Search results for "critical%20code%20studies%20working%20group"
| Results 251 - 260 of 1097
|
Page 26 of 110
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[…]the process whereby initially undifferentiated neurons cluster into functionally specialized groups. Early interaction with the environment induces neurons to link up in circuits, and these circuits link up in groups. This process continues up several different scales: selection processes determine nascent neural patterns or configurations that take shape over time; such emergent configurations on one level become components in a substrate at the next level, from which another emergent configuration is selected, and so on. Each successive layer/loop of selected patterns results from what Edelman calls the “recursive synthesis” of prior patterns into more complex neural mappings. Neuronal groups connect […]
[…]of this structural and historical threshold may be debatable, but an acknowledgment of some such critical point facing Polish poetry now must be made. This threshold is generational, political (or rather geo-political), social, and certainly, in terms of the trade itself, technical and formal. The alliance of the poets and the poetics of the oppressed-the proximity of the leading Polish poets to the poetics of Seamus Heaney and Joseph Brodsky – illustrates the historical context in which these factors are aligned. This ethos is characterized by personal sensitivity, high lyricism, vatic pretension, and obsession with empirical history. This obsession, which […]
[…]of poststructuralism’s shortcomings with respect to technology, reads like a working-through. The book’s structure has a quest romance quality where each of the philosophical trajectories Hansen covers looms up to be defeated by the sword of technology ITSELF, that is, by an agent exterior to culture and cultural inscription. Science studies, deconstruction, psychoanalysis and (I know no appropriate label) Deleuze and Guattari all loom up, only to be beaten back, beaten down by a very similar series of strokes. The hero proves himself in trial with a serially returning repressed. For the reader, as for the psychoanalyst, the scene seems […]
[…]This our gospel, go(d)spell, good news. We all know that the Torah was written in Secret Divine Code, God’s Code. Accordingly, the language in Mosaic Man is densly gnomic, i.e., salted with gnomes, i.e., short, pithy expressions of general truths, aphorisms. A gnomic writer, Reb Suk rewrites the “wisdom” poetry of the Bible. You know: “the only gospel / the hand writing” (38). After the creation of the world and the word, what does it mean to be Jewish? What does it mean to be a Jew and a writer? A Jewish writer? A writing Jew? Reb Suk doesn’t need […]
[…]of DeLillo’s preceding novel Mao II, and his obsessive chronicle of bodily decay and infirmity. Working on his “great novel,” the book to transcend all the inadequacies and miseries of his personal life, Gray becomes morosely preoccupied with the failing of his own body. He picks dandruff and hair out of his typewriter’s keyboard, discusses the symptoms of internal bleeding after a car accident with a group of strangers, revels in his own slow physical decay. Meanwhile, there is the transcendent purity of the text he is trying to transform himself into – the book that will never get finished, […]
[…]of both professions is the need to mask the truth from outside observers. Or, more bluntly, both groups are paid to lie. This is what journalism has come to: the messengers, at the most, are converts to the straight and narrow, repentant sinners, asking for our trust. (And print journalism is only marginally better, as these books all attest. Isikoff, who in a more tawdry way than Woodward has become part of the story [his subtitle: “A Reporter’s Story”]. Which is why we are reading his story. Isikoff understands the difference between print and television all too well. Given the […]
[…]nonlinear novels, the implications of a self-conscious, networked aesthetic for the practice of critical writing. If, after twenty years of formalized science-and-literature studies, critics in North America have remained partial to a set of major texts, the cause may be in part a tendency, understandable in excursions into the unmapped territory between disciplines, to let the borrowed disciplinary structures and terminology serve a normative function. Strehle, for example, arranges counterintuitive elements from the new physics alongside their experimental analogues in fiction, in order to distinguish the offbeat realism of her chosen writers from “the intentionally aesthetic narratives of metafiction.” She […]
[…]Institute assembled a program of codes to replicate themselves in the environment of a computer, codes with a built-in mutation element. The codes both altered and replicated at a spookily unanticipated rate, producing in the lab what cyberpunk produces in novels: a sense of life “out there” in cyberspace, beyond the control of its human inventors. Given this general scenario, speculation on the relation of organic life to putatively silicon-based life splits in two directions. One, represented by Hans Moravec and his book Mind Children, sees the potential of computers as much more oriented to artificial intelligence – to AI, […]
[…]pathways located at the heart of the journal, and this project will be realized by publishing a critical edition of our back issues alongside Alire 11 on CD-ROM. But here, one could offer an initial statement about the past ten years, a statement which will complete an earlier French article published in 1994 as “Poésies et machinations” (Revue Larousse #96), and which was reprinted in English as “Poetic Machinations” (Visible Language 30:2, 1996). Though the journal has always been a site for perfectly out-of-the-ordinary, independent creation circulated instantly everywhere, one could nonetheless single out the following characteristics of the Alire […]
[…]with the cover image (unlike the inside of the book) we were offered full-color reproduction. In working that out with the designer we were digging out various images and I think we had it narrowed down to three… Joris: There was an [Guillaume] Apollinaire, there was a [Kurt] Schwitters, and I think there was a [Max] Ernst. Clearly we were looking for someone from that part of the century in whose work intersections happened, specifically where art intersected with poetry. We didn’t want an “illustration,” just a nice picture on the cover to sell the book. We wanted it to […]