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The Work of Art in the Age of Mechanical Production,[object Object],Thomas Cavanagh,[object Object],University of Central Florida,[object Object]
2,[object Object],Performance Support Technology,[object Object],Helps a human use other technology,[object Object],Compensates for performance gaps,[object Object],Novice = Expert,[object Object],Business performance: $,[object Object],the goal of performance support technology is “not competence that resides in the individual, but rather performance that resides in the situation” (Rosenberg, p. 97),[object Object]
3,[object Object],Kiosk Culture,[object Object],Thanks to PST…,[object Object],any random consumer can now interact with complex technology formerly the domain of the trained service workforce (SST).,[object Object],production of art is now accessible to almost everyone, even if utterly devoid of training, expertise, or even talent. ,[object Object],we have achieved the promise of Benjamin’s blurred distinction between artist and audience,[object Object]
Application to Writing,[object Object],Assistance is not new,[object Object],Templates,[object Object],Auto-correction,[object Object],Auto-formatting,[object Object],4,[object Object]
Now Electronic Writing Assistance…,[object Object],Goes beyond spell check, grammar, formatting,[object Object],Brainstorming, story ideas, plot assistance,[object Object],“(A)s your mentor, the Writer’s DreamKit will do something no other writing program can do—it predicts parts of your story based upon creative decisions you make!”,[object Object],5,[object Object]
Electronic Writing Assistance,[object Object],Writer’s DreamKit: “You’ll never be alone when you work alongside the ‘Ultimate Creative Writing Partner.’ Together you’ll solve the plot and character problems that prevent many good stories from becoming great enough to sell…It’s like having a successful author sitting by your side and mentoring you.” ,[object Object],6,[object Object]
Writing Assistance,[object Object],Writer’s DreamKit™ ,[object Object],7,[object Object]
Essential Questions,[object Object],What is good writing/art?,[object Object],Is writing/art produced with PST as valuable as that produced without it?,[object Object],Who really is the writer/artist—the human, machine or some cyborg combination?,[object Object],8,[object Object]
Producer/Consumer,[object Object],With technological writing support and accessible publishing/distribution (iUniverse, blogs, web sites, e-books, etc.), anyone can now be a writer.,[object Object],The means of both production and distribution are democratized.,[object Object],The “readerly” has literally become “writerly,” where “the reader [is] no longer a consumer but a producer of the text” (Roland Barthes, S/Z 4).,[object Object],9,[object Object]
We have realized Benjamin…,[object Object],“the distinction between author and public is about to lose its basic character. The difference becomes merely functional; it may vary from case to case. At any moment the reader is ready to turn into a writer. As expert, which he had to become willy-nilly in an extremely specialized work process, even if only in some minor respect, the reader gains access to authorship… Literary license is now founded on polytechnic rather than specialized training and thus becomes common property” (232).,[object Object],10,[object Object]
11,[object Object],Algorithm for Taste?,[object Object],For any untrained writer to perform like an experienced one, the system must make transparent performance support decisions. ,[object Object],Those decisions—the variety of choices offered, the amount of user control—constitute a de facto taste algorithm. ,[object Object],By changing the values of the few variables in the formula we are permitted to adjust, we create an original work within prescribed limitations.,[object Object]
12,[object Object],Algorithm for Taste?,[object Object]
13,[object Object],Algorithm for Taste,[object Object]
Use of Formulas,[object Object],The risk of creative failure is mitigated through the use of artistic formulas. ,[object Object],An artistic formula, like a mathematical formula or algorithm, is simply a structure in which variables can be adjusted to produce a predicted result. ,[object Object],However, unlike mathematics, where a formula is generally perceived as a useful tool, artistic formulas have traditionally been denigrated as clichés and the work of hacks. “The more stuffed the poem with ‘formulas,’ the more it passes for successful,” wrote Roland Barthes (MinouDrouet 112),[object Object],14,[object Object]
