APRJA Content Form - Editorial - Revision history

Simoon at 13:30, 5 November 2024

2024-11-05T13:30:41Z

← Older revision		Revision as of 13:30, 5 November 2024
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	Andersen, Christian, and Geoff Cox, eds., ''A Peer Reviewed Journal About Minor Tech'', Vol. 12, No. 1 (2023), https://aprja.net//issue/view/10332.		Andersen, Christian, and Geoff Cox, eds., ''A Peer Reviewed Journal About Minor Tech'', Vol. 12, No. 1 (2023), https://aprja.net//issue/view/10332.

	Shukaitis, Stevphen, and Joanna Figiel, "Publishing to Find Comrades: Constructions of Temporality and Solidarity in Autonomous Print Cultures," ''Lateral'' Vol. 8, No. 2 (2019), https://csalateral.org/issue/8-2/publishing-comrades-temporality-solidarity-autonomous-print-cultures-shukaitis-figiel/.		Shukaitis, Stevphen, and Joanna Figiel, "Publishing to Find Comrades: Constructions of Temporality and Solidarity in Autonomous Print Cultures," ''Lateral'' Vol. 8, No. 2 (2019), https://csalateral.org/issue/8-2/publishing-comrades-temporality-solidarity-autonomous-print-cultures-shukaitis-figiel

	</div>		</div>

Simoon at 13:29, 5 November 2024

2024-11-05T13:29:38Z

← Older revision		Revision as of 13:29, 5 November 2024
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	== Works cited ==		== Works cited ==

	<div class="~~works-cited~~">		<div class="workscited">

	Andersen, Christian, and Geoff Cox, eds., ''A Peer Reviewed Journal About Minor Tech'', Vol. 12, No. 1 (2023), https://aprja.net//issue/view/10332.		Andersen, Christian, and Geoff Cox, eds., ''A Peer Reviewed Journal About Minor Tech'', Vol. 12, No. 1 (2023), https://aprja.net//issue/view/10332.

Simoon at 13:28, 5 November 2024

2024-11-05T13:28:26Z

← Older revision		Revision as of 13:28, 5 November 2024
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	== Works cited ==		== Works cited ==

			<div class="works-cited">

	Andersen, Christian, and Geoff Cox, eds., ''A Peer Reviewed Journal About Minor Tech'', Vol. 12, No. 1 (2023), https://aprja.net//issue/view/10332.		Andersen, Christian, and Geoff Cox, eds., ''A Peer Reviewed Journal About Minor Tech'', Vol. 12, No. 1 (2023), https://aprja.net//issue/view/10332.

	Shukaitis, Stevphen, and Joanna Figiel, "Publishing to Find Comrades: Constructions of Temporality and Solidarity in Autonomous Print Cultures," ''Lateral'' Vol. 8, No. 2 (2019), https://csalateral.org/issue/8-2/publishing-comrades-temporality-solidarity-autonomous-print-cultures-shukaitis-figiel/.		Shukaitis, Stevphen, and Joanna Figiel, "Publishing to Find Comrades: Constructions of Temporality and Solidarity in Autonomous Print Cultures," ''Lateral'' Vol. 8, No. 2 (2019), https://csalateral.org/issue/8-2/publishing-comrades-temporality-solidarity-autonomous-print-cultures-shukaitis-figiel/.

			</div>

	== Biographies ==		== Biographies ==

Simoon: /* Doing Content/Form */

2024-11-02T12:43:41Z

Doing Content/Form

← Older revision		Revision as of 12:43, 2 November 2024
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	Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies the approach of both the workshop and publication, drawing attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors of articles but also the grassroots collectives who supported the infrastructure, and the wider network of participant-facilitators (which includes Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, Nora O' Murchú, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco). In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, the Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further underscores how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.		Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies the approach of both the workshop and publication, drawing attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors of articles but also the grassroots collectives who supported the infrastructure, and the wider network of participant-facilitators (which includes Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, Nora O' Murchú, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco). In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, the Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further underscores how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.

