Search results for "critical%20code%20studies%20working%20group"
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[…]have seen the emergence and dynamic unfolding of new and overlapping transdisciplinary fields or critical methodologies (e.g. Cultural Ecology, Ecocriticism, and Environmental Humanities). Interdisciplinary and plural, combining a large array of multifaceted scholarly approaches (Rose et. al. 2012; Oppermann 2011; Gersdorf and Mayer 2006), the field has however a focal point: the need to reconceptualize environmental issues as social and human questions rather than mere technical ones, to be handled by experts or technocratic structures. Engaging with these ongoing critical discussions, this paper offers an eco-oriented reading of literary and artistic digital works. How do the contemporary digital art and […]
[…]and sentiments,” as well as evokes a “sense of how much one is like others” (78). While working on the first installment of his project, Brainard wrote in a letter to Anne Waldman that he felt I Remember “is about everybody else as much as it is about me” (qtd. in Padgett 171). However, he chose not to gloss over the memories which clearly mark out his experience from that of the majority of the book’s audience – his homosexuality: I remember one football player who wore very tight faded blue jeans, and the way he filled them. (19) I […]
[…]the business models of the Big Four, but also psychosocial energies—both of individuals and of groups—which, however, are thereby depleted. (Stiegler 2019: 7) Transformed into data providers, these entities (both the individuals and groups that the so-called “social” networks take apart and reconstitute according to new protocols of association) are stripped of their individuality: their own data, which constitute what we might call (drawing on Husserl’s phenomenology of temporality) their retentions, are then what allow them to be dispossessed of their own protentions – which is to say their own desires, expectations, volition, will, etc. (Stiegler 2019p: 7) By thus […]
[…]the wrong people the right questions, or he is asking the right people the wrong questions. This critical mésalliance, however, also often results in some of the strengths of the volume. The various negotiations of interviewers and interviewees, especially where the critical agenda is not fully received and accommodated by a deep allegiance to singular literary vision and craft, tend to open up the discussion in a way that I suspect will be appealing for most readers, and what emerges is an expansive and rich global literature focused in non-dogmatic ways on the productive intersections of history, personality, and storytelling. […]
[…]of collaboration, if either of your writing processes have changed over the years as a result of working together? Warren: Through the years since Dennis and I have collaborated he’s said that working with me has changed the way he writes, and he tends to think more visually because of it. I feel fortunate because a lot of poets are not going to let some other person mess with their stuff like this. At times Dennis would say hey you went too far, or you can’t break that line there. So there’s definitely negotiation in certain instances. I respect what […]
[…]the primacy of code to e-literary and digital humanities work, asserting “you don’t have to code to perform poetry with this code.” By building this inclusive model of code-play into her poetics, Strickland places Ringing the Changes firmly in conversation with feminist digital humanists, who have long argued that centering codework in digital humanities (and by extension, electronic literature) centers exclusionary, masculinist value systems that force women and BIPOC (Black, indigenous, people of color) out of the field. Within Strickland’s oeuvre, texts like True North (1997) and V:Vniverse (2002) reveal a poetic practice that has long been invested in bringing […]
[…]Schwenger draws a parallelism with another type of “global language,” expressly, “computer code” – though this comparison between the two does seem a little unbalanced, given that “computer code” already possesses its own disruptive and dysfunctional modes of expression. Chapter 2 presents yet another type of dialectic tension, specifically a dialogue between “three asemic ancestors” – Henri Michaux, Roland Barthes, and Cy Twombly, respectively – representational echoes of so many other artists/writers who practised “asemic writing” well before it was designated as such. As happens in other chapters, Schwenger does not provide an extensive list of artists or artworks (he […]
[…]strategies of copying and appropriation? It’s simple: the computer encourages us to mimic its workings… If I can chop out a huge section of the novel I’m working on and paste it into a new document, what’s going to stop me from copying and pasting a Web page in its entirety and dropping it into my text? (xviii) He goes on to cite a longer lineage of conceptualism, before the digital age, concluding that words “very well might be written not to be read but rather to be shared, moved, and manipulated” (xxi). This lack of concern for actual reading […]
[…]499-520. Print. —. “Transcendental Data: Toward a Cultural History and Aesthetics of the New Encoded Discourse.” Critical Inquiry 31.1 (2004): 49-84. Print. Lucretius. On the Nature of Things: De rerum natura. Ed. and trans. Anthony M. Esolen. Baltimore: Johns Hopkins UP, 1995. Print. Mauro, Aaron. “Versioning Loss: Jonathan Safran Foer’s Tree of Codes and the Materiality of Digital Publishing.” Digital Humanities Quarterly 8.4 (2014): np. Web. 3 October 2017. . McCaffery, Steve. “Nichol’s Graphic Cratylism.” At the Corner of Mundane and Sacred: a bpNichol Symposium. Avant Canada: Artists, Prophets, Revolutionaries. Niagara Artists Centre. 7 Nov. 2014. Conference Paper. Motte, Jr., […]
[…]possibilities could resolve Murphet’s parrhesic/polyphonic predicament (permission to create a working prototype of DOABY for research purposes has been granted by David Higham Associates). In Coetzee’s novel, the format and the book medium are strained. Creating a digital DOABY could resolve this strain, or at the very least transform how the work is constructed. It is important, however, to tread carefully when adapting and contrasting digital and print text formats. In her critique of the works of Borges and practice-led research into digressive digital literature, hypertext theorist J. Yellowlees Douglas (2000) criticizes ‘The Garden of Forking Paths’ as a print […]