Pdf:APRJA Content Form
A Peer-Reviewed Journal About
CONTENT FORM
Volume 13, Issue 1, 2024
ISSN 2245-7755
Contents
- Christian Ulrik Andersen & Geoff Cox
Editorial: Content Form - Manually Made Author Name
Manually Made Title - Contributors
A Peer-Reviewed Journal About_
ISSN: 2245-7755
Editors: Christian Ulrik Andersen and Geoff Cox
Published by: Digital Aesthetics Research Centre, Aarhus University
Design: Manetta Berends and Simon Browne (CC)
Fonts: Happy Times at the IKOB by Lucas Le Bihan, AllCon by Simon Browne
CC license: ‘Attribution-NonCommercial-ShareAlike’
Author name
Title
Subtitle
Abstract
Section title
Notes
Works cited
Biographies
Manetta Berends, Simon Browne
About wiki-to-print
This journal is made with wiki-to-print, a collective publishing environment based on MediaWiki software[1], Paged Media CSS[2] techniques and the JavaScript library Paged.js[3], which renders a preview of the PDF in the browser. Using wiki-to-print allows us to work shoulder-to-shoulder as collaborative writers, editors, designers, developers, in a non-linear publishing workflow where design and content unfolds at the same time, allowing the one to shape the other.
Following the idea of "boilerplate code" which is written to be reused, we like to think of wiki-to-print as a boilerplate as well, instead of thinking of it as a product, platform or tool. The code that is running in the background is a version of previous wiki-printing instances, including:
- the work on the Diversions[4] publications by Constant[5] and OSP[6]
- the book Volumetric Regimes[7] by Possible Bodies[8] and Manetta Berends[9]
- TITiPI's[10] wiki-to-pdf environments[11] by Martino Morandi
- Hackers and Designers'[12] version wiki2print[13] that was produced for the book Making Matters[14]
So, wiki-to-print/wiki-to-pdf/wiki2print is not standalone, but part of a continuum of projects that see software as something to learn from, adapt, transform and change. The code that is used for making this journal is released as yet another version of this network of connected practices[15].
This wiki-to-print is hosted at CC[16] (creative crowds). While moving from cloud to crowds, CC is a thinking device for us how to hand over ways of working and share a space for publishing experiments with others.
Notes
- ↑ https://www.mediawiki.org
- ↑ https://www.w3.org/TR/css-page-3/
- ↑ https://pagedjs.org
- ↑ https://diversions.constantvzw.org
- ↑ https://constantvzw.org
- ↑ https://osp.kitchen
- ↑ http://data-browser.net/db08.html + https://volumetricregimes.xyz
- ↑ https://possiblebodies.constantvzw.org
- ↑ https://manettaberends.nl
- ↑ http://titipi.org
- ↑ https://titipi.org/wiki/index.php/Wiki-to-pdf
- ↑ https://hackersanddesigners.nl
- ↑ https://github.com/hackersanddesigners/wiki2print
- ↑ https://hackersanddesigners.nl/s/Publishing/p/Making_Matters._A_Vocabulary_of_Collective_Arts
- ↑ https://git.vvvvvvaria.org/varia/wiki-to-print
- ↑ https://cc.vvvvvvaria.org
Asker Bryld Staunæs and Maja Bak Herrie
Deep Faking in a Flat Reality?
Subtitle
Abstract
Section title
Notes
Works cited
Biography
Bilyana Palankasova
Self-documenting and archival practice in online performance: three cases of content value
Subtitle
Abstract
Introduction
This text considers the practice of three artists who work in online [1]performance to articulate the content-value of their work. Their artworks are examined in relation to practices of self-documentation, social media posting, and the valorisation of content in visual culture more widely. The text argues for a reading of these practices as instances of artistic and cultural innovation by their convergence of self-archival practice and self curation with implications for the performance of cultural value. The text also examines how the presentation of art documentation online shifts the relationship between content production, artistic representation, and traditional paradigms of documentation. Through considering Boris Groys’ conceptual framework of the new, the article looks at art at the intersection of user-generated content and archival practice and reads these practices as instances of cultural and artistic innovation. This paper is constructed through digital ethnography, using Instagram as a guiding space, and starting point and reading of artworks through the lens of theory of innovation.
Self-curation and documentation
With the affordance and proliferation of digital technologies and visual culture online, the networked image introduced a new sense of curating online. The attention to networked curation and co-curation online (Dekker and Tedone) takes particular interest into the potential of digital curation to rearrange digital spaces and also on the curatorial limits and lack of control which comes with the form of the feed (Wallerstein). With its restrictive form, social media feeds allow for certain prescribed movements and ways of engagement.[2] The interface has its own lexicon driven by verbs (likes, loves, shares) which relate to interaction design, as much as to traditional institutional needs of preserving, organising, categorising and archiving – and in this sense the experience of the feed draws on the vernacular of big tech as much as of cultural institutions (Hromack). And indeed, social media has come to play a significant role in the valuing of art and culture and has inserted its metrics alongside more traditional ways of measuring value.
