One face in the crowd meets another. Eyes lock, only to disappear again. Craigslist missed connections, a minor genre of the personal ad, reveal the imbrication of mediation and missing. They articulate anxieties over shifting relations in cityscapes and communication infrastructures. This article treats missing as an act and affect defined through mediation. Studying a vernacular narrative form such as the missed-connections ad offers insight on the significance of missing to urban life. The architecture of missed connections shows that they trace and generate connections among physical, transit, and media infrastructures. Articulating a moment of loss and hope for recuperation, missed connections look simultaneously backward and forward in time. They describe interactions at once mundane and unique, leaving gaps that invite projection. These entextualizations of in-person encounters inspire various forms of remediation. These acts come to reanimate cities as spaces where surprise moments of fleeting intimacy can reveal themselves at any moment.
{"title":"You Have Been Misconnected","authors":"Meghanne Barker","doi":"10.1086/727641","DOIUrl":"https://doi.org/10.1086/727641","url":null,"abstract":"One face in the crowd meets another. Eyes lock, only to disappear again. Craigslist missed connections, a minor genre of the personal ad, reveal the imbrication of mediation and missing. They articulate anxieties over shifting relations in cityscapes and communication infrastructures. This article treats missing as an act and affect defined through mediation. Studying a vernacular narrative form such as the missed-connections ad offers insight on the significance of missing to urban life. The architecture of missed connections shows that they trace and generate connections among physical, transit, and media infrastructures. Articulating a moment of loss and hope for recuperation, missed connections look simultaneously backward and forward in time. They describe interactions at once mundane and unique, leaving gaps that invite projection. These entextualizations of in-person encounters inspire various forms of remediation. These acts come to reanimate cities as spaces where surprise moments of fleeting intimacy can reveal themselves at any moment.","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"46 4","pages":"201 - 224"},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139128182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Behind the Angel of History: The Angelus Novus and Its Interleaf","authors":"Zakir Paul","doi":"10.1086/727655","DOIUrl":"https://doi.org/10.1086/727655","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"120 43","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139128578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Crip Colony: Mestizaje, US Imperialism, and the Queer Politics of Disability in the Philippines","authors":"Bassam Sidiki","doi":"10.1086/727658","DOIUrl":"https://doi.org/10.1086/727658","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"14 8","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139128976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Professing Criticism: Essays on the Organization of Literary Study","authors":"Frances Ferguson","doi":"10.1086/727664","DOIUrl":"https://doi.org/10.1086/727664","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"120 13","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139126042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores issues of what is seen and not seen, recorded and disregarded, as they relate to the author’s practical experimentations with alternate uses/forms of the camera. These alternates include the slit-scan camera and a little-known form called the cylinder pinhole camera, which was originally designed and tested by the photo historian Joel Snyder. What do these cameras tell us, the author asks, about the center and periphery of an image as it exists inside a camera before that image is recorded on film? The prioritization of content at the center of an image, the article argues, is consistent with the West’s cultural bias toward making two-dimensional images on rectangular surfaces, such as drawings, paintings, and photographs. But we see something very different by looking into the black box of the camera, something not so rectangular. The figures included here, then, are meant to disrupt the center-periphery binary that has ruled photography in the West. These photos offer new insight into social expectations about the capacity of the camera, of panoramic images, and about strategies for analysis of art-making practices in general.
