{"id":8505,"date":"2016-02-03T11:18:12","date_gmt":"2016-02-03T11:18:12","guid":{"rendered":"http:\/\/lab.wrkshp.fi\/huopaniemi\/?p=8505"},"modified":"2018-01-10T15:11:30","modified_gmt":"2018-01-10T13:11:30","slug":"2-7-frag-19-r","status":"publish","type":"post","link":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/2-7-frag-19-r\/","title":{"rendered":"2.7 Fragment 19"},"content":{"rendered":"<h1><em>2.7<\/em> Fragment 19<\/h1>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style><div id=\"gallery-1\" class=\"gallery galleryid-8505 gallery-columns-1 gallery-size-large\"><dl class=\"gallery-item\"><dt class=\"gallery-icon landscape\">\n\t\t\t\t<img width=\"1024\" height=\"640\" src=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-19-1024x640.jpg\" class=\"attachment-large size-large\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-6683\" srcset=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-19-1024x640.jpg 1024w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-19-300x188.jpg 300w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-19-768x480.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><\/dt>\n\t\t\t\t<dd class=\"wp-caption-text gallery-caption\" id=\"gallery-1-6683\">\n\t\t\t\tFragment 19, <em><a class=\"glossaryLink\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;The more one works with digital technologies, the more one comes to appreciate the capacity of networked and programmable machines to carry out sophisticated cognitive tasks, and the more the keyboard comes to seem an extension of one&rsquo;s thoughts rather than an external device on which one types (Hayles 2012, 3).&amp;lt;br\/&amp;gt;&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/adapted-from-hayles-passage-15\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">adapted from Hayles passage 15<\/a><\/em>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\"><\/div>\n\n<p>By transferring and repurposing Hayles&rsquo;s claims for another context, DAR themself puts forward a major argument in <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-19.jpg\">fragment 19<\/a>. By stating that the digital media we use &ldquo;perform complex cognitive tasks,&rdquo; they invite a series of questions. The most fundamental of these, of course, is what cognition is, and whether machines can cognize or not. Following Hayles, DAR seems to assert the affirmative.<\/p>\n<p>Both tasks&mdash;machine translation and automated speech recognition&mdash;are technically complex, but are they cognitive? If so, in what way or in what sense? What is ultimately the relationship between human and (the purportedly) machine cognition in <em>love.abz\/(love.abz)<sup>3<\/sup><\/em>?<\/p>\n<p>As my questions reveal, I think DAR rushes ahead of things in <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-19.jpg\">fragment 19<\/a>. To my mind, it is not at all obvious that machines perform cognitive tasks in this research. I am ready to accept that, in the research as a whole, digital media <em>serve<\/em> cognitive purposes. They enable and support cognitive processes and even participate in them, both by their functionality and by their dysfunction (as misrecognitions and mistranslations are often productive for research purposes).<\/p>\n<p>Elsewhere, Hayles has referred to the &ldquo;in-mixing&rdquo; of human and machine cognition, as well as to their &ldquo;collision\/conjunction&rdquo; (<a class=\"glossaryLink cmtt_refer-fi cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Hayles, N. Katherine. 2008. &amp;quot;Distributed Cognition at\/in Work: Strickland, Lawson Jaramillo, and Ryan&rsquo;s slippingglimpse.&rdquo; &amp;lt;i&amp;gt;Frame&amp;lt;\/i&amp;gt; 2008(21.1): 15&ndash;29.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/hayles-2008\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Hayles 2008<\/a>, 16, 23). For this research, the key question is, do digital media perform cognitive tasks or do they, instead, unintentionally acquire cognitive agency in our writing and reading processes. I tilt toward the latter view.<\/p>\n<h3>Unintentional Cognitive Agency<\/h3>\n<div class=\"pl-video vimeo\"><iframe src=\"\/\/player.vimeo.com\/video\/233608855\" width=\"100%\" height=\"100%\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen wmode=\"transparent\"><\/iframe><\/div>\n<h6>Video 2.7.1. <em>Excerpt from&nbsp;video documentation of&nbsp;<i>love.abz<\/i>, first artistic part. NB:&nbsp;The video is reproduced in double speed.<\/em><\/h6>\n<p>In another context (<a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Huopaniemi, Otso. 2014. &amp;quot;TPs and IOAs in Supposed Disorder.&rdquo; &amp;lt;i&amp;gt;Teatteri ja media(t)&amp;lt;\/i&amp;gt;, eds. Marjatta H&auml;ti-Korkeila, Hanna J&auml;rvinen, Jukka Kortti, Riku Roihankorpi, 139&ndash;148. N&auml;ytt&auml;m&ouml; ja tutkimus 5. Helsinki: Theatre Research Society.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/huopaniemi-2014en\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Huopaniemi 2014EN<\/a>), I have analyzed how, in the part of&nbsp;<i>love.abz<\/i> documented in&nbsp;, machine translation and speech recognition (noncognizantly) contribute to the reading and writing process through their <em>noisy<\/em> results (<a class=\"glossaryLink cmtt_note-2-7en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;In computational linguistics, &amp;quot;noisy&rdquo; describes inaccurate or erroneous translations (see e.g. Schlesinger et al. 2008, 577).