Search results for "critical code studies working group"
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[…]more and more towards the idea that artists had to start becoming ecologists, they had to start working with scientists, and they had to start working with people who had done mining, strip mining, coal mining. So, he spent the last couple years of his life writing to many different companies, including the Bingham Copper Mine to turn disused areas – these areas that had been marked by humans and then marked as waste – into artworks. He saw that as one way that he could make a real serious impact. By writing to everybody and then advertising the fact […]
[…]text, adopting – as in this essay – a version of that text’s constraint in his own critical writing. Not an impossible constraint, but an insistent one. Cumulatively, characters and events come to be defined by what they are not, as in this description of the housewife Susan Griffin: “the cut of her clothes wasn’t so domestic that a guy didn’t want to keep looking at her” (147). Each negation, in addition to asserting that something is not the case, also implicitly asserts Nufer’s allegiance to writing under conditions of deprivation and duress. Like an ascetic, he will not permit […]
[…]Author, “I had lost an entire African legacy including invaluable diagrams and cuneiform code books” (121). A German logician called Ludwig claims, approximately: linguistic limits demarcate an I’s entire available extra-linguistic domain, an I’s imaginative and earthly habitat. Do arbitrary, astringent linguistic boundaries also limn a distinct atmosphere? A cosmos? M: Maps. Alphabetical Africa frequently mentions maps, but does not contain many maps for inexperienced adventurers. Geographical hot-spots are mentioned, as are African continent’s disappearing landmass. Blueprints and drawings, however, are entirely absent. A book-incident map – charting characters, actions, events, etc. – could be infinitely helpful. Maybe I can […]
[…]is a kind of hyper-rational way of winning the game) * Madoff’s two chief programmers played a critical role in his own huge “Ponzi scheme,” not because they wrote programs, but because “they used their special computer skills to create sophisticated, credible and entirely phony trading records that were critical to the success of Madoff’s scheme” (“Madoff’s Former IT Experts Arrested”) * I put “Ponzi scheme” in quotation marks because it’s now clear that much of the entire market bubble was due to a different kind of computational deception. As Frontline recently reported, CFTC Chair Brooksley Born alerted Congress to […]
[…]play. Who is the implied spectator – what is the subject position for which Canyonlands codes? A witness perhaps. A silent witness, passive in her frozen inertia; perhaps a widow of the canyon, a grief stricken witness. This witness is unable to think, unable even to bear witness, perhaps, since the ekphrastic intensity of image and sound allow no space for her. She is crushed to a one-dimensional line between the superego of the desert and its dry voice of judgment, and the id of the capitalist enjoyment machine. There it is, unfolding onscreen, in all its terrible beauty and […]
[…]concepts (such as “postmodern” and “simulation”) which are in danger of degenerating from critical clarity into cliché. The scope of Punday’s argument is striking, as he ranges an analytical alphabet from Adorno to Žižek, and employs diverse and difficult critical concepts with remarkable clarity and fluency. However, there are certain points where the centrifugal forces and ambitions of the analysis appear to strain at the limits of the restrictive structuring motif. For example, although the grouping of Walker and Warhol under the archive heading highlights certain salient parallels between their respective projects, the absence of any commentary on their markedly […]
[…]or recuperable for writers whose every word is no more than data entered in the hexadecimal codes of a software program. Kittler remarks, in fact, that “no human being writes anymore…. Today, human writing runs through inscriptions burnt into silicon by electronic lithography…. The last historic act of writing may thus have been in the late seventies when a team of Intel engineers [plotted] the hardware architecture of their first integrated microprocessor.” Dialing back as far as Frank Norris’s McTeague (1899), Wutz shows how profoundly disturbing was the introduction of the typewriter to “Norris’s idea of authorial agency, registering as […]
[…]even of a spider swimming through a tree, practiced in our actual perceptions. Which we’re working on, to see better like a quantum counterpart or osmosis we’re in the midst of. So, like witness, weighty impediment, reciprocal lens seeming to tell us about ourselves with each other, is water thus our shared incompleteness? Doubting the Gaia theorists, I am willing to wait, a form of listening, for signs that the Gulf Stream is a living organism even if just the conveyor for passengers, such as plankton, Sargassum weed, dolphins, and, at least until recently, 600-pound bluefin tuna. In the current […]
[…]of the patron saint of elevators. Like the Pompidou Center in Paris, this material exposes the working guts of symbolic structures. The material also, I think, makes a claim for knowledge independent of intuition or basic empiricism – for specialized information not usually found in fiction. Call this information a Thirdsource. The passages about the elevator in turn make the pages of The Intuitionist a textual Thirdspace, for the elevator material is, in Soja’s terms, both real and imagined, researched and invented. The material may seem marginal to plot and character but is central to the book as a hybrid […]
[…]creative writing programs and book awards in the literary marketplace. Circulation and reception studies invoke the market not only in terms of the dissemination of literary texts but also as a kind of democratic, cosmopolitan public, one that counters older conceptions of the literary text as inviolate, impersonal, and distant from the contaminations of mass culture. These ways of thinking economics into literature are vital to literary studies today. Michael Clune’s American Literature and the Free Market, 1945-2000 persuasively argues for a different, formally sophisticated mode of engaging with economics and literature that provocatively posits an intimate relationship between literary […]