Search results for "critical%20code%20studies%20working%20group"
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[…]how history is made, lived, and not let the subject of the human subject obscure too greatly our critical thinking about the historical time we call modernity, and how it instills crucial differences between subjects and objects. Greif briefly touches upon this possibility, yet leaves out acknowledging the work of interrogating modernity already having been done by Bruno Latour. Following Latour, scholars such as Bruce Clarke and Stefan Herbrechter have found ways to harmonize literary and science studies by examining the fluid demarcations between humans and their environments (Clarke 111-38; Herbrechter 158-9). Thus it seems that a posthuman future will […]
[…]are interested in producing a text that argues for the acceptance of videogames into an art-critical consciousness, they are also often in direct conversation with artists. These artists are presented in their own words, in lengthy articles and interviews, and, unsurprisingly, they have a different relationship to their own work than do the critics included in Videogames and Art. While the critical contributions to Clarke and Mitchell’s anthology perform much of the same labor as Salter, historicizing and theorizing videogames within accepted aesthetic frames, the artists themselves present a more provisional and shifting perspective on what is artistic about “videogame […]
[…]sprite imagery’s original form is code, which is text-based, the digital apparatus translates code into image and then code is modified in order to introduce text into to the game generated sprites, which are then translated into images in a book. Chris Funkhouser, however, takes text, converts it into digital images and then returns it to book form in order for it to operate as text and yet still maintain the words in digital image form. Both poetics require effort and knowledge on the part of the reader to appreciate the expanded field of hermeneusis. Knowing where the words and […]
[…]of late capitalism should not be perceived as a major shortcoming of his text; his rigorous critical re-reading of Wittgenstein’s Tractatus along with his meticulous use of primary source material more than serves the book’s purpose. To be sure, as Timothy Yu has recently pointed out, there is no shortage of scholarship addressing Wittgenstein’s influence on literary works. LeMahieu is working alongside a number of other scholars in addressing the peculiarly literary quality of the Tractatus. These critics, in turn, have built from the shift to what Rupert Read and Alice Crary term the “resolute” reading of Wittgenstein’s text, centered […]
[…]mineral, artifact, idea) do not address first-order nature, they do align well with media studies descriptions of the status of humans in film representation (in Kracauer, for example). Nor is this second-order status any less important in the invention of electrate metaphysics. “Being” and the entire conceptual discourse around it is an emergent capability of alphabetic writing as technology, as Heidegger noted in his Introduction to Metaphysics (1953). In Blumenberg’s “reoccupation,” we can say that electracy throws out the literate answer to the Question of Being, but retains the question itself, now undertaken within the capabilities emerging through the digital […]
[…]This is a problem not just of history but also of discipline. We have institutions for modernist studies and jobs in modernist studies. But for literature since the mid-twentieth century, we are often stuck with one overarching “contemporary” that refers to texts produced from last week to decades before many of today’s scholars were born. This use of the term contemporary leaves those who work on the mid to late twentieth century in an institutional no man’s land – on the job market and in publishing – between modernist studies and the study of the latest trends in literature. Witness, […]
[…]David. “Introduction.” Medievalism and the Academy II: Cultural Studies. Ed. David Metzger. Cambridge: D. S. Brewer, 1998. 3-12. Nixon, Mark ed. Samuel Beckett’s German Dairies 1936–1937. London: Continuum, 2011. Pilling, John ed. Beckett’s Dream Notebook. Reading: Beckett International Foundation, 1999. Spade, Paul Vincent. Five Texts on the Mediaeval Problem of Universals: Porphyry, Boethius, Abelard, Duns Scotus, Ockham. Cambridge: Hackett, 1994. Utz, Richard. “Medievalism as Modernism: Alfred Andersch’s Nominalist Littérature Engagée.” Studies in Medievalism 6 (1993): 76-91. Van Hulle, Dirk. “Words and Works: Transtextual Nominalism and Beckett’s ‘Missing Word.'” Text 15 (2003): 278-89. Walpole, Hugh. Judith Paris. New York: Doubleday, 1931. […]
[…]“Bootstrapping Finnegans Wake.” Hypermedia Joyce Studies 7.1 (2006). http://hjs.ff.cuni.cz/archives/v7/main/essays.php?essay=dumitrescu —. “Foretelling Metamodernity: Realization of the Self in the Rosary of Philosophers, William Blake’s Jerusalem and Andrei Codrescu’s Messiah.” Constructions of Identity. Ed. Adrian Radu. Cluj: Napoca Star, 2006. 151-68. Print. —. Metamodernism – Towards a New Paradigm. Manuscript in the Codrescu Collection, University of Illinois Rare Book and Manuscript Library, 2005. Eco, Umberto. Reflections on The Name of the Rose. London: Secker and Warburg, 1985. Print. Edmond, Lauris. Late Song. Auckland: Auckland University Press, 2000. Elliott, Anthony. Critical Visions: New Directions in Social Theory. Lanham: Rowman & Littlefield, 2003. Print. Feldman, […]
[…]and the methodologies employed within them, by introducing the notion of disappearance into critical practice. I turn, therefore, to Maurice Merleau-Ponty’s phenomenology and Tim Ingold’s anthropology, alongside Baudrillard’s theory of disappearance, to set up a methodology that places its faith in disappearance. I then move on to demonstrate how we can put this methodology into practice in the context of research into theatrical production and audience reception. To conclude, I return to postmodernism and reflect on the instructive traces that its disappearance has left for contemporary critical and methodological practices. The Vitality of Disappearance It seems paradoxical to attach vitality […]
[…]entirely new forms, institutions and aesthetics. In the early days of electronic literature’s critical self-consciousness, it was actually-existing hypertext that made these demands, and the fate (or destiny) of hypertext shows very clearly how new forms and institutions are hacked into the material cultural architectures of vectoralist regimes. If hypertext was not necessarily literary — as such, or with regard to literary art — its early history was intimately involved with literature as a name for documentary and archival practice (which of course includes literary practice). Arguably the first true architecture of network culture, the World Wide Web, established the […]