Influence is an important notion in Jean-Jacques Rousseau’s thinking. However, the event of influence is related to contamination, corruption, and alteration in Rousseau’s philosophical system. At the very beginning, the first Discourse (1750) presents the critique of culture and social taste. The author points out the damaging influence of ‘public opinion’, ‘riches’, and ‘powerful actors’ on the morals of a society. These entities corrupt the social morals and set a depraved example to follow. On the other hand, there is a clean and progressive way of influence between individuals without moral abuse. This is the case of the Genius, who comes to the world exclusively under influence of another Genius. There is no Genius – whatever this notion is supposed to mean – in itself. His birth is the result of a strong influence: it came to the world in a ‘ravishing transport’ as the entry “Genius” describes its genesis in A Complete Dictionary of Music. Purely positive influence is a ‘stimulus’ as Rousseau names it in Dialogues. My paper describes what the ‘stimulus’ means and how the uncorrupted ‘inhabitants of the other sphere’ are disposed by this stimulus. The example of the Genius demonstrates more eloquently the process of the positive influence, which is also a possibility to a sourceless beginning. To illustrate this idea and make it more concrete I will reference Julie’s paradise in Rousseau’s masterwork, Julie, or the New Heloise. In Julie’s garden, called Elysée, we have the topology of a perfect wilderness, a landscape at first sight uncontaminated by human artefact. The structure of the vegetation testifies of a beginning without beginning. The décor looks like a setup with no human intervention. This idea of creation is close to the idea of insemination, and more precisely to the ‘dissemination’ key word of Derrida’s work, Dissemination. My article is a lecture regarding the entry “Genius” in A Complete Dictionary of Music and a thought-experiment about how this entry can be interpreted in a deconstructive context.
{"title":"Ravishing Transports","authors":"Paula Marsó","doi":"10.25038/am.v0i29.570","DOIUrl":"https://doi.org/10.25038/am.v0i29.570","url":null,"abstract":"Influence is an important notion in Jean-Jacques Rousseau’s thinking. However, the event of influence is related to contamination, corruption, and alteration in Rousseau’s philosophical system. At the very beginning, the first Discourse (1750) presents the critique of culture and social taste. The author points out the damaging influence of ‘public opinion’, ‘riches’, and ‘powerful actors’ on the morals of a society. These entities corrupt the social morals and set a depraved example to follow. On the other hand, there is a clean and progressive way of influence between individuals without moral abuse. This is the case of the Genius, who comes to the world exclusively under influence of another Genius. There is no Genius – whatever this notion is supposed to mean – in itself. His birth is the result of a strong influence: it came to the world in a ‘ravishing transport’ as the entry “Genius” describes its genesis in A Complete Dictionary of Music. Purely positive influence is a ‘stimulus’ as Rousseau names it in Dialogues. My paper describes what the ‘stimulus’ means and how the uncorrupted ‘inhabitants of the other sphere’ are disposed by this stimulus. The example of the Genius demonstrates more eloquently the process of the positive influence, which is also a possibility to a sourceless beginning. To illustrate this idea and make it more concrete I will reference Julie’s paradise in Rousseau’s masterwork, Julie, or the New Heloise. In Julie’s garden, called Elysée, we have the topology of a perfect wilderness, a landscape at first sight uncontaminated by human artefact. The structure of the vegetation testifies of a beginning without beginning. The décor looks like a setup with no human intervention. This idea of creation is close to the idea of insemination, and more precisely to the ‘dissemination’ key word of Derrida’s work, Dissemination. My article is a lecture regarding the entry “Genius” in A Complete Dictionary of Music and a thought-experiment about how this entry can be interpreted in a deconstructive context.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"DAS ANATOMISCHE THEATER / The Simultaneous Games of the 20th Century","authors":"Milorad Krstić","doi":"10.25038/am.v0i29.575","DOIUrl":"https://doi.org/10.25038/am.v0i29.575","url":null,"abstract":"Artist Portfolio","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When interpreting literary works, interpreters almost always rely on connections between the literary works and other aspects of our world – e.g., historical time periods, cultures, other artworks, artistic movements, and so on. But how can we explain both the nature and role of these connections? I argue that this can be fruitfully explained with reference to relations that exist between literary works and other aspects of human culture, which is a class of relations that I call ‘interpretation-relevant relations.’ I also argue that an important component of these relations is a mind-independent connection of influence between the relata. Finally, I argue that these interpretation-relevant relations (with the component of influence) can be taken to be real, mind-independent elements of the world, if we recognize that literary works are public artifacts and so are part of the fabric of human culture, which depends on human minds for its existence and persistence but not for its ontological nature. All of this can hold even if interpretations are the products of individual minds interacting intentionally with literary works.
