106 Matching Annotations
  1. Apr 2024
    1. Consider theicons/symbols, objects, subjects representing spectacle in your life

      what is spectacle to me ? how am i the spectacle?


  2. Feb 2024
    1. philosophy's faith in sc ience a~ the ba sis for cer-tainty and progr es


    2. Four broad streams

      traditions of practice: -bearing witness to history -promoting social reform -embracing humanism

      evolution of photographic technology


    1. Of course, as art teachers, we often see immediately what is wrong with a student work, but is it best to teach them to be dependent on us?

      feels a bit like business-talk-esque where you want to guide people to the conclusions instead of feeding them

    2. Schools generally train and assess what is known, but seldom teach the acquisition of what even the teacher didn't know existed. When we do, it is authentic discovery.

      key point

    1. An incalculableamount of communicationgoes on around us, beyond ourauditory capacity,

      perception leads to awareness

    2. Schaeffer paved the wayfor the sound revolution thatwas brought about by tapemanipulation, electronic instru-ments, and digital technology,and introduced acousmaticlistening

      acousmatic listenign = a sound one hears without seeing what caused it

    3. imofdecontextualizingsounds,

      what was the context of sounds before? music, tradition, performance?

    4. The piece did away with theplayer-composer relationshipand placed the focus on themusic producer, the manipula-tor of the sound matter itself,like the electronic musicianof today.

      this is interesting especially in today's pop music. on spotify the credits only the push the artists as the performer. if you go down and look into certain producers, you tend to find more a stronger more cohesive style than if you were to go down the artist discography

    5. here are no soundeffects without a text inparallel, are there? But whatabout the person whowants noise without textor context?

      this feels like aphex twin and some of these song titles that are script and cryptic

    6. For Nicolai, romanticism chimesperfectly with a committedengagement to science anddigital culture.

      what is romanticism in science and digital culture when romanticism revolves so heavily on the mysterious and natural? lk it does full circle and makes sense

    7. WellenwanneIfo, Carsten Nicolai’s installa-tion in Soundings.


    1. Mom, I sense, is more a trapped self than an impaired self, annoyed by the ravages of age, fighting for every moment of sentient existence.

      this is rather sweet

    2. such as your smartphone — become an integral part of your mind in an "active externalism").

      i think i don't want to admit it but lately instagram's algorithm has become a part of my mind. in the last half year it has gone from a form of entertainment to a tool. i use it to bring new kinds of visuals, objects, ideas, projects into my horizon while also creating a way to connect w/ people and personally brand myself/

    3. panpsychism,

      idea that things no matter self has an individuality/identity

    4. it is an artificial construct of competing neural systems seeking to make sense of myriad streams of inner information — a trick of the brain.

      brain be linking shits together

    5. But, in order to make sense of rational conscious behavior you have to postulate a point from which that behavior comes."

      tldr; have to derive point from where certain thinking comes from

    6. the self is just a made-up construct that arises from our complex brains interacting with its environment.

      soul is determined by environment

    7. you have or are a "self," and though science may not be able to prove it, something strange — perhaps something nonphysical or supernatural — is going on that points to the existence of a "thing" — let's call it a spirit or a soul — that goes beyond the physical realm and could even survive the death of your fleshy body


    1. which means that attempting to consciously add newness usually adds imperfection – it is not creation, it is destruction

      disagree here, destruction is necessary for the world to advance. the world is not zero-sum.

    2. The human self is both a subjective thing experienced in a physical culture and an objective thing experienced in a symbolic culture; but the subjective and objective selves are not different things, they are different sides of the same thing

      idk but the human experience is somethign that physical medium's allow to experience

    3. he individual was almost entirely the product of their social environment, and any selfhood was therefore imposed on the individual by the local culture

      how does this work with the idea of a global village or the internet culture that we live on today

    4. social complexity generates new and varied ways of being human, so the individual has more choice in their way of being human.

      more ways of being human --> more options --> more difficutly but higher uppper bound in this life

    5. Western conformity is a matter of finding a specialist role in a complex and highly differentiated society

      what's the middle ground of this? what does it mean to be a generalist in a specialist world

    6. The workers were alienated from their work – they had no control over what they did – and alienated from their own selves, from their innate potential as individual

      on the inverse, does it suggest those who become owners and rulers were the ones who took control over their own destiny?

