MachineMachine /stream - search for writing en-us LifePress <![CDATA[How Octavia E. Butler Became a Legend | JSTOR Daily]]>

Octavia Estelle Butler was inspired to write science fiction after watching a schlocky B-movie, Devil Girl from Mars. She was twelve years old and thought: “Geez, I can write a better story than that.” Her mother did domestic work, an experience that would shape Butler’s writing.

Tue, 14 Sep 2021 03:51:15 -0700
<![CDATA[Writing In An Age Of Artificial Intelligence (AI) | The Creative Penn]]>

In this solo episode, I discuss the impact of converging technologies, Artificial Intelligence, Natural Language Generation (NLG) tools like GPT-3, and more on writing, authors, and the publishing industry.

Thu, 08 Jul 2021 23:55:44 -0700
<![CDATA[Writing fiction as scholarly work | Impact of Social Sciences]]>

Writing for academic publication is highly stylised and formalised. In this post Rob Kitchin describes how writing fiction has shaped his own academic praxis and can provide scholars with an expanded range of conceptual tools for communicating their research.

Thu, 08 Jul 2021 23:55:29 -0700
<![CDATA[The AI-Augmented Author. Writing With GPT-3 With Paul Bellow | The Creative Penn]]>

How can authors use AI writing tools like GPT-3? What's the best way to prompt the models to output usable text? Are there copyright issues with this approach? Author Paul Bellow explains how he is using the tools and how authors need to embrace the possibilities rather than reject them. %1$s&aoh=16247239328784&csi=0&referrer=

Sat, 26 Jun 2021 09:35:22 -0700
<![CDATA[Understanding Interactive Media: Critical Questions & Concepts]]>

This seminar course is an introduction to the concepts, questions, and components that encompass interactive media as it relates to creative expression and critical engagement. Students will learn to analyze interactive media’s constituent parts, engage in readings that critically examine both the impact that interactive media and technology have on culture and societies as well as the ways in which social contexts shape the development and application of these technologies, and apply these concepts in a series of creative exercises. The contexts become apparent by examining interactive media and interactivity through the lenses of relevant critical perspectives including politics, economics, ethics, race, gender, psychology, and the environment. Throughout the semester students will learn and apply critical texts to analyze interactive media and build a vocabulary for making sense of our increasingly mediated world. The course thus serves to introduce a conceptual foundation for students to inform and direct their own creative practice by establishing a lexicon of basic operating definitions and reinforcing a culture of makers capable of critical reflection and awareness. Readings, discussions, research, creative exercises and writing constitute the body of this course.

Tue, 25 Aug 2020 22:59:19 -0700
<![CDATA[Openly shared AI Resource List - Google Docs]]>

List of AI in: Academia, Technology and Activism - An Openly shared Resource with Peers. (Title to be changed soon) The Cultural Production of Art and AI: Investigating various methods such as: computer vision, artificial intelligence, neurorobotics, speech recognition, generative writing, ge...

Fri, 10 Jul 2020 04:59:04 -0700
<![CDATA[Charles Yu: The Science-Fiction Reality of Life in a Pandemic - The Atlantic]]>

Years ago, I started writing a short story, the premise of which was this: All the clocks in the world stop working, at once. Not time itself, just the convention of time. Life freezes in place.

Tue, 30 Jun 2020 10:13:41 -0700
<![CDATA[Charles Yu: The Science-Fiction Reality of Life in a Pandemic - The Atlantic]]>

Years ago, I started writing a short story, the premise of which was this: All the clocks in the world stop working, at once. Not time itself, just the convention of time. Life freezes in place.

Wed, 03 Jun 2020 11:50:21 -0700
<![CDATA[Why Racists (and Liberals!) Keep Writing for ‘Quillette’ | The Nation]]>

A year ago, I came across an article by Stephen Elliott, a writer I’d admired.

