Isabelle Levent

the reconfiguration of culture as a domain of not just human-made meanings but also machinic calculation

Even when these paragraphs fail, they make her interested in the story again. She’s curious about this computer-generated text, and it reignites her interest in her own writing.

Strict synonymy, or even a drop-in replacement word, is not essential for most writers, who instead may use a thesaurus to expand an idea or discover a new one. 

Imagine an art-lover at an exhibition entitled ‘Dots 2008’. He speaks to two artists, each displaying a painting. In both cases, the art-lover cannot see past the seemingly random arrangement of dots of paint. He mentions this to the first artist, who says: “Oh, no, they’re not randomly placed. Each dot represents a friend of mine. The colour of th

What’s difficult is to state our aesthetic values clearly enough to enable the program itself to make the evaluation at each generation.

With so much focus on creation, few systems consider revision. Revision—this is where the average writer gets the most outside help.

There’s another edge case as well; in theory, with the same prompts and the random seed that’s used for generating the images, you could end up with someone else generating the same, or a very similar, image as what you created. 

They will shade our constant submissions to the vast digital commons, intentional or consensual or mandatory, with the knowledge that every selfie or fragment of text is destined to become a piece of general-purpose training data for the attempted automation of everything. They will be used on people in extremely creative ways, with and without the