The Vision Machine
Abstract
"Virilio offers a cool, precise look at an impending future in which reality shall simply cease to exist. Highly recommended." —Choice Surveying art history as well as the technologies of war and urban planning, one of France’s leading intellectuals provides an introduction to a new "logistics of the image."
... На прикладі порівняння "справжності" часовості у творі мистецтва і фотографії Вірільйо згадує слова Родена, суть яких полягає в тому, що правдивість твору мистецтва виправдовується рухом людського ока, коли ж цей інструмент людського тіла замінюється зовнішнім оптичним інструментом, базові засади акту людського бачення деформуються і знищуються. Діяльність людського ока у схопленні баченого відображала синхронічність рецепції раціонального суб'єкта, що несла за собою лінійну послідовність [6]. Людина з камерою отримала можливість схоплювати і привласнювати минуле, що стало згодом відправною точкою у маніпулятивних практиках застосування фотографічних артефактів у сфері політичного. ...
... І власне іншим елементом акту погляду людини було наступне відчуття згадування, коли людина створювала візуальний образ через ментальні структури власної пам'яті. Технічні лінзи забирають цю можливість уяви, деорганізуючи акт бачення, роблячи візуальний образ нерухомим і фрагментарним [6]. Треба зазначити, що власне живопис презентував собою форму творчої діяльності, яка виражала культурні за-сади свого часу як "картини світу", втілюючи цю концепцію у своїй меті і сутності. ...
The article focuses on the analysis of the liquefaction of basic settings of the modernity's visual practises, specifically of signification regime and mode. The general dynamics of historical types of visual practices and the role of the Modern vision regime in it are described. The visual parameters of the signifying modes of realism and modernism are defined. The crisis of modern visual practices is specified through the logic of their transformation. The status of photography as the basic visual practice of the modernism signifying mode is proved. From the beginning of the era of "technical production" the pathos of the position of the artist as the producer of the image requires not only the act of creation, but also the aim of commercialization, which entails the act of "exhibiting", a certain way of presentation. An important aspect of the artist's mission is to move the image from the everyday and profane (if we resort to aesthetic categorical apparatus) spheres to the space of the artistic field. A striking example of the dilution of the visual parameters of high Modernity is photography. The lens becomes the mediator of the act of see- ing the person, and subject-object relations with the world break because of the mediocrity of the photographic image, which promotes its reality. Photo documentation creates a new form of perception of time – fragments in which some events are identified as important and some remain peripheral. If an artist thinks of painting (Cézanne's thought) and has creative thinking, then a photographer who thinks of frames only reduces being to the individual. A photo does not simply reflect reality, it reproduces reality, that is, it transfers it from thing to reproduction of things, pho- tography carries the existence of a photographed object. And as a result, we recognize that the photographic image is the object itself. Photography as an image begins to organize not only high culture, but also everyday life, being the basis of visuality and the basis of everyday social practices. The transformations that photo-images make to the parameters of Modernity's visuals form the basis for visual postmodernism.
... Adey, Whitehead, and Williams (2011, p. 176) argue that the 'aerial viewpoint appears to be inescapably entangled in the very genesis of modern systems of control, and the coeval development of the target.' Donny is used as a map-generating 'vision machine' (Virilio 1994). Urry (2009), drawing from Ingold (2000), notes how air travel generates 'map-readers' such as Donny rather than 'way-finders.' ...
... As such, Sheppard's critical drone-topia invites us to reflect on what current mobile, social, technological, and structural conditions, relations, and projections shape our imaginations of a better place. 'A secret perspective is, in fact, hidden on high' claims Virilio (1997). The figure of the civilian drone may assist us in remotely reaching it. ...
The figure of the civilian camera drone remains ambiguous and contested. Its promises and perils shape contemporary imaginaries of future mobilities and visualities. Donny the Drone by Mackenzie Sheppard is one example of a fictional short film that creatively engages with such ambivalent scenarios in the story about a sentient quadcopter. In this article, I explore this techno-futurist narrative in how it serves as a heuristic for a mobile utopia. Themes of mobility and aerial commons, visuality and cosmopolitanism, relationality and affective subjectivity, along with domination and political mobilization emerge from the utopian thought experiment about a camera drone becoming human. Ultimately, I show how the evolving figure of the civilian drone serves as an experimental platform and utopian method towards elevated visions for an imaginative reconstitution of society.
