Search results for "critical code studies working group"
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[…]to which flesh and blood readers can read and assign meaning (potential or delayed meaning) to any code, including machine readable codes. “The New Art [says Carrión] appeals to the ability every man has to understand and create signs and systems of signs” (61). Because they point to different material facets in BPaS, the QR codes are, thus, instances of non-figurative language that further emphasize the structure and configuration of the textual environment. Carrion’s systems of signs can too be taken to think about the textual environment at large that has been created by Borsuk and Bouse and is re-created […]
[…]how intensities can become extensive, moving from the infra-individual outwards towards the group or from the group towards new members, but the volume would benefit by discussing the relational field of affect across the flows of capital as they play out in groups. That, or perhaps it’s better not to think about changing the world at all. The better part of me sees Massumi’s work as interested not in changing or reversing the neoliberal course, but instead to use joy as did the Zapatistas—to create new worlds inside the old. The third thought follows from the second. Missing from the […]
[…]his spinning of gears, keeping body and soul together as a studio hack, constantly writing and reworking scenes for MGM and other studios that are dismissed, written over, projects stalled and discontinued. O’Nan deftly weaves in just enough dialogue scenes with familiar literary and Hollywood names to keep inquiring readers on point and alert: Humphrey Bogart and his aggressive wife, Mayo Methot, Ernest Hemingway, Nathanael West, Dorothy Parker, Joan Crawford, and Robert Benchley, as well as the usual Fitzgerald suspects, his secretary Frances Kroll, a young Budd Schulberg, and of course, Sheilah Graham, who tolerantly and doggedly comes to Scott’s […]
[…]the question, “How does the work happen in the traffic between people, their formation into a group, a coterie, an office, a class, an institution, a public, a counter-public, a school, a neighborhood, a network?” (27). In the case of McSweeney’s, an impetus to this formation is the effort of its founder, the novelist Dave Eggers, to create an aura, not only of “anticommercial” artistic authenticity, but also of interpersonal authenticity. Hungerford discovers this aura in the publication’s offices (35), where an active social scene merges with the scene of production, providing workers who lack Eggers’s celebrity with a valuable […]
[…]that,” manifest itself in postmodern poetry? What does that tell us about artists and writers working within the remit of postmodernism and, furthermore, what might their work then tell us about postmodernism as a moment – or a series of moments – in literary history? Stein’s “Present Spot of Time” In many ways, Gertrude Stein can be viewed as an early exemplar of postmodern literature, and many postmodern scholars have sought to claim her as such (Berry 1992; Perloff 2002; Schmitz 1986). In her early compositions we can detect a number of characteristics that would later become synonymous with postmodern […]
[…]some of Winterson’s earlier works, concerned as they are with matter, might now benefit from a critical posthumanist reading. Critical posthumanism recognizes the continued hegemony of old and new master narratives, whilst at the same time rejecting any telelogically driven and technologically deterministic visions of the future. Drawing on ecological postmodernism’s understanding that everything is interrelated, and material ecocriticism’s theorization of matter’s narrative agency, critical posthumanism is able to offer myriad readings of humanity’s storied habitat. The Stone Gods suggests that storied matter, rather than master narratives, will have the last word about Planet Blue. And the home to which […]
[…]500 hundred-year-old master narrative of Humanism still needs to be contested.” Drawing on ecocritical conceptions of narrative agency situated in and arising from the environment and its matter, Gibson suggests that “critical posthumanism is able to offer myriad readings of humanity’s storied habitat.” Alexandra Dumitrescu proceeds in a similar vein, directly questioning what might come next or, indeed, what is already among us in “What is Metamodernism and Why Bother? Meditations on Metamodernism as a Period Term and as a Mode.” In an essay replete with literary examples, she returns to the regional context of New Zealand fiction and poetry […]
[…]“‘A scheme of echoes’: Trevor Joyce, Poetry and Publishing in Ireland in the 1960s.” Critical Survey 15.1, Anglo-Irish Writing (2003): 3-17. Print. Edwards, Marcella and John Goodby. “‘Glittering Silt’: The Poetry of Trevor Joyce and the Myth of Irishness.” Hungarian Journal of English and American Studies 8.1, Irish Issue (Spring 2008): 173-98. Print. Engberg, Maria and Jay David Bolter. “Digital Literature and the Modernist Problem.” Digital Humanities Quarterly 5.1 (2001). Web. 1 Mar. 2016. . Galvin, Mary. An interview with Graham Allen, Cultural Mechanics podcast. Produced by James O’Sullivan. Web. 20 Feb. 2016. . Goodby, John. Irish Poetry since 1950: […]
[…]is not an objective or unmediated source; it is a certain subsection of published poetry. Working to form thoughtful critique at the intersection of technology and identity, Lisa Nakamura’s writing usefully tempers Johnston’s enthusiasm. She warns that “in order to think rigorously, humanely, and imaginatively about virtuality and the post-human, it is absolutely necessary to ground critique in the lived realities of the human. The nuanced realities of virtuality—racial, gendered, Othered—live in the body.” Though the theoretical realm of the post-human has many emancipatory possibilities, it seems useful to remind ourselves that, for now, the world writes upon our bodies, […]
[…]in resisting the constraints of Big Software on digital media would, I believe, have two options: working with non-proprietary tools, or subverting proprietary tools. John Cayley’s The Listeners is clearly inscribed in the latter. Finally, The Listeners not only highlights the workings of programmed language but it also, and especially, demonstrates the possibility of a literary listening to programmed language, opening a space for the inscription of human-intentionality beyond the surface level of the human-computer interface instrumental rationale. As a literary intervention exploiting Alexa’s software and natural language processing frameworks, this work creates a new form of attention to the […]