{"title":"A Peripheral Vision: Framing the Cultural Bias in the Center of Photography","authors":"Kwabena Slaughter","doi":"10.1086/727644","DOIUrl":"https://doi.org/10.1086/727644","url":null,"abstract":"This article explores issues of what is seen and not seen, recorded and disregarded, as they relate to the author’s practical experimentations with alternate uses/forms of the camera. These alternates include the slit-scan camera and a little-known form called the cylinder pinhole camera, which was originally designed and tested by the photo historian Joel Snyder. What do these cameras tell us, the author asks, about the center and periphery of an image as it exists inside a camera before that image is recorded on film? The prioritization of content at the center of an image, the article argues, is consistent with the West’s cultural bias toward making two-dimensional images on rectangular surfaces, such as drawings, paintings, and photographs. But we see something very different by looking into the black box of the camera, something not so rectangular. The figures included here, then, are meant to disrupt the center-periphery binary that has ruled photography in the West. These photos offer new insight into social expectations about the capacity of the camera, of panoramic images, and about strategies for analysis of art-making practices in general.","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":"31 32","pages":"317 - 334"},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139125627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Long before Siri and ChatGPT uttered their first automated words, there was only one way to program synthetic speech: with paint and brush. During the transformative years between 1930 and 1960, artists, linguists, and engineers mixed sound and image in a way that combined artistic production with new technologies. What was known as “synthesis-by-art” grew into the rules that power computer speech today. This article concentrates on the emergence of rule-based speech synthesis at Haskins Laboratories in mid-twentieth-century America. An unexpected outgrowth of their work with disabled Second World War veterans, members of the Haskins group had developed a new machine that converted visual patterns into sound: the Pattern Playback. Like holes in a player-piano roll, painted shapes were mechanically translated into distinct sounds. Early experiments at the laboratory promised “a new art form.” Researchers painted pictures of music and listened to geometric shapes. This work eventually grew into a psycholinguistic program committed to painting the shapes of speech. But these early aesthetic experiments had helped researchers cultivate a familiarity with paint, brush, and subjective bodily knowledge. This allowed them to intuitively develop a recipe for painting synthetic speech. In other words, their painting hands enacted knowledge long before they could articulate the complex rules that govern how phonemes interact. By the late 1950s, lab member Frances Ingemann successfully converted this “embodied knowing” into a machine-legible code that rigorously detailed how to paint synthetic speech. She had hoped that her rules might result in a reading machine for blind users that would automatically convert text into speech. Instead, her work was coopted by J. C. R. Licklider, who described Ingemann’s rulebook as “a digital code, suitable for use by computing machines.” While Licklider would use the work of Haskins Laboratories to spearhead his novel concept of man-computer symbiosis, he obscured the extent to which this digital code grew from the anomalous bodies of wounded war veterans and the subjective knowing of painting hands. Indeed, the forgotten history of early text-to-speech shows the indivisibility of interactive computing and digital codes from the material practices and embodied cognition from which they grew.
早在 Siri 和 ChatGPT 发出第一句自动语音之前，合成语音的编程方式只有一种：用颜料和画笔。在 1930 年至 1960 年的变革时期，艺术家、语言学家和工程师们将声音和图像混合在一起，将艺术创作与新技术相结合。这种被称为 "艺术合成 "的方式逐渐发展成为今天计算机语音的基本规则。本文主要介绍二十世纪中期美国哈斯金斯实验室出现的基于规则的语音合成技术。哈斯金斯小组的成员在为第二次世界大战伤残退伍军人服务的过程中，意外地开发出一种能将视觉图案转换成声音的新机器：图案回放器。就像播放器钢琴卷轴上的小孔一样，绘制的图形通过机械方式转化为独特的声音。实验室的早期实验承诺 "一种新的艺术形式"。研究人员绘制音乐图片，聆听几何图形。这项工作最终发展成为一项心理语言学计划，致力于描绘语音的形状。但这些早期的美学实验帮助研究人员培养了对颜料、画笔和主观身体知识的熟悉程度。这让他们能够凭直觉开发出合成语音的绘画配方。换句话说，他们的绘画之手在阐明音素如何相互作用的复杂规则之前，就已经掌握了相关知识。到 20 世纪 50 年代末，实验室成员弗朗西斯-英格曼（Frances Ingemann）成功地将这种 "具身知识 "转化为机器可读代码，严格详细地说明了如何绘制合成语音。她曾希望她的规则能为盲人用户带来一台阅读机，自动将文字转换成语音。然而，她的成果却被 J. C. R. Licklider 抄袭，后者将英格曼的规则手册描述为 "适合计算机使用的数字代码"。利克莱德利用哈斯金斯实验室的研究成果，提出了 "人机共生 "的新概念，但他掩盖了这一数字代码是如何从受伤退伍军人的异常躯体和绘画者的主观认知中发展而来的。事实上，早期文字转语音技术被遗忘的历史表明，交互式计算和数字代码与物质实践和具身认知是密不可分的，而交互式计算和数字代码正是从物质实践和具身认知中成长起来的。
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This article establishes itself first in a kind of slough, a lack of inspiration, and transvalues this via Fred Wah’s poem “Ikebana” and Roland Barthes’s celebration of haiku as a form that “lacks inspiration.” Following Barthes on “the minimal act of writing that is Notation,” this article explores and theorizes the status of the notational in and for poetics. The article registers and sustains the ambiguity in notatio, notationis and suggests that the notational points to a conceptual dialectic between condensation and dilation. Poets Tonya Foster and W. S. Graham offer key cases, as do the author’s own poems. The article moves from haikus and other short forms (including the imagist poem) to haibuns (a mixed form of verse and prose) to questions of accent as a mode of differentiation from the surround. Drawing on Claudia Rankine and Jacques Rancière (as well as on classical rhetoric), the article also shows how the notational as censure might register antagonisms and not only accents or gestures (as notational forms are typically glossed). Alert to the enmeshment of notational forms with other media—such as the novel and photography—the article suggests in its final turn that a notational poetics can also vivify the (sometimes latent) diegetic aspect of short, minimal, “uninspired,” supposedly “immediate” notational forms and practices, as we see in the dance of notation and annotation, or in the unfolding of haiku within mixed forms such as the haibun.
