Search results for "critical code studies working group"
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[…]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 […]
[…]in an analog – as opposed to digital – fashion on magnetic tape (today’s high-end studios encode music as distinct digital bits rather than magnetic “waves”). Dubmasters saturate individual instruments with reverb, phase, and delay; abruptly drop voices, drums, and guitars in and out of the mix; strip the music down to the bare bones of rhythm and then build it up again through layers of inhuman echoes, electronic ectoplasm, cosmic rays. Good dub sounds like the recording studio itself has begun to hallucinate. Dub arose from doubling – the common Jamaican practice of reconfiguring or “versioning” a prerecorded track […]
[…]conscious, their poetics of indeterminacy opens itself to all possible manifestations of semiotic code. These are not poems so much as environments outside of, perhaps astride, the contingencies of system. As Raworth intones, playing with categorical statements obviously offered with a mischievous grin: “the object of art is no longer to be outside and to be thought about – but to stick the electric wires into the dead dog of language and get a twitch” (“Notebook” 99). In less graphic terms, he also offers that “It is now known […] that our knowledge is as the memories of the blind” […]
[…]to the absent author of late-century avant-garde poetics), Montreal’s ‘fiction/theory’ group took issues of writing-in-the-feminine (l’ecriture au feminin) in response to French formalism’s death of the author” (11). Both groups foreground the writing subject as a subject-in-process in order to examine the ways identity can be formed and (de)formed by narrative. By dispensing with the ideology of national literatures, Biting the Error removes the borders between Canadian and American writing to engender a consideration of the commonality between fiction/theory and New Narrative. What makes Biting the Error exciting is that it explores how urban literary communities form and prosper within […]
[…]‘transparency’ of intent. Rhythm science is a forensic investigation of sound as a vector of coded language that goes from the physical to the informational and back again” (004-005). Which is to say, the structures of authority in this text sustain a narrow sense of writing, as the encoded sonic, as a name, to which design is subservient, and to which returns the authorial problematic. Feedback loop to the author function. This loop permits us to further scratch into this text. Rhythm science isn’t just about sound, of course. Imagery, whether presented on canvas or seen as a series of […]
[…]you as well; to pick only one example, Jonathan Tweet’s Over the Edge tells us: This game is a coded message. You will decode the message in your dreams and execute its instructions in the spaces between moments of will. Neither you nor I will ever know the contents of the message. (Over the Edge 1997, 2) The authors, artists, and theoreticians in Second Person address the exigencies of playable media in a number of ways, and in a number of voices. Some essays are informal in tone, some academic, and some highly technical; this polyglot speaks to the varied […]