‘Britain’s got behaviour’ – Will Davies on the rise of ‘behaviour shows’

Will Davies (author of The Limits of Neoliberalism and The Happiness Industry) has written a nice piece on his blog deconstructing two common trend in British TV programmes: a dynamic of competition and elimination; and an appeal to behaviourism. For Davies, this loosely equates to a kind of Hayek-ian ‘discovery procedure’ ~ no suffering, no discovery. What this constitutes, in the shape of programmes such as Dragons’ Den and Location, Location, Location is a ‘transparent mis-representation of what’s going on in the economy’. On contrast, Davies suggests that an alternative (regressive) move to behaviourism – exemplified by Married at First Sight and The Secret Life of [x] year olds.

The post is well worth a read – find it here.

*.exe ~ Executions: conversations on code, power & death (version 0.1)

This event in Aarhus, this week, with Wendy Chun and Geoff Cox as ‘keynotes’ looks really good!

Executions: conversations on code, power & death (version 0.1)

Keynote presenters: Wendy Chun and Geoff Cox

Venue: Aarhus Institute of Advanced Studies (AIAS) | Høegh-Guldbergs Gade 6b, bygning 1630, Aarhus

When: December 3rd and 4th, 2015

This event investigates the cultural, material and political implications of execution. Software permeates our environment. We co-exist in an increasingly datafied present in which algorithms and abstract coded processes execute across different scales, materialising and operating at the micro and macro levels of our actions.

The aim of this event is to open up the concept of execution, both from a particular perspective of code and its execution, and more generally towards a wider discussion in relation to datafied culture and everyday life. How can we understand the affective, embodied, performative, programmed processes of execution in the world today? By gathering together researchers working with diverse artistic practices, we hope to encourage a critical curiosity and engagement with the theme of execution.
Topics will include:

execution as power / execution as decision / execution as performed instruction set / execution as enunciation / execution as critique / execution as temporal performance / execution as participation / execution as cruelty / indigestion/incorporation as execution / tuning as execution
In autumn 2015 and spring 2016, two-day events will take place (in Aarhus, Denmark and Malmö, Sweden respectively) that include keynote talks by Wendy Chun (Brown University) and Geoff Cox (Aarhus University), as well as workshops on the theme of execution.

These events are instantiations of an on-going discussion by the critical software thing group, a collection of researchers with a common interest in exploring, reflecting on and working with code.

See the dedicated wiki for more…

Event> The Politics and Economics of Attention (14/12)

Both Clive Barnett and I will be speaking at the sixth seminar in the Behaviour Change & Psychological Governance series (funded by the ESRC) which is being held at the University of Bristol on the 14th of December.

I’ll be revisiting some of the things Patrick Crogan and I wrote about back in 2012 in the themed issue of Culture Machine we co-edited following an ESF-funded conference on attention in 2010. My move forward is probably being a little more critical in my thinking about what constitutes the process of valuing attention (critically reflecting on why a Labour Theory of Value might not quite fit) and thinking (with the work of Bernard Stiegler) about how the socio-technical systems that attempt to economise (something that gets called) attention are a kind of pharmakon (an indeterminacy, originating from the idea of a drug as both poison and cure). By looking at some examples I hope to offer some suggestions about how we might understand what’s going on (in networked technology systems in particular) when an attempt is made to place a financial value on ‘attention’.

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

consc

“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…

Critical reflection on the ‘sharing economy'(?)

“Sharing is caring“, The Circle – David Eggers.

“the question of work time outside employment is posed with renewed vigour, having been totally ignored by the law reducing the working week to thirty-five hours, just as it ignored the exhaustion  of the consumerists industrial model, a model within which production and consumption constitute a functional opposition, but one that has now become obsolete”, For a New Critique of Political Economy – Bernard Stiegler.

I have had a bunch of tabs open in my browser with they intention of writing something about the ‘sharing economy’ and how one might begin to ask questions of the kinds of words we use to variously describe reconfigurations of labour/work in relation to peer-to-peer, precarious work, casualisation and (perhaps) the slow dissolution of labour movements but (as one can easily guess) I just don’t have the time to make something coherent about this… so here’s some notes, off the top of my head, with some pointers to things that may be worth reading…

In the Grauniad (as it struggles to contend with a Labour party that is significantly to the left of it) there was a piece by Alex Hern arguing that the term the ‘sharing economy’ should “die”. His argument is that what the ‘sharing economy’ supposedly denotes is no kind of sharing but rather the continuation of unequal labour relations between those with wealth and those in need of work – an example is TaskRabbit: a system to hire temporary labour, such as caterers, cleaners or someone to stand in the queue for the latest iPhone (probably without needing to ensure competitive remuneration, because people who are willing to stand in a queue for you are probably in a precarious position).

I have some sympathies with the argument  – it’s a reworking of the ‘precariat’ argument, best expressed by Guy Standing, in which the rejigging of the economy has created a new class of worker that is reliant upon ‘precarious’ (temporary, difficult and unpredictable) forms of work. However, reducing it to worrying over terminology seems to miss a broader point: regardless of what you call it, any attempt at novel economic activity will attract those who seek to be exploitative.

