robertogreco + nataliacecire   4

Peripetatic Humanities - YouTube
"A lecture about Mark Sample's "Notes Toward a Deformed Humanities," featuring ideas by Lisa Rhody, Matt Kirchenbaum, Steve Ramsay, Barthes, Foucault, Bahktin, Brian Croxall, Dene Grigar, Roger Whitson, Adeline Koh, Natalia Cecire, and Ian Bogost & the Oulipo, a band opening for The Carpenters."
kathiinmanberens  performance  humanities  deformity  marksample  lisarhody  mattkirchenbaum  steveramsay  foucault  briancroxall  denegrigar  rogerwhitson  adelinekoh  ianbogost  oulipo  deformance  humptydumpty  repair  mikhailbakhtin  linearity  alinear  procedure  books  defamiliarization  reading  howweread  machines  machinereading  technology  michelfoucault  rolandbarthes  nataliacecire  disruption  digitalhumanities  socialmedia  mobile  phones  making  computation  computing  hacking  nonlinear 
february 2018 by robertogreco
Apple’s Modernism, Google’s Modernism: Some reflections on Alphabet, Inc. and a suggestion that modernist architect Adolf Loos would be totally into Soylent | Works Cited
"These temporal aesthetics, Google’s included, tell us something about the repurposing of modernist style for post-Fordist capital. Modernist style still succeeds in evoking newnesses even when wholly “unoriginal” because it so successfully dehistoricizes.20) That it still totally works, and that it remains congenial to capital in the face of capital’s transformations, hints that we have in modernist ideology a powerful actor.

Consequently, the study of early twentieth-century style can be understood as neither irrelevant nor innocent. The quasi-Darwinian, developmentalist ideologies of Silicon Valley have their correlates in styles that disguise their basic violence as design. Its results are, among other things, political transformations of the Bay Area that seek to do to San Francisco what Rob Rinehart did to his apartment—rely heavily on exploited labor that has been geographically displaced. It imagines people of the future living side by side with people who lag behind—but not literally side by side of course! because the laggards commute from Vallejo. Anyone who isn’t on board with the spatial segregation of the temporally disparate is an “enemy of innovation.” Again, this is actually less about time than about hierarchy. After all, the temporal difference between any two people in existence at the same time is completely made up: it’s an effect of style, which is in turn (if we follow Loos’s logic) a proxy for economic dominance. Time is, so to speak, money."
modernism  nataliacecire  2015  apple  google  siliconvalley  design  economics  atemporality  robrinehart  adolfloos  childhood  primitivism  developmentalism  aphabet  puerility  naomischor  siannengai  power  systemsthinking  displacement  innovation  ideology  californianideology  history  newness  exploitation  labor  segregation  hierarchy  technology  technosolutionism  domination 
august 2015 by robertogreco
whitney trettien on Twitter: "It continues to upset me how often I come across a digital humanities syllabus with all-but-0 women writers/thinkers/makers/educators."
“It continues to upset me how often I come across a digital humanities syllabus with all-but-0 women writers/thinkers/makers/educators.”

“@whitneytrettien Thank you Whitney. I finally understand why this word "maker" is so important to people.”

“@whitneytrettien By using "Maker" instead of builder, mechanic, tinkerer, fabricator, etc...”

“@whitneytrettien One implies the sort of meta-awareness of the activity (and accompanying prestige) that we associate with...”

“@whitneytrettien that we associate with writers, artist, educators.”

“@whitneytrettien I've always known that "Maker" was a fantastically class-conscious term, but could never put my finger on why exactly.”

“@KellyPDillon @whitneytrettien @evalantsoght I wonder lately how to best combine these stories with courses on methods, too, you know?”

“@KellyPDillon @whitneytrettien @evalantsoght I mean, is the answer a separate course on Women in Comp? Or a module on comp hist in DH class?”

“@KellyPDillon @whitneytrettien @evalantsoght I mean, is the answer a separate course on Women in Comp? Or a module on comp hist in DH class?”

“@djp2025 @KellyPDillon @evalantsoght Historicize the methods and the making within/against other practices? "my mother was a computer," etc.”

“@whitneytrettien @KellyPDillon @evalantsoght Indeed, and exactly.”

“@whitneytrettien Guilty, apart from the literary texts I teach.”

“@briancroxall Which may be more problematic, no? Reinscription of the male gaze to dissect women writers. Not accusing, just musing.”

“@whitneytrettien It could be. My application of “theory” to our texts is pretty loose. +”

“@whitneytrettien It makes me wonder as well whether the idea of distant reading is a gendered gaze.”

“@briancroxall Me too -- definitely something I've been thinking about recently.”

“@briancroxall @whitneytrettien Can I interest you in an article on precisely that subject...”

“@briancroxall @whitneytrettien (forthcoming...) ”

“@ncecire Excellent -- when/where is it out? I look forward to reading it. @briancroxall”

“@whitneytrettien Oh, ha, would you look at that! Institutional repository at work. … @briancroxall”

“looks fantastic @ncecire's "Ways of Not Reading Gertrude Stein." ELH 82 (forthcoming 2015) ”**

**Article now at:
gender  makers  making  class  whitneytrettien  davidryan  2015  digitalhumanities  briancroxall  danielpowell  feminism  scholarship  academia  malegaze  genderedgaze  craft  thinking  education  tinkering  fabrication  mechanics  building  meta-awareness  art  writing  method  computation  computing  practice  nataliacecire 
february 2015 by robertogreco
Works Cited: Wasting time on the internet: a syllabus
"This is a syllabus in progress, imagined as part writing workshop, part American studies course on aesthetics. Comments and suggestions are welcome.

