dariuskazemi   38

Spooler
"A tool that turns Twitter threads into blog posts, by Darius Kazemi."
dariuskazemi  twitter  tools  onlinetoolkit  twittertools  blogging  twitterthreads 
july 2017 by robertogreco
Asemic writing - Wikipedia
[See also: https://twitter.com/jbushnell/status/877535553671090176

Lyn Hejinian: "In responding to the Dubravka Djuric's question about the origins of my interest in writing, I said that it as the materiality of writing that first drew me to it, the prospect of working with 'the typewriter and the dictionary.'"
https://twitter.com/jbushnell/status/877535553671090176

[See also:
"Definition Not Found: The last refuge from #content might just be asemic writing" by Rahel Aima
http://reallifemag.com/definition-not-found/

"Asemic writing might be better understood not as illegible but as ‘post-literate’"



"Within the sphere of green anarchist thought there is a current that bills itself as primitivist, with all the condescending fetishism that “primitive” invokes. Avowedly anti-technology, the anti-civilizationist critique of capitalism extends beyond the environmental degradation and forms of domination of contemporary production to rail against the concept of civilization itself. The sphere of alienation is extended beyond labor; as theorist John Zerzan lays out in Running on Emptiness, it is the regime of symbolic thought that is believed to most deeply distance us from our authentic selves, which are arbitrarily defined as the way we once existed as hunter-gatherers. Art, music, mathematics, literature, speech: any mode of representation is highly suspect. It’s the paleo diet, but for culture. Zerzan’s vision for the “future primitive” would have us living in a silent, pre-pastoralist utopia where we exist wordlessly amongst the trees — beyond art and agriculture and beyond semiotics, or perhaps more aptly, before and unsullied by it. While Zerzan’s concepts seem attractive as a thought exercise, they are unconvincingly and rather petulantly argued. Who would want to do away with the back catalogue of some of the only good things to come out of the morass of humanity as we know it? Perversely, a reading of these texts makes me wonder about the possibility of an asemic writing made not by humans, but by bots and other algorithms.

In 2011, So Kanno and Takahiro Yamaguchi created the Senseless Drawing Bot, a kinetic drawing machine that is Jean Tinguely-meets-Mars rover. It pairs a motorized skateboard with an arduino, and a long-short double pendulum that induces an element of chaos, to spray graffiti on the wall. There’s a lot of empty swinging and swaggering, a louche calisthenics. It makes a mark only when its randomized wobbles pass a certain pre-coded threshold, when it’s sure all eyes are on it, and then its gestures are fast, flashy, and nonchalant, as if drawn from immense, tumescent muscle memory. It’s all big words and it’s trying hard to flex; if ever a bot has seemed like a blustery fuckboy, this is it. The outcome is surprisingly great, a dense accumulation of multicolored freneticism, neat on the bottom and looping wildly on top like an overgrown hedge. Unlike the aforementioned Tag Clouds, it points to a machinic tagging that does not mandoline work into strict taxonomies, is unreadable by human viewers, and does not — yet — appear to be machine readable, either, as well as the delightful paradox of generative bots which are programmed by people, yet also enjoy their own agency.

In the realm of graphic notation, Emma Winston’s @GraphicScoreBot tweets out an image resembling a graphic score every hour. Each tweet features an outlined white rectangle, usually with stave lines, and often with a bass or treble clef and dynamic markings, so it’s clear we are to read this as music. Except, instead of conventional note forms, its markup includes an array of colorful geometric shapes, squiggles, and dashes. Circles of varying sizes and transparencies especially make the images feel like musical infographics (to me, they seem to suggest duration; others might see in them chords or orchestra stabs). There are semantic ruptures: the bot will, at random, tweet out cards from Brian Eno and Peter Schmidt’s Oblique Strategies, entreaties like “Trust in the you of now,” “A very small object. Its center,” and “Slow preparation, fast execution.” Less bombastic are the double-spaced “B E G I N” and “E N D” that pepper the scores, which Winston suggests can be taken as start and end points or altogether ignored. Though the scores are generally sparse, occasional plaintive adverbs and phrases like “sadly,” “casually,” and “as if tired” make suggestions as to mood. Cameos by Italian terms like con moto (with movement), andante (at a walking pace), and quasi niente (fade away to nothing) make the scores feel somehow more official. If the “post-literate” leads us to interrogate what we consider to be writing, this bot’s relative adherence to notational convention, more Fauvism than De Stijl, does the same for the musical score.

