Search results for "critical code studies working group"
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[…]of some “post-revolutionary” writing). History spares no one, and can hardly produce great critical minds that can distance themselves from events less than a decade past. This is not a place where Baudrillard’s dictum about the arrival of the end of history holds (not to speak of Nietzsche’s antecedent dictum of similar refrain). While shepherds continue to roam hilltops in an almost photographic semblance to the last century, history will continue, feverishly even. When these shepherds begin to chat with their local sheep cloner over satellite linked cellular phones we can in turn begin to look for and analyze a […]
[…]to investigate to what degree hypertext and democratization are linked or not (nowadays, it is uncritically assumed that hypertext automatically produces a more democratic functioning of writing and reading processes). Here, it is not completely useless to remember the very critical remarks an author such as Enzensberger made on the rapid spread of pocket books, which, mutatis mutandis, in the ’50s and ’60s meant a revolution of literary culture and habits not unlike the transformations which have resulted from putting literature on the web in the late ’90s, and which Enzensberger precisely called a pseudo-revolution, even a counterrevolution, since the […]
[…]cover which remains stubborn in signaling incongruities: printed in small type, adjacent to the barcode, is the word Fiction. In order to respond appropriately to these issues, the critical convention of rarely quoting from paratexts – references to dedications and epigraphs are the commonest exceptions – needs to be transgressed here. There is not the scope to do justice, unfortunately, to all the extensive paratextual cues in the novel. One might have dwelt, for instance, on the odd frontispiece in the novel, depicting a man, or deity, around whose body play the smaller bodies of animals which appear to have […]
[…]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 […]