Sat, 28 Dec 2019 19:43:37 -0800
<![CDATA[What is your favorite story-breaking glitch or exploit?]]>

Explanation: I'm an academic researching glitches in videogames, and what fascinates me most is how glitches—often ones discovered by speedrunners, though not always ones that speed up runs—completely destroy the stories the games are trying to tell. Characters get chopped and changed, plot sequences get broken, settings get demolished, even space and time get bent around the exploits and accidents of the game's programming going wrong. Some examples: 1) Using the FF6 "airship glitch", you can break sequence to do things like moving from the World of Ruin back to the World of Balance, making Terra become her own father, or taking General Leo to visit his own grave. 2) In the Pokemon Reverse Badge Order runs, the player essentially warps space and time to pull the various gym leaders to him, beat them soundly, and then dismiss them again. That's no longer the story of a young hero on a personal-development quest, it's now about a young god screwing with people. 3) Stretching the definition of glitch a bit, but I think definitely not something intended by the developers: the Any% for Two Worlds where the main villain is killed within the game's first two minutes by aggro'ed townsfolk and the game takes that as its cue to end. Glad to clarify further but that should give the general gist of it. I'd love to know your own favorite examples of stories getting broken. (And if I end up using it anywhere in the book or articles I'm writing, I'll be sure to cite you there.) submitted by /u/epikt to r/speedrun [link] [comments]

Thu, 18 Jul 2019 06:21:47 -0700
<![CDATA[Daniel Rourke - “We're trying to have the non-weird future get here as fast as possible.”]]>

Goldsmiths College Department of Art MFA Lectures 2018 - 2019

Series 1.1: Offence is the Best Defence: On the Success of Social Media Toxicity

8 Oct 2018 — Daniel Rourke (Goldsmiths): “We're trying to have the non-weird future get here as fast as possible.” 15 Oct 2018 — Isobelle Clarke (Birmingham): "Poor little snowflake, are you 'grossly' offended?": Quantifying Communicative Styles of Twitter Trolling 22 Oct 2018 — Zeena Feldman (Kings College, London): Beyond Time: On Quitting Social Media 29 Oct 2018 — William Davies (Goldsmiths): War of Words: Embodiment and Rhetoric in Online Combat

Daniel Rourke 8th October 2018 “We're trying to have the non-weird future get here as fast as possible.”

From the Latin ‘aequivocare’, for ‘called by the same name’, to equivocate is to use language ambiguously to conceal a truth or avoid commitment to a single meaning. In this talk Daniel Rourke will consider equivocation in the performative (social media) speech acts of figures such as Donald Trump, Elon Musk, and Twitter CEO Jack Dorsey.

How their speech acts exposit a 'shared' future, or a means of ‘escaping’ our present conditions, has much to tell us about how the very idea of the ‘true’ or the ‘false’ has shifted in the era of algorithmic governance, and social media campaigns such as #MeToo.

Turning to Homi K. Bhabha's theories of postcolonial discourse, as well as introducing the project The 3D Additivist Manifesto – co-created with Morehshin Allahyari – Daniel will end by trying to reaffirm the equivocal act, pointing out a way to generate and move toward non-determinate futures without imperialising them.

BIO: Dr. Daniel Rourke is a writer/artist and co-convener of Digital Media (MA) at Goldsmiths. In his work Daniel creates collaborative frameworks and theoretical toolsets for exploring the intersection of digital materiality, the arts, and posthumanism. These frameworks often hinge on speculative elements taken from science fiction and pop culture: fictional figures and fabulations that might offer a glimpse of a radical ‘outside’ to the human(ities). His writing and artistic profile includes work with AND Festival, The V&A, FACT Liverpool, Arebyte gallery, Centre Pompidou, Transmediale, Tate Modern, Sonic Acts Festival, as well as recent artistic collaborations with a cast of hundreds... web:

Presented by the Art Department, Goldsmiths.

Fri, 08 Feb 2019 06:24:18 -0800
<![CDATA[Cyborgs and Cybernetics Syllabus – Danya Glabau]]>

In the fall 2018 semester, I am teaching a semester-long class on Cyborgs and Cybernetics at NYU Tandon School of Engineering. Due to popular demand, I’m sharing the reading list. The course is taught as a 3000-level, writing intensive seminar. It meets twice a week for about 2 hours per session.

Fri, 07 Sep 2018 10:09:46 -0700
<![CDATA[CENHS @ Rice! » New Materialism, Environmental Justice, and Digital Sites of Resistance: Figuring the Cyborg Activist]]>

Below is a shortened version of Annie Culver’s essay that won Honorable Mention in the 2017 Greene Prize for Environmental Writing. Annie is a PhD student in English at Rice University.

