Search results for "critical code studies working group"
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[…]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 […]
[…]a bit too much of conservative sympathies and that wasn’t in tune enough with the established codes of the in-group. Nagle, however, does identify herself as a person of the left, essentially much in line with what she calls the “materialist” leftism of a Bernie Sanders or Barbara Ehrenreich. The online brigades of Tumblr and the like, in turn, she deems to be representative of the “liberal left” of America (Kill 68). These labels seem rather accidental, however, and so we return to our initial problem of the ubiquity of underdefined concepts: It is not at all clear what it […]
[…]here for convenience but of course rules are enacted, at least for the most part, by the game by code and also partially through the game’s community in the case of multi-player games. Although code is an essential part of the game and it influences heavily our overall experience, it does so in a way that is mostly opaque to the player. Rules however, are either presented to the player directly or are learnt through interaction with the game system; testing its boundaries for what is and is not possible in the world. Rules are a crucial element of shaping […]
[…]an attitude, one must set oneself apart from the object of critique – one must view it “from a critical distance.” For the critically minded, the only alternative to critique is affirmation, or the mindless acceptance of the status quo. In Luhmann’s view, this theoretical attitude is played out: “The distinction between affirmative and critical fails to connect with what is empirically observable […] because it excludes the possibility that what has realized itself as society gives rise to the worst fears, but cannot be rejected. This is the case if one considers the evolutionary improbability of self-supporting structures, the […]
[…]human will (with just a little bit of nondenominational faith for good measure). It is critical that this interview is presented over the radio (the medium of Voice), and that the dancer inspires the Parkers to “personalize” their music by adding a singer. In other words, at a certain level, Ambient Parking Lot opts for a familiar configuration of human-centered agency. It is critical, as well, that this emphasis occurs in a rare (for this text) first-person narrative. The “I” in the dancer’s narration ultimately functions as an antidote to the propulsive drive of the “We”; it is a device […]
[…]intention and would insist instead that these names, words, and messages were knowingly encoded, but not by writers or authors; on the contrary, the paragrams would be “knowingly” encoded by language itself.” Jhave: No […]