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[…]students, all insisting that they “must” get into the class. Weeding it out, we ended with a group of twenty-eight, including about ten grad students in fields as diverse as Philosophy, Psychology, and Slavic Studies. It has been an exciting class but sometimes discouraging when we realize how little background our students have. Thus a very bright and successful senior Modern Thought and Literature major came in to see me to explain his less than outstanding performance thus far. “Baudelaire,” he told me, “is the first poet I have ever read.” Once exposed, however, this student and others like him […]
[…]much that is admirable in Bérubé’s piece (originally delivered in March 1995 at the Cultural Studies Symposium at Kansas State), particularly his discussion of the Right’s negation of the “public” in the name of the “people,” I would like to sketch briefly an alternative to the politics of selling out by putting pressure on the term “intellectual,” the blind spot in many romantic calls to action by left cultural critics. A crucial point: nobody cares about intellectuals, except other intellectuals. More to the point, unless intellectuals have another source of income, most of them wind up subordinating intellectual interests to […]
[…](via a[ndrew] r[oss] on www) that they knew all along it was a ‘sophomoric’ piece of cultural studies by a naive scientist; that st is never ‘refereed’ (what is the in-house critical collective but a set of primary discrimination makers of the in/out, enacting [sure, informally] the rules for what passes as any “social text” text?); and that the sokal essay was going to be dropped from the expanded book edition at duke u p (this would be an unusual post facto decision to make, as duke u p usally runs all the essays and whatever else the editors choose […]
[…]Michael (1997). “Computational Subjectivity in Virtual World Avatars.” In Working Notes of the Socially Intelligent Agents Symposium, 1997 AAAI Fall Symposium Series. Menlo Park, CA: AAAI Press. —. and Andrew Stern (2000). “Towards Integrating Plot and Character for Interactive Drama.” In Working Notes of the Socially Intelligent Agents: Human in the Loop Symposium, 2000 AAAI Fall Symposium Series. Menlo Park, CA: AAAI Press. McKee, Robert (1997). Story: Substance, Structure, Style and the Principles of Screenwriting. New York: Harper Collins. Murray, Janet (1998). Hamlet on the Holodeck. Cambridge, MA: MIT Press. Norman, Don (1988). The Design of Everyday Things. New York: […]
[…]system of classicism, he yet found it to be melancholic and depressed. The recent upsurge of critical interest in Benjamin’s work reinforces the sense that contemporary fiction is once again allegorical in its return to history, and that we, too, are experiencing a decay like that of the German baroque period and postwar Germany with their accompanying depression (note the current extensive use of Prozac). Even though historical novelists are trying to revise history, to bring it into accordance with the full experience of previous lives, they keep falling into the trap of what the art historian Benjamin Buchloh refers […]
Eskelinen makes some compelling points in “Towards Computer Game Studies” that traverse ground that has remained virtually untrammeled, surprisingly so, given the recent, explosive growth of PC and videogames — in 2001, Americans began to lay out more cash for interactive games than for evenings at the cinema. And Markku’s uses of both Genette and Aarseth help make games like Tetris and Civilization III intelligible in theoretical terms. In the end, treating all computer games as if they fell tidily into a single genre is a heroic gesture, intended to lay the foundation for a sound critical understanding of what […]
[…]“Is It Possible to Build Dramatically Compelling Interactive Digital Entertainment?” Game Studies 1, no. 1 (2001). http://gamestudies.org/0101/bringsjord/. Cawelti, John (1976). Adventure, Mystery, and Romance. Formula Stories as Art and Popular Culture. Chicago: University of Chicago Press. Cayley, John (1995). Speaking Clock. http://www.shadoof.net/in/incat.html#CLOCK. Eskelinen, Markku (2001). “The Gaming Situation.” Game Studies 1, no. 1 (July 2001). http://gamestudies.org/0101/eskelinen/. Hayles, N. Katherine (2001). “Cyber|literature and Multicourses: Rescuing Electronic Literature from Infanticide.” Electronic Book Review 11 (2001). http://altx.com/ebr/riposte/rip11/rip11hay.htm. Joyce, Michael (1991). afternoon. Watertown, MA: Eastgate Systems. Juul, Jesper (2001a). “Games Telling Stories? A Brief Note on Games and Narratives.” Game Studies 1, no. 1 […]
[…]know stories and storytelling,” he writes, telling a tale very much out of school. “So why be critical when we can be important instead?” There is a wonderful, naked-emperor-outing cynicism in this jibe, an audacious move against humanism’s unacknowledged strategies of self-promotion. At the same time one may also detect a touch of critical reflection, at least if one is a certain sort of lapsed narratologist (like Aarseth) or misbegotten fiction writer (like me). The ironic “we” implies reciprocity, and with it a sense of history. Though now we assume the mantle of wisdom, we may have played our own […]
[…]radically different position can be invaluable simply by forcing the rest of the field to do more critical thinking. If we “naturally” assume that games are cultural texts without questioning that assumption, then we will have very little chance of finding out what is unique about them. We might as well be studying the use of computer graphics in advertising, or the latest Star Wars episode. Only by asking ourselves what games are not, or what they need not be, can we find out what they really are. There are of course reasons why we might not want to do […]
[…]Gernsback’s writings precede the work of a growing number of artists who tinker with code or hardware to create art. These digital tinkerers experiment with medium affordances and, like Gernsback (although often extrapolating and diverting from a tool’s or medium’s original purpose) they too aim to see beyond the conventional and familiar. They also speculate about possibilities while considering media constraints as chances to explore the unknown. In a similar way to Gernsback’s followers, they expose the layered materiality of their devices by tinkering with digits, wires, screens and metaphors. The Perversity of Things successfully examines different aspects of Gernsback’s […]