Search results for "C_THR86_2305 Latest Study Guide š Reliable C_THR86_2305 Test Sample ā C_THR86_2305 Braindumps š„ Open [ www.pdfvce.com ] and search for [ C_THR86_2305 ] to download exam materials for free š¤²Test C_THR86_2305 Lab Questions"
| Results 131 - 140 of 1053
|
Page 14 of 106
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[ā¦]the term also relates equally to āboth ethnic separatism and cross-cultural interchange, [and] global dialogue and imperial impositionā (339). Similarly, as digital media networks and platforms provide perspectives into both sides of the transnational, we need forms of critical creative practice that occupy the same spaces as the phenomena they critique, and that tackle corporate and political institutions from within, and from bottom up. In other words, the transnational global network economy calls for creative responses that render visible the structures and manifestations of the global economy and show how these structures are enacted at the level of national institutional [ā¦]
[ā¦]representation gain further nuance as we move beyond the field of electronic literature to examine its position embedded economically and socially. Racialization is not erased by technology but embedded in its infrastructure and instantiated culturally through its uses. Safiya Nobleās Algorithms of Oppression examines a propensity for algorithms to reflect the values of a tech industry, whose lack of representation of BIPOC thinkers at the corporate-level and among the so-called intelligence class has been well-documented and critiqued (Harrison; James; Guynn and della Cava; Tiku). She argues that the absence of Black and Indigenous executives directly correlates to their misrepresentation in [ā¦]
[ā¦]umbrella company, such as Eastgate Systems, but simply started spawning across the web. I decided to study these hypermedia projects, as they were, for me, the first manifestations of what we know now as a ādigital cultureā. Thatās when I started the NT2 Lab (2003), having received major funding by the Canadian Foundation for Innovation (CFI), to build an infrastructure dedicated to the study of these hypermedia projects. In fact, throughout the years, the NT2 Lab has received three CFI grants (and has been part of a fourth one, with the Erudit Consortium), and it has been a key element [ā¦]
[ā¦]cover, it is conceptually affixed to the content of the book. Like a print paratext, it āsurround[s],ā āextend[s],ā and āpresent[s]ā the text, in order to āensure the textās presence in the world, its āreceptionā and consumption in the form (nowadays, at least) of a bookā (Genette 1). However, as a digital image, it is physically dissociated with the book and enjoys its precarious autonomy to be ācopied, linked, and reposted, at different resolutions and sizesā across different websites and platforms (Bridle). It is the conceptual tension and fusion between these two identities that define the ontology of the digital book [ā¦]
[ā¦]aspect, its potential curative component. As Stiegler observes, riffing on Deleuze, ā[i]n the face of stupidity I am ashamed, and this shameā¦forces me to thinkā (32). And of course the connection between shame and technology is an old one, going back at least to that first repurposing of fig leaves into rude garments. My fundamental intuitionāadmittedly a vague oneāwas that spending time thinking about Keats would be of obvious value to my mind/spirit/noos. One might object that Keats, of all poets, does not in fact need any more attention directed toward him. But if Stiegler is right that the traditional [ā¦]
[ā¦]pathways breaking the philosophical line, and knowledge domain visualizations giving us new ways to communicate argument as well as structure, both the politics and the poetry of sculpting with data. After that time, though not quite consciously, writing for the page would always be only my secondary work as my practice moved precisely to the interrogate the point of contact between text, image and sound but also, critically, interface, and, later, haptics and proprioception. B. Building Feminist Theory I began work on a born-digital hypertextual dissertation. Inspired by George Landowās famous formulation that hypertext concretized postmodern theory, I wondered how [ā¦]
[ā¦]practices, Iām thinking about the anti checklist: a list of [things that say āhow to notā] and using that as the barometer. Anti-racist work often leads to uncomfortable/painful discussions that lead to personal growth. When designing board games, how do you allow this to happen while fostering safe spaces? Kishonna: Itās important to recognize that the growth has different audiences. Youāll have conversations with Black and Indigenous folks, and then conversations with white populations. These conversations will be different. You have to think about who is it that needs the growth and whoās uncomfortable. Itās often the more progressive liberal [ā¦]
[ā¦]exciting. KM: We did actually start off with the intention to read The Decameron, [00:09:00] and that didnāt entirely pan out. But I think one of the things that did was that we all did read the introduction to it. The sort of the frame narrative in which these people are gathering to tell the stories. And Boccacio was basically taking this description of the plague from many other plagues. He took older descriptions of the plague and he bundled them into his description of the plague, but itās kind of convincing when you read it. And it sounds like [ā¦]
[ā¦]Canadaāand I am currently teaching using three different LMSs (Blackboard, eClass [Moodle], and SLATE [Brightspace]). This pandemic has clearly laid bare several of the difficulties of precarious labour in the academy, and the need to fluently navigate several disparate platforms is just one. I would like to use this unique position to begin to speak to the role of pedagogies of digital literature to help students develop critical digital literacies, and how the proprietary LMS might influence or impede that process. What follows is an equal parts scholarly and reflective pedagogical analysis and critique of the use of the LMS [ā¦]
[ā¦]it comes to my own practice as an artist and writer, and what it might say concerning the very latest developments in algorithmic art and writing more broadly, I am particularly engaged by Jonesās frequent invocation of writing in which error manifests not as āfailureā but through capturing the alien texture of wholly normative operationsāespecially those in which wayward outputs are the very signature of correct functioning. At the start of the book, Jones recounts the unsettling experience of listening to a synthesised voice on the other end of the phoneline, comprised of myriad recordings of human speech condensed algorithmically [ā¦]