Search results for "critical code studies working group"
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[…]I ended up doing, with the help of a programmer friend of mine Jon Orsi, was to share the editable code using JSFiddle, a “free code-sharing tool that allows you to edit, share, execute and debug Web code within a browser.” Marketed as a “Code Playground,” JSFiddle allowed Orsi to input Montfort’s code into the JSFiddle browser, separating the JavaScript and the CSS stylesheet, and allowing for an in-browser run of the code to see edits in real-time and to check for bugs. The workaround worked, and students were able to take the edited code, “fork” it, and start editing […]
[…]have an idea and we’ll kind of run with it as a group and the idea evolves and it just becomes a group project over time. And so we met as a group last year in May. And then throughout the summer, we met and we were talking about what kind of project can we make now as a lab that is pretty much relegated to meetings on MS Teams. That’s the platform that the school uses. You know, not just socially distanced, but really distanced. I mean, really, like some of our members are isolating in their hometowns, which […]
[…]to think logically about what you’re doing, you just do it, intuitively, but patterned off the critical dataset of source material and experiential filters you’ve trained yourself to access and auto-remix over time. It’s a very physical experience and reminds me of professional athletics. It’s where athletics meets aesthetics. Meanwhile, right before and during the pandemic, which was when the book was being written, I was reading the fiction of Clarice Lispector. Not since my engagement with postmodern fiction and post-structuralism, had I become so entranced by a writer. The first time I had heard of her work was through […]
[…]simply builds on its community focus, since at the heart of all of these essays is the way that a group can use algorithms to do something that really wasn’t possible before. But the ability of these kinds of algorithmic systems to foster creative practices, rather than simply replacing artists, is something that needs more emphasis in our current debates. In a recent Atlantic article, Ian Bogost wrote about how he is using AI image creators like DALL-E to produce visuals to accompany seemingly trivial musings (“My daughter texted, asking what her ‘goth name’ should be; moments later, I sent […]
[…]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 […]
[…]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 […]
[…]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 […]
[…]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, […]