epistemology   3188

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What Does It Mean to ‘Speak as a Woman’?
If I attempt to control a conversation based on the fact of my gender, I may be a bully, looking for a way to humiliate you. But I may be justified.
(Agnes Callard)
standpoint-epistemology  epistemology  gender 
7 days ago by telemachus
Centre for Global Knowledge Studies
The Centre for Global Knowledge Studies (gloknos) was founded by Dr. Inanna Hamati-Ataya in autumn 2017 with support from the European Research Council, and inaugurated at CRASSH, University of Cambridge, in autumn 2018. Welcome to our website.

gloknos (/'glɒnɒs/) is a multi-disciplinary research centre and intellectual community concerned with the constitution, diffusion, exchange, and use of human knowledges throughout history. It aims to foster advanced cross-disciplinary research and pedagogical training in Global Epistemics, as well as cross-sectorial exchanges and initiatives, through a global network of associate members and partners engaged in academic and public-oriented collaborations and activities, an institutional and virtual infrastructure, and a range of scientific and public dissemination channels dedicated to the diffusion of its research outputs to the widest audience.
epistemology  deep_time  globalization 
13 days ago by shannon_mattern
Dr. Michelle Fine on Willful Subjectivity and Strong Objectivity in Education Research - Long View on Education
"In this interview, Dr. Michelle Fine makes the argument for participatory action research as a sophisticated epistemology. Her work uncovers the willful subjectivity and radical wit of youth. In the last ten minutes, she gives some concrete recommendations for setting up a classroom that recognizes and values the gifts that students bring. Please check out her publications on ResearchGate [https://www.researchgate.net/profile/Michelle_Fine ] and her latest book Just Research in Contentious Times (Teachers College, 2018). [https://www.amazon.com/Just-Research-Contentious-Times-Methodological/dp/0807758736/ ]

Michelle Fine is a Distinguished Professor of Critical Psychology, Women’s Studies, American Studies and Urban Education at the Graduate Center CUNY.

Thank you to Dr. Kim Case and Professor Tanya L. Domi."
michellefine  reasearch  dispossession  privilege  resistance  solidarity  participatory  participatoryactionresearch  ethnography  education  benjamindoxtdatorcritical  pedagogy  race  racism  postcolonialism  criticaltheory  imf  epistemology  research  focusgroups  subjectivity  youth  teens  stories  socialjustice  criticalparticipatoryactionresearch  sexuality  centering  oppression  pointofview  action  quantitative  qualitative  injustice  gender  deficit  resilience  experience  radicalism  incarceration  billclinton  pellgrants  willfulsubjectivity  survivance  wit  radicalwit  indigeneity  queer  justice  inquiry  hannaharendt  criticalbifocality  psychology  context  history  structures  gigeconomy  progressive  grit  economics  victimblaming  schools  intersectionality  apolitical  neoliberalism  neutrality  curriculum  objectivity  contestedhistories  whiteprivilege  whitefragility  islamophobia  discrimination  alienation  conversation  disengagement  defensiveness  anger  hatred  complexity  diversity  self-definition  ethnicity 
16 days ago by robertogreco
Professional Judgment in an Era of Artificial Intelligence and Machine Learning
Pasquale 2018. Beyond metrics is professional ideals not just as means to functionalist end. Need to replace quant metrics with eg narrative assessments of teachers lawyers academics. Need people to avoid tyranny. V philosophical and conceptual. Not sure I got all piece.
systems  AI  machine-learning  work  philosophy  sociology  expertise  epistemology  data 
18 days ago by berran
In the Age of A.I., Is Seeing Still Believing? | The New Yorker
The acceleration of home computing has converged with another trend: the mass uploading of photographs and videos to the Web. Later, when I sat down with Efros in his office, he explained that, even in the early two-thousands, computer graphics had been “data-starved”: although 3-D modellers were capable of creating photorealistic scenes, their cities, interiors, and mountainscapes felt empty and lifeless. True realism, Efros said, requires “data, data, data” about “the gunk, the dirt, the complexity of the world,” which is best gathered by accident, through the recording of ordinary life.

