Search results for "critical%20code%20studies%20working%20group"
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[…]she draws on various theoretical resources, including the speech act theory of Searle and the studies of situated cognition by Suchman that have been so influential in HCI and post-AI. Appropriately, her analysis is grounded in Latour’s Actor Network Theory, which speaks in terms of human/animal/object hybrids and confounds conventional notions of human agency and mastery (voice chips give some of these non-human actors a “voice”). This drawing from diverse theoretical resources is an essential part of any interdisciplinary study. It is a richly productive strategy, and one that will reveal contradictions and unsuspected voids. The resolution of such can […]
[…]2001, Los Angeles, August 17, 2001. Juul, Jesper (2001). “Games Telling Stories?,” Game Studies 1, no.1 (July 2001). http://gamestudies.org/0101/juul-gts. Laurel, Brenda (1986). “Toward the Design of a Computer-Based Interactive Fantasy System,” Ph.D. Thesis, Ohio State University. —. (1991). Computers as Theatre. Boston: Addison Wesley. Lebling, P. David, Mark S. Blank and Timothy A. Anderson (1979). “Zork: A Computerized Fantasy Simulation Game,” IEEE Computer 12 no. 4 (April 1979): 51ñ59. Nelson, Graham (2001). The Inform Designer’s Manual, 4th edition. St. Charles, Illinois: The Interactive Fiction Library. Pinsky, Robert (1997). MIT Media Lab Colloquium, February 5, 1997. Prince, Gerald (1973). A Grammar […]
[…]positions appropriate to emerging textual forms – for although there have certainly been critical discussions of responsive texts in the past, much of these discussions have focused on concepts not appropriate to the works discussed here. The first text under consideration is Talan Memmott’s (2000) Lexia to Perplexia – which N. Katherine Hayles, in her essay, describes as her “tutor text,” for exploring ways that computation and network technologies are “fundamentally altering the ways in which humans conceive of themselves and their relations to others.” Lexia to Perplexia is a work built on and of the web, pushing web techniques […]
[…]project. Had she abandoned her earlier style under critical pressure? Had the often hyperbolic critical discourse surrounding her work contributed to this break in style? My reading of her essay is, in a sense, polluted by questions like these, which stem from the reception of her work. Regardless, the essay rewards on its own terms, offering a gracious discussion of Forché’s activism, her entrance into motherhood, the philosophical traditions that sustain her, and her evolving writing practices. Forché’s particular poetic progression – from the centralized to the decentered – seems representative, in many ways, of the volume’s theoretical base. Throughout […]
[…]be difficult not to be drawn to the idea that there is enough equality in our culture not to need group efforts for social change, it is difficult not to be drawn in to the postfeminist playfulness of Tank Girl as she caresses and sits (in parodic seductiveness) on the barrel of a tank, aims it at a group of male aggressors, and asks, “Feeling a little inadequate?” Tank Girl is all about the seductiveness of postfeminism, especially its “do-me feminist” elements. Women are powerful, the film proudly announces: we have only to use what we’ve got. Sadly, of course, […]
[…]as if Bond is a kind of agent of Anthony Giddens and other sociologists who claim that there is no working class. But you see my point. What these “post”-theories don’t take into account radically enough is that this split is structural. In order for the United States to function the way it functions today, you need China as the ultimate communist-capitalist country. What do I mean by this? Everything hinges on this symbiosis between the United States and China. China is an ingenious solution. It’s a country where, yes, you have political control by the communists, but everyone in […]
[…]sublime as a dream come true for the individual and as an analogue for the nation (cf. Wilson). As studies such as Mark Dery’s Escape Velocity and N. Katherine Hayles’ How We Became Posthuman show, at the core of much theorizing about the posthuman still lie those same dreams – informed with a technological determinism which figures such as Marshall McLuhan and Alvin Toffler have updated and popularized for the contemporary age. From the science-fiction field the responses to this finalistic narrative have been more nuanced, exploring the cyborg identity in detail, with a keener awareness that both personal bodies […]
[…]I see my three-year-old niece learning her ABCs sitting in front of the PC. Is anyone out there working on children’s software in the context of the history of literacy? I hope so. Third, Darnton asks us to look to records of reading, in a variety of documentary forms. Here we are in luck, since electronic media are self-documenting to an extent that should make historians of pervious eras weep. Bookmark files, cookie caches, server logs, and the like are a treasure trove of raw data, conveniently already machine-readable and ripe for analytical crunching. Obviously the trick is to do […]
[…]perspicacity and linguistic cunning. What distinguishes Oblivion is its pervasive (often deeply encoded, implicit) didacticism – another dubious word, especially nowadays, but bear with me – about how fundamental ontological puzzles may be made less crippling, less horrible for those who would (as many of his characters do) rage against or succumb to or remain improbably ignorant of what one moribund character calls “the fraudulence paradox” (147). Life is fake and empty, but we go on living it as if it weren’t. It’s not the case, Wallace’s tales suggest, that one can be “emancipated” from the paradox, but rather that […]
[…]of disbelief. But it would seem too that any reading or viewing that occurs in a remotely critical mode (beyond but not exclusive to that of popular entertainment) would yield a consideration of not only a story but also its story-producing mechanisms. After all, as countless theorists of the postmodern have pointed out, we live in a society in which artifacts both cultural and commercial insist on calling attention to themselves, to their artifice, whether it be a work of kinetic poetry online or the billboard down the road. The billboard down the road from me: an ad for a […]