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[ā¦]Beiguelmanās Code Movie 1; the privileging of audio in the remix rhythms in Babel [Chris Joseph] and Eshaās Urbanalities; the witty, instrumental score for the kinetic word ballet of [Robert] Kendallās Faith; the user-driven audio collages of [Maria] Menciaās Birds Singing Other Birdsā Songs and [Jim] Andrewās Nio; the triggered, synthetic sound of [Damien Everett and Melinda] Rackhamās carrier (becoming symborg); and the ambient drone and crackle accompanying Geniwateās [Jenny Weight and Brian Kim Stefanās] Generative Poetry. (Sherwood). So, to be fair, there may be examples of electronic literature where we can point to the use of sound(s) as a [ā¦]
[ā¦]of exploratory thinking closer to poiesis. As Snelson (2015: 180) advocates, Samuels and McGann, [and] scholars like Alan Liu emphasize the necessity for new poetic forms within the field of humanities computing. Given the importance of form and process in the criticism of digital objects, the digital humanities would do well to turn not only to data visualization and information design for answers, but also to contemporary art and poetry. Lit mods can be such a poetic form. In addition, as a cultural form, the mod clearly represents cross-disciplinary creative practices with a critical and subversive ethos that can stimulate [ā¦]
[ā¦]on the shared values and major areas of consensus that transcend our specific situations [and] disciplines.ā He attempts to elucidate what a successful transition into the digital age might look like for the CCA, quoting Nicolas Colin and Henri Verdier ā two experts in venture capitalism: āIf you can attract, capture and redistribute the creativity of the masses, you can become a major player in the digital economyā¦ in the digital revolution, the masses are the new wealth of nationsā (qtd in Brault n.pag.). In these examples, there is simultaneously a dependency on the language of capital and a fundamental [ā¦]
[ā¦]ACM Press. https://dl.acm.org/doi/10.1145/317426.317431 Breeze, Mez. 2003. Inappropriate Format][ing][Craft-Orientation vs. Networked Content[s]. JoDI: Journal of Digital Information, 3 (3). https://journals.tdl.org/jodi/index.php/jodi/issue/view/15 Christian, Barbara. 1987. āThe Race for Theoryā. Cultural Critique, no. 6: 51. https://doi.org/10.2307/1354255. Dam, Andries van. 1988. āHypertext ā87: Keynote Addressā. Communications of the ACM 31 (July): 887ā95. https://dl.acm.org/doi/10.1145/48511.48519 David, Gaby, and Carolina Cambre. 2016. āScreened Intimacies: Tinder and the Swipe Logicā. Social Media + Society 2 (2). https://doi.org/10.1177/2056305116641976. Drucker, Johanna, and Bethany Nowviskie. 2007. āSpeculative Computing: Aesthetic Provocations in Humanities Computingā. In A Companion to Digital Humanities, edited by Susan Schreibman, Ray Siemens, and John Unsworth. Chicester: John Wiley & [ā¦]
[ā¦]differenceā, āthis differenceā, āthis versionā, āwhat differenceā, āless timeā] To understand how these poems came about, let us look at the software used to generate them. We used a K-Nearest Neighbors model implemented in the natural language processing framework spaCy, based on code by digital poet Allison Parrish (āUnderstanding Word Vectorsā). Such a model belongs to the machine learning subcategory of AI. Instead of tediously programming computers to do certain tasks by explicating each step, machine learning works by getting the computer to model a dataset, in other words, machine learning is popularly known as programming-by-example. Based on the measurement [ā¦]
[ā¦]for āGoogleās Android mobile based operating system ā¦ for use on the Smartphones ā¦ [and] tablets in addition to the mobile phone usage ā¦ These APK extensions are compressed file archive that contains the codes for the program, mainly the application resource files and the AndroidManifest.xmlā (File Extension APK, n.d.). The data incorporated in files with the .apk extension consists mainly of a wide range of components such as still and moving pictures, videos, audio, 2D and 3D shapes, and text. The processing stage includes developing codes by the programmer to instruct the computer to compile all these types of [ā¦]
[ā¦]. A key benefit of an archive-based study of any author is the opportunity to forensically reconstruct the life of their mind. A catalogue of identified references and allusions identified in their published work can be fruitfully open-ended. But scholarly precision is aided by engaging with the archive of the authorās own reading: the āwhyā behind someoneās choice to read a book, and the dynamic, attentive āhowā of that reading as evidenced by the annotations they make. The present study is in essence a partial intellectual biography, constructed from the evidence left behind in one notable manās books, notes, and [ā¦]
[ā¦]communities is often celebrated, as the digitization, translation and dissemination of the latest chapters from the famous manga series Naruto and One Piece usually precede the concerted efforts of the rights holders for adaptations in English by many months. This situation is not different for US comics, where leaks of digital comics will often hit p2p torrent sites such as The Pirate Bay before their official release date (Alverson), further evidencing the symbiotic development of licensed and illegal dissemination. The scanlatorsā unsolicited activity, framed as audience building (Koulikov) and described in terms of a gentlemanās agreement (Pink), is often strategically [ā¦]
[ā¦]can (and do) use the approaches of the arts and design to evaluate these projects as artworks. But to guide their development as technology, that is both integrated into the current project and may live on and be used for new works and in other contexts, we need a different approach. One approach would be to look at the AI embedded in the technology as expressing a set of ideas, open to hermeneutic explication and critique. Another would be to critically examine the reader/audience experiences that can be created by the procedural representations produced by the works. Another would be [ā¦]
[ā¦]party scenes. Gaddis decided to send a version of himself into that world as Otto to āprevail[] against them, so that they fled [ā¦] naked,ā then became interested in Ottoās own ridiculousness and what it might take to redeem it into seriousness, then ālost Ottoā such that Wyatt became an increasingly central figure, at which point Ducdame as full Otto-novel was put aside, and Otto integrated into the new project. The Recognitions satirises authorial over-identification with protagonists, as Otto processes his real experiences through thinking what his own playās heroic self-insert āGordonā would make of them. This self-reflexive element is [ā¦]