Search results for "critical code studies working group"
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[…]is inseparable from human embodiment at any and all levels of linguistic structure. The LLMs are working with text not language.” While acknowledging the strength, persuasiveness, depth and clarity of Cayley’s arguments, the central claim here is that multimodal ML trained on youtube and massive quantities of public domain science data that exceeds the spectrum of the human-perceivable world will give AI a grounding that is in some ways vaster than that experienced by a singular human neurophysiology. The distributed body of 21st century AI, ingesting the output of mass uploaded images-text-speech-video and cartographic-accelerometer data, will utilize humanity as its […]
[…]from the hope that it might be possible to organize mass behavior otherwise. In other words, “code, communication, computing, feedback, and control…embodied an effort to develop more enlightened analytics for the force wielded by science and the state” (2). This impulse (or temptation) is to achieve the ends of the colony, asylum, and camp without resorting to their grisly means. At the risk of editorializing too aggressively, this is the main tension that persists in me upon finishing the book: To achieve submission to authority without violence and to obviate politics though technology (a recurring point within the book) are […]
[…]and some of the most impactful, powerful experiences for students are when they’re actively working on projects that we’re working on, or at least witnessing it, being a part of it, that kind of thing. So I could really see those two integrated. SR: Yeah. And merging practice and theory, I think is real important. It’s something that might be, if not unique, pretty distinctive about the environment that we’re bringing here. JN: I think you’re right. Because it is true as a research Center, it is actually really unique in that regard, in the sense that we have both […]
[…]joining the reactionary. And, beyond Stiegler, maybe that risk should anyway be taken in order to critically assess new technologies? As I argue above, not all negative critique is reactionary, and not all new inventions are purely good (or bad). As for specifically “left-wing” critique, I am not sure why critique of technology or new media should be assigned to either or any wing at the start. And, finally, if I may comment on the description of “the old bank robber” – yes, Stiegler was incarcerated for armed robbery, as is well known from his own books and elsewhere. But […]
[…]elusive and frank, beautiful and witty and quietly challenging, which rethinks the very idea of a group show, from singular research journeys these three artists have separately taken and the self-described “bundles” of ordinary materials they perhaps unpredictably collect and bring home to work with or hang onto as memories; that sometimes nonetheless retain their identity as materials in finished works that in turn, warmly and surprisingly, may also happen to respond one to another in this “collective,” and slantingly to their journeys, materials, and questions. Have I ever seen a group show like this one? So varied, delicate, even […]
[…]possible in print, how it’s better. And if in some cases it’s not better. That’s where the critical component, critical communities, the two Cs, that’s what one gets with EBR when it’s working. SR: Yeah, and I do think that it’s been one of these places that really did expand the reach and the community of electronic literature. So for example, I know people like Steve Tomasula, an experimental novelist, or Lance Olsen. I see their work, they our work. We sort of have this experimental tradition in print literature, interacting with this experimental tradition in digital literature. So I […]
[…]2016. I met Mark Marino in LA when I was living there. I’d been following his work in critical code studies from afar for years, and I had been wanting to talk to scholars of code about the way code is used in some types of LARPs. There’s a reason for this bizarre moment, for this sort of liquid — what Colin Wilbert has called technogenic life — when the technology in our life restructures things. As I studied code-based LARPs I was realizing the timing matched up — these are computing practices bleeding into an analog practice where we’re […]
[…]them in historical literary contexts, comparing them to conventional literary genres, to focus groups, working with studying male gamers in their own voices. And a thing that I’m very excited about is experimental research, where we’re actually working with creative writers and digital artists and exploring the potentialities of these new forms for storytelling, seeing how they affect us, how they affect our consciousness, our sensory apparatus, our experiences of narrative, our affect in different ways. So really ranging from qualitative survey-based research to documentary research, database-driven research, visualization, to that kind of creative experimental research. Jill: One of the […]
I appreciate the thoughtful reply from Søren Bro Pold, as it really forces me to drill down to the crux of the matter. There is nothing mistaken in his reply, but I do believe that he focuses the key dynamic to the core reality that we need to push on: 1) “It already happened.” And, 2) “how do we understand the many ways this tertiary retention grammatizes us?” For me, to be reminded of the ways in which the social knowledge base of the University has already disappeared is painful. As a teacher, editor, and researcher, I know that the […]
[…]and which leans towards ideas of elit practices enveloped within the broader field of literary studies, rather than a literary studies composed as much of form-making as it is breakages and proto-redefinitions of genre. Echoes of the traversals from Grigar and Moulthrop’s own “first cut at an oral history of early electronic literature” in Pathfinders (2015), later elaborated upon in Traversals (2017), can be heard in Ensslin’s interviews with the key figures of the history; however, Moulthrop and Grigar go further by including interviews and video recordings of the artist experiencing their own pre-web work, and recordings of two additional readers, […]