Search results for "critical code studies working group"
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[…]– not to mention a keen and often devastating wit. These traits have garnered his work critical acclaim and some amount of commercial success, including the recent feature motion-picture version of his graphic novel Ghost World. David Boring, Clowes’s most recent long-form comics project, was initially serialized in three issues of his comics series Eightball, but its hardcover publication by Pantheon Books has broadened its potential audience from comics-shop devotees to casual bookstore browsers. The book’s slick design work (and its puff quotes from mainstream media mavens Time and Newsweek) may help entice non-comics-readers into picking up a copy. And […]
[…]“Thorow,” Susan Howe explains how she spent the winter and spring of 1987 in the Adirondacks, working at the Lake George Arts Project in the village of Lake George, New York. Her disgust with the town’s tawdry tourism, a commercialism rendered especially vulgar by Lake George’s pathetic off-season appearance, turned her away from the town itself and toward the still relatively intact wilderness of the lake and surrounding mountains. Doing so, and recuperating the “gaps and traces” left by her own and other histories, Howe examines what happened to this wilderness after the Europeans transformed it from a land scarcely […]
[…]system and method using a network of re-usable sub-stories.” Jorn Barger, an AI researcher who studies interactive fiction, says of Crawford’s work: It’s very easy to list hundreds of features that a story engine should offer, but Crawford’s great genius is that he’s narrowed these down to a rich “starter set” that delivers maximal story interest, while still being programmable within a finite length of time. He adds, One of Crawford’s most daring simplifications was to eliminate continuous space, replacing it with a small network of points. From the perspective of naturalism, this is a significant sacrifice, but for the […]
[…]style, a more elaborate plot, a distinct athmosphere. Yet these two novels have often been grouped together, not only because of the same period and the theme they depict, but also because of the authors’ age and, even more importantly, their desire to break the invisible barrier of silence and tacit compliance. Serbia of today has been through considerable change, but freedom of expression is still a utopia. Arsenijevic and Jokanovic tackle the problem of literary creation from the tested direction: from within. By examining themselves and their peers, they imbue the whole ordeal of a country condemned to misery […]
[…]lack of movement strongly emphasizes a reading mode which both underlines the global reading of groups of panels and manages to do away with the panel as the central unit of narration and reading. What happens in Ware’s fiction is a phenomenon of semiotic “articulation”; i.e., of dividing a unit into its smaller, meaningful components on the one hand, and of integrating this unit into an element of a superior level on the other. Articulation is often considered more characteristic of verbal language than of images. Indeed, one of the most popular stereotypes of the semiotic interpretation of an image […]
[…]and media cultures” (8). He does this by trying “to describe computer media’s semiotic codes, modes of address and audience reception patterns” (7). Manovich is self-consciously making a first theory of new media, aware that his views will be highly critiqued as soon as the dust-jacket ink has dried. The author believes that cinema is the key cultural form of the twentieth century (9). Furthermore, cinematic ways of seeing the world have become the basic means by which computer users access and interact with all cultural data (xv). This intellectual debt to cinema results in some interesting observations. For example, […]
[…]– it often clogs the port. It is often sugared” are employed to describe the intricate workings of machines or customs; they seem at once serious and mock-serious. And as the writer/narrator finds it his utter duty to inform readers of this world, he calls to us across a chasm, abstracted or disassociated by the stark weirdness of the place and by his own observations. There is a small wan quality in the prose as well, with its locales recalling towns in the grassy Midwest: “Mind the hill. Throw the water. Pull the wood. Crack up the fires. Fix their […]
[…]as a result, too much estrogen (or the other way around). Soon addicted to a variety of recovery groups for a medley of fatal diseases he does not have, Jack sleeps “like a baby.” Until – another “tourist” shows up, Marla (Helena Bonham Carter). Jack knows instinctively, with the clairvoyant intimacy of an evil twin, that Marla, like himself, has no life-threatening, mutilating disease. Especially since she first appears at the testicular cancer group. Jack is sleepless again. Until – he is suddenly, catastrophically homeless, a mysterious explosion having blown all his thoughtfully selected furniture out of his something-teenth floor […]
[…]“games.” While a few chapters, particularly those on right-wing militia and Christian groups, are more reportorial than analytical, and hence less interesting, most offer new primary materials and theoretical approaches. One of the best chapters treats conspiracy narrative as a form of hyperactive semiosis. Fenster argues that conspiracy narrative is motivated by a paradoxical desire both to unearth the motive cause of complex social effects and to keep that cause at arm’s length. “If satisfaction is defined as the proof and public recognition of the ‘truth’ of conspiracy and the efficacious remedy of the crisis,” he argues, “then conspiracy theory […]
[…]electronic space, access information of all kinds, and communicate with diverse individuals and groups, regardless of their physical location. At the same time, individual identity diminishes due to the separation from one’s name and material body. Wonderfully indifferent to race, gender, beauty, and station in life outside the Web, the network absorbs the individual into an interactive dialogue in which the conversation assumes a life of its own and threatens to eclipse the participants who provide its content. (xiii) However, the discussion becomes more animated when it gets to hyperfiction and more particularly Michael Joyce’s self-proclaimed hypertextual classic Afternoon, a […]