STAGE 3 BOOKSHELF by Molly Conron

JOE SPENCE

molcon05 — 2023-10-06 16:13:21 UTC

putting myself in the Picture. BBC Arena Arts Series. 1987

FUNKI PORCINI

molcon05 — 2023-10-06 16:14:03 UTC

PEER LINEBAUGH

molcon05 — 2023-10-06 16:14:36 UTC

Magna Carta and the Commons

PETER LINEBAUGH

molcon05 — 2023-10-06 16:15:11 UTC

How did we get here? Counterpunch 2014

Principio Potosi

molcon05 — 2023-10-06 16:15:50 UTC

2010

Machine Learning Artificial Intelligence. Financial Times Editorial, May 26, 2023

molcon05 — 2023-10-06 16:20:19 UTC

In its more than 130-year history the Financial Times has upheld the highest standards of journalism. As editor of this newspaper, nothing matters to me more than the trust of readers in the quality journalism we produce. Quality means above all accuracy. It also means fairness and transparency.

That’s why today I am sharing my current thinking on the use of generative artificial intelligence in the newsroom.

Generative AI is the most significant new technology since the advent of the internet. It is developing at breakneck speed and its applications, and implications, are still emerging. Generative AI models learn from huge amounts of published data, including books, publications, Wikipedia and social media sites, to predict the most likely next word in a sentence.

This innovation is an increasingly important area of coverage for us and I am determined to make the FT an invaluable source of information and analysis on AI in the years to come. But it also has obvious and potentially far-reaching implications for journalists and editors in the way we approach our daily work, and could help us in our analysis and discovery of stories. It has the potential to increase productivity and liberate reporters and editors’ time to focus on generating and reporting original content.

However, while they appear to be very articulate and plausible, AI models on the market today are ultimately a prediction engine and they are learning from the past. They can fabricate facts — this is what is referred to as “hallucinations” — and make up references and links. If sufficiently manipulated, AI models can produce entirely false images and articles. They also replicate the existing societal perspectives, including historic biases.

It is my conviction that our mission to produce journalism of the highest standards is all the more important in this era of rapid technological innovation. At a time when misinformation can be generated and spread rapidly and trust in the media in general has declined, we at the FT have a greater responsibility to be transparent, to report the facts and to pursue the truth. That is why FT journalism in the new AI age will continue to be reported and written by humans who are the best in their fields and who are dedicated to reporting on and analysing the world as it is, accurately and fairly.

The FT is also a pioneer in the business of digital journalism and our business colleagues will embrace AI to provide services for readers and clients and sustain our record of effective innovation. Our newsroom too must remain a hub for innovation. It is important and necessary for the FT to have a team in the newsroom that can experiment responsibly with AI tools to assist journalists in tasks such as mining data, analysing text and images and translation. We won’t publish photorealistic images generated by AI but we will explore the use of AI-augmented visuals (infographics, diagrams, photos) and when we do we will make that clear to the reader. This will not affect artists’ illustrations for the FT. The team will also consider, always with human oversight, generative AI’s summarising abilities.

We will be transparent, within the FT and with our readers. All newsroom experimentation will be recorded in an internal register, including, to the extent possible, the use of third-party providers who may be using the tool. Training for our journalists on the use of generative AI for story discovery will be provided through a series of masterclasses.

Every technology opens exciting new frontiers that must be responsibly explored. But as recent history has shown, the excitement must be accompanied by caution over the risk of misinformation and the corruption of the truth. The FT will remain committed to its fundamental mission and will keep readers informed as generative AI itself and our thinking on it evolve.

DAVID HARVEY

2023-11-02 07:51:22 UTC

A Brief History of Neoliberalism (Oxford University Press, 2005).

PIERRE BOURDIEU and LOIC WACQUANT

2023-11-02 07:55:08 UTC

'NewLiberalSpeak: Notes on the new planetary vulgate', Radical Philosophy 105, Jan/Feb 2001.

KARL MARX

2023-11-02 07:58:51 UTC

The Duchess of Sutherland and Slavery (new York Daily Tribune, 1853)

WALTER BENJAMIN

2023-11-02 08:05:31 UTC

The Author as Producer. Address at the Institute for the Study of Facism. Paris, April 27, 1934. (New Left Review 1970).

