75447 2712-9934 Technology and Language 4 3 12 2023 1-141
EDI RUS 1-6 0009-0002-9914-6466 School of Intermedia Art, China Academy of Arts Yao Dajuin
Hangzhou, China
 0000-0002-4023-2901 ITAS Institute for Technology Assessment and Systems Analysis, Karlsruhe Institute of Technology Lin Nikita
Karlsruhe, Germany
 Future Writing: Editorial Introduction This collection of eight contributions on the theme of “Future Writing” is inspired by an intermedia investigative project at the School of Intermedia Art, China Academy of Art. Starting from a Derridean grammatological review of the act of writing today, authors were invited to consider writing-the-future along with the future-of-writing. This includes the ways in which science fiction and utopian texts, but also visionary programs for emerging technologies develop strategies of questioning the present by positing an ontologically discontinuous future. But future writing also has a past when romantic poets imagine a new language which allows us today to explore data-mining through the lens of copper-mining. The question is framed by our contemporary experience: Writing and the memory of the hand are becoming obsolete by way of typing and other technical proxies. These boundaries are challenged by Artificial Intelligence and Virtual Reality as providing new spaces for human articulation. At the same time, written characters are threatened by technical modernization, reminding us of issues of enactment and embodiment in the digital world. 10.48417/technolang.2023.03.01 003:001.18 Typography and Lettering Science Fiction Technological Visions Virtual Reality https://soctech.spbstu.ru/article/2023.12.1/ 1-6.pdf
RAR RUS 7-23 Hochschule RheinMain (RheinMain University of Applied Sciences) Henrich Juliane
Wiesbaden, Germany
 Berlin University of Arts Zielinski Siegfried
Berlin, Germany
 Crystallographic Resonances: Rewriting Novalis In 1798/99 the poet, philosopher, geologist, and mining expert Friedrich von Hardenberg, known as Novalis, drafted The Disciples at Sais, one of many literary fragments that envision an expanded form of reading and writing that takes its cues from the book of nature. This includes the language of rocks and crystals as evolving structures or forms. In June 2023 the filmmaker and artist Juliane Henrich created Dendrites at Hardenberg‘s castle in Oberwiederstedt. The title refers to the branch-like connections between nerve cells in the brain. In artificial neural networks, this structure is imitated. Crystals also grow in dendrite form. As part of the artistic research-group Resonanzräume, Henrich creates a space of resonance between dendrites and crystals, between Novalis‘ poetry and machinic language production, between Romanticism and the re-enchanted technosphere of the present. This space of resonance is here explored in conversation between herself, media theorist and media archaeologist Siegfried Zielinski, and GPT-4. The poetic and philosophical fragments of Novalis and Henrich‘s video-installation provide the material backdrop to this conversation. It concerns the limits of the AI tool as a romantic thinker and writer, it also establishes the romantic‘s interest in a language external to ourselves. 10.48417/technolang.2023.03.02 7: 004.8 Novalis the Blue Flower Dendrites GPT-4 Writing Technical Image https://soctech.spbstu.ru/article/2023.12.2/ 7-23.pdf
RAR RUS 24-39 China Academy of Art Xu Wenling
Hangzhou, China
 China Academy of Art Wang Yun
Hangzhou, China
 Emotional Visualization: The Metaverse Social in Embodied Cognitive Contexts In recent years, the concept of Metaverse has become popular. With the development and application of the metaverse, the Metaverse Social is gradually replacing the traditional Social and has become a way of socializing between people in the new era. The Metaverse Social is able to fuse technology and humanity, virtual and real, making it possible to communicate with people even further. This study analyzes the generation of the metaverse and the characteristics of the metaverse social, adds the perspective of embodied cognition, and discusses the design method of the four levels of the metaverse social in the context of embodied cognition. Emotions, as an integral part of social interaction, can facilitate emotional exchange and enhance the user's interactive experience in the Metaverse social platform. Using emotional visualization as an entry point, this study constructs a social design model of the "embodiment, symbolism, gamification, and resonance" metaverse of emotional visualization. The proposed design model is validated by four design highlights in the specific design case of the Emotion Meta social app: "real-time mapping – emotional visualisation – social entertainment – emotional resonance," demonstrating the immersive and emotional experience which the metaverse social can give users by blending the real with the virtual. 10.48417/technolang.2023.03.03 130.2:004:159.942 Emotional visualization Embodied cognition Metaverse Social Design https://soctech.spbstu.ru/article/2023.12.3/ 24-39.pdf
RAR RUS 40-48 China Academy of Art Zhang Lingyan
Hangzhou, China
 China Academy of Art Wang Yun
Hangzhou, China
 China Academy of Art Liu Jiarui
Hangzhou, China
