1,720,957 research outputs found
G L î † C H É D I N † R A N pacés [Glitched in Translation: Reading Text and Code as a Play of Spaces]
No full textIn the decline of floppy disks, pixel art, and 8-bit video games (i.e., the 1990’s), emerging technologies routinely exhibited a plague of inexplicable glitches that would present the user with multi-colored screens, aberrant lines, and stacks of indecipherable characters. The fear of file corruption was lurking around every corner. We backed up our floppy disks onto more floppy disks, blew into our video game cartages, and added more random access memory (RAM) to our computers – all in the hope of eliminating the lurking presence of the glitch. But the glitches that once signaled the fear of data loss are now the substance of a multifaceted art movement: the very same aberrant colors, lines, and symbols comprise a collection of aesthetic practices loosely termed “glitch art.” With the rise of social media, the MP3, and high definition everything (i.e., the 2000’s), glitches are now created, sometimes in the very same pixilated style of the 8-bit microprocessors that reigned just a decade or two prior. The aesthetic force of glitch art in the present, however, produces more than a retrospective or idyllic gaze. Amidst a broad set of cultural and political interventions, glitch art is mobilized to expose the (dis)function of coding languages that allow for seamless digital experiences, redesign the ow and tempo of our favorite songs, and alter the form and structure of our favorite websites. Whether glitch art is mobilized to expose code’s representative functions, remix digital aesthetics, or recollect an earlier digital fingerprint, “the glitch” is now an opportunity to criticize and recreate the flow of digital life. This is precisely what Rosa Menkman proclaims in her seminal Glitch Studies Manifesto: “Once the glitch is understood as an alternative way of representation or a new language, its tipping point has passed and the essence of its glitch-being is vanished. The glitch is no longer an art of rejection, but a shape or appearance that is reorganized as a novel form (of art).
Glitch-Writing, or, How to Break Twitter
No full text“Glitch-Writing, or, How to Break Twitter” is a series of blog posts meditating on glitch-writing, and a set of teaching materials, including a glitch tutorial and critical reflection prompts for teaching
Virtuality and Resistance: Situating the Manifesto Between Command and Political Metamorphosis
Get PDFThis article surveys and identifies contemporary theories of the manifesto genre’s use and place in radical politics. Following the work of Max Horkheimer, Theodor Adorno, Michael Hardt and Antonio Negri, this article argues that the manifesto comes to be thought as a mode of spatial and temporal reconfiguration focused in the present, rather than as a program prophesying or determining the future of resistance. Indicative of a metamorphosis in the interplay between state power, capitalist sovereignty and those who resist it, this article’s primary claim is that the manifesto is not doomed to obsolescence in the face of new revolutionary forms, but comes to function as a virtual topography of resistance. In our contemporary moment the manifesto comes to be theorized and comes to function as a site where multiple spaces and times of resistance are mobilized against state power and capitalist sovereignty while its tactical imperatives come to be articulated absent of a programmatic determination of their use
Low Theory, Review of Telesthesia: Communication, Culture & Class by McKenzie Wark
Get PDFO
ccupy Wall Street (OWS) is the new and enduring object of political and intellectual inquiry for the Left in the United States. Indeed, like the 1999 Seattle WTO protests before it, OWS is perhaps more momentous, more impactful, or even more ‘revolutionary’ in its after-eff ects and in its memorialization than it was in the time and space of its production. For some of us in academia that participated in local demonstrations or travelled to Zuccotti Park, OWS has become a thought experiment and a provocation as its physical manifestations have all but disappeared. Written in its wake, McKenzie Wark’s Telesthesia: Communication, Culture, and Class (2012) is an artifact of the occupation. It is simultaneously an attempt to rewrite the method through which radical thought is articulated in academic contexts and an attempt to surpass academic constraints on intellectual production given the event of OWS—in Wark’s words, Telesthesia is “a book about method […] but one that explains the method by performing it” (9). As a kind of action-oriented text, then, Telesthesia situates Occupy as both its launch pad and its medium, its provocation and its means of articulation
Glîtchéd in †ranslation [Glitched in Translation]
No full textIn this paper, I think precarity in digital communication on two overlapping registers. The first is perhaps best described as an aesthetic intervention at the level of critical code studies, or, as Mark C. Marino describes it, “an approach that applies critical hermeneutics to the interpretation of computer code, program architecture, and documentation within a socio-historical context.”i What I am interested in examining here is the representation of natural languages by computer languages (specifically Unicode), but also natural languages’ ambiguation by computer languages in the production of aesthetic objects. The second intervention follows from the first. There is an architectural play at work in text-based glitch art, specifically where natural languages and the code that manifests them alter the shape and function of their interface. I am interested in thinking the glitch aesthetic in particular as one that not only identifies the limitations of our most common interfaces, but one that speaks an erratic and unstable visual language of design. In this text/code/text translation, the language of the glitch aesthetic manifests as computer code transforms letters, numbers, diacritical marks, and more, into the building blocks of aesthetic objects. This process speaks back to the form and function of language itself
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
- …
