A white gallery wall is marked out at intervals to a length of twenty-five feet. Stretching out above, black capital letters stamp out the phrase “el cocodrilo de Humboldt no es el cocodrilo de Hegel” (Humboldt’s crocodile is not Hegel’s). Near the end on the left, a crocodile’s eye appears on a monitor; at the right, another shows its tail. José A…
This book contributes to the study of oceans, seas, coastal waters, and rivers within blue humanities by broadening, circulating, and interweaving knowledge about such waters, ocean epistemologies, and sea narratives from pluriversal epistemological, geographical, cultural, and disciplinary perspectives. The contributors from Africa, Asia, the Caribbean, Europe, North America and the Pacific ex…
Can computers be creative? Is algorithmic art just a form of Candy Crush? Cutting through the smoke and mirrors surrounding computation, robotics and artificial intelligence, Joanna Zylinska argues that, to understand the promise of AI for the creative fields, we must not confine ourselves solely to the realm of aesthetics. Instead, we need to address the role and position of the human in the c…
The emergence of the contemporary graphic novel across many regions of the world has been closely implicated with posthumanist thought. Science fiction narratives forged from multiple real and imagined cou-plings between technology, bodies and subjectivities feature prom-inently in the various competing genealogies for the medium. The French bande dessinée tradition,…
Generation Z (Gen Z) is the young generation born between the mid-1990s and 2010s. Currently, they enter the market, starting their first jobs. Therefore, managers need to shape the company workplace environment to encourage young employees to work efficiently and for them to connect their future with the company. Only then will both managers and employees share mutual satis…
Can computers be creative? Is algorithmic art just a form of Candy Crush? Cutting through the smoke and mirrors surrounding computation, robotics and artificial intelligence, Joanna Zylinska argues that, to understand the promise of AI for the creative fields, we must not confine ourselves solely to the realm of aesthetics. Instead, we need to address the role and position of the human in the c…
AI Art has been shaped by a number of broader questions with regard to art, media and technology: Is there an ontological difference between early computergenerated art, net art and the more recent forms of AI-driven art? Or is it just a difference of degree, i.e. of the mode and intensity of technological entanglement?