{"title":"Literary Works and the Metaphysics of Influence","authors":"Kari Hanson-Park","doi":"10.25038/am.v0i29.571","DOIUrl":"https://doi.org/10.25038/am.v0i29.571","url":null,"abstract":"When interpreting literary works, interpreters almost always rely on connections between the literary works and other aspects of our world – e.g., historical time periods, cultures, other artworks, artistic movements, and so on. But how can we explain both the nature and role of these connections? I argue that this can be fruitfully explained with reference to relations that exist between literary works and other aspects of human culture, which is a class of relations that I call ‘interpretation-relevant relations.’ I also argue that an important component of these relations is a mind-independent connection of influence between the relata. Finally, I argue that these interpretation-relevant relations (with the component of influence) can be taken to be real, mind-independent elements of the world, if we recognize that literary works are public artifacts and so are part of the fabric of human culture, which depends on human minds for its existence and persistence but not for its ontological nature. All of this can hold even if interpretations are the products of individual minds interacting intentionally with literary works.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Enea Bianchi’s The Philosophy of Mario Perniola (2022)","authors":"Oliver Milne","doi":"10.25038/am.v0i29.576","DOIUrl":"https://doi.org/10.25038/am.v0i29.576","url":null,"abstract":"Book Review","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Paper Architecture","authors":"Irena Gajić","doi":"10.25038/am.v0i12.175","DOIUrl":"https://doi.org/10.25038/am.v0i12.175","url":null,"abstract":"-","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136265853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How might a city know its people? And, how might people know their city, as their self or as their other? Each numerical edifice of course erases the knowability of some, to render the knowability of others. This essay examines the long-term effects of mid-century development strategies in New York City, specifically the ways in which urban planners used forced relocation practices, and the ways in which these practices led to urban decay. Here we will see that the city’s strategic, and often disingenuous, use of data led to the disappearance of city inhabitants from the city’s archives. With these strategies in mind, this essay outlines the ways in which city governance procedures functioned in aesthetic terms, rendering the city’s grid as an ethereal medium ready for remaking. These development practices led to a catastrophic decay of social networks. Most notably perhaps, we find the disappearance and reappearance of entire city streets from both the physical reality of urban space and also the archives of the city, here the metropolitan government lost control of that grid when urban decay encroached too strongly. We find that world and map-making succumb to their own discontents, as the source of that urban decay can be seen to be sourced from the urban development practices. Yet, for all these de-worldings and decays, the life of New York emerges, this time from the subway tunnels neglected by the metropolitan government. The artist Phase II teaches us that the word “graffiti” is the wrong word for the aesthetics that animated the world of the street’s grid, and transformed the possible use of the subway, to now serve as a communication device, rather than only one of transportation. This aesthetics was not a deleterious scrawl, but self-identified by the artists as “Style-Writing”. We will see that the subway network in fact functioned as an opportunity for young people to grow robust cultural connections, connections which often crossed the segregating boundaries established by mid-century urban development. Quite different from the perception of subway art as a signal of the city’s vicissitudes, here we find that Style-Writing became a key tool for the social efforts of young people seeking to reconstruct an urban world. Specifically, we will turn to the work of Skeme and his artist crews, such as the Three Yard Boys, at Lenox subway station.
