Last month at the Conference for College Composition and Communication, the national conference in the discipline of rhetoric and composition, the following resolution was passed “we affirm the rights of students and teachers to refuse to sign up for, prompt, or otherwise use generative AI in the writing classroom.” The resolution articulates several concerns that I would…
Keep readingThe question is do we want a “more clear/communicative” version of Deleuze and Guattari? How about ourselves? We wrote Anti-Oedipus together. Since each of us was already multiple, there was always a crowd. We drew on whatever came within range—what was nearest as well as what was farthest. We used pseudonyms to avoid recognition. Why, then, did…
Keep readingI’ve been asked to discuss CCCC’s recent resolution on the right to refuse AI. I have already written about it here. From my perspective, this particular resolution is an academic freedom issue within a single discipline and largely focused on one kind of course: first-year composition. As this course is often taught by adjuncts, graduate…
Keep reading“Teaching for Transfer” is an operative concept in rhetoric and composition studies that address the concern that the learning experiences of first-year composition courses be transferable to future academic and/or professional writing contexts. It is not a concept without critics, but I would describe it as deeply embedded in disciplinary best practices. Following the basic…
Keep readingWhen we are refusing AI, what are we refusing? A CS field? A commercial product? An ideology? A story? And what does AI refuse of us? What does the higher ed story of AI refuse of us and our students?
Keep readingAs we know, utopia is nowhere, literally. Much of the literary movement of “anti-anti-utopianism” can be understood as a recognition that utopia’s seek to go nowhere and dystopias are what result from the attempt. It might be useful to reframe this as anti-anti-nowhere-ism, but probably not. This confusing triple negative might be resolved in the…
Keep reading
My academic career has roughly corresponded with the rise of the internet, and the developments of networked digital media have been the focus of my research for the last 30 years. I have investigated the role intelligent machines play in the ways we communicate, the communities we form, and our engagement with larger world.
My current research (book) project is tentatively titled Empire, AI and Society: Artificial Warfare in the Digital Interregnum. My most recent open access publication is “Living on Digital Flatlands: Assemblies of Computer Vision.” Here’s the abstract.
This article explores computer vision not only in terms of its use with “intelligent” machines, such as autonomous vehicles, but also more broadly in terms of quotidian, digitally-mediated human vision, such as that experienced through smartphones. Drawing on assemblage theory and radical media archeology, I describe the technological processes that link together materially different spatiotemporal assemblages to produce a posthuman condition of computer vision typified by what Wolfgang Ernst terms the “epistemogenic momentum” of “techno-mathematical configurations.” Manuel DeLanda’s flat ontologies prove useful here for describing how assemblages operating in different space-times interact. I then turn to Deleuze and Guatarri’s techno-semiological stratum, specifically their discussion of the stratum’s spatiotemporal superlinearity, to articulate an emerging digital-calculative layer. I argue that understanding computer vision assemblages requires more than setting technical descriptions alongside cultural-ideological critique; it also requires an integrated analysis of the roles digital nonhumans perform in the production of a new visual regime with new capacities and desires. The shared human-nonhuman capacity of computer vision moves sight from the biological and linguistic assemblages of humans into digital assemblages where vision becomes calculable and subject to algorithmic modifications. The results are not only digitally-composed, screened images, but also new means of production, organization, and identity.
Alex Reid, Professor of Digital Rhetoric, Media, and Artificial Intelligence 