Toward a Minor Tech:Fartan - Revision history

Simoon: /* Rendering Post-Anthropocentric Visions:Worlding As a Practice of Resistance */

2023-09-13T10:29:02Z

Rendering Post-Anthropocentric Visions:Worlding As a Practice of Resistance

Simoon at 10:12, 22 July 2023

2023-07-22T10:12:22Z

← Older revision		Revision as of 10:12, 22 July 2023
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	It is important to note that Cheng refuses to ascribe any particular form, medium or technology as an ideal template of worlding - rather, discreetly and implicitly, Cheng’s definition evokes the operational logic of algorithms by referencing the properties of intelligent and generative software systems. The previous definiton's refusal of medium-specificity mirrors the multiplicity of ways in which algorithms can world: whilst many of these orlds initially unfold as immersive game spaces (and then become machinimia, or animated films created within a virtual 3D environment (Marino 1) when presented in a gallery environment), satellite artefacts can emerge from a world's algorithmic means of production, often becoming a physical manifestation of that world's entities - taking shape, for example, as physical renditions of born-digital entities, as seen in the sculptural works as that emerge from Sahej Rahal's world, ''Antraal'', where figures of the last humans, existing in a post-species, post-history state, are recreated outside of the gamespace.		It is important to note that Cheng refuses to ascribe any particular form, medium or technology as an ideal template of worlding - rather, discreetly and implicitly, Cheng’s definition evokes the operational logic of algorithms by referencing the properties of intelligent and generative software systems. The previous definiton's refusal of medium-specificity mirrors the multiplicity of ways in which algorithms can world: whilst many of these orlds initially unfold as immersive game spaces (and then become machinimia, or animated films created within a virtual 3D environment (Marino 1) when presented in a gallery environment), satellite artefacts can emerge from a world's algorithmic means of production, often becoming a physical manifestation of that world's entities - taking shape, for example, as physical renditions of born-digital entities, as seen in the sculptural works as that emerge from Sahej Rahal's world, ''Antraal'', where figures of the last humans, existing in a post-species, post-history state, are recreated outside of the gamespace.

	[[File:Antraal.jpg\|thumb\|~~420px~~\|Figure 1: Exhibition view of ''Antraal'' by Sahej Rahal. ''Feedback Loops'', 7 Dec 2019–15 Mar 2020, ACCA, Melbourne. Image courtesy of the artist.]]		[[File:Antraal.jpg\|thumb\|400px\|Figure 1: Exhibition view of ''Antraal'' by Sahej Rahal. ''Feedback Loops'', 7 Dec 2019–15 Mar 2020, ACCA, Melbourne. Image courtesy of the artist.]]

