|
|
xi | |
Acknowledgments |
|
xiii | |
Introduction |
|
1 | (14) |
|
|
1 | (1) |
|
|
2 | (2) |
|
|
4 | (2) |
|
|
6 | (1) |
|
|
7 | (4) |
|
|
11 | (1) |
|
|
12 | (3) |
|
PART I Interstitial Paradigms |
|
|
15 | (110) |
|
|
19 | (20) |
|
|
21 | (6) |
|
|
27 | (2) |
|
|
29 | (1) |
|
|
30 | (2) |
|
Labor and Artificial Intelligence |
|
|
32 | (1) |
|
Delegation of Creative Labor |
|
|
33 | (6) |
|
|
39 | (12) |
|
|
40 | (2) |
|
Modularity and Indexicality |
|
|
42 | (1) |
|
Modularity, Culture, and Nature |
|
|
43 | (1) |
|
Modularity, Art, and Design |
|
|
44 | (1) |
|
|
45 | (2) |
|
|
47 | (4) |
|
|
51 | (16) |
|
External and Internal Memory |
|
|
54 | (2) |
|
Memory and Artificial Intelligence |
|
|
56 | (2) |
|
|
58 | (2) |
|
Memory, Emotion, and Embodiment |
|
|
60 | (2) |
|
|
62 | (5) |
|
|
67 | (16) |
|
From Hardware to Software |
|
|
69 | (1) |
|
Soft Labor and Posthumanism |
|
|
70 | (3) |
|
Artificial Intelligence and Posthumanism |
|
|
73 | (2) |
|
(Disjembodied Technology After Soft Labor |
|
|
75 | (1) |
|
(Disjembodied AI Technology Remixed |
|
|
76 | (3) |
|
|
79 | (4) |
|
|
83 | (12) |
|
|
85 | (1) |
|
|
86 | (1) |
|
|
87 | (1) |
|
|
88 | (2) |
|
Art, Compression, and Artificial Intelligence |
|
|
90 | (5) |
|
|
95 | (14) |
|
|
97 | (1) |
|
Simulation After Simulacra and Simulation |
|
|
98 | (3) |
|
Simulation and Hypermedia |
|
|
101 | (1) |
|
|
102 | (2) |
|
Simulation and Artificial Intelligence |
|
|
104 | (1) |
|
|
105 | (4) |
|
|
109 | (16) |
|
|
111 | (3) |
|
|
114 | (1) |
|
|
115 | (2) |
|
Emergence, Complexity, Remix, and Artificial Intelligence |
|
|
117 | (1) |
|
|
118 | (7) |
|
|
125 | (94) |
|
|
127 | (22) |
|
|
129 | (4) |
|
Precedents in Postmodernism |
|
|
133 | (2) |
|
Precedents in Conceptual Art |
|
|
135 | (3) |
|
Precedents in Digital Art |
|
|
138 | (3) |
|
|
141 | (8) |
|
|
149 | (17) |
|
|
150 | (4) |
|
|
154 | (3) |
|
Artificial Intelligence and Music |
|
|
157 | (3) |
|
Artificial Intelligence and Selectivity |
|
|
160 | (2) |
|
Music and Remix After Artificial Intelligence |
|
|
162 | (4) |
|
|
166 | (17) |
|
|
167 | (2) |
|
Aesthetics of Image, Sound, and Text in Media |
|
|
169 | (5) |
|
|
174 | (1) |
|
|
175 | (3) |
|
|
178 | (5) |
|
|
183 | (13) |
|
|
185 | (3) |
|
Culture and Artificial Intelligence |
|
|
188 | (1) |
|
Culture, Remix, and Metacreativity |
|
|
189 | (3) |
|
|
192 | (4) |
|
|
196 | (23) |
|
|
199 | (3) |
|
|
202 | (1) |
|
|
203 | (5) |
|
|
208 | (2) |
|
|
210 | (4) |
|
Interstitial and Meta Paradigms |
|
|
214 | (5) |
|
|
219 | (40) |
|
13 Principles of Metacreativity |
|
|
221 | (13) |
|
|
221 | (1) |
|
The Four Layers of Production and History |
|
|
222 | (1) |
|
|
222 | (2) |
|
|
224 | (1) |
|
|
224 | (1) |
|
|
225 | (1) |
|
|
226 | (1) |
|
|
227 | (1) |
|
|
227 | (1) |
|
|
228 | (1) |
|
The Loop of Appropriation and Selectivity |
|
|
229 | (2) |
|
The Rise of Metacreativity |
|
|
231 | (3) |
|
14 AI Aesthetics After Remix |
|
|
234 | (14) |
|
|
235 | (3) |
|
From the Historical Avant-Garde to the Meta-Avant-Garde |
|
|
238 | (3) |
|
Echo-Creativity and Mashup Principles |
|
|
241 | (2) |
|
|
243 | (2) |
|
|
245 | (3) |
|
15 Conclusion: Tripartages |
|
|
248 | (11) |
|
Meta-Realities: A Short Story |
|
|
248 | (2) |
|
Writing as Composing: Shareable Creativity |
|
|
250 | (2) |
|
|
252 | (7) |
Index |
|
259 | |