Szenarien des Postdigitalen: Deep Learning als MedienRevolution

Sudmann, Andreas

doi:10.1515/9783839435304-003

Cited by 10 publications

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“…Secondly, it is important to emphasise that the massively interconnected neurons that are activated by an input fire together or in parallel, and in this way they form a complex emergent system, which ultimately overcomes the discreteness of the elements of which they are composed [...] This extreme or massive parallelism of information processing is another essential characteristic of artificial neural networks, which distinguishes them from the serially organised Von Neumann architecture that is still dominant today. (Sudmann 2018: 67) Miller (2021 supports this point of view by underlining the networks' capability in surpassing the data structure and generating 'independent' decisions, which have not been programmed in advance.…”

Section: Ai Artmentioning

confidence: 99%

Artificial Intelligence - Intelligent Art?

2024

Digitale Gesellschaft

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As algorithmic data processing increasingly pervades everyday life, it is also making its way into the worlds of art, literature and music. In doing so, it shifts notions of creativity and evokes non-anthropocentric perspectives on artistic practice. This volume brings together contributions from the fields of cultural studies, literary studies, musicology and sound studies as well as media studies, sociology of technology, and beyond, presenting a truly interdisciplinary, state-of-the-art picture of the transformation of creative practice brought about by various forms of AI.

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Section: Ai Artmentioning

confidence: 99%

Artificial Intelligence - Intelligent Art?

2024

Digitale Gesellschaft

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“…If the connectionist paradigms is quasi-analog, it truly stands in the most extreme contrast to the sequential paradigm. 31 One does not have to follow Sudmann to this extreme, but what is clear is that there is a radical difference in the technical substance of both systems. This technical difference, I believe, must translate into a difference in the aesthetic theorization of such systems.…”

Section: Toward a Critique Of Ai Workmentioning

confidence: 99%

Algorithmic Empathy

Bajohr¹

2020

BMCCT

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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

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Zum Einsatz von KI als Methode und Werkzeug in den Medienwissenschaften

Sudmann

2023

Handbuch Digitale Medien Und Methoden

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Szenarien des Postdigitalen: Deep Learning als MedienRevolution

Cited by 10 publications

References 0 publications

Artificial Intelligence - Intelligent Art?

Artificial Intelligence - Intelligent Art?

Algorithmic Empathy

Zum Einsatz von KI als Methode und Werkzeug in den Medienwissenschaften

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