Search results for "critical%20code%20studies%20working%20group"
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[…]space, rehearsals in this medium were the equivalent of a micro performance, as we practiced working with our avatars and lines, as well as responding to folks (in character) who come there to be social. Being “inside” the piece (and the culture of the online public arena) and being “outside” of this culture in the physically proximal public space produced an utterly different experience of the piece. Projecting the output from the shared virtual space into an auditorium, and scattering live performance-ready terminals throughout the audience, completely shifted the space of creative play. The initial instincts of the people who […]
[…]as a natural result of what was already there at the beginning. Actors in scripted theater are working to reach a point where they are not recalling memorized dialogue and actions, but know the characters and the material so well that their responses are compelled by what is happening on stage. At that point they may not be able to recall their lines in the play without the stimulus that provokes such a response. Improvisational theater, then, relies on an implied playwright, an imaginary author who has written every conceivable story it is possible to write. Each performer is simply […]
[…]a bit too hard only in the catch-all chapter on Marx, Locke and Smith, which bridges superb studies of Swift and Rousseau. From the beginning, Farrell shows, critical thought has involved imagining the world as illusory and riddled with error. Thus, although he doesn’t say so, what Farrell actually documents is something like the critique of ideology before the letter. Don Quixote, for instance, does not simply mock its protagonist; it uses Quixote’s complaints to mount a vigorous critique of mass media and the ideology of chivalry. Cervantes mocks Quixote’s absurd sense of victimization to show that he has been […]
[…]experiences of Façade. Conducted as part of my final project for the seminar in computer game studies, this informal study involved video taping participants as they played Façade (see Figure 1) and post-game interviews in which we watched and analyzed a recording of the Façade session the player had just completed. Reasoning that differences in the amount and quality of experience with computer games in general would lead to differences in game playing strategy, and, relatedly, differences in player experiences of high agency, I selected two participants with little experience playing videogames (“non-gamers”) and two participants from the computer games […]
[…]sociological, and even archival research. Granted, after the heady days of literary and critical theory (of all flavors, e.g. Yale school deconstruction, Lacanian psychoanalysis, the “against theory” trend), there was a sense that, in the midst of it all, a little thing called “literature” was being forgotten. Now, everyone loves a good book (especially if it is also literature), and one would certainly bemoan its death or disappearance – which is nevertheless continually being reinvented, reproduced, and contested today via a range of new media. So the idea that a direct engagement with literature would necessitate a direct refusal of […]
[…]many but, at least in my view, both a necessary and inevitable attribute of such experimental, masocritical encounter. Masocritical suspension constitutes an immanent mode of response that heeds the event’s irreducible singularity, whereas representationalist judgment itself begins from outside the object or event to be judged, and the judging subject sits itself safely situated afar or above – seemingly unaffected and allegedly objective. The central question to ask of an event is not what one’s judgment of it should be but how response-ability itself is configured by the affects inhering the event – the answer to which is always singular […]
[…]one does not perceive when one perceives it” (in AR 204). The paradoxical logic of a system’s code (for example, the legal system, Wolfe remarks, operates on the code: “legal is legal”) can only be detected by an act of observation beyond the system, an act that cannot discern its own paradoxical system code. What Wolfe calls “the paradoxical identity of difference of any given first-order observation in a second-order plurality of horizontally distributed systems” pressures the distinction between reason/human and non-reason/animal. As Wolfe puts it, “[T]he human makes way for the animal, but only by means of the human […]
[…]On the contrary, I believe McGurl is daring us to agree with him. The Program Era, while critical of the constitutive inequities of capitalism, nevertheless disavows the declension narratives that have tended to dominate studies of both creative writing and the university, and asks us instead to appreciate, if not indeed to celebrate, their combined literary achievement. And this resistance, not to the system but to the temptation to analyze it in transcendent terms, could in fact be the basis for a certain rapprochement between academic critics and creative writers, but it can’t for that very reason derive from Lennon’s […]
[…]Sometimes code is reused by an individual programmer or software company, where the same bit of code might be used in different projects. The concept of code reuse is built right into modern programming languages. These languages each have what is referred to as a standard library of commands, types of data objects, and functions. This library is usually so large that all of it is not automatically included in every program; instead, programmers have to issue some command to copy the parts of the library that make the necessary objects and functions work. Here for example is a very […]
[…]critique and revision of aesthetic conventions, a task that is just as necessary in literary studies now as ever. Aside from television, a chief medium for serial narratives is comics. In his reading of Superman, Umberto Eco finds in seriality a mix of the novelistic and the mythic that seems to correspond roughly to O’Sullivan’s “necessary” and “possible.” Serial comics place contradictory demands on their characters: a figure like Superman must remain unchanged from issue to issue, but he must also vary his adventures enough to keep an audience interested. Eco describes this mixture of the eternal and new as […]