Before going on to think about how to address this state of affairs, it is worth noting that some have tried to think about how/why we are in such a situation. Izabella Kominska (on the FT website) offers a good overview of some of the ways in which economists have thought about post-Fordism ~ the kinds of automation that are (and are not) happening in manufacturing, the movements of labour (offshoring etc.) and why we don’t have the amount of leisure time and levels of productivity promised by greater automation.

Indeed, in order to extract more profit in an economy of apparently ever-increasing abundance many argue that it is only through business/industry clawing back a more exploitative relation with the labour force that they can continue to extract the levels of profit to which we have all become accustomed. We can look to the likes of the Italian post-Fordists, such as Berardi, Lazzarato, Terranova and Virno; to net critics such as Morozov; and to Bernard Stiegler for articulations of these latest forms of proletarianisation [you don’t have to agree, I’m just pointing out this is an argument that contextualises the ‘sharing economy’]. It is in this context of a decline in the amount of work – a decline of ‘careers’ and a growth of ‘jobs’, that Melissa Gregg articulates the need to rethink our words for labour and to critically think about what might underlie the push for a ‘sharing’ economy.

It is in this context that one might formulate a critique of the ‘sharing economy’ –– the talismans of this novel form of economic practice, the likes of Uber, TaskRabbit and Airbnb, all extract value out of people either rendering their traditional working capacities more ‘flexible’ (or precarious) or by those people seeking to monetise other parts of their lives, e.g. where they live, the stuff they own, or their ‘leisure time’.

The proponents of these kinds of work argue that this offers ‘flexibility’ – work when you want, how you want etc. but one might counter this with the argument that as flexible labour you have to be opportunistic and so you are precisely not working when you want but rather when there is a demand for your work.

Likewise, many of the kinds of ‘work’ that are offered through the ‘sharing economy’ platforms necessarily constitute unequal power relations. The two principal actors in the contract of ‘sharing’ work are not equal: the ‘sharing’ systems rely on creating competition, and thus a ‘scarcity’ of work such that the ‘customer’ has choice and the ‘worker’ doesn’t. The third actor, the platforms themselves, are also seeking to extract value out of the ‘sharing’ of labour by acting as the mediator, which means the system itself is always geared to the creation of a margin.

Seen as a precarious form of work, the ‘sharing economy’ has been labelled otherwise as the ‘gig economy’ and there’s been some interesting discussions about what such work means to us in terms of our mental and physical health. For example, these two pieces in the FT:

The silent anxiety of the sharing economy
New ‘gig’ economy spells end to lifetime careers

Both of which have lots of links to follow up.

The other aspect of an emerging critique of the ‘sharing economy’ is precisely the ‘platform‘ nature of the kinds of systems that are seeking both to further and to profit from these apparently new forms of work. As sebastian olma suggests in a piece for the Institute of Network Cultures:

These are digital platforms that roughly do two things: either making the old practice of re- and multi-using durable goods more efficient or expanding market exchange into economically uncharted territory of society.

Olma argues (as do other) that what these platforms do is render available to the market things that have not been previously…

They stand for a digitally enabled expansion of the market economy, which…is the opposite of sharing.

This is what Sascha Lobbo (amongst others – Gary Hall is good on this) has argued constitutes not a ‘sharing economy’ but a ‘platform capitalism’. Rather than marketplaces, platforms are a kind of generic connective infrastructure, what Olma calls an ‘ecosystem’, that connects customers and companies to anything, not just specific goods or services. He argues that

While it is absolutely true that internet marketplaces and digital platforms can reduce transaction costs, the claim that they cut out the middleman is pure fantasy.

the old ‘middlemen’ [sic.] are replaced by more powerful gatekeepers: “monopolies with an unprecedented control over the markets they themselves create”, through the quasi-autonomous systems (what get popularly referred to as ‘algorithms’) that facilitate such things as Uber’s “surge pricing“. In this way every transaction becomes an auction, which is tipped in the favour of the platform, and the worker is rendered always to some extent precarious.

Indeed, the reality of working in such systems is not only possibly very stressful, as argued in the FT piece linked a bit earlier, but also doesn’t even necessarily offer the positive outcomes that the proponents claim. As Sarah Kessler, a Fast Company journalist, noted in her extensive report of her attempt to become one of the ‘sharing economy’ workforce:

For one month, I became the “micro-entrepreneur” touted by companies like TaskRabbit, Postmates, and Airbnb. Instead of the labor revolution I had been promised, all I found was hard work, low pay, and a system that puts workers at a disadvantage.

This critique presents some interesting challenges to those who espouse alternative modes of working and performing economic activities, such as the P2PFoundation, and Stiegler’s push for an ‘economy of contribution‘ through Ars Industrialis. However, the ‘platform capitalism’ of Uber et al. is not the only way to run such a system.