	Transgressions of the fictional world into real-space can take a variety of shapes, depending on the politics and intentions of that world: other examples of worlds spilling out of rendered space and into reality are Keiken's ''Bet(a) Bodies'' installation, where a haptic womb is proposed as an emphatic technology for connecting with a more-than-human assemblage of animal voices and Ian Cheng’s BOB Shrine App that accompanied his simulation ''BOB (Bag of Beliefs)'' in its latter stages of development, through which the audience can directly interact with the AI by sending “offerings” via the app, which impress what Cheng terms 'parental influence' on BOB, in order to offset its biases.		Transgressions of the fictional world into real-space can take a variety of shapes, depending on the politics and intentions of that world: other examples of worlds spilling out of rendered space and into reality are Keiken's ''Bet(a) Bodies'' installation, where a haptic womb is proposed as an emphatic technology for connecting with a more-than-human assemblage of animal voices and Ian Cheng’s BOB Shrine App that accompanied his simulation ''BOB (Bag of Beliefs)'' in its latter stages of development, through which the audience can directly interact with the AI by sending “offerings” via the app, which impress what Cheng terms 'parental influence' on BOB, in order to offset its biases.
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	One example of envisioning another sensibility through a refiguration of more-than-human relationships can be found in Sahej Rahal’s work ''Antraal'', which explores what it would mean to live as the final humans, now turned into a-historical machines that roam the Earth. In this work, a virtual biome shows strange-limbed non-human actors roaming a video game simulation, operated by artificially intelligent algorithms that act counterintuitively to one another. Marred by the paradoxes scripted in their code, these beings exhibit chaotic behaviours as their machine intelligences struggle, their ontologies lying far outside human-centred thought capabilities - we can see or hear what they are, but we can only assume what they might be. As Negarestani observes, these last humans ‘have refused and subverted the totality of their contingent appearance and significance of their historical manifestations as mere misconceptions of what it means to wander in time, as an idea and not merely a species’ (24), existing in a state that refuses the current epistemological framework of humanity. Rahal's use of video game engines and artifical intelligence allows for thought to be casted speculatively, into a future where existence is dislodged from today's temporal and ontological frameworks and re-established according to different parameters.		One example of envisioning another sensibility through a refiguration of more-than-human relationships can be found in Sahej Rahal’s work ''Antraal'', which explores what it would mean to live as the final humans, now turned into a-historical machines that roam the Earth. In this work, a virtual biome shows strange-limbed non-human actors roaming a video game simulation, operated by artificially intelligent algorithms that act counterintuitively to one another. Marred by the paradoxes scripted in their code, these beings exhibit chaotic behaviours as their machine intelligences struggle, their ontologies lying far outside human-centred thought capabilities - we can see or hear what they are, but we can only assume what they might be. As Negarestani observes, these last humans ‘have refused and subverted the totality of their contingent appearance and significance of their historical manifestations as mere misconceptions of what it means to wander in time, as an idea and not merely a species’ (24), existing in a state that refuses the current epistemological framework of humanity. Rahal's use of video game engines and artifical intelligence allows for thought to be casted speculatively, into a future where existence is dislodged from today's temporal and ontological frameworks and re-established according to different parameters.

	[[File:Antraal Gameworld View.jpg\|thumb\|~~420px~~\|Figure 4: Sahej Rahal, ''Antraal'', Still from immersive gameworld, 2019. Image courtesy of the artist.]]		[[File:Antraal Gameworld View.jpg\|thumb\|400px\|Figure 4: Sahej Rahal, ''Antraal'', Still from immersive gameworld, 2019. Image courtesy of the artist.]]

	Another experiment in exploring more-human alliances take shape in the work of Jenna Sutela, via the project ''nimiia cétiï,'' which envisions a language existing outside the master parameters of human expression by deploying intelligent algorithms in the role of a medium that co-interprets data from the Bacilus subtilis bacteria, said to be able to survive on Mars, with recordings of Martian language received from the spirit realm by the by the French medium Hélène Smith. Zhang points out that “Sutela channels the language of the Other to muddy the waters of human sapience, reminding us in synthetic, spiritual and alien tongues that we hold a monopoly over neither intelligence nor consciousness” (154) - ''nimiia cétiï'' is, in essence, a minor language that is at once an exploration in seeking other modes of expression and a vestige to the possibilities that lay beyond the frameworks of language cultivated throughout human history.		Another experiment in exploring more-human alliances take shape in the work of Jenna Sutela, via the project ''nimiia cétiï,'' which envisions a language existing outside the master parameters of human expression by deploying intelligent algorithms in the role of a medium that co-interprets data from the Bacilus subtilis bacteria, said to be able to survive on Mars, with recordings of Martian language received from the spirit realm by the by the French medium Hélène Smith. Zhang points out that “Sutela channels the language of the Other to muddy the waters of human sapience, reminding us in synthetic, spiritual and alien tongues that we hold a monopoly over neither intelligence nor consciousness” (154) - ''nimiia cétiï'' is, in essence, a minor language that is at once an exploration in seeking other modes of expression and a vestige to the possibilities that lay beyond the frameworks of language cultivated throughout human history.

