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D. Fox Harrell’s Phantasmal Media

Screenshot from The Griot Sings Haibun, 2005–, implementation and interface by D. Fox Harrell, generated by Harrell and Joseph A. Goaguen.

THE MYSTERIOUS GRAY AREA between cognitive science and computer science has long held broad allure, seducing thinkers at least since the time of Norbert Wiener and the theorization of cybernetics at midcentury. In the ensuing decades, what began as the technical field of artificial intelligence has increasingly captured the imagination of an emerging generation of prolific scholar-artists who are mining AI for new forms of expression and reception. Working primarily in institutional contexts characterized by descriptors such as new, integrated, and digital media, they are pursuing intensive practices modeled on scientific, social-scientific, and humanities research but probing an intriguing range of topics still only loosely defined, and presenting their findings through a range of innovative exhibition strategies. D. Fox Harrell, a leading representative of this trend, is a

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