Platzhalter der Zukunft: Digitale Literatur II (2001 → 2021)

Bajohr, Hannes; Gilbert, Annette

doi:10.5771/9783967075496-7

Search citation statements

Order By: Relevance

Paper Sections

Select...

Citation Types

Supporting

Mentioning

Contrasting

Unclassified

Year Published

2023

2024

Publication Types

Select...

Article3

Other1

Relationship

Self Cite0

Independent4

Authors

Journals

Cited by 4 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Das vielleicht eindrucksvollste Beispiel ist das Ready-Made, das allein durchs intellektuelle Framing zum Kunstgegenstand wird. Demgegenüber bringt Bajohr für die Codeliteratur ein ‚Reskilling' in Anschlag, bei dem "das Können den Unterschied" 10 macht, wobei er unter 6 Siehe hierzu etwa den Aufsatz Bajohr, Hannes (2021): "Keine Experimente. Über künstlerische Künstliche Intelligenz".…”

unclassified

Grenzen der Künste im digitalen Zeitalter

2024

View full text Add to dashboard Cite

unclassified

Grenzen der Künste im digitalen Zeitalter

2024

View full text Add to dashboard Cite

“…11 I would add conceptual art as a further important reference, since here, too, the formulation of a concept and its execution into a work are strictly separated, and one may see the relation between concept and work repeated in that between code and output. 12 Yet it is not only its age and the historic lineage, but also something about the use of the underlying technology that gives generative literature a special status among the wide variety of digital literature at large. Unlike, for instance, Flash works, it seems to reflect and its underlying technology most clearly.…”

mentioning

confidence: 99%

Algorithmic Empathy

Bajohr¹

2020

BMCCT

View full text Add to dashboard Cite

Creativity as the Last DifferentiaLet me start with an observation. It was recorded in 1942 by German philosopher Günther Anders. Having escaped the Nazis and living in California at the time, Anders brought with him the distanced sensibility of the European exile who, not unlike his fellow émigré Theodor W. Adorno, understood America, and California in particular, as the intensified expression of life in capitalist modernity. In a journal entry, which would later become the first chapter of his book The Obsolescence of Human Beings, he described a visit to a technology exhibition, in which a friend acted rather curiously: as if he were ashamed to be a human, and not a machine. This, Anders noted, was a novel phenomenon, "an entirely new pudendum …; a form of shame that did not exist in the past. I will provisionally call it 'Promethean shame' . " This was to denote the "shame felt when confronted by the 'humiliatingly' high quality of fabricated things. " 1 I thank Michel Chaouli, Julia Pelta Feldman, Annette Gilbert, Colin Lang, as well as the discussants at two events at

show abstract