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12 The Linguistics Relation in the Virtual Grid: A Digital Dialogue

  • Nava Shaked
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The Arts of the Grid
This chapter is in the book The Arts of the Grid

Abstract

In the digital world, language is undergoing a change effected by the technologies available to users in order to create a special interaction between humans and machines. This interaction is part of a new linguistic grid. A language grid that is based on dialogue involving intentions, inferences, and knowledge. Its occurrence in the virtual world is very much based on the pragmatics of the real world. This chapter will discuss the nature of this Digital Dialogue between humans and machines and show its bi-directionality. The freedom to express our thoughts and opinions through language forms a creative approach to digital interaction. We take elements from our virtual world back into real life and use them in a casual, everyday dialogue among humans. The globalization of language is a byproduct of this phenomena. For instance, we borrow elements, such as linguistic structure, from the digital-world dialogue and adopt a machine-oriented syntax to create a new lexicon that is now a legitimate language in the real world. Similarly, in software language, we create objects to reflect a set of announcements and emotions (such as emoji or memes) which we deploy linguistically. What we see now, this chapter contends, is an evolution of over fifteen years of Internet, social networks, and instant messaging penetrating into every linguistic sphere of our lives. In this way, similarly to the era of the Industrial Revolution, the digital era has created new types of interactions. These include the huge amount of time we spend in the virtual worlds of gaming, social and educative entertainment, and infotainment. Using artificial intelligence “improves” all these interactions to the point that sometimes it is hard to determine which is the machine and who is the human.

Abstract

In the digital world, language is undergoing a change effected by the technologies available to users in order to create a special interaction between humans and machines. This interaction is part of a new linguistic grid. A language grid that is based on dialogue involving intentions, inferences, and knowledge. Its occurrence in the virtual world is very much based on the pragmatics of the real world. This chapter will discuss the nature of this Digital Dialogue between humans and machines and show its bi-directionality. The freedom to express our thoughts and opinions through language forms a creative approach to digital interaction. We take elements from our virtual world back into real life and use them in a casual, everyday dialogue among humans. The globalization of language is a byproduct of this phenomena. For instance, we borrow elements, such as linguistic structure, from the digital-world dialogue and adopt a machine-oriented syntax to create a new lexicon that is now a legitimate language in the real world. Similarly, in software language, we create objects to reflect a set of announcements and emotions (such as emoji or memes) which we deploy linguistically. What we see now, this chapter contends, is an evolution of over fifteen years of Internet, social networks, and instant messaging penetrating into every linguistic sphere of our lives. In this way, similarly to the era of the Industrial Revolution, the digital era has created new types of interactions. These include the huge amount of time we spend in the virtual worlds of gaming, social and educative entertainment, and infotainment. Using artificial intelligence “improves” all these interactions to the point that sometimes it is hard to determine which is the machine and who is the human.

Chapters in this book

  1. Frontmatter I
  2. Content V
  3. List of Illustrations VII
  4. Foreword: On Grids and Networks XI
  5. Acknowledgements XV
  6. 1 Introduction ‒ The Arts of the Grid: Interdisciplinary Insights on Gridded Modalities in Conversation with the Arts 1
  7. 2 The Networked Artwork: The Grid as Dynamic Relational Form? 22
  8. Part I: Planting and Planning the Grid
  9. 3 The Grid Specialized: Practical Town Planning, Artistic Features, and Natural Settings in Twentieth-Century Brazilian New Towns 39
  10. 4 Centrifugal or Processional: Divine and Mundane Power in Ancient Chinese Funeral Grids 54
  11. 5 Globalizing Senegal’s Grid-Plan Legacies in Light of Islamic Studies, World History and Urban Studies 70
  12. Part II: Generating Grids of Computational Arts
  13. 6 Between Technological and Aesthetic Grids: Philosophical Challenges Posed by AI Artists 83
  14. 7 Sounds in Grid: History and Development of Grid-Based Musical Interfaces and their Rooting in Sound, Interaction and Screen Design 97
  15. 8 On Grids of Contemporary Art Production: A Convergence of Artistic, Computational, Craft and Performative Making 109
  16. Part III: Kinetic Grids: Bridging, Digging, Floating
  17. 9 Searching for the Grid at the Turn of the Nineteenth Century: When Art and Science Shared their Fragments 127
  18. 10 Depth as Grid: An Improvisational Actor’s Perspective 143
  19. 11 How to Do Things with Grids: Anarchitectures of Navigability 157
  20. Part IV: Grids of Learning: Linguistic, Virtual, Visual
  21. 12 The Linguistics Relation in the Virtual Grid: A Digital Dialogue 177
  22. 13 Storytelling in Virtual Reality: A Multidisciplinary and Immersive Experience using Grid Methodology for Students 193
  23. 14 The Multidisciplinary Learning Grid: A Conceptual Space to Develop Neuropedagogy-based, Arts-integrated Chemistry Activities 204
  24. 15 Concluding Remarks: Grids of Light, Darkness, and Intermediate Shades 225
  25. About the Contributors 232
  26. About the Participant Artists 238
https://doi.org/10.1515/9783110733228-015

Chapters in this book

  1. Frontmatter I
  2. Content V
  3. List of Illustrations VII
  4. Foreword: On Grids and Networks XI
  5. Acknowledgements XV
  6. 1 Introduction ‒ The Arts of the Grid: Interdisciplinary Insights on Gridded Modalities in Conversation with the Arts 1
  7. 2 The Networked Artwork: The Grid as Dynamic Relational Form? 22
  8. Part I: Planting and Planning the Grid
  9. 3 The Grid Specialized: Practical Town Planning, Artistic Features, and Natural Settings in Twentieth-Century Brazilian New Towns 39
  10. 4 Centrifugal or Processional: Divine and Mundane Power in Ancient Chinese Funeral Grids 54
  11. 5 Globalizing Senegal’s Grid-Plan Legacies in Light of Islamic Studies, World History and Urban Studies 70
  12. Part II: Generating Grids of Computational Arts
  13. 6 Between Technological and Aesthetic Grids: Philosophical Challenges Posed by AI Artists 83
  14. 7 Sounds in Grid: History and Development of Grid-Based Musical Interfaces and their Rooting in Sound, Interaction and Screen Design 97
  15. 8 On Grids of Contemporary Art Production: A Convergence of Artistic, Computational, Craft and Performative Making 109
  16. Part III: Kinetic Grids: Bridging, Digging, Floating
  17. 9 Searching for the Grid at the Turn of the Nineteenth Century: When Art and Science Shared their Fragments 127
  18. 10 Depth as Grid: An Improvisational Actor’s Perspective 143
  19. 11 How to Do Things with Grids: Anarchitectures of Navigability 157
  20. Part IV: Grids of Learning: Linguistic, Virtual, Visual
  21. 12 The Linguistics Relation in the Virtual Grid: A Digital Dialogue 177
  22. 13 Storytelling in Virtual Reality: A Multidisciplinary and Immersive Experience using Grid Methodology for Students 193
  23. 14 The Multidisciplinary Learning Grid: A Conceptual Space to Develop Neuropedagogy-based, Arts-integrated Chemistry Activities 204
  24. 15 Concluding Remarks: Grids of Light, Darkness, and Intermediate Shades 225
  25. About the Contributors 232
  26. About the Participant Artists 238
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