Tue, 04 Sep 2018 09:31:20 -0700
<![CDATA[Ideology, Intelligence, and Capital]]>

Nick Land is a British philosopher living in Shanghai. Nick is one of the main figures in the school of thought known as accelerationism. He is currently writing a book about the philosophical implications of Bitcoin. We talked about accelerationism, cybernetics, ideology, the evolution of Nick’s perspective, Deleuze and Guattari, emancipation and dehumanization, artificial intelligence, capitalism, Moldbug, mathematics and the significance of zero, religion, blockchain/Bitcoin, Kantianism, synthetic time, and more.

We recorded this online, over two sessions. We did have some unavoidable connection problems, so you’ll notice some imperfections such as clicking sounds throughout. We did the best we could; big thanks to those who helped with the editing.

A full-text transcript with timestamps is now available at Vast Abrupt.

Don’t forget to subscribe wherever you get your podcasts.

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Wed, 15 Aug 2018 08:28:48 -0700
<![CDATA[Utopian Topographies | Dr Caroline Edwards]]>

Utopian Topographies


on May 18, 2018 in Talks | 0 comments

I was recently invited to deliver a guest lecture at the City Literary Institute in London as part of their evening lecture programme, titled "Mapping Imaginary Topographies and Times: Literary Utopias from the Renaissance to the Present." Since I'm currently writing a chapter on “Utopia and Science Fiction" for the Palgrave Handbook of Utopian and Dystopian Literature (ed. Jennifer Wagner-Lawlor, Fátima Vieira and Peter Marks, forthcoming 2018) I thought I'd take the opportunity to introduce students to the literary utopia and sketch out key moments in its development, including: the genre's origins in Renaissance island-utopias, the subterranean worlds of late nineteenth-century hollow-earth utopias, euchronias (utopias set in the future) of evolutionary progress and scientific management, Martian utopias, critical utopias of the 1970s, and contemporary post-apocalyptic and disaster fictions (particularly flood fictions) that privilege the utopian impulse despite their narratives of catastrophe.

As part of my broader current research into science fiction and utopian narratives of what I'm calling "extreme environments" (such as Mars, Antarctica, the deep sea, the hollow earth), I focussed the lecture around the question of how particular locations and settings have inspired literary utopias; as well as the common political features of these ideal societies and how they critique the socio-political conditions of their own times.

Click here to listen to a recording of the talk: 

Below are the PowerPoint slides which accompanied the plenary, or click here to download:

Download (PPTX, 15.4MB)

Fri, 18 May 2018 04:09:05 -0700
<![CDATA[Help me find this quote about living in possible worlds/utopias]]>

I read a quote recently, and cannot find it again. It was in an article or interview about better worlds, about the possibility of utopia. And the person writing/being interviewed quoted another thinker's doctrine, something like: "A possible world is only worth considering if it is better regardless of who you are in that world." i.e. imagine that you don't know who you would be born as in a possible world, and build your utopia from there.

Sat, 28 Apr 2018 05:30:01 -0700
<![CDATA[Hito Steyerl | Politics of Post-Representation «DIS Magazine]]>

From the militarization of social media to the corporatization of the art world, Hito Steyerl’s writings represent some of the most influential bodies of work in contemporary cultural criticism today.

Sat, 14 Apr 2018 05:54:20 -0700
<![CDATA[list: vr]]>

Most exciting critical writings on #VR you've come across?

Thu, 25 Jan 2018 03:55:20 -0800
<![CDATA[Digital Selves]]>

David Berry/ Legacy Russell/ Laurence Scott

How does our ubiquitous digital culture affect our sense of self? Is the self distorted, or do we now possess an invigorating digital selfdom? Should we revise our philosophical conceptions of the self in the light of social media? Our panel of writers, artists, and political theorists explore what happens to memory, emotion, and thought in the age of Google.


David Berry, Professor of Digital Humanities and Co-director of the Sussex Digital Humanities Lab, University of Sussex

Legacy Russell, writer, artist, and founding theorist of Glitch Feminism

Laurence Scott, Senior Lecturer English and Creative Writing, Arcadia University; author of Four-Dimensional Human


Shahidha Bari, Fellow, The Forum; Senior Lecturer in Romanticism in the Department of English, Queen Mary, University of London

**Watch Legacy Russell's presentation here:**

More info:

Recorded 17 October 2017 at the LSE

Thu, 19 Oct 2017 08:22:05 -0700
<![CDATA[On Climate / Borders / Survival / Care / Struggle | base]]>

In much of your writing, you talk about the relationship between mass migration and climate change. How can climate change be more consciously linked to existing opposition to borders and everyday struggle against the border regime?

Tue, 29 Aug 2017 04:49:28 -0700