Simoon at 10:10, 22 July 2023

2023-07-22T10:10:51Z

← Older revision		Revision as of 10:10, 22 July 2023
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	Thinking ''with'' (rather than simply through) worlding, can, therefore, produce an affective networked epistemology where an increased attention to relationality can cultivate new ways of both seeing and understanding that push beyond the purely machinic. A question of scale emerges here: how do affective and technological scales become intertwined within computer-mediated worlds? When thinking-''with'' worlds, care needs to be taken to address the affective scale along the technical one - how do these scales have the potential to affect one another and the much larger scale of human experience? This vector of research constitutes a significantly larger line of enquiry, one that I will delegate to worlding's future research agenda - for now, I'll return to Murray's note on computers and tears and ask: could worlds make us cry?		Thinking ''with'' (rather than simply through) worlding, can, therefore, produce an affective networked epistemology where an increased attention to relationality can cultivate new ways of both seeing and understanding that push beyond the purely machinic. A question of scale emerges here: how do affective and technological scales become intertwined within computer-mediated worlds? When thinking-''with'' worlds, care needs to be taken to address the affective scale along the technical one - how do these scales have the potential to affect one another and the much larger scale of human experience? This vector of research constitutes a significantly larger line of enquiry, one that I will delegate to worlding's future research agenda - for now, I'll return to Murray's note on computers and tears and ask: could worlds make us cry?

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

	== Rendering resistance: the emergence of minor worlds ==		== Rendering resistance: the emergence of minor worlds ==
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	One example of envisioning another sensibility through a refiguration of more-than-human relationships can be found in Sahej Rahal’s work ''Antraal'', which explores what it would mean to live as the final humans, now turned into a-historical machines that roam the Earth. In this work, a virtual biome shows strange-limbed non-human actors roaming a video game simulation, operated by artificially intelligent algorithms that act counterintuitively to one another. Marred by the paradoxes scripted in their code, these beings exhibit chaotic behaviours as their machine intelligences struggle, their ontologies lying far outside human-centred thought capabilities - we can see or hear what they are, but we can only assume what they might be. As Negarestani observes, these last humans ‘have refused and subverted the totality of their contingent appearance and significance of their historical manifestations as mere misconceptions of what it means to wander in time, as an idea and not merely a species’ (24), existing in a state that refuses the current epistemological framework of humanity. Rahal's use of video game engines and artifical intelligence allows for thought to be casted speculatively, into a future where existence is dislodged from today's temporal and ontological frameworks and re-established according to different parameters.		One example of envisioning another sensibility through a refiguration of more-than-human relationships can be found in Sahej Rahal’s work ''Antraal'', which explores what it would mean to live as the final humans, now turned into a-historical machines that roam the Earth. In this work, a virtual biome shows strange-limbed non-human actors roaming a video game simulation, operated by artificially intelligent algorithms that act counterintuitively to one another. Marred by the paradoxes scripted in their code, these beings exhibit chaotic behaviours as their machine intelligences struggle, their ontologies lying far outside human-centred thought capabilities - we can see or hear what they are, but we can only assume what they might be. As Negarestani observes, these last humans ‘have refused and subverted the totality of their contingent appearance and significance of their historical manifestations as mere misconceptions of what it means to wander in time, as an idea and not merely a species’ (24), existing in a state that refuses the current epistemological framework of humanity. Rahal's use of video game engines and artifical intelligence allows for thought to be casted speculatively, into a future where existence is dislodged from today's temporal and ontological frameworks and re-established according to different parameters.

	[[File:Antraal Gameworld View.jpg\|thumb\|~~480px~~\|Figure 4: Sahej Rahal, ''Antraal'', Still from immersive gameworld, 2019. Image courtesy of the artist.]]		[[File:Antraal Gameworld View.jpg\|thumb\|420px\|Figure 4: Sahej Rahal, ''Antraal'', Still from immersive gameworld, 2019. Image courtesy of the artist.]]

