An interesting project from Mushon Zer-Aviv, with shades of Canguilhem:
I came across the most recent film by Keichii Matsuda which concerns a possible future of work, with the protagonist embedded in an (aesthetically Microsoft-style) augmented reality of screen-surfaces, and in which the narrative denouement is a sort of trans-human ‘uploading’ moment.
I like Matsuda’s work. i think he skilfully and playfully provokes particular sorts of conversations, mostly about what we used to call ‘immersion’ and the nature of mediation. This has, predictably happened in terms of human vs. AI vs. eschatology (etc etc.) sorts of narratives in various outlets (e.g. the Verge). The first time I encountered his work was at a Passenger Films event at which Rob Kitchin talked about theorisations of mediation in relation to both Matsuda’s work and the (original) Disney film ‘Tron‘.
What is perhaps (briefly) interesting here are two things:
- The narrative is a provocative short story that asks us to reflect upon how our world of work and technological development get us from now (the status quo) to an apparent future state of affairs, which carries with it certain kinds of ethical, normative and political contentions. So, this is a story that piggybacks the growing narrative of ‘post-work’ or widespread automation of work by apparently ‘inhuman’ technologies (i.e. A.I) that provokes debate about the roles of ‘technology’ and ‘work’ and what it means to be ‘human’. Interestingly, this (arguably) places “Merger” in the genre of ‘fantasy’ rather than ‘science fiction’ – it is, after all, an eschatological story (I don’t see this final point as a negative). I suppose it could also be seen as a fictional suicide note but I’d rather not dwell on that…
- The depiction of the interface and the interaction with the technology-world of the protagonist– and indeed the depiction of these within a 360-degree video –are as important as the story to what the video is signifying. By which I mean – like the videos I called ‘vision videos’ back in 2009/10 (and (in some cases) might be called ‘design fiction’ or ‘diagetic prototypes’) – this video is also trying to show you and perhaps sell you the idea of a technology (Matsuda recently worked for Leap Motion). As I and others have argued – the more familiar audiences are with prospective/speculative technologies the more likely we are (perhaps) to sympathise with their funding/ production/ marketing and ultimately to adopt them.
I’ve had about six months of reading various versions of speculative/science fiction after not having read in that genre for a little while… so here’s a selection of books I’ve read (almost exclusively on an ereader) that have more-or-less been selected following the ‘people who read [a] also read [b]’ lists.
I’m not sure these books necessarily offer any novel insights but they do respond to the current milieu of imagining automation (AI, big data, platform-ing, robots, surveillance capitalism etc etc) and in that sense are a sort of very partial (and weird) guide to that imagination and the sorts of visions being promulgated.
I’d like to write more but I don’t have the time or energy so this is more or less a place-holder for trying to say something more interesting at a later date… I do welcome other suggestions though! Especially less conventionally Western ones.
- Richard Caygill – Sea of Rust
- Matthew de Abaitua – The Destructives & The Red Men
- Warren Ellis – Normal
- Simon Ings – Wolves
- Annalee Newitz – Autonomous
- Martha Wells’ Murderbot series
ADD. Jennie Day kindly shared a recent blogpost by David Murakami Wood in which he makes some recommendations for SF books. Some of these may be of interest if you’re looking for wider recommendations. In particular, I agree with his recommendations of Okorafor’s “Lagoon“, which is a great novel.
This video of a panel session at HKW entitled “Speaking to Racial Conditions Today” is well-worth watching.
Follow this link (the video is not available for embedding here).
Inputs, discussions, Mar 15, 2018. With Zimitri Erasmus, Maya Indira Ganesh, Ruth Wilson Gilmore, David Theo Goldberg, Serhat Karakayali, Shahram Khosravi, Françoise Vergès
English original version
I came across Janelle Monáe‘s work a while ago, through Twitter, I was really taken by the video for “Many Moons“, which is beautiful. Metropolis, the album from which it is taken, is a really interesting blend of pop, sci-fi and perhaps afrofuturism, or at least forms of sci-fi that don’t conform to, or queer, standard Western/Global North sci-fi themes/norms. Some have argued Monáe’s videos blends American and African Sci-Fi themes (a teaser trailer for Dirty Computer was shown before cinematic performances of Black Panther) in a sort of queer aesthetic (that’s my reading of what longer pieces say anyway) and I think I can see it in several videos, though my knowledge of other work that might complement or contrast this is very limited.
In the “emotion picture” (what a beautifully evocative term) for the album Dirty Computer we’re presented with a rich and confident, feature length, work of art. I’m not currently able to dedicate the time to offer a lengthier visual analysis, I’m simply going to post the video, below. All I can say, really, is: wow.
I came across this via Thomas Dekysser and AdDistortion on Twitter.
Just as with the old Nokia 3220 “funshell” LEDs the principle seems to be that if you turn your head (rather than the device being turned) the advert/picture appears to ‘drag’ out of the light unit.
This obviously presents yet another level of issues around the uses of ‘public’ space and what reasonable expectations of intrusion into one’s attention/vision/cognition might be made, what constitutes ‘choice’ in terms of exposure to these images and lots more things besides…