Search results for "critical code studies working group"
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[…]the concrete to the poetic to the theoretical, the following nine short statements were made by a group of emerging artists, scholars, and practitioners from a variety of disciplines and backgrounds. (This short essay has been transcribed and adapted from talk points given during the “Futures of Electronic Literature” panel at the 2012 Electronic Literature Organization (ELO) conference. It reflects the views and positions of that time and context.) The academic terrain is shifting. In this landscape, how might the ELO leverage its unique affordances and constraints in order to grow, sustain and thrive? To do so, introspection is crucial. […]
[…]absent: queer studies (as exemplified in the work of Carolyn Dinshaw), animal and more broadly ecocritical studies (like that of Karl Steel or Jeffrey Jerome Cohen), race and ethnicity (Geraldine Heng), and periodization. While this last topic does come up in Marina Brownlee’s essay on the Crónica sarracina and lurks, in the form of an interrogation of the term “modernity,” in others as well, from reading them, you would never have seen Andrew Cole’s The Birth of Theory coming. The subject of an energetic discussion in PMLA in 2015, Cole’s book locates the generative dialectics of identity and difference at […]
[…]analytical metalanguages (those deriving chiefly from Marx, Nietzsche, and Freud), analytic codes that only lure us into the position of the Hegelian beautiful soul, calmly dissecting things from some lofty perch while disavowing any messy entanglement in the phenomena under scrutiny. Morton’s position here strikes me as a rather too-easy evasion, since one of the main purposes of the dialectic as it developed in Marx’s hands was to re-inscribe the subject into the material processes of history as such, and to undermine the temptations of bourgeois idealism. Indeed, I sometimes wonder if Morton and his fellow posthumanists aren’t in a […]
[…]presumptions and prejudices concerning Pynchon that have manifested themselves within literary studies. Indeed, this critical stance of Eve’s book towards the main tenets of criticism on Pynchon is a freshly polemic element that should be applauded in the context of philosophically inclined readings of literary fiction in general. However, before we trace the workings of Eve’s “systematic, tripartite analysis of the interactions between the fiction and essays of Thomas Pynchon and the philosophy of Ludwig Wittgenstein, Michel Foucault and Theodor W. Adorno” (5), there should be a caveat as concerns the only ostensibly outmoded character of the three philosophers under […]
[…]of many bodies and forces” (Bennett 21). As Bennett explains, “assemblages are ad hoc groupings of diverse elements, of vibrant materials of all sorts. Assemblages are living, throbbing confederations that are able to function despite the persistent presence of energies that confound them from within” (23-24). In The Lego Movie, one such persistent energy takes the form of what will likely motivate the film’s coming sequel: that is, the dangerously creative toddler whose vision for the Legoscape more radically reconfigures the city’s parts. Emmet’s rattling to life rises from meaningless clattering to the kind of intelligible communication that Rancière identifies […]
[…]impossible to separate “data” from “code” as we struggle to interpret the “text of the code.” It is as if the code itself is the generator of text. Later in the series, we can more easily distinguish, still within the code as such, regions that we can read as “data” or “input.” These are parts of the code within which we might intervene, replacing the existing “data” or “supply text”—of the author’s, of Montfort’s—with our own. For “Taroko Gorge” this potentiality took off. The version printed here is the original, but “Taroko Gorge” has by now become as much a […]
[…]out that posthumanism does not come after humanism; rather, posthumanism might be thought of as working through the way the privileging of the human has resulted in discriminatory practices such as colonialism, racism, sexism, and speciesism. Now, far from declaring that posthumanism is at an end, I would propose that the posthumanist project has just begun. But I am concerned with what trajectory the project takes—to suggest it is a question of global power relations is almost beyond the obvious. What is less obvious is what focal point is taken up. Which is why I would say, watch the critters. […]
[…]communist commitments, the only intersection possible between the two thinkers seems to be either critical or forced. If the first two difficulties make an encounter between Nietzsche and Benjamin unlikely, the third makes it rigorously impossible. A relationship between Nietzsche and Benjamin cannot be founded upon Nietzsche’s philosophy because, above all, Nietzsche’s philosophy cannot be reduced to the unified content necessary for relating it to another in any traditional sense. From one perspective or another, Nietzsche’s notoriously unsystematic writings never praise without critiquing or critique without praising. “Nietzsche’s writings,” McFarland says, “solicit with an unprecedented intensity the very possibility of […]
[…]how history is made, lived, and not let the subject of the human subject obscure too greatly our critical thinking about the historical time we call modernity, and how it instills crucial differences between subjects and objects. Greif briefly touches upon this possibility, yet leaves out acknowledging the work of interrogating modernity already having been done by Bruno Latour. Following Latour, scholars such as Bruce Clarke and Stefan Herbrechter have found ways to harmonize literary and science studies by examining the fluid demarcations between humans and their environments (Clarke 111-38; Herbrechter 158-9). Thus it seems that a posthuman future will […]
[…]are interested in producing a text that argues for the acceptance of videogames into an art-critical consciousness, they are also often in direct conversation with artists. These artists are presented in their own words, in lengthy articles and interviews, and, unsurprisingly, they have a different relationship to their own work than do the critics included in Videogames and Art. While the critical contributions to Clarke and Mitchell’s anthology perform much of the same labor as Salter, historicizing and theorizing videogames within accepted aesthetic frames, the artists themselves present a more provisional and shifting perspective on what is artistic about “videogame […]