	Another experiment in exploring more-human alliances take shape in the work of Jenna Sutela, via the project ''nimiia cétiï,'' which envisions a language existing outside the master parameters of human expression by deploying intelligent algorithms in the role of a medium that co-interprets data from the Bacilus subtilis bacteria, said to be able to survive on Mars, with recordings of Martian language received from the spirit realm by the by the French medium Hélène Smith. Zhang points out that “Sutela channels the language of the Other to muddy the waters of human sapience, reminding us in synthetic, spiritual and alien tongues that we hold a monopoly over neither intelligence nor consciousness” (154) - ''nimiia cétiï'' is, in essence, a minor language that is at once an exploration in seeking other modes of expression and a vestige to the possibilities that lay beyond the frameworks of language cultivated throughout human history.		Another experiment in exploring more-human alliances take shape in the work of Jenna Sutela, via the project ''nimiia cétiï,'' which envisions a language existing outside the master parameters of human expression by deploying intelligent algorithms in the role of a medium that co-interprets data from the Bacilus subtilis bacteria, said to be able to survive on Mars, with recordings of Martian language received from the spirit realm by the by the French medium Hélène Smith. Zhang points out that “Sutela channels the language of the Other to muddy the waters of human sapience, reminding us in synthetic, spiritual and alien tongues that we hold a monopoly over neither intelligence nor consciousness” (154) - ''nimiia cétiï'' is, in essence, a minor language that is at once an exploration in seeking other modes of expression and a vestige to the possibilities that lay beyond the frameworks of language cultivated throughout human history.

Simoon at 10:09, 22 July 2023

2023-07-22T10:09:34Z

← Older revision		Revision as of 10:09, 22 July 2023
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	Today, we are already seeing experiments in ‘knowing’ networks emerging - we'll circle back to Cheng here, who seems to have stablished a practice of conceptually diagramming his work on BOB (Bag of Beliefs) - one that does not simply relate input to output or technically map, but also pays attention to producing a cartography of the affective relations scripted into BOB's world. By showing increased tendencies towards engagement with not only the network itself, but also the networking, Cheng traverses the crucial space between the perceived (the immediate) and the perceptual (the more esoteric, affectively charged circulations of data within a system), as seen in the examples of Figures 2 and 3, which do not seek to formally capture the elements of a network assemblage, but rather, to create a “topological surface” (Massumi 751) for the experience of that world.		Today, we are already seeing experiments in ‘knowing’ networks emerging - we'll circle back to Cheng here, who seems to have stablished a practice of conceptually diagramming his work on BOB (Bag of Beliefs) - one that does not simply relate input to output or technically map, but also pays attention to producing a cartography of the affective relations scripted into BOB's world. By showing increased tendencies towards engagement with not only the network itself, but also the networking, Cheng traverses the crucial space between the perceived (the immediate) and the perceptual (the more esoteric, affectively charged circulations of data within a system), as seen in the examples of Figures 2 and 3, which do not seek to formally capture the elements of a network assemblage, but rather, to create a “topological surface” (Massumi 751) for the experience of that world.

	[[File:Figure 2. Ian Cheng, excerpt from Emissaries Guide, 2017. (Image courstesy of the artist).png\|thumb\|~~580px~~\|Figure 2: "21st century human wmwelt" diagram by Ian Cheng, from ''Emissaries Guide'', 2017. Image courtesy of the artist.]]		[[File:Figure 2. Ian Cheng, excerpt from Emissaries Guide, 2017. (Image courstesy of the artist).png\|thumb\|560px\|Figure 2: "21st century human wmwelt" diagram by Ian Cheng, from ''Emissaries Guide'', 2017. Image courtesy of the artist.]]
	[[File:IanCheng BOB'sUmwelt.png\|thumb\|~~580px~~\|Figure 3: Ian Cheng's ''Emissary Forks at Perfection Map''. Pillar Corrias London, 2015. Image courtesy of the artist.]]		[[File:IanCheng BOB'sUmwelt.png\|thumb\|560px\|Figure 3: Ian Cheng's ''Emissary Forks at Perfection Map''. Pillar Corrias London, 2015. Image courtesy of the artist.]]