... Ethnographic research will provide interpretations of user's experiences of their interactions with and through machine vision. In addition to posthumanist theories, I will also consider other approaches to agency, such as Actor-Network Theory (Latour 2007;Law and Hassard 1999), postphenomenology (Ihde 1990;Rosenberger and Verbeek 2015) and the photography theories of Flusser (2000), Virilio (1994) and others. RQ2) Does the experience of being able to manipulate the visual as data through everyday interaction with machine vision lead us to see the world and ourselves as malleable? ...
... Other relevant research includes theoretical work on the visual ( Vertov 1984Vertov orig. 1923Virilio 1994;Flusser 2000;Friedberg 2006 ...
The project summary part of B1 in my successful ERC-CoG application, which was awarded €2 million. The project will run from August 2018-July 2023.
... One might ask, then: is an image in the pure state of code also an image? For Belting 30 , the anthropological perspective focuses on the practice of the image -its uses. For this author, the image goes beyond perception, because "it is the result of a personal or collective symbolization, the concept of image, it can only be an anthropological concept". ...
Analysing the thoughts of theorists of technique and technology such as Gilbert Simondon (1958) and Bernard Stiegler (2018), we conclude that technique and technology constitute modes of individuals and their environment, as opposed to simple tools that prolong pre-existing capacities in individuals. Indeed, technique and technology enable diverse modes of individuation, whether at the individual, psychic, or social level. Thus each time change implies new technologies that structure the milieu suspending the existing programs. Stiegler called that suspension an epoché . This essay aims to account for the current material transformations that occur due to the interaction between the individual and new computational systems. These transformations have led to reformulate, to put in epoché , the old paradigms that focused on vision, perception, and the image from an anthropological point of view. To get there, I will explore the philosophical and theoretical resonances of artefacts from the perspective of Simondon’s information processing system approach. Additionally, I will incorporate Stiegler’s concept of deanthropologization to account for the new relationships that must be defined between individuals and machines, where classic concepts — such as the relationship between the image and human vision — must be reviewed. Currently, images are not limited to the visual because, as code, they can be processed by algorithms which do not need to “see”. Today, we also face a shift in scale, with an enormous mass of data that can be easily processed by algorithms, but not by individual humans. This is why the transformation of information into digital images or dataviz, that allow us to understand abstract and complex datafication, can be thought to establish new material relationships of individuation between algorithms and living beings.
... Dalšími díly, kde Virilio pojednává o konceptu polární nehybnosti a rychlosti, jsou například The Vision Machine(Virilio 1994) nebo Lost Dimension(Virilio 2012). Tyto knihy se zabývají různými pohledy na téma technologie a společnosti, ale jejich společným pojítkem je vztah mezi rychlostí, technologií a společností. ...
The thesis focuses on the analysis and interpretation of visions of the metaverse from
the perspective of Generation Z. Metaverse, a concept combining elements of augmented and
virtual reality creates a complex virtual environment that is the subject of growing interest in
both academic and commercial circles. This study aims to provide a deeper
understanding of the attitudes and expectations of Generation Z towards the metaverse, which is
crucial for the future development and implementation of these technologies.
The theoretical part of the paper introduces the key ideas of classical media theorists
and their projection onto the metaverse environment. This section provides a foundation for
understanding how new media transform social interactions and how the metaverse can further
this transformation.
The empirical part of the thesis is based on quantitative research, specifically
a questionnaire survey conducted among members of Generation Z in the Czech Republic. The
research aims to identify how this generation perceives the metaverse, and what are their main
expectations and concerns related to this technology. The results of the survey are analysed and
interpreted to provide a comprehensive view of Generation Z's attitude towards the
metaverse environment.
The final part – the research – presents a unique set of data that reflects the current
attitudinal tendencies of Generation Z in relation to the metaverse. This empirical data is key to
understanding the specific attitudes and expectations that this demographic exhibits towards
virtual spaces. Additionally, the thesis identifies and discusses potential directions for future
research, particularly regarding comparing the tendencies of Generation Z and Alpha or
extending the findings of the current study to a national level.
