标签为 “Google” 的文章

  • 摄影师在日益自动化的图像文化中扮演什么角色?

    2018.11.08 · 发表评论

    Who are photographs for? Who are photographs by? Increasingly, the answer to both questions is, more or less, machine: images are captured by autonomous, or semi-autonomous devices in the act of gathering data for artificial intelligences. – 照片是给谁的?照片是谁的?这两个问题的答案或多或少地越来越多地是机器:图像是由自主或半自主设备在为人工智能收集数据时捕获的。

  • 独自一人:互联网的超链接结构如何塑造我们的情感生活

    2018.10.19 · 发表评论

    “互联网也不是一个坏主意,但它确实具有毒性作用”“Facebook的工作”她指出,“不仅仅是给你信息,而是让你保持在那儿,处于一种积极的瘫痪状态。”

  • The Overlooked Radicalism of Impressionist Mary Cassatt &# …

    2018.10.19 · 发表评论

    In 2015, London’s National Gallery mounted the exhibition ‘Inventing Impressionism: The Man Who Sold a Thousand Monets’. I was deeply irritated by it. It is half a century since women art historians challenged the myth of a women-free art history and made visible both the women and the men who co-created not only Impressionism but modern art as a whole. Yet, the National Gallery was pedalling the tired and discredited tale of a heroic ‘band of brothers’ in modern art: a phrasing that was actually used for the publicity of the BBC series in 2006 called ‘The Impressionists’ when an elderly Claude Monet (Julian Glover) reminisced over the lives and loves of his pals Edgar Degas, Camille Pissarro and Pierre-Auguste Renoir.  – 2015,伦敦国家美术馆举办了“印象派”的展览:卖了一千个莫奈的人。我被它深深地激怒了。半个世纪以来,女性艺术史家对女性自由艺术史的神话发起了挑战,使女性和男性不仅共同创造了印象主义,而且共同创造了整个现代艺术。然而,国家美术馆却在抨击现代艺术中一支英雄的“兄弟乐队”的疲惫不堪、名誉扫地的故事:2006年,当年老的克劳德·莫奈(朱利安·格洛弗)回忆起这支名为“印象派”的英国广播公司系列节目时,这个短语实际上被用来宣传。他的朋友埃德嘉·德嘉、卡米耶·毕沙罗和Pierre Auguste Renoir的爱和爱。

  • 有没有AI艺术家?

    2018.06.17 · 发表评论

    If artificial intelligence were ever to achieve sentience, could it feasibly produce art? (And would it be good?) – 如果人工智能曾经达到感知能力,它是否能够产生艺术?(这样会好吗?)