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[…]“Oh, don’t worry, my Toby never bites!” every critic warms to his subject, feels what he studies or the way he studies it is good in the way belief. But I think the rest of us should be leery of Toby. He’s descended from wolves; it’s in his nature to bite. So there is something to be said for a critical stance that refuses to make nice right up to the bitter end, keeps its distance from that which it can’t help but admire. Anyway, the new physiocracy can take care of itself. Leave the note of hope to the […]
[…]tension, which we might see at work in any number of fields, is particularly fraught for media studies. Critical anthologies within media studies necessarily raise questions of temporality along two axes, namely in terms of the institutional and the material parameters of the field. Around the turn of the twenty-first century, numerous critical collections appeared on the market with the implicit intent both to crystallize the contemporary intellectual, cultural, and political concerns of the then-emergent project of media studies and also, in the same gesture, to legitimize media studies as an academic field. These attempts at legitimization, efforts to ground […]
[…]a number of different types of voices. The six characters sort of represent different age groups, different socioeconomic groups, as well as different types of reactions to the events. Some of this was again based loosely on the documentary research that Rod and his students did. The voice of the fisherman character for example, and some elements of his story were adapted from interviews of longshoremen that Rod’s students found in union archives. The voice of the FEMA worker, in a way serves an expository role, to bring in factual information about all of these toxic waste sites on the […]
[…]119, my translation) It is worth mentioning in this regard the call “for a de-Westernization of critical data studies, in view of promoting a reparation to the cognitive injustice that fails to recognize non-mainstream ways of knowing the world through data” (Milan and Treré “Big Data from the South(s)” 319). In their introductory essay for a special journal issue that explores “Big Data from the South”, Stefania Milan and Emiliano Treré acknowledge the valuable work done by many researchers over the past few years counterbalancing the “hyperbolic narratives of the ‘big data revolution’” (320), by interrogating on the cultural, social […]
[…]Jesper. Games Telling Stories? Game Studies, vol. 1, no. 1, 2001, http://gamestudies.org/0101/juul-gts/, http://gamestudies.org/0101/juul-gts/. Kracauer, Siegfried. Cult of Distraction: On Berlin’s Picture Palaces. New German Critique, vol. 40, 1987, pp. 91-96, doi:DOI: 10.2307/488133, www.jstor.org/stable/488133. —. The Mass Ornament. translated by Thomas Y. Levin, Harvard University Press, 1995. Landow, George P. Hypertext the Convergence of Contemporary Critical Theory and Technology. Johns Hopkins University Press, 1992. Latham, Alan. The Power of Distraction: Distraction, Tactility, and Habit in the Work of Walter Benjamin. Environment and Planning D: Society and Space, vol. 17, no. 4, 1999, pp. 451-473, doi:10.1068/d170451, https://journals.sagepub.com/doi/abs/10.1068/d170451. Mencia, Maria et al. Electronic […]
[…]Jenny. How to Do Nothing: Resisting the Attention Economy. Black Inc., 2019. Ratto, Matt. “Critical Making: Conceptual and Material Studies in Technology and Social Life.” The Information Society 27.4 (2011): pp. 252-260. Řehůřek, Radim, and Petr Sojka. “Software Framework for Topic Modelling with Large Corpora.” In Proceedings of the LREC 2010 Workshop on New Challenges for NLP Frameworks, Malta, May 2010, pp. 46-50. Roman Holiday. Directed by William Wyler, performances by Audrey Hepburn and Gregory Peck, Paramount Pictures, 1953. Rozendaal, Rafaël. “Abstract Browsing,” 2014. http://www.abstractbrowsing.net Stiegler, Bernard. Taking Care of Youth and the Generations. Translated by Stephen Barker, Stanford University Press, 2010. […]
[…]and the artist’s value and role in a rather disenchanted society, have been recurring topics in critical studies of Gaddis, as they were for the man himself (see for example Angela Allan’s excellent recent study on neoliberalism and the value of art). Due to the encyclopedic and allusive nature of the novels across abundant cultural, religious, and philosophical themes and aesthetic issues, interdisciplinary, intertextual, intermedial, and transgeneric critical approaches suggest themselves. Various of Gaddis’s acknowledged influences have thus been studied; visual art illuminates him through studies of the meaning and implications of perspective and technique of fifteenth-century Flemish painting for […]
[…]the Atari VCS, around not just about Combat, but that whole platform, and about the platform studies approach as we saw it. So, Ian and I wrote a book called Racing the Beam. And we also started a series with MIT Press, Platform Studies. Racing the Beam incorporates these ideas, it has a methodology to it, we reverse engineered some of the cartridges, we looked at the material history of the system, by analogy to book history, or the material history of texts. We did a few interviews, but it was not a qualitative social science approach that we took, […]
[…]by now why such poems by Fisher might be respected by poets from both the Cambridge and London groups, and indeed there are moments when he might be thought of himself as a member of one group — But it is precisely with a poetics of the sublime – and Keith Tuma’s original fisher by obstinate isles thought he might “maintain ‘the sublime’ / in the old sense…Unaffected by the ‘march of events'” – that I want to leave this Fisher of the latter-days and all but conclude this essay. I am not alone in thinking that A Furnace may […]
[…]“cheating,” operating against the implicit code of mystery-reading behavior. The implicit code of reading most types of fiction in codex book format favors starting at the first page and moving to the last. Hypertext readers rarely have such a developed implicit code of behavior to react with or against. A Storyspace hypertext generally provides the reader with choices to move from any given lexia only to those other lexias the author has linked. The link in any case is a predetermined avenue of navigation. Whether the link has been directly chosen by the author, randomly determined by the computer, or […]