```tracker searchType: frontmatter searchTarget: weight folder: daily notes line: title: Weight Tracker yAxisLabel: weight lineColor: blue ``` ## Revising the fucking Midjourney paper - emphasise that our version is a middle way. - title: generative ai and the medium of gardening - Shorten the introduction –maybe start at page 3. - Add the JAC 2023 paper to note 2 - Deal with the agency objection: even if we accept this idiopsyncratic way of talking about agency it downplays [[the role]] of the user - Expand the wine example at the end of section 2 - Cite the JAC paper and the elizabeth/sabrina paper at ther beginning of the tool section. - Weekend after next submit. - Add the year to Lowe on page 11 - typo (capital letter) top of page 12 - Start of 4.2. We introduce the category of [[machina naturans]] to characterise those machines that are capable of generating and shaping things in the same way as nature. Generative AI system are paradigm cases. The practice of making images with Midjourney is in this sense strikingly similar to gardening. **It is** a system under incomplete control of the user. - To of page 18 the quote is weird. “[t]he medium present[ing] particular challenges and possibilities for artistic creativity, and the artwork makes manifest the artist’s response to these challenges and possibilities” (2016, p. 40; see also Nguyen 2020, pp. 145–152). - Page 18 "Specifically, given the autonomous and generative character of [[natura naturans]], gardens exhibit what we might call a [[dynamic recalcitrance]] characterised by unpredictability and autonomy of biological processes." Say, "THE MEDIUM OF GARDENING EXHIBITS..." - page 18: ...depending on the art form, each can present different degrees of recalcitrance." "Moreover each art form can present..." - Something more at the top of 5.2: BEFORE CITING THOMSON JONES IN THE FIRST PARAGRAPH add '[[Artistic media]] do on the one hand shape the creative activity of the artist, and on the other, the appreciative response of the audience'. 'This point has been made by Lopes 2014 [[BEYOND ART]], Gaut 2010, Nannicelli 2017. Thomson Jones effectively/usefully summarises it as follows.... (Quote) - "This is the same for paint on canvas, or film or words or marble, or gardening, or any other materials that are used to create art. This completes our positive proposal." - Section 6: *At the beginning of this paper we mentioned that Midjourney is not the only generative AI around. There are text to text systems, most famously ChatGPT, but also Llama 2, and Claude 2. There are also various other text to image models as well as Midjourney, such as Stable Diffusion and*... put the text to image generators first. - should be Italics at the top of 23. - Conclusion: "Characterising Midjourney as a type of agent captures its autonomous and unpredictable nature, BUT DOWNPLAYS ITS ESSENTIAL DEPENDENCY ON A HUMAN CREATIVE PROJECT" - This allows for the recognition of the system's autonomous nature, similar to the agency view, BUT ALSO ALLOWS MIDJOUNREY TO BE A MEANS OF CREATION, AS PER THE TOOL VIEW, AND YET ACKNOWLEDGE IS UNPREDICTABLE NATURE WITHOUT CONSIDERING IT A MALFUNCTION. without requiring the attribution of [[mental states]]. 21DALL-E 3. Can what we say about Midjourney be applied to these ‘text to text’ models as well? Ok, you are kind of doing what I want. Lets try a [[different approach]]. All I want you to do is to make a pargraph which combines the two paragraphs below. I like a great deal of the first paragraph but I would like the part analysing the bicycle quote to come immediately after it, and then the rest of the text to be slightly shortened so as not to repeat unnecessary information However, while there is much to be said for Roberts' extension of [[the functional beauty]] account, it does not provide a complete account of [[invisible design]]. A well-designed keyboard facilitates efficient, comfortable typing not primarily through its tactile feel, but through factors such as the spacing and travel of the keys. [[The pleasure]] of typing on such a keyboard emerges from the typing experience itself, with the keyboard's design "getting out of the way" and allowing the typist to focus on their words. Similarly, a well-designed kitchen knife is a pleasure to use [[not just]] because of how it feels in the hand, but because the angle of the blade and the shape of the handle conspire to make cutting effortless and precise. Again, appreciation of [[the design]] arises through use, with tactile qualities playing a secondary role. However, the quote "look beautiful, but to ride beautifully, where this is a matter of how it feels to the user" (Roberts 2022, 59) suggests that Roberts is using the term "feels" in a different sense than in the rest of the text. In most of the paper, Roberts discusses feeling the qualities of objects via [[haptic touch]], which involves actively exploring an object with one's hands. This exploratory action is distinct from actually using [[the object]] for its intended function. In the case of the bicycle, for example, haptic exploration would involve running one's hands over the frame, tires, and components to appreciate their physical properties. Riding the bicycle, on the other hand, is a separate action that produces a different kind of "feeling" - the feeling of what it is like to use the object. This feeling arises from the interaction between the user's body and the bicycle in motion, and is not purely a matter of tactile sensation. The pleasure of riding a well-designed bicycle emerges from factors such as the efficiency of pedaling, the smoothness of the ride, and the responsiveness of the handling. These factors are certainly influenced by the bicycle's physical properties, but are not identical to them. The quote thus hints at a broader conception of functional beauty that goes beyond the appreciation of an object's tactile qualities to encompass the holistic experience of using it. This suggests that invisible design, in its fullest sense, involves not just how an object feels to the touch, but how it feels to engage with it in its intended function. ![[20240507_220730.jpg]]