The claim is frequently made that, as cities become loaded up with information and communications technology and a resultant profusion of data, so they are becoming sentient. But what might this mean? This paper offers some insights into this claim by, first of all, reworking the notion of the social as a spatial complex of ‘outstincts’. That makes it possible, secondly, to reconsider what a city which is aware of itself might look like, both by examining what kinds of technological (...) practices are becoming commonplace and by considering the particular case of spatial awareness. In turn, this leads to a third rumination on how cities might become aware as different kinds of sprite, channelling outstincts in spatially variable ways. Whatever the case, it is clear that new technical-artistic interventions are required if these sprites are not to become simply servants of the security–entertainment complex. Some of these interventions are examined in the fourth part of the paper. (shrink)

This article is an inquiry on the role of play in shaping the cultures of the Information Age. By applying concepts from Postphenomenology and the Philosophy of Information, this paper argues that play and computation share a capacity to shape human experience. I will apply the concept of re-ontologization to describe the effect that computation has had in shaping the world. I will apply the concept of relational strategies to argue that play is a way of interfacing with the computational (...) world. This paper argues that play is a particularly relevant form of shaping the human experience of the re-ontologized infosphere because play, like computation, can create worlds. The goal of this article is to propose a research program that situates play as a relevant perspective to analyze the culture of the Information Age. (shrink)

Engaging with the specific ways current media technologies interact with, or directly access the human body, we suggest developing a ‘symmetrical’ theory of touch. Critically referring to Bruno Latour’s invocation of ‘symmetrical anthropology’, we reconsider tactile agency as ‘technological agency’, arguing that the concept of touch – traditionally viewed as an exclusively human ability – should be extended to non-human actors and analysed in view of the cultural logic of capitalism. Its systematic focus, then, is on the productive intersections and (...) contact zones between biology and technology: from phenomena of non-human touch in industrial production to the material touching taking place in the instrumental grasp on the living in the 19th-century physiological laboratories and the invisible operations of tracing, tracking and sensing taking place in the technological milieus of today’s environments. In highlighting the tactile dimension of digital modernity and its economic genealogies, this article aims to advance a combined concept of human and non-human touch which provides a crucial angle for reconsidering bodies and technologies in the age of ubiquitous computing. (shrink)

Marshall McLuhan understood television as a tactile medium. This understanding implied what Bruno Latour might call a ‘symmetrical’ conception of tactility. According to McLuhan, not only human actors are endowed with the sense of touch. In addition, TV, digital computers and other ‘electric media’ use light beams and similar scanning techniques for ceaselessly ‘caressing the contours’ of their surroundings. This notion of tactility was crucially shaped by the holistic aesthetics of the early Bauhaus. To get at the specific features of (...) the TV image, McLuhan relied on the writings of László Moholy-Nagy and Sigfried Giedion, in particular their use of photography for capturing and highlighting the ‘texture’ of surfaces. However, he hardly reflected the social and political factors that, in the age of electric media, contribute to the ‘symmetricization’ of touch. (shrink)

Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject and object. This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related to the (...) player/game relationship can be read through the lens of Adorno’s aesthetic theory. Developing Adorno’s concept of mimesis, I argue that the interface is often treated as a dialectical question of how the space between subject and object should be traversed. I reflect on the possible advantages of focusing on this contested space through a discussion of game controllers and the Aristotelian concept of techne. (shrink)

Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject and object. This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related to the (...) player/game relationship can be read through the lens of Adorno’s aesthetic theory. Developing Adorno’s concept of mimesis, I argue that the interface is often treated as a dialectical question of how the space between subject and object should be traversed. I reflect on the possible advantages of focusing on this contested space through a discussion of game controllers and the Aristotelian concept of techne. (shrink)

This article analyses Camille Henrot’s 2013 film Grosse Fatigue in relation to the histories of hypermedia and modes of interaction with the World Wide Web. It considers the development of non-hierarchical systems for the organisation of information, and uses Grosse Fatigue to draw comparisons between the Web, the natural history museum and the archive. At stake in focusing on the way in which information is organised through hypermedia is the question of subjectivity, and this article argues that such systems are (...) made ‘user-friendly’ by appearing to accommodate intuitive processes of information retrieval, reflecting the subject back to itself as autonomous. This produces an ideology of individualism which belies the forms of heteronomy that in fact shape and structure access to information online in significant ways. At the heart of this argument is an attention to the visual, and the significance of art as an immanent mode of analysis. Through the themes of transparency and opacity, and order and chaos, the article thus proposes a defining dynamic between autonomy and automation as a model for understanding the contemporary subject. (shrink)

This paper examines a case where Amazon’s cloud-based AI assistant Alexa accidentally ordered a dollhouse for a 6-year-old girl. In the press, the case was defined as a technical recognition problem. Building on this idea, we argue that the dollhouse case helps us to analyze the limits of current AI applications. By drawing on the writings of Gilles Deleuze and François Laruelle, we argue that these limits are not merely technical but more deeply embedded in the structures where the thinking (...) of AI can potentially happen. We point out that AI research has been compromised by the concepts of what constitutes both ‘artificial’ and by what constitutes ‘intelligence’. First, we use the notion of artificial non-intelligence to explain how different modes of digital capitalism such as voice commerce establish limits for AI. Second, we use the notion of non-artificial intelligence to illustrate the limits of associating AI’s modes of thinking with human thought. (shrink)

