Search results for "critical%20code%20studies%20working%20group"
| Results 431 - 440 of 1097
|
Page 44 of 110
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[…]body/minds around was discussed by each and every artist we talked to over Zoom in March 2021, working on a forthcoming documentary skillfully produced and videographed by Ashleigh Steele. For many pandemic crisis has been experienced as both an intense, extended period relieved from FOMO, and as sheer boredom and utter restlessness. Most of us have experienced the intrusion of platforms like video conferencing into our very living rooms and bedrooms, which has led to the emergence of critical awareness but also to a way of getting used to being together across screens. In this sense, old distinctions between online and […]
[…]– what if students could decide for themselves whether they wanted introduction to women’s studies to begin with British suffragette or African priestess, early composer or the fur trade? 19th century or 5th? How might the collective identity of feminism be negotiated differently? How would the act of traversal change the reader? I came of intellectual age in a time of Judith Butler’s Gender Trouble and Denise Riley’s “Am I that name: feminism and the category of women in history … ” and so had been interested in challenging the cohesion of identity alongside the development of an understanding that […]
[…]response to the long history of racial tensions and racial injustice that continues today, critical games (or what are sometimes called “serious” games) have emerged such as Freedom, the Underground Railroad (2012) and Rise Up: The Game of People and Power (2017). Such games are developed in an effort to help players and the broader public understand sociocultural issues about race, racism, and anti-racism—each a unique topic, each deserving their own conversation. To begin to understand the critical work of games on racial equity, in October 2020, we gathered in a roundtable to begin theorizing what racial equity game design […]
[…]electronic literature, we often associate writing under constraint with the avant garde literary group Oulipo, which introduced often structurally demanding ways of generating texts and working with limited frameworks (Salter 533). Michelle Grangaud, for example, wrote the poetry collection Stations, which entirely consists of anagrams of Parisian metro station names. The restraints, then, are generally related to the formal characteristics of language or media. In this manner, the constraint resists the ways in which we commonly use language. And the results can be powerful, as Tabbi argues: Resistance too figures not as a political opposition but as a resituation of […]
[…]a future. Taken together, the juxtaposition signifies a stance in which one embraces a certain critical distance (gained through posterity) to the otherwise elusive phenomenon of the digital, allowing for heightened appreciation of its aesthetic, theoretical, and critical contours, while at the same time being thoroughly situated (through the contemporary anchor) within and at close range to instantiations of that same phenomenon, offering material and transformational agency in the face of computational capitalism. Cramer notes how post-digital, as a term, “sucks but is useful” (“What is ‘Post-digital’?” 12) – the conceptual stance of contemporary posterity, then, is an oxymoron but […]
[…]are always asking me, oh do you hate Facebook, for example? A lot of my work is about Facebook and critical of Facebook and critical of Mark Zuckerberg. And I mean, yes, in many ways, sure. But I also have gained a lot from Facebook, and I think that’s the complication that deserves attention, that there are interesting things about it. There’s reasons there’s 3 billion people there. It’s not only because it’s a monopoly and dominant, although that’s a big part of it and kind of its own tactic, the corporation’s tactics. But it’s also about a hunger for […]
[…]Shklovsky, Brecht, and Boal: Ostranenie, V-Effect, and Spect-Actors as Analytical Tools for Game Studies. Game Studies, 17(2). Retrieved December 10, 2021 from http://gamestudies.org/1702/articles/potzsch Pötzsch, H. (2019). From a New Seeing to a New Acting: Viktor Shklovsky’s Ostranenie and Analyses of Games and Play. In Viktor Shklovsky’s Heritage in Literature, Arts, and Philosophy (pp. 235–251). Lexington Books. Quach, K. (2021, September 8). A developer built an AI chatbot using GPT-3 that helped a man speak again to his late fiancée. OpenAI shut it down. The Register. Retrieved December 10, 2021 from https://www.theregister.com/2021/09/08/project_december_openai_gpt_3/ Rohrer, J. (2020a). Project December [Conversational AI]. Rohrer, J. […]
[…]possible answer to our searches. By making algorithms visible, by showing that they are in fact working – even when their precise workings elude us –, these works question some of the naturalized behaviours and hegemonic meanings of digital culture. In Kozak’s words, making this kind of materiality visible – as ways of being with materiality – invites us to question what it means to think of the digital sphere as a culture of “users” (2019a, p. 74). How these pieces work with the algorithm’s modes of being and doing is what interests me here, and it is what has […]
[…]and scholars must strive towards reaching, whichever road is taken. Whether one chooses to critically read or critically not-read works by problematic 3G e-lit practitioners (whatever critical reading and critical not-reading might mean in digital contexts), and whether we choose to allow perpetrators of violence to tell their own stories (an issue deliberated upon by Yuri Yim in response to a docu-series about Ted Bundy), meaningful conversations about these works and authors can occur. To be sure, these conversations are happening, but there is still substantial room for further interdisciplinary consideration that draws from both academia and popular culture. Our […]
[…]according to Casone, “was developed in part as a result of the immersive experience of working in environments suffused with digital technology” (12), but more specifically from the attention paid to the failure of these technologies: system crashes, bugs, glitches, distortion, noise floor…signals that these technologies were as imperfect as the humans who made them, and which were incorporated in the musical compositions. From that moment, the post-digital has been associated with a process of “amateurization” in art: everybody can become an artist using DIY techniques, low tech, recycled materials and software, found objects and tools lying around the house. […]