Rather than resort to a gatekeeper model we might alternatively look to the (supposedly) radical transparency of the blockchain – in this way I’m left with some (probably quite muddled) questions:

  • What kind of economy/ economics is performed when the transactional infrastructure is decentralised?
    • Can you actually do without an intermediary (‘middleman’ [sic])?
    • Does a blockchain infrastructure facilitate enough of a commons to make a ‘no transaction cost’ economy possible?
  • Can we reduce ‘sharing’ to an issue of the negotiation of trust (not to be exploited), solvable by the blockchain?

There must be more/better questions but my brain is fried… I hope that this is at least useful for me to return to as a set of loose notes and perhaps even useful for others vaguely interested in such things. Likewise, as usual, if you’re better informed and want to pitch in – please do leave comments 🙂

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.

n-mika-taanila-erkki-kurenniemi-the-dawn-of-dimi-3458-4

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.

music with devices media archaeology kurenniemi AM

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.

McKenzie Wark’s Critical Media Theory syllabus on Public Seminar

On the Public Seminar website, McKenzie Wark has written about a new Autumn course he’s teaching at the New School in NYC. He matches up each week’s class with a recent blogpost addressing the book they’ll be reading. Looks like a great exploration of what media is and how we can critically interrogate its/their role in what it is to be human…

Critical Media Theory

This semester (fall 15) I’m teaching Critical Media Theory (GLIB 5600) in the Liberal Studies program at the New School for Social Research. Critical Media Theory looks at a series of key texts that define pathways for thinking about media.

They are critical in the sense of aiming to delineate limits to how existing media function, and in pointing towards an expanded potential for what media could be. We start with some acknowledged classics, although hopefully not all of them will be too familiar. The we look at some recent texts that map out a range of approaches in media studies today.

The notes for the lectures will all be available here on Public Seminar. The students in the class can read the lectures before class, so we can get through the lecture part fairly quickly and on to discussion. I will be modifying and adding to the lecture notes as we go.

For anyone else who wants to follow along, here are the topics and links to the lecture notes for each week.

Read the rest of McKenzie Wark’s syllabus on the Public Seminar website…

Reblog> Affect and Social Media Symposium #2 cfp

Tony Sampson has posted this, may be of interest to people who see this blog –

Affect and Social Media Symposium #2 – cfp

Wednesday 23rd March 2016

1-8pm

University of East London, Docklands Campus, Room EB. G.06

Call for 15min Presentations/Position Papers

Following on from the success of last year’s Affect and Social Media research symposium, the emotionUX lab in the School of Arts and Digital Industries at UEL, and in collaboration this year with Cass School of Education and Communities at UEL, will be hosting a second event continuing to explore the relation between social media, affect, feelings and emotions.

Numerous studies from various fields have described interactions with social media in terms of emotional, affective and feely experiences. It is claimed that habitual access to Facebook can have a negative impact on mood and subjective well-being (Kross et al, 2013). Likewise, emotional states experienced on social media can be transferred to others through emotional contagion, ‘leading people to experience the same emotions without their awareness’ (Kramer, 2014). Similarly, positive emotions, like joy, are regarded as more likely to spread than negative ones (Berger and Milkman, 2010).

This year’s call for 15min presentations/position papers asks contributors to explore emotional, affective and feely experiences with social media. More specifically, we ask contributors to investigate how social media ‘work[s] in concert with bodies in the production of emotional and affective activity’ (Ellis and Tucker, 2015: 177).

We welcome proposals on a wide variety of themes that cross disciplinary boundaries. For example”¦

  • Addiction and social media
  • Affective contagion
  • Affect theory relating to social media
  • Care, emotions and social media
  • Methodologies relating to emotion, affect and social media
  • Consumption, emotions and affect on social media
  • Education, emotions and social media
  • Emotional and affective contagions
  • Emotional social media design (theory and practice)
  • Ethical considerations
  • Felt experiences on social media
  • Social gaming and emotions
  • HCI and emotion
  • Learning, emotion and social media
  • Marketing, emotion and social media
  • Networked emotions
  • Online emotional ethnographies
  • Pervasive computing and emotion
  • Emotions and privacy
  • Emotions and security
  • Sharing emotions
  • Emotions and trust
  • The politics of emotional user experiences

Please send a title, brief outline (100words) and institutional affiliation to t.d.sampson@uel.ac.uk and E.Theodotou@uel.ac.uk

Activities  Deadlines
Abstract Submission 15th December 2015
Acceptance notification 15th January 2016
Registration for presenters Details to follow
Registration for all participants Details to follow

 

Fees and registration

(Refreshments, after symposium drinks and nibbles and attendance certificate included in all registration types)

Type Fee
Presenters Free
UEL students/academics Free
External students £3
External academics/participants £5

Please keep an eye out for follow up emails regarding registration

Updates will also appear on the Virality blog and EmotionUX news page

https://viralcontagion.wordpress.com/

http://emotionuxlab.co.uk/news/