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Setting Switcher: Changing genre-settings in text-based game environments populated by generative agents
Get PDFWe have developed an LLM-based agent for manipulation of text-based game environments, and generative agents within them, to convincingly alter the genre-setting of a game with respect to pre-existing lore and in-game mechanics. We contribute a novel, tested, LLM-based agent for this purpose: a ‘Setting-Switcher’ agent. This agent opens a range of creative applications and possibilities: our agent can be used as an ideation and productivity tool, deployed within a player focused in-game feature, and used in tandem with other state-of-the-art technologies for application in visual game environments. Our investigation has highlighted the effectiveness of LLM-powered agents beyond conventional text generation and task completion: showcasing their value in crafting coherent narratives, portraying complex characters, and facilitating emergent storytelling within game settings
SHIFT
No full textSHIFT is a project developed by artists Sarah Cole & Annis Joslin in partnership with Brighton Women’s Centre and Phoenix Art Space.
Twelve women have worked with the artists on a weekly basis since October at Phoenix Art Space, exploring ideas about how things shift in our lives and how we respond to this. The approach has been a playful, responsive process where ideas, materials, mark-making and gestures have been negotiated as part of a collective endeavour to ‘make sense through doing’.
Work made has included drawings, performances, collage, writing and 360 video. Each week, we have tried new things and taken time to reflect on what images have emerged.
This event comes at the end of a week in-residence, with different activities hosted for invited audiences. Each day the space will be used differently, with work put up, taken down, reconfigured and new work made.
Visitors are welcome to visit the Project Space to chat about what we have been doing.
The artists and their collaborators will also be in-conversation at Brighton Dome, for the Brighton International Women’s Day Celebration 2023, Saturday 11th March, 10.30am – 11.30pm
ARTISTS
Cole & Joslin
Alyce
Cindy
Jacq
Jaqueline
Jeanette
Lee
Leila
Pip
Phillipa
Stevie
Interim exhibition of work-in-progress in the Project Space at Phoenix Art Space, Brighton. Work made over a six-month period with members of Brighton Women's Centre during weekly workshops, exploring the idea of 'shift'
Reliance (Łódź corner)
No full textPresented in Motile Attachments, a solo exhibition at Pracownia Portretu. The exhibition is organized around a wooden structure that is ten linear meters and a series of works that integrate handwoven ratchet straps to fasten, tether, hoist, or cinch together found and made objects into sculptural assemblies. The textile elements might be viewed as accessories, yet they are essential to holding the sculptures together. The exhibition addresses how textiles carry the histories of knowledge circulating through the labour and time that accumulates in and around our varied bodies, through carrier-objects, and in embodied social activities like labour, language, and movement. In what sense do such transmitted forms accessorise our bodies—and when do our bodies become accessories to processes of circulation? Motile Attachments extends new sculptural logics of gathering and moving—metaphorically, historically, and materially. Together the works propose possible approaches to the social accessory as relational form. It moves
Art Class: a performance lecture film
No full textFugitive Images holds workshops in community centres, DIY spaces, hostels, as well as academic, galleries and art spaces.
Personally, this is a crucial part of working across intersections and audiences, which I have done with all my work, situated between art and cultural activism. So here, especially working with the themes of class, intersectionality, and class, we participated in Antiuniversity 2023. 'The Antiuniversity does not have a fixed constitution - it is shaped by everyone who takes part, as organiser, host or guest'.
From 1-31 October LUX and Antiuniversity streamed (Free) Art Class (49minutes, 2020): a filmed performance lecture playing on, and exploring, the perennial tension between the two key words in its title. It uses the tropes of scholarly presentation and personal confession alongside extracts from the artist’s work, guest interventions, martial arts and meditation exercises and evidentiary found material.
The film tests the limits of access that working-class artists have to cultural production and to the relevant institutions circulating these outcomes. Alternately playful and provocative, serious and satirical, Art Class favors wit over weaponizing and reflection over rhetoric but does not pull its punches when it comes to the real obstructions to working class creative progress, or to the strategies necessary to overcome such outmoded hindrances.
As Fugitive Images, David Roberts and I held a workshop where we created a space for mutual support, care and solidarity to collectively write a manifesto on art and class. To debate, draft and declare our manifesto we took inspiration from intersectional activist, art and architecture manifestoes such as Combahee River Collective, Agnes Denes, Itsuko Hasegawa, Nyéléni, and VNX Matrix.
