It’s interesting to compare competing interpretations of the same ‘vision’ for our near-future everyday media experience. They more or less circle around a series of themes that have been a staple of science fiction for some time: media are in the everyday environment and they respond to us, to varying degrees personally.
On the one-hand some tech enthusiasts/developers present ideas such as “responsive media“, a vision put forward by a former head of ubiquitous computing at Xerox PARC, Bo Begole. On the other hand, sceptics have, for quite some time, presented us with dystopian and/or ‘critical’ reflections on the kinds of ethical and political(economic) ills such ideas might mete out upon us (more often than not from a broadly Marxian perspective), recently expressed in Adam Greenfield’s op-ed for the Graun (publicising his new book “Radical Technologies”).
It’s not like there aren’t plenty of start-ups, and bigger companies (Begole now works for Huawei), trying to more-or-less make the things that science fiction books and films (often derived in some way from Phillip K Dick’s oeuvre) present as insidious and nightmarish. Here I can unfairly pick upon two quick examples: the Channel 4 “world’s first personalised advert” (see the video above) and OfferMoments:
While it may be true that many new inventors are subconsciously inspired by the science fiction of their childhoods, this form of inspiration is hardly seen in the world of outdoor media. Not so for OfferMoments – a company offering facial recognition-powered, programmatically-sold billboard tech directly inspired by the 2002 thriller, Minority Report.
I’ve discussed this in probably too-prosaic terms as a ‘politics of anticipation’, but this, by Audrey Watters (originally about EdTech), seems pretty incisive to me:
if you repeat this fantasy, these predictions often enough, if you repeat it in front of powerful investors, university administrators, politicians, journalists, then the fantasy becomes factualized. (Not factual. Not true. But “truthy,” to borrow from Stephen Colbert’s notion of “truthiness.”) So you repeat the fantasy in order to direct and to control the future. Because this is key: the fantasy then becomes the basis for decision-making.
I have come to think this has produced a kind of orientation towards particular ideas and ideals around automation, which I’ve variously been discussing (in the brief moments in which I manage to do research) as an ‘algorithmic’ and more recently an ‘automative‘ imagination (in the manner in which we, geographers, talk about a ‘geographical imagination’).