Helen Deng
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on the atlas · 74
- playhtml10 savers
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- Defamiliarization4 savers
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- A Deed of Eternity | The Poetry Foundation1 savers
- 文物館 Art Museum1 savers
- I. M. Pei: Life Is Architecture | M+1 savers
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- Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of Books1 savers
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- Paris Review - The Art of Fiction No. 1371 savers
- Warenkorb – tentation1 savers
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- How Larry Gagosian Reshaped the Art World | The New Yorker5 savers
- A Cyborg Manifesto4 savers
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- "am I wasting my 20s?" - by Nicole - startingfromnix28 savers
- how to avoid half-heartedness - by Ava - bookbear express28 savers
- ChatGPT Is a Blurry JPEG of the Web | The New Yorker23 savers
- who do you admire? - by Nix 🕊 - starting from nix16 savers
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- Agentic Computing9 savers
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- To Fix Tech, Democracy Needs to Grow Up6 savers
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- Home | Speculative Technologies4 savers
- I Really Didn’t Want to Go | Harper's Magazine4 savers
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- Maurice Merleau-Ponty (Stanford Encyclopedia of Philosophy)2 savers
- How to Practice2 savers
- Why the U.S. Electric Grid Isn’t Ready for the Energy Transition - The New York Times2 savers
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highlights · 620
sensor gain is included inside our open loop TF.
Gmailsensor gain is included inside our open loop TF.
Gmailsensor gain is included inside our open loop TF.
Gmailsensor gain is included inside our open loop TF.
GmailDue partly to smartphones, millennials are essentially suburban, no matter where they have actually grown up. They have no authentic counterculture—Is not their use of social media a version of the old-fashioned Christmas card letter?—
The Balletic Millennial Bedtimes of ‘Normal People’ | Lorrie Moore | The New York Review of BooksIf you don’t really desire what you take, perhaps the trespass is not actual and certainly not immoral
The Balletic Millennial Bedtimes of ‘Normal People’ | Lorrie Moore | The New York Review of BooksMillennial coveting (cloaked in self-rebuke) is a natural aspect of late-stage capitalism—the cadging of mates and lodging from elders is politically justified filching
The Balletic Millennial Bedtimes of ‘Normal People’ | Lorrie Moore | The New York Review of BooksTo generalize sweepingly, and in a way that is not contradicted by Rooney’s work, some of the mutterings—I am only reporting—include the following: millennials seem wedded to ideas of status and conventional success, but they want to “infiltrate” plutocratic institutions as “Marxists” and prized guests; they will deride yet exploit all privilege; raised to be competitive, they find envy is not a form of hate but a legitimate aspect of success-culture and an expression of congratulations
The Balletic Millennial Bedtimes of ‘Normal People’ | Lorrie Moore | The New York Review of Booksmoments when viewing and identifying as/with does not solely and necessarily speak to a collective and communal practice. Instead, these moments are what feel so personal, so personally good, and not for everyone else, in a way that for now might not need to do, change, or advance anything beyond and outside of myself. When I watch Oh, I imagine that the good feelings I have in identifying as/with her are not like everyone else’s feelings, and therefore stay for a moment politically nonproductive and noncommunal. I entertain the idea that these moments can be imagined and felt as so private an…
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of Booksgesture toward the nonproductive moments of sociality, intimacy, and care shared between Asians and Asian Americans
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of Booksthe in-between of the quotidian as montage, becomes pleasures derived from the inclusiveness of being like “everyone else
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of BooksI found myself moved by moments when very little was happening, the kinds of everyday moments that I’ve always wanted to see onscreen. […] Maybe it’s the endpoint of representation — you simply want the opportunity to be as heroic, or funny, or petty, or goofy, or boring as everyone else
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of BooksArriving at the good representation does not mean we have arrived at a political good, yet even when saying so, something of ourselves and our political grounding has still been compromised.
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of BooksFurthermore, what are the risks of giving into good representation and its attendant feelings? How does admitting our enjoyment of a good representation compromise our politics?
