Search results for "critical code studies working group"
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[…]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 […]
[…]can’t use the information you need to show that information is unusable…What have you been working on these days? ST: I’ve been hanging out in labs with people who work on insects, with the intent of learning more about the topic of the book I’m working on. The topic is […]
[…]and Carolee Schneemann’s ABC. Slovak artist Dezider Tóth (Monogramista T.D.) has also been working on various pieces in the form of cards containing text and sometimes images; these appear only in author’s private collection. Polish author Pawel Dunajko also published a piece consisting of 35 big black cards (out of which 34 have poetic text and one is paratextual) packed in a box with openings that display the title and several words of the top card. This work does not seem to need an exhaustive reading, since the titles refer to the individual poems underneath. Several experimental works by American […]
[…]electronic literature, and thus it is through interface and intention alone that texts can be grouped into this categorization. Within the App Store categorizations as of October 2014, most apps are grouped either as “Apps” or “Games.” Interactive books with similar interfaces and capabilities can be found under both of those categories, as well as in many sub-headings including Education, Entertainment, and of course Books. The “Books” label is most frequently given to works that either have no interactive component but choose to distribute through an interface outside of Apple’s restrictive iBookstore or to books with specific interactive components, such […]
[…]coordination with other people. The second way to play is the major netprovs that have a core group of “featured players” who are used to creating with each other, operating in a theatrical troupe model or a design studio model. All the actor/writers are assigned characters. In my netprovs I’ll often create a preliminary character back story. The writer/actors that I’m working with these days are great at coming up with more details about their characters. Netprovs done with featured players build stories that that more resemble what we’d call a story and a novel in a film, in a […]
[…]of algorithmic organization, problem thinking, goal-oriented activity, software, interface, networking, gaming, and performance. Such a paradigm’s shift impacts e-literature as a practice, which does not mirror anything (its very nature is not in mimesis, but in poesis). As a rule, e-writers no longer begin creating a piece after being stimulated by one sensation or another derived from experience (for instance, by means of natural phenomena or social events provoked stimuli); they hardly even use their imagination with matters regarding aesthetics. That which impacts them from the very beginning is the task that is posited to them by language itself, by […]