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[…]“Autopia,” one of the original rides. As I developed the car names I was collecting into components of a text-generating system, I found that the generated sentences could speak in a wide range of ways. The outputs were able to suggest upper-class activities (NEW YORKER GOLFS), offer mathematical results (OPTIMA FIT MATRIX AXIOM), and even relate to contemporary issues such as immigration (AMIGOS FORD RIO). Continuing my work on the project showed me that language could combine in some amusing ways, but also, at times, profound and resonant ones. This particularly pleased me, as I enjoy making work that has […]
[…]engagement with video games that reinforces their exclusively. As Schmalzer points out, “[l]iteracies are also promoted from title to title through the consistent mapping of actions to certain inputs” (Schmalzer) Players are expected to adapt to the culture and adopt its literacies, or else struggle to play until they ‘git gud’ or give up. We need more controllers that work against the emphasis placed on ability orthodoxy in game culture—and more games that follow from these queer and alternative controllers, rather than the other way around. My aim with this controller to queer both how a controller should function, and […]
[…]to the medium. There, Aarseth distinguishes games from hypertext or literary fictions because “[g]ames […] can’t be read as texts or listened to as music, they must be played” (“Computer Game,” emphasis mine). James Newman, describing the experience of computer game play, dismissed the representative logic of realism or identification in favour of “a continuous feedback loop where the player must be seen as both implied by, and implicated in, the construction and composition of the experience” (“The Myth”). Katie Salen and Eric Zimmerman’s 2003 concept of digital games as “emergent systems” extends this feedback loop to the culture in […]
[…]field (see Figure 1). These commands include “edit”, which lets you directly edit the AI’s latest response; “undo”, which removes the most recent response and lets you change your input and try for a new response; and “retry”, which re-runs the most recent input to let you try for a different response. There are also several other commands which impact the story generation, such as “world info”, which lets you edit the information about the storyworld that is fed into the AI on each iteration, and “pin”, which lets you add specific information to the AI’s input. Finally, you can […]
[…]after all, that we can jugar en contra (Kozak 2011) or counter the whole apparatus bent on autocompleting our thoughts or presenting itself as the only possible answer to our searches. By making algorithms visible, by showing that they are in fact working – even when their precise workings elude us –, these works question some of the naturalized behaviours and hegemonic meanings of digital culture. In Kozak’s words, making this kind of materiality visible – as ways of being with materiality – invites us to question what it means to think of the digital sphere as a culture of […]
[…]on energeia (vividness) to focus on the dominion of the printed word over the image. Thus, [t]he occurrence of visual elements in VR-environments, digital art and literature, could, with Bolter, Ryan and Grau, be said to deny, or make ekphrasis a redundant concept, but this is only if we apply the print-based definition of the term and do not take the immediacy, performativity and multisensory circumstances of rhetoric into account. (par.14). As we have seen in the work of Arcangel and Lobera, this intermedial practice is metamorphosed into a particular kind of post-digital ekphrasis when, for example, the artist uses […]
[…]Joyce (1882-1941), belong perhaps to the second. Those who seem to retreat from the world in order to compose works based on their past life, such as Marcel Proust (1871-1922), would enter the third group. Each of those patterns assumes a model of what living is for humans as biological and social beings, seemingly ignoring the practice of writing as its own life form. There is life, and there is writing, and they must remain immiscible: one has to come before or after the other, or they can interrupt each other in parallel streams but without ever mixing up. Writing […]
[…]analysand (for them, a woman). Much as Freud and Bauer understood themselves as ‘[helping to] draw sense out of hysteria’s narrow cleft’ through the process of psychoanalysis, so too does Pound’s comic presentation of himself as performing a ‘caesarean’ through the process of editing Eliot’s manuscript suggest an equivocation upon the question of authorship. Through reconstructing the circumstances of the poem’s germination in the wake of Eliot’s severe mental collapse, Koestenbaum’s persuasive gambit is to suggest that the original manuscript of The Waste Land embodies the hysteric output of Eliot, and that Pound’s midwifery was then comparable to that of […]
[…]that is in generative joy, terror, and collective thinking. – Donna Haraway Steve Tomasula’s latest novel delivers amply on Haraway’s formula. The book overflows with discovery, both scientific and artistic, a performance that should spark joy for some readers (this one, anyway). It weaves a structure for “collective thinking” that spans generations, disciplines, and personal histories. As for terror, it flirts with a maximum survivable dose. There is a numinous Terror Bird, a never-ending War on Terror, an ominous bead of amber; and above all, the existential horror of sixth extinction, drumming like an execution march through the book’s main […]
[…]their projected influence in “Thoughts on the Textpocalypse”, Davin Heckman submits that “[b]eyond upended careers and creepy dystopian resonances, they exploit the dynamics of social trust that make life livable and instrumentalize language as an industrial tool for social engineering.” In my view, this is all true. However, Heckman adds, scholars working on new media (in the U.S.) rarely raise strong criticism about digital media. Then, the possibility of negative critique of digital media, including AI, hitherto lacking, was opened by Matthew Kirschenbaum in the essay “Prepare for the Textpocalypse”, which Heckman takes as a springboard in his own essay. […]