Posted January 27, In January the Academy of American Poets invited thirty-one younger American poets to write short essays about various debates in the poetry community. Six Benefits of Graduate School.
Lost in the Cloud: The Representation of Networked Infrastructure and its Discontents The ten-minute, primarily animated film, aimed to introduce and demystify the societal benefits of computer processing to the wider public, but it did so through an intriguing contradiction regarding the materiality of the technology itself.
The film begins by describing how the prehistories of human systems developed the ability to negotiate, govern and predict the uncertainties of the natural world.
As the ability to amass increased amounts of information advanced, with it came the need to organize, calculate and make sense of all this data. This progression then culminated in the grand tool of mechanized calculation, bringing about the ability to see through the abstraction of overwhelming amounts of information.
The first wish is unwise, the second then over corrects for the misjudgment of the first, and if the hero is lucky, the third and final wish returns him back to where he first started. Human propensity towards misjudgment is further exasperated by the increasing complexity brought about by the very systems of logic that are intended to simplify and solve.
This is where the information machine, quite literally, enters the frame. Or, What Became of 21st Century Cinema? At times resembling a Fordist assembly line, familiar images of 20th century innovation uncoupled and abstracted from their particular function but indexically linked to the notion of progress.
These machines, we are told, creative writing and its discontents synonym enable us to model complex systems with unprecedented fidelity, in order to make calculated decisions. The histories that led to this technology and its real world effects are left to be articulated by the language of hand-drawn illustrations, while the physical materiality of these machines demanded that they burst through the artifice of animation.
By some sleight of hand, the Eames had rendered the technology, then still an object of myth and wonder, more real and humane than our everyday reality. We are thus left with close-up images of a contraption, isolated and dislocated from its larger functioning and use. The filmmakers, it would seem, were fully aware of the limits of the representation of mechanic action.
Over half a century later the world is now increasingly enmeshed in an array of computers, sensors and various portable devices, gathering unfathomable amounts of data concerning every aspect of life, but the representation of this technology has not caught up yet.
Snaking cables still engulf rooms, only now mechanical drums of punch cards and Ampex reels have been replaced with anonymous server racks and blinking lights.
The ambiguity of these images utters the same vague mantra: The once hand-drawn cartoon animation has been replaced with CGI animation, but no clearer picture has been provided as to the significance of what the viewer is seeing. In fact, it is quite often to the contrary.
Corporate videos depict bodiless cameras floating down sterile white halls, gliding past glowing alien light sources, matrix-like sculptural forms of binaries morphed into fiber tubes, globes and webs. The machine of global computation is now a leviathan of such proportion that all forms of media, including the cinematographic image, have been absorbed into it, rendered binary and disseminated via a nexus of online outlets, and new consolidations of corporate power.
Though its terrestrial presence is seemingly invisible, the singular static information machine of yonder has given way to a plethora of technologies, many of which are portable and ostensibly autonomous, but are in fact joined under the monolith of Big Data.
Growth and expansion have become the only imperative, and global connectivity the ultimate tool: In the 21st century, all that is sacred no longer appears to melt into air, but is rather rendered into data.
Within the confines of networked technology, information and social relations are quantified and archived with the hope of future monetary value. All that is sacred is now permitted to ossify into the solid state of a data center, a structure that in turn melts carbon into the air.
Our film, All that is solid Melts Into Data attempts to trace a rough history of the evolution and expansion of data processing and its effect on both how we perceive the world, as well as how we have shaped it.
Despite being often perceived as an ethereal synonym of air, the film highlights how the weight of the cloud is growing. From the outset of our investigation, we were faced with the double challenge of representing a nexus as complex and ubiquitous as the web, and a protagonist as abstract as data.
Yet, gradually we realized that the story of how our world has come to be perceived by way of data through the lens of data analytics — though a difficult one to tell — is anything but abstract. Rather, it is very much a story of the persistence of matter. Energy and natural resources, labour conditions, the role of physical proximity, the gradual layering of technologies on top of each other, and the geographical contingency of juridical processes — all these questions play a central role within this history, and came to play a crucial role within our film.
Translated by Rodney Livingstone and Others. Edited by Michael W.
Jennings, Howard Eiland, and Gary Smith. We therefore chose to complement this materialism with an introspective gaze — exploring not only the hidden visceral image of this technology, but also, the desire to see such an image.
This ambivalence would translate into a corresponding formal division between footage filmed on-site and footage captured online. It is no coincidence that these are centers of global political and economic power, emphasizing the current hegemony of the Unites States and Western Europe within networked capitalism.
The physical mapping of networked technologies — whose wide spread effect has foreclosed spatial and temporal cognition beyond any previous technology — grafts quite perfectly onto the territorial order of neoliberal logic.
This burgeoning data centre industry sits atop the juridical infrastructure, tax regulations, privacy laws, and national authority all initially laid out for earlier industries.Synonyms for creative at rutadeltambor.com with free online thesaurus, antonyms, and definitions.
Find descriptive alternatives for creative. rutadeltambor.com Word of the Day; Crossword Solver Creative writing is attested from Related: Creatively.
Show More. Example Sentences for creative. Creative fun in the palm of your hand. BY ONLINE AUTHORS. Retirement Treasures. Flash Fiction - Words Writing and its Discontents.
by Syrek. Rated: E · Poetry · Career · # Disaster is just a pen stroke away. rutadeltambor.com, its affiliates and syndicates have been granted non-exclusive rights to display this work. Lost in the Cloud: The Representation of Networked Infrastructure and its Discontents KB Download At the World’s Fair in Belgium, IBM showcased the wonders of computer technology and what it could offer humanity.
Aug 02, · ''I TOO dislike it.'' So wrote Marianne Moore about poetry, and 22 years ago, I agreed. Enrolled in a graduate program in creative writing, I was preparing to drop out. The poets I admired were.
Civilization & Its Discontents. a story in the academic journal Lingua Franca by an pseudonymous participant in a creative writing workshop relates the story of a workshop writer who was.
The Writer’s News keeps you informed about new developments in the writing world, Creative Writing & Its Discontents. March 1, by D.W. Fenza. Since the s, criticisms of writing workshops and programs have become an occasional feature in glossy magazines, newspapers, literary magazines, academic journals, and books of .