The problematic imaginative geographies of collective ‘grieving’ on social media

This provocative article “Got a French flag on your Facebook profile picture? Congratulations on your corporate white supremacy” on The Independent‘s website makes for a compelling read.

I think is worth reading alongside the excellent letter from Paris by Judith Butler posted to the Verso blog “Mourning becomes the law” – also a must-read, really:

Mourning seems fully restricted within the national frame. The nearly 50 dead in Beirut from the day before are barely mentioned, and neither are the 111 in Palestine killed in the last weeks alone, or the scores in Ankara. Most people I know describe themseves as “at an impasse”, not able to think the situation through. One way to think about it may be to come up with a concept of transversal grief, to consider how the metrics of grievability work, why the cafe as target pulls at my heart in ways that other targets cannot. It seems that fear and rage may well turn into a fierce embrace of a police state. I suppose this is why I prefer those who find themselves at an impasse. That means that this will take some time to think through.  It is difficult to think when one is appalled. It requires time, and those who are willing to take it with you

A few snippets from The Independent article:

So you want to show solidarity with France – specifically, with those killed in Paris this weekend. If you’re a British person who wants to do that because you feel sympathy and sadness for people who are brutally massacred, regardless of their nationality, then fine. I just hope that you also change your profile picture to a different country’s flag every time people are wrongly killed as the result of international conflicts – for example, during the attack on Beirut in Lebanon just the day before.

…

Flags are politically and historically charged symbols (just look at the infamous and aptly self-styled Isis flag itself), symbolising states and representing influence, power, segregation, borders, nationalism and identity – some of the most commonly held reasons for armed conflict. It’s important, before overlaying a flag on your smiling face, to think about this.

…

I’m guessing you didn’t feel moved to drape yourself in the Tricolore [sic] until Facebook pushed that option out to you, possibly even until you saw how many people had already snapped it up. But paint-by-numbers solidarity when it’s foisted on you by one of the most powerful companies in the world is simply not the way to help a traumatised nation in shock after murder.

I’d just add that apparently the tricolor overlay implemented by Facebook has a setting that allows the user to automatically switch it off after a given length of time… how convenient.

There has, of course, been some interesting academic and journalistic discussion of what has been referred to as ‘recreational grieving’ and ‘mourning sickness‘ that is cognate to this argument, but the article above puts in sharper relief complex issues concerning the kinds of imaginative geographies that are being (re)produced and performed in response to the incredibly sad and horrific events that took place in Paris last weekend and their aftermath… something Derek Gregory has also written about on his blog.

CFP> Streams of Consciousness: Data, Cognition and Intelligent Devices, Apr 2016

This looks interesting:

Streams of Consciousness

Data, Cognition and Intelligent Devices

21st and 22nd of April 2016

Call for Papers

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“What’s on your mind?” This is the question to which every Facebook now responds. Millions of users sharing their thoughts in one giant performance of what Clay Shirky once called “cognitive surplus”. Contemporary media platforms aren’t simply a stage for this cognitive performance. They are more like directors, staging scenes, tweaking scripts, working to get the best or fully “optimized” performance. As Katherine Hayles has pointed out, media theory has long taken for granted that we think “through, with and alongside media”. Pen and paper, the abacus, and modern calculators are obvious cases in point, but the list quickly expands and with it longstanding conceptions of the Cartesian mind dissolve away. Within the cognitive sciences, cognition is now routinely described as embodied, extended, and distributed. They too recognize that cognition takes place beyond the brain, in between people, between people and things, and combinations thereof. The varieties of specifically human thought, from decision-making to reasoning and interpretation, are now considered one part of a broader cognitive spectrum shared with other animals, systems, and intelligent devices.

Today, the technology we mostly think through, with and alongside are computers. We routinely rely on intelligent devices for any number of operations, but this is no straightforward “augmentation”. Our cognitive capacities are equally instrumentalized, plugged into larger cognitive operations from which we have little autonomy. Our cognitive weaknesses are exploited and manipulated by techniques drawn from behavioural economics and psychology. If Vannevar Bush once pondered how we would think in the future, he received a partial response in Steve Krug’s best selling book on web usability: Don’t Make Me Think! Streams of Consciousness aims to explore cognition, broadly conceived, in an age of intelligent devices. We aim to critically interrogate our contemporary infatuation with specific cognitive qualities – such as “smartness” and “intelligence” – while seeking to genuinely understand the specific forms of cognition that are privileged in our current technological milieu. We are especially interested in devices that mediate access to otherwise imperceptible forms of data (too big, too fast), so it can be acted upon in routine or novel ways.

