Spatial Machinations
Searching for new things to listen to on my commute I stumbled upon the podcast Parliament Explained produced by the institution of the UK parliament and hosted by Meera Syal.
Seems like an interesting idea and there’s lots of reasons why creating this is a normatively good thing…(isn’t there?!)
Via dmf.
With: Andreas Broeckmann, Esther Leslie, Sascha Pohflepp
Moderated by Yvonne Volkart
“The concept of machines generally describes an assemblage of parts assigned to an overall function, designed by a human. Yet, the entwined histories of science, technology, and art are filled with ideas about nature functioning like machines, and of visions where machines become “natural” and organic. These two paths seem to merge as machines increasingly communicate autonomously and operate in fields beyond human perception and influence. Can we devise new perspectives for understanding the elemental machines that now seem to operate contingently within hybrid techno-ecologies like the forces of nature? What are the new aesthetic and political affordances or subjectivities involved in the process of technology becoming environmental?”
Stumbled across Cargoland from KCRW after subscribing to the Containers podcast and this episode about the ways the idea and the processes of automation take on cultural, political-economic and personal agency/power within a given area – in this case the port of Los Angeles. It’s an interesting story…
Clever people at York are talking about Thresholds. Check out the website, it’s really interesting!
Based in the Science & Technology Studies Unit (SATSU) at the University of York, Threshold is a thematic programme of work that will unfold over the coming months. Taking Thresholds as a focal point, this research programme will use a range of diverse resources and perspectives to explore the liminal edges of everyday, organisational and social life. What and who reside beyond or within different types of thresholds? Who has to cross thresholds? What prevents people or things crossing? How does power operate through thresholds? How is it that thresholds articulate with limits, extremes, dangers and tipping points? These are just some of the questions we will explore.
Aimed at generating ideas and dialogue, this programme is geared toward political, conceptual and creative exchanges and contributions. Led by Joanna Latimer, Rolland Munro, Nik Brownand Dave Beer, this programme will develop a variety of perspectives on this central focal point of thresholds. This website will be used to communicate our key ideas, to promote events and to share outputs.
They’re gonna be disrupted, yeah! Because your lives are being disrupted, yeah! This is the money you need to live!
An interesting article in the FT: “When your boss is an algorithm“, in which (if you ignore the sort of anthropomorphism of “the algorithm” and its apparently supreme agency) the author, Sarah O’Connor, draws out the similarity between the claims of efficiency etc. made for ‘gig economy’ -type work platforms, such as Uber and Deliveroo, are very similar to Taylorism:
Algorithmic management” might sound like the future but it has uncanny echoes from the past. A hundred years ago, a new theory called “scientific management” swept through the factories of America. It was the brainchild of Frederick W Taylor … Taylor wanted to replace this “rule of thumb” approach with “the establishment of many rules, laws and formulae which replace the judgment of the individual workman”. To that end, he sent managers with stopwatches and notebooks on to the shop floor. They observed, timed and recorded every stage of every job, and determined the most efficient way that each one should be done. “Perhaps the most prominent single element in modern scientific management is the task idea,” Taylor wrote in his 1911 book The Principles of Scientific Management. “This task specifies not only what is to be done but how it is to be done and the exact time allowed for doing it.”
Exemplified by the following excerpt articulating the experience of a Deliveroo driver, Kyaw, which is, in turn, of course similar to the kinds of working conditions of other delivery drivers and Amazon warehouse pickers (as has been covered widely in the press)…
Kyaw whips out his phone. The app expects him to respond to new orders within 30 seconds. The screen shows a map and address for the local Carluccio’s, an Italian restaurant chain. A swipe bar says “Accept delivery”. That is the only option. The algorithm will not tell him the delivery address until he has picked up the food from Carluccio’s. Deliveroo couriers are assigned fairly small geographic areas but Kyaw says sometimes the delivery address is way outside his allocated zone. You can only decline an order by phoning the driver support line. “They say, ‘No, you have to do it, you already collected the food.’ If you want to return the food to the restaurant they mark it as a driver refusal – that’s bad.”
Saw a paper, shared (perhaps ironically) on ResearchGate, concerning Academia.edu and the ways it can be seen as a means of self-discipline around ‘impact’, self-promotion and how these may relate reward and recognition. May be of interest to some…
Brooke Erin Duffy and Jefferson D. Pooley.
