Search results for "critical code studies working group"
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[…]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 […]
[…]a more profound understanding of current political, social, and cultural issues nor does it forge critical citizenship beyond the ‘critical’ decision about ‘what is best for my kids.” The importance of projects aimed at such critical citizenship becomes clear if one considers the neologisms digital media generate to indicate their impact on society: multitasking, hyper reading, power browsing, filter bubble, ambient intimacy, ambient attention, sharing culture, self-tracking, dataveillence, algorithmic regulation, FOMO (fear of missing out), etc. To address these issues DHers may (alongside students and the general public) develop projects that explore what insights seemingly banal data on social media […]
[…]the book is well ordered and provides enough overlap between sections to stimulate several critical dialogues across essays without losing the collection’s coherence. Even better, A Corrupted Pilgrim’s Guide succeeds in distinguishing Against the Day as both a unique novel in Pynchon’s oeuvre and as one that helps us to rethink that very oeuvre. To begin the collection, Brian McHale’s “Genre as History: Pynchon’s Genre-Poaching” sifts through the various, and mostly erstwhile, popular literary genres at play in Against the Day and assesses their greater meaning. The most prominent of these, McHale points out, are the boys’ adventure story in […]
[…]what we (mis)understand as the natural language that floats on the surface of the machine screen. Codework, Sondheim’s coinage, which has become part of the working lingua franca of internet poets, refers to that esoteric language of the underneath brought to the surface and forced to integrate, bumpily and bumptiously, with natural language. Pages 53-57 detail a code named “Julu” (also the name of one of Sondheim’s many avatars), which lists seemingly random words interspersed with commands (i.e. “@noun = qw (“). It’s an old modernist trick, to show the means of production –in this case the commands –as part […]
[…]away, almost from the moment of its introduction, in favor of still newer critical modes like critical plant studies and object-oriented ontologies, whose pieties claim to outdo anything else to date in their sensitivity to the wholly other. The delight in reviewing a book from 2009, five years on, is that of refusing the market’s demand always to be of the moment. The past, whether medieval or more recent, has its resources. It offers us a way to stop the smooth flow of capitalist time. And with Shukin, we must aim to be as adaptive as capitalism itself, always seeking […]
[…]gather for a brief review and reflection period. And, in fact, by the end of three days our little group of collaborators did feel something like a team in a stadium, or maybe a newsroom: working hard together on a shared goal under tight constraints. And the results were tremendous: we gathered videos, essays, and comments from contributors around the world. We divided the project into a series of discrete writing “sprints,” each focused on a theme we agreed on at the beginning of our venture. Ranging from production and editing to discoverability and the concept of the book itself, […]
[…]denomination, but one who is nonetheless driven by the passion and fervor of faith rather than the critical methodologies of the moment. The fashionable term “postsecular,” which defined McClure’s book and much of the contemporary critical discourse on religion still, does not appear here. Neither is Taylor, a Professor of Religion at Columbia University, concerned, as is Hungerford, with providing a cultural genealogy of postmodern believing, its rituals and its politics. Instead, his ambitions are at once grander and more modest. His is a philosopher’s approach to literature, one that skirts the impurities of history and politics in favor of […]
[…]an economy. Meantime, down here, sooner or later someplace deep, there has to be a horizon between coded and uncoded. An abyss. (357) This abyss, figured on DeepArcher’s splash page and so eerily taken up in the 9/11 monument’s two ‘pools,’ is the ship’s ultimate destination. As another traveler on the ship tells Maxine, in a passage that evokes Pynchon’s description of the American wilderness in Mason & Dixon as an “unlined” state of undifferentiation “where quite another Presence reigns, undifferentiate, – That whichever precedes Ghostliness” (491), the course of the ship is “the edge of the unnavigable, the region […]