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of BooksWhat happens to our critical and political relation to representation when a representation is not “bad,” which is to say, not the injurious, hurtful, phobic stereotype? What happens if our reading and viewing practices must no longer solely navigate the bad, but now must make sense of what feels good, politically and affectively, and in a way we need not be ashamed of
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of Booksasserting our guilty pleasures and bad object choices as a means of making do with the few representations
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of Booksthe sites where we might find traces of ourselves when reading against the grain, when intentionally misreading, when reaching and stretching meaning in perverse and inappropriate ways. We are not used to having representations that give us what we want upfront, therefore we have grown accustomed to keeping bad company, to sitting with what does not feel right in ways that have made our modes of critique more capacious, fun, indirect, shady, and bizarre
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of Booksthe guilty pleasure or the “problematic fave,” the “cruel optimism” of our attachment to troubling objects, such as the “bad tv” we cannot notwatch even when it undermines our political subjecthood
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of Booksas Sedgwick puts it, “smuggle” representations of ourselves and our own meanings so that we might still enjoy things even if and precisely when they are not meant for us and we are not supposed to be there. We do not critique to say this is why we cannot have nice things. Rather, in our critiques, we refuse to not have nice things.
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of BooksWhat does it mean for me to be a critic that gets too close to a representation that feels too good? Especially when I am used to writing about representations of minorities in popular culture that for the most part feel bad, if they even exist at all?
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of Booksthis time I have wanted to write about but felt like I could not since my identification as/with the characters she portrays made her too obvious an object of study. It was as if to write about her, to admit my attachment, would be proof of a petty identity politics and a non-rigorous mode of critique that yield to the complicity and inclusive normalcy of representations within popular culture
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of Booksshe was possibly gay, in a manipulative, playful chase-as-courtship and vice versa with Villanelle
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of BooksHow do we talk about representation in a way that does not merely desire inclusion and normalization within a larger group? How do we still hold close the desire for the banal, the small, the nonsignificant yet deeply intimate and private modes of identification we feel with certain representations, without reducing this to a sign of reaching normalcy within corny, liberal, affirming depictions of minority difference
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of BooksYou are too close to your objects
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of BooksInstead, I took it as an opportunity to think about how proximity, how being too close rather than so distant and detached, unavoidably directs my reading and viewing practice
Too Close, Too Compromised: “Killing Eve” and the Promise of Sandra Oh | Los Angeles Review of BooksWhether you are creating a novel or a painting or a film, you are engaged in an act of communication between you and your audience. What you create doesn’t have to be utterly unlike every prior piece of art in human history to be valuable; the fact that you’re the one who is saying it, the fact that it derives from your unique life experience and arrives at a particular moment in the life of whoever is seeing your work, is what makes it new. We are all products of what has come before us, but it’s by living our lives in interaction with others that we bring meaning into the world
Why A.I. Isn’t Going to Make Art | The New YorkerThe task that generative A.I. has been most successful at is lowering our expectations, both of the things we read and of ourselves when we write anything for others to read. It is a fundamentally dehumanizing technology because it treats us as less than what we are: creators and apprehenders of meaning. It reduces the amount of intention in the world
Why A.I. Isn’t Going to Make Art | The New YorkerMore than our ability to solve algebraic equations, our ability to cope with unfamiliar situations is a fundamental part of why we consider humans intelligent
Why A.I. Isn’t Going to Make Art | The New YorkerTwenty-four trials were enough to master a task that no rat had likely ever encountered before in the evolutionary history of the species. I think that’s a good demonstration of intelligence.
Why A.I. Isn’t Going to Make Art | The New Yorkerskill is how well you perform at a task, while intelligence is how efficiently you gain new skills
Why A.I. Isn’t Going to Make Art | The New YorkerNot all writing needs to be creative, or heartfelt, or even particularly good; sometimes it simply needs to exist
Why A.I. Isn’t Going to Make Art | The New Yorkerteachers don’t ask students to write essays because the world needs more student essays. The point of writing essays is to strengthen students’ critical-thinking skills
Why A.I. Isn’t Going to Make Art | The New YorkerThe fact that a large language model can reword the quotation enough that the source is unidentifiable doesn’t change the fundamental nature of what’s going on.
