Search results for "critical code studies working group"
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[…]that particular character seems to body forth a universal concept. Newscasters confronted with a group of people after a disaster pick the beautiful or most beautiful available person to interview. In the classroom when the supervisor enters, the teacher calls on the beautiful student. In the military funeral, the honor guard consists of the handsome, not the ugly. In some circumstances, Ugly can add pain to pain, while Beauty can subtract horror from horror. In ugly events, Beauty is the promise of the excess energy for which Beauty will be the conduit. The tragedy of situations like that of the […]
[…]to correct these metaphors in literary theory, criticizing them from the perspective of hypertext studies. His work goes well beyond the familiar criticism of the structuralists’ spatial, three-layered model because Aarseth questions the world as it is construed by structuralist narratology at the level of the fabula. In order to resolve the problem of the importation of inadequate terms for the study of hypertexts, Aarseth develops a pragmatic model in which texts are no longer conceived of as worlds but as communication processes. This brings us to the second crucial characteristic of hypertexts: the importance of the reader, who often […]
[…]to say that the transnational feminist organizing offers an enticing model of radical efficacy. Working through the liberal discourse of human rights and in conjunction with states risks accommodating global powers, as Gayatri SpivakIn a series of talks and essays since 1995, Gayatri Chakravorty Spivak has criticized global feminist projects that take place through the UN or NGOs. See “‘Woman’ as Theater,” Radical Philosophy January/February 1996. For a more sympathetic analysis of feminism in the UN orbit, see Ara Wilson’s “The Transnational Geography of Sexual Rights” in Truth Claims: Representation and Human Rights. Eds. Mark Philip Bradley and Patrice Petro. […]
[…]recently established generation. The tourism coming to Riga has a much different look about it. Groups arriving from Germany, from Italy, from Sweden – these are mostly old people, often traveling by bus. Their excursion to the Baltic capitals and the coast might be their only getaway of the year. These are people who, for most of their working life, might have driven a C class Mercedes or Series 4 BMW and counted themselves fortunate. They know nice neighborhoods, at home. What do they think, when they look down from the newly renovated Jugenstil facades and notice that none of […]
[…]and preempts interpretative moves” (140). In so doing, McHale’s chapter takes the risky critical position of employing an analytic framework in order to demonstrate the failure of all critical frames imposed on Ashbery’s work, an ironic position that is perhaps not acknowledged as explicitly as it could have been. Nevertheless, he convincingly shows how Ashbery’s work encourages critics to take certain parts of his poems as “keys” to the work as a whole while simultaneously undermining the idea that anything is “central” in his work. Ironically again, if anything is “key” to McHale’s approach to postmodernist poetry, it is this […]
[…]a fellow theorist to describe his right ear’s tendency to be self-absorbed, he offers a metacritical/critifictional commentary on self-enclosure and withdrawal that is very much at odds with his postmodern ethos of outreach, boundary breakdown, and immersion. The right ear, he says, “invaginate[s] herself, if I may borrow a word from Derrida. One of his better inventions. L’invagination de texte” (92). Thus, by replacing the ground rules of L’Academie Française – the French linguistic border patrol forbidding verbal transgressions – with his own rules of jouissance and playgiarism, Federman demonstrates the cross-pollinating effects of bilingualism or, if you will, his […]
[…]“Yes, yes,” he said, waving the tickets, parrying imaginary thrusts and attacks. “We’re working on it… It’s under control… I’ll be in Paris on Friday… Yes, yes, next Friday.” The telephone was a messenger, the distant twitter of the other’s voice like surf or like birds. He was afraid the Indian would sit on the floor again right there, in front of his desk, and look at him. The expression on the Japanese family’s faces haunted him too, as if they wore Noh masks, expressive but unchanging. The afternoon passed without further incident and he began to relax. It would […]
[…]in the context of the historical development of copyright law. Jackson’s Patchwork Girl is a reworking, or perhaps a collaborative twin, of Mary Shelley’s Frankenstein, and as such illustrates and enacts the inherent multiplicity of authorship. Hayles brings out its concomitant critique of authorship as a fiction created by the institution of copyright, a device used to channel cultural and capital revenues to an individual regardless of how many amanuenses, muses, spiritual guides, cooks or chambermaids sustain that individual and participate or even collaborate in that individual’s “work.” In this same section, Hayles presents a fascinating account of Neal Stephenson’s […]
[…]in learning Flash or Dreamweaver, the multimediatization of the written word suggests that a working knowledge of design theory could at least help one know what one was looking at (and whether it was worth looking at). So what to make of Acheson’s illuminated critique itself? For wordsmiths, images are pleasant distractions or even, occasionally, dangerous supplements; in any case, they are best ignored once we begin the heady process of mentally tagging and bagging text. But as visual beings, we cannot ignore these chopped, cropped, and photoshopped images that surround and suffuse Acheson’s text, putting twists on the plain […]
[…]most recent inheritors of Smith and Flynt’s practices, and that of ethnopsychedelia, are a group of musicians in Seattle working under the name of the Sun City Girls, who play and record, and also run a world music label, Sublime Frequencies. The term “world music,” or for that matter “world” is of course as fraught as “America” was in the time of Smith and now. “The equator runs through ten countries and I bet you can’t name all of them without looking at a map,” writes Sublime Frequencies co-founder Alan Bishop in his sleevenotes to Folk and Pop Sounds From […]