Search results for "critical code studies working group"
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[…]the zine buyer for Tower Records and Tower Books: “Barnes & Noble is now selling zines with bar codes.” So there it is in a few bytes. What once-upon-a-time used to be called “selling out” is, here in Cyberville, just a matter of selling. Or is it? A bit later in the article a zine publisher, described as “bursting to sell out,” is quoted as saying, “Capitalism is weird. I’m celebrating all the stuff we can purchase, but I’m extremely suspicious of it too.” Caveat hacker! The relations between cyberzinia and the so-called mainstream in Post-postmodern culture are a lot […]
[…]like lava. I remember a detailed description of taking off a woman’s bra and an orgy where a group of college students were lying on the floor in a circle. Since I was so naive about the birds and the bees this didn’t strike me as kinky, merely as information. All sex was equally arousing and this book was great. Then I heard my mother’s key in the back door – I crammed the paperback in the bookcase and rushed to the living room, sprawled on the couch like nothing had happened. Dropping her purse on the coffee table my […]
[…]are always becoming, which are associated with the emanation of local cognitive processes, and coded female. This interpretive tactic raises important concerns: how can the “minortarian” philosophy of Gilles Deleuze (with Felix Guattari) be applied to feminist praxis? While in the writings by feminists about Kiki Smith one may find references to the works and writings of Alice Jardin, Hélène Cixous and Luce Irigaray, and Julia Kristeva and Judith Butler, among others, there is no question that Gilles Deleuze in particular is practicing grand philosophy, attempting a philosophy of marginality applicable to a range of those politically marginal, including women. […]
[…]toys ó about whom the player could not really suspend disbelief. A number of people have been working very hard over the years on ìnonlinearî or interactive narrative. It is my contention that these efforts cannot move forward to merge film and games, and that we will not be able to find a way to create an intermediate agency that will allow the viewer to find their way into caring about characters, until we provide a way that characters can act well enough to embody an interactive narrative. For this reason, and to lay the groundwork for interactive media that […]
[…]theme; sharing the trauma but providing a glimmer of hope, an inspiration, a feel-good reason for grouping together stories about certain types of personal and/or intimate tragedies. Let me stop right now and say: YES, THEY ARE ALL TRAGIC, UNDESERVED AFFLICTIONS AND ALL POINT TO SOMETHING GONE TERRIBLY WRONG WITH HUMAN SOCIETY Since FC2 is a publisher of non-commercial fiction, it certainly wouldn’t seem apt to do an anthology with a selling hook, especially a popular one, no matter how noble the editorial motivation for choosing the particular victimization as a motif. So an anti-theme anthology seemed […]
[…]of passage” (the preceding is from the “Feminism” chapter of a recently published college critical theory textbook). Do women write about, or only about, nurturing and mothering? Or is this what they’re expected to write about, and thus what gets noticed and published? In her groundbreaking introductory essay to Chick-Lit, Cris Mazza says she used the word “post-feminist” in her call-for-manuscripts without defining it, to see what it would produce. Mazza acknowledges that she took a risk in using such a word, and realizes that the project could have thus been construed as “anti-feminist.” But the risk was a necessary […]
[…]exploration of the new genres. But I think our best contribution as scholars would be to provide a critical theory of games, with a discerning and analytical vocabulary. Such a theory would help both game designers and ourselves understand and respect the unique potential of the rich and diverse field of gaming. Bryan Loyall responds Janet Murray […]
[…]between stories and games, but rather to recombine and reinvent their primitive elements. In working to build these systems we have found that this is not just useful, but necessary. Interactive drama allows us to tell stories that we couldn’t tell before. It combines strengths and elements of stories and games, and is both and yet neither. If we are to reach the potential of expression that it offers, we must work directly in the new medium to explore, experiment and build. Janet Murray […]
[…]way of dealing with the limitations of the current state of a medium. I am looking forward to (and working on) an interactive medium which contains virtual actors capable of greater fidelity in the direct representation of a character’s mood, personality, and intentionality. I am also quite eager to see what Will Wright will do with such tools in The Sims III or IV. I suspect that he will find ways to use his non-linear botanical garden as a vehicle to allow people to explore character in new and fascinating ways. back to Cyberdrama […]
[…]The Johns Hopkins University Press Eskelinen, Markku (2001) “The Gaming Situation” in Game Studies 1. http://www.gamestudies.org/0101/eskelinen/ Frasca, Gonzalo (2001) “Ephemeral Games: Is it barbaric to design videogames after Auschwitz?” in Cybertext Yearbook 2001. Research Centre for Contemporary Culture, University of Jyväskylä. Also available at: http://www.jacaranda.org/frasca/ephemeralFRASCA.pdf Kelso, M.T., Weyhrauch, P. & Bates, J. Dramatic Presence. PRESENCE: The Journal of Teleoperators and Virtual Environments, Vol 2, No 1, MIT Press. Also available at: http://www-2.cs.cmu.edu/afs/cs.cmu.edu/project/oz/web/papers/CMU-CS-92-195.ps Brenda Laurel responds Michael Mateas […]