Search results for "critical code studies working group"
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[…]of a certain size. So I adapted TiddlyWiki for longer works. I printed out the TiddlyWiki source code and took it with me on the subway on the way to work. I jotted notes in the margin and highlighted things I didn’t understand. Based on that, I built small command-line tools that allowed me to work in a way that made sense to me, but eventually generated TiddlyWikis. Of course, TiddlyWiki had an open source license, so I could do that. I think platforms build on each other. They don’t usually emerge from nothing. They certainly react to each other. […]
[…]the noninvasive brain sensors, because they are now beginning to track brain signals, they can decode speech. They can decode what you are going to say. They can decode the music you are listening to. They can decode what you are seeing. They can do these under specific conditions, which are usually fMRI, but also magnetic encephalopathy, and in the last two weeks there was a merger between Forest Neurotech and Butterfly. Butterfly produces this handheld ultrasound sensor, which, in the medical context, is very, very helpful. SR: I know a digital artist who’s moved to that company. JJ: Wow. […]
[…]debate on cybertext, an ecocritical thematic section on natural media, a thread on critical code studies and – most recently – on AI and digital writing), but the journal has been consistently offering new formats of critical interventions and academic exchange, such as riPOSTes, thREADs, essay gatherings, and editorial glosses. All of them are based on the idea of ebr’s intertext, in “contrast to the decontextualized and ahistorical approach to presenting essays” in outlets such as Academia, ResearchGate, and such like (Fan 2023). ebr, circa 2025, is now in the process of gathering contributions whose authors (or readers) have self-consciously […]
[…]Their collaboration also became the springboard for John Matthias’s “Working Progress, Working Title [Automystifstical Plaice].” In what some have called his richest poem, Matthias allows the factual details of the Lamarr-Antheil story to expand into a meditation on the “progress” of sound-and-noise, film, film history, history generally — and how the “frequency hoping” of technology, representation, systems of constraint, and sources of power go into the composition of what we call culture. A discussion of “Working Progress” and other Matthias poems can be found in the current issue of Samizdat. Click here to go to the […]
[…]unity. It falls victim to overambition, missing attainable goals in the pursuit of a new ecocritical understanding. The first section of the book examines the history and future of wilderness and features essays by R. Edward Grumbine, Denis Cosgrove, and Max Oelschlaeger. Each writer treats the dual concepts of “wilderness” and “wildness” but there is little common ground among them as to definitions or methodology. As a result, the authors’ collective efforts to illuminate these terms serves instead to obfuscate an already vexing issue of terminology. Differentiating between wilderness and wildness forms a crucial subtext throughout the book, but only […]
[…]Centre for Contemporary Culture, University of Jyväskylä. —. (2001b). “Computer Game Studies, Year One.” Game Studies 1, no.1 (July 2001). http://www.gamestudies.org/0101/editorial.html. Avedon, Elliott M., and Brian Sutton-Smith (1971). The Study of Games. New York: Wiley. Bénabou, Marcel (1998). “Rule and Constraint.” In Oulipo: A Primer of Potential Literature, edited by Warren J. Motte, Jr. Normal, IL: Dalkey Archive Press. Bolter, Jay David, and Richard Grusin (1999). Remediation: Understanding New Media. Cambridge, MA: MIT Press. Bordwell, David (1984). Narration in the Fiction Film. Madison: University of Wisconsin Press. Bremond, Claude (1980). “The Logic of Narrative Possibilities.” New Literary History 11 (1980): […]
[…]by Jordan Mechner (1997). (Jordan Mechner, Phoenix Licensing) back to Towards Computer Game […]
[…]resembles Hollywood movies in both form and content. Counter to the prevailing sentiment in film studies, Ulmer reads the later work in terms of the earlier work to both confound the apparent opposition and to suggest a model for applied grammatology. Ulmer’s reading resembles Roland Barthes’ S/Z (1974), a re-reading of a Realist story to recover a visual and semantic montage of the fragments with which the story emerges. Ulmer re-reads Eisenstein’s last completed film as a picto-ideographic (visual semantic) montage. Lesson two: modeling My own work, in Artificial Mythologies (1997), used a similar strategy to read Roland Barthes’ earliest […]
[…]between human exploitation and animal exploitation: “In both cases, members of a more powerful group arrogate to themselves the right to use beings outside the group for their own selfish purposes, largely ignoring the interests of the outsiders. Then they justify this use by an ideology that explains why members of the more powerful group have superior worth” (pp. […]
[…]that particular aura from becoming a reality. In some sense, The Companion to Digital Literary Studies cannot succeed anymore than this review could succeed in addressing all the issues relevant to digital literary studies. The topic is broad, the landscape expansive, and the change rapid. A fair amount of the collection is about classification, distinguishing digital literature as apart from regular literature. In essence, it is a taxonomy. But it is also a narrative, one that tells a story that ends at the moment of digital literature’s potential ascendance. Liu calls for good new media narratives that envision “whole imaginative […]