Search results for "critical code studies working group"
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[…]‘cultural studies’ style arguments are incomplete in Writing Machines. A cultural studies perspective would discuss the territorialization of critical inquiry itself. For example, is Hayles predisposed to talk about materiality because her meta-project is to develop territory in which ‘electronic writing’ is on a continuum with print literature? A successful synthesis of this putative continuum would be in the interests of a Professor of English and Design / Media Arts. Hayles includes visual media and programmed environments in MSA. Their relationship to ‘literature’ needs much further exploration, and whether this approach can be reconciled with existing disciplines is yet to […]
[…]the spate of recent work by or about Burroughs since the advent of Timothy S. Murphy’s landmark critical work, Wising Up the Marks: The Amodern William Burroughs (1997), followed soon after by the James Grauerholz- and Ira Silverberg- edited Word Virus: The William S. Burroughs Reader (1998), the locus would still be adding information about the most recent titles: Naked Lunch: The Restored Text edited by Grauerholz and Barry Miles (March 2003), Oliver Harris’s William Burroughs and the Secret of Fascination from Southern Illinois University Press, and the Harris-edited 50th-anniversary edition of Burroughs’ first novel, Junky, from Viking Press (both […]
[…]seven thousand dollars a year (and rarely more than fifteen), by adjuncts (former grad students) working at similar rates of pay, and nontenurable instructors with huge workloads and no research agenda. Similarly, research is increasingly performed by a corps of assistants, technicians, and grad students under the supervision of a tenured member of the faculty (who takes the credit, and a better paycheck, but whose own life may well be diminished by the compulsion to serve as a manager, rather than a teacher and scholar). My own contribution to this section discusses the “information university” as a place where grad […]
[…]and communities. Chris Carter ‘s interview with Greg Ulmer traverses many of these themes of critical, experimental, and progressive pedagogy. Exploring the relationship between writing technologies and the formation of critical/resistant subjectivities, Ulmer’s various pedagogical experiments startle but also rebuild, dislodging students and teachers from the ossified relation of discipline and assessment, but preparing them also for a new relationship in shared commitments to social transformation. In such projects as the Florida Research Ensemble, the MeMorial, and the EmerAgency, Ulmer hopes to support the emergence of project identities both collectively conscious of collaborative commitment to emergent issues of justice and […]
[…]Barthes’ jouissance calls up a rapturous, climactic, or even violent bliss in which cultural codes and forms are fractured or transgressed. Joyce, by contrast, invokes Contour to feel the forms we create but cannot see: “I had in mind…the sense of a lover’s caress in which the form expresses itself in successiveness without necessarily any fixation” (167). Both seek a pleasure devoid of intention – from the text as it exists, not as it intends. But Joyce plays more to the tune of the never-ending story in that, unlike Barthes, the pleasure of his text comes without necessarily any climax, […]
[…]but with walls to slam themselves against, this wild, disciplined rough-work straight-faced group” (359). Gravity itself, the novel suggests, is a source of injury, but art may seize it, mold it into “great paths, curves, inertial, intersecting” (418), and hand it back to us as a conscious experience, stripped of some of its ominous force. 4. It was somewhat decentralized, how it all networked While the elegantly curved surfaces of Actress in the House move the reader forward and backward along thematic lines, McElroy’s experiment with narrative structure nevertheless induces a sense of interpretive paranoia. Not for a moment does […]
[…]images on his site. He promptly removed the images, though the content of the site still remained critical of the Bush campaign. Exley’s actions pushed the campaign to buy 260 other domain names, including the hilariously paranoid registering of such addresses as “bushsucks.com,” “bushsux.com” and “bushblows.com.” Anderson, M. “Bush-Whacker, Meet Zack Exley: Computer Consultant, Online Satirist, Pain in the Ass.” Valley Advocate. July 1, 1999: 12, 19. (If you type in the domain names bushblows.com, bushsucks.com or bushbites.com, it sends you directly to the official Bush-Cheney web site. In fact, many derogatory adjectival combinations will send you to the campaign’s […]
[…]preoccupation with content. Beyond this, of course, there is little agreement between them. One group tends to see free verse, or at least the exclusive cultivation of it, as a temporary aberration in poetic history, while the other sees it as a vital revolution that got momentarily stalled, one that they are now themselves carrying to its next logical stage. Historical and ideological considerations? No doubt. But what, one might ask, do they have to do with the making of poetry? With what gets made they clearly may have a lot to do, but as to how good any of […]
[…]seemed to be an unusually high population of pierced and tattooed Librarians who frequented the group. And a few who were working on Library Science degrees as well. Does a nice job of breaking the stereotypes of both who Librarians are, AND who tattooed people are. One of those Librarians, who lives in Columbus Ohio, posted telling us all about her latest work. She had gotten the Alphabet tattooed across her back. Twice. Upper and Lower cases. The font was Bryn Mawr. She even typed up a sketch of what it looked like. I thought that was SO cool. Not […]
[…]of certain mental gymnastics, or, rarely, through the use of constrictive form as with the Oulipo group whom I consider creative cousins. Mental gymnastics: ways of blocking the already formulated in pursuing the unformulated. I try to write in that mental space of 30 seconds where the past claws at the future to produce what we call the present. That helps me get past the premeditated. Remember the future. That helps me avoid the prefabricated. The best things write themselves. I like to set my mind on autopilot. I find it takes me in interesting directions, probably reflecting the structure […]