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[…]as well as action and growth (Figure 3). Above all, Amphibia, from the Greek amphis [αμφις] and bios [βιος], meaning two lives, is a space of metamorphosis where multiple dualities might meet, overlap, trespass, and inform each other. It stands in stark contrast to the strict ideologies that defined the detention and torture center once occupying the space. AGC’s design replaces a closed space with an open space that comprises difference, flux, and mutability. In proposing this in place of the prison camp, in lieu of the wasteland the site has become, Amphibia works to dislocate the memory and ruins […]
[…]of poetry with different affordances. No, a career in this was not possible. There was nowhere to study it. No money in it. It was just stuff that people like me did. Scott Rettberg It was more of a vocation than an employment situation? John Cayley I don’t know. Scott Rettberg And yet you ended up doing it as a job. So there is hope. John Cayley Yes, there is hope, there’s always hope. Scott Rettberg I don’t know how theoretical we want to get here, but would you say you have had some interest in deconstructionism in your work? […]
[…]written language and representative or abstract imagery, but using a digital, procedural source to guide the making. The project consists of two elements: a Twitter bot producing hypothetical works of quilted textual art, and a set of 9 blocks of physically-realized works patterned on selected output from the bot. The Twitter bot has been seeded with fundamental shapes and elements of quilt poetry, as well as a language library that draws on the verbs and words of fiber craft (a traditionally feminine-coded space of making) and computation (a typically masculine-coded space of hacking.) As a Tracery-powered bot, it will act […]
[…]is useful in order to address the incessant movements of information between devices: impossible to comprehend in their entirety. It is in these terms that Galloway addresses culture and the interface, to which I will return shortly, but I can already state that those effects are fundamental incompatibilities: it is the impossibility of reading the present as historical. « Laisse venir » which means “let it come” in french is also very similar to this notion of flux. In a journey made on Street View, it is the places that are coming to us, by way of photographic records and an interactive […]
[…]of late 19th and early 20th century poetry and then seeded with extracts from the present essay. [For more about our deep learning project see (Dean and Smith 2018)]. As we will see, the resulting text has considerable relevance to the concepts of the absorptive and anti-absorptive in Bernstein’s work, discussed later, because its posthuman textuality, which flouts normal conventions of grammar, syntax and semantics, might well be described as anti-absorptive. The second column is therefore a 2020 technological take on the concept of the anti-absorptive, while the essay itself, because of its dependence on argument is, loosely speaking, more […]
[…]and rhetorical figures (Drucker, 2018). Manuel Portela has characterized this book as “a manifesto for a new poetics of the social” and a combination of “philosophical treatise, social theory and literary nonfiction” (Portela, 2019). As Drucker presents it herself: “We are struggling to find the critical tools for engagement – not to analyze any one phenomena [sic], but to understand the processes of its production” (Drucker, 2018, 6). She argues that we need new forms of explanation, new forms of poetics and aesthetics, when “we are witnessing the rise of perverse nihilism and a grotesquely distorted appropriation of avant-gardism as […]
[…]produces systems of complexity. These issues of doubling and complexity are intrinsically related to questions of mapping; i.e., they question the ways in which the apparent surface interface of the computer is mapped across deeper programming languages and a foundation of zeros and ones. As Rita Raley argues, building on a point made by Friedrich Kittler (“There is No Software” 148), a “tower of programming languages” is produced (307)—a kind of architecture or structure of languages that map upon each other. These languages are all inevitably, as Hayles maintains throughout Chapter Two of How We Became Posthuman (1999), conceivable as […]
[…]from the outside—and, some might argue, looking down from the relative privilege and financial comfort of the so-called ivory tower (although in the wake of COVID-19, that same tower’s foundations are shaking, if not collapsing). This positionality also impacted our approach to interviews, and we frequently relied upon existing material rather than ask for further time and resources from the creators whose work we engage here. We understand and acknowledge the limitations (and risks) of the academic gaze. Yet our relationship with Twine is still personal, and it is this thinking that guides our approach to Twine throughout the book: […]
[…]lived experiences intersect with what they build. We have designed assignment sequences that try to guide students through this connection (Cameron and FitzPatrick 2021) but inattentiveness to lived experience is not only a problem in AR design; it is a structural problem in the field of critical making more broadly. As a practice, critical making unites theory with materiality, crediting made artifacts as more than objects of scholarly analysis. Making becomes a mode of conducting scholarship in itself, for the process of hands-on creation generates its own theoretical insights. Over the past decade, higher education institutions have invested in critical […]
[…]by Google’s search technologies, Frédéric Kaplan has argued that this company’s autocomplete feature nudges human writers toward certain search terms that are valuable to Google – and thus away from any kind of linguistic idiosyncrasy. The humble spell-checker, long blamed for making us worse at spelling, has presaged the more ambitious ways that writing-assistance algorithms may strip us of our creative capacities and homogenize our minds on behalf of technocapital. On the other hand, we may more sanguinely see in certain algorithmic tools, perhaps including both the spell-checker and Grammarly’s stylistic suggestions, something that is often missing from contemporary digital […]