{"title":"Not Graffiti, but Style-Writing: The (Un)worlding of New York’s Street Networks and the (Re)worlding of the Three Train Yard","authors":"Abram Coetsee","doi":"10.25038/am.v0i29.554","DOIUrl":"https://doi.org/10.25038/am.v0i29.554","url":null,"abstract":"How might a city know its people? And, how might people know their city, as their self or as their other? Each numerical edifice of course erases the knowability of some, to render the knowability of others. This essay examines the long-term effects of mid-century development strategies in New York City, specifically the ways in which urban planners used forced relocation practices, and the ways in which these practices led to urban decay. Here we will see that the city’s strategic, and often disingenuous, use of data led to the disappearance of city inhabitants from the city’s archives. With these strategies in mind, this essay outlines the ways in which city governance procedures functioned in aesthetic terms, rendering the city’s grid as an ethereal medium ready for remaking. These development practices led to a catastrophic decay of social networks. Most notably perhaps, we find the disappearance and reappearance of entire city streets from both the physical reality of urban space and also the archives of the city, here the metropolitan government lost control of that grid when urban decay encroached too strongly. We find that world and map-making succumb to their own discontents, as the source of that urban decay can be seen to be sourced from the urban development practices.\u0000Yet, for all these de-worldings and decays, the life of New York emerges, this time from the subway tunnels neglected by the metropolitan government. The artist Phase II teaches us that the word “graffiti” is the wrong word for the aesthetics that animated the world of the street’s grid, and transformed the possible use of the subway, to now serve as a communication device, rather than only one of transportation. This aesthetics was not a deleterious scrawl, but self-identified by the artists as “Style-Writing”. We will see that the subway network in fact functioned as an opportunity for young people to grow robust cultural connections, connections which often crossed the segregating boundaries established by mid-century urban development. Quite different from the perception of subway art as a signal of the city’s vicissitudes, here we find that Style-Writing became a key tool for the social efforts of young people seeking to reconstruct an urban world. Specifically, we will turn to the work of Skeme and his artist crews, such as the Three Yard Boys, at Lenox subway station.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"251 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86710810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The stream of consciousness technique has developed with research on consciousness in psychology and philosophy and has turned into a technique defined in modern literature. In this technique, thoughts that do not form a certain pattern are transferred to paper randomly with the flow of thoughts passing through the mind of the author. In this way, a deep internal and interpretive relationship is established between the author and the reader. It is possible that the stream of consciousness, which triggers the formation of creative thinking at the point of producing works of the author, has a negative or positive effect on the creativity of the artist in other branches of art. This study focuses on the existence of the stream of consciousness technique defined in literature in the field of architecture, which is directly or indirectly fed from almost all branches of art. For this purpose, first of all, the use of the stream of consciousness technique in literature was emphasized, then analyses were carried out on the examples that mutually reveal the stream of consciousness in the field of architecture, which is also fed from other branches of art. As a result of the study, it was revealed how the stream of consciousness technique affects the creative production in terms of the artist, the depth of meaning it has in terms of the resulting work, and the interpretation skill in terms of the reader, viewer, or user.