			<div class="page-break"></div>

	== Notes ==		== Notes ==

Geoffcox at 07:33, 15 October 2024

2024-10-15T07:33:18Z

← Older revision		Revision as of 07:33, 15 October 2024
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	__NOTOC__		__NOTOC__
	'''Christian Ulrik Andersen & Geoff Cox '''		'''Christian Ulrik Andersen<br>& Geoff Cox '''

	= Editorial =		= Editorial =

Geoffcox at 13:56, 12 October 2024

2024-10-12T13:56:21Z

← Older revision		Revision as of 13:56, 12 October 2024
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	New forms of content creation are also examined by Edoardo Biscossi, who proposes "platform pragmatics" as a framework for understanding collective behaviour and forms of labour within media ecosystems. These examples of content production are further developed by others in the context of AI and large language models (LLMs). Luca Cacini characterises generative AI as an "autophagic organism", akin to the biological processes of self-consumption and self-optimization. Concepts such as “model collapse” and "shadow prompting" demonstrate the potential to reterritorialize social relations in the process of content creation and consumption. Also concerning LLMs, Pierre Depaz meticulously uncovers how word embeddings shape acceptable meanings in ways that resemble Foucault’s disciplinary apparatus and Deleuze’s notion of control societies, as such restricting the lexical possibilities of human-machine dialogic interaction. This delimitation can be also seen in the ways that electoral politics is now shaped, under the conditions of what Asker Bryld Staunæs and Maja Bak Herrie refer to as a "flat reality". They suggest "deep faking" leads to a new political morphology, where formal democracy is altered by synthetic simulation. Marie Naja Lauritzen Dias argues something similar can be seen in the mediatization of war, such as in the case of a YouTube video of a press conference held in Gaza, where evidence of atrocity co-exists with its simulated form. On the other hand, rather than seek to reject these all-consuming logics of truth or lies, Esther Rizo Casado points to artistic practices that accelerate the hallucinatory capacities of image-generating AI to question the inherent power dynamics of representation, in this case concerning gender classifications. Using a technique called "xeno-tuning", pre-trained models produce weird representations of corporealities and hegemonic identities, thus making them transformative and agential. Falsifications of representation become potentially corrective of historical misrepresentation.		New forms of content creation are also examined by Edoardo Biscossi, who proposes "platform pragmatics" as a framework for understanding collective behaviour and forms of labour within media ecosystems. These examples of content production are further developed by others in the context of AI and large language models (LLMs). Luca Cacini characterises generative AI as an "autophagic organism", akin to the biological processes of self-consumption and self-optimization. Concepts such as “model collapse” and "shadow prompting" demonstrate the potential to reterritorialize social relations in the process of content creation and consumption. Also concerning LLMs, Pierre Depaz meticulously uncovers how word embeddings shape acceptable meanings in ways that resemble Foucault’s disciplinary apparatus and Deleuze’s notion of control societies, as such restricting the lexical possibilities of human-machine dialogic interaction. This delimitation can be also seen in the ways that electoral politics is now shaped, under the conditions of what Asker Bryld Staunæs and Maja Bak Herrie refer to as a "flat reality". They suggest "deep faking" leads to a new political morphology, where formal democracy is altered by synthetic simulation. Marie Naja Lauritzen Dias argues something similar can be seen in the mediatization of war, such as in the case of a YouTube video of a press conference held in Gaza, where evidence of atrocity co-exists with its simulated form. On the other hand, rather than seek to reject these all-consuming logics of truth or lies, Esther Rizo Casado points to artistic practices that accelerate the hallucinatory capacities of image-generating AI to question the inherent power dynamics of representation, in this case concerning gender classifications. Using a technique called "xeno-tuning", pre-trained models produce weird representations of corporealities and hegemonic identities, thus making them transformative and agential. Falsifications of representation become potentially corrective of historical misrepresentation.

	Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies the approach of both the workshop and publication, drawing attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors of articles but also the grassroots collectives who supported the infrastructure, and the wider network of participant-facilitators (which includes Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, Nora O' Murchú, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco). In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, the Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further ~~underlines~~ how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.		Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies the approach of both the workshop and publication, drawing attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors of articles but also the grassroots collectives who supported the infrastructure, and the wider network of participant-facilitators (which includes Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, Nora O' Murchú, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco). In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, the Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further underscores how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.