	As Munster inflects, the goal is “not to abstract a set of ideal spatial relations between elements but to follow visually the contingent deformations and involutions of world events as they arise through conjunctive processes” (5) - in Cheng’s diagram, we see a phenomenological and epistemological topology of the networking processes at play, where affective relations are beginning to be mapped alongside algorithmic diagramming - in the spaces between memory, narrative and desire, a spectrum of relational flows and possibilities emerge. Demonstrating the essence of the network through its flow of relations, Cheng attempts to diagram the simulation across both affective and technical scales.		As Munster inflects, the goal is “not to abstract a set of ideal spatial relations between elements but to follow visually the contingent deformations and involutions of world events as they arise through conjunctive processes” (5) - in Cheng’s diagram, we see a phenomenological and epistemological topology of the networking processes at play, where affective relations are beginning to be mapped alongside algorithmic diagramming - in the spaces between memory, narrative and desire, a spectrum of relational flows and possibilities emerge. Demonstrating the essence of the network through its flow of relations, Cheng attempts to diagram the simulation across both affective and technical scales.

Simoon at 10:07, 22 July 2023

2023-07-22T10:07:59Z

← Older revision		Revision as of 10:07, 22 July 2023
Line 79:		Line 79:
	Today, we are already seeing experiments in ‘knowing’ networks emerging - we'll circle back to Cheng here, who seems to have stablished a practice of conceptually diagramming his work on BOB (Bag of Beliefs) - one that does not simply relate input to output or technically map, but also pays attention to producing a cartography of the affective relations scripted into BOB's world. By showing increased tendencies towards engagement with not only the network itself, but also the networking, Cheng traverses the crucial space between the perceived (the immediate) and the perceptual (the more esoteric, affectively charged circulations of data within a system), as seen in the examples of Figures 2 and 3, which do not seek to formally capture the elements of a network assemblage, but rather, to create a “topological surface” (Massumi 751) for the experience of that world.		Today, we are already seeing experiments in ‘knowing’ networks emerging - we'll circle back to Cheng here, who seems to have stablished a practice of conceptually diagramming his work on BOB (Bag of Beliefs) - one that does not simply relate input to output or technically map, but also pays attention to producing a cartography of the affective relations scripted into BOB's world. By showing increased tendencies towards engagement with not only the network itself, but also the networking, Cheng traverses the crucial space between the perceived (the immediate) and the perceptual (the more esoteric, affectively charged circulations of data within a system), as seen in the examples of Figures 2 and 3, which do not seek to formally capture the elements of a network assemblage, but rather, to create a “topological surface” (Massumi 751) for the experience of that world.

	[[File:Figure 2. Ian Cheng, excerpt from Emissaries Guide, 2017. (Image courstesy of the artist).png\|thumb\|~~642px~~\|Figure 2: "21st century human wmwelt" diagram by Ian Cheng, from ''Emissaries Guide'', 2017. Image courtesy of the artist.]]		[[File:Figure 2. Ian Cheng, excerpt from Emissaries Guide, 2017. (Image courstesy of the artist).png\|thumb\|580px\|Figure 2: "21st century human wmwelt" diagram by Ian Cheng, from ''Emissaries Guide'', 2017. Image courtesy of the artist.]]
	[[File:IanCheng BOB'sUmwelt.png\|thumb\|~~642px~~\|Figure 3: Ian Cheng's ''Emissary Forks at Perfection Map''. Pillar Corrias London, 2015. Image courtesy of the artist.]]		[[File:IanCheng BOB'sUmwelt.png\|thumb\|580px\|Figure 3: Ian Cheng's ''Emissary Forks at Perfection Map''. Pillar Corrias London, 2015. Image courtesy of the artist.]]

