How can one ‘see’ the operationalization of contemporary visual culture, given the imperceptibility and apparent automation of so many processes and dimensions of visuality? Seeing – as a position from a singular mode of observation – has become problematic since many visual elements, techniques, and forms of observing are highly distributed through data practices of collection, analysis and prediction. Such practices are subtended by visual cultural techniques that are grounded in the development of image collections, image formatting and hardware design. (...) In this article, we analyze recent transformations in forms of prediction and data analytics associated with spectacular performances of computation. We analyze how transformations in the collection and accumulation of images as ensembles by platforms have a qualitative and material effect on the emergent sociotechnicality of platform ‘life’ and ‘perception’. Reconstructing the visual transformations that allow artificial intelligence assemblages to operate allows some sense of their heteronomous materiality and contingency. (shrink)

Max Horkheimer, the founder of the critical theory of the ‘Frankfurt School’, died in July 1973. In his essay dedicated to this great thinker, sociologist and philosopher, the author attempts to uncover the theoretical roots of this critical thinking in the philosopher's early work. He analyses Horkheimer's early commitment to the cause of the victims of social, economic and political oppression as well as all systems that trample on the freedom and dignity of the individual and that discriminate against and (...) persecute minorities. He also pays special attention to Horkheimer's struggle against the authoritarian state, against totalitarianism as well as anti-Semitism. (shrink)

In a range of digital creative productions and digital culture, questions of how to deal with finitude are on the rise. On the one hand, sectors of the digital entertainment industry – specifically computer games developers – are concerned with the question of how to manage `death' digitally. On the other hand, death and suicide have become the impetus for humorous artistic expression. This article tracks the emergence of a digital ethos that is cognizant of consequence, finitude and even death. (...) Rather than pit a 1990s `will to life' against an emerging `death drive', I argue that the shift to an ethos in which dark consequences ensue from digital actions must be understood by working through digital code's technicity and unfolding this relation of technics to both ethics and politics. Although Bernard Stiegler's analysis of technicity goes some way toward unfolding a political analysis of the aesthetics of digital code, his articulation of noopolitics fails to provide us with a way to conduct ourselves digitally in an era of cognitive capitalism. I look to critical software practices and their provisional networked publics, with potential lines of flight for contemporary technoculture via novel digital `codings'. (shrink)

The article discusses Sartre’s the o retical conversion towards Marxism and historical ma t e r ialism. It emphasizes, however, that this conversion has ne v e r implied abandoning certain existentialist conc e p t s. In the Critique of dialectical reason Sartre aimed at defining a new dialectics, in which the subjective and ex i stential dimension is part of the process of economic, political and social transformation.

Converti au marxisme, en 1919, dans le sillage de György Lukacs, exilé, dès mars 1933, en fuyant le nazisme, en Suisse, en France, en République tchèque et finalement aux États-Unis (1938-1949), Ernst Bloch, auteur du Principe espérance, décide en février 1949 de retourner en Europe et d’accepter la chaire de professeur d’histoire de la philosophie que lui offrait l’Allemagne de l’Est, à l’université de Leipzig. Après avoir appuyé tout d’abord, dans ses conférences, non sans un certain enthousiasme, le projet de (...) la « construction du socialisme », Ernst Bloch sera pourtant vite déçu de la politique des dirigeants de la RDA qui, comme Walter Ulbricht, étaient complètement alignés sur les positions de l’Union soviétique et imitaient, avec zèle, les méthodes staliniennes. Accusé de « révisionnisme » et de liens avec le groupe oppositionnel de W. Harich, préconisant une voie « allemande » et démocratique vers le socialisme, il sera interdit d’enseignement, dès avril 1957. Il quittera la RDA en août 1961, une semaine avant la construction du Mur de Berlin. (shrink)

The focus of this paper is on the network aspect of Islamic movements, i.e. what networks are, what their structure is and what some of their properties are. The discussion focuses on scale-free networks, their properties and networks value expressed in social capital and formulated in the Strength of Weak Ties theory by Granovetter. Al-Qaeda has been the most frequent reference in the research on the transnational Islamic networks, so somewhat unintentionally al-Qaeda’s example often appears in this paper as well.

Neste livro, Ernst Bloch, o pensador de 'O espírito da utopia', é examinado desde a sua formação, fortemente marcada pelo neokantismo e pelo pessimismo do final do século XIX, até a afirmação de suas próprias teses, inspiradas em Hegel, Marx e Nietzsche.

Si sorvola spesso sull’“inter” dell’interazione, come se fosse solamente il punto di contatto tra due entità preesistenti, come ad esempio il mittente e il destinatario, o l’utente e il computer. Cosa significherebbe predere sul serio l’“inter” come un campo generativo, che è precondizione di questi punti terminali? Invece di essere concepito come un luogo su cui sorvolare, il presente saggio considera tale “inter” come un “essere tra” che può essere coltivato tramite tecniche di relazione. Il saggio prende in esame diversi (...) esempi di performance collaborativa, produzione d’immagine e creazione di ricerca, inclusi alcuni progetti collaborativi in cui l’autrice è stata coinvolta. Il saggio propone l’idea che le tecniche di relazione, le quali siano tanto rigorose quanto frutto di improvvisazione e attraverso le quali dei nuclei di intensità possano emergere tra tutti gli elementi, rendono all’“essere tra” quanto gli è dovuto. Consentendo a tale relazionalità collaborativa di lunga durata di emergere, l’“essere tra” apre anche nuove modalità espressive per le pratiche artistiche. (shrink)