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  Was mich an diesem Text noch mehr nervt als die wiederholt aufgewärmte Cybersyn-Nostalgie und die komplette Ignoranz gegenüber jeglichen ökologischen Fragen ist das vollkommene Desinteresse an den konkreten Funktionsweisen von Technologien 1/ https://jacobin.de/artikel/die-linke-braucht-eine-eigene-zukunftsvision-fuer-ki

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  Ideologically, generative AI is a 19th century technology: the flawed dream that once you have assembled a supposedly total archive of culture via technical media, you can use it to statistically derive new meaning from patterns of the past

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  I hear critical positions towards so-called «artificial intelligence» nowadays framed more and more as «rejectionism», and this is especially formulated as a critique of the left. The argument often goes something like this: Rather than seeing the potentials of AI, the left merely rejects it. «Rejectionism» thus is framed as an unwillingness to engage with the technology. But nothing could be further from the truth. Left-wing critique of AI, which takes many forms, is based on an empirical asses...

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  I say this more to myself than to anyone else, but if the critical study of digital cultures doesn't help us understand and hopefully even confront the conditions of the rise of digital fascism, it remains a purely academic distraction

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  Für die @woz darf ich in einer neuen Online-Kolumne alle zwei Wochen über #Slopaganda schreiben. Los geht‘s mit den Basics: Was ist eigentlich Slopaganda? https://www.woz.ch/kolumnen/2026/05/08/slopaganda-was-ist-slopaganda

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  Very much looking forward to this event: «AS WE MAY SEE. Tracking and Tracing the Image after Farocki», October 30 - November 1. Come join us in Zurich to convene, think, and discuss the complex and contradictory state of the technical image today!

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  Save the Date: «Schreibt KI Geschichte? Künstliche Intelligenz in der historisch-politischen Bildung», Tagung der Gedenk- und Bildungsstätte Haus der Wannsee-Konferenz, Potsdam, 17. – 18. Juni 2026 https://www.ghwk.de/de/blog/schreibt-ki-geschichte

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  »Das Lächeln der KI« – ich war gestern im Deutschlandfunk Kultur in der schönen Sendung »Kompressor« zu Gast und durfte mit Gesa Ufer über KI-generierte Selfies, algorithmisch verstärkte Klischees und Stereotypen, Risiken und Probleme der Emotionserkennung sowie darüber reden, wie Programme wie Midjourney unsere Vorstellung von Geschichte verändern. Das Gespräch lässt sich nun nachhören. https://www.deutschlandfunkkultur.de/american-smile-das-laecheln-der-ki-podcast-dlf-kultur-49bda825-100.html

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  Full-time position as University Professor of ‹Interface Cultures/Critical Data› at the University of Arts Linz, starting on 1 October 2025, digital applications are to be sent by 7 February 2025 #JobAlert https://www.kunstuni-linz.at/en/current/jobs/tender/universitaetsprofessur-fuer-interface-cultures-critical-data-nach-98-ug-2002

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  «In the early 2000s, as something of a human annotator avant la lettre, Farocki was hardly able to imagine the drudgery of today’s extraction and exploitation in an AI industry that had not yet arisen. He couldn’t yet relate it to the living labor—rendered invisible, though increasingly organized—in the archipelago of sweatshops and the globally distributed ‹computer vision lab› where click workers and content moderators toil in the Global South. ... Nevertheless, Farocki clearly recognized how...

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  Immediately after the landing of Artemis 2, AI-generated images of the recovery spread online. We have seen this before, with the kidnapping of Maduro or the mass protests against ICE raids – fake images of real events. While these synthetic images fictionalize reality, they are not necessarily meant as disinformation. Rather, they both illustrate and cater to widespread expectations. In our hypervisualized world of ubiquitous networked cameras, we expect to see perfect images of whatever is hap...

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  Für @ndaktuell hab ich etwas über KI-Bildgenerierung als Klischeeverstärker, das vermeintliche »Ende der Wahrheit« und die Entwertung kreativer Arbeit geschrieben https://www.nd-aktuell.de/artikel/1173690.digitalisierung-digitale-kunst-bildermaschinen.html

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  Nicolas Gourault's fantastic short experimental documentary film «Their Eyes» about the invisible human labor behind AI, which we showed and discussed at our «React & Respond» conference in Zurich last year, is now streaming on the NYT website https://www.nytimes.com/2026/01/02/opinion/ai-self-driving-cars-workers.html

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  OpenAI's sudden discontinuation of its video model #Sora, just a few months after a spectacular deal with Disney, shows just how little these AI companies care about their so-called products. AI video apps, to quote @hito Steyerl, are «onboarding tools» — their purpose is more ideological than commercial. Rather than offering revenue-generating services (OpenAI is burning money with every single Sora generated clip), these apps are designed to accustom us to a world in which so-called...

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  The largest infrastructure projects currently being built in the US appear to be data centers and detention centers. The AI boom has coincided with ICE becoming the most heavily funded government agency. It's hard not to see a connection: This is the architecture of digital fascism https://www.bloomberg.com/news/features/2026-01-29/us-spends-hundreds-of-millions-on-warehouses-for-ice-detention-centers

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  Annika Brockschmidt beschreibt in diesem erschütternden Artikel das Ausmass, in dem US-Regierungsaccounts Neo-Nazi-Content verbreiten. Ich durfte auch meine Einschätzungen beitragen https://www.volksverpetzer.de/analyse/us-regierung-neo-nazi-content/

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  Mit Max Oppel vom «Kompressor» im Deutschlandfunk Kultur durfte ich über generative KI im Histotainment sprechen. Ich war skeptisch, der Moderator wiederum eher skeptisch, was meine Skepsis betraf, und so wurde ein hoffentlich recht lebhaftes Gespräch daraus. Ganz ohne bewegte Bilder und synthetische Animationen https://www.deutschlandfunkkultur.de/ki-im-histotainment-wie-sieht-das-aus-sollte-das-so-aussehen-100.html