Topics of the conference include but are not limited to:

  • data and cognition
  • decision-making technologies
  • algorithms, AI and machine learning
  • visualization, perception
  • sense and sensation
  • business intelligence and data exploration
  • signal intelligence and drones
  • smart and dumb things
  • choice and decision architecture
  • behavioural economics and design
  • technologies of nudging
  • interfaces
  • bodies, data, and (wearable) devices
  • optimization
  • web and data analytics (including A/B and multivariate testing)

Please submit individual abstracts of no longer than 300 words. Panel proposals are also welcome and should also be 300 words. Panel proposals should also include indvidual abstracts. The deadline for submissions is Friday the 18th of December and submissions should be made to cimconf@warwick.ac.uk. Accepted submissions will be notified by 20th of January 2016.
Streams of Consciousness is organised by Nathaniel Tkacz and Ana Gross. The event is supported by the Economic and Social Research Council.

Performing the Humanities at 24 fps, Gay Hall in conversation with Stelarc

This is worth a watch:

Performing the Humanities @ 24 fps: Part 1

This is the first part of an interview conducted and filmed by the artist Stelarc for the Alternate Anatomies Lab at Curtin University, Perth, Australia. The second part of the interview is avaiulable here. Other interviews in the series are available on the website of the Alternate Anatomies Lab here.

See also Hall’s piece in Culture Machine [open access] on “Pirate Philosophy“, discussed in the video…

Algorithmic catastrophe–the revenge of contingency, new paper by @digital_objects

A new issue of Parrhesia is out and it contains a new paper from Yuk Hui.

 

All catastrophes are algorithmic, even the natural ones, when we consider the universe to be governed by regular and automated laws of motion and principles of emergence.

It begins with this bold statement qualified through a reading of Aristotle that leads us to:

But these material, technological catastrophes are not examples of what I am proposing here to call algorithmic catastrophes. Algorithmic catastrophe doesn’t refer to material failure, but rather to the failure of reason.

And it is this form of catastrophe to which the discussion tends. Through a reading of the work of Bernard Steigler, in relation to Martha Nussbaum and Plato/Socrates, Hui argues that the history of Occidental philosophy has the techno-logical ‘accident’:

This resonates with the two senses of accident that we have explained above: on one hand, the revelation of substance through accidents, meaning the accidents become necessary; on the other hand, the overcoming of the irrational through reason.

Hui then expertly dissects understandings of accident and contingency in relation to what is thought of as ‘automatic’, which leads to this lovely passage:

As an engineer and designer, one has to be assured that it is normal to have a catastrophe. If catastrophe is thus anticipated and becomes a principle of operation, it no longer plays the role it did with the laws of nature. This use of anticipation to overcome catastrophes can never be completed, however, and indeed accident expresses itself in a second level of contingency generated by the machines’ own operations. Herein also lies the second difference between the algorithmic contingency and the contingency of laws of nature, which we would like to approach in the next section. It doesn’t mean that the algorithm itself is not perfect, but rather that the complexity it produces overwhelms the simplicity and clarity of algorithmic thinking. This necessity of contingency takes a different form from the necessity in tragedy and in nature…

Automisation then becomes the target of deconstruction, with a haunting of Virilio, explicated through the ‘Flash Crash’. Nevertheless, the tendency here is towards automation that exceeds the human capacity to react, as Hui has it:

The automation of machines will be much faster than human intelligence, and hence will lead to a temporal gap in terms of operation. The gap can produce disastrous effects since the human is always too late, and machines won’t stop on their own. In face of our inability to fully understand the causality, Wiener warns us that “if we adhere simply to the creed of the scientist, that an incomplete knowledge of the world and of ourselves is better than no knowledge, we can still by no means always justify the naive assumption that the faster we rush ahead to employ the new powers for action which are opened up to us, the better it will be.”

The paper moves on to consider a speculative aesthetics of the accident, through a reading of Meillassoux’s ‘speculative realism’. Just as Meillassoux attempts to reach back beyond the ‘ancestrally’ of the human, Hui argues that we are challenged by atomisation, in the figure of algorithms:

exteriorized reasons, where we find more and more that human reason is becoming less and less capable of understanding the system that it has succeeded in constructing.

Thus:

In the digital age, accidents in both senses come to the fore and beyond, as indicated by the contingency, the unknown, which also comes to the front.

