Search results for "critical code studies working group"
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[…]distinction between elements that are transferred and elements that are not. While he calls for a critical attitude towards computer games, he seems to believe that we uncritically introject integral virtual experiences. When acting in a simulation, we acquire skills. We will become better players and our reaction time, tactical insight and self-control may improve. Some of these skills will be transferred to the real world and there they can be used for better or for worse. However, I really do not see how killing a monster in Doom will make it any easier for me to kill another person. […]
[…]of depth or hiddenness, typically followed by a drama of exposure, that has been such a staple of critical work of the past four decades’ (8). This is because there is a certain `ease with which beneath and beyond turn from spatial descriptors into implicit narratives of, respectively, origin and telos’ (ibid). The crucial issue here is that the task cultural theory sets for itself is both unenviable and unnecessary: Beneath and behind are hard enough to let go of; what has been even more difficult is to get a little distance from beyond, in particular the bossy gesture of […]
[…]be true: neither is there `fiction.’ The categories of fiction and non-fiction belong to the critical system which I argue is found wanting in the context of `participatory media.’ Van Looy here is attesting to the significance of ongoing experiential engagement in participatory media. This is precisely the argument I make in my paper. Simon Penny, May 2004 back to Critical Simulation […]
[…]opportunities for dialogue about their emerging ubiquity in our everyday lives and support public, critical awareness of new media and technologies in a highly accessible way. Here, I think of the Citywide Project and the Equator Project, groups that have for several years now argued for the importance of staging public, technological performances as a design research tactic. In short, cyberdrama could make digital media and computer technologies visible in a way that has nothing to do with computer graphics. In conclusion, I believe that the dramatic story-game can be performed not only on PCs or consoles, as Murray, Mateas […]
[…]go go…home,” “Stay, don’t leave/ I need you to/ make my frontiers weaker” – and many critical remarks to us (the “you” on the page) – “You will never be me” and “You will never be able to understand me.” One of the commands says to go away; the other says to stay. One is asking, demanding even, that the viewer keep physical distance from her. The other is saying in a needy kind of a way that the viewer must stay close by. These commands nag at us. The first one says that being me is better than being […]
[…]the interactive entertainment world is high, meaning that every few years an almost entirely new group encounters and attempts to address the same craft-language deficit, with little or no success. (I have seen this happen myself at least three times in the past ten years, and my fear is that the academic community – through essays like Murray’s – is now embarking on a fourth iteration.) Worse, significant problems can arise when new definitions ignore (or are oblivious of) practical lessons that have already been learned. For example, here’s Murray at the end of her essay, talking about ‘agency’: “But […]
[…]of philosophical thought from Marxism to deconstructivism, not to mention communication and media studies, semiotics, gender studies, cognitive science, postcolonial studies etc. etc.? The field of game studies is now large enough to welcome these migrants from other theoretical discourses to its own area. Clearly, this process of integration will not be an easy one; it will require tolerance, diplomacy and patience. However, Markku’s attempt to “use the theories of colonizers against themselves” (36) runs counter to such an integrative strategy as it pours gasoline into the embers of the fiery debate between narratologists and ludologists. Not that we need […]
[…]and language for private communications beyond the male domain. My appropriation of programming code had taken on ontological elements; not only did the code create a programmatic, computer based universe which users could interact with, but it referred to, and reprised interesting traditions in women’s spirituality. The medieval mystic tradition that Christine alluded to seemed to have come full circle in the semi-medieval narrative of The Princess Murderer. Fear of reifying the machine as an entrée to metaphysical hermeneutics aside (which, as Victoria Nelson (280-284) points out, is an element of recent rhetoric surrounding the Internet and other computer-based media), […]
[…]take away Cyrus’ first pages while he hides behind a curtain. Perhaps I am following Dom’s Code of Welcomed Interruption, which “sprang from [his] sense that our state is now a Field-State of InterPoly force Vectors multimplicitly plodding toward Coordinate Availability and away from the hierarchical subordinations of the old tour-de-force antropols…” (141). For a long time, I had difficulty articulating what it was about McElroy’s writing that I found so captivating, so important. I found some help in an unlikely place: the introductory note to the second book of Lawrence Durrell’s Alexandria Quartet, Balthazar. “Modern literature offers us no […]
[…]of McElroy’s handling of scientific knowledge and cross-disciplinary information systems. Critical readings of Joseph McElroy’s work, so often compared to, say, that of Thomas Pynchon, tend to overlook how much McElroy has in common with Grace Paley, herself a rigorous, avant-garde practitioner of complex fractured fictions. Paley, like McElroy, is a savvy surrealist of New York’s mental neighborhoods and a proponent of how, as she says, “history happens to you while you’re doing the dishes.” Sixteen of the “stories” that make up Women and Men appeared independently in literary magazines over the course of ten years (during the 1970s heyday […]