{"title":"The Relationship of the Stream of Consciousness Technique Defined in Literature with Architecture","authors":"Gamze Çapkinoğlu, Muteber Erbay","doi":"10.25038/am.v0i29.565","DOIUrl":"https://doi.org/10.25038/am.v0i29.565","url":null,"abstract":"The stream of consciousness technique has developed with research on consciousness in psychology and philosophy and has turned into a technique defined in modern literature. In this technique, thoughts that do not form a certain pattern are transferred to paper randomly with the flow of thoughts passing through the mind of the author. In this way, a deep internal and interpretive relationship is established between the author and the reader. It is possible that the stream of consciousness, which triggers the formation of creative thinking at the point of producing works of the author, has a negative or positive effect on the creativity of the artist in other branches of art. This study focuses on the existence of the stream of consciousness technique defined in literature in the field of architecture, which is directly or indirectly fed from almost all branches of art. For this purpose, first of all, the use of the stream of consciousness technique in literature was emphasized, then analyses were carried out on the examples that mutually reveal the stream of consciousness in the field of architecture, which is also fed from other branches of art. As a result of the study, it was revealed how the stream of consciousness technique affects the creative production in terms of the artist, the depth of meaning it has in terms of the resulting work, and the interpretation skill in terms of the reader, viewer, or user.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"66 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89487283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper tests theoretical tools developed to frame social construction, historicization, and speech-action as performance on IV Castellanos’s social sculpture Homage to an Activist Tripod. How can one say that a temporary, collective, non-representation yet intentional collective performance matters to and as ‘world history’? What constructive agencies do different theoretical frameworks provide performance-as-art and other Othered and otherwise ‘non-productive’ world-building practices? Written from the perspective of a participant in the performance, which paid homage to water and land protectors, the structure of this paper builds analogies between theorization and task-based performance, between theoretical spaces and political action, demanding structural integrity and ethical coherence within and between constructivities.
本文在IV Castellanos的社会雕塑《向激进分子三脚架致敬》(Homage to an Activist Tripod)上测试了用于框架社会建构、历史化和言语行动的理论工具。一个人怎么能说一个暂时的，集体的，非代表性的，但有意的集体表演对“世界历史”很重要呢?不同的理论框架提供了什么建设性的机构作为艺术表演和其他“非生产性”的世界建设实践?从表演参与者的角度出发，向水和土地保护者致敬，本文的结构建立了理论化和基于任务的表现之间的类比，理论空间和政治行动之间的类比，要求结构完整性和结构内部和之间的道德一致性。
{"title":"A Tactical History of World-Building(s): IV Castellanos’s Homage to an Activist Tripod","authors":"Esther Neff","doi":"10.25038/am.v0i29.555","DOIUrl":"https://doi.org/10.25038/am.v0i29.555","url":null,"abstract":"This paper tests theoretical tools developed to frame social construction, historicization, and speech-action as performance on IV Castellanos’s social sculpture Homage to an Activist Tripod. How can one say that a temporary, collective, non-representation yet intentional collective performance matters to and as ‘world history’? What constructive agencies do different theoretical frameworks provide performance-as-art and other Othered and otherwise ‘non-productive’ world-building practices? Written from the perspective of a participant in the performance, which paid homage to water and land protectors, the structure of this paper builds analogies between theorization and task-based performance, between theoretical spaces and political action, demanding structural integrity and ethical coherence within and between constructivities.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"11 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85247479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Heidegger’s philosophy has influenced largely the humanities and arts and has also been a source of interest in architecture. Although Heidegger has written on architecture, this paper will argue that one of the key topics in his philosophy, intertwined with architecture, is the concept of home (das Heim). In Heidegger’s philosophy, the homely (das Heimische) was intertwined with its opposition, the uncanny (das Unheimliche). This paper discusses the different understandings of home in Heidegger’s seminal works. The paradoxical structure of home in Heidegger’s philosophy is discussed, as home in Heidegger’s philosophy is impossible for modern man with his horrifying nature, perpetuated by the uncanny.
