Search results for "critical code studies working group"
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[…]The Beat Generation and America (New York, Random House, 1979). Nicosia, Gerald, Memory Babe: A Critical Biography of Jack Kerouac (Harmondsworth: Penguin, 1983). Podhoretz, Norman, ‘The Know-Nothing Bohemians’, in Beat Down to Your Soul: What Was The Beat Generation ed. by Ann Charters (USA: Penguin Books, 2001), pp. 479-493. ‘Romandson’ ‘Who Gives Form to Noise? Interactive Music’ in Noise, catalogue to accompany Kettle’s Yard exhibition, March 2000 (Great Britain: Kettle’s Yard, 2000). Sargeant, Jack, ‘Towards the Medical’ in The Torture Garden 2 (Great Britain: Creation Books, 2001), pp. 36-40. Shapcott, John, ‘I Didn’t Punctuate It’: Locating the Tape and Text […]
[…]Tom Raworth. Both Niedecker and Raworth may be characterized as mavericks. Both have strong group affiliations but are loners, working in isolation. Both are obsessed, in their condensed, “minimalist” lyric, with the grammaticity and paragrammaticity of language, both are intensely “personal” and yet intensely oblique and constrained love poets. To read Creeley against Niedecker and Raworth suggests, in any case, that in making genealogies, it is high time to go beyond nation and gender boundaries, high time to cast a wider net so as to capture, in Creeley’s words, “whatever is.” Works Cited Creeley, Robert. Contexts of Poetry: Interviews 1961-1971. […]
[…]1981, but personal experience and anecdotal evidence would tend to indicate otherwise. Gaming groups do not tend to adopt “Raid on Innsmouth”-style multiple-character play for Call of Cthulhu despite (or perhaps because of) the timid exhortation of the rulebook concerning the utility of multiple characters (Call of Cthulhu 2004, 28 – 29). Even scenarios designed to be run at gaming conventions, while allowing for wildly variant character groups or settings (since they need not support an ongoing campaign) seldom tamper with the established “horror mystery” narrative structure, although they may compress it to fit in a four-hour time slot.One example […]
[…]in reality” (Chainmail 1971, 7).Page reference taken from the 1975 third printing by Tactical Studies Rules. Chainmail‘s Fantasy Supplement introduced many concepts that have endured through all editions of Dungeons & Dragons, including monsters like elementals and the chromatic dragons and spells like fireball, lightning bolt, and polymorph. Magical swords and arrows appear for the first time, as does the concept of dividing creatures by their philosophical alignment to law and chaos. Yet, despite these creative innovations, Chainmail is not a role-playing game, but rather a set of brief rules specifically meant to be used to simulate battles between large […]
[…]present players with a series of challenges – with one, and only one, solution (generally hard-coded) for each. To open the gates to Hell, you must use the bell, the book, and the candle in a prescribed order. To get past the level boss, you must kill it, and there’s some little trick to doing so. As you move away from hard-coded systems to algorithmically driven ones (games set in 3D spaces with skill-driven combat, for instance, and games with physics engines), it becomes increasingly possible for players to discover ways to interact with the physical environment to solve problems, […]
[…]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 […]