Also on Twitter, Darius Kazemi’s @reverseocr tweets out asemicisms more akin to those absentminded doodles, each cryptic scrawl accompanied by a random word, like “subtlety,” four times a day. It’s a study in impenetrable handwriting, only here the writer is not a shrink with a prescription pad but a bot. Without that accompanying word, the marks, while elegantly spare, are unrecognizable as anything but marks. So far, so asemic. Yet the way the bot works is by selecting a word and then trying — badly, endearingly — to draw it out. It keeps drawing, and failing, until an OCR or Optical Character Recognition program (the question of literacy is transposed to the algorithm, here) identifies a character. If that character matches the first letter of the word, “s” in the case of “subtlety,” that character gets drawn and the bot turns its attentions to the second character, “u.” If not, it perseveres until it gets a match, and eventually it manages, through trial and a lot of error, to draw out the whole word; we only see these successes. Of course all of these computational processes happen at lightning speed, but in a 2014 adaptation of the work for a show at Boston’s now-shuttered Find and Form Space Kazemi slows the algorithm down to a human timescale and makes visible the otherwise hidden work performed by the bot. The word here is, appropriately, “labor.” Yet there’s something in @reverseocr’s yearning to be understood — to be read, to be recognized by another — that makes me think it’s a kind of unrequited love. There is a 1973 interview with James Baldwin in the Black Scholar in which he says, in response to a question about the role of political themes in his writing,
The people produce the artist, and it’s true. The artist also produces the people. And that’s a very violent and terrifying act of love. The role of the artist and the role of the lover. If I love you, I have to make you conscious of the things you don’t see. Insofar as that is true, in that effort, I became conscious of the things that I don’t see. And I will not see without you, and vice versa, you will not see without me. No one wants to see more than he sees. You have to be driven to see what you see. The only way you can get through it is to accept that two-way street which I call love. You can call it a poem, you can call it whatever you like. That’s how people grow up. An artist is here not to give you answers but to ask you questions.

Kazemi’s bot expands the field of how we might understand asemic writing. Illegible though its drawings may be to our eyes, it is without doubt trying very, very hard to communicate meaning. Humans are not its intended audience; rather, its visual language, like barcodes or the computer vision markup of Amazon warehouses, is entirely for bots, machines, scripts, and other denizens of the algorithmic world. It’s a robot laughing alone with salad, and its inner life, its own well of lactic acid that it draws from to express itself, is off-limits to us. We, however, are on view to them, from the moment we press our thumbprints into our iPhones in the morning to the moment we touch-type a 2 a.m. text message whose characters are so drunkenly scrambled as to form complete non-words, which an algorithm gently corrects to other words we did or did not mean, so long as they’re legible. Perhaps this is an imposition on our freedoms; perhaps this is that two-way street between us and the algorithms, learning from each other; perhaps this is love."

via: "This @_reallifemag essay on asemic writing by @cnqmdi might be the best unwitting 'take' on Trump, covefefefe, etc."
https://twitter.com/eyywa/status/875099774059507716 ]
writing  asemicwriting  scribbling  randomness  typewriters  dictionaries  howwewrite  materiality  rahelaima  jeremybushnell  lynhejinian  dubravkadjuric  content  joséparla  apophenia  oseneworkekosrof  scat  scatsinging  conlang  language  experession  hélènesmith  medewianta  mirthadermisache  zhangxu  marcogiovenale  timgaze  jimleftwich  dariuskazemi  bots  emmawinston  horse_ebooks  huaisui  cursive  legibility  illegibility  avakofman  covfefe  literacy  postliteracy  ocr 
june 2017 by robertogreco
Crystal Code Palace
Tracery is a JavaScript library, by GalaxyKate, that uses grammars to generate surprising new text.
bots  text  generative  teaching  json  dariuskazemi  eyeo2016 
june 2016 by gohai
dariusk/corpora: A collection of small corpuses of interesting data for the creation of bots and similar stuff.
"This project is a collection of static corpora (plural of "corpus") that are potentially useful in the creation of weird internet stuff. I've found that, as a creator, sometimes I am making something that needs access to a lot of adjectives, but not necessarily every adjective in the English language. So for the last year I've been copy/pasting an adjs.json file from project to project."
data  language  structure  dariuskazemi  json  linguistics  eyeo2016 
june 2016 by gohai
How to Make a Bot That Isn't Racist
Sarah Jeong, writing for Motherboard: "A day after Microsoft launched its 'AI teen girl Twitter chatbot,' Twitter taught her to be racist. Really, really racist. The thing is, this was all very much preventable."
ai  bots  microsoft  twitter  racism  internetculture  dariuskazemi 
march 2016 by warnick
Feel Train
[http://feeltrain.com/blog/hello-feel-train/

"I am incredibly proud to announce that Courtney Stanton and I are starting a creative technology cooperative called Feel Train. We build tech that creates dynamic and nuanced interactions between humans and computers. We eschew meme generation and instead confront people with their own humanity by putting them face to face with the inhuman. And as of today we're available for hire.