	== Notes ==		== Notes ==

Geoffcox at 13:55, 12 October 2024

2024-10-12T13:55:38Z

← Older revision		Revision as of 13:55, 12 October 2024
Line 21:		Line 21:
	New forms of content creation are also examined by Edoardo Biscossi, who proposes "platform pragmatics" as a framework for understanding collective behaviour and forms of labour within media ecosystems. These examples of content production are further developed by others in the context of AI and large language models (LLMs). Luca Cacini characterises generative AI as an "autophagic organism", akin to the biological processes of self-consumption and self-optimization. Concepts such as “model collapse” and "shadow prompting" demonstrate the potential to reterritorialize social relations in the process of content creation and consumption. Also concerning LLMs, Pierre Depaz meticulously uncovers how word embeddings shape acceptable meanings in ways that resemble Foucault’s disciplinary apparatus and Deleuze’s notion of control societies, as such restricting the lexical possibilities of human-machine dialogic interaction. This delimitation can be also seen in the ways that electoral politics is now shaped, under the conditions of what Asker Bryld Staunæs and Maja Bak Herrie refer to as a "flat reality". They suggest "deep faking" leads to a new political morphology, where formal democracy is altered by synthetic simulation. Marie Naja Lauritzen Dias argues something similar can be seen in the mediatization of war, such as in the case of a YouTube video of a press conference held in Gaza, where evidence of atrocity co-exists with its simulated form. On the other hand, rather than seek to reject these all-consuming logics of truth or lies, Esther Rizo Casado points to artistic practices that accelerate the hallucinatory capacities of image-generating AI to question the inherent power dynamics of representation, in this case concerning gender classifications. Using a technique called "xeno-tuning", pre-trained models produce weird representations of corporealities and hegemonic identities, thus making them transformative and agential. Falsifications of representation become potentially corrective of historical misrepresentation.		New forms of content creation are also examined by Edoardo Biscossi, who proposes "platform pragmatics" as a framework for understanding collective behaviour and forms of labour within media ecosystems. These examples of content production are further developed by others in the context of AI and large language models (LLMs). Luca Cacini characterises generative AI as an "autophagic organism", akin to the biological processes of self-consumption and self-optimization. Concepts such as “model collapse” and "shadow prompting" demonstrate the potential to reterritorialize social relations in the process of content creation and consumption. Also concerning LLMs, Pierre Depaz meticulously uncovers how word embeddings shape acceptable meanings in ways that resemble Foucault’s disciplinary apparatus and Deleuze’s notion of control societies, as such restricting the lexical possibilities of human-machine dialogic interaction. This delimitation can be also seen in the ways that electoral politics is now shaped, under the conditions of what Asker Bryld Staunæs and Maja Bak Herrie refer to as a "flat reality". They suggest "deep faking" leads to a new political morphology, where formal democracy is altered by synthetic simulation. Marie Naja Lauritzen Dias argues something similar can be seen in the mediatization of war, such as in the case of a YouTube video of a press conference held in Gaza, where evidence of atrocity co-exists with its simulated form. On the other hand, rather than seek to reject these all-consuming logics of truth or lies, Esther Rizo Casado points to artistic practices that accelerate the hallucinatory capacities of image-generating AI to question the inherent power dynamics of representation, in this case concerning gender classifications. Using a technique called "xeno-tuning", pre-trained models produce weird representations of corporealities and hegemonic identities, thus making them transformative and agential. Falsifications of representation become potentially corrective of historical misrepresentation.

	Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies the approach of both the workshop and publication, drawing attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors but also the collectives ~~In-grid and Systerserver~~ who supported the infrastructure, and the wider network of participant-facilitators ~~including~~ Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, Nora O' Murchú, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco. In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further underlines how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.		Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies the approach of both the workshop and publication, drawing attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors of articles but also the grassroots collectives who supported the infrastructure, and the wider network of participant-facilitators (which includes Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, Nora O' Murchú, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco). In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, the Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further underlines how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.