  3. Jan 2024
    1. t may be that photos of important objects aren’t photographically remarkabl

      grab collage-able items as well


    1. unsuitable forpresenting not only sound asan art form but also innovativeforms of new music that placeperformers and audiences innew roles and relationships.’

      interesting in how the setting of where the sound is performed has even a negative perception of the audio

    2. “the sonicturn.”' This term designatesthe gradual shift in focus fromthe visual toward the auditory

      i wonder if this timeline that coincides with a large technological or economical advance


    1. . The natural worldis personalised, established through reading, inter-pretation, and presumably dialogue as to itsnature and extension

      valid for modern media too

    2. putative

      generally considered to be

    3. encourage a ‘democra-cy of viewpoints’, a polyculture of the imagination[in opposition to] the monoculture ofinformation

      what does this mean


    1. ndex’

      what is an index in this scenario?

    2. Title: Robert Kennedy FuneralTrain 1968

      really enjoy the motion provided in the photo

    3. The pictures I took spontaneously – with abliss-like sensation, as if they had long inhabitedmy unconscious – were often more powerful thanthose I had painstakingly composed.I grasped their magic as in passing.

      feels like the intuition knows the photo long before it happened

    4. How will you introduce your audienceto the meaning of the sign or symbol?


    5. The viewer is engaged with a place beyond the visible.Everything shifts as you move and different thingscome into focus at different points of your life, and youtry to articulate that.’

      life outside the photo, feels like branding in the lifestyle suggested

    6. how aspects of a scene can beframed within an image to convey, whetherintentionally or not, a meaning that goesbeyond the mere recording of a scene

      reminds me of video essay about genz approach to photography and there is always a story implied, that goes beyond the subject, in the photos


    1. In an obvious sense and at least in part also for historical reasons, the usage of text differs from one context to the next. For example, the world of photojournalism uses captions and often will have pretty intense discussions over their validity and/or veracity. Documentary photography will incorporate often very elaborate pieces of text that, however, often are produced by a different author and that usually almost lead a life of their own.

      text plays different roles in different media

    2. remind me of freshman year essay taking one essay and expanding.

  4. May 2021
    1. These platforms have accustomed people to sharing cars, working space, and living space; these are common goods for sharing. It is reported that in 2014 in the United States, approximately 23% of the population has participated in the organized Sharing Economy, sharing common good

      introduces data for sharing thing

  5. Nov 2020
    1. fueled longstanding fears that public housing buildings may ultimately besteamrollered by the hot real estate market — privatized or demolished to make room for richer New Yorkers

      reflection on what has happened in the past


    1. but I missthe more diverse Manhattan that was here when I arrived in 1977

      contrasts to the other source, what type of diversity

    2. was quite stunned. I wasn't prepared for the utter emptiness of the streets, the eeriness, theworn beauty. The pictures were made without artifice. They were just straight documents of thestreets and architecture, but poetic at the same time. I was confronted with a city long vanishedseen through my own eyes, but largely forgotten

      there was large change in the time that had passed. first person that likes and enjoys the old meatpacking

      reminiscient of the past or just doesn't like the new?

    3. You can preserve buildings, but you can't preserve moments intime.

      how has the 'present' changed over time? new norm?


    1. The reality is that the displaced aregetting pushed out of working class neighborhoods that are “good enough” to attract people andinvestment, while the poorest and most vulnerable neighborhoods remain mired in persistentpoverty and concentrated disadvantage

      what does this mean?? displaced areas are tough because the upper want to reap in investments whereas the lower will stay continuously disadvantaged

    2. gentrification tends to benefithighly educated black households

      well educated black households benefit while less educated black households get pushed out

      splits the bell curve kinda

    3. gentrifying neighborhoods were generally morediverse when it came to income, race, and education as opposed to non-gentrifyingneighborhoods

      gentrification == more diversity when everyone's large concern is that gentrification == less or decreased diversity

    4. gentrifying neighborhoods are becoming more raciallydiverse by tracking neighborhood change from 19702000 (although he does note that citiesoverall are becoming more diverse as well)

      as neighborhoods gentrify == more diverse === why? maybe more skilled workers

    5. probability of displacement declined as the rate of rentinflation increased in a neighborhood

      what does this mean?: as rent and value of the dollar decreases >> less displacement in an area === more wealthy or stable residents? (poor was always poor)

    6. What did predictoutmigration was age, minority status, selective entry and exit, and renting as opposed tobuying

      important to me meatpacking isn't necessarily resedential so why did businesses move that much

    7. selective entry and exit,


    8. driving force behind both is the far larger process of spiky reurbanization—itself propelled bylarge-scale public and private investment

      re-urbanization = propelled by public and private investment == meaning that they can push forward the pricing and the costs of things === should strive to create more inclusive cities

    9. urbanism

      the way of life characteristic of cities and towns.

    10. the way of life characteristic of cities and towns.