Notes
Works cited
Biography
Denise Helene Sumi
On Critical “Technopolitical Pedagogies”
Learning and Knowledge Sharing with Public Library/Memory of the World and syllabus ⦚ Pirate Care
Abstract
Section title
Notes
Works cited
Biography
Edoardo Biscossi
Platform Pragmatics
Labour, speculation and self-reflexivity in technologically mediated content economies
Abstract
The article proposes the framework of platform pragmatics as way to think about how the production and circulation of content and forms has become increasingly important within platform mediated economies. Drawing from contemporary media theory, it thematises digital mediation as an enmeshing of the technological with the social by which the production not only of content, but of culture and subjectivity, unfolds through a computational logic. The article then poses the question of the political and aesthetic configuration of content and forms within this milieu, characterised by a particular tension between calculation and affective contagion. This will be addressed by thinking through three themes: the subsumption of creativity and inventiveness, the mobilisation of speculative temporalities, and a generalised condition of self-reflection as a feminised cultural behaviour, ultimately pointing to platform pragmatics as a way of understanding our engagement with content and forms within the platform milieu as a mode of subjectivation.
Section title
Notes
Works cited
Esther Rizo Casado
Xeno-Tune
Identity abstraction through synthetic image
Abstract
Section title
Notes
Works cited
Biography
Kendal Beynon
Zines and Computational Publishing Practices
A countercultural primer
Abstract
Section title
Notes
Works cited
Luca Cacini
The Autophagic Mode of Production
Hacking the metabolism of AI
Abstract
This article delves into the autophagic nature of generative AI in content production and its implications for cultural and technological landscapes, defined in the paper as technocene. From a broader perspective, it proposes a metabolic characterization of the technocene and explores the idea of how generative AI, such as large language models (LLMs) like ChatGPT and DALL-E, functions as an autophagic organism, akin to the biological processes of self-consumption and self-optimization. The article draws parallels between this process and the mythological symbol of Ouroboros, reflecting on the integration of opposites and the shadow phenomena in LLMs. Specifically, the article discusses the concepts of "Shadow Prompting" and "Shadow Alignment," highlighting the potential for subversion and the generation of potentially harmful, rebellious content by LLMs. It also addresses the ethical implications of generative AI in art and culture, highlighting the risk of a media monoculture, the spread of disinformation and the emergence of a category of Hackers embracing methodologies to deviate these infrastructures. The discourse aims to emphasize the subversive forms of hyperreality that the process of generating media, embedded by repetition in the algorithmic model of the machine, may engender. By examining the autophagic nature of generative AI and its potential ethical and cultural ramifications, the article seeks to analyze the reterritorializing of the relations of production by humans in the context of content creation and consumption.
Section title
Notes
Works cited
Biography
Marie Naja Lauritzen Dias
The Scenography of War
Subtitle
Abstract
As manifested in Jean Baudrillard’s notoriously provoking claim that “the Gulf War did not take place,” mediatization of war has long been associated with illusion. Today, war images that circulate online are increasingly judged by their proximity to ‘truth,’ eliciting a skepticism towards their ‘evidentiary’ value. By juxtaposing Baudrillard’s reading of the mediatization of the Gulf War with the contemporary image theories of e.g. Cecilia Sjöholm and Matthew Fuller and Eyal Weizman, the article explores how this skepticism is expressed in a contemporary context. Through visual analysis of a YouTube video of a press conference held at the bombed Al-Ahli Baptist Hospital in Gaza, it examines the relationship between the form through which the war is perceived (the images) and their content (the ‘realities’ of war). Through a lens offered by Georges Didi-Huberman, the article concludes by suggesting that by expanding what I term the snapshot logic of war images to embrace a scenography of war, the press conference video gives form to the condition of desperation and suffering in Gaza.
Section title
Notes
Works cited
Biography
Mateus Domingos
Unstable Frequencies
A case for small scale wifi experimentation
Abstract
Section title
Notes
Works cited
Pierre Depaz
Shaping Vectors
Discipline and control in word embeddings
Abstract
Section title
Finally, we sketched[1] out how such combination of discipline and control in shaping word embeddings can affect users. Through dialogic interaction, the user probes the spatial configurations of meaning, but the exact topology of these configurations nonetheless remains elusive, and can thus impact what can be said, and what can be imagined, a new addition to the existing challenges of linguistic expression in the era of computation.[2]