Search results for "critical code studies working group"
| Results 61 - 80 of 1183
|
Page 4 of 60
|
|
Sorted by: Date | Sort by: Relevance
|
Results per-page: 10 | 20 | 50 | All
|
[…]haul through the forest, create conditions for telling new stories; just as electron microscope studies of Burgess fossils made possible Gould’s insights. Lest we miss the techno-narrative connection, Jane goes on to lament that she is herself becoming “a dinosaur” – unwittingly echoing a train of thought from the bygone Professor in the previous chapter. Both are estranged from academic peers, hers obsessed by images “made possible by graphics cards in those powerful, new computers – a massive 128K of RAM compared to the 64K of memory in the Eagle moon lander” (143). Jane’s wisdom is not universal, so we […]
[…]difference of sense-data. The atmospheric of language in this article derives from elemental media studies. In elemental media studies, media is defined as relationality and order of things (Peters; Jue). Melody Jue proposes a milieu-specific analysis, addressing the nature of situated knowledge production for specific observer, that is, “in what environmental milieu do scholars write their theory, and to what extent does it inform their thinking and writing”(14). As Jue clarifies, milieu-specific analysis calls attention to the emergence of specific thought forms relating to “different environments”, which are significant for “how we form questions about the world, and how we […]
[…]sequences, both common and uncommon. It is urgent that we open the door of negative speculation in critical digital media studies. We should be free to think about what could possibly go wrong without having to prove that it already has (even when, sometimes, it already has gone wrong). And though there are other voices out there doing the same, Kirschenbaum’s piece comes in the right place and the right time to help frame the reception of a highly hyped piece of popular technology. In that spirit, I would like to push Kirschenbaum’s critique a bit further. Here, I consider […]
[…]book of poetry each month. The work began with human literature. This was fed into neural network code, which produced blocks of largely incomprehensible A.I.-generated text. These text blocks were then human edited or ‘carved’. Jhave argues that ReRites establishes that ‘contemporary […] neural nets will never produce coherent, contextually-sensitive poetry,’ and thus need a human input in order to generate poetry, by combining ‘embodied human and disembodied algorithm.’ In the case of the computer-generated critical writing, Amerika (2022) laments that he wishes he could take credit for creating the sentence that perfectly elucidated his thoughts, the same way ‘GPT-2 […]
[…]texts, but we didn’t have them with us. So we were like: what do we do this weekend? I had been working for a web company called the Mining Company, which became about.com. I’d just written a story about hypertext, which was a new thing to me at that point. I asked: why don’t we try doing one of these hypertexts about the book tour we’re gonna go on after we publish this book? We started with a single page, taking turns writing. And we were really enjoying it. Then we sort of decided that we should make fun of […]
[…]really push it, but yeah. Rob Wittig My thinking about the future of Netprov includes those small group projects where it’s your group of friends, plus Netprov Featured Players like you, Alex, playing small private versions of satires. But Netprovscan be big or small. Anyway, sorry, I rambled on. Alex Mitchell The Yes Men basically do parody, but they stay in character for a long time. And then there was the guy with the website Birds Aren’t Real, right? He stays in character. And then you do start to wonder about conspiracy theories: is that Netprov? Maybe that actually starts […]
[…][1971]. 43 See Edwin J. Barton, ‘On the Ezra Pound/Marshall McLuhan Correspondence’, McLuhan Studies,Premiere Issue, http://projects.chass.utoronto.ca/mcluhan-studies/v1iss1/11index.htm#toc, accessed 16/09/21. 44 DH Woodward, ‘Notes on the Publishing History and Text of the Waste Land’, The Papers of the Bibliographical Society of America 58/ 3 (Third Quarter, 1964): pp. 252–69. 45 McLuhan, ‘Pound, Eliot, and the Rhetoric of The Waste Land’, p. 560. 46 Ibid., p. 571. 47 Ibid., p. 574. 48 Emily Bender et al., ‘On the Dangers of Stochastic Parrots: Can Language Models be Too Big?’, FAccT ’21: Proceedings of the 2021 ACM Conference on Fairness, Accountability, and Transparency (March 2021): […]
[…]I was having a lot of fun, even while holding in mind the turbulence that is surely coming for working artists, perhaps for large tranches of the arts themselves. In the end, I feel like I’m asking you to hate these images I made, because hating them is the right thing to do — as is hating the exploitative, amoral, dehumanizing technology that makes them possible. And yet part of me still wants you to look at them and like them and think they’re cool. I guess that makes me human. Coda It’s only fair that I confess. In the […]
