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[…]transposition that views literature itself as history – the position of contemporary cultural studies, which is committed to the demolition of such “obsolete” categories as poetic autonomy, poetic truth, and formal and rhetorical value. (9) Whether or not one agrees with Perloff’s representation of cultural studies, her arguments for treating poetry (in the largest sense of the term) as itself worthy of close study on its own terms, of practicing what she calls poetics, are interesting and valuable. By pointing to examples of the kind of criticism she admires (some of the early studies of Ulysses, The Pound Era, for […]
[…]again to her main quarrel with a book she “admire[s] very much”: her claim that composition studies has tilled Graff’s field. However, instead of regretting the neglect of “the extensive body of contemporary work in composition studies on the social construction of knowledge” (Bizzell 322), I wish a spirit of generous collegiality rather than petty turf wars could govern critical readings of our colleagues’ scholarly endeavors. Bizzell could have focused on the wide range of scholars and bodies of research Graff does not neglect such as Robert Scholes, David Damrosh, Howard Gardner, Mike Rose, Joseph Harris, Deborah Meier, Kurt Spellmeyer, […]
[…]and pre-Kantian and post-Kantian. Which parts of these structures are which? What those of us working in the humanities might learn from contemporary scientific disciplines is that knowledge can be collaborative even when a chemist works by himself in his laboratory, or when a philosopher reflects on the problem of time, if, after one has reflected, one assumes the responsibility of communicating what one has observed. It is sometimes necessary to introduce new terms, to employ figurative language, and to write in a way that is not immediately completely comprehensible to readers of any and all backgrounds. Readers must therefore […]
[…]from his theory-building project in Cybertext, as well as the important contributions to our critical discourse from the textual studies of Jerome McGann and Matt Kirschenbaum. For a compelling argument on the value of textual studies to the criticism of electronic literature, see Kirschenbaum’s “Materiality and Matter and Stuff: What Electronic Texts Are Made Of.” To some extent, Hayles’ command of the fields of cybernetics and information science, which she brings to bear with such panache in her critical writing, has also steered our focus toward pragmatic concerns, despite Hayles’ repeated plea that we strive for balance. To give requisite […]
[…]emergent structure, but still everybody can propose tags and groups, decide on the openness of the group, and, in the open groups, join and post what they wish. Nonetheless, the open folksonomic taxonomy potentially leads to heterogeneous collections and impossible classifications like Borges’s Chinese encyclopedia, which opens Foucault’s The Order of Things – classifications that are not ordered with stable relations and categories . As in language, semantics, and culture, the categories and their relations are dynamic, emergent, and created by context, contiguity and poetic plays on words, as well as on hierarchy, similarity, and the preconceived, lexical meaning of […]
[…]– an intuitive grasp of algorithmic operations; to watch Giselle Beiguelman’s “Code Movie 1” is to begin to appreciate code as it operates in the construction of digital meaning; to engage the playable space of Donna Leishman’s “Deviant: The Possession of Christian Shaw” is to start to grasp the weird, uneven transitions between sovereign, disciplinary, and control societies and the mutating subject positions available to the players within them. “History,” Wark suggests, “is the virtual made actual, one hack after another” (009). What seems to matter most to the poets and programmers who constructed the Electronic Literature Collection‘s thinkertoys and […]
[…]the media artifacts they study as a black box, losing the crucial relationship between authorship, code, and audience reception. Code is a kind of writing; just as literary scholars wouldn’t dream of reading only translated glosses of work, never reading the full work in its original language, so new media scholars must read code, not just at the simple level of primitive operations and control flow, but at the level of the procedural rhetoric, aesthetics and poetics encoded in a work. New media practitioners without procedural literacy are confined to producing those interactive systems that happen to be possible to […]
[…]modes of play are not always part of a D&D session, such play is undertaken at times, and some groups of players value making decisions that are “in character” even more than they do successful progress through a story, environment, or series of puzzles. A single character is typically played over the course of many adventures, and the players typically have some freedom to define their character’s traits, although randomly determined abilities provide a basic idea of what the character is like. Also, a player character’s relationship to other characters in the party is quite important. Similar sorts of play […]
[…]and John Tynes; Pagan Publishing. 1997. Dungeons & Dragons. Gary Gygax and Dave Arneson; Tactical Studies Rules. 1974. Empire of the Petal Throne. M. A. R. Barker; Tactical Studies Rules. 1975. Kuma\War. Kuma Reality Games. 2004. Max Payne. Remedy Entertainment. 2001. Millennium’s End. Charles Ryan; Chameleon Eclectic Entertainment. 1993. Oregon Trail. Paul Dillenberger, Bill Heinemann and Don Rawitsch; Carleton College. 1971. Power Kill. John Tynes; Hogshead Publishing. 1999. Unknown Armies. Greg Stolze and John Tynes; Atlas Games. 2002. Unreal. Epic Games. 1998. Waco Resurrection. Mark Allen, Peter Brinson, Brody Condon, Jessica Hutchins, Eddo Stern, and Michael Wilson; C-Level. […]
[…]out of sight while the players attract the limelight. This off-stage design team is composed of a group of shadowy, often anonymous figures working behind the scenes as the writers, programmers, directors, and stage managers of the live gameplay. They are the first real-time digital game designers, and they are called the puppet masters. The Rise of the Puppet Master If you’re the puppet masters, what does that make the players? Your little puppets? – Anonymous audience member at the Game Developers Conference lecture, “I Love Bees: A Case Study” (McGonigal 2005) This essay is a response to two sets […]