Given widespread labor market precarity, contemporary workers–especially those in the media and creative industries–are increasingly called upon to brand themselves. Academics, we contend, are experiencing a parallel pressure to engage in self-promotional practices, particularly as universities become progressively more market-driven. Academia.edu, a paper-sharing social network that has been informally dubbed “Facebook for academics,” has grown rapidly by adopting many of the conventions of popular social media sites. This article argues that the astonishing uptake of Academia.edu both reflects and amplifies the self-branding imperatives that many academics experience. Drawing on Academia.edu’s corporate history, design decisions, and marketing communications, we analyze two overlapping facets of Academia.edu: (1) the site’s business model and (2) its social affordances. We contend that the company, like mainstream social networks, harnesses the content and immaterial labor of users under the guise of “sharing.” In addition, the site’s fixation on analytics reinforces a culture of incessant self-monitoring–one already encouraged by university policies to measure quantifiable impact. We conclude by identifying the stakes for academic life, when entrepreneurial and self-promotional demands brush up against the university’s knowledge-making ideals.
I’ve only just caught on here, but the ESRC’s “Ways of Being in a Digital Age” scoping review, for their new theme of the same name, has been awarded to the Liverpool Institute of Cultural Capital (a collaboration between Liverpool and Liverpool John Moores) in a partnership with 17 other institutions (a core of eight in the UK apparently). They say:
The project will undertake a Delphi review of expert opinion and a systematic literature review and overall synthesis to identify gaps in current research.
The project will also run a programme of events to build and extend networks among the academic community, other stakeholders and potential funding partners.
There’s a website, so you can read more there…
Via Machinology.
Cartographic Operations-exhibition is on at the Level 4 gallery in Southampton (Hartley Library). Supported by AMT, it features work from Winchester School of Art practitioners addressing maps. Jane Birkin, Abelardo Gil-Fournier, Sunil Manghani and Ian Dawson’s pieces address the main theme: “In Bernhard Siegert’s ‘The map is the territory’, he refers to the idea of ‘cartographic operations’. The suggestion is that our way of seeing the world is not simply represented in maps, but that map-making is itself a play of competing signs and discourses producing our subjecthood. These are the coordinates we come to live by, which in turn influence the marks and signs at our disposal when we seek to make and share representations of the world.”
One of the pieces is Jane Birkin’s 1:1 which is described and show below. It opens up the exhibition space to the depth of the surface by making visible the electric current and metal inside the wall. While it can be read in relation to some earlier pieces of contemporary art it also speaks to the current work in critical practices of infrastructure.
From the catalogue text:
Jane Birkin’s 1:1 is a direct mapping of infrastructure behind the white space of display. It is a piece produced by performative procedure: a regulated operation where authorial control is established at the outset and rules are strictly followed. Electric current and metal are plotted using a DIY store metal/voltage detector and the information transferred simply to print.
There are literary precedents for mapping at this scale. In Jorge Luis Borges’ short story On Exactitude in Science cartography became exactingly precise, producing a map that has the same scale as its territory. And, in Lewis Carroll’s Sylvie and Bruno Concluded, a German professor tells how map-makers experimented with the use of ever larger maps, until they finally produced a map of the scale of 1:1. ‘It has never been spread out, yet’, said the professor. ‘The farmers objected: they said it would cover the whole country, and shut out the sunlight!’ In this case, the gallery wall is covered, shut off from light and eyes. Although 1:1 is an impassive engagement with the rule-based activity of cartography, it simultaneously performs an affective act of display.
Over on Savage Minds Rex Golub has written a compelling provocation about the places of ‘public anthropology’ (which I think could probably be broadened to ‘public scholarship). He points out that it’s all very well writing letters to venerable broad sheet newspapers but that doesn’t necessarily achieve much. Instead, Professors (or academics more broadly) might better spend their time editing wikipedia pages because that is the prime site of the public sourcing, and contestation, of knowledge. I think its quite a compelling argument… not least when thinking about the current trend and push for demonstrating “impact”. Isn’t it quite “impactful” to be the person who attempts to ensure that the most widely used source of knowledge on a given topic is rigorously written/edited? There’s no academic brownie points in that though… no promotions or awards/rewards are going to be given on that basis!
What do you think?
…my issue is that anthropologists are doing public anthropology in the wrong places and in the wrong way because they don’t understand how social media works today and are seduced by an out-moded model of cultural capital that makes them feels heroic, but it isn’t actually efficacious.
The new public anthropology, on the other hand, is not glamorous, will not make you famous, can be emotionally uncomfortable, involves working in new and unfamiliar genres, and can change the world. A good example of this sort of public anthropology is editing Wikipedia
Wikipedia is ground zero for knowledge in the world today. Everyone uses it to look stuff up quickly. Everyone. Some people may take it more seriously than others, but because its content can be reused on other sites, what wikipedia says spreads everywhere. For better or for worse – I’d say for better – it’s the public record of the state of human knowledge at the moment. Unlike letters to the New York Times, Wikipedia gets read. Constantly. When you contribute to Wikipedia, you are concretely and immediately altering what the world knows about your topic of expertise.