 Artistic Creation in Virtual Space The purpose of this paper is to discuss the changes brought by artificial intelligence to future art creation and to explore how art creation in virtual space will unfold. The language, concepts, and ideas of art creation in the contemporary age are rapidly transforming. The further development of digital technology makes it possible to create in a virtual space, and we no longer need to rely on the presence of analogical tools to create excellent works. Virtual reality and augmented reality technologies have been able to bring the integration of human and virtual environments to a new level, and the language of art is being redefined. By sorting out the relationship between art creation language and symbols and the future transformation of art creation language brought about by new media, this paper focuses on the changes in four aspects of future art creation: the transformation of art creation’s space, language, tools, and mode. Finally, this paper uses the practice of children's art education projects as an example to illustrate the form of art language expression in virtual space, and to provide a reference for the future art creation methods in virtual space. 10.48417/technolang.2023.03.04 7:004.8 Art creation Virtual reality Augmented reality Virtual space Multimodal interaction https://soctech.spbstu.ru/article/2023.12.4/ 40-48.pdf
RAR RUS 49-58 RopeSchool Soulrope Karol
St. Petersburg, Russia
 On the Art of Shibari as a Form of Writing The art of tying the body with rope can be considered a form of writing. In this technique, the rope moves, leaving traces-patterns on the body which acts as a living and feeling canvas. There is interaction at two levels: control of the ropes, their arrangement of nodes as a created pattern, and the impact on the person who feels the ropes and reacts to them in one way or another. Handwriting depends on the pressure on the paper. But if the “paper” feels touch, smooth curls or painfully sharp underlines, then in the course of writing you have to solve two problems – to make the letters correct, and to establish an emotional relationship with the paper. Thus, in shibari, logical concentration, correctness and safety of construction are important, but an even more lively response requires sensory involvement from the master or mistress. However, unlike most writing or painting, where it is enough to look at the result, in shibari it is important to see the stages of creation, as if the artist was fundamentally changing his work with each new stroke. Shibari as a language takes place on two planes: one existing in space – a three-dimensional pattern of knots and lines on the body, the other, unfolding in time – the movement of the rope, and the body subordinate to it. Shibari has the features of a performance, and tying can serve to convey the theatrical relationship between the master and the model, and, together with the surroundings, create a plot. Moreover, the drawing of a rope can convey specific meanings. In ancient Japan, when binding was used for prisoners, the ropes on the body not only prevented escape and determined the remaining degrees of freedom. The knots were also of service for providing information about the person. 10.48417/technolang.2023.03.05 7:091.01 Shibari Bondage Kinbaku Technology of bondage Shibari as a Lnguage Hojojutsu https://soctech.spbstu.ru/article/2023.12.5/ 49-58.pdf
RAR RUS 59-84 0000-0001-5449-4745 Peter the Great St. Petersburg Polytechnic University Doroshev Alexander
St. Petersburg, Russia
 0000-0002-1510-3702 Peter the Great St. Petersburg Polytechnic University, Polyakova Anna
St.Petersburg, Russia
 The Rise and Fall and Rise again of the Seventh Letter: A Technological Story of the Russian Alphabet It goes without saying that the letter ё is not obligatory in the rules of Russian language – even though there are many names and words that include it. This lack of obligation led to the absence of that letter in the typewriters, keyboards and code systems. The difficulty and impossibility of using that letter then led to its slow disappearance in printed texts, even though there are still many names and words that include it. Therefore, persons who have the letter ё in their name will try to obtain this letter with two dots in programs and technical devices. Currently, the use of inbuilt dictionaries without having a possibility of variational typing and machine learning led to the tendency of using the letter ё due to autocorrection and systems of hints in the smartphones. When using keyboard applications in electronic devices, some words which contain the letter ё, are typed with the letter e. In particular, some words are changed automatically to e, others are not. Only time will tell what will happen with the letter the seventh letter of Russian alphabet in the future, whether it will lose its relevance or whether there will be a resurgence of its use. 10.48417/technolang.2023.03.06 003:002 Technologies of writing Letter ё Autocorrect T9 Keyboard Typewriters https://soctech.spbstu.ru/article/2023.12.6/ 59-84.pdf
RAR RUS 85-104 0000-0002-3869-1770 Austrian Institute of Technology Wien, Austria & Technical University Berlin, Berlin, Germany Mehnert Wenzel Wording Worlds – From writing Futures to building Imaginary Worlds In the context of the assessment of new and emerging technologies, there is the tendency to talk about futures as different worlds. Futures, especially in a non-trivial sense, postulate a break between our world and the potential future world. This break is accompanied by a series of changes that cannot be foreseen, as no empirical knowledge exists about the impacts and the future world that will follow from them. The only knowledge that exists is based on anticipation, extrapolation or speculation and points at worlds that are somehow estranged from our world, while at the same time show similarities. I argue that the worlds talked about in the context of technological futures are imaginary worlds, meaning cognitive constructs building up on the way we perceive our reality combined with culturally shared hopes and fears. Treating future worlds as imaginary worlds allows for an examination of the work that has been done on imaginary worlds in literary and especially SF-studies. Using the framework of understanding and analyzing futures as imaginary worlds can offer a thorough approach of analyzing images of the future and helps us reimagine the future of emerging technologies more holistically. 10.48417/technolang.2023.03.07 001.18:828-344 Technofutures Imaginary Worlds Imaginaries Science-Fiction Worldbuilding Technoculture https://soctech.spbstu.ru/article/2023.12.7/ 85-104.pdf