    1. ssertingthe value of incomplete form is a political act architects should perform in the public realm.

      his position: incomplete form should be executed because that would allow for revisions and additions where our current system is through erection and demolition

    2. he migrant cosmopolitans who survive well have become, literally, skilled actors; they have learned the rituals of what Erving Goffmann calls "the presentation of self in everyday life" so that they can communicate with strangers. They are skilled at living in time, at home with change. In the developing world, they are the city's future; perhaps these migrant cosmopolitans are also, in the developed world, a model for how to inhabit the city well

      interesting.. they have to learn how to act and in tern self conscious, so they reflect the common place of society and further advance society

    3. quite like those just above the United Nations, in the side streets of the Fifties. They are French but not fashionable; food is still prepared with butter and lard and cream, the patrons are bulky and comfortable, the menu seldom changes

      should check it out

    4. Because exclusion and eviction are so deeply rooted in capitalism, it may be beyond the humane planner's power to make boundaries into boundaries at the scale of projects like these water-side projects. At a smaller scale, the urbanist may have more freedom to maneuver. But at this scale, he or she needs to be more self-critical in order to create membrane/borders.

      what's this supposed to mean

    5. Arendtian politics and Habermassian

      what are these terms "Aredndt" and "Habermassian"


  6. Oct 2020
  7. learn-us-east-1-prod-fleet02-xythos.content.blackboardcdn.com learn-us-east-1-prod-fleet02-xythos.content.blackboardcdn.com
    1. In order to gain a more desirable narrative direction, we sometimes would choose notto maximize our total happiness

      it doesn't matter how authentic as long as it feels authentic

    2. First, even if happiness were the only thing we cared about, we would not care solely about its total amount

      if authenticity != all we cared about then we wouldn't be trying to measure it. reflection of how humans are losing themself to technology and lose a sense of identity and being

    3. Why should we be concerned only with how our time is filled, but not with what we are

      an important idea by nozick that sums into the conlusion

    4. could stimulate your brain so that you would think and feel you were writing a great novel, or making a friend, or reading an interesting book

      instantly like turkle how can it digital companions seem like they real

    1. arling has conducted multiple experiments to try to understand whenand why humans feel empathy for robots.

      when we provide attachment. is when we feel loss

    2. the economic havoc that robotscould wreak on the workforce is a source of real anxiety

      paarallel where. main idea isnt the main issue


    1. If it dies, it is in dwindling, not in swelling out like those mechanical toys which disappear behind the hernia of a broken spring

      it dies because it was used so much. not because it no longer "works"

    1. The contrast between these two responses reveals a shift from projection onto an object to engagement with a subject

      how do you differentiate the lien between projection between an object and engagement to a subject

    2. human habit of making assump-tions based on perceptions of behavior

      in what other ways is this concept being used?

    3. people did not care if their life narratives were really understood. The act of telling them created enough meaning on its own

      just having something on the other end "listening" was very important to the majority of the students

    4. trust in Eliza did not speak to what they thought Eliza would understand but to their lack of trust in the people who would understand.

      talking to a machine because if it weren't a machine, can't trust the type of feedback or what were to come after

    5. interlocutor

      person who takes part in conversation

    6. Rogerian psychotherapist.

      patient centered. the therapist aids in creating a space where the patient can create positive change for themself

    7. re-lational artifact, a computational object explicitly designed to engage a user in a re-lationship

      relational artifact = for user relationship

    8. human purposes of believable digital companions that are evocative but not authentic.

      evocative because to get any relation from robot you have to think about yourself and it is stimulating, however, it lacks authenticity because there is no sense of loss other than loss of self

    9. watershed


    10. Although the machine may only have simulated emotion, the feelings itevokes are real

      emotions are reflected but those emotions come from those that it was taught by

    11. The feelings they elicit will reflect human vulnerabilities more than ma-chine capabilities

      because the robots reflect what they are taught, they reflect the flaws in their mentors and reflect human incapabilities more than showing their machine possibilities

    12. the tradition of academic property rights demanded that Kismet remain in the laboratory that had paid for its development. Breazeal described a sharp sense of loss. Building a new Kismet would not be the same.

      sentimental value and the experience taken from it

    13. by the time we face the reality of computational devices that are indistinguishable from people, and thus able to pass our own Turing test, we will no longer care about the test.

      we live in a simulation idea why does it matter if it makes us happy (down the line)

      it should matter what we take away from the experience over the medium of which we receive it from

    14. “When I wake up in the morning and see her face [the robot’s] over there, it makes me feel so nice, like somebody is watching over me.”

      why does the robot carry a presence without action? do the roles we assign it carry over more than we consciously realize

    15. he would prefer to talk to a robot about his problems than to a person. “The robot wouldn’t criticize me,”

      talking to a baby over a real person provides the lack of a negative response

    16. hese chil-dren are learning to have expectations of emotional attachments to robots in the same way that we have expectations about our emotional attachments to people.


