Search results for "critical code studies working group"
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[…]of theories must first be invented: Marx, Freud, de Beauvoir – all had to first create their critical, analytical theories. Theory has thus become, for me, a form of applied conceptual art: theory creates concepts applicable to the critical problems of our time. To paraphrase Deleuze and Guattari: if you’re not creating concepts, you’re not doing theory. And to paraphrase Marx: theorists have thus far critiqued the world, the point is to change it – to create something else. A second “lesson” Ulmer taught me was to approach the classroom as a performance space, a site where materials (bodies, ideas, […]
[…]Glass Architecture to Big Brother: Scenes from a Cultural History of Transparency,’ Cultural Studies Review 9(1) (May, 2003): 103-123. Mitchell, W. J. T. ‘Diagrammatology,’ Critical Inquiry, Spring (1981): 622-633. Morris, Meaghan. ‘Crazy Talk Is Not Enough,’ Environment and Planning D: Society and Space, 14 (1996): 384-394. Speaks, Michael. ‘It’s Out There… The Formal Limits of The American Avant-Garde,’ in Stephen Perrella (ed.) ‘Architectural Design Profile, No. 133: “Hypersurface Architecture,”‘ in Architectural Design, 68 (5-6) (London: Academy Editions, 1998): 26-31. Spivak, Gayatri Chakravorty. ‘Translator’s Preface’, in Jacques Derrida Of Grammatology trans. Gayatri Spivak corrected edition (Baltimore and London: The Johns Hopkins […]
[…]plagiarism” (214-15), highly mediated discourse where consistently, if oftentimes ironically and critically, one builds up a textual corpus by writing and working through other bodies of works. This is precisely what Kathy Acker, one of our most famous plagiarists, acknowledges in her own Bodies of Work. “I never write,” Acker discloses there, “anything new… I make up nothing” (12). For, she explains, “I never liked the idea of originality, and so my whole life I’ve always written by taking other texts, inhabiting them in some way so that I can do something with them” (27). Acker’s notorious plagiarisms mount an […]
[…]each of which positions Kac as a bio artist (be it in the fields of art criticism, cultural studies, science studies, or, most recently, in animal studies).. But I would argue that Kac’s work actually has very little to do with biological life or the life sciences. Certainly my position goes against what appears to be the impression that Kac himself is fostering. But a glance at Kac’s earlier works reveal another set of concerns: telematics, robotics, and communication broadly speaking. Telepresence and Bio Art offers a trajectory of Kac’s artistic evolution through texts, images, and documents pertaining to Kac’s […]
[…]together for the first time in September of 1960 to discuss the potential for literature. This group had two goals: “Analysis” which consisted of the revival of “older, even ancient (but not necessarily intentional) experiments in literary form” (1). Flaubert and Joyce provided the group with examples of such an experiment; their literary experiments provide “the potential layers of the novelistic onion” for Oulipo (72). The second goal, “synthesis,” involved the furthering of new forms which can be seen in One Hundred Trillion Poems, a project that exhausted every possible way in which the poetry of this collection could be […]
[…]the interface that displays the text after it goes through a series of translations from machine code to digital code to natural language displayed on screen. The appearance and disappearance of diagrams of star constellations, an integral part of accessing the electronic text, add other interpretive layers. One wonders if the dual existence of sonnets in print as well as electronic space reflects the poet’s need to retain the direct experience of the text for the reader, even as she uses the electronic media and its varied navigational functionalities as well as design possibilities to re-imagine these sonnets. In an […]
[…]truths honestly: the arguments are complex, tightly woven, and based in indisputable realities of critical discourse. Her prose is imaginative and her arguments are logical in sometimes impressive ways. Unlike much contemporary work in cultural/race/ethnicity/gender criticism, which often suffers from disciplinary myopia, Dubey ranges widely through postmodernist theories of space, cities, architecture, urban development, and cultural studies; central to her study are works by David Harvey, Guy Debord, Edward Soja, Marshall Berman, Hal Foster, Fredric Jameson, Raymond Williams, Andreas Huyssen, and others. Guy Debord, Society of the Spectacle; David Harvey, The Condition of Postmodernity (Cambridge, MA: Blackwell, 1990) and The […]
[…]equally consistent with the information the game provides. For these reasons, the setting that one group plays in is not the setting that another group plays in. In effect, role-playing games in their static published form do not describe a specific fictional world or story. They describe a large multidimensional space of fictional worlds and stories organized by unifying data. Here is an example. In the canonical Exalted setting, the Scarlet Empress disappeared in Realm Year (R.Y.) 763, five years before the story begins. Every group using the canonical Exalted setting stipulates this datum. This is a constraint on all […]
[…]developed to implement systems that output narratives in response to user input. The first case studies built using GRIOT generate interactive poetry. GRIOT is based on an approach to computational narrative that builds on research from cognitive linguistics on metaphor and conceptual blending (Lakoff and Turner 1989; Fauconnier and Turner 2002), sociolinguistics on how humans structure narrative (Labov 1972; Linde 1993; Goguen 2003), computer science on algebraic semantics and semiotics (Goguen and Malcolm 1996; Goguen 1999). A focus in the development of the GRIOT system was on developing computational techniques suitable for representing an author’s intended subjective meaning and expression. […]
[…]and inject some new event guaranteed to get the story moving again. I conclude with a small but critical observation. Most researchers working on interactive storytelling technology use the term “drama manager” for the system of algorithms that I call “Fate.” Their term is technically superior, because it more precisely describes the function of this software. However, bridging the gap between artist and programmer will require terminological compromise, and I find “Fate” a snappier and more recognizable term than “drama manager.” Here is a partial list of technical terms used by the Erasmatron; note how often I steal from the […]