algorithmic criticism

Description (in English)

ScareMail is a web browser extension that makes email "scary" in order to disrupt NSA surveillance. Extending Google's Gmail, the work adds to every new email's signature an algorithmically generated narrative containing a collection of probable NSA search terms. This "story" acts as a trap for NSA programs like PRISM and XKeyscore, forcing them to look at nonsense. Each email's story is unique in an attempt to avoid automated filtering by NSA search systems. One of the strategies used by the US National Security Agency's (NSA) email surveillance programs is the detection of predetermined keywords. Large collections of words have thus become codified as something to fear, as an indicator of intent. The result is a governmental surveillance machine run amok, algorithmically collecting and searching our digital communications in a futile effort to predict behaviors based on words in emails. ScareMail proposes to disrupt the NSA's surveillance efforts by making NSA search results useless. Searching is about finding the needles in haystacks. By filling all email with "scary" words, ScareMail thwarts NSA search algorithms by overwhelming them with too many results. If every email contains the word "plot," or "facility," for example, then searching for those words becomes a fruitless exercise. A search that returns everything is a search that returns nothing of use. The ability to use whatever words we want is one of our most basic freedoms, yet the NSA's growing surveillance of electronic speech threatens our first amendment rights. All ScareMail does is add words from the English language to emails written by users of the software. By doing so, ScareMail reveals one of the primary flaws of the NSA's surveillance efforts: words do not equal intent.

(Source: ELO Conference 2014)

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Screenshot: Scaremail
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By Patricia Tomaszek, 4 July, 2011
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Abstract (in English)

This document contains the report on a curricular unit for ‘Provas de Agregação’ in the area of Modern Languages and Literatures, in accordance with the provisions set in paragraph b) of Article 5 of Decree-Law 230/2007 of 19 June. 'Kinetic Poetry' is divided into three parts: (a) introductory contextualizing reflections on the research and teaching of electronic literature [pp. 9-23]; (b) detailed description of the course syllabus and of its teaching methodology, including semestral plans, class topics, and evaluation assignments [pp. 25-79]; (c) a final study on Jim Andrews, one of the algorithmic authors whose work is especially relevant for this seminar’s argument [pp.80-103]. This report contains a CD-ROM, DigLitWeb: Digital Literature Web, a pedagogical website that I have designed and maintained between 2005 and 2010 (http://www.ci.uc.pt/diglit/). In terms of structure and content, DigLitWeb aims to integrate my research and teaching at both undergraduate and postgraduate levels. ‘C de Cinéticos/K for Kinetic’, one of the sections of DigLitWeb (http://www.ci.uc.pt/diglit/DigLitWebCdeCineticos.html), includes a survey of digital works that are part of the ‘Kinetic Poetry’ syllabus. Except for a bilingual introductory note, all text is written in English (cf. Article 18º of Decree-Law 230/2007 of 19 June). The use of English as language of instruction is a contribution to the international profile of the MA Program in Poetry and Poetics, recently established at the Faculty of Arts at the University of Coimbra. 10 ECTS credits have been allocated to the ‘Kinetic Poetry’ semestral course, with 3 weekly contact hours.

Abstract (in original language)

Este documento constitui o relatório sobre unidade curricular para efeitos de Provas de Agregação na área de Línguas e Literaturas Modernas1, de acordo com o estipulado na alínea b) do artigo 5º do Decreto-Lei 230/2007, de 19 de Junho. O relatório ‘Poesia Cinética’2 encontra-se dividido em três partes: (a) reflexões preliminares de contextualização da investigação e do ensino da literatura electrónica [pp. 9- 23]; (b) descrição detalhada dos conteúdos do programa e da metodologia de ensino, incluindo planificação semestral, tópicos de aula e exercícios de avaliação [pp. 25-79]; (c) um ensaio final sobre Jim Andrews, um dos autores algorítmicos estudados cuja obra é particularmente relevante para o argumento deste seminário [pp. 80-103]. Este relatório inclui ainda em anexo o CD-ROM DigLitWeb: Digital Literature Web, um sítio web pedagógico que desenhei e actualizei entre 2005 e 2010 (http://www.ci.uc.pt/diglit/). A sua estrutura e conteúdo procuram integrar as minhas actividades de investigação e de ensino, tanto a nível graduado como pós-graduado. ‘C de Cinéticos/K for Kinetic’, uma das secções de DigLitWeb (http://www.ci.uc.pt/diglit/DigLitWebCdeCineticos.html), contém um levantamento anotado de obras digitais que fazem parte da unidade curricular sobre a qual incide o presente relatório. Com excepção da nota bilingue introdutória, todo o texto se encontra redigido em inglês (cf. Artigo 18º do Decreto-Lei 230/2007, de 19 de Junho). A leccionação em inglês é um contributo para o desejável perfil internacional do Mestrado em Poesia e Poética, recentemente criado na Faculdade de Letras da Universidade de Coimbra.3 Ao seminário semestral ‘Poesia Cinética’, com uma carga lectiva de 3 horas semanais, estão atribuídos 10 ECTS.

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By Scott Rettberg, 20 May, 2011
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978-0-262-01343-7
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xv, 482
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Approved by librarian
Abstract (in English)

What matters in understanding digital media? Is looking at the external appearance and audience experience of software enough—or should we look further? In Expressive Processing, Noah Wardrip-Fruin argues that understanding what goes on beneath the surface, the computational processes that make digital media function, is essential.Wardrip-Fruin suggests that it is the authors and artists with knowledge of these processes who will use the expressive potential of computation to define the future of fiction and games. He also explores how computational processes themselves express meanings through distinctive designs, histories, and intellectual kinships that may not be visible to audiences.Wardrip-Fruin looks at "expressive processing" by examining specific works of digital media ranging from the simulated therapist Eliza and the first major story-generation system Tale-Spin to the complex city-planning game SimCity. Digital media, he contends, offer particularly intelligible examples of things we need to understand about software in general; if we understand, for instance, the capabilities and histories of artificial intelligence techniques in the context of a computer game, we can use that understanding to judge the use of similar techniques in such higher-stakes social contexts as surveillance.

(Source: MIT Press)

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