	As Munster inflects, the goal is “not to abstract a set of ideal spatial relations between elements but to follow visually the contingent deformations and involutions of world events as they arise through conjunctive processes” (5) - in Cheng’s diagram, we see a phenomenological and epistemological topology of the networking processes at play, where affective relations are beginning to be mapped alongside algorithmic diagramming - in the spaces between memory, narrative and desire, a spectrum of relational flows and possibilities emerge. Demonstrating the essence of the network through its flow of relations, Cheng attempts to diagram the simulation across both affective and technical scales.		As Munster inflects, the goal is “not to abstract a set of ideal spatial relations between elements but to follow visually the contingent deformations and involutions of world events as they arise through conjunctive processes” (5) - in Cheng’s diagram, we see a phenomenological and epistemological topology of the networking processes at play, where affective relations are beginning to be mapped alongside algorithmic diagramming - in the spaces between memory, narrative and desire, a spectrum of relational flows and possibilities emerge. Demonstrating the essence of the network through its flow of relations, Cheng attempts to diagram the simulation across both affective and technical scales.

Simoon at 10:07, 22 July 2023

2023-07-22T10:07:05Z

← Older revision		Revision as of 10:07, 22 July 2023
Line 51:		Line 51:

	It is important to note that Cheng refuses to ascribe any particular form, medium or technology as an ideal template of worlding - rather, discreetly and implicitly, Cheng’s definition evokes the operational logic of algorithms by referencing the properties of intelligent and generative software systems. The previous definiton's refusal of medium-specificity mirrors the multiplicity of ways in which algorithms can world: whilst many of these orlds initially unfold as immersive game spaces (and then become machinimia, or animated films created within a virtual 3D environment (Marino 1) when presented in a gallery environment), satellite artefacts can emerge from a world's algorithmic means of production, often becoming a physical manifestation of that world's entities - taking shape, for example, as physical renditions of born-digital entities, as seen in the sculptural works as that emerge from Sahej Rahal's world, ''Antraal'', where figures of the last humans, existing in a post-species, post-history state, are recreated outside of the gamespace.		It is important to note that Cheng refuses to ascribe any particular form, medium or technology as an ideal template of worlding - rather, discreetly and implicitly, Cheng’s definition evokes the operational logic of algorithms by referencing the properties of intelligent and generative software systems. The previous definiton's refusal of medium-specificity mirrors the multiplicity of ways in which algorithms can world: whilst many of these orlds initially unfold as immersive game spaces (and then become machinimia, or animated films created within a virtual 3D environment (Marino 1) when presented in a gallery environment), satellite artefacts can emerge from a world's algorithmic means of production, often becoming a physical manifestation of that world's entities - taking shape, for example, as physical renditions of born-digital entities, as seen in the sculptural works as that emerge from Sahej Rahal's world, ''Antraal'', where figures of the last humans, existing in a post-species, post-history state, are recreated outside of the gamespace.
	[[File:Antraal.jpg\|thumb\|~~440px~~\|Figure 1: Exhibition view of ''Antraal'' by Sahej Rahal. ''Feedback Loops'', 7 Dec 2019–15 Mar 2020, ACCA, Melbourne. Image courtesy of the artist.]]
			[[File:Antraal.jpg\|thumb\|420px\|Figure 1: Exhibition view of ''Antraal'' by Sahej Rahal. ''Feedback Loops'', 7 Dec 2019–15 Mar 2020, ACCA, Melbourne. Image courtesy of the artist.]]