	== Notes ==		== Notes ==

Geoffcox at 13:52, 12 October 2024

2024-10-12T13:52:51Z

← Older revision		Revision as of 13:52, 12 October 2024
Line 21:		Line 21:
	New forms of content creation are also examined by Edoardo Biscossi, who proposes "platform pragmatics" as a framework for understanding collective behaviour and forms of labour within media ecosystems. These examples of content production are further developed by others in the context of AI and large language models (LLMs). Luca Cacini characterises generative AI as an "autophagic organism", akin to the biological processes of self-consumption and self-optimization. Concepts such as “model collapse” and "shadow prompting" demonstrate the potential to reterritorialize social relations in the process of content creation and consumption. Also concerning LLMs, Pierre Depaz meticulously uncovers how word embeddings shape acceptable meanings in ways that resemble Foucault’s disciplinary apparatus and Deleuze’s notion of control societies, as such restricting the lexical possibilities of human-machine dialogic interaction. This delimitation can be also seen in the ways that electoral politics is now shaped, under the conditions of what Asker Bryld Staunæs and Maja Bak Herrie refer to as a "flat reality". They suggest "deep faking" leads to a new political morphology, where formal democracy is altered by synthetic simulation. Marie Naja Lauritzen Dias argues something similar can be seen in the mediatization of war, such as in the case of a YouTube video of a press conference held in Gaza, where evidence of atrocity co-exists with its simulated form. On the other hand, rather than seek to reject these all-consuming logics of truth or lies, Esther Rizo Casado points to artistic practices that accelerate the hallucinatory capacities of image-generating AI to question the inherent power dynamics of representation, in this case concerning gender classifications. Using a technique called "xeno-tuning", pre-trained models produce weird representations of corporealities and hegemonic identities, thus making them transformative and agential. Falsifications of representation become potentially corrective of historical misrepresentation.		New forms of content creation are also examined by Edoardo Biscossi, who proposes "platform pragmatics" as a framework for understanding collective behaviour and forms of labour within media ecosystems. These examples of content production are further developed by others in the context of AI and large language models (LLMs). Luca Cacini characterises generative AI as an "autophagic organism", akin to the biological processes of self-consumption and self-optimization. Concepts such as “model collapse” and "shadow prompting" demonstrate the potential to reterritorialize social relations in the process of content creation and consumption. Also concerning LLMs, Pierre Depaz meticulously uncovers how word embeddings shape acceptable meanings in ways that resemble Foucault’s disciplinary apparatus and Deleuze’s notion of control societies, as such restricting the lexical possibilities of human-machine dialogic interaction. This delimitation can be also seen in the ways that electoral politics is now shaped, under the conditions of what Asker Bryld Staunæs and Maja Bak Herrie refer to as a "flat reality". They suggest "deep faking" leads to a new political morphology, where formal democracy is altered by synthetic simulation. Marie Naja Lauritzen Dias argues something similar can be seen in the mediatization of war, such as in the case of a YouTube video of a press conference held in Gaza, where evidence of atrocity co-exists with its simulated form. On the other hand, rather than seek to reject these all-consuming logics of truth or lies, Esther Rizo Casado points to artistic practices that accelerate the hallucinatory capacities of image-generating AI to question the inherent power dynamics of representation, in this case concerning gender classifications. Using a technique called "xeno-tuning", pre-trained models produce weird representations of corporealities and hegemonic identities, thus making them transformative and agential. Falsifications of representation become potentially corrective of historical misrepresentation.

	Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies ~~some of~~ the ~~methodologies~~ of both the workshop and publication, ~~to draw~~ attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors but also the collectives In-grid and Systerserver who supported the infrastructure, and the wider network of participant-facilitators including Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, Nora O' Murchú, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco. In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further underlines how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.		Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies the approach of both the workshop and publication, drawing attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors but also the collectives In-grid and Systerserver who supported the infrastructure, and the wider network of participant-facilitators including Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, Nora O' Murchú, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco. In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further underlines how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.