DAVID HARVEY

2023-11-02 08:09:08 UTC

Class 01 Reading Marx's Capital Vol 1

Brian O'Doherty- Inside the White Cube: The Ideology of the Gallery Space

2023-11-02 14:46:15 UTC

Pdf here:

Walter Benjamin : Illuminations: Essays and Reflections. 1968

2023-11-02 14:53:06 UTC

Illuminations: Essays and Reflections. Walter Benjamin Ed. Hannah Arendt. Schocken Books; New York, 1968. 'Unpacking My Library' Pg 59-67.

Nicolas Bourriaud : Relational Aesthetics. 1998

2023-11-02 14:55:20 UTC

Foucault: Archaeology of Knowledge. 1972

2023-11-02 14:58:32 UTC

Foucault and Neoliberalism as "Left Governmentality". Mitchell Dean and Daniel Zamora. Verso Books. 2021

2023-11-02 15:13:10 UTC

READING GROUP 01

2023-11-02 21:03:39 UTC

Walter Benjamin's 'The Author as Producer' on Tuesday November 7th, 2.00-3.00pm (tbc). Please read text in advance and feel free to add comments/notes etc. below. AD

PARA-EXHIBITION 01. Tuesday, November 21st 4.30-5.30pm (tbc)

2023-11-02 21:33:11 UTC

As discussed in the last Group Tutorial, this should be regarded as an opportunity to exhibit work on a regular basis and normalise the act of engaging a viewer/audience. It will be student-led and the aim will be to test out work/ideas etc. in a 'public' setting. Can those participating on November 21st, please add their names below.

CAPITALIST CRISIS

2023-11-13 09:37:57 UTC

I thought this might interest some of you in terms of 'positioning' and in relation to David Harvey. A recent interview with Slavoj Žižek

A User's Guide to Detournement 1956

2023-11-14 13:19:59 UTC

Extractivism

2023-11-16 20:19:55 UTC

2023-11-16 20:20:36 UTC

Internet Culture and Politicised Digital Aesthetics

2023-11-21 22:35:47 UTC

2023-11-24 10:19:49 UTC

In response to our first reading group earlier this week, I thought this might be a useful text to throw into the mix. The author, a good friend of mine, also happens to be a bit of an 'expert' on Walter Benjamin AND has just started teaching on the MPhil course at CSM! Perhaps we can ask him to join us sometime? AD

La Linterna

2023-11-24 11:10:11 UTC

La Linterna. Be sure to turn on the English translation... AD

2023-11-24 15:27:07 UTC

Death to the World was started by monks and nuns from the St Herman of Alaska Monastery in Platina, California, as a medium of evangelism to teens involved in the punk subculture by monastics who were ex-punks. A founding member was Justin Marler who, soon after recording Volume One with seminal doom metal band Sleep in 1991, left for seven years of monastic life while Sleep went on to become metal icons.

Justin Marler was a young punk left with the uncomfortable feeling of emptiness, irritated by the world and in search for answers and knowledge.

Using religion as a medium and methodology to rethink and visualise the distain for modern life. critiquing the systems we find ourselves in.

ahowitt0720181_ — 2023-11-24 15:40:59 UTC

Publication I made in 2022,

The zine focuses on the cartoon character Lola Bunny and her recent role in "Space Jam 2"

In the new movie, her character has gone through a redesign to fit a more 21st century look.

" the de- sexualisation of Lola "

The zine is a reaction to the fan art posted and about the cultural upheaval the internet experienced towards Lola Bunny.

----- Zine Text ------

Rabbit hole is dedicated to

The online culture war that happened when the new

Space Jam 2 was announced earlier in the year.

Falling into a internet hole of useless information, opinions

and a strange / slightly alarming amount of Lola Bunny erotica.

The desexualisation of Lola Bunny was vastly approaching.

Some fans outraged and concerned for the character, damning “woke culture” and “political correctness”

This created such a stir even celebrities (e.g. Piers Morgan) even gave their own two cents into this important cultural endeavor.

Through this political discourse around the body of an imaginary sexy female rabbit, fans started to share art showing Lola in all different shapes and forms.

Expressing their love for the character and excitement to see the new film.

Different approaches and interpretation of a character.

Sincere but sometimes slightly off putting, it’s a strange and wonderful world fan art creates.

Allowing this anthropomorphic female bunny to represent whatever the fan wants.

She’s able to be whatever that person needs, adaptable, ever changing and never fixed.

This little book is made to catalog all the strange but wonderful art found through my trip down the rabbit hole.

Anais

2023-12-06 23:18:11 UTC

Qianzi

2023-12-08 11:37:06 UTC

2023-12-08 11:37:51 UTC

aleung0420201 — 2023-12-09 00:39:44 UTC