Keywords
media, metaverse, generation Z, expectations, survey research
... Similarly to Sarajevo and many other post-socialist cities, 1990s Reghin (Sennett, 2002), (Ellin, 1996), (Oldenburg, 1997 Critics of the technological impact on the urban environment argue that the increasing virtuality of space leads to the disappearance of architecture. According to Paul Virilio "… public space yields to public image" (Virilio, 1994). Reality has become unstable; mass and energy are being superseded by information and image, and the stability and materiality of architecture is being substituted with the ephemerality of images (Beckmann, 1998). ...
The book discloses the results of a first-of-a-kind research on the topic of public spaces in Sarajevo, and explores their historical genesis and current status, issues and challenges, as well as potentials for future urban transformations.
Authors: Nermina Zagora and Dina Šamić
Publisher: Faculty of Architecture, University of Sarajevo
Illustrations: Dunja Krvavac
Book design: Mirna Ćesović
Proofreading: Juliet Walker
Year: 2021
City: Sarajevo
Key words: architecture; urban design; urban public spaces; identity; in-betweenness; transition; urban voids; urban rooms; Sarajevo
ISBN 978-9958-691-96-6
... Not only has it been the source of controversy questioning the authorship (23) and questions of value raised by technically produced artefacts (24), but also the position of machines as interpreters of visual information. This goes beyond McLuhanian (25) perspectives of media as extensions of human ability and perception, with Farocki calling attention to the capacity of MV to act as a "displacement of the observer's point of view" (26). In such cases, an apparatus may act as a stand-in for the human eye may, which be used for cinematic effects, but also takes on increasingly distanced forms such as the navigation of drones or mass surveillance. ...
This paper seeks to clarify discourse on the mediating role played by visual technologies, especially focusing on how visual artefacts of machine learning (ML offer new ways of approaching theories of the image. Traditional perspectives often lean heavily on historical narratives regarding the technical production of images and even reiterate inaccuracies from existing conventions. There is a common tendency, for example, to misconstrue images either as accurate reflections of reality or as the product of artificial perception and genius by virtue of their engagement with technological processes, anthropomorphising and which overestimating the role played by machines while minimising the role played by humans therein. This paper takes an overview of the interdisciplinary field of discourse surrounding the use of ML in image production, elaborating on perspectives concerning the role played by perceptual mediation.
... Topics such as flow, liveness, the glance and more recently time-shifting and mobile viewing seem to characterise the television as a medium that gives viewers unique access to technically produced forms of temporality. For some media theorists and philosophers, such as Stiegler [12], Flusser [2], and Virilio [13], the television and other new technologies of vision not only generate temporality but bring with them what might be seen as a cultural loss of history and memory [14,15]. As the television image disappears into the communication chain, as it becomes a volatile electric charge, it is not able to be archived in the way print, photography or film once was. ...
In this paper I look at three images and use them to discuss television and the conditions for the representation of time in the twenty-first century. The first image is from the UK’s Channel 4 news report following the November 2015 terror attacks in Paris. The paper begins by offering a theoretical critique of this televisual image and explores the grounding offered for the representation of fear and the contingent. From here, I explore two images from the experimental beginnings of television, which can be seen to provide the historical and technical conditions for the first image. The paper is media philosophical in method, critically analysing the way television can represent time and events by looking to its technical operation and its history as a technology rooted in solutions to time-based problems.
... Dromology also refers to the intersection of speed and power, because for Virilio, 'power is accelerated movement in and over time' (Armitage, 1997, p 200). Virilio identifies the technologies of war and cinema (vision technologies) as the principal agents or carriers of the hastening process (Virilio, 1986(Virilio, , 1989(Virilio, , 1994. One of the main consequences of acceleration is the shrinking of geographical distances (the end of geography), the loss of territory (deterritorialization), and the negation of space. ...
This chapter examines the affordances of information and communication technologies (ICTs) and the different intergenerational practices of oversharing online. Using the concepts of ‘aesthetics of appearance’ (representation that endures over time and space) and ‘aesthetics of disappearance’ (constant presentism), it asks what prompts oversharing, what oversharing reveals about our life stages and the state of being human in an age of over-acceleration dominated by ICTs, and how oversharing affects our embodied phenomenology. The chapter first provides an overview of ideas about acceleration and the resulting aesthetics of disappearance, as proposed by philosopher and urbanist Paul Virilio, before discussing how the phenomenon of oversharing is mediated by social media platforms such as Facebook and Snapchat. It then considers whether posting selfies on a Facebook page constitutes oversharing and whether oversharing (real-time presence) achieves what Virilio calls an aesthetics of disappearance. Finally, it explores how oversharing impacts social interactions and intergenerational relationships.
