Search results for "critical code studies working group"
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[…]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 […]
[…]Practice (1980) by Catherine Belsey – come to stand for everything that is bad under the critical sun. However, for readers with a host of daring authors such as Joyce and Pynchon under the belt, Guyer’s Quibbling (1991) or, for that matter, any other existing hypertext fiction fails to subvert anything but our material habits of literary consumption. The change of habits is unmistakable, but let’s not overestimate its implications. As far as I can tell, up to this day only the Internet presents a digital textual form which seriously manages to undermine the expectations of readers versed in the […]
[…]does resemble Austen in that he penetratingly probes the formative relationships in a specific group of people: upper-middle class New Yorkers involved in business, horse racing, and the art world. He also creates unexpected empathy for characters who are sado-masochists, alcoholics, liars, cheaters, vain, or just ambitious. But the novel is completely different in tone and form from Austen; it has a distinctly modern, acentered quality. It is episodic and recursive in structure, and makes its impact through implication and juxtaposition. The role that constraints play in shaping the plot might be inferred from this passage in Cigarettes: “Morris was […]
[…]and the wall of the prehistoric cave, all treated as earlier “screens,” as the site of codes that have both formal and emotional significance. I take it that Lascaux and similar caves were sites of cultural instruction about the most important forms of orientation for a nomadic people, whose path intersected with their main food supply but a few days in each year. The fact that their winter temperatures were lower than minus sixty degrees Fahrenheit also put a premium on springtime birth, both of humans and animals. These people needed a practical astronomy that tracked weather and timed their […]
[…]only by being retroactively posited as “original” and “natural” by the contingent and diacritical system of the Symbolic itself. As Zizek puts it, the phallus-as-signifier thus operates – against the clichéd notion of the phallus as “the siege of male ‘natural’ penetrative-aggressive potency-power” – as “a kind of ‘prosthetic,’ ‘artificial’ supplement; it designates the point at which the big Other [the Symbolic], a decentered agency, supplements the subject’s failure,” its “lack of co-ordination and unity.” ^14.Slavoj Zizek, The Plague of Fantasies (London: Verso, 1997), pp. 135-6. Further references are in the text. Zizek explores this theme in any number of […]