RAR RUS 105-117 Hochschule Darmstadt- University of Applied Science Gammel Stefan
Darmstadt, Germany
 Ontolytic Writing of the Future Visions of the future in the face of advancing scientific and technological developments are arguably as old as technological progress itself. In recent decades, however, and through new and emergent technologies such as nanotechnology or synthetic biology such writing of the future has increasingly taken on a quality that is more than merely imagining possible futures or extrapolating current developments. This is a writing of the future that can unravel the weave of the present – it is ontolytic writing. In order to illuminate ontolytic writing and what it means, we will first take a look at the phenomenon of the future tense II – how it represents a time loop through which an observer views the present from a position of the future and, in this act of viewing, ‘determines’ what of it will have been important. In a next step, parallels are drawn to prophetic speech that predicts a future and thereby rewrites the present. Then, through a look at the theory of science fiction literature, particularly Darko Suvin, this influence of the future narrative on the present is framed as ontolytic. Ontolysis is embedded in other concepts from science fiction theory, primarily estrangement, the notion of the novum, and chronotope. Using some examples of technovisionary texts, it is shown that this ‘diagnosis’ is transferable from Science Fiction literature to all other kinds of technovisionary narratives. The paper concludes with basic considerations about the kind of ontology that can be used to further elucidate the concept of ontolysis. 10.48417/technolang.2023.03.08 111:828-344 Technofuturism Ontology Ontolysis Ontolytic Writing Future Novum Estrangement Chronotope Science Fiction https://soctech.spbstu.ru/article/2023.12.8/ 105-117.pdf
RAR RUS 118-128 Amsterdam University of Applied Sciences Lovink Geert
Amsterdam, Netherlands
0000-0002-4023-2901 ITAS Institute for Technology Assessment and Systems Analysis, Karlsruhe Institute of Technology Lin Nikita
Karlsruhe, Germany
 Optimist by Nature, Pessimist by Design: Writing Network Cultures This conversation between Geert Lovink and Nikita Lin reflects upon our inner experiences within the global networked digital cultures. It explores the tactics, aesthetic and political, in response to the breakdowns brought by digital platforms and the possibility of creating new beginnings through persistent engagement in writing and publishing. Since 2004 Lovink is heading the Institute of Network Cultures at the Amsterdam University of Applied Sciences and is Art and Network Cultures Professor of Art and Network Cultures at University of Amsterdam’s Art History Department. The conversation takes as point of departure Lovink’s three recent books: Sad by Design: On Platform Nihilism, Stuck on the Platform: Reclaiming the Internet, and Extinction Internet: Our Inconvenient Truth Moment. Over the past 30 years, Lovink has been experimenting with the networks and the internet in his writing by developing a distinct style that dig into essays, interviews, aphorisms, sloganisms, and memes. This includes critical concepts that he has developed - such as ‘tactical media,’ ‘net criticism,' ‘sad by design,’ and ‘internet extinction’ – that people recognize, find useful and ready to apply to their own activities. For Geert Lovink, the fascinating question with writing is how to capture fast-changing real-time phenomena which means not only documenting but also leaving room for anticipation. 10.48417/technolang.2023.03.09 008:004 Network criticism Digital platforms Media theory Art and activism Writing and publishing https://soctech.spbstu.ru/article/2023.12.9/ 118-128.pdf
RAR RUS 130-140 Institute of Philosophy, Shanghai Academy of Social Sciences Zhang Fan
Shanghai, China
 The Social Nature of Skills: Beyond Dreyfus’ Skill Model Skill is different from knowledge. It is the ability of knowing-how rather than knowing-that as characterized by Hubert Dreyfus’ “Skill Model.” Dreyfus developed the „Skill Model“ to describe the  process of acquiring a skill like driving a car. For Dreyfus, skill is an intuitive reflection of the body which is based in experience. However, Dreyfus neglected that skillful activity does not consist in mechanically separable movements that are directed toward a physical object, but a certain way of dealing with things and persons involving know-how in respect to contexts of purposes in use. Accordingly, acquiring a skill involves two types of norms, operational norms and social norms. What Dreyfus emphasised in his “Skill Model” is only the operational norm of skill. As an ability of knowing-how, skill acquisition, skill transfer, and the judgment of skill are based on social norms. This can affect our attitude on artificial intelligence: 1. No computer will be fluent in a natural language, pass a severe Turing Test, and have full human-like intelligence unless it is fully embedded in normal human society. 2. No computer will be fully embedded in human society as a result of incremental progress from the base-line of current technology.   10.48417/technolang.2023.03.10 005.336.5:004.8 Skill Ability Michael Polanyi Hubert Dreyfus Harry Collins Operational and Social Norms AI https://soctech.spbstu.ru/article/2023.12.10/ 130-140.pdf