Digitised collections and born digital items, such as photos or video, exist beyond the scale of human viewing. New methods are required to read, understand and work with the data, resulting in computation becoming increasingly central to both creation of a cultural reality and as the interpretative tool and practice. If artists’ look, then how might a machine see as a critical tool? Developing work on computational culture and the Next Rembrandt project as unstable digital object, this paper considers how (...) the medium affects computational critical practice. Drawing on Heidegger’s view of causality and Derrida’s grammatology, this paper explores how the medium acts a locus between the human and machine readings and the remediations that occur within the reading. This is developed as through a reading of how the interface translates the signs and symbols and how this affects the reading. By reconsidering the critical assemblage and using it to think with, the human and the machine are seen as critical partners. Attending to the materialities of the reading through a playful approach that decentres potential meaning encourages us to glimpse beneath the surface and gestures towards a critical practice as understanding both computation and its materiality. (shrink)

In this paper I explore the implications of the increasing social and sociable uses of new, mobile internet associated technologies for online learning. In particular I focus on tablet computers as at the vanguard of this shift. Drawing on discourses of technobiophilia and phatic communion, the propositions explored in this paper are that: that internet associated technologies have been shaped by and reflect the ways in which humans engage with objects and each other in the physical world, that of particular (...) significance for MIATs are frequent small scale social interactions between users, and that a more detailed consideration of these affordances would enhance online learning. I develop this account by considering the potential role of relationships for supporting the development of socially cohesive learning groups and the enhancement of online learning. In particular I focus on the need for partiality within a learning group and mechanisms for managing conflict. I conclude by offering two broad principles for a more sociable online learning experience. (shrink)

In the early twenty-first century, liberal democracies have witnessed their foundational norms of critique and deliberation being disrupted by a combination of populist and technological forces. A distinctive style of dispute has appeared, in which a speaker denounces the unfairness of all liberal and institutional systems of equivalence, including the measures of law, economics and the various other ‘tests’ which convention scholars have deemed core to organisations. The article reviews how sociologists of critique have tended to treat critical capacities as (...) oriented towards consensus but then considers how technologies of real-time ‘control’ circumvent liberal critique altogether. In response, a different type of dispute emerges in the digital public sphere, which abandons equivalences in general, instead adopting a non-representational template of warfare. This style of post-liberal dispute is manifest in the rhetoric of populists but does not originate there. (shrink)

This paper explores how political theory may help us map algorithmic logics against different visions of the political. Drawing on Chantal Mouffe’s theories of agonistic pluralism, this paper depicts algorithms in public life in ten distinct scenes, in order to ask the question, what kinds of politics do they instantiate? Algorithms are working within highly contested online spaces of public discourse, such as YouTube and Facebook, where incompatible perspectives coexist. Yet algorithms are designed to produce clear “winners” from information contests, (...) often with little visibility or accountability for how those contests are designed. In isolation, many of these algorithms seem the opposite of agonistic: much of the complexity of search, ranking, and recommendation algorithms is nonnegotiable and kept far from view, inside an algorithmic “black box.” But what if we widen our perspective? This paper suggests agonistic pluralism as both a design ideal for engineers and a provocation to understand algorithms in a broader social context: rather than focusing on the calculations in isolation, we need to account for the spaces of contestation where they operate. (shrink)

It is often taken for granted that personal computers today are designed to hide technical information in order to make software seem easier. While “transparency of interaction” has influenced popular understandings of computer systems, it also shapes our engagement with software as critics. This essay examines the origins of transparent design in different models of usability proposed by IBM and Apple in response to popular concerns over the inaccessibility of personal computers in the early 1980s. By tracing how and why (...) transparency emerged from this period of crisis, we can better interrogate its justifications and imagine alternative relationships to computing. (shrink)

This essay raises the question of material hermeneutics in Heelan’s philosophy of techno-science. For Heelan, a continental philosophy of technoscience, referring to Husserl and Heidegger and especially to Merleau-Ponty, features hermeneutic contexts of mathematics and measurement as well as laboratory observation, including what the later Heelan spoke of as “portable laboratories,” for the sake of objectivity and “meaning making.” For Paul Feyerabend, this material practice corresponded to the use of both techniques of observation and instrumentation, and not less “propaganda” in (...) the case of Galileo which practice for Heelan included the ontological status of measures and numbers as well as apprenticeship in what Heelan called “contingent local practical cultural milieus.” The essay includes a discussion of Heidegger on mathematics and Bruno Latour on pasteurization. (shrink)

Scholarship on the politics of new media widely assumes that communication functions as a sufficient conceptual paradigm for critically assessing new media politics. This article argues that communication-centric analyses fail to engage the politics of information itself, limiting information only to its consequences for communication, and neglecting information as it reaches into our selves, lives, and actions beyond the confines of communication. Furthering recent new media historiography on the “information theory” of Shannon and Wiener, the article reveals both the primacy (...) of communication in midcentury information theory, and also a striking resonance between these postwar communication theories and Habermas’s more recent communicative theory of democracy. To achieve a critical perspective beyond communication, the article proposes a media genealogy of the politics of subjects as a methodology for developing an analysis of how information formats us as subjects of data. (shrink)