Today, researchers have access to systems like ImageNet, a site run by computer scientists at Stanford and Princeton which brings together fourteen million photographs of ordinary places and objects, most of them casual snapshots posted to Flickr, eBay, and other Web sites. Initially, these images were sorted into categories (carrousels, subwoofers, paper clips, parking meters, chests of drawers) by tens of thousands of workers hired through Amazon Mechanical Turk. Then, in 2012, researchers at the University of Toronto succeeded in building neural networks capable of categorizing ImageNet’s images automatically; their dramatic success helped set off today’s neural-networking boom. In recent years, YouTube has become an unofficial ImageNet for video. ...

In the early days of photography, its practitioners had to argue for its objectivity. In courtrooms, experts debated whether photos were reflections of reality or artistic products; legal scholars wondered whether photographs needed to be corroborated by witnesses. It took decades for a consensus to emerge about what made a photograph trustworthy. Some technologists wonder if that consensus could be reëstablished on different terms. Perhaps, using modern tools, photography might be rebooted.

Truepic, a startup in San Diego, aims at producing a new kind of photograph—a verifiable digital original. Photographs taken with its smartphone app are uploaded to its servers, where they enter a kind of cryptographic lockbox. “We make sure the image hasn’t been manipulated in transit,” Jeffrey McGregor, the company’s C.E.O., explained. “We look at geolocation data, at the nearby cell towers, at the barometric-pressure sensor on the phone, and verify that everything matches. We run the photo through a bunch of computer-vision tests.” If the image passes muster, it’s entered into the Bitcoin and Ethereum blockchain. From then on, it can be shared on a special Web page that verifies its authenticity. Today, Truepic’s biggest clients are insurance companies, which allow policyholders to take verified photographs of their flooded basements or broken windshields. The software has also been used by N.G.O.s to document human-rights violations, and by workers at a construction company in Kazakhstan, who take “verified selfies” as a means of clocking in and out. “Our goal is to expand into industries where there’s a ‘trust gap,’ ” McGregor said: property rentals, online dating. Eventually, he hopes to integrate his software into camera components, so that “verification can begin the moment photons enter the lens.”
photography  images  epistemology  truth  deep_fakes  documentary  video  archives  classification 
19 days ago by shannon_mattern
“Destabilized Perception”: Infrastructural Aesthetics in the Films of Adam Curtis | Cultural Politics
The formerly dissident status of the essay film has, in recent years, been exchanged for a great deal of favorable attention both inside and outside academia. In the more overly moralistic commentary on the form, the contemporary essay film is submitted as a tactical response to a surfeit of audiovisual media, to an era in which most of us have become both consumers and producers of a digital deluge. The work of Adam Curtis is notably absent from these ongoing debates. Yet Curtis is far from an underground figure—he has been making essayistic films for the BBC for more than twenty years and was the first to produce work directly for the iPlayer platform. Using archival images to examine the present, his films produce counterintuitive connections and abrupt collisions that supplant the authority of narrative causality for a precarious network of associations and linkages. This article treats Curtis’s recent body of work diagnostically. It argues that, quite apart from any promise of escape or deliverance, the aesthetic form of his work actively inhabits the rhythms and vectors of contemporary media. For Curtis, the media-technological conditions of the twenty-first century provoke a crisis that is both political and epistemological, one in which sensemaking can no longer claim to take place at a distance from the infrastructure that mediates such processes but is instead thoroughly and inescapably immanent to it, a situation that prevents contact with the outside. His films are about what he calls “destabilized perception,” but importantly they are also a function of this condition, one that in turn demands a shift in how we conceive the essay film in the twenty-first century.
aesthetics  film  epistemology  propaganda  archive_art  archives 
22 days ago by shannon_mattern

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