	Transgressions of the fictional world into real-space can take a variety of shapes, depending on the politics and intentions of that world: other examples of worlds spilling out of rendered space and into reality are Keiken's ''Bet(a) Bodies'' installation, where a haptic womb is proposed as an emphatic technology for connecting with a more-than-human assemblage of animal voices and Ian Cheng’s BOB Shrine App that accompanied his simulation ''BOB (Bag of Beliefs)'' in its latter stages of development, through which the audience can directly interact with the AI by sending “offerings” via the app, which impress what Cheng terms 'parental influence' on BOB, in order to offset its biases.		Transgressions of the fictional world into real-space can take a variety of shapes, depending on the politics and intentions of that world: other examples of worlds spilling out of rendered space and into reality are Keiken's ''Bet(a) Bodies'' installation, where a haptic womb is proposed as an emphatic technology for connecting with a more-than-human assemblage of animal voices and Ian Cheng’s BOB Shrine App that accompanied his simulation ''BOB (Bag of Beliefs)'' in its latter stages of development, through which the audience can directly interact with the AI by sending “offerings” via the app, which impress what Cheng terms 'parental influence' on BOB, in order to offset its biases.

Simoon at 10:05, 22 July 2023

2023-07-22T10:05:52Z

← Older revision		Revision as of 10:05, 22 July 2023
Line 51:		Line 51:

	It is important to note that Cheng refuses to ascribe any particular form, medium or technology as an ideal template of worlding - rather, discreetly and implicitly, Cheng’s definition evokes the operational logic of algorithms by referencing the properties of intelligent and generative software systems. The previous definiton's refusal of medium-specificity mirrors the multiplicity of ways in which algorithms can world: whilst many of these orlds initially unfold as immersive game spaces (and then become machinimia, or animated films created within a virtual 3D environment (Marino 1) when presented in a gallery environment), satellite artefacts can emerge from a world's algorithmic means of production, often becoming a physical manifestation of that world's entities - taking shape, for example, as physical renditions of born-digital entities, as seen in the sculptural works as that emerge from Sahej Rahal's world, ''Antraal'', where figures of the last humans, existing in a post-species, post-history state, are recreated outside of the gamespace.		It is important to note that Cheng refuses to ascribe any particular form, medium or technology as an ideal template of worlding - rather, discreetly and implicitly, Cheng’s definition evokes the operational logic of algorithms by referencing the properties of intelligent and generative software systems. The previous definiton's refusal of medium-specificity mirrors the multiplicity of ways in which algorithms can world: whilst many of these orlds initially unfold as immersive game spaces (and then become machinimia, or animated films created within a virtual 3D environment (Marino 1) when presented in a gallery environment), satellite artefacts can emerge from a world's algorithmic means of production, often becoming a physical manifestation of that world's entities - taking shape, for example, as physical renditions of born-digital entities, as seen in the sculptural works as that emerge from Sahej Rahal's world, ''Antraal'', where figures of the last humans, existing in a post-species, post-history state, are recreated outside of the gamespace.
	[[File:Antraal.jpg\|thumb\|~~480px~~\|Figure 1: Exhibition view of ''Antraal'' by Sahej Rahal. ''Feedback Loops'', 7 Dec 2019–15 Mar 2020, ACCA, Melbourne. Image courtesy of the artist.]]		[[File:Antraal.jpg\|thumb\|440px\|Figure 1: Exhibition view of ''Antraal'' by Sahej Rahal. ''Feedback Loops'', 7 Dec 2019–15 Mar 2020, ACCA, Melbourne. Image courtesy of the artist.]]
	Transgressions of the fictional world into real-space can take a variety of shapes, depending on the politics and intentions of that world: other examples of worlds spilling out of rendered space and into reality are Keiken's ''Bet(a) Bodies'' installation, where a haptic womb is proposed as an emphatic technology for connecting with a more-than-human assemblage of animal voices and Ian Cheng’s BOB Shrine App that accompanied his simulation ''BOB (Bag of Beliefs)'' in its latter stages of development, through which the audience can directly interact with the AI by sending “offerings” via the app, which impress what Cheng terms 'parental influence' on BOB, in order to offset its biases.		Transgressions of the fictional world into real-space can take a variety of shapes, depending on the politics and intentions of that world: other examples of worlds spilling out of rendered space and into reality are Keiken's ''Bet(a) Bodies'' installation, where a haptic womb is proposed as an emphatic technology for connecting with a more-than-human assemblage of animal voices and Ian Cheng’s BOB Shrine App that accompanied his simulation ''BOB (Bag of Beliefs)'' in its latter stages of development, through which the audience can directly interact with the AI by sending “offerings” via the app, which impress what Cheng terms 'parental influence' on BOB, in order to offset its biases.

