that the best computer is an invisible computer, at least where narrative is concerned: Eventually all successful storytelling technologies become “transparent”: we lose consciousness […]