Why A.I. Isn’t Going to Make Art | The New Yorkerit’s easy to forget that it lies on top of these other experiences of subjective feeling and of wanting to communicate that feeling. We’re tempted to project those experiences onto a large language model when it emits coherent sentences, but to do so is to fall prey to mimicry; it’s the same phenomenon as when butterflies evolve large dark spots on their wings that can fool birds into thinking they’re predators with big eyes.
Why A.I. Isn’t Going to Make Art | The New YorkerChatGPT feels nothing and desires nothing, and this lack of intention is why ChatGPT is not actually using language. What makes the words “I’m happy to see you” a linguistic utterance is not that the sequence of text tokens that it is made up of are well formed; what makes it a linguistic utterance is the intention to communicate something.
Why A.I. Isn’t Going to Make Art | The New YorkerThe fact that ChatGPT can generate coherent sentences invites us to imagine that it understands language in a way that your phone’s auto-complete does not, but it has no more intention to communicate
Why A.I. Isn’t Going to Make Art | The New Yorkera large language model is not a writer; it’s not even a user of language. Language is, by definition, a system of communication, and it requires an intention to communicate
Why A.I. Isn’t Going to Make Art | The New YorkerThe programmer Simon Willison has described the training for large language models as “money laundering for copyrighted data,” which I find a useful way to think about the appeal of generative-A.I. programs: they let you engage in something like plagiarism, but there’s no guilt associated with it because it’s not clear even to you that you’re copying.
Why A.I. Isn’t Going to Make Art | The New YorkerThe significance of a child’s fan letter—both to the child who writes it and to the athlete who receives it—comes from its being heartfelt rather than from its being eloquent.
Why A.I. Isn’t Going to Make Art | The New Yorkerin both cases it is only warranted when the writer put some thought into it.
Why A.I. Isn’t Going to Make Art | The New Yorkerany writing that deserves your attention as a reader is the result of effort expended by the person who wrote it. Effort during the writing process doesn’t guarantee the end product is worth reading, but worthwhile work cannot be made without it
Why A.I. Isn’t Going to Make Art | The New Yorkernovels, paintings, and films are drawn to those art forms because they see the unique expressive potential that each medium affords. It is their eagerness to take full advantage of those potentialities that makes their work satisfying, whether as entertainment or as art
Why A.I. Isn’t Going to Make Art | The New YorkerSuch a person inadvertently reveals that they think formulating sentences is a nuisance rather than a fundamental part of storytelling in prose. Generative A.I. appeals to people who think they can express themselves in a medium without actually working in that medium.
Why A.I. Isn’t Going to Make Art | The New Yorkerits sentences—and the small-scale choices they represent—help to determine the thriller’s effectiveness
Why A.I. Isn’t Going to Make Art | The New YorkerKafka’s ideal of a book—an “axe for the frozen sea within us”—
Why A.I. Isn’t Going to Make Art | The New YorkerBelieving that inspiration outweighs everything else is, I suspect, a sign that someone is unfamiliar with the medium. I contend that this is true even if one’s goal is to create entertainment rather than high art
Why A.I. Isn’t Going to Make Art | The New Yorkerthe interrelationship between the large scale and the small scale is where the artistry lies
Why A.I. Isn’t Going to Make Art | The New Yorkerthey are saying that art can be all inspiration and no perspiration—but these things cannot be easily separated. I’m not saying that art has to involve tedium. What I’m saying is that art requires making choices at every scale; the countless small-scale choices made during implementation are just as important to the final product as the few large-scale choices made during the conception
Why A.I. Isn’t Going to Make Art | The New YorkerTheoretically, if such a program existed, the user could perhaps deserve to be called the author.
Why A.I. Isn’t Going to Make Art | The New YorkerHe generated more than a hundred thousand images to arrive at the twenty images in the exhibit
Why A.I. Isn’t Going to Make Art | The New Yorker