Search results for "critical code studies working group"
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[…]level, the materiality of the keys is not what you want either – you need the information encoded in them, the patterns that allow them to mesh with the patterns encoded in the lock of your car, your office, and your apartment door. The keys are the material substrate for the articulation of information within patterns of presence and absence (the notches and grooves cut in the keys); but also, their absence is an event articulated within a pattern that forms the superstructural information of their presence. You may assume that their loss has not been articulated by randomness, and […]
[…]has stopped, and other bits of routine maintenance; it finishes with diagrams of a clock’s inner workings that are almost embarrassingly intimate and far too complex for you to follow. >reverse link lavori to repair Bending your will and all your attention, you manage to make a reverse-link between The Lavori d’Aracne and Clock Repair, feeling their properties begin to merge together. >read repair The book now turns out to be all about how to construct different types of time-keeping device and false clock using nothing more than household objects and the power of the Lavori. How often this is […]
[…]a love affair turned bad, like Emma Bovary or Anna Karenina.” Comparing media forms is a natural critical impulse in an increasingly transmedia world. Ryan rightly notes that certain types of plot better lend themselves to various modes of narration, and that the failure in Murray’s original example is really the failure of immersion. The myth of the Holodeck exists in part because the Holodeck is presented as a non-mediated environment, a truly immersive world, lacking interfaces of control Outside an invisible oral/aural call and response to the computer at the borders of the narrative.: truly in all respects the […]
[…]resists this traditional reading of literature, for even if one were to crack open the internal working of Pax and independently read the database of textual pieces Moulthrop has coded, such an action would in no way approach the event of reading his work – not only would it eliminate the chronological borders and flow of the work, but, as per Moulthrop’s description, Pax relies upon a random value generator, and so could not be ultimately ordered (153). Thus he has ensured that Pax only exists as a literary event, a textual instrument being played in a literary way, rather […]
[…]to implicate the participant as a charged body in public space whose movement and presence become critical agents in structuring the meaning of the work. The primary theme of alienation and the plight of the social outcast is played out through a series of physical tableaus and boundary crossings enacted by the participant as she walks through the urban landscape listening to a patchwork of location-specific spoken narratives delivered in different voices. My hope was to cast the participant into a cycle of alienation and ambivalence as the point of view in the story shifted across narrator, creature, doctor, and […]
[…]the ways the scene builds to another choice. For example, the audience enjoys watching the scene code-named “Seduction.” However, they are also elated when the woman announces that, if the man doesn’t stop wooing her, she will either kiss or slap him. The “cruel” part of the fate role is exemplified by the audience’s delight in controlling whether or not this living human being – separated from them only by a stage and the social constructs of traditional theater – is embraced by soft lips or repeatedly smacked across the face. The nature of the show caused a great deal […]
[…]also occasionally have individual goals that cause them to cooperate or compete within the group. The Gamemaster (GM) – the person who is responsible for setting up and administrating the game progress and often telling the story as it develops – influences the process by choosing which NPCs may appear and by giving the different characters different challenges and goals, and can ultimately determine the entire outcome of the game, depending on how much power the group has agreed to put in the hands of the GM. If our dwarf tries to stab the human he has been paid to […]
[…]abundance of stories I discovered and the tight network between the quests in the series. As I was working on helping Maybell and Tommy Joe to get together, other members of their families asked me for help. One had lost a necklace, which led to my having to slay boars so that she could bake a pie for the horrid little boy at the neighboring farm, who refused to tell me where he’d lost the necklace he’d stolen from her, unless I got him that particular pie. Finally, he told me that a vicious kobold in the nearby mines had […]
[…]as possible at every point. So much for suspense. That would be a fair statement of Klein’s working procedure. Regarding Newman, this is more exact: he is saying, I believe, that the truth of corporate power, despite the obfuscation that Evan is professionally in charge of, is already limpid; there is no call for Pynchonesque paranoia. That is why Evan must be professionally in charge of obfuscation. At the beginning of the novel, Chano, tired and hopeless, tries to discourage direct action against water privatization and depletion. Ayalo responds: “Speak truth to power, pinto? You think power don’t know?” (13). […]
[…]durée of the current world-system. Consenstein, Peter. Literary Memory, Consciousness, and the Group Oulipo. Amsterdam: Rodopi, 2002. A “cognitive approach” to literary analysis that does not lapse into facile explanation. Consenstein might productively be read with The Work of Fiction (Palgrave 2003), a collection edited by Alan Richardson and Ellen Spolsky, and my own Cognitive Fictions (Minnesota 2002). These books are useful for anyone wishing to know where literature and the cognitive sciences intersect (and also how to recognize the much larger area of motor and perceptual concerns where the two fields have nothing at all in common). Consenstein, like […]