Notice bibliographique
Résumé
In works such as Toxcity: A Climate Change Narrative (Coover and Rettberg, 2016), Penelope (Coover and Rettberg, 2019), The Floods (Coover, Vidiksis and Montfort,2021) and Water On The Pier (Coover, Vidiksis and Montfort,2021), algorithms drive the cinematic montage to continually alter how images, sounds and language combine to create imaginaries and suggest narrative arcs. These code-driven, combinatory and generative films ask viewers to make build meaning out of fragments that are combined by forces beyond human control (Ulrik and Pold, 2018). This structural condition also serves as a metaphor of challenges faced in confronting hyper objects (Morton 2013) like global warming and mass extinction, whose forces and narrative trajectories can seem similarly beyond human agency. The methods produce stories that unfold in multiple directions to reveal ambiguities, entanglements, and correspondences. (Manovich 2013, Coover, 2019) Through acts of naming and narrativization, the multimodal approach builds meaning in the gaps and sutures that draw disparate elements together. The paper considers implications for agency, collectivity, and resilience. In Toxicity: A Climate Change Narrative, which is a code-driven feature designed for wide screen cinema or three projection instation, combinatory systems continually mix sound, image, text and other data to create cohesive but ever-changing stories. Language and montage express ways of responding to conditions of flux while bridging fact and fiction. Stories about six characters living in a near future shaped by climate change co-exist with nonfiction accounts of climate-related deaths at the time of Hurricane Sandy. In Penelope, which is design for single monitor installation and viewing, ancient narratives are restructured in relation to contemporary concerns of migration and extinction; using a similar combinatory structure to that of Raymond Queneau's Cent mille milliards de poèmes (Queneau 1961), the computer-code-driven combinatory film can produce millions of variations of a sonnet that weaves and then unweaves itself to reveal patterns of meaning in response to forces beyond one's control. Meaning is built through algorithmic montage, generative poetry and combinatory musical composition. The Floods, which is designed for large scale immersion and installation, uses a machine-based system that combines combinatory and generative methods. Conditions of sea-level rises are expressed as a flow and flux mixing cultural signs, stories, and fields of inquiry into layered experiences that defy any single interpretation or narrative. Water On The Pier is a work for site-specific installation that combines large scale projection, VR and locative media. In this work live climate data, including signals from hydrophones placed in tidal waters, continually alter the cinematic experience; the public uses locative film tools to interact with these unpredictable elements. The talk will consider how such systems disrupt narrative expectations and offer conditions in which signs can take on multiple, or even contradictory, significances. The models expand discourse on relationships between digital imaginaries and embodied experiences. (Hayles 1999, Hansen 2006) The talk suggests how such models may transform creative approaches to enduring narrative challenges and urgent contemporary conditions.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».