…

The algorithmic catastrophe also resonates with current research on speculative reason, especially what Meillasoux proposes as the absolutization of contingency, which reinvents the metaphysical concept of contingency as necessity while it renounces the subjectivist approach towards knowledge. The celebration of speculative reason seems to be an appropriation of the catastrophic aesthetics of our time, where the unknown and black box become the sole explanations.

It is certainly an interesting, if dense, article and probably requires some knowledge of

I am left wondering, as a less-sophisticated non-philosopher, how one might square this argument with technics as the ‘horizon of all possibility to come and all possibility of a future’, pace Stiegler in Technics and Time – the computational ‘transindividuations’ (the becomings of trans-individual assemblages) that we initiate and cultivate through digital ‘industry’ may begin to probe their way into possibilities outside of our sensory or conscious capacities but they remain, at present, limited precisely by their foundation in a human phenomenological domain. Nevertheless, as Hui argues in his final paragraph:

it would be ignorant to just dismiss the algorithmic catastrophe as something from science fiction. The words of the physicists [Hawking et al. warning about the risks of AI] also remind us of Book III of Plato’s Republic, where the physicians return as guardians of the polis. Should these guardians be scientifically well-trained philosophers or philosophically trained physicians is not a question without importance, since it means a new pedagogical program and a new conception of responsibility. Beyond the reach of this single article, what Virilio proposes as a rethinking of responsibility remains largely undiscussed.

I probably don’t know enough of the references Hui is drawing upon to be able to offer a cogent response to this, but it is a very interesting article and worth a read [it is open access!].

Nuance doesn’t sell… @mweller on mature debates concerning technology

On his blog Martin Weller has written a nice piece about what it means to be ‘critical’ in relation to ed-tech and the difficulty of doing so. Martin’s point is (I think) that it is really easy to either proselytise or disparage the uses of (educational) technology in ‘popular’ debate and actually quite hard to offer a nuanced view.

I really like this passage in particular, and feel its worth reproducing:

There is something about throwing technology in the mix that demands people set aside critical faculty. If you want the big keynotes, the money slot on TV or the big book deals then you’d better be coming with a dystopian or utopian vision. Preferably based on sweeping generalisations from your own personal experience. That’s what sells here.

There is profound truth in this statement. A significant proportion of the popular discussion of technology is ‘selling snake oil’. Replace the nouns and adjectives referring to the tech with nouns/adjectives concerning god or magic and that tends to quickly reveal the stakes…

Martin’s blogpost is worth a read.

Ash, Kitchin, Leszczynski on what ‘digital’ means for geography

Saw this only this morning, blogged over on The Programmable City website. Looks like a fairly comprehensive description of a set of issues within geography.

New paper: Digital Turn, Digital Geography?

James Ash, Rob Kitchin and Agnieszka Leszczynski have published a new paper entitled ‘Digital Turn, Digital Geography?‘ available as Programmable City Working Paper 17 on SSRN.

Abstract

In this paper, we examine the relationship between the digital and geography. Our analysis provides an overview of the rich scholarship that has examined: (1) geographies of the digital, (2) geographies produced by the digital, and (3) geographies produced through the digital. Using this material we reflect on two questions: has there been a digital turn in geography? and, would it be productive to delimit ‘digital geography’ as a field of study within the discipline, as has recently occurred with the attempt to establish ‘digital anthropology’ and ‘digital sociology’? We argue that while there has been a digital turn across geographical sub-disciplines, the digital is now so pervasive in mediating the production of space and in producing geographic knowledge that it makes little sense to delimit digital geography as a distinct field. Instead, we believe it is more productive to think about how the digital reshapes many geographies

I would say, having only skim-read the paper, that it does sort of perpetuate a disquiet I’ve felt for some time about how a particular ind of discursive regime, with a particular set of power brokers, is being built around the “geographies” prefixed with ‘algorithmic’; ‘data’; ‘digital’… perhaps there are some others… and what that might mean… maybe its just that there are only a few people that actually write stuff about this and they all know each other… anglophone geography is after all quite a small discipline. Maybe I’m a part of that too, with the little I’ve written on the subject. However, its evident in other disciplinary contexts too, such as the way in which particular people seem to be the leading lights in ‘digital sociology‘.

Maybe I’m just performing my own anxiety about career, struggling to write myself and being on probation in an institution with rather lofty expectations, but maybe there’s also something to my observation about the politics of being a researcher of a modish subject. Perhaps people who do stuff on the ‘anthropocene’ and anthropogenic climate change feel similarly, perhaps not… Perhaps I’m also damaging my own ‘career’ by blogging like this. Who knows… I certainly don’t mean it as a slight to the authors of the above paper, or anyone else.

