Search results for "critical code studies working group"
| Results 171 - 180 of 1106
|
Page 18 of 111
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[…]and the annotations and commentary surrounding it. Such a discourse remains especially vital to critical studies of electronic literature, since most works composed for digital distribution present themselves simultaneously as two very different types of linguistic structures: as programmable code, and as a separate media object or interface. The significant, if underemphasized, gap between these two levels of writing and production is especially apparent in any electronic or programmable literary work, allowing authors and users alike to view each respective project as a working database of related functions, processes and media events. Arguably the relatively new, but growing study of critical […]
[…]Literature in Europe. Bergen: September 11-13, 27 Oct. Retrieved October 2012. http://elmcip.net/critical-writing/aesthetics-materiality-electronic-literature. Bronowski, Jacob (1973). The Ascent of Man. Boston: Little, Brown and Co. Carter, Paul (2004). Material Thinking: The Theory and Practice of Creative Research. Melbourne University Publishing. Cayley, John (2006). “Lens: The Practice and Poetics of Writing in Immersive VR.” Leonardo Electronic Almanac, “New Media Poetry and Poetics” Special Issue, Vol 14, No. 5-6. http://leoalmanac.org/journal/vol_14/lea_v14_n05-06/jcayley.asp. –, (2005) “Writing on Complex Surfaces.” dichtung-digital 35 (2/2005) . Originally given as a paper at the 6th DAC (Digital Arts & Culture) Conference, IT University, Copenhagen, 1-3 December. de Certeau, Michel (1984). The Practice […]
[…]successive patterns of letters and spaces and making a “frequency table” for each character group in a document’s source text (Hartman 55).The successive patterns of letters and spaces are called “character groups” by Kenner and O’Rourke. This connection is not only aesthetic (e.g., that the output of Gnoetry and similar programs can resemble those of TRAVESTY), but also social because the two programs influenced small communities of experimental digital writers whose practice benefited and expanded due to camaraderie resulting from use of common programs; they have become mileposts for the discipline. TRAVESTY scrambles (or permutes) text by replacing each character […]
[…]and conservatives. Works Cited Bellow, Saul. Mr. Sammler’s Planet. New York, NY: Penguin Group, 1977. Print. —. The Adventures of Augie March. New York, NY: Penguin Group, 1984. Print. Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Harvard University Press, 1984. Print. DeLillo, Don. White Noise. New York, NY: Penguin Group, 1986. Print. Ellison, Ralph. Invisible Man. New York, NY: Random House, Inc., 1952. Print. Hoberek, Andrew. The Twilight of the Middle Class: Post-World War II American Fiction and White-Collar Work. Princeton, NJ: Princeton University Press, 2005. Print. Le Guin, Ursula K. The Dispossessed. Harper & Row, 1974. […]
[…]Moraru’s argument amounts to little more than labeling Iran “totalitarian” and Nafisi’s group thereby politically subversive for the very act of holding a reading group in Iran. This argument seems simplistic and decontextualized compared to the more nuanced positions taken by Rowe (whose essay Moraru briefly cites and dismisses) and Hay. Rowe points out that Nafisi gives the “impression that the Islamic revolution occurred in a political vacuum,” omitting that the shah’s regime was backed by the U.S. (258). Moreover, Nafisi completed her book in the U.S. with a grant from a the U.S.-based Smith-Richardson Foundation for a primary audience based in the […]
[…]cultural studies (292). Steel’s book participates in an exciting movement to “bring medieval studies into mutually beneficial critical relations with scholars working on a diverse array of post-medieval subjects, including critical philosophies that remain un- or under-historicized” (Joy 292). Such critical philosophies include posthumanisms and new materialisms of various stripes, affect, thing, and object oriented theory, ecocriticism and critical animal theory, and theories of sovereignty and biopower. Steel’s book certainly brings the Middle Ages into intimate relationship with contemporary critical philosophies, particularly those philosophies devoted to deconstructing the sovereignty of the human and elaborating an ethics of co-constitution and co-existence. […]
[…]English and other national literatures), computer science, digital culture, communications, media studies, performance studies, art, and education. This is a cross-disciplinary field where methods may vary considerably, and the shared subject matter is, largely, the discussion of creative works “with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer,” to quote the Electronic Literature Organization’s definition. In this paper, I present an analysis of 44 PhD dissertations on electronic literature published from 2002 to 2013. I used the open source network analysis software Gephi to visualise the citation networks and patterns […]
[…]it was because they did all of these things in a way that maintained a balance between creativity, criticality, and working with emerging technology. The ELO is a place where philosophical, political, and scholarly inquiry maintain a fine balance with critical making and aesthetic experimentation. And that’s not easy to do. Perhaps in another article, I will take up Stephanie Strickland’s call for criticism more directly, but what I want to advocate for in this piece is not a new or radical change to the ELO’s mission, but rather a re-affirmation of what I have already witnessed: a continued and […]
[…]Demon” recounts Drucker’s theoretical understanding of signs and of reading. “Graphesis and Code” applies this argument to the realm of images. The case studies discussed are both theoretical and practical explorations realized through drawings, rhetoric, and software. Ivanhoe, the ‘Patacritical Demon, Temporal Modeling, Subjective Meterology, and the structure of the artists’ books digital archive ABsOnline, are all examples of outcomes from Speclab‘s work. With her main collaborators, Jerome McGann and Bethany Nowviskie, Drucker designed these projects to examine the foundations of humanities research as it encountered electronic environments, particularly seeking to understand how the “interpretative task of the humanist is […]
[…]Athens and London: University of Georgia Press, 1970. 184-202. Marino, Mark C. “Critical Code Studies.” Electronic Book Review (2006). Perloff, Marjorie. Unoriginal Genius: Poetry by Other Means in the New Century. Chicago: The University of Chicago Press, 2010. Place, Vanessa, and Robert Fitterman. Notes on Conceptualisms. Brooklyn: Ugly Duckling Presse, 2009. Portela, Manuel. Scripting Reading Motions: The Codex and the Computer as Self-Reflexive Machines. Cambridge: MIT Press, 2013. Raley, Rita. “Interferences: [Net.Writing] and the Practice of Codework.” Electronic Book Review (2002). Ricardo, Francisco J. The Engagement Aesthetic: Experiencing New Media Art through Critique. International Texts in Critical Media Aesthetics. New York: […]