Search results for "critical code studies working group"
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[…]a river will sort out pebbles of different size and weight and deposit them in homogenous groupings at the bottom of the sea; subsequently, certain substances in the water will by way of penetration, percolation, and crystallization cement the pebbles together into a new entity, such as a sandstone layer, with emergent properties of its own. Genes, in turn, are sorted out by a host of different selection pressures, but only those accumulations that are “cemented” and isolated from the rest of the population by closing the gene pool to further reproductive exchange will survive in the shape of a […]
[…]now two years old, titled “electropoetics.” The same can be done for new contributions to “critical ecologies,” “internet nation,” etc. – so that, over time, readers may come to recognize groupings across issues as easily as they can read around in a new issue. This simple device not only makes the journal more hypertextual, but it also works against (without subverting) the periodic nature of journal publication. [thREADs will be re-installed for ebr version 4.0. – ed.] Combining graphic arts, literary genealogy, and standard html coding, ebr employs the hypertext apparatus as a way of tightening the journal structure, not […]
[…]not bode well, since it threatens that readers will be transported back to the dark age of media studies when “media” were seen exclusively in terms of mass media; mass media, in turn, were conflated with television; and television, to top it off, was routinely denounced as the prime instrument of a culture industry bent on deluding, homogenizing, and Americanizing cultures that had hitherto enjoyed the lively interaction and emancipatory splendour of spoken words and printed books. To be sure, there are occasional echoes of this Frankfurt School-type regression in some of the contributions, but it is only fair to […]
[…]resources for resistance, and they remained so until the abstract colonizing system reached a critical level of efficiency, a threshold attained only recently. As Bauman puts it, The so-called “closely knit communities” of yore were, as we can now see, brought into being and kept alive by the gap between the nearly instantaneous communication inside the small-scale community (the size of which was determined by the innate qualities of “wetware,” and thus confined to the natural limits of human sight, hearing, and memorizing capacity) and the enormity of time and expense needed to pass information between localities. (15) What’s changed […]
[…]one is that postfeminism is a term in popular use and the other is his lack of awareness of a group of women which he really should be scared of – those in the grrls movements (in which I would place the Guerilla Girls, even though they precede the real grrls groups by a decade at least). When Gay Lynn Crossley and I started to work on this issue of ebr, we spent a lot of time discussing the inherent difficulty in developing definitions of postfeminism and questioning its currency in certain communities, not merely academic ones. At one point […]
[…]intervention, makes the project, for me, absolutely contemporary. One encounters two groups of signs in different settings – by the asphalt road leading to the entrance, and along a footpath that leads viewers through the heavily wooded park – that are spaced exactly 55.6 meters apart. By placing the components in this way, Hunter initiates a critique of any naturalized or abstract concept of space (of the sort, for example, that would be invoked to sustain the concept of “the nation” or, closer to aesthetic home, “landscape”), referencing it instead immediately to the specific situation of the viewer (including but […]
The second ebr special to employ the concrete poems of Daniel Wenk, working typographical variations on the term, “electropoetics.” Guest edited by Joel Felix, who in 1997 was an undergraduate Lit major at the University of Illinois at Chicago. The original design for ebr5, “electropoetics,” can be viewed by clicking here The scope of these essays include the honeycombed structure of contemporary poetics, that stack of cells of poetic demography which poses as multiplicity but, like the storehouse of the bee, locks into hexagons from the weight of the grid. It may be no stretch to link those hexagonal cells […]
[…]the wondrous Gravity’s Rainbow, the “project” Thomas Pynchon had been secretly (what else?) working on all those seventeen years in between. Vineland was just another novel – trademark Pynchon ideas, for sure, with its movie-dimensional characters, episodic plot that nevertheless hints at paranoiac connectedness, flaring out here and there with a rock-n-roll sensibility in the form of the death-cult Thanatoids – but surely this was not the book Pynchon spent all those years in producing. I would venture to say that Mason & Dixon IS that book. It has the scope of Gravity’s Rainbow and more; a story about drawing […]
[…]we’re ready, at last, to put an end to the construction of periodical issues. Instead of working within an unconsidered paradigm inherited from print media, we intend to construct our own ends, over time and on terms that we set for ourselves (within the constraints of the web environment). Over the coming months and through the summer of 2002, the editors will be adding new content as well as re-introducing essays, reviews, and web projects from past issues into the new design. Hence, as Anne Burdick proposed in her initial in-house post (“New ebr Interface”; lettercode: “introductory”), the entire ebr […]
[…]longer scale of narration, destabilizing the fixed bounds of “now” and “here.” An artist working differently still is Eduardo Kac, whose complex work, Time Capsule, I’d like to evoke for you. Kac, a Brazilian whose family arrived in Brazil from Eastern Europe, makes telepresence work that combines robotics and telecommunications. On November 11, 1997, inside a room with parquet floors and ornate plaster ceiling in the Casa das Rosas Cultural Center in São Paulo, Kac constructed an inner room of movable white walls. On one of those hung seven sepia-toned photographs that his grandmother brought from Poland in 1939 – […]