Search results for "critical%20code%20studies%20working%20group"
| Results 961 - 970 of 1106
|
Page 97 of 111
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[…]the more sophisticated concatenation of “signal” and “purpose.” However, in the critical environment in which this process occurs with organic smoothness, its clear-cut causal relations rapidly become skewed by the interference of a non-causally-explicit affect: It is a silent flash in the great city’s grid […] From my height the detonation noise is a signal of light only. My cabin responds by at once easing its forward motion […]. We have a new purpose. […] Up in the cockpit the flash has been seen and the man in the right-hand seat is reporting it. But something is happening to our […]
[…]and analyzed by theories uncritically imported from other fields (including literary and film studies). This uncritical tendency of ignoring and downplaying dominant game-specific features, and not interdisciplinarity, was what the ludologists opposed and did so rather fiercely in 2001 when I wrote my First Person essay as a response to the first wave of narrativist nonsense. It was and it is clear to me that also the premises and presuppositions of reception studies and “generations of audience research” should be modified before they could be used in computer game research. This is based on three modest observations: first, by definition […]
[…]a particular meaning. It draws on a deliberately impure and hybridized methodology that blends a critical engagement with the complexity sciences with a critical engagement with French post-structuralist thought. The example of raciology demonstrates that it is possible to take possession of the profound transformations of thought made available by structural transformations in the discourses of the sciences and the humanities and “somehow set [them] to work against the tainted logic that produced [them]” (15). Refusing the logic of fragmentation that separates and isolates categories of knowledge in order to establish hierarchies of meaning, Gilroy demonstrates the value of instantiating […]
[…]to bring complex behavior within the scope of rational analysis. Analogous theories in literary studies, by contrast, are often embraced because they are seen as resisting totalizing theories” (xiv). She further claims that I argue “the convergence of interests must be evidence of a singular event which shifts the singular epistemic structure from which both disciplines are produced.” Although she then goes go to use two phrases central to my argument – “cultural context” and “feedback loop” – she apparently does not know what these terms imply. The very idea of a feedback loop, which I use to show that […]
[…]of the agrarian and the environmental, which is still a fundamentally neglected aspect of ecocritical and environmental thought, becomes the centerpiece of Smith’s reading of Berry’s oeuvre, and it colors all of his writings. So Berry’s agrarian politics become a lens through which we all might achieve a more environmental vision. The problem, of course, is that when we think of agrarianism, per se, we naturally think of farming; and Berry does to. Berry may “insist that the family farm is the chief repository of virtues critical to the republic,” but these values are “ecological rather than political” and are […]
[…]marked increase in high-end ads with sophisticated dynamic textuality. We need tools for its critical reading. The major exposition of Saul Bass’s graphic and film title work at London’s Design Museum was, therefore, essential. Saul Bass was the first film title designer to be given a screen credit by the Director’s Guild of America (for Preminger’s Carmen Jones 1954) and remains an all but uniquely name-checkable artist in the film titles field. Yet his fame derives equally if not in greater measure from his related, more purely graphic work, where he is a central figure in that late-50s, early-60s school […]
[…]in our heads). The horizontal is associated with the immanent and the lateral, as with two authors working side by side passing ideas from brain to brain. H&N’s methods of thinking, their style of writing, and the content of their thoughts all imply each other, as with their openness to hybrids and miscegenation. Their books are self-exemplifying, and as such stand as autonomous poetic structures. They write from within, and in behalf of, a world-design that is radically different from the world-designs of most of their critics. Their materialist world-design should be thought of as their world-poem, surely reflecting their […]
[…]in feminism … characterized by a sustained interest in reassessing feminism through the critical lens of poststructuralist and postmodern thinking.” I take this to mean that the implementation of the hacktivism, that is `how’ the hacktivism is carried out, is what is more important than whether I belong to a cyberfeminist collective or not, and furthermore, must be demonstrative in someway of the `critical lens of poststructuralist and postmodern thinking’, whether in reference to the discourse on feminism, or society as a whole. Two central premises, however, must still hold true: cyberfeminists are not anti-technology nor are they anti-feminist (Guertin). […]
[…]culture” is through the establishment of a creative commons exemplified in the actions of such groups as the nonprofit group Creative Commons. He writes that the aim of the Creative Commons is “to build a layer of reasonable copyright on top of the extremes that now reign” (282). Under such a system authors (construed broadly) decide what protections they want their works to have. “Content is marked with the CC mark, which does not mean that copyright is waived, but that certain freedoms are given” (283). The Creative Commons website states that they “use private rights to create public goods: […]
[…]what David MiallMiall, David. 2004. Reading Hypertext: Theoretical Ambitions and Empirical Studieshas described as the “additional complications that the digital medium places on the work of interpretation”; what poet John Cayley has called the “literal art” of “networked and programmable media”; and what the electronic book review has probingly called electropoetics. My own insistence on attending to forms of digital writing that not only maintain but also perhaps intensify the interpretive role of reader as audience, viewer, or critic should not detract from the overall contribution of this review, which clearly has a divergent focus. All in all, the authors […]