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Lauren Elkin
Lauren Elkin is most recently the author of No. 91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage). Her previous book Flâneuse: Women Walk the City (Chatto/FSG) was a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay, a New York Times Notable Book of 2017, and a BBC Radio 4 Book of the Week. Her essays have appeared in Granta, the London Review of Books, Harper’s, the New York Times, and Frieze, among others. Her next book, Art Monsters, will be out in July 2023 (Chatto/FSG). She lives in London.

Articles Available Online


Maria Gainza’s ‘Optic Nerve’

Book Review

May 2019

Lauren Elkin

Book Review

May 2019

In his foreword to A Thousand Plateaus, on the pleasures of philosophy, and of Deleuze and Guattari’s philosophy in particular, Brian Massumi writes:  ...

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Issue No. 8

Barking From the Margins: On écriture féminine

Lauren Elkin

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Issue No. 8

 I. Two moments in May May 2, 2011. The novelists Siri Hustvedt and Céline Curiol are giving a talk...

The ability of computers to semantically understand the world – and the humans in it – is next to nonexistent Computers are wonderful at crunching numbers, transforming data, and analysing the organisation of bits and bytes in any forms, but only in so far as those bits and bytes are complete in themselves When it comes to a holistic understanding of how that data relates to the world in which they live, computers remain inept, unable even to understand the rudimentary meanings of the English language Try to ask Google a question, rather than just punching in words to search for, and watch how quickly Google will run into difficulties understanding what question you’re asking It might know ‘What year was Obama born?’, but ask ‘What term is Obama in?’ and it cannot tell you ‘His second’   In the near-term seeking such human-level understanding is a futile endeavour In a previous article for The White Review, ‘Choose Your Own Formalism’, I wrote about the formal aspects of human-computer interaction in games: the ways in which the limitations of computer representation of characters and ideas place constraints on what can be done within the confines of digital interactivity These delineate the difficulties computers have in simulating – and thus in representing – human character and interaction   There is little cause for optimism in that regard The ability to create interactive analogues for the complexities of human activity and emotion are limited by the need to specify them to the very finest detail Unless a computer can ‘think’ like a human, which it certainly can’t, the only way for human-like interaction to take place is if the designers manually code up every variation and possibility, an endless, exhausting, and uncommercial task But there is a much richer vein of development, one that promises far more surprises and advances in the year to come I am talking about interactive modalities, the means by which we exert control over our player character counterpart within a game There is one catch, however, which is that it is entirely sub-rational and non-cognitive   When I

Contributor

August 2014

Lauren Elkin

Contributor

August 2014

Lauren Elkin is most recently the author of No. 91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK...

The End of Francophonie: The Politics of French Literature

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Issue No. 2

Lauren Elkin

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Issue No. 2

I. We were a couple of minutes late for the panel we’d hoped to attend. The doors were closed and there was a surly-looking...

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Art

March 2014

Amy Sillman: The Labour of Painting

Paige K. Bradley

Amy Sillman

Art

March 2014

The heritage of conceptualism and minimalism leaves a tendency to interpret a reduction in form as intellectually rigorous. If...

Art

September 2015

Sightlines: James Turrell

Gareth Evans

Art

September 2015

For, and in memory of, Jules Wright   Approach   It is a pleasure too rarely realised to venture...

Prize Entry

April 2017

THIS PAGE INTENTIONALLY LEFT BLANK

Anna Glendenning

Prize Entry

April 2017

 1. PhD   Blue bedroom, Grandma’s house, Aigburth, Liverpool   I gave birth to one hundred thousand words. Tessellated,...

 

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