Search results for "critical%20code%20studies%20working%20group"
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[…]you as well; to pick only one example, Jonathan Tweet’s Over the Edge tells us: This game is a coded message. You will decode the message in your dreams and execute its instructions in the spaces between moments of will. Neither you nor I will ever know the contents of the message. (Over the Edge 1997, 2) The authors, artists, and theoreticians in Second Person address the exigencies of playable media in a number of ways, and in a number of voices. Some essays are informal in tone, some academic, and some highly technical; this polyglot speaks to the varied […]
[…]outside the patriarchial, if patriarchy is the source and means of your oppression, in order to be critical of what’s determined the range and facility, and set the agenda, of your thinking – if you’ve been taught to think yourself (always unknowingly) only as the oppressed? How, in other words, to think otherwise? Which isn’t quite Oedipa’s dilemma, of course. But close. Her problem is that she can’t decide whether an occult postal system called the Trystero, whose operations may have determined the course of Western history, is real or not. If it’s real, then our history isn’t – for […]
[…]turns into an event – writing is an event, a play upon the process of “is,” a working that cannot (at any given moment) trace, catch, relay, or dwell upon the physicality and temporality of an “is” as “is” is worked on by so many things seen/unseen, solid/phantastic, past/present (the event, this writing event, has no decided purpose, no pre-set outcome, no lesson or demand – although, as a loving of what happens as one goes along, it might bring a fragile calm): ‘Making an event – however small – is the most delicate thing in the world: the opposite […]
[…]becomes virtualized and knowledge militarized, particularly under the aegis of so-called “area studies”. It’s hard not to see this as a Pacific version of the notorious argument that the Gulag and/or the Holocaust reveal the exhaustion of modernity. And the first thing one has to say is that this interpretation of war as no longer “the physical, mechanical struggles between combative oppositional groups” (33), as now transformed into a matter technology and vision, puts Chow in some uncomfortable intellectual company: like that of Donald Rumsfeld, whose recent humiliation is a timely reminder that wars continue to depend on the deployment […]
[…]that nothing is simply, or “naturally,” what it is? These are big questions, both for cultural studies, which has been guilty in the past of reducing the world to words, and for science, which, apt to see things otherwise, is perhaps only now becoming more seriously aware of the limitations of representation. But such questions beg another, more immediate question. Whose performativity theory is this? Livingston glosses over the divisions and differences within the realm of theory regarding the limits of performativity as a viable ontology. There is a lot of discussion and debate that is happening now, though we […]
[…]empty or formal (7). They are said to stand for thought or action (6). Highly sophisticated social codes are formed from such signs: expressions or gestures have the power to convince those present of one’s status, or otherwise to expose oneself as out of place. As we know, they point to no origin; they appear sterile, pointless. The signs of love are actions between bodies, but human beings construct, also, massively complex systems of strictly formal signs, which seem to have nothing to do with love and nothing to do with art. Deleuze nevertheless insists that they are crucial, that […]
[…]Children’s Literature, Collaboration, combinatorial, conceptual, constraint-based, procedural, critical/political/philosophical, database, documentary, essay/creative nonfiction, fiction, flash, games, generative, hacktivist, html/dhtml, hypertext, inform, installation, interactive fiction, java, javascript, locative, memoir, multilingual or non-english, music, network forms, non-interactive, parody/satire, performance/performative, place, poetry, processing, quicktime, shockwave, squeak, storyspace, stretchtext, TADS, textual instrument, text movie, 3D, time-based, translation, viral, visual poetry or narrative, vrml, women authors, wordtoy. All of the major types of digital writing (automatically generated works, visually-oriented works, hypertexts, sound, and many hybrid forms) are represented. Because digital literature has for more than three decades resisted, as if by definition, the need to embody […]
[…]when, say, you’re being tickled. In one respect, of course, they’re the same. You could do studies of what proportion of the population laughs in response to being tickled in a certain spot and, of course, you could also do studies of what proportion of the population laughs at which jokes. Hence the question of whether a joke is funny is in the end either a statistical question, answerable by the number of people who laugh, or a personal question answerable only in the form of “it made me laugh.” The question of whether a joke is good or bad, […]
[…]described in the book, but also indicative of the hybridizing work Kac performs. The notion of networking humans and rabbits, for example, refers to Kac’s best known piece, “GFP Bunny,” yet most description and criticism of this piece focus not on networking humans and rabbits but on the story of the rabbit, and render the humans invisible. We are all familiar with the travails of Alba the transgenic bunny bred with green florescent protein. The human component of the network – the scientists, Kac’s intervention, the history of human-rabbit interaction – are taken for granted while at the same time […]
[…]in a fairly undefined order does not necessarily weaken the possibilities for a more Dramatist group. After all, the adventure begins with the players going to the house and most climaxes will involve a battle with the haunt. (I suspect few groups will explore the rest of the house after dealing with the haunt, just to have a look.) However, that there is no defined shape to the story between these points does make it harder to adapt the scenario for the less-gamist group. The haunted house is there to be investigated and exorcised, it is not there to be […]