Search results for "critical code studies working group"
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[…]in the early- and mid-twentieth century as being a key argument for the biological equality of groups (and, often, the relative equality of group cultures). This was not to say, however, that “racial” populations did not sometimes craft, nurture, and pass on, distinctive cultural traditions. One of Boas’s students, the anthropologist Zora Neale Hurston, worked to record such cultural traditions among African American populations in rural Florida and Afro-Caribbean populations in Haiti and Jamaica. She found folktales and religious traditions of hoodoo that were particular to some populations of African Americans living across the South; likewise, to her eye, Haitian […]
[…]consciousness, but rather with determining what the brain is. This return to ontology in cognitive studies, concerning what we know not how knowledge is constructed or narrated, has found a popular audience that eludes contemporary literary and cultural studies. A recent school in the field of New Media, known as “Object-Oriented Ontology,” similarly reflects this turn away from introspection, meaning, and agency, while bidding fair to activate a new popular audience through the sustained use of blogs, networks, and a whole range of media affordances that become, themselves, objects of knowledge. It’s that last characteristic, the creation and activation of […]
[…]up for the first time (and only once) in the concluding chapter. One feels the absence of these critical engagements more and more as the book goes on. Some might commend Chodat for eschewing poststructuralism and following his own, less familiar, critical and philosophical lights. Such “individualism” is indeed commendable, given the right circumstances, given the proper context. In the case of Worldly Acts, the refusal to engage with well-rehearsed, well-known poststructuralist investigations into the philosophy, history, and politics of agency opens up the book to the charge of anachronism. As for the “remarkable range of sentient things” (234) in […]
[…]Joss Whedon and Television Creativity.” Slayage: The Online International Journal of Buffy Studies 7. http://slayageonline.com/Numbers/slayage7.htm Lavery, David (2003). “Apocalyptic Apocalypses: The Narrative Eschatology of Buffy the Vampire Slayer.” Slayage: The Online International Journal of Buffy Studies 9. http://slayageonline.com/PDF/lavery2.pdf Lavery, David (2004). “‘I Only Had a Week’: TV Creativity and Quality Television.” Keynote address at Contemporary American Quality Television: An International Conference, Trinity College, Dublin. Lavery, David (2007). “The Island’s Greatest Mystery: Is Lost Science Fiction?” In The Essential Science Fictional Television Reader, edited by J. P. Telotte. Lexington: University Press of Kentucky. Lindelof, Damon (2006). Heroic Origins: An Interview with […]
[…]of dialogue. First of all, then, Derrida’s method, Davis argues, is to apply a “sufficient critical pressure” to a text to result in a “disruptive semantic excess” (28) – and note how Davis’ title (Critical Excess) has been severed, or spread out, or disseminated, into his characterization of Derrida’s method. If Derrida sees his work as a “duel of singularities”, of reading and writing, that he “writes toward … the event of another text” … literature “names something that cannot be contained by rules and principles” (29); and while the text demands “absolute fidelity,” there’s always a remainder (Lacan’s objet […]
[…]I look at an article in Russian, I say, ‘This is really written in English, but it has been coded in some strange symbols. I will now proceed to decode” (qtd. 65). And indeed, through most of the Cold War, MT energies and resources were funneled into translating (nominally, at any rate) more Soviet data than the human component of U.S. intelligence agencies could possibly process, even as the agents themselves were thereby absolved from any need to actually learn Russian (96–97). Lennon bends this in two directions: toward “the drive to optimize” (qtd. 63), on the one hand, that […]
[…]such as Noah Wardrip-Fruin (Expressive Processing), and Mark Marino (“L.A. Flood,” Critical Code Studies), among the many other artists and apostles of three-dimensional space. Beyond the Screen is divided into three sections, each of which considers one way that new media literary aesthetics can be said to move beyond the flat grid of the computer terminal. The first section considers the relation between literature and locative, spatially-informed media; the second offers diverse perspectives about the transformation of literary genres vis-à-vis digital media; and the third presents a short collection of essays that focus on the problems and practicalities involved in […]
[…]contractions and expansions of time, in the narrative’s process time. While earlier when working with doubly deictic subjectivity, process disrupts the traditional model of narrative frequency, here it distorts duration. As such, two of the fundamental categories of narrative time are unsettled somewhat by the kinds of interaction that TOC, as a new media novel, encourages. The Logic of Chronology: A Conclusion The differing experiences offered by the Chronos box and the Logos box can be linked to the character’s names. Chronos is a well known Greek god of time, and thus it seems apt that his box was a […]
[…]to manipulation. Abbott’s Flatland is something of a cult work, long unacknowledged in literary studies and, until fairly recently, nearly owned by the mathematics community where it is prized for its elegant use of analogy to introduce students to the concept of unperceivable dimensions beyond the familiar directly measurable three. Based on discussions with fans of the book, it seems that many young students in middle school mathematics classes beginning in the late 1970s-1980s were introduced to the work as part of the class curriculum. Others came across the Dover thrift edition or possibly heard a reference to it in […]
[…]back and re-adjusting them (this was, of course, the cause of the Y2K crisis). At the same time, code is also written with a view to changes likely to happen in the next cycle of technological innovation, as a hedge against premature obsolescence, just as new code is written with a view toward making it backward-compatible. In this sense too, the computer instantiates multiple, interacting, and complex temporalities, from micro-second processes on up to perceptible delays. Humans too embody multiple temporalities. The time is takes for a neuron to fire is about .3 to .5 milliseconds. The time it takes […]