Computation

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PublisherStrelka Press2018
AI plays a crucial role in the global cultural ecosystem. It recommends what we should see, listen to, read, and buy. It determines how many people will see our shared content. It helps us make aesthetic decisions when we create media. In professional cultural production, AI has already been adapted to produce movie trailers, music albums, fashion items, product and web designs, architecture, etc. In this short book, Lev Manovich offers a systematic framework to help us think about cultural uses of AI today and in the future. He challenges existing ideas and gives us new concepts for understanding media, ...
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PublisherTriple Canopy2017
The Amme Talks is a conversation between poet and machine. In 2003, poet Ulf Stolterfoht and a chatbot named Amme (which means “wet nurse” in German) met in Berlin. For one week, Stolterfoht interrogated Amme: not just a chatbot, actually, but a steel-and-glass construction with a computer interface, which is connected to a glass of milk, a robotic arm that tips over the glass, and a tube that releases water, as if urinating. Stolterfoht asked Amme—the creation of artist Peter Dittmer—about the nature of authorship and the agency of language; he intended to turn the answers into an essay on poetics. ...
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PublisherZer0 Books2017
Unprecedented kinds of experience, and new modes of life, are now produced by simulations, from the CGI of Hollywood blockbusters to animal cloning to increasingly sophisticated military training software, while animation has become an increasingly powerful pop-cultural form. Today, the extraordinary new practices and radical objects of simulation and animation are transforming our neoliberal-biopolitical “culture of life”. The Animatic Apparatus offers a genealogy for the animatic regime and imagines its alternative futures, countering the conservative-neoliberal notion of life’s sacred inviolability with a new concept and ethics of animatic life.
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PublisherStrelka Press2021
Dutch artist, inventor, and sculptor Theo Jansen talks about making “artificial life forms” from yellow plastic tubes and explains how individual elements of these structures work.
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The blockchain is Janus-faced. On one side its traits of transparency and decentralization promise much in terms of fairness and accountability, but on the other its monetary roots born as a financial payment system, albeit grounded in open-source software, mean its implementations are often stridently capitalistic. Furthermore, those involved in its development seem to oscillate between radical ethical standpoints and reductionist technological determinism. The blockchain engenders what has been called a ‘digital metalism’1 with the ability, like a modern philosopher’s stone, to transmutate life through a distributed ledger. That such a pecuniary minded technology is being touted as a new ...
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PublisherRosa Menkman2016
In her 2012 White Shadows: What is Missing from Images lecture at the Gdansk Academy of Fine Arts in Poland, Hito Steyerl speaks about how new technologies force us to reformulate important questions about the making visible, capturing, and documenting of information. In the first part of her talk, Steyerl focuses on the use of 3D scanning in forensic crime scene investigations. Steyerl explains how the 3D scanner, or LiDAR technology (Light Detection And Ranging), sends laser beams that reflect off of the surfaces of the objects that are being scanned. In this process, each point in space is measured ...
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Deep Lab is a collaborative group of researchers, artists, writers, engineers, and cultural producers interested in privacy, surveillance, code, art, social hacking, and anonymity. Members of Deep Lab are engaged in ongoing critical assessments of contemporary digital culture and exploit the hidden potential for creative inquiry lying dormant within the deep web. Deep Lab supports its members’ ability to output anonymously via proxy tools; in this way, our research can remain fluid via multi-pseodonymous identity. Deep Lab promotes creative research and development that challenges traditional forms of representation and distribution, evaluating these practices alongside typical traffic analysis identification. This process ...
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A conference on drawing in a world in which architecture is almost entirely based on computation might seem something of a paradox. Less than 30 years ago, the appearance of new software, first in engineering companies and then in architectural practices, triggered a debate about the changing nature of architectural drawing and about how what was previously drawn was becoming standardised and normalised through a singular language, a common identity and, perhaps most controversially, a normative creativity. Today, all architects work with programmes such as AutoCAD, Autodesk and Catia, and their projects conform to recognised standards of digital modelling and ...
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PublisherTulips and Roses2013
Published: May 2013 Cover: Transit (2012), an open file by Gintaras Didžiapetris Designed by: Joseph Miceli & Lina Ozerkina (alfa60 / friends make books) Format: 16 x 24 cm, 42 pages, soft cover, stapled, B&W offset printing Printed by: Petro ofsetas, Vilnius, Lithuania Number of copies: 300 Price: 5€ Editors: Aurime Aleksandraviciute, Gintaras Didžiapetris, Jonas Žakaitis Copy editor: Josephine Baker-Heaslip Translations: Jurij Dobriakov Editorial assistance: Ruta Juneviciute, Viktorija Rybakova publications@tulipsandroses.lt CONTRIBUTORS TO THIS ISSUE: Gintaras Didžiapetris is an artist based in Vilnius, Lithuania. Ron Eglash is a cyberneticist and ethno-mathematician based in New York, US. Chris Fitzpatrick is a curator and director of Objectif Exhibitions, Antwerp, Belgium. Antanas Gerlikas is an artist based in Vilnius, Lithuania. Francis ...
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PublisherMeson Press2020
From TIFF files to TED talks, from book sizes to blues stations—the term “format” circulates in a staggering array of contexts and applies to entirely dissimilar objects and practices. How can such a pliable notion meaningfully function as an instrument of classification in so many industries and scientific communities? Comprising a wide range of case studies on the standards, practices, and politics of formats from scholars of photography, film, radio, television, and the Internet, Format Matters charts the many ways in which formats shape and are shaped by past and present media cultures. This volume represents the first sustained collaborative effort ...
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PublisherLuuse2018
The Hershey fonts are a collection of vector fonts developed c. 1967 by Dr. Allen Vincent Hershey at the Naval Weapons Laboratory, originally designed to be rendered using vectors on early cathode ray tube displays. Decomposing curves to connected straight lines allowed Hershey to produce complex typographic designs. In their original form the font data consists simply of a series of coordinates, meant to be connected by straight lines on the screen. SIL Open Font License
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ШєƖ⊂σṃє ʈσ ʈңє ďσẘ␤σαď ρα⅁є ғσΓ ʈңє Ĥ∪ṃαи 尺єαďαӸє Ƭƴρє
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Ƭңє ғįƖє ʪ θρєи Ƨσ∪Γ₠˛ αиď ∪ρďαʈє§ ẘįƖƖ ♭є ρσ§ʈєď ℁ ʈңєƴ σ⊂℆Γ. ιЍƧƬ尺ΰ⊏ƬιθЍƧཿ ɭ․ ⊂Ɩį⊂ʞ ʈσ ↁσẘ␤σαď αиď §α√єƬңє ☡įρρєď ṃα⊂․θ§ ғιƖє ...

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