Search results for "critical code studies working group"
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[…]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 […]
[…]the use of the term “person” in language studies does not correspond to its use in visual studies. Most games studies discussions use “person” in the visual style, corresponding to the viewpoint of the player. The first-person camera is the most immediate, providing a view from the eyes of the avatar with little more than a hand of the avatar-self encroaching on the image. The third person camera is more mediated and distancing, in that the separate self of Lara Croft or Master Chief is displayed on screen and followed through the game world by a cinematic crane shot. The […]
[…]our clever regimes? Or to turn the lens outward, how can we continue to satisfy that irresistible critical impulse, situating ourselves within a moment, a history, and a history of resistance? How can the calling of the writer be responsible to a common experience that seems increasingly consumed by war, catastrophe, and indeed revolution, however we choose to define that most slippery term? As always, questions are the simple part. Answers come harder, and as I have previously apologized, this piece is far too easy. The remarks that follow come at these big questions only in dim and cursory ways, […]
[…]in such broader systems. In spite of his focus on postmodern fiction, LeClair thus situated his critical perspective and eventual novelistic aesthetic within a tradition of critical realism stretching back to Georg Lukács. Whatever metafictional games or linguistic play the author engages in, the purpose of the systems novel is to enable the reader to connect his or her personal problems to world-historical economic, ecological and social processes. However, for much of Passing On, Terminal Tours seems to close off, rather than enable this perspective. This is, after all, a novel about a series of relatively privileged middle-class Americans struggling […]
[…]writer seems to be much recognized in green literary circles. More than anything this lack of ecocritical attention results from their respective writing styles and critical focus. Both writers are particularly concerned with literary formalism, giving prominent consideration to textual techniques that enlist the reader in consideration of language as much as the physical world. Such aesthetics are anathema to traditional nature writers and critics who have seen postmodern textual experimentation as dangerously disconnected and symptomatic of our alienation from the natural world. Indeed, the resurgence in nature writing and the relatively new field of ecocriticism has been labeled as […]
[…]The emphasis on the doubling of utopia in the following comments is meant to highlight points of critical convergence and divergence among these and other doubles that continue to permeate utopian critical discourse. Since it can generate new and timely perspectives on the relation between politics and culture, the assessment of these doubled relations is one of the most fruitful ways forward in considerations of the politics of literary and cultural texts. II. By writing about utopia’s textual double, the manifesto, Martin Puchner’s Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes provides a useful means of approach to the […]