[…]of a machine that easily mimics human expression. And yet, it is human language (not computer code) that is the primary method by which these tools take instruction and learn. As Scott Rettberg recently wrote in an AI writing listserv: “writing, interlocution, becomes the essential thing again.” AI technology and its cultural impacts are changing so rapidly that ebr editors are now opening the journal to more informal submissions for the machine-writing thread. Along with the traditional essay, we welcome blog posts, riPOSTes, reviews of AI art or AI tools, audio/visual media, transcribed conversations or interREviews, marginal glosses and experimental […]
[…]to literary traditions and contemporary aesthetics. It begins by describing the recent surge in critical attention to Italian e-lit, reviewing differing approaches of two recent essays that aim to reconstruct the history of the genre, which began with Nanni Balestrini’s works and Enrico Colombini’s Italian textual adventures. We also have two interviews from Rob Wittig that share a common focus on the experience of participating in collaborative storytelling–or “Netprov”. In Wittig’s interview with Johannah Rodgers, Johannah describes her involvement with Netprov, beginning with her participation in the Monstrous Weather netprov at the 2017 Electronic Literature Conference in Porto. She discusses […]
[…]of the works; it is precisely the medium that is missing. Patti does not need to examine source codes or identify different types of “interfacial media figures” (Saemmer) or “dysfunctionalities” (Ryan); the writers’ skills are read-only skills. Does all this mean that Patti’s essay is not recommended? Absolutely not (who would dare to advise against Dante?) for at least two reasons. The first is that Patti has provided a compelling analysis of the ideology of literary forms and a timely reinterpretation of Italian “open works” in relation to popular culture and society. The broader spectrum of theoretical and ideological influences, […]
[…]as much in that environment. But in that project I ended up composing some messages in Morse code — there are several Morse code translators on the Web — and then getting responses back in Morse code from people I’d never met and whose messages I was only ever partially able to translate and understand because, at that point in time, there were virtually no automated Morse Code to alphabetic language translators. I like how Morse code looks and I think a lot about coding and communication in my work so to have other people pick up these threads from […]
[…]than all of us!’ I love that spirit. And I loved how you and Mark were open to whoever you were working most closely with on a new netprov. You did it with Claire and me, you just said — the next netprov is you two! You two just run it! That’s how we did All Time High, right? You gave support to it, but you were also: ‘this is your show now.’ That was really cool. The invitation to play netprov is always open. Whenever I, or anyone else, says, ‘Gosh, I don’t know how much time I have […]
[…]would happen that would take place within the context of the pandemic living room setting. We were working really hard to try to conceptualize and execute and it never quite got there. But it was fun to think around. Rob Wittig 21:48 I would encourage you not to let that go. I think there are a lot of possibilities there! In Your Living Room with a Wrist Band! Claire Donato 21:59 We never could quite figure out what it was. We had the net artists. Net performance artist Molly Soda made a webpage for it. The game part of it […]
[…]
[…]
[…]of imaginations”. So, is the poem enacting an anxiety of the speaker, afraid that the mic is not working, concerned that use of a traditional form (whether it be the prosaic bullet point or the more flowery sonnet) will fail to switch on the hearing of the audience? If so, what does the speaker want us to hear? The only clue we can reliably follow from “Emergent Emergencies” and the other four bullet point poems is the end-stopping of each line which suggests that meaning is at best discontinuous, and that propositions may prove false or misleading guides. A line […]
[…]
[…]researches in the fields of Australian women’s literature and feminist approaches to literary studies. She has published several articles on Australian women writers of the 1930s-1970s, most recently, “Modern Man and the War at Home: Eleanor Dark’s The Little Company (1945) in War, Gender and Reflective Australia, edited by Joy Wallace and Christine Jennett, Independent Scholars Association of Australia (ISAA) Review, 2021, vol.17, no.2 and vol. 18, no.1. With John O’Carroll, she has published on the distinguished Australian poet, Judith Wright, most recently, “Beyond Subjectivity: The Appearances of Extinction in Judith Wright’s Fourth Quarter (1976), Fusion Journal, 2016, Issue 10. […]
[…]turn, internally segmented into 4 to 9 subunits of 2 to 4 pages each. These divisions are further grouped into four major parts that approximately give us childhood and adolescence (“The Born Foreigner”, 1888-1905), youth (“The Poet as Transformer”, 1905-1914), adulthood (“Dreamer and Civilizer”, 1914-1925) and middle age (“Spiritualist and Humanist”, 1925-1935). The equivalence between bibliographical sections and narrative techniques thus approaches the structure of a novel on the education and development of the individual combined with elements of the historical novel. A dense description of family life, education, everyday life and writing production of the character is situated in […]