Search results for "critical%20code%20studies%20working%20group"
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[…]claims that the sublime is “itself a system, one that morphs and adapts to each period’s critical caprice” (5). While I believe that stretches the definition of system, I am well-persuaded that the ecosublime is, as he argues, an efficient term for describing an alertness to holism often found in contemporary represented or mediated environments. Less so am I convinced, however, that the sublime or the ecosublime bodes much for non-fictional worlds, i.e., our own. Rozelle argues that “there is no effective difference between the natural sublime and the rhetorical ecosublime; both have the power to bring the viewer, reader, […]
[…]very quick and sure about something. It’s more deliberate. It’s more like you’ve been working in the light of day and then you see one day that it’s getting dark early, that it doesn’t matter where you are – it won’t do any good. It’s a reflective thing. Somebody holds the mirror up, unlocks the door – something jerks it open and you’re shoved in and your head has to go into a different place. Sometimes it takes a certain somebody to make you realize it [as seeing and hearing Mike Seeger did for Dylan, in this account]” (Dylan 2004: […]
[…]components of writing’s conditions: why write with any assumption that you are making some critical extension outwards from your own person, some glorious annex to your personality? Words are conditioned by and toward their own occasions. Why write thinking you will be rewarded for it, encouraged to continue, given money, sex, and fame? “If I Were Writing This. . .” has the immediate effect of showing that “The Invoice” was indeed a direct appeal for encouragement of an immediate sort. Both poems affirm that communication cannot easily effect what is desired (money and sex), though one chafes at the feeling […]
[…]internally elaborating, writerly persona that is distinctive of ebr – unafraid of sustained critical thought (aka ‘theory’), attentive to current events (aka ‘ideology critique’), professional in presentation but never for a moment forgetting that we’re writers here. Generally when I ask people to write for ebr…well, they write for ebr. I personally don’t know of any good reason to read a review or critical essay in any medium, if in the process I don’t learn something new about writing. I don’t mean just finding out about a work under review, or informing oneself about what’s current in media, academia, and […]
[…]characters. This step helps players develop their characters more thoroughly and engages the whole group in each player’s story. For the gamemaster, however, it’s an opportunity to be sure that the free-form nature of character creation hasn’t left the character missing important details. Question and answer is important for: – Engagement: Listening to a player talk about their character is widely recognized as dull. It’s like listening to someone recount a dream: it means a lot more to the talker than to the listener. The Q&A process, however, turns the monologue into a dialogue. It makes character exposition much more […]
[…]world – like, let’s get out of this confinement, Thoreau kind of thing. Seems to be a theme working its way in from the fringes. MZD: And looking for real sources of empowerment, real sources of freedom. Not simply becoming part of the rock-n-roll revolution, which has already been corporatized by these cannibalistic groups that orchestrate and entangle teens, sell them this idea that they’re liberating themselves. KB: Punkwear at the Gap. MZD: Exactly. KB: Commodifying the rogue. MZD: What’s the album again? KB: Funeral. “If my parents are crying, then I’ll dig a tunnel from my window to yours. […]
[…]is the eloquent phrase “eternal networks”). This DJ/VJ writing style makes way for a kind of critical overwriting that, at its core, is underwritten by the creative unconscious. Think of it as a mash-up of open content, social software, critical media literacy, and manifest hackerdom. It’s fully invested in narrative thinking, in processing the digital art persona as a distributed political fiction. Rosi Bradiotti, in the introduction to her book Nomadic Subjects says: The nomadic subject is a myth, that is to say a political fiction, that allows me to think through and move across established categories and levels of […]
[…]characters who must work together to solve a murder that one of them committed. The members of the group are assigned characters, each of whom knows certain key facts about the others. They take turns to present pieces of evidence that can be canceled out or combined to form chains of means, motive, and opportunity, until one character has their guilt “proven” to the satisfaction of the group. Each Youdunnit case is about a specific murder – the specifics of the crime and the various potential murderers are all detailed – but can be played multiple times with different outcomes, […]
[…]body counts, gratuitous obscenities, and treacherous women. ‘[S]tandardized formulas were grouped around equally standardized themes, such as the council, the gathering of the army, the challenge, the despoiling of the vanquished, the hero’s shield, and so on and on’ (Ong, 1982:23). Even so, street-level credibility did not guarantee memorable, dramatic performances. Words had to flow. Bards, across the globe, were duty-bound to rock a house party at the drop of a hat. Their skills and exploits were later documented in printed accounts such as The Mwindo Epic (West Africa), The Tale of the Heike (Japan), the Bible (for example, in […]
[…]Twofers or conjoined twins are sufficiently present and visible that they form a distinct minority group, demanding civil rights and proclaiming pride in their identities – San Francisco, in particular, is a haven for twofers, just as it is in actuality for gays and lesbians. Half Life is narrated (or, more accurately, written, since the process of writing the text we read is itself narrated within that text) by Nora, who feels alienated both from the twofer community, and from “singleton” (i.e. “normal,” unicephalous) society. Her twin, Blanche, has been asleep since childhood (since puberty? this is hinted but not […]