这篇文章首先将自己定位于一种缺乏灵感的贫瘠状态，并通过弗雷德-华（Fred Wah）的诗歌《插花》（Ikebana）和罗兰-巴特（Roland Barthes）对俳句这种 "缺乏灵感 "的形式的赞美，对其进行了价值转换。本文追随巴特关于 "记号这一最起码的写作行为 "的论述，探讨并从理论上论证了记号在诗学中的地位以及对诗学的意义。文章记录并保持了 "记号"（notatio）、"记号"（notationis）中的模糊性，并指出 "记号 "指向凝缩与扩张之间的概念辩证法。诗人托尼亚-福斯特（Tonya Foster）和 W. S. 格雷厄姆（W. S. Graham）提供了关键案例，作者自己的诗作也是如此。文章从俳句和其他短诗形式（包括意象派诗歌）到俳句（一种诗歌和散文的混合形式），再到重音作为一种区别于环绕的模式的问题。文章借鉴克劳迪娅-兰金（Claudia Rankine）和雅克-朗西埃（Jacques Rancière）（以及古典修辞学）的观点，展示了作为谴责的记号如何记录对立面，而不仅仅是口音或手势（记号形式通常是这样描述的）。文章对记事形式与其他媒介--如小说和摄影--的结合保持警惕，并在最后指出，记事诗学也可以激活简短、极简、"无灵感"、所谓 "即时 "的记事形式和实践的（有时是潜在的）"记录 "方面，正如我们在记事和注释的舞蹈中，或在俳句的混合形式（如俳句）中所看到的那样。
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As familiar as the form of the mathematical equation is to us, the ostensibly simple act of equating unlike things was an achievement many centuries in the making, and one that would ultimately redefine European mathematical enquiry such that its bias toward geometry and the concrete would be displaced by a bias toward algebraic abstraction. The moment of that displacement was the nineteenth century, and its broader significance is on particularly striking display in the British context, where the implications of algebraic abstraction were the object of sustained enquiry among mathematicians, logicians, and economists. This article argues that the ascendance of the algebraic equation, and the transformation in the conception of number on which it was premised, were not simply the product of evolutionary pressures internal to mathematics; the Victorian embrace of algebra was also a response to the practical and cognitive demands of Victorian economic life, which was increasingly reliant on attenuated exchange relations and merely nominal forms of ownership. This was an economy organized around the global extension of trade and characterized by the exponential growth of financial intermediation, of what Walter Bagehot called “number abstracted from reference.” Victorian economic practices thus modeled an abstraction that helped to justify the abstractions of mathematics, and that mathematics in turn was used by economic theorists to argue for the necessity and objectivity of their models. This mutually sustaining dialogue is particularly visible in the writings of William Stanley Jevons, who applied the principles of algebra to philosophy and economic theory so as to reconceive the logic of cognitive and social life in terms of equations. This logic, for which he was merely a spokesman, continues to shape our faith in the special value of abstract, theoretical knowledge.
数学等式的形式对我们来说再熟悉不过了，但将不同的事物等同起来这一看似简单的行为却是一项酝酿了许多世纪的成就，它最终将重新定义欧洲的数学研究，使其对几何和具体事物的偏爱被对代数抽象的偏爱所取代。这种转变的时刻是 19 世纪，其更广泛的意义在英国的背景下表现得尤为突出，代数抽象的含义是数学家、逻辑学家和经济学家持续探究的对象。本文认为，代数等式的兴起以及作为其前提的数概念的转变，并不仅仅是数学内部进化压力的产物；维多利亚时代对代数的拥护也是对维多利亚时代经济生活的实践和认知需求的回应，维多利亚时代的经济生活越来越依赖于弱化的交换关系和仅仅是名义上的所有权形式。这种经济是围绕贸易的全球扩展而组织起来的，其特点是金融中介的指数式增长，也就是沃尔特-贝格霍特所说的 "从参照中抽象出来的数字"。因此，维多利亚时期的经济实践以抽象为模型，帮助证明数学的抽象是合理的，而数学反过来又被经济理论家用来论证其模型的必要性和客观性。这种相互支持的对话在威廉-斯坦利-杰文斯（William Stanley Jevons）的著作中尤为明显，他将代数学原理应用于哲学和经济理论，从而用方程重新构思了认知和社会生活的逻辑。他只是这一逻辑的代言人，而这一逻辑继续塑造着我们对抽象理论知识特殊价值的信念。
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