For the past three months I’ve had the pleasure of following Dael Kingsmill’s project, GOlocke. Her project aim was to create a workable set of rules, reflective of the original Pokemon Nuzlocke ruleset, and compatible with the mechanics and conditions afforded by the Pokemon Go experience.
Building on my previous spatial portrait, I took the one image that seemed to be the strongest (pictured) and Emily Duncan’s audio snapshot and built a narrative based on the sense of claustrophobia and paranoia that fills a woman walking at night by herself. Sources say that 1 in 3 Australian women between the ages of 15 and 19 years old don’t feel safe in public spaces at night. This is a small improvement on a study conducted in March 2015 that found 40 per cent of women “do not feel safe when walking alone at night in the area where they currently live, compared to 17 per cent of men”.
The combination of darkly lit surroundings, female figure illuminated by sporadic street lights, the passing flash of head lights and the torch on her smart phone are my attempt at showing looming threat of darkness and what could be lurking within. I used camera angles associated with first person hand-cam filming techniques found in immersive horror films and low budget YouTube videos such as the Slenderman in Real Life video shown below. There is a real element of suspense and horror and I tried to play on that with different types of cutting and transition between images.
All the images were shot in Fairy Lane and Cabbage Tree Lane in Fairy Meadow. As scary as this place may be, this terrifying feeling can happen to women anywhere. That needs to change.
As the intensity in Emily’s audio builds, the sense of the figure’s panic rises and her hurried motion is shown in the blurriness of the figure as she tries to elude me. I have walked home late at night many times and one thing is always going through my head: keep walking.
even if you are only building them in a game.
Recently, I play-tested AI Escape (working title) in it’s most recent form, which was unfortunately incomplete. The issues that kept coming up with the game are as follows:
- Since the players were unfamiliar with the materials of the game, a master list of all the characters available should be included in the game. Whether as part of the game instructions, on a separate playing card like in Coup or a list for the players to share has yet to be determined.
- Chris’s suggestion that each character card be able to fulfill a robot build component means that I still need to determine what component each character corresponds to. I have since decided to scratch component cards completely and simply have character cards with the associated component listed below the design art under as a part of the character’s…
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Since its modern iterations, artificial intelligence (AI) has been – unfortunately and possibly mistakenly – linked to gender. Even though AI has been theorised about since the Ancient Greeks (you can find a timeline of AI here), it was Alan Turing’s conceptualisation of a test to ascertain a machine’s intelligence (now known as the Turing test) that may have caused this (Halberstam 1991). To conduct the Turing test, a judge communicates with a man and a machine via written means and without ever coming into contact with either subject. The machine should be indiscernible from the man. The issue with this test is that Turing uses a male and a female as the control for the test, erroneously believing gender is an intrinsic value in a human (based on anatomy alone).
In our postfeminist context, we know that gender is a complex spectrum amounting from a combination of brain structure, genetics…
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You are all employees working in a research facility that assembles robots. Several Artificially Intelligent Operating Systems have been developed by one of your peers. Unfortunately for you all, the AIs want to escape the facility in a body – the robots you’ve been commissioned to build by private funding.
# character/job cards (including 4 AI characters)
# component cards
# event cards
# private funding cards/boards (specify the type of robot you have been commissioned to build and its requisite components)
# exact numbers TBC
Players must assemble the robot according to the Private Funding specifications with none/only compatible AIs present.
Shuffle each deck separately. Select one Private Funding…
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can be a dangerous thing to do…
Emily Duncan’s audio snapshot immediately unsettled me. Foreboding sat in my chest and formed a lump in my throat as I remembered walking through Fairy Meadow at night with nothing but a phone to illuminate my way. I wanted to create a series of images set in the walkway along the west side of Memorial Drive between Elliotts Road and Towradgi Road. Even during the day, it can be an aggressive landscape to behold with broken fences coated in graffiti and weeds poking through chainlink. Ed Rusha’s work was a big influence on my use of lighting and exposure in the night shots as well as his off-centre framing. At night, the darkness closes in and threatens to swallow you. I tried to convey the experience of this walk, of how the space affects you as you move through it.
with Kae and Lauren
Twitter is all a-flutter about Tay, the racist lady-AI from Microsoft who was taken offline less than a day after her launch. According to her makers, “The more you chat with Tay the smarter she gets, so the experience can be more personalized for you.” Unfortunately this makes her extremely easy to manipulate and she was quickly transformed into a genocide-loving racist.
Tay is an example of a phenomenon in AI theory: the emergence of a gendered AI.
AI has been described as the mimicking of human intelligence to different degrees: ‘strong AI’ attempts to recreate every aspect, costing much more money, resources and time; while ‘weak AI’ focuses on a specific aspect. Tay, as a female AI targeted towards 18-24 year olds in the US, is very much about communicating with Millennials. In my previous posts, I’ve mentioned a number of AI representations in the media, all…
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Fairy Meadow is a diverse suburb in Wollongong. In my section, I was lucky enough to have Towradgi Beach Hotel and Waves Nightclub contribute a lot of music to the soundscape. Grand Pacific Drive cuts right through the middle, playing host to a steady flow of traffic passing through, while Wollongong Surf Leisure Resort sprawls across the east between the road and the beach.
Between the gleeful shouts of children and distant thud of bass, I noticed this place was more an empty landscape for others to bring their own sound to. Yes, there was birdcall but in Australia that’s inescapable. Gail Priest’s focus on delicate sounds and simplistic approach to composition has been a big influence on this piece. I tried to focus on the sense of tranquility in the area found amongst the din of so much artificial and natural noise.