Search results for "critical%20code%20studies%20working%20group"
| Results 511 - 520 of 1097
|
Page 52 of 110
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[…]and auditory – on the Internet. As such it might now be the object of a globalized “cultural studies” by scholars who are themselves more and more transformed, in part by their use of the computer and by their inhabitation of cyberspace, in their relation to the culture of the book. This is the case even though it is still a primary goal of literary history and literary criticism in the modern languages to understand and interpret that culture of the book. The electronic form of Ayala’s Angel in the Oxford Text Archive has one tremendous advantage over the printed […]
[…]fashion of critical theory (labeling is dangerous if one wants to produce “dangerous” and critical writing). But as “play,” it’s the perfect booby trap for traditional writing. Federman A to X-X-X-X is such a hypertext too, but the interesting part of it is that it avoids any naive imitation of electronic hypertext, at least in the stereotyped and uncritical vision of it as an unstructured set of labyrinthine linked lexias which are not very motivating to read in themselves. McCaffery, Hartl, and Rice on the contrary have had the courage to make a readable, and even a very readable, print […]
[…]informatic colossus. Such an all-determining and inescapable imago of media induces a productive critical paranoia. The media are always already watching us, putting their needles into our veins: “humans change their position – they turn from the agency of writing to become an inscription surface” (210). Neuromancer ‘s Wintermute is everywhere, or as Kittler phrases it, “data flows…are disappearing into black holes and…bidding us farewell on their way to nameless high commands” (xxxix). At the same time, he enables one to see the particular and pandemic pathologies of modern paranoia precisely as psychic effects driven by the panoptic reach of […]
[…]most significant method of critique behind postmodern, postcolonial, subaltern, and cultural studies approaches” (vii). This thesis is questionable for it exaggerates deconstruction’s critical impact, and in a book that already attempts to accomplish a veritable number of tasks, it only diminishes the strength of the text’s primary arguments. Subsequently, the book tends to oscillate between a reassuring discourse about the importance of deconstruction and a paranoid discourse regarding the conflation and collusion of other theories with deconstruction. Nevertheless, the author is at least self-reflexive about his contradictory relationship to Derrida. Although many of Roman de la Campa’s critiques of theories […]
[…]each part itself composed of five parts, or “pages.” Each “page” acts as a prosodic unit, working in a fugal manner as the poet cycles through history, politics, art, popular culture and intensely personal memories, his pages riffing off of chance encounters with pages from the past: This year Raymond Chandler died and so did Abbott’s friend Costello. It’s hard to think of Abbott all alone his eyes upon Costello’s derby hanging on the hatrack in the hall. For days you keened in grief for Errol Flynn your only child’s Robin. General Marshall, Admiral William Halsey also on the list. […]
[…]each other, without having to overwhelm each other or let ourselves be overwhelmed. thREAD to critical ecologies While not wanting to burst these paradisical bubbles of foam too quickly, I would like to suggest that the metaphor of “foam,” just like Lyotard’s metaphor of the “archipelago,” implies a higher vantage point from which the totality of pluralisms can be brought into view. As congenial as the postmodern preference for pluralistic metaphors may be, these metaphors also reveal that reason has hardly given up the task of once more transcending all spheres and of taking up a privileged, bird’s-eye perspective beyond […]
[…]Oprah’s Book Club any time soon, more critical attention is directed at him than ever before. Critical attention is not only directed at what is between the covers of his books, but also at what type and shape they are. A new DeLillo novel is an “event,” that fateful intersection of publishing hype, marketing strategies, and reader expectations. The book as object and event carries significance. Thus, much of the public reception of The Body Artist was geared toward the shape of the novel, that is to say, its length, a paltry 124 pages, with large print and generous margins. […]
[…]at last, the genuine thing: the cabala of my hate, of my irreconcilableness. (216) The voice is critical. With such a style, the character needs time to expand. Elkin’s short stories in Criers & Kibitzers, Kibitzers & Criers, are finely crafted, but his is a style that needs the breadth, the expansion of the novel for his abundant voice to stretch to its fullest. Ben Flesh, Jerry Goldkorn, and the multiple, fragile, doomed children of The Magic Kingdom can no more be contained in the short story than Elkin’s voice can be bounded by traditional notions of well-wrought sentences. He […]
[…]improve my clumsy rendering, sure that at every step, with the source text as my goal, I shall be working in native English. All I have to do is edit my own writing until I eventually reach a finished version. Think of the writer’s object of desire – vision, situation, whatever – as his source text. Like the translator, he learns everything he can about it. He then abandons it while he chooses a home ground. Home ground for him will be a mode of writing. He probably knows already if he should write a poem, a novel, or a […]
[…]code writers respond to the wishes of commerce, a power to control may well be the tilt that this code begins to take. (546) Furthermore: The code need not be balanced in the way that copyright law is…. Trusted systems, therefore, are forms of privatized law. They are architectures of control that displace the architectures of control effected by public law. (528) Lessig believes that “the law needs to protect intangible property only in order to create the incentive to produce” (“The Law of the Horse” 525). This principle might translate into a lower level of regulation and sanction than […]