So. We're a creative technology cooperative. I'll talk more about "creative technology" in a future essay, but right now I want to dive into the "cooperative" part. Feel Train is a worker-owned, cooperatively managed company.

A hard limit on scale
I've spent about a decade as a working professional. I've been at at half a dozen companies of various sizes, ranging from a three-person bootstrapped business to a multinational technology company with 5000 employees. I've been lucky: every company I've worked for has been a pretty good place to work overall.

I've experienced a bunch of different workplace cultures and organizational structures but I've never felt comfortable with any of them, which is why we're doing something a little bit different with this new business.

There are plenty of models out there for technical cooperatives, and we wanted to make sure we picked the right one for Feel Train. (For 101-level information on how a tech co-op might work, the Tech Co-op Network hosts an excellent free guide full of case studies.)

One thing that Courtney and I knew from the start in our very bones: Feel Train will never consist of more than 8 people.

This is a hard cap on the number of employees. With this limit in place, we no longer have to pick solutions that scale, because we literally cannot scale. We could have a different benefits or vacation package for every worker. That would be a logistical nightmare at most companies, but we'll never have to keep track of more than 8 packages.

Emotionally speaking, this does wonders for me. I've had plenty of entrepreneur friends over the years. Sometimes I would hear them swear up and down, "I love our company at this size. We're going to grow slowly and carefully." Then (ideally) success hits and it becomes very difficult to say no to the prospect of doing more, and doing so by growing faster than they'd ever planned.

All of a sudden, the company is bigger than they ever told themselves it would be. The work isn't fun like it used to be.

I'm not a better person than my friends. If (ideally) Feel Train is successful, then I know I would say yes to growing it beyond our intentions. With this limit in place, I'll never have to tempt myself.

Worker ownership
I believe that labor is the source of value, which means that in order to run a just company, ownership must belong to the workers and solely to the workers. The question becomes: who owns how much?

In production-based industries (factories, agriculture, etc) there are cooperative models where it's a simple matter of converting hourly labor to percent ownership. If Ayesha clocks twice as many hours as Bert, then Ayesha owns twice as much of the company as Bert.

But measuring labor is tricky in a creative industry. Why it's so tricky is a huge topic outside the scope of this article, but Courtney and I have given this a lot of thought and the best answer we have is: don't measure labor. No time tracking.

This means that, when it comes to ownership, we simply give it away. Ownership means equal say in every strategic decision the company makes: one worker, one vote. This solution absolutely does not scale. I couldn't imagine direct democracy working smoothly in an organization of even 20 people let alone 100 or 1,000. But it'll work for 8 people.

This also means that investment does not translate to ownership. Courtney and I are investing a pretty big chunk of our savings to get Feel Train started, but this doesn't give us any special rights. The next person to join Feel Train, whoever that is, will own one third of the company. My share of the company will dilute from one half to one third, as will Courtney's. Fortunately, we don't have to worry about too much dilution. I can guarantee you that if you join Feel Train you will never own less than one eighth of the company as long as you work here.

This is all just the beginning...
It's a good feeling to help start a company I can feel proud of deep, deep down in my Marxist bones. And these two core principles of worker ownership and non-scalability are just the foundation. Courtney has a ton of thoughts on the management of creative workers, and she'll talk about those in the future. If you're eager to hear more about all this, sign up for our monthly mailing list!"]

[See also: https://tinyletter.com/superopinionated/letters/super-opinionated-power-club-16-live-from-open-source-bridge ]
courtneystanton  dariuskazemi  bots  labor  technology  coding  feeltrain  humanism  cooperatives  groupsize  ownership  marxism  production  directdemocracy  organizations  growth  size  employment  lcproject  openstudioproject  scale  scalability  tcsnmy8  tcsnmy  small  slow  sfsh 
february 2016 by robertogreco
Museum Bot
"I am a bot that posts a random high-res Open Access image from the Metropolitan Museum of Art, four times a day.

By Darius Kazemi, creator of Alternate Universe Prompts and Scenes from The Wire.

Not affiliated with the Met."
dariuskazemi  tumblrs  images  museums  bots  themet 
february 2016 by robertogreco
Eyeo 2014 - Darius Kazemi on Vimeo
Templated Authorship + Random Input + Context

To be interesting, procgen stuff needs some authorship and context, otherwise it's about as interesting as a rock.
procgen  DariusKazemi 
april 2015 by MemoryStomp
DevUp Ideateca: Darius Kazemi - YouTube
What gamedevs and webdevs can learn from each other.
DariusKazemi 
march 2015 by MemoryStomp

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