Simoon at 20:00, 21 July 2023

2023-07-21T20:00:18Z

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	__NOTOC__		__NOTOC__
	~~= Rendering Post-Anthropocentric Visions: Worlding As a Practice of Resistance =~~
	'''Teodora Sinziana Fartan'''		'''Teodora Sinziana Fartan'''
			= Rendering Post-Anthropocentric Visions:<br>Worlding As a Practice of Resistance =

			<span class="running-header">Rendering Post-Anthropocentric Visions: Worlding As a Practice of Resistance</span>

	== Abstract ==		== Abstract ==

Manetta: /* Rendering Post-Anthropocentric Visions: Worlding As a Practice of Resistance */

2023-07-21T18:34:10Z

Rendering Post-Anthropocentric Visions: Worlding As a Practice of Resistance

← Older revision		Revision as of 18:34, 21 July 2023
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	== Works cited ==		== Works cited ==

			<div class="workscited">
	Anable, A. “Platform Studies.” ''Feminist Media Histories'', vol. 4, issue no. 2, 2018, pp. 135-140.		Anable, A. “Platform Studies.” ''Feminist Media Histories'', vol. 4, issue no. 2, 2018, pp. 135-140.

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	Zylinska, Joanna. ''Minimal Ethics for the Anthropocene.'' Open Humanites Press, 2014. pp. 20.		Zylinska, Joanna. ''Minimal Ethics for the Anthropocene.'' Open Humanites Press, 2014. pp. 20.
			</div>

	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:5000 words]]		[[Category:5000 words]]

Simoon: /* Rendering Post-Anthropocentric Visions: Worlding As a Practice of Resistance */

2023-07-17T14:30:07Z

Rendering Post-Anthropocentric Visions: Worlding As a Practice of Resistance

← Older revision		Revision as of 14:30, 17 July 2023
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	== Abstract ==		== Abstract ==
	This paper formulates a strategic activation of speculative-computational practices of ''worlding'' by situating them as networked epistemologies of resistance. Through the integration of Deleuze and Guattari's concept of a ‘minor literature’ with the distributed software ontologies of algorithmic worlds, a tentative politics for thinking-''with'' worlds is mapped, anchored in the potential of worlding to counter the dominant narratives of our techno-capitalist cultural imaginary. With particular attention to the ways in which the affordances of software can become operative and offer alternative scales of engagement with modes of being-otherwise, an initial theoretical mapping of how worlding operates as a multi-faceted and critical storytelling practice is formulated.		This paper formulates a strategic activation of speculative-computational practices of ''worlding'' by situating them as networked epistemologies of resistance. Through the integration of Deleuze and Guattari's concept of a ‘minor literature’ with the distributed software ontologies of algorithmic worlds, a tentative politics for thinking-''with'' worlds is mapped, anchored in the potential of worlding to counter the dominant narratives of our techno-capitalist cultural imaginary. With particular attention to the ways in which the affordances of software can become operative and offer alternative scales of engagement with modes of being-otherwise, an initial theoretical mapping of how worlding operates as a multi-faceted and critical storytelling practice is formulated.

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	== Introduction ==		== Introduction ==