Search results for "critical code studies working group"
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[…]of radio and art. Radio art is radio by artists. The third example manifesto comes from PizMO, a group of sound artists working in France for over 50 years. Thir manifesto reads, We create experiences and ambiances with audio architecture. We are an anonymous collective of artists and musicians experimenting w/ audio & radio. We reactualize a drifting theory thru post-radio, sound-systems and computers. We explore portable, mobile, temporary & immersive audio spaces and campings. We favor loading forms, immaterial works and time-based objects. We experiment with micro-forms & replicas & duplicatas [sic] & palimpsests. We develop social tactics & […]
[…]in my approach to language, due to the sheer amount of time I’ve spent in front of screens and working with code. My memory and conceptions of space and time are imprinted with the logics of digital systems. That statement is most likely true for many in ELO, for many in our society, and investigation of what we might mean by literature that is “conceptually” electronic, imprinted somehow with the logics of digital systems, is a productive path to explore. It is not as clear to us that we should collect “conceptually” electronic work in an ELC publication if the […]
[…]the next time the game is played. For Woods, whose computing environment required him to add code that limited access to the game during working hours, if the cave closed today, it would open again tomorrow; the dynamite blast also invites the player to think of the cave, too, as transient – something that exists only within the digital world of the computer. Caves Before Adventure Gregory Yob’s 1972 game Hunt the Wumpus presents a very brief textual description of a cave (e.g. “YOU ARE IN ROOM 13 / TUNNELS LEAD TO 12 14 20”). The player is given a […]
[…]a flat or object-oriented ontology] what useful work does the concept of the hyperobject do?” (Critical Inquiry). Although there are rich intersections to be explored via such studies, it clearly becomes difficult to do justice to the many nuances in disciplinary differences between the sciences and the humanities. Science is the lingua franca of our current moment, but how well do academics minimally trained in the sciences translate it? As Bianco’s videos of the eco-disaster sites appear to ask, where does this increasingly anxious conversation turn into action? We can also look at early moments in the recent evolution of […]
[…]is not in the textual output which is always changing and generated through the execution of the code by the computer. It may perhaps be located in the code, which Montfort, like other practitioners of digital poetry, makes available for free for others to hack, copy, manipulate and use in different contexts and in the case of this work, countless remixes over the years. But even here, the code has to follow the scripting rules of the programme used, in this case Python, and the code needs the computer to be executed that creates the language. This brings me to […]
[…]that includes the remediation of forms, remixability, human computer interaction, software and code studies, narratology, trans-lingual, intersemiotic approaches, and multimodal studies in conjunction with the creative practice, and with translation as a creative practice. 3.1 The Poetry Machine One of the platforms we have explored is The Poetry Machine (PM), which is an interactive, participatory, digital literary installation (Woetmann et al. 2012).Peter-Clement Woetmann, Ursula Andkjær Olsen, Martin Campostrini, Jonas Fritsch, Ann Luther Petersen, Søren Bro Pold, Allan Thomsen Volhøj, et al., The Poetry Machine, http://www.inkafterprint.dk/?page\_id=45, 2012-. CAVI & Roskilde Libraries. PM is designed to make people affectively engage with, and […]
[…]noted, practitioners in the games industry who might call what they do something else, scholars working in predominantly critical capacities, the most prolific of which is arguably Anne Karhio. The point that I am making here is simple: Maguire was, for a long time, Irish e-lit’s only representative, and whatever small community we now have owes a considerable debt to his pioneering efforts—to borrow from Grigar and Moulthrop—as I often do—Michael Maguire is Ireland’s pathfinder. When we assess Maguire’s contributions to the field, we need to look beyond what he did as an instigator: not only did he start a […]
[…]Review. August 29, 1993. Delany, Paul and Landow, George P. “Hypertext, Hypermedia, and Literary Studies: The State of the Art.” In Paul Delany and George P. Landow’s (Eds) Hypermedia and Literary Studies. Cambridge, MIT Press, 1991, 3-50. Derrida, Jacques. Archive Fever: A Freudian Impression. Trans. Eric Prenowitz. Chicago, University of Chicago Press, 1996. Foucault, Michel. The Archaeologies of Knowledge. Trans. A.M. Sheridan Smith. New York, Pantheon, 1972. Grigar, Dene, and Stuart Moulthrop. “The Interview with Bill Bly about We Descend.” Pathfinders, http://scalar.usc.edu/works/pathfinders/bly-interview. Kirschenbaum, Matthew G. Mechanisms: New Media and the Forensic Imagination. Cambridge, MIT Press, 2008. Landow, George P. Hypertext 3.0: Critical […]
[…]of poetry by imprisoning the verbal and social elements of poetry within a relatively static codex. Poets working in the age of print were, certainly, aware of how print had transformed the possibilities of their art, leading to experiments like typographic poetry in which the formatting of the words on the printed page make a shape emblematic of the theme of the poem. Nevertheless, poets like Adonis, Mahmoud Darwish, and Fatima Naoot continue to practice poetry as a verbal, social, and ritualistic art form. What Adab and websites like it do is to return even modernist poetry back more squarely […]
[…]“I got nothing out of the poetry I read,” that for him “It was as if poems were written in code,” (Knausgård, 2018, 422), and then he goes straight into this very rigorous and fascinating, in fact virtuoso reading… Joseph Tabbi: But that massive lack is real. And the way that he accesses Celan is more like what Scott described. He reaches up and takes a book off the shelf. I think the essays are some of the best parts in the corpus actually. But one reason they’re some of the best is that we’ve got the writer reflecting on […]