Fugitive Images is a not-for-profit cultural collective, founded in 2009, and working across media and platforms in London, nationally and internationally. Fugitive Images emerged from grass roots community organising, in particular around social and spatial justice and equitable co-existence. We work collaboratively and in many different registers
Cinephilia, Take Three?: Availability, Reliability, and Disenchantment in the Streaming Era
Get PDFThis article proposes a modified reading of Thomas Elsaesser’s (2005) theories of cinephilia, taking into account the new viewing practices established by the rise of online media streaming. Elsaesser characterised early film culture (labelled as ‘take one’) as rooted in celluloid and marked by a longing to view films that were not always easily available. By contrast, his characterisation of the later ‘take two’ era is one in which each new distribution technology (television, VHS, and so on) promises greater abundance and convenience, to the point where this new generation of cinephiles – in response to the widespread success of DVD – were perceived as having to deal with the ‘anachronisms generated by total availability’ (Elsaesser, 2005: 38-40). Amanda D. Lotz (2022: 40) argues that streaming services appear to provide an extension of the ‘take two’ ideal, offering assurances of ‘availability (on-demand libraries with many choices) and reliability (you don’t have to watch it now or it’s gone)’. I suggest, however, that the underlying impermanence of streaming has prompted fears related to both access and ownership, marking a break from the expectations surrounding the DVD (as well as its successors Blu-ray and 4K Ultra HD). The impact of content migration – fracturing access between a greater number of paid platforms – and particularly content delisting – the outright removal of access to a given text – can place certain works in a form of limbo. This article proposes the dawn of a new generation of cinephilia – a potential take three – marked by a newfound concern of ephemerality, albeit much more potential and localised than the widespread unavailability of the take one era. In essence, then, take three wrestles with the anachronisms of loss in a media landscape that, in many other ways, offers unprecedented levels of access to film and television content
From sharing misinformation to debunking it: How Coordinated Image Text Sharing Behaviour is used in political campaigns on Facebook
No full textThis study aims to understand how Coordinated Image Text Sharing Behaviour (CITSB) was used on Facebook during the 2022 Brazilian election, focusing on posts containing images about Lula da Silva or Jair Bolsonaro, the candidates in the Brazilian run-off election (n = 509,219 Facebook posts). The analysis is based on a script to identify CITSB on Facebook and includes social network analysis and a manual review of the most shared content. Findings show that both sides of the political divide engaged in CITSB to share promotional campaign-related content, which included criticising their opponents and promoting social media lives. Partisan accounts engaged in CITSB not only in their silos but also in other spaces on Facebook, such as local buy-and-sell Facebook groups. This indicates that CITSB was used to get the vote of undecided voters. Finally, while pro-Bolsonaro accounts engaged in CITSB to spread conspiracy theories and misinformation, pro-Lula accounts engaged in CITSB to debunk false claims about Lula
“BoyPool”: Rhizome (1998-1999)
No full textImage used on the front cover of a scholarly journal entitled L’Esprit Créateur to be published by the Johns Hopkins University Press.
Journal: L’Esprit Créateur Editors: Daniel Brewer and Mária Minich Brewer
Issue date: Fall 2023 Guest Editors: Rebecca Grenouilleau-Loescher and Kat Haklin
Issue title: “Connecting Characters”
This special issue examines character networks and interdependency in French-language fiction spanning the modern and contemporary periods. Approaching connection as a qualitative phenomenon, articles examine what connects characters in fictional works, how these links shape narrative meaning within and across texts, and how character interdependency reflects diverse social, political, and historical contexts. The issue’s range extends from modes of character interdependency in novel sequences of the nineteenth century to multi-perspectival fictions of today, narratives in intertextual dialogue, and transmedia adaptation
Reimagining design education: Renewal and transformation
Get PDFWe live in a time when change is happening globally to an unprecedented extent. The awareness of the phenomena underpins the current discourse and research activities in design and design education. Many design educators understand the demand for change and are looking for new strategies to respond to it. The challenge is how to transform and renew design disciplines and its learning processes so that the next generation of designers can actively and responsibly promote change. Some educators are already focusing on the dimensions of change, namely, contemporary issues such as climate change and sustainable goals. Others are reflecting on how to deal with a world which is becoming more complex and uncertain and considering alternative ways of identifying and developing more sustainable solutions to cope with pressing complex issues. Others yet, are investigating the role of evolving technologies in design education and curricula development. Some are exploring the designers' role and their impact on the changing society. Faced with the complexities that define our present and future lives, design practices can intervene in different ways. In our view, design education must have the capacity to create connections and forms of collaborations amongst creative, human, and science research areas to address the complexities of our times and generate new knowledges, new experiences of experimentation, and new forms of collaboration. With such approach, design educators can support design students in becoming agents of change
Interrogating Artist-Teacher Identity Transformation in Adult Community Learning
Get PDFThis research analyses how the experience of artist-teachers in ACL differs from that of artist-teachers in other educational sectors, and the impact of this difference on artist-teachers in ACL. This responds to the gap in the published literature on the role of artist-teachers working in FE generally and ACL more specifically. There is significant published research on artist-teachers in secondary and higher education within the UK and North America, where they are defined, and their role and experience delineated. However, the artist-teacher in Adult Community Learning (ACL), in the UK, has been overlooked. There is no data on the number or demographic of artist-teachers in this sector, with no acknowledgment in government data, or published research. Indeed, there is no comprehensive list of ACL centres in the UK or extant data on how many ACL centres are operating and offering adult art courses.
This research defines artist-teachers in ACL in the UK as a distinctive sub-section of artist-teachers by providing a sector-specific definition co-created with artistteachers in ACL participants. The definition is supported by visual models of the artist-teacher, the Network of Enterprises (Wallace and Gruber, 1989; Daichendt, 2009), and the Artist-Teacher Likert Scale.
The research employs a mixed QUAL-qual methodology, not previously seen in this area of study, and was carried out in the context of local authority-delivered ACL art provisions in the UK. Storytelling becomes the golden thread of the research, allowing the stories of my participants, and me, to be told. The research developed a constructed substantive theory of artist-teachers in ACL identity transformation using second-generation and constructivist grounded theory approaches. This methodology chronicles how an artist-teacher in ACL comes to be. Additionally, autoethnography is used throughout to position my lived experiences with those of the participants, through vignettes based on memory work, while collaborative autoethnography is used to create composite characters and stories which bring to life the constructed substantive theory.
The constructed substantive theory posited in the thesis shows three different groups of artist-teachers in ACL, separated across generations. Each group of artist-teachers in ACL encounter a series of basic social processes which have helped them transform into the identity they hold today. Additionally, the theory draws attention to three themes for the artist-teacher in ACL: motivations, conflicts, and values. The research is the first of its kind in providing an in-depth interrogation of the artist-teacher in ACL in the UK