“How I learned to stopped worrying and to love discipline“

Reblog> “Sex, annotation and verité totale” Kurenneimi’s Archival Futurism

This new book co-edited by Joasia Krysa and Jussi Parikka looks interesting…

Joasia is a curator and was one of my undergrad tutors in Plymouth on the Digital Art and Technology programme and convened some great events during her time there, not least the excellent Hybrid Discourse. It was events like that which contributed to my interest in postgraduate study…

“Sex, annotation, and verité totale”: Kurenniemi’s Archival Futurism

Screen Shot 2015-09-18 at 8.41.43 AMI am very glad to announce that Writing and Unwriting (Media) Art History: Erkki Kurenniemi in 2048 is out from the printers, hot off the (MIT) Press! Edited with curator, writer Joasia Krysa, the book focuses on the Finnish media art pioneer Kurenniemi, and is the key international collection on the curious thinker, sound and media artist-tinkerer, who became known for his remarkable synthetizers and archival futurism. Kurenniemi has gathered attention in the electronic music circles for a longer period of time, and with Documenta 13 he become known in the international art world too. His thoughts and work resonate with the work of other early pioneers; Simon Reynolds once called him  a mix of Karlheinz Stockhausen, Buckminster Fuller, and Steve Jobs. In 2002, Mika Taanila directed the film The Future is Not What It Used to Be about Kurenniemi.

The book includes foreword by the eminent media archaeologist Erkki Huhtamo and a range of critical essays on digital culture, archival mania and media arts. Key academic and art writers address Kurenniemi’s work but also more: the condition of the archive and sound arts, sonic fiction and speculative futures of singularity are some of the key themes that run through the book with contributions by many established names in media studies, art and sound technologies. In addition, we included many of Kurenniemi’ own writings over the decades, including some interviews that elaborate his wider computational views of the world, including his thought: by 2040s, the human brain can be completely simulated. His archive plays a key role, like an actor in itself: the archive also featured as a key “object” as part of the earlier Kiasma exhibition and we included some snippets, as well as an extensive visual section.

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Writing and Unwriting (Media) Art History sits as part of the Leonardo-book series, edited by Sean Cubitt. The book was started by Krysa through her curatorial work at the 2012 Documenta 13 exhibition. It is thanks to Joasia that I am part of the project and she deserves major praise for her amazing eye for detail, enthusiasm and energy in driving this project, from a major exhibition to a book, and more.

Here’s a preview of the book’s table of contents and Huhtamo’s Foreword.

For review copy requests, or other questions, inquiries about the book, please get in touch! We are hosting some book events in Montreal, Helsinki, Berlin and London over the coming months but more info on those separately.

Writing and Unwriting (Media) Art History: Erkki Kurenniemi in 2048, eds Krysa and Parikka

Over the past forty years, Finnish artist and technology pioneer Erkki Kurenniemi (b. 1941) has been a composer of electronic music, experimental filmmaker, computer animator, roboticist, inventor, and futurologist. Kurenniemi is a hybrid–a scientist-humanist-artist. Relatively unknown outside Nordic countries until his 2012 Documenta 13 exhibition, “In 2048,” Kurenniemi may at last be achieving international recognition. This book offers an excavation, a critical mapping, and an elaboration of Kurenniemi’s multiplicities.

The contributors describe Kurenniemi’s enthusiastic, and rather obsessive, recording of everyday life and how this archiving was part of his process; his exploratory artistic practice, with productive failure an inherent part of his method; his relationship to scientific and technological developments in media culture; and his work in electronic and digital music, including his development of automated composition systems and his “video-organ,” DIMI-O. A “Visual Archive,” a section of interviews with the artist, and a selection of his original writings (translated and published for the first time) further document Kurenniemi’s achievements. But the book is not just about one artist in his time; it is about emerging media arts, interfaces, and archival fever in creative practices, read through the lens of Kurenniemi.

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Endorsements

“Sex, annotation, and verité totale: Kurenniemi is a missing mixing desk between so many interesting aspects of late-twentieth-century culture. No wonder he ends up offering us a new archival futurism!”
–Matthew Fuller, Professor, Director of the Centre for Cultural Studies, Goldsmiths, University of London

