Bibliographic record
Abstract
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.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".