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  1. Every dog has its day: An in-depth analysis of the creative ability of visual generative AI.Maria Hedblom - 2024 - Cosmos+Taxis 12 (5-6):88-103.
    The recent remarkable success of generative AI models to create text and images has already started altering our perspective of intelligence and the “uniqueness” of humanity in this world. Simultaneously, arguments on why AI will never exceed human intelligence are ever-present as seen in Landgrebe and Smith (2022). To address whether machines may rule the world after all, this paper zooms in on one of the aspects of intelligence Landgrebe and Smith (2022) neglected to consider: creativity. Using Rhodes four Ps (...)
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  2. Position paper on ethical, legal and social challenges linked to audio- and video-based AAL solutions.Alin Ake-Kob, Slavisa Aleksic, Zoltán Alexin, Aurelija Blaževičiene, Anto Čartolovni, Liane Colonna, Carina Dantas, Anton Fedosov, Eduard Fosch-Villaronga, Francisco Florez-Revuelta, Zhicheng He, Aleksandar Jevremović, Andrzej Klimczuk, Maksymilian Kuźmicz, Lambros Lambrinos, Christoph Lutz, Anamaria Malešević, Renata Mekovec, Cristina Miguel, Tamar Mujirishvili, Zada Pajalic, Rodrigo Perez Vega, Barbara Pierscionek, Siddharth Ravi, Pika Sarf, Agusti Solanas & Aurelia Tamo-Larrieux - 2022 - Https://Goodbrother.Eu/.
    In this position paper, we have used Alan Cooper’s persona technique to illustrate the utility of audio- and video-based AAL technologies. Therefore, two primary examples of potential audio- and video-based AAL users, Anna and Irakli, serve as reference points for describing salient ethical, legal and social challenges related to use of AAL. These challenges are presented on three levels: individual, societal, and regulatory. For each challenge, a set of policy recommendations is suggested.
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  3. The Specter of the Electronic Screen: Bruno Varela's Reception of Stanley Cavell.Byron Davies - 2021 - In David LaRocca (ed.), Movies with Stanley Cavell in mind. New York: Bloomsbury Academic. pp. 72-90.
    An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it is (...)
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  4. Accidents Made Permanent: Theater and Automatism in Stanley Cavell, Michael Fried, and Matías Piñeiro.Byron Davies - 2020 - Modern Language Notes 135 (5):1283-1314.
    This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...)
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  5. The Post-Human Media Semblance: Predictive Catastrophism.Ekin Erkan - 2020 - Rhizomes: Cultural Studies in Emerging Knowledge 36.
    Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...)
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  6. Through a telescreen darkly.Lavinia Marin - 2018 - In Ezio Di Nucci & Stefan Storrie (eds.), 1984 and philosophy, is resistance futile? Chicago: Open Court. pp. 187-198.
    “It was a peculiarly beautiful book. its smooth creamy paper, a little yellowed by age, was of a kind that had not been manufactured for at least forty years past. . . . Even with nothing written in it, it was a compromising possession. The thing that he was about to do was to open a diary. This was not illegal (nothing was illegal, since there were no longer any laws), but if detected it was reasonably certain that it would (...)
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  7. Interactivity, Fictionality, and Incompleteness.Nathan Wildman & Richard Woodward - 2018 - In Jon Robson & Grant Tavinor (eds.), The Aesthetics of Videogames. New York: Routledge.
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  8. Os vlogs e a identificação paradoxal dos criadores do discurso.Guilherme Adorno - 2016 - Línguas E Instrumentos Linguísticos 37:257-292.
    Resumo: Com o objetivo de compreender os processos de identificação do sujeito em alguns funcionamentos discursivos dos vlogs, no YouTube, este trabalho analisa o modo como o contraponto entre a eficácia imaginária e o jogo significante na história produz o reconhecimento de lugares e poderes do dizer no desconhecimento constitutivo de sua relação com o Interdiscurso, nas condições de produção específicas do digital. Os recortes delimitados são: as designações equívocas de vlogueiro, youtuber e criador; a produção da autoria na imbricação (...)
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  9. Towards a Science of Emerging Media.Barry Smith - 2015 - In J. E. Katz & J. Floyd (eds.), Philosophy of Emerging Media: Understanding, Appreciation and Application. New York, US: Oxford University Press. pp. 29-48.
    If media studies are to become established as a genuine science, then it needs to be determined what the subject matter of this science is to be. I propose a specification of this subject matter as consisting in: 1. the new sorts of digital entities that have been added to social reality through the invention of the digital computer, and 2. the new sorts of interactions involving human beings which such entities make possible. I support this proposal by examining examples (...)
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  10. The Fictional Character of Pornography.Shen-yi Liao & Sara Protasi - 2013 - In Hans Maes (ed.), Pornographic Art and the Aesthetics of Pornography. Palgrave-Macmillan. pp. 100-118.
    We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...)
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  11. Aesthetics And Popular Art: An Interview With Aaron Meskin.Aaron Meskin - 2010 - Postgraduate Journal of Aesthetics 7 (2):1-9.
    As is usually the case with what I work on, I read some stuff I liked. I 1 read an article on comics by Greg Hayman and Henry Pratt and some work on 2 videogames,GrantTavinor’sreallyexcellentworkonthattopic. Ifoundthematerial interesting and I thought I had something to say about it. That’s what usually motivates me and that’s what did in these cases. With comics, my interest in the medium played a big role. I was a child collector of Marvel. I got turned on (...)
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