15,[object Object],Ray Kurzweil’s Cybernetic Poet,[object Object],“recursive poetry generation algorithm”,[object Object],Based on words, word structures and sequence patterns, rhythm patterns, and overall poem structure. ,[object Object],There are also algorithms to maintain thematic consistency through the poem. ,[object Object]
16,[object Object],Ray Kurzweil’s Cybernetic Poet,[object Object],“The language models produced by the ‘Poetry Analysis’ program of RKCP contain analyses of the language structures found in the poems that were analyzed using language analysis techniques and a method similar to Markov modeling, a mathematical cousin of neural nets.” (http://www.kurzweilcyberart.com/poetry/rkcp_how_it_works.php3) ,[object Object],Turing test,[object Object]
Kurzweil’s “Poet’s Assistant”,[object Object],“Poem Processor”,[object Object],Helpful suggestions/rhymes as you type based on one of 50 pre-selected poet personalities.,[object Object],http://www.kurzweilcyberart.com/poetry/rkcp_overview.php3,[object Object],17,[object Object]
18,[object Object],Formulas = Bad?,[object Object],Work of hacks,[object Object],What about true talent?,[object Object],How many Writer’s Dreamkit movies would you want to see?,[object Object],“The more stuffed the poem with ‘formulas,’ the more it passes for successful.” (Barthes),[object Object],All expression becomes “flattened”,[object Object]
19,[object Object],Formulas = Bad?,[object Object],Will we lose something intrinsically—exclusively—human by layering in compensatory artistic performance support technology?,[object Object]
Formulas = Bad?,[object Object],If performance support technology employs formulas to assist in the creation of art, even if those formulas are based on T.S. Eliot, perhaps all we’re left with is a computerized MinouDrouet (to reference Barthes), where the formulaic banality of the work is masked by the novelty of who (or what) produced it. ,[object Object],20,[object Object]
21,[object Object],Or Are They?,[object Object],Democratization of artistic expression for those otherwise unable to perform.,[object Object],“The relationship of techniques to technologies is…complicated since it is clear that technologies can derive from techniques…and techniques can derive from technologies” (Kahn, p.15). ,[object Object],Inspiration for future Shakespeare, Frost, or Faulkner?,[object Object],And is that so bad?,[object Object]
22,[object Object],Questions?,[object Object]
References,[object Object],Barthes, Roland. “The Grain of the Voice.” Image-Music-Text. Translated by Stephen Heath. New York: Hill and Wang, 1977: 179-189.,[object Object], --- “MusicaPractica.” Image-Music-Text. Translated by Stephen Heath. New York: Hill and Wang, 1977: 149-154.,[object Object], --- “Literature According to MinouDrouet.” The Eiffel Tower & Other Mythologies. New York: Hill and Wang, 1979. 110-118.,[object Object], --- S/Z. Translated by Richard Miller. New York: Hill and Wang, 1970.,[object Object],Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. Ed. Hannah Arendt. New York: Shocken, 1968: 217-251. ,[object Object],Kahn, Douglas. Noise, Water, Meat: A History of Voice, Sound, and Aurality in the Arts. Cambridge: MIT Press, 1999.,[object Object],23,[object Object]
References,[object Object],Kurzweil, Raymond. “Ray Kurzweil’s Cybernetic Poet: Features.” Kurzweil Cyber Art Technologies. 15 Mar. 2005 <http://www.kurzweilcyberart.com/poetry/rkcp_features.php3>.,[object Object],--- “Ray Kurzweil’s Cybernetic Poet: How It Works.” Kurzweil Cyber Art Technologies. 15 Mar. 2005 <http://www.kurzweilcyberart.com/poetry/rkcp_features.php3>.,[object Object],--- “A Kind of Turing Test.” The Age of Intelligent Machines. Ed. Ray Kurzweil. Cambridge: MIT Press, 1992: 374-379.,[object Object],--- The Age of Spiritual Machines: When Computers Exceed Human Intelligence. New York: Penguin, 2000.,[object Object],Rosenberg, Marc. “Performance Technology, Performance Support, and the Future of Training: A Commentary.” Performance Improvement Quarterly 8.1 (1995): 94-99.,[object Object],24,[object Object]
References,[object Object],Write Brothers. “Software Secrets of Highly Successful Authors.” Write Brothers Marketing Literature Glendale: Write Brothers, Inc., 2004.,[object Object], --- “Writer's DreamKit Product Overview.” Screenplay.com. Write Brothers, Inc.. 15 Mar. 2005 <http://www.screenplay.com/products/dreamkit/popup03.html>.,[object Object],25,[object Object]

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