What I Did For Love: Taste, Evaluation, and Aesthetics in American Culture

“I don’t know art, but I know what I like,” goes the disclaimer. In this writing-intensive part-workshop, part-seminar, we will seek to unpack the relationship between “art” and “what I like” by examining a variety of cultural objects together with accounts of “taste.” What are the uses of an art that nobody likes? Could “annoyance” be an aesthetic principle? What is the role of money in taste? What are the ethics of aesthetics? Under what circumstances is an aesthetic pleasure “guilty”? When should the appreciation of art works be a matter of disinterested judgment, and when a matter of passionate engagement? Does “love” blind? What is the difference between a “fan” and a “critic”? What are the affordances and limits of the “formulaic” and the “generic”?

Four weeks of this course will be devoted to workshopping students’ critical writing, examining the roles of description, praise, blame, analysis, and enthusiasm in writing about culture. Students will also maintain a course blog. For the final assignment, students are encouraged to pitch their writing to an appropriately chosen publication.

Short exercise: choose a cultural object to describe as plainly as possible. About 500 words.

Essay 1: Describe some piece of culture (novel, film, painting, poem, music video, etc.) that you love, and that you also think is good. (These are two different things.) Explain why it is that you love the piece, what it is that makes it good, and how you can tell the difference (and under what circumstances you can’t). Be sure to explain what it is that makes art good in general—you don’t need to advance a fully developed theory of aesthetics, but you do need to unpack your assumptions as much as you can. Have an argument. This should be around 3000 words.

Short exercise: write a piece of fanfiction, about 1000 words, in the setting of your choice.

Short exercise: Make the case that some cultural object is a “remake” of another, earlier one (for example, that Pixar’s Toy Story is a remake of Disney’s Pinocchio). Be honest about the ways in which the claim does not hold up. In addition to noting similarities or lines of influence, you should explain what we gain from understanding the later object as a remake of the earlier one. 500–1,000 words.

Essay 2: Choose a piece of art and viciously pan it. Your critique should be utterly devastating, which is to say that you should be able to persuade your reader that this piece is a blight on humanity, and not merely that you are a mean-spirited person. This will be more effective if you resist choosing an easy target. 2,000–3,000 words.

Essay 3: Review some piece of culture that was recently produced—say, since January 2012. Give your reader a fairly thickly textured sense of what this piece is like, and explain what its successes and failures are. Once again, be sure to unpack what it means for something to “succeed” (in any register). What is the historical, cultural, or aesthetic milieu in which this piece is ideally legible? Make a point. This should be around 3,000 words.

Essay 4: Revise your review for publication in a venue of your choice. It may be print or online. When you submit this assignment to me, you should also submit a copy of the submission guidelines for this venue (to which your revised review should adhere) and a rationale (about 500 words) for choosing this publication. You are encouraged to actually submit the review to the publication you have chosen. (You might be interested in this [ ].)"
nataliacecire  culture  internet  web  reading  2013  johnkeats  robertfrost  petercoviello  aesthetics  beauty  guiltypleasures  thomasnagel  judgement  clementgreenberg  pierrebordieu  thorsteinveblen  barbarahernsteinsmith  tseliot  andrewlloydwebber  thewasteland  taste  class  williambutleryeats  josefalbers  difficulty  mariannemoore  siannengai  leonarddiepeveen  lawrencelevine  rosalindkrauss  popculutre  authenticity  criticism  gender  chinuaahcebe  appropriation  music  williamgibson  cuteness  commodification  marktwain  edgarallanpoe  lililoofbourow  christianbök  walterbenjamin  maryoliver  writing  syllabus  classideas  highbrow  lowbrow  kant  syllabi 
january 2014 by robertogreco

related tags

academia  adelinekoh  adolfloos  aesthetics  alinear  andrewlloydwebber  aphabet  apple  appropriation  art  atemporality  authenticity  barbarahernsteinsmith  beauty  books  briancroxall  building  californianideology  childhood  chinuaahcebe  christianbök  class  classideas  clementgreenberg  commodification  computation  computing  craft  criticism  culture  cuteness  danielpowell  davidryan  defamiliarization  deformance  deformity  denegrigar  design  developmentalism  difficulty  digitalhumanities  displacement  disruption  domination  economics  edgarallanpoe  education  exploitation  fabrication  feminism  foucault  gender  genderedgaze  google  guiltypleasures  hacking  hierarchy  highbrow  history  howweread  humanities  humptydumpty  ianbogost  ideology  innovation  internet  johnkeats  josefalbers  judgement  kant  kathiinmanberens  labor  lawrencelevine  leonarddiepeveen  lililoofbourow  linearity  lisarhody  lowbrow  machinereading  machines  makers  making  malegaze  mariannemoore  marksample  marktwain  maryoliver  mattkirchenbaum  mechanics  meta-awareness  method  michelfoucault  mikhailbakhtin  mobile  modernism  music  naomischor  nataliacecire  newness  nonlinear  oulipo  performance  petercoviello  phones  pierrebordieu  popculutre  power  practice  primitivism  procedure  puerility  reading  repair  robertfrost  robrinehart  rogerwhitson  rolandbarthes  rosalindkrauss  scholarship  segregation  siannengai  siliconvalley  socialmedia  steveramsay  syllabi  syllabus  systemsthinking  taste  technology  technosolutionism  thewasteland  thinking  thomasnagel  thorsteinveblen  tinkering  tseliot  walterbenjamin  web  whitneytrettien  williambutleryeats  williamgibson  writing 

Copy this bookmark: