Titlebook: Creative Tools and the Softwarization of Cultural Production; Frédérik Lesage,Michael Terren Book 2024 The Editor(s) (if applicable) and T

Grandstand

可卡

不能和解

BOLUS

Book 2024s for understanding this complex, emerging, and dynamic field that speaks beyond the disciplinary categories of ‘tool,’ ‘instrument,’ and/or ‘software’. It makes a unique intervention in the fields of cultural production and the cultural and creative industries.. .?

泥瓦匠

Electrode Potential Measurements,atform tools. These tool-related decisions are not made in a vacuum, but rather formed by interactions between various groups or “sides” of the platform (e.g., cultural producers, developers, and end-users). Second, interactions among users are managed by platform companies, who facilitate what busi

拱形大橋

退出可食用

Hans Joachim Braun,Wolfhard Weberty, changing workflows, and equitable working conditions that can be inferred from the already-observable cultural and aesthetic implications of AI in visual design work. The chapter analyzes these hopes, fears, and expectations as part of a broader ‘technological imaginary’ of game-making through a

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Hans Joachim Braun,Wolfhard Weberhat the autoharp and chord organ marketed have given way to fantasies of professionalized “progress.” I argue that each instrument, in its historical moment, makes promises of creativity and ease that act as surreptitious promises of class mobility and inclusion, but that the easy-playing software i

onlooker

Hans Joachim Braun,Wolfhard Weber like the one encountered in the fieldwork, demonstrating how these institutions impart creative practice as something that is interdisciplinary, industry-oriented, and organizationally flexible. We then relate three vignettes of encounters with the tool agnostic over the course of the 16 months of

Dissonance