Search results for "critical code studies working group"
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[…]The anxieties about the human body that the film dramatizes seem best understood within the critical parameters provided by Mark Seltzer, whom Auerbach cites: “Early cinema’s chase film at the turn of the last century thus represents one important example of what Mark Seltzer has called naturalist dramas of uncertain agency wherein ‘the principle of locomotion which in liberal market culture is the sign of agency is in machine culture the sign of automatism'” (807). Though Auerbach invokes Seltzer’s analysis to suggest that the genre of the chase film represents nothing so much as anxiety about agency, much of Auerbach’s […]
[…]of the environmental justice movement in the early twentieth century. Alaimo examines Le Sueur’s working-class politics through recurring images of humans joined with the earth as a critique of and resistance to capitalist exploitation. While she notes Le Sueur’s challenge to gender tropes in her vision of a masculine nature and feminine desire, Alaimo comments that Le Sueur’s “enthusiasm for a kind of maternal, proletarian vitality betrays exactly the sort of essentialism that mires the (reproductive) female body within the relentless fecundity of nature” (38). That said, Alaimo’s close reading of Le Sueur’s article, “Women Know a Lot of Things,” […]
[…]wedding invitation in the next interim text (Fig. 9): The wedding invitation is framed by DNA code which, through its distinctive detachment from the invitation itself, gestures back to the two paradoxical dialectics. That is, the disconnected DNA codes are visual representations of signifiers which may be floating, flickering, or both. Hayles argues that “mutation is crucial because it names the bifurcation point at which the interplay between pattern and randomness causes the system to evolve in a new direction. It reveals the productive potential of randomness that is also recognized within information theory when uncertainty is seen as both […]
[…]it. Instead I created my own industrial film that I am putting into dialog with aspects of Motion Studies Application and Folie à Deux in a three-channel work. Now I am working on a series of drawings that are formally inspired by workplace posters. Again, as in all my projects, I am interested in our mental relation with the technologies of the moving image. Here I am drawing on the work of the Frank and Lillian Gilbreth, the pioneering “industrial engineers,” who believed that the worker could use the tools of cinema to change his work methods and so become […]
[…]body, the body of a king, becomes a metonym for the ideal relationship between the two groups: Native and English. When Winslow heals Massassoit, he also heals the Wampanoag society, in danger of dissolution or coup d’etat during his illness. This act seals a sort of compact of cooperation between the two groups. The cure signifies in the way a treaty cannot because, in a methodology characterized by opposition between literacy and illiteracy, written communication and contract is in effect a kind of protection racket, in which European theories of property relations produce the need for agreement in the first […]
[…]change is a left-wing conspiracy) are a few people willing to take on the hard task of looking critically at outlier phenomena, events and experiences that don’t fit any known paradigm, things science has (so far) been unable to explain. Such explorations lead us into the realms of folklore, sociology, group psychology, optics, particle physics, and the study of that most difficult of subjects, consciousness itself. In these three books, we have a glimpse of the ways our consciousness has come to impede this kind of exploration. Conventional wisdom would tell us that such phenomena aren’t real. They don’t exist […]
[…]affect theorists—dependent as they are upon theory’s traditional, rationalistic form of “the critical essay”—when they try to suggest that their descriptive, affective methodology somehow transcends this stultifying genre and puts us in touch with something better: actual affect. I mean, isn’t this sort of like reading a romance novel and mistakenly thinking that you’ve had sex? The classic example of this in The Affect Theory Reader is Ben Highmore’s essay “Bitter after Taste,” where he focuses on a scene from a TV series where a man remembers a prior scene of another man eating a particularly hot vindaloo. Because of the […]
[…]can in fact provide the horizon and constraining force that has been missing in recent critical writing. One sign that this book opens out into a field (rather than simply offering so many more or less interesting “readings”) is the way that popular, literary, historical, and theoretical content do in fact “reinforce” one another throughout the book. Another sign is that this book does not stand alone. Its appearance reinforces, and is supported by, a number of important studies, for the most part unknown even to Adair. A similar topical range, including chapters on Tom Clancy as well as Pynchon, […]
[…]work in framing contemporary writing. Let’s recall Matthew Fuller’s gloss on the popular critical concept of the media ecology: “‘Media ecology,’ or more often ‘information ecology,’ is deployed as a euphemism for the allocation of informational roles in organizations and in computer-supported collaborative work” (3). An interest in media ecology has, of course, been an important element of thinking about contemporary literature at least since Tabbi and Wutz’s 1997 collection Writing Matters, but the change in critical attitude is dramatically evident in this collection of essays on Danielewski. Interest in the “allocation of informational roles” prompts us to look not […]
[…]a generation of poststructuralist criticism, readers are likely already disinclined to regard critical studies in this manner. Second, No Maps for These Territories contains so many errors that it becomes very difficult to trust the writing. Instead, one cannot help but suspect that perhaps the fragmentation is actually the result of error, and the sense that it might be by design comes to seem like an alibi. The volume teems with mistakes, from missing punctuation, to incompletely revised sentences, to variations in the spelling of a name or a term often on a single page (150, 202), to inconsistent page […]