	== Notes ==		== Notes ==

Geoffcox: /* Doing Content/Form */

2024-10-11T12:20:58Z

Doing Content/Form

← Older revision		Revision as of 12:20, 11 October 2024
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	New forms of content creation are also examined by Edoardo Biscossi, who proposes "platform pragmatics" as a framework for understanding collective behaviour and forms of labour within media ecosystems. These examples of content production are further developed by others in the context of AI and large language models (LLMs). Luca Cacini characterises generative AI as an "autophagic organism", akin to the biological processes of self-consumption and self-optimization. Concepts such as “model collapse” and "shadow prompting" demonstrate the potential to reterritorialize social relations in the process of content creation and consumption. Also concerning LLMs, Pierre Depaz meticulously uncovers how word embeddings shape acceptable meanings in ways that resemble Foucault’s disciplinary apparatus and Deleuze’s notion of control societies, as such restricting the lexical possibilities of human-machine dialogic interaction. This delimitation can be also seen in the ways that electoral politics is now shaped, under the conditions of what Asker Bryld Staunæs and Maja Bak Herrie refer to as a "flat reality". They suggest "deep faking" leads to a new political morphology, where formal democracy is altered by synthetic simulation. Marie Naja Lauritzen Dias argues something similar can be seen in the mediatization of war, such as in the case of a YouTube video of a press conference held in Gaza, where evidence of atrocity co-exists with its simulated form. On the other hand, rather than seek to reject these all-consuming logics of truth or lies, Esther Rizo Casado points to artistic practices that accelerate the hallucinatory capacities of image-generating AI to question the inherent power dynamics of representation, in this case concerning gender classifications. Using a technique called "xeno-tuning", pre-trained models produce weird representations of corporealities and hegemonic identities, thus making them transformative and agential. Falsifications of representation become potentially corrective of historical misrepresentation.		New forms of content creation are also examined by Edoardo Biscossi, who proposes "platform pragmatics" as a framework for understanding collective behaviour and forms of labour within media ecosystems. These examples of content production are further developed by others in the context of AI and large language models (LLMs). Luca Cacini characterises generative AI as an "autophagic organism", akin to the biological processes of self-consumption and self-optimization. Concepts such as “model collapse” and "shadow prompting" demonstrate the potential to reterritorialize social relations in the process of content creation and consumption. Also concerning LLMs, Pierre Depaz meticulously uncovers how word embeddings shape acceptable meanings in ways that resemble Foucault’s disciplinary apparatus and Deleuze’s notion of control societies, as such restricting the lexical possibilities of human-machine dialogic interaction. This delimitation can be also seen in the ways that electoral politics is now shaped, under the conditions of what Asker Bryld Staunæs and Maja Bak Herrie refer to as a "flat reality". They suggest "deep faking" leads to a new political morphology, where formal democracy is altered by synthetic simulation. Marie Naja Lauritzen Dias argues something similar can be seen in the mediatization of war, such as in the case of a YouTube video of a press conference held in Gaza, where evidence of atrocity co-exists with its simulated form. On the other hand, rather than seek to reject these all-consuming logics of truth or lies, Esther Rizo Casado points to artistic practices that accelerate the hallucinatory capacities of image-generating AI to question the inherent power dynamics of representation, in this case concerning gender classifications. Using a technique called "xeno-tuning", pre-trained models produce weird representations of corporealities and hegemonic identities, thus making them transformative and agential. Falsifications of representation become potentially corrective of historical misrepresentation.

	Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies some of the methodologies of both the workshop and publication, to draw attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors, but also the wider network of participant-facilitators including Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco. In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further underlines how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.		Returning to the workshop format, Mateus Domingos describes an experimental wi-fi network related to the feminist methodologies of ServPub. This last contribution exemplifies some of the methodologies of both the workshop and publication, to draw attention to how constituent parts are assembled and maintained through collective effort. This would not have been possible without the active participation of not only those mentioned to this point, the authors but also the collectives In-grid and Systerserver who supported the infrastructure, and the wider network of participant-facilitators including Rebecca Aston, Emilie Sin Yi Choi, Rachel Falconer, Mara Karagianni, Mariana Marangoni, Martyna Marciniak, Nora O' Murchú, ooooo, Duncan Paterson, Søren Pold, Anya Shchetvina, George Simms, Winnie Soon, Katie Tindle, and Pablo Velasco. In addition, we appreciate the institutional support of SHAPE Digital Citizenship and Digital Aesthetics Research Center at Aarhus University, the Centre for the Study of the Networked Image at London South Bank University, Creative Computing Institute at University of the Arts, London, and transmediale festival for art and digital culture, Berlin. This extensive list of credits of human and nonhuman entities further underlines how form/content come together, allowing one to shape the other, and ultimately the content/form of this publication.