{"title":"The Paradox of Home in Heidegger’s Philosophy","authors":"Mateja Kurir","doi":"10.25038/am.v0i29.561","DOIUrl":"https://doi.org/10.25038/am.v0i29.561","url":null,"abstract":"Heidegger’s philosophy has influenced largely the humanities and arts and has also been a source of interest in architecture. Although Heidegger has written on architecture, this paper will argue that one of the key topics in his philosophy, intertwined with architecture, is the concept of home (das Heim). In Heidegger’s philosophy, the homely (das Heimische) was intertwined with its opposition, the uncanny (das Unheimliche). This paper discusses the different understandings of home in Heidegger’s seminal works. The paradoxical structure of home in Heidegger’s philosophy is discussed, as home in Heidegger’s philosophy is impossible for modern man with his horrifying nature, perpetuated by the uncanny.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"107 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80808139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Apparatus theory (a hybrid of McLuhan and Derrida) hypothesizes that a civilization of electracy (the digital apparatus) must learn how to thrive in a lifeworld in which the visceral faculty of appetite is hegemonic. The dominant axis of behavior today is fantasy-anxiety (attraction/repulsion). We propose that world theming has created a vernacular discourse that may be raised to a second power of expression as vehicle of visceral intelligence. The immediate claim is that theming in digital media augments mood (ambiance) into a power of imagination, just as dialectic in writing augmented logic into a power of reason. Fantasy today is persuasive, just as logical entailment is (was) in the rational order of literacy. Decisions determining real events today are being made in worlds of mood. World theming is evident in the vernacular art practices arising from recent advances in artificial intelligence. The availability of commodity GPUs, along with public access to advanced research via GitHub, Kaggle, Hugging Face, and the proliferation of forums such as Reddit, Discord, YouTube, and others, has resulted in a renaissance of public engagement with technology-informed creative practice. In addition, the general availability of Google's previously internal-only development tool, Colab, in late 2017 provided access to cloud-based GPUs and storage systems accessible only to data scientists and academics. In early 2021 Ryan Murdock released a Colab notebook called Big Sleep that combined OpenAI's recently published Contrastive Language-Image Pre-training (CLIP) with BigGAN. This model is a paradigmatic example of our observation. By early 2022, multiple derivations of this process incorporated alternative image generation techniques. This paper will demonstrate how the fundamental basis of these methods are distinctly electrate in their use of ‘theme’ and emphasis on ‘mood’ in world-building, including a case-study animation called Dissipative Off-ramps.
{"title":"Mood Themes the World","authors":"John R. Stenner, Gregory L. Ulmer","doi":"10.25038/am.v0i29.556","DOIUrl":"https://doi.org/10.25038/am.v0i29.556","url":null,"abstract":"Apparatus theory (a hybrid of McLuhan and Derrida) hypothesizes that a civilization of electracy (the digital apparatus) must learn how to thrive in a lifeworld in which the visceral faculty of appetite is hegemonic. The dominant axis of behavior today is fantasy-anxiety (attraction/repulsion). We propose that world theming has created a vernacular discourse that may be raised to a second power of expression as vehicle of visceral intelligence. The immediate claim is that theming in digital media augments mood (ambiance) into a power of imagination, just as dialectic in writing augmented logic into a power of reason. Fantasy today is persuasive, just as logical entailment is (was) in the rational order of literacy. Decisions determining real events today are being made in worlds of mood. \u0000 World theming is evident in the vernacular art practices arising from recent advances in artificial intelligence. The availability of commodity GPUs, along with public access to advanced research via GitHub, Kaggle, Hugging Face, and the proliferation of forums such as Reddit, Discord, YouTube, and others, has resulted in a renaissance of public engagement with technology-informed creative practice. In addition, the general availability of Google's previously internal-only development tool, Colab, in late 2017 provided access to cloud-based GPUs and storage systems accessible only to data scientists and academics. \u0000In early 2021 Ryan Murdock released a Colab notebook called Big Sleep that combined OpenAI's recently published Contrastive Language-Image Pre-training (CLIP) with BigGAN. This model is a paradigmatic example of our observation. By early 2022, multiple derivations of this process incorporated alternative image generation techniques. This paper will demonstrate how the fundamental basis of these methods are distinctly electrate in their use of ‘theme’ and emphasis on ‘mood’ in world-building, including a case-study animation called Dissipative Off-ramps.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79557976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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