“Providing a long-overdue critical and historical introduction to the amazingly multifaceted work of media pioneer, visionary thinker, and self-archivist Erkki Kurenniemi, this book becomes both a media-archaeological excavation and engaging reflection on the challenges of writing media art history. The range of Kurenniemi’s fascinating practice–including electronic music composition, experimental filmmaking, robotics, and curation–defies traditional classifications, and calls for new historical narratives of media art. Started as a compilation of the long-term research that went into the exhibition of Kurenniemi’s work at Documenta 13 in Kassel, Germany, the volume combines highlights of his own writings and interviews with excellent contributions by scholars, contextualizing his archives, art, music, and vision.”
–Christiane Paul, Associate Professor, School of Media Studies, The New School; Adjunct Curator of New Media Arts, Whitney Museum

“This book is a major contribution not only to the unprecedented scientific and artistic imagination of Erkki Kurenniemi, but also to the whole research on media and ‘real time.’ The text unveils and critically presents the reader with a series of complex technological and artistic systems exploring the man-machine relationship under the assumption both do have consciousness. Kurenniemi’s work provides us with one of the most solid grounds to examine perception, the brain, the will to speculate and travel back and forth between several realms of knowledge. Kurenniemi is bold; this text is bold and a great contribution to new forms of studying risk taking in art and science.”
–Chus Martínez, Head of the Institute of Art, FHNW Academy of Art and Design

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The Human Face of Cryptoeconomies – @furtherfield exhibition

I just wanted to flag this excellent exhibition about to start at Furtherfield (in London). It involves the Museum of Contemporary Commodities alongside a lot of other great work and will very much be worth visiting.

The Human Face of Cryptoeconomies

17 OCTOBER – 22 NOVEMBER 2015

Featuring Émilie Brout and Maxime Marion, Shu Lea Cheang, Sarah T Gold, Jennifer Lyn Morone, Rob Myers, The Museum of Contemporary Commodities (MoCC), the London School of Financial Arts and the Robin Hood Cooperative.

Furtherfield launches its Art Data Money programme with The Human Face of Cryptoeconomies at Furtherfield Gallery in the heart of London’s Finsbury Park.

The Human Face of Cryptoeconomies presents artworks that reveal how we might produce, exchange and value things differently in the age of the blockchain.

Appealing to our curiosity, emotion and irrationality, international artists seize emerging technologies, mass behaviours and p2p concepts to create artworks that reveal ideas for a radically transformed artistic, economic and social future.

Visit the Furtherfield website for more information.

Reblog> New paper: Locative media and data-driven computing experiments @syperng & @robkitchin

A really interesting paper by Sung-Yueh Perng, Rob Kitchin and Leighton Evans, definitely worth a read.

New paper: Locative media and data-driven computing experiments

Sung-Yueh Perng, Rob Kitchin and Leighton Evans have published a new paper entitled ‘Locative media and data-driven computing experiments‘ available as Programmable City Working Paper 16 on SSRN.

Abstract

Over the past two decades urban social life has undergone a rapid and pervasive geocoding, becoming mediated, augmented and anticipated by location-sensitive technologies and services that generate and utilise big, personal, locative data. The production of these data has prompted the development of exploratory data-driven computing experiments that seek to find ways to extract value and insight from them. These projects often start from the data, rather than from a question or theory, and try to imagine and identify their potential utility. In this paper, we explore the desires and mechanics of data-driven computing experiments. We demonstrate how both locative media data and computing experiments are ‘staged’ to create new values and computing techniques, which in turn are used to try and derive possible futures that are ridden with unintended consequences. We argue that using computing experiments to imagine potential urban futures produces effects that often have little to do with creating new urban practices. Instead, these experiments promote big data science and the prospect that data produced for one purpose can be recast for another, and act as alternative mechanisms of envisioning urban futures.

Keywords: Data analytics, computing experiments, locative media, location-based social network (LBSN), staging, urban future, critical data studies

The paper is available for download here.

Reblog> The Facebook Liberation Army at Discovery Festival: live deleting of facebook accounts

From the Institute of Network Culture blog… This is a nice playful response to the ways in which we can see uses of social media as ‘work’:

The Facebook Liberation Army at Discovery Festival: live deleting of facebook accounts

On Friday 25 September the Facebook Liberation Army made fresh calls to arms at the Discovery Festival in the science centre Nemo, Amsterdam.

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Armed with pamphlets, zines and instructions on how to leave Facebook the resistance came disguised as Mark Zuckerberg. Many new rebels were enlisted in the Facebook Liberation Army and alternatives to social media platforms were discussed.

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As well as offering advice on alternatives to Facebook the army also presented zines from The immaterial Labor union – a collective aimed to galvanize the workers of Facebook – initiated by Lidia Pereira. The evening was a resounding victory with even some people deciding to deactivate their Facebook accounts right their and then, serving to go on with their lives without negotiating Facebook’s terms of service.

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