Search results for "critical code studies working group"
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[…]desires,” Miller writes, here echoing the long-standing complaint that scholars have created a critical language so specialized that it excludes “actual readers.” There is, of course, some truth to this. Most scholars acknowledge it, some regret it, but hardly anyone believes we can (or should) turn back the clock. The “old” critical language, after all, was a kind of jargon, too. And having largely devoted itself to exhalting (the same) favored authors time and again, it was exhausted or nearly so. Indeed, Miller’s criticism, which borrows its attitudes and language from this lexicon, is a case in point. At any […]
[…]years in anonymity and asceticism. During that time he “devoted” himself to beating carpets, working in a potter’s workshop, at a building site… Eventually, in 1981, he got involved in art again. According to the words of film director Dusan Makavejev, Miroslav Mandic is the “creator of new trends.” He is by all means one of the most influential figures for young artists. Working with film, the visual arts, and literature, he uses walking as his chief method of expression. Complete devotion, according to him, is the “everyday involvement in a perpetual present.” In reality, he seems to be weaving […]
[…]bumper-sticker and t-shirt narratives are easily monitored outlets for the otherwise silenced working-class. Without bumper stickers, fastfood, Super Bowls, televangelism, and the lottery, the working class might just recognize its chronically oppressed condition and strike and spit and refuse to shop. ménage-à-quatre online As bumper stickers and t-shirts are promoted for the under classes, the “information superhighway” with its websites, bulletin boards, chat groups, and online monickers, is obsessively promoted for the middle class. Minute by minute, the official online narrative, called virtual, is encroaching on real time. In that previously-suspended, increasingly hyperreal space, the airport terminal, for example, the […]
[…]and auditory – on the Internet. As such it might now be the object of a globalized “cultural studies” by scholars who are themselves more and more transformed, in part by their use of the computer and by their inhabitation of cyberspace, in their relation to the culture of the book. This is the case even though it is still a primary goal of literary history and literary criticism in the modern languages to understand and interpret that culture of the book. The electronic form of Ayala’s Angel in the Oxford Text Archive has one tremendous advantage over the printed […]
[…]fashion of critical theory (labeling is dangerous if one wants to produce “dangerous” and critical writing). But as “play,” it’s the perfect booby trap for traditional writing. Federman A to X-X-X-X is such a hypertext too, but the interesting part of it is that it avoids any naive imitation of electronic hypertext, at least in the stereotyped and uncritical vision of it as an unstructured set of labyrinthine linked lexias which are not very motivating to read in themselves. McCaffery, Hartl, and Rice on the contrary have had the courage to make a readable, and even a very readable, print […]
[…]informatic colossus. Such an all-determining and inescapable imago of media induces a productive critical paranoia. The media are always already watching us, putting their needles into our veins: “humans change their position – they turn from the agency of writing to become an inscription surface” (210). Neuromancer ‘s Wintermute is everywhere, or as Kittler phrases it, “data flows…are disappearing into black holes and…bidding us farewell on their way to nameless high commands” (xxxix). At the same time, he enables one to see the particular and pandemic pathologies of modern paranoia precisely as psychic effects driven by the panoptic reach of […]
[…]most significant method of critique behind postmodern, postcolonial, subaltern, and cultural studies approaches” (vii). This thesis is questionable for it exaggerates deconstruction’s critical impact, and in a book that already attempts to accomplish a veritable number of tasks, it only diminishes the strength of the text’s primary arguments. Subsequently, the book tends to oscillate between a reassuring discourse about the importance of deconstruction and a paranoid discourse regarding the conflation and collusion of other theories with deconstruction. Nevertheless, the author is at least self-reflexive about his contradictory relationship to Derrida. Although many of Roman de la Campa’s critiques of theories […]
[…]each part itself composed of five parts, or “pages.” Each “page” acts as a prosodic unit, working in a fugal manner as the poet cycles through history, politics, art, popular culture and intensely personal memories, his pages riffing off of chance encounters with pages from the past: This year Raymond Chandler died and so did Abbott’s friend Costello. It’s hard to think of Abbott all alone his eyes upon Costello’s derby hanging on the hatrack in the hall. For days you keened in grief for Errol Flynn your only child’s Robin. General Marshall, Admiral William Halsey also on the list. […]
[…]each other, without having to overwhelm each other or let ourselves be overwhelmed. thREAD to critical ecologies While not wanting to burst these paradisical bubbles of foam too quickly, I would like to suggest that the metaphor of “foam,” just like Lyotard’s metaphor of the “archipelago,” implies a higher vantage point from which the totality of pluralisms can be brought into view. As congenial as the postmodern preference for pluralistic metaphors may be, these metaphors also reveal that reason has hardly given up the task of once more transcending all spheres and of taking up a privileged, bird’s-eye perspective beyond […]
[…]Oprah’s Book Club any time soon, more critical attention is directed at him than ever before. Critical attention is not only directed at what is between the covers of his books, but also at what type and shape they are. A new DeLillo novel is an “event,” that fateful intersection of publishing hype, marketing strategies, and reader expectations. The book as object and event carries significance. Thus, much of the public reception of The Body Artist was geared toward the shape of the novel, that is to say, its length, a paltry 124 pages, with large print and generous margins. […]