	== Notes ==		== Notes ==

Geoffcox: /* Doing Content/Form */

2024-10-11T12:14:01Z

Doing Content/Form

← Older revision		Revision as of 12:14, 11 October 2024
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	Content cannot be separated from the forms through which it is rendered. If our attachment to standardised forms and formats – served to us by big tech – limit the space for political possibility and collective action, then we ask what alternatives might be envisioned, including for research itself?<ref>With this in mind, the previous issue of APRJA used the term "minor tech", see https://aprja.net//issue/view/10332.</ref> What does research do in the world, and how best to facilitate meaningful intervention with attention to content and form? Perhaps what is missing is a stronger account of the structures that render our research experiences, that serve to produce new imaginaries, new spatial and temporal forms?		Content cannot be separated from the forms through which it is rendered. If our attachment to standardised forms and formats – served to us by big tech – limit the space for political possibility and collective action, then we ask what alternatives might be envisioned, including for research itself?<ref>With this in mind, the previous issue of APRJA used the term "minor tech", see https://aprja.net//issue/view/10332.</ref> What does research do in the world, and how best to facilitate meaningful intervention with attention to content and form? Perhaps what is missing is a stronger account of the structures that render our research experiences, that serve to produce new imaginaries, new spatial and temporal forms?

	Addressing these concerns, published articles are the outcome of a research workshop that preceded the 2024 edition of the transmediale festival, in Berlin.<ref>Details of tranmediale 2024 can be found at https://transmediale.de/en/2024/sweetie. Articles are derived from short newspaper articles written during the workshop.</ref> Participants developed their own research questions and provided peer feedback to each other, and prepared articles for a newspaper publication distributed as part of the festival.<ref>The newspaper can be downloaded at https://cc.vvvvvvaria.org/wiki/File:Content-Form_A-Peer-Reviewed-Newspaper-Volume-13-Issue-1-2024.pdf</ref> In addition to established conventions of research development, they also engaged with the social and technical conditions of potential new and sustainable research practices – the ways it is shared and reviewed, and the infrastructures through which it is enabled. The distributed and collaborative nature of this process is reflected in the combinations of people involved – not just participants but also facilitators, somewhat blurring the lines between the two. Significantly, the approach also builds on the work of others involved in the development of the tools and infrastructures, and the short entry by Manetta Berends and Simon Browne acknowledges previous iterations of 'wiki-to-print' and 'wiki2print', which has in turn been adapted ~~for our purpose~~ as 'wiki4print'.<ref>See the article that follows for more details on this history, also available at https://cc.vvvvvvaria.org/wiki/Wiki-to-print.</ref>		Addressing these concerns, published articles are the outcome of a research workshop that preceded the 2024 edition of the transmediale festival, in Berlin.<ref>Details of tranmediale 2024 can be found at https://transmediale.de/en/2024/sweetie. Articles are derived from short newspaper articles written during the workshop.</ref> Participants developed their own research questions and provided peer feedback to each other, and prepared articles for a newspaper publication distributed as part of the festival.<ref>The newspaper can be downloaded at https://cc.vvvvvvaria.org/wiki/File:Content-Form_A-Peer-Reviewed-Newspaper-Volume-13-Issue-1-2024.pdf</ref> In addition to established conventions of research development, they also engaged with the social and technical conditions of potential new and sustainable research practices – the ways it is shared and reviewed, and the infrastructures through which it is enabled. The distributed and collaborative nature of this process is reflected in the combinations of people involved – not just participants but also facilitators, somewhat blurring the lines between the two. Significantly, the approach also builds on the work of others involved in the development of the tools and infrastructures, and the short entry by Manetta Berends and Simon Browne acknowledges previous iterations of 'wiki-to-print' and 'wiki2print', which has in turn been adapted as 'wiki4print'.<ref>See the article that follows for more details on this history, also available at https://cc.vvvvvvaria.org/wiki/Wiki-to-print.</ref>

	[[File:Presentation.jpg\|thumb\|480px\|Figure 1: Content/Form workshop at Haus der Kulturen der Welt, Berlin, 29-31 January 2024.]]		[[File:Presentation.jpg\|thumb\|480px\|Figure 1: Content/Form workshop at Haus der Kulturen der Welt, Berlin, 29-31 January 2024.]]