&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/1-5en3-5\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">2.7EN1<\/a>). In the analysis, I focus particularly on the mechanisms through which speech recognition could be thought to obtain <em>unintentional cognitive agency<\/em> in the improvisatory group writing. I foreground two concepts that I have used to study the texts written in the performances: <em>turning points<\/em> and <em>instances of accompaniment<\/em>.<\/p>\n<p>By turning point (<a class=\"glossaryLink cmtt_note-2-7en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;In dramaturgy, &amp;lt;em&amp;gt;turning point&amp;lt;\/em&amp;gt;&nbsp;stems from the Greek term &amp;lt;em&amp;gt;peripeteia&amp;lt;\/em&amp;gt; (reversal of circumstances or, indeed, turning point), which&mdash;in the eleventh chapter of the &amp;lt;em&amp;gt;Poetics&amp;lt;\/em&amp;gt;&mdash;Aristotle defines as one of three elements of the plot (&amp;lt;em&amp;gt;mythos&amp;lt;\/em&amp;gt;), along with recognition (&amp;lt;em&amp;gt;anagnorisis&amp;lt;\/em&amp;gt;), and suffering (&amp;lt;em&amp;gt;pathos&amp;lt;\/em&amp;gt;) (Heinonen et al. 2012EN).&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/1-5en6-5\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">2.7EN2<\/a>), I refer to a technical shortcoming or statistical error, as a result of which the speech produced by the performer and the text produced by the software do not match. Such recognition errors are very common in multiple-user speech recognition, such as in <em>love.abz\/(love.abz)<sup>3&nbsp;<\/sup><\/em>(see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/8\/\">1.8<\/a>). (Depending on language and software, they are still relatively common in single-user speech recognition too.) Here, however, the turning points have a specific and important function, which is why they cannot be regarded as mere technical breaks.<\/p>\n<p>A turning point is a rupture of the writing process, in which the software inserts something that the speaker has not intended or desired. The writer-performer is thus forced to halt and choose either a strategy of compliance or resistance. The former usually entails incorporating the result of the misrecognition into the text, legitimizing it as part of the writing process. The latter, on the other hand, is an attempt to restore authorial control by the means offered by the software, the so-called dictation commands.<\/p>\n<p>Turning points are significant for a discussion of the relationship of human and machine cognition in the case of <em>love.abz\/(love.abz)<sup>3<\/sup><\/em>. If machine cognition in this context occurs in any form, it is precisely because of them. Almost without exception, the human writer-performers include at least something of the noisy material produced by the software. In retrospect, it is usually easy to see that the &ldquo;foreign&rdquo; words and phrases produced by the programs have influenced the texts markedly.<\/p>\n<p>Instances of accompaniment (<a class=\"glossaryLink cmtt_note-2-7en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;I borrow the term from Enrique L. Palancar, who in &amp;quot;A typology of split conjunction&rdquo; describes &amp;lt;em&amp;gt;instances of accompaniment&amp;lt;\/em&amp;gt; in a linguistic context as, &amp;quot;when both participants act as actors, not as undergoers.&rdquo; (Palancar 2012, 38).&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/1-5en9-5\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">2.7EN2.5<\/a>), then, are occurrences in which a single writer-performer&mdash;or the group as a whole&mdash;succeeds in utilizing the rupture resulting from the turning point, i.e. takes a word or phrase invasively inserted as a result of the misrecognition and uses it either immediately or later in the text-in-progress. In instances of accompaniment, the ongoing reciprocal dynamic between the human writer-performers and the software is actualized and initiated in earnest. Here, Hayles&rsquo;s descriptions of &ldquo;in-mixing&rdquo; and &ldquo;collision\/conjunction&rdquo; begin to resonate, although we must continue to bear in mind that this method utilizes the &ldquo;dumbness&rdquo; of the machine rather than its &ldquo;intelligence&rdquo; (<a class=\"glossaryLink cmtt_note-2-7en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Jain et al.&rsquo;s definition is useful in distinguishing between &amp;quot;intelligent&rdquo; and &amp;quot;dumb&rdquo; (or normal) machines: &amp;quot;To be considered as an intelligent machine, the machine has to be able to interact with its environment autonomously. Interacting with the environment involves both learning from it and adapting to its changes. This characteristic differentiates normal machines from intelligent ones. In other words,&nbsp;&amp;lt;em&amp;gt;a normal machine has a specific programmed set of tasks in which it will execute accordingly&amp;lt;\/em&amp;gt;. On the other hand,&nbsp;&amp;lt;em&amp;gt;an intelligent machine has a goal to achieve, and it is equipped with a learning mechanism to help realize the desired goal&amp;lt;\/em&amp;gt;&rdquo; (Jain et al. 2007, 2, emphasis added).&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/1-5en8\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">2.7EN3<\/a>).