By Lynette Hunter
Reviews of realizing explores what occurs to technological know-how and computing once we contemplate them as texts. Lynette Hunter elegantly weaves jointly monstrous parts of concept: rhetoric, politics, AI, computing, feminism, technological know-how experiences, aesthetics and epistemology.Critiques of realizing exhibits us that what we'd like is an intensive shake-up of techniques to the humanities if the opinions of technology and computing are to return to any fruition.
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Additional info for Critiques of Knowing: Situated Textualities in Science, Computing and the Arts
But as yet there is little or nothing on stance, or the centre of rhetoric which is concerned with material interaction. Rhetoric works with a number of techniques and devices, which help to fulfil the persuasive strategies of the writer. And, of increasing interest over the past twenty years, the reader too brings a number of rhetorical strategies to bear upon the text. Classical rhetoric describes these fields under the terms ethos and pathos respectively. At the same time, at the particular moment of history that a text is communicated, the writer and the reader are engaging together through the text, the orator and the audience are engaging collectively in the speech.
But exactly how do they differ? With students, who are by definition coming into Rhetoric and artificial intelligence 41 the community from the outside, one cannot take tacit understanding for granted. Winston’s own book, a product of the 1970s, is formally based and makes considerable claims for the extent of problem-solving. Nilsson (1982) is more concerned with a generalisation of the broad range of AI methods, but at the same time shows more overtly the aim at ‘control’ that AI desires. His tripartite summary of production systems, data operations and control, refocused as declarative, procedural and control knowledge, is familiar to many AI textbook introductions.
The redrawing goes in for hierarchies of creativity which set the small, domestic creativity against the artist as hero (129). This version of ‘art’ makes no comment whatsoever on aesthetic theory, on representation as necessarily deceitful, on writing in particular as interactive (156), or of the alphabet as a medium; 59 let alone any reference to readerresponse theory, psychoanalytic concepts of the subject, the ideological construction of cultural artefacts, or the debate surrounding structuralism.