“The Productivity of Artificial Flatness” — Sybille Krämer at Digital Aesthetics Workshop, April 8, 2025

We’re delighted to welcome our next speaker for the Digital Aesthetics Workshop, the first of the Spring quarter. Sybille Krämer present on “The Productivity of Artificial Flatness: On Digitality, The Cultural Technique of Flattening, and Artificial Intelligence” on Tuesday, April 8, from 5-7pm PT. The event will take place in the Board Room at the Stanford Humanities Center, where refreshments will be served.

Zoom link for those unable to join in-person: tinyurl.com/38vjpaz6

Abstract:

Do chatbots understand human language? This is one of the most debated issues about contemporary artificial intelligence, oscillating between the opposing answers ‘able to understand’ (meaning-sensitive) and ‘unable to understand’ (meaning-blind). In this talk, I argue in favor of meaning blindness by highlighting several issues that are not considered enough in the debate. My arguments are based on a media-philosophical and cultural-technical approach. Artificial intelligence is becoming a ‘cultural technique’ in transitioning from print culture to digital literacy. However, it is an alien and non-human kind of performing intelligence and processing language. Not similarity and homology but difference and diversity are the foundations for successful interaction between humans and AI. This is explained by analogy with the ‘cultural technique of flattening’: Projecting visual and textual information into the two-dimensionality of inscribed and illustrated surfaces is not deformation and impoverishment, but a creative force. What is the key to the scientific and artistic productivity of artificial flatness (images, writings, diagrams, maps, screens)? And what is the connection between the cultural technique of flattening and Chatbots’ token-statistical operations?

Speaker Bio:

Sybille Krämer was a Full Professor for Philosophy at the Free University Berlin; since retirement in 2018, a guest professor at the Institute Cultures and Aesthetics of Digital Media, Leuphana University Lueneburg. Previously a member of the German ‘Scientific Council’ (2000-2006), of the European Research Council (2007-2014)); member of the ‘Senat’ of the ‘German Research Foundation’ (2009-2015), ‘Permanent Fellow’ at the ‘Wissenschaftskolleg’ zu Berlin/ Institute for Advanced Study (2005-2008). Several International Visiting Professorships and Fellowships (Oxford, UC Santa Barbara, Yale, Vienna, Seoul, Shanghai, Tokyo); 2016 Honorary Doctorate by Linköping University/Sweden.

This event is generously co-sponsored by the Stanford Literary Lab.

Digital Aesthetics Workshop: Mark B.N. Hansen, “The Ontology of Media Operations”

Mark Hansen DAW poster

I am pleased to announce the first event in the new Digital Aesthetics Workshop at the Stanford Humanities Center. On Tuesday, October 10, Mark B. N. Hansen (Duke University) will be speaking on the topic of “The Ontology of Media Operations, or, Where is the Technics in Cultural Techniques?”

Future workshops will welcome Claus Pias, Allison de Fren, Bonnie Ruberg, Jacob Gaboury, Jonathan Sterne, and more. Stay tuned!

Jussi Parikka, “Cultural Techniques of Cognitive Capitalism”

software_interface_labor

Abstract for Jussi Parikka’s keynote talk at the symposium “Imagining Media Change” (June 13, 2013, Leibniz Universität Hannover):

Cultural Techniques of Cognitive Capitalism: On Change and Recurrence

Jussi Parikka

This talk has primarily two functions and aims. Firstly, it discusses the concept of cognitive capitalism from the perspective of its constituent cultural techniques. It proposes the ever so slightly unholy wedding together of post-fordist political theory with some currents in German media theory. This is done in order to discuss some of the mediatic aspects of the notion of cognitive capitalism (Yann Moulier Boutang). Secondly, the talk discusses media cultural change and the temporalities in which such notions like cognitive capitalism are distributed. By discussing software culture it argues for the various temporalities of change that are always at play in media cultural perspective.