Search results for "critical code studies working group"
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[…]in their dramatic fight” (108). The panorama thus suspends the viewer’s ability to reflect critically on what they are seeing, as “the picture was designed to arouse, or even create, nationalistic and patriotic feelings in the audience” (112). Because virtual image spaces produce even more powerful immersive effects, Grau adds that they exercise an even greater degree of control over the observer: “In virtual environments, a fragile, core element of art comes under threat: the observer’s act of distancing that is a prerequisite for any critical reflection” (202). This is most clearly illustrated in Grau’s discussion of Charlotte Davies’ Osmose […]
[…]Press. —. (1997a). “Nonce Upon Some Times: ReReading Hypertext Fiction.” Modern Fiction Studies 43, no.3 (1997): 579-597. —. (1997b). Twelve Blue. http://www.eastgate.com/TwelveBlue/. Landow, George P. (1992). The Dickens Web. Watertown, MA: Eastgate Systems. —. (1997). Hypertext 2.0: The Convergence of Contemporary Critical Theory and Technology, 2nd edition. Baltimore: Johns Hopkins University Press. Langer, Suzanne (1953). Feeling and Form. New York: Scribner. Larsen, Deena (1994). Marble Springs. Watertown, MA: Eastgate Systems. Laurel, Brenda (1991). Computers as Theatre. New York: Addison-Wesley. Lynch, Kevin (1960). The Image of the City. Cambridge, MA: The MIT Press. Marshall, Catherine C., and Frank M. Shipman (1993). […]
[…]of literary phenomena is trivial and that “digital” is a redundant term (in cultural studies at least). It is used for media that would be better characterised as “literal.” This may present itself as a ironic circumstance. I may appear to be proposing that we apply critical tools and criteria from a world of relatively conservative cultural authority, from print culture, from alphabetic minds, and attempting to use them to overdetermine our brave new world of networked and programmable media. However, it should be clear from what I’ve said so far that I am concerned with addressing the materiality of […]
[…]machine of perfectly definite form. (Hodges 1983, 104) The varying symbolic properties of computer code become compressed, and function in a pun-like manner, inwardly enabling the functionality of a code-driven conceptual machine within specific hardware environments, while outwardly presenting media and physical process variables. The body becomes enmeshed experientially. A participant exploring such media-spaces becomes structurally coupled with the authored artifacts of computational media elements and processes. Maturana describes this as a linguistic domain. Yet we are just beginning to experience the fruits of how someone uses this potential functionality of computer-based authorship, when they draw upon a cogent field […]
[…]need a map of the group in order to find their current or desired position in the group. Groups need a map to reflect on their limits and internal structure. This map can be either a metaphorical or a literal map. Maps have historically been very important for geographically circumscribed groups. On a country’s map, citizens can find their homes, their proximity to the capital, their range of travel experience, and so forth. Maps usually incorporate several kinds of information; e.g., political boundaries, roads, and elevations might be included on one map of a region. No map can incorporate all […]
[…]that provides for a potential point of agreement between the participants; is it likely that newsgroup posters using the Conversation Map to read their newsgroup come to the same conclusion? I don’t know. It does seem that this perspective could be fruitful for continuing work – how can the Conversation Map be restructured and extended to serve as well as possible the goal of helping to make very large-scale conversations more self-reflective? And, to share in Sack’s refreshing optimism, I hope that critical technical practices like his may make such cultural changes possible. Rebecca Ross responds Warren Sack […]
[…]creole is not, however, made up from two natural languages but rather from English and computer code. Code erupts through the surface of the screenic text, infecting English with machine instructions and machine instructions with English, as if the distinction between natural language and computer commands has broken down and the two languages are mingling promiscuously inside the computer. In addition to these linguistic strategies are rewritings of myth. Drawing on a range of classical references from the story of Echo and Narcissus to Minoan funeral practices, Memmott reenvisions this material to make it enact narratives about how human subjects […]
[…]&Now was a refreshing turn from that. Steve Tomasula did a great job of bringing writers working on margins together in South Bend. The conference also got me thinking that one thing the ELO should do is help people like Steve who are interested in putting together such festivals to mobilize an e-writing contingent. While folks like Miekal And, Stephanie Strickland, Rob Wittig, Mark Marino, and The Unknown were present at &Now, Steve mentioned to me that he was hoping a few more electronic writers could show up. And it would be interesting to see other combinations: a festival of […]
[…]Christians, we believe in peace and turning the other cheek, we seek to bring others into our group). Such communities might be called centrifugal. Their energy flows outward. Others, at other times, think of themselves in opposition to something (we hate America, we are against America, our hatred of the evil is what binds us together in communal purpose, we must keep our group pure). These might be called centripetal communities, with the energy of their values and ideas pouring in toward their center. The problem with these categories is that they are ambiguous. Is light a wave or a […]
[…]of gender politics as they are represented in the mass media (what we might call empirical studies of postfeminism); critical elaborations of feminism in relation to other prominent literary and cultural theories (what we might call theoretical postfeminism); and finally, the search on the part of women creative writers for new narratives that make sense of women’s lives beyond those already identified by feminist scholars (what I will call literary postfeminism). Feminist media studies scholars have long been interested in depictions of women in television, film, and, more recently, on the Internet. Over the past decade and a half, scholars […]