<\/p>\n<p>The relationship between the human performers and the algorithmic programs becomes closer when the lines written by the former start to be increasingly indebted to the errors made by the latter. The fact that the performers usually do not react when the software leaves a word or phrase completely unrecognized also speaks of this interdependence. Such non-recognitions&mdash;i.e. when the speech signal is left without its textual referent&mdash;are rare but not unheard of. My documentation shows that performers often ignore non-recognitions, perhaps because it is easier to react to erroneous recognition than to lack of recognition. Whether or not the machine has the capacity to perform complex cognitive tasks in this connection, its input is prerequisite for the continuation of the described writing.<\/p>\n<div class=\"viitteet\">\n<h5>Notes<\/h5>\n<p>2.7EN1<br>\nIn computational linguistics, &ldquo;noisy&rdquo; describes inaccurate or erroneous translations (see e.g. <a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Schlesinger, Judith D. &amp;amp;amp; O&rsquo;Leary, Dianne P. &amp;amp;amp; Conroy, John M. 2008. &amp;quot;Arabic\/English Multi-document Summarization with CLASSY&mdash;The Past and the Future.&rdquo; In &amp;lt;em&amp;gt;Computation Linguistics and Intelligent Text Processing&amp;lt;\/em&amp;gt;, ed. Alexander Gelbukh, 568&ndash;581. Berlin: Springer.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/schlesinger-et-al-2008\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Schlesinger et al. 2008<\/a>, 577).<\/p>\n<p>2.7EN2<br>\nIn dramaturgy, <em>turning point<\/em>&nbsp;stems from the Greek term <em>peripeteia<\/em> (reversal of circumstances or, indeed, turning point), which&mdash;in the eleventh chapter of the <em>Poetics<\/em>&mdash;Aristotle defines as one of three elements of the plot (<em>mythos<\/em>), along with recognition (<em>anagnorisis<\/em>), and suffering (<em>pathos<\/em>) (<a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Heinonen, T., Kivim&auml;ki A., Korhonen K., Korhonen T., Reitala H., Aristoteles. 2012. &amp;lt;em&amp;gt;Aristoteleen Runousoppi&amp;lt;\/em&amp;gt; (The Poetics by Aristotle, new Finnish translation). Helsinki: Teos.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/heinonen-et-al-2012\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Heinonen et al. 2012EN<\/a>).<\/p>\n<p>2.7EN2.5<br>\nI borrow the term from Enrique L. Palancar, who in &ldquo;A typology of split conjunction&rdquo; describes <em>instances of accompaniment<\/em> in a linguistic context as, &ldquo;when both participants act as actors, not as undergoers.&rdquo; (<a class=\"glossaryLink cmtt_refer-fi cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Palancar, Enrique L. 2012. &amp;quot;A typology of split conjunction.&rdquo; &amp;lt;em&amp;gt;Linguistic Typology&nbsp;&amp;lt;\/em&amp;gt;16: 265&ndash;320.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/palancar-2012\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Palancar 2012<\/a>, 38).<\/p>\n<p>2.7EN3<br>\nJain et al.&rsquo;s definition is useful in distinguishing between &ldquo;intelligent&rdquo; and &ldquo;dumb&rdquo; (or normal) machines: &ldquo;To be considered as an intelligent machine, the machine has to be able to interact with its environment autonomously. Interacting with the environment involves both learning from it and adapting to its changes. This characteristic differentiates normal machines from intelligent ones. In other words,&nbsp;<em>a normal machine has a specific programmed set of tasks in which it will execute accordingly<\/em>. On the other hand,&nbsp;<em>an intelligent machine has a goal to achieve, and it is equipped with a learning mechanism to help realize the desired goal<\/em>&rdquo; (<a class=\"glossaryLink cmtt_refer-fi cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Jain, Lakhmi C. &amp;amp;amp;&nbsp;Quteishat,&nbsp;Anas &amp;amp;amp;&nbsp;Lim,&nbsp;Chee Peng. 2007. &amp;quot;Intelligent Machines: An Introduction.&rdquo; &amp;lt;em&amp;gt;Studies in Computational Intelligence (SCI)&amp;lt;\/em&amp;gt; 70:1&ndash;9.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/jain-et-al-2007\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Jain et al. 2007<\/a>, 2, emphasis added).\n<\/p><\/div>","protected":false},"excerpt":{"rendered":"<p>2.7 Fragment 19 By transferring and repurposing Hayles\u2019s claims for another context, DAR themself puts forward a major argument in fragment 19. By stating that the digital media we use \u201cperform complex cognitive tasks,\u201d they invite a series of questions. The most fundamental of these, of course, is what cognition is, and whether machines can [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[29],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8505"}],"collection":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/comments?post=8505"}],"version-history":[{"count":16,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8505\/revisions"}],"predecessor-version":[{"id":20352,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8505\/revisions\/20352"}],"wp:attachment":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/media?parent=8505"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/categories?post=8505"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/tags?post=8505"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}