    17. Children became so attached to their particular Furby that when the robots began to break, most refused to accept a replacement

      sentimental value of objects

    18. we not only experience it as intelligent, but more importantly, we feel a heightened connection to it.

      we proud of it or smth

    19. These questions ask what we will be like, what kind of people we are be-coming as we develop increasingly intimate relationships with machines

      brings to light an idea of how will we be affected by technology vs how will tech develop? leads into how can the design and approach to tech differ

    20. The questions raised by relational artifacts are not so much about the machines’ capabilities but our vulnerabilities — not about whether the objects really have emotion or intelligence but about what they evoke in us

      similar to abstract art and how art impacts us. What do we take away from all of this

    21. at interface value”

      how usable something is

    22. The ability of relational artifacts to inspire “the feeling of relationship” is not based on their intelligence, consciousness, or reciprocal pleasure in relating, but on their ability to push our Darwinian buttons, by making eye contact, for example, which causes people to respond as if they were in a relationship

      relationships based on signs that siginify relationships and not the actual relationship

    23. Ruth, depressed about her son’s abandonment, comes to regard the robot as being equally depressed. She turns to Paro, strokes him, and says, “Yes, you’re sad, aren’t you. It’s tough out there. Yes, it’s hard.” Ruth strokes the robot once again, attempting to comfort it, and in so doing, comforts herself.

      ruth is sad and paro reflects her emotional state. when she comforts the robot, she comforts self too

    24. Heinz Kohut describes how some people may shore up theirfragile sense of self by turning another person into a “self object” (Ornstein, 1978).In this role, the other is experienced as part of the self, and as such must be attunedto the fragile individual’s inner state. Disappointments inevitably follow. Someday,if relational artifacts can give the impression of aliveness and not disappoint, theymay have a “comparative advantage” over people as self objects and open up newpossibilities for narcissistic experience. For some, predictable relational artifactsare a welcome substitute for the always-resistant human material

      we can set expectations for humans but they can always disappoint us, so why don't we place it in objects that we know that won't change.

      what are the consequences

    25. imitation is less psychologically important as a measure of machine abilitythan of human susceptibility to this design strategy

      more important that for the user impact than it is for the benefit of the machine itself

    26. ctual aliveness is unnecessary.

      it's the role the figure plays rather than what it actaully does (some people just need someone to listen to their problems) than give them solutions to their problems)

    27. In thinking about the meaning of love, however, we need to know not only what the people are feeling but what the robots are feeling. We are easily seduced; we easily forget what they are; we easily forget what we have made

      we don't see the objects subjectively, but we see them robots and objects as we would like to see them

    28. What is the value of interactions that contain no understanding of us and that contribute nothing to a shared store of human meaning?

      what does this mean?

  8. Sep 2020
    1. style: bring up art/artist, compare, analyze

    2. Photography is particularly treacherous when it comes to righting wrongs, because it isso good at recording appearances. --appearances tell no truth. > very dangerous because what's depicted isn't entirely truthful or anything at all

    3. main ideas: -how photographers choose to illustrate the subjects changes how image appears -native americans photo'd to be rememberant vs how they actually live -rememberant means erasure of potential and what they currently stand to be

    4. One photographer thus gave us lively pictures of life as it was being lived, and the other, at much greater cost and with much more ambition, ended up delivering stilted images of dubious value. Is the lesson here that the truth of a given community can only be delivered by an insider? ---really interesting how he translates the approaches by photographers into his own ideas and opinions

    5. "But the general tenor of his work idealized Native Americans in the name of preserving vanishing ways of life...knew exactly how he liked his Indians." cole has an interesting way of describing a photo by bringing up comparable contrasts within artists and approaches

    6. "intended for publication" with different intent and audience the outcome of image greatly differed. >intended for pub lead to more historical wear and portrayals of native americans

    1. parallel between abstraction and straight data. what's the difference or differentiation?

    2. photographs are now seen and developed to be another stream of data rather than only a visual input. The idea of portraits flipped from being simply a record of family to being more of an art appreciation.

    3. keeping one moment forever lead to a revolution and growth that made photos and visual communications the most wide-spread standard

    4. we pay attention to facial expression bc emotion is portrayed in expression. It doesn't exact mean anything bc people can smile but that doesn't mean they're happy