Search results for "critical%20code%20studies%20working%20group"
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[…]as such (other than as quoted strings) and, if they could be, then the code would no longer be code. “The Code Is Not the Text” asks language artists who work in programmable media to remember what they are working with. In common with many artists who have, at some point, identified themselves as writers, I am fascinated by the surface(s) on which we write. For most of us, this resolves to a fascination with the book and its culture, an extraordinary world, with no sign of ending any time soon. Jacques Derrida’s expansive notions concerning what “the book” and […]
[…]business is also the economy of sharing, the sharing economy. And if you look for instance at studies of Uber drivers—you could say that they were completely non-alienated to this sharing ecology. But actually what the studies show is that they work for limited time periods. They work for only one year as an Uber driver. And while they’re doing it, they develop very different strategies of circumventing the system. If they are categorized as a certain kind of laborious subject they can for instance turn off, reset the system. (Munn, 2018) They constantly develop tactics to deal with this system. […]
[…]to translate these non-electronic literature works to forms that now include some remnants of code, networking, programmability. Let us ask: how should we, how could we remediate these works? Escrita [Writing] could perhaps be remediated (or better, recontextualized) in the Kimchi Poetry Machine, by Margaret Rhee (2014), where she uses tangible computing: when the jar is opened, “poetry audibly flows from it, and readers and listeners are immersed in the meditative experience of poetry.” Small paper poems are inside the jar, with invitations to tweet a poem to the machine handle, and eight original feminist “kimchi twitter” poems were written […]
[…]Jessica Pressman, Mark C. Marino and Jeremy Douglass braid together media archeology, critical code studies and visualization as they exfoliate William Poundstone’s Project for Tachistoscope {Bottomless Pit} (2005). Attribution matters in Project, but the authorial divisions are deliberately, productively messy. Identifying who wrote what discloses the edges of expertise and allows readers to chart the progress of the authors’ mutual influence. Writing very much for each other, such openness requires emotional “vulnerability” (140) as discoveries “reroute individual interpretive efforts and [lead] to group epiphanies” (138). The result is a suspenseful book of literary criticism. Chapter one teaches the reader how […]
[…]theory to explore what a planetary imagination might look like when conceived with and through critical race studies in general, and black studies in particular.” Because the collection’s essays provide an overview of Margulis’ impact on the life sciences and what might be called philosophies of life, they provide Leong with an opportunity to explore how and why certain visions of life become attached to projections of the future. It is with this goal in mind that she examines how Margulis’ scholarship mediates the various scales of our ecological imaginations – from the very small (i.e., genes and microbes) to […]
[…]Duty, because more of us are familiar with the quotidian experience of managing a household than working as military operatives. Acknowledging that realism often carries a social edge in other media, Galloway ultimately suggests that game scholars “turn not to a theory of realism in gaming as mere realistic representation, but define realist games as those games that reflect critically on the minutia of everyday life, replete as it is with struggle, personal drama and injustice.” In the context of this essay, we might speculate whether Galloway’s theory of social realism could encompass non-player-centered or non-social aspects of gameplay, from […]
[…]they don’t, they shouldn’t accept my critique. If an idea within or an aspect of my work is critical or critical art practice, like I’m trying to get at something, then it seems unlikely that I actually know what it’s really important to get at. But I hope that my students will continue to look for the art or critical art practice that is most important to them. Scott Rettberg And maybe do both at the same time. John Cayley And maybe do both at the same time. They should. And I hope that some of them will actually figure […]
[…]behind the essay would usually emanate from a particular type of theoretical framework or critical stance — either one that is pre-existing or constructed by the author — the backing would be theoretical/critical literature that related to that framework. The presence of backing for the warrant would vary quite considerably from essay to essay, since any essay would be underlined with assumptions, some of which would be taken for granted as commonly understood by the academic literary community, others that would be strongly questioned. Here I suggest, using Bernstein as an example, that creative criticism may be most effective when an […]
[…]one excellent digital humanities documentation and preservation project. Mark Marino’s Critical Code Studies (The MIT Press, 2020) proposes a humanities-driven research method of analyzing code of particular relevance to electronic literature. Perhaps with the exception of the forthcoming volume Electronic Literature as Digital Humanities: Contexts, Forms and Practices (Bloomsbury, 2020) edited by Dene Grigar and James O’Sullivan, none of these publications extensively place electronic literature among DH debates or practice. Here we do so in a free online open access forum that takes advantage of the multimedial affordances and discursive environment of the Web. With a clear and focused field […]
[…]moment and inspired by them. Granted, clearly visible Rettberg’s inspirations by the platform studies to some extent allow for acknowledging the role of the audience, as does the reader-response theory – the usual suspect when it comes to finding the proponents of audience-based approaches in aesthetic and literary theory. Also, it was Scott Rettberg who brilliantly pointed out a decade ago that if electronic literature is to thrive and develop (speaking in terms of its infrastructure and practicalities), it should communitize rather than monetize. Speaking from the perspective of 10 years after, to a great extent, we can see how […]