Search results for "critical code studies working group"
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[…]even with crews whose business model will entirely depend on small donations. However, not all groups share the same ideals about the charitable nature of their work. For instance, scanlating communities do not uniformly share the ethical code prescribing the principle of non-interference with established book publishers who have licensed or are in the process of licensing the translations of manga comics. Some groups will refuse to strictly limit themselves to scanlating discontinued or out-of-print manga and may or may not remove from circulation a scanlation that becomes commercially available by accredited channels, even when they are requested to do […]
[…]85, 86 , 89): the first time to say that he is planning it, the second and third to describe his working conditions (unable to type continuously because of disturbing neighbours, and so writing by hand and making lots of notes), the fourth to describe the “incredible slowness” of his progress on it, working from midnights to 4am. He discusses further struggles with it months later in a letter to Charles Socarides: though it “fits so insanely well with facts of life,” “I watch myself ruin it” through “bad writing,” an example of which he extracts for proof (Letters 97). […]
[…]can be ambiguous and evolving. A well-known example is Nick Montfort’s Taroko Gorge, the source code of which is easily accessible and that has inspired many others to make their own generators by modifying the code. For this reason, the work’s authorship has been described as “a hybrid body of human and synthetic writers and readers” (Marques da Silva & Bettencourt 47). The authorship of the works in the research material could also be regarded as much more complicated than the paratexts are letting on. ChatGPT produces text based on probabilities and patterns from large quantities of data, and its […]
[…]part of the world – geographically and socially speaking – strives to get that connection working. Works Cited Adema, Janeke. “Experimental Publishing as Collective Struggle. Providing Imaginaries for Posthumanist Knowledge Production”. Culture Machine. Journal of Culture and Theory, vol. 23. https://culturemachine.net/wpcontent/uploads/2024/09/CM23_Adema_ExperimentalPublishing.pdf Accessed: Oct. 1, 2024. Arcangel, Cory. Preface. Digital Folklore by Lialina and Espenschied eds., Merz& Solitude, 2009. Barthes, Roland. S/Z. trans. R. Miller. Blackwell, 1974. Berens, Kathi. “Third Generation Electronic Literature and Artisanal Interfaces: Resistance in the Materials”, Electronic Book Review, May 5, 2019, https://doi.org/10.7273/c8a0-kb67. Chun, Wendy Hui Kyong. Programmed Visions. Software and Memory. The MIT Press, 2011. Ensslin, Astrid and […]
[…]we’re talking about your project, Surveillance Microcosms, which is a book project you’ve been working on for a while. Mathias Klang: That’s right. I’ve been kicking around the idea for a long time. I thought first, like you do, it’s a small article, and then I realized, no, it’s grown, and then coincided nicely with the Fulbright. So, I thought, this is amazing. I’ll have time to start writing it, planning it out and developing it. I’ve done some really good work. Scott Rettberg: Excellent. When do you think the book’s going to be published? Mathias Klang: I hope by […]
[…]games and militaristic games is almost a subgenre of research in itself, both in terms of the more critical studies that—the industrial or, as you were saying, the military complex, the societal relationship between those. You asked if first person shooters are a transgressive genre, but if you could just ask another question, whether militaristic shooters are a transgressive genre, and in some respects, they can be seen as transgressive because they deal with militaristic things and deal with war; that is obviously a transgressive topic in many ways. But in other words, you see that the commercial developers, when […]
[…]and artists using language as the material of their artwork; what it was called language art, with groups such as Art and Language as well as independent artists and writers working using language but without a PhD. In the ‘90s, as a visual artist with a background in English Philology, I was interested in different art forms including sound art, installations, performance, and videoart. I explored the use of phonetics, alphabets, visual language, and interaction through performances like Speaking in Tongues (1995) and videos, such as From A to Z (1995), Social Interaction (1996), and Learning a Language (1999). I […]
[…]of the first chapter. This project came from a real interest of the intersection between black studies and game studies and media theory. It came initially from this idea that so many people in game studies talk about choice, but not necessarily about freedom, right? Choice is this often binary thing, or at least this limited movement and so many decision trees and things that we do in games come down to choice, and sometimes choice and freedom are treated as being similar to one another, especially in places like the United States, where getting to make consumer decisions is […]
[…]of their designer and players. Pennyís and Frascaís approaches could be characterized as Critical Technical Practices (CTP) ñ procedures incorporating the working methods of both technical research and cultural critique ó though neither essayist uses the term. Phoebe Sengers, in this sectionís final essay, characterizes her work explicitly as CTP. Sengers attempts to formulate new designs for AI agents; such agents, although central to much AI practice (and to many cyberdramatic visions), have customarily engaged in intricate internal behavior that can be difficult for an observer to interpret. Sengersís solution to this problem may be viewed as the inverse of […]
[…]in First Person in the first person, trying to make sense of what happens when simulation becomes critical, and trying to make sense of it in the sinewy suspensions of First Person. What does it mean for simulation to become critical? In Penny’s conception, it relates to how criticism becomes embodied, how it encompasses and accounts for physical interactions with a work. Penny rightly points out that if embodied involvement in military simulations trains soldiering, then embodied involvement in desktop shooter games must also train something. Another way to frame this idea is like this: if we want to claim […]