• 69 Posts
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Joined 1 year ago
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Cake day: June 12th, 2023

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  • Do you think the department of education writes the textbooks, standardized tests (SAT, ACT, etc.), grading and student management software, learning management systems (Google Classroom, Canvas), or manufactures its own classroom tech (Chromebooks, tablets)?

    Each one of those has a bunch of particular nuances, but in general - yeah, I think they could and should in a lot of those cases

    The education system is full of for-profit businesses that can jack up the prices, and they do.

    Yeah, it’s a big problem with a lot of little parts to be tackled

    The DOE simply doesn’t have the resources to create these things themselves

    Then government should give them the resources (actually, I think a whole separate agency that develops open source software for any government agency or anyone else who wants to use them should be established, but that’s kind of besides the point).

    and would cost them far more if they tried

    I don’t think that’s true, and even if it were I think we should be willing to pay premium to make sure essential systems that support the public good are being administered in democratic ways (e.g. by public agencies that are required to give public reports to elected lawmakers and be subject to citizens’ FOIA requests).

    the business model has existed forever

    A lot of stupid ideas hang on for a really long time. Like, we still have monarchies in the 21st century world.

    Personally, I’m more concerned with the use of Google products in schools. A company that’s sole business is harvesting user data and selling it to advertisers should have no place in schools or children’s products. But they’ve embedded themselves into everything so people just accept it at the cost of privacy

    I 100% agree this is a significant problem too, I just haven’t come across any good articles about it recently


  • Exactly, they’re a captive audience, and moreover they are legally incompetent to consent to a contracted business relationship like this

    If this was a department of education AI or even some kind of transparently administered non-profit organization I’d be fine with this, but the fact that this is being developed for some for profit company that can just jack their rates and cut off public schools whenever they want to is bullshit. Like, I’m not opposed to the technology of LLMs at all, I think they’re actually pretty neat, but our social and economic systems have a lot of exploitative trash in them that cool technologies can inadvertently exacerbate.





















  • I found a higher resolution one and a bit of an article, although they don’t really explain much

    https://web.archive.org/web/20200816121832/https://artsy-media-uploads.s3.amazonaws.com/HiVTd7WUmjjxXoqN-R_E5Q%2FHotPotEndPaper_HIRESPRESS+copy.jpg

    No other cartoonist’s work functions so well as “art” in the so-called “art world.” [Marc] Bell’s giddy drawing energy vaporizes these false distinctions. He developed his chops as a cartoonist making Crumb-influenced strips for weekly newspapers in the ’90s. An important scene of collaborative ’zine-making developed across Canada at this time, in which Bell participated, fostering, collecting, and documenting these works in the crucial anthology Nog A Dod: Prehistoric Canadian Psychedooolia.

    In the 2000s, Bell made an important strip called Gustun, which cast Philip Guston as a comic character, in essence claiming him for comics. Alongside a series of weekly Shrimpy and Paul strips he drew for local papers, Bell began to create large collages and ultra-dense drawings. This work (collected in the monograph Hot Potatoe) absorbed the image-fracturing strategies of Ray Yoshida and the Chicago Imagists. Just as the Hairy Who successfully ignored the ’60s New York art scene, Bell’s work contains a world of inside jokes and regional myth building that is inherently critical of what he called the “Bloo Chip” system, prompting the question: Isn’t it the artists who work outside of the dominant dialogue who end up seeming most relevant?

    In Bell’s early-2000s work, shown at Adam Baumgold’s idiosyncratic uptown New York gallery, text and image became fused in meditative and overwhelming drawings. They’re something like ornate encrustations of the subconscious. Comparisons to Adam Dant, Paul Noble, and Bruce Conner would not be misplaced. Recently, he has returned to comics with the graphic novel Stroppy, which encompasses in its satirical field not only capitalism but poetry and mini-golf.

    https://web.archive.org/web/20240817121508/https://www.artsy.net/article/artsy-editorial-10-cartoonists-art-lover










  • Fwiw, I can confirm I saw the post you’re responding to as well, it was made by a racist troll who had a brand new account they switched the username on to match the name of a well known account and then spammed racist off topic crap to a bunch of different communities before getting banned (at least, I presume that’s what happened, I just reported their profile and all of their posts then moved on with my day)