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[…]established hyperfiction and electronic literature writing.McKenzie Wark, “From Hypertext to Codework,” Hypermedia Joyce Studies, vol 3, issue 1 (2002).Later, artists like mez breeze and Alan Sondheim were at home in both worlds. Net.art brought a fresh air of everyday culture and the digital vernacular: the languages of spam, chat bots, viruses, browser crashes, debugging messages, blue screens and 404 codes – a language that was much more rampant in the 1990s than in today’s iPhone, iPad, Facebook and Google world with their sanitized operating systems and app stores. And it was a largely non-academic movement whereas electronic literature was, and […]
[…]frame for his argument. Birger Vanwesenbeeck chastises the postmodern and posthuman turn in Gaddis studies for excommunicating religion from their critical congregations in “Agapē Agape: The Last Christian Novel(s).” Vanwesenbeeck returns to Gaddis’ comment that The Recognitions constitutes the “last Christian novel” and argues for seeing the writer as trying to “write himself loose from a religious doctrine, which [. . .] he loathed as much as he [. . .] realized its deep contiguity to the art of fiction” (88). For Vanwesenbeeck, this bind comes to the fore in Agapē Agape, as Gaddis’ views of (artistic) community are communicated […]
[…]“Information Design, Emergent Culture and Experimental Form in the Novel”. Flusser Studies 09. www.flusserstudies.net/pag/09/tomasula-emergence.pdf Zulaika, Joseba. 2009. Terrorism: The Self-Fulfilling Prophecy. Chicago & London: University of Chicago […]
[…]the differences among particular instances or events of codework, they all incorporate elements of code, whether executable or not. Code appears in the text, then, in whole or in part, in the form of a functioning script, an operator, and/or a static symbol.Rita. “Interferences: [Net.Writing] and the Practice of Codework. The Electronic Book Review, September 2002.http://www.electronicbookreview.com/thread/electropoetics/net.writing While Language poetry is largely concerned with the social construction of language and chooses to absent the “subject” from poetry, the latter concerns itself with the cybernetic construction of language – how writer and algorithm co-create text – and to that degree preserves the […]
[…]Antônio, Giselle Beiguelman, and Lenora de Barros, whose records contain links to creative works, critical writings, and events in which they were involved. The bulk of the critical writings currently contained in the Brazilian Collection were extracted from three principal sources, two of which are anthologies of essays and one a monograph comprising a panorama of digital poetry from its origins to the present. They are Jorge Luis Antonio’s Poesia Digital: Negociações com os Processos Digitais: Teoria, História, Antologias (“Digital Poetry: Theory, History, Anthologies”), Jorge Luis Antonio and Artur Matuk’s (Eds.) Artemídia e Cultura Digital: Palestras e Textos Apresentados e Desenvolvidos […]
[…]produced seminal scholarship on Agrippa. Matthew Kirschenbaum, Joseph Tabbi, and Alan Liu and his group at The Agrippa Files have done extensive work in tracking the chronology and cracking the code. Stuart Moulthrop points out that “Agrippa seems to me very nostalgic for the age of print. . . Second, with all respect and seriousness, Agrippa is a piece of High Concept.” What is notable, though, about this work, is the minimal interest in the poem itself. Thus, while the entirety of the text exists on Gibson’s Website, little of the scholarly investigation has focused on this: The string he tied […]
[…]within this series, along with works having little to no relation with e-lit. What do these case studies mean for critical scholarship on e-lit? Of course, these book series will continue, but for there to be a discourse and growing field of electronic literature, there must be a place to incubate and disseminate critical scholarship that emphasizes e-lit as literature. Our analysis of these examples is not to dismiss or disparage these series. Their contributions are unquestionable. Rather, we want to highlight the way the discursive framing of scholarly publications determines the field of statements possible to make about the […]
[…]they can be borrowed and repurposed in a variety of ways, with no regard for who thought the code into being. Instead, the power of the code is registered by its application, and the measure of its authority is in its execution, not in the personality that sits behind it or even directs its use. A sloppy bit of code written by “Bill Gates” simply will not work, no matter how important the man might be. And, once a functional code is in use, it becomes very difficult to dispute the moral character of its outcomes because there is nobody […]
[…]in my approach to language, due to the sheer amount of time I’ve spent in front of screens and working with code. My memory and conceptions of space and time are imprinted with the logics of digital systems. But all language is slippery, or course, and the term ‘electronic literature’ is a useful one. I’m not making a case for its obsolescence. Rather I’m interested in taking the above as a place to start thinking about the future of the term and organization in tandem. One complaint I’ve heard often in the ELO community, and justifiably so, is that other, […]
[…]standpoint of collective behavior, there’s a crucial junction that every successful movement or group comes to in its lifetime: what do we (the movement or group) do to meet our goal? From this perspective, there are two choices: assimilate into the institution in which you are trying to affect change, or fade into oblivion knowing that the goal–whatever it was– was completed. When looking forward to the future of ELO, it makes the most sense to me that the organization moves to become sutured into the institution of literary and media studies. While the organization is definitely (not) limited to […]