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[…]They see this as especially powerful in the classroom subjecting “the concept of authorship […] to creative reexamination” (22). In her chapter, “Digital Swarm Techniques: A Case Study to Teach Digital Collaboration and Disrupt Power Structures in Education,” Maria Aladren picks up on the potential for these collaborative practices in the classroom, claiming that they can “disrupt power structures in education” (57). She advocates for “swarm pedagogy principles” (63) that “help students tolerate failure and diminish its impact in pedagogical groups, and, thus, [help] to ‘free’ the student to question, fail, and create” (71). The difference between this view of […]
[…]playful. It’s empathy and respect — always, always! The invitation isn’t for other people to come hold your perspective. There has to be room for other people as they are. Art is always an embodied practice, we do it with our whole self, we do it with our bodies, whatever energy we have, whatever we have to give at a particular moment. So people are invited to participate and engage with their bodies, their energy. And if all we’re doing is saying: ‘my art practice, my writing practice comes from my body and my breath, and you get to enter […]
[…]research project that was developed in the TECHNE Lab at the University of Colorado. In response to OpenAI GPT-2, Amerika sees not despair but opportunity. He writes: The very concept of a language model that attempts to predict intelligible language, one word after the other, appeals to me greatly because I too, as an improviser of spontaneous poetic riffs and self-reflexive artist theories focused on the creative process, continually train myself to transform my embodied praxis into a stream of consciousness writing style that doubles as a kind of onto-operational presence programmed to automatically scent new modes of thought. With […]
[…]training is, for example, in the visual or material arts to create literary projects. It’s as comfortable for them to do that as it is for somebody who studied creative writing. SR: So it’s that sort of hybridity that’s— JT: —that’s really what makes it, is interactions. And I did write down a few comments. SR: Ok, I’ll let you do like a line or something— JT: —comments by Anne Burdick, which continued to resonate with me and continued to do even after Anne stopped updating and redesigning the journal every two or three years, as she did for the […]
[…]that thousands of scholars labored dutifully to track down every relevant piece of research to comment on and critique, pushing knowledge forward with a commitment to refining and improving upon the best ideas for the benefit of all. Sure, inspired communities exist and clusters exist, but their egalitarianism often means they simultaneously struggle for legitimacy. I console myself thusly: You gotta choose between punk rock and pop stardom (I’m not a loser, I’m an underground sensation. A very deep underground sensation. LOL.). In reality, increasingly overworked and underpaid contingent teachers scan for footnotes and catchphrases that will confer legitimacy on […]
[…]I said, “We must be doing something right if people are taking sabbaticals from Microsoft to come and work with us at the Center.” DK: I will say that the company at first didn’t necessarily understand because this was over two years ago, and they really did not understand the potential of AI, specifically the applications in storytelling and media production. And it wasn’t until six months ago that they went, I get it. And so it turned out to be very fortuitous that I’m here in this program at this time, doing the work I’m doing. SR: Yeah. And […]
[…]clean design. A lot of digital art goes for a very specific look. So I thought, okay, I’m going to combine my poorly drawn art with strange poetry that’s marked up and scratchy and kind of odd admittedly. And then I decided to turn this into basically a platformer game, a simple platformer game. And I think it was lucky in terms of timing because when I released this thing, I really had no sense that anybody would even care. And at the time there was a PhD student of, not even of mine, just a PhD student who was […]
[…]only really buoy the organization to keep going further and appoint new leaders and continue on to free their political prisoners, you know? SR: I really hope that’s not the case. One thing it does seem, in terms of a positive aspect of this, I know that you and a lot of news organizations, for example, when he was arraigned in Miami, there’s these big rallies and there’s almost an anticipation that there’s going to be violence like there was at the Capitol. And I think maybe the fact that these people know that people get put in jail when […]
[…]is a collection of thirteen essays written by Tyler, that provides thought-provoking introductions to questions that arise when aspects, representations, cultures, and cows collide. Tyler’s point of entry lies mostly in games, and the essays invite the reader to engage with topics that are often present, but unnoticed. For instance, the frequently overlooked conditions and circumstances of animals in video games; how their experiences and perspectives have been considered, if at all, when designing or playing a game; or, how games address or suppress any being’s differences and similarities in the name of entertainment. These issues become increasingly relevant as […]
[…]for it.” So they paid what would have been a great deal by Gaddis’ standards. I remember [Candida] Donadio, his agent, said something like, “Willie has never had money like this before.” He’d never had an advance of any significance. Both the first two books were published into something like neglect. So, anyway, the Linden Press overpaid a bit. I don’t know exactly how much, but like six figures, which was a ton for that time. So they got the book. And then Al left—he got fired or edged out or something, probably for being too literary— and I went […]