... The digital sign, for example, is acknowledged as post-photographic since it is disembodied, and it no longer guarantees any indexical relation between the referent and the image. Signifiers lose any stable meaning and value whether they are visual or orthographic (Hansen 2004;Virilio 1994). Furthermore, and finally, Žižek's theories of the gap between the frames, and over-identification as critique, provide a framework for considering recent attempts to evade, negate, or overturn the Event that is digital hegemony. ...
... They can comprise, among many others, images used for surveillance purposes, for medical examination, or for military and industrial logistics. Furthermore, Farocki suggests that with the development of automation and informational technologies more and more of these operational images are being processed by what Paul Virilio (1994) called "vision machines". What is unique in these new images is not just the absence of a human actor or creator, but also of a human spectator or reader. ...
With the recent publication of Signs and Machines by Maurizio Lazzarato and Critical Semiotics by Gary Genosko, the concept of asignifying semiotics introduced by Félix Guattari in the late 1960s is regaining attention. This revived interest responds largely to the rise and consolidation of new technologies of power based on algorithmic control and Big Data analysis. In the new context of informational capitalism, Guattari’s asignifying semiotics appears as a powerful conceptual tool for exploring the role of information technologies in the reproduction of capitalist power relations. This article contributes to this discussion by introducing the notion of asignifyng images in order to explore the role that images acquire in this new age of algorithmic control. To achieve so, this article focuses on Harun Farocki's concept of operational images and reads some of his audiovisual work through the prism of Guattari’s asignifying semiotics. More specifically, this article compares the representational account of labour in the film Workers Leaving the Factory (1995) with the non-representational perspective deployed by the video installation Counter-Music (2004). This distinction between a representational and a non-representational framework responds to the distinction between signifying and asignifying semiotics. By comparing these two perspectives this article attempts to delineate some key elements for a broader reflection upon the transformation of the role of images in the reproduction of contemporary capitalism.
... Whenever Media portrays the terrorist attacks in Club Meds Resorts in Middle East, less is known respecting to the reasons jihadists keep against US. This happens because tourists are travellers of desolation or in other terms from emptied spaces (Virilio 1989(Virilio , 1994. Equally important, the French tradition connoted a negative definition of mobilities, which sustained or not, leads towards the theory of Non-Places in Marc Augé. ...
The present short essay brings the problem of terrorism into the foreground. Basically, terrorism not only was catalogued as the major threat for Western civilization but also for tourism and hospitality industries. We hold the thesis that far from being affected by, tourism and terrorism share the same origin, the same point of convergence, which dates back towards nineteen century and the unification and formation of the first worker unions. Though polemic, our argumentation is based on the historical facts and evidence left by the action of first anarchists in the US. The same benefits prompted by anarchosyndicalists who by an extreme violence shocked the government, were the background for the rise and expansion of modern tourism worldwid
... At one level, the ability to create virtual world where you can have a conversation with someone in Sydney whilst you are in Prague, and at the same time touch and feel that person in the bubble of a virtual world (Davenport, 2000) can stretch the abilities of those who deceive but also provide enormous potential. Virilio (1995) calls this type of process the automation of perception. It is a situation where "paradoxical logic emerges when the real-time image dominates the thing represented, real time subsequently prevailing over real space, virtually dominating actuality and turning the very concept of reality on its head" (ibid, p.63). ...
The nature of data has changed as human technology has evolved. ‘Natural ' analogue data stimulate our senses, whilst machine produced data provides an intermediary for natural or artificial data to our senses. In the age of the cyborg (a machine with human attributes) and the bionic person (a human with machine attributes), it is possible for data totally alien from ‘natural reality' to be fed directly to the brain so by-passing the senses. This is a new form of reality, which lends itself to manipulation of a kind never experienced before. The dreams of deceivers may yet be realised on a mass scale.
... In the book The Vision Machine (Virilio, 1988), Virilio observes that under pressure of continued strategic acceleration, time itself becomes the object of technological research and development. Processes formerly handled by human operators are accelerated to a point where human consciousness and cognition no longer gain access because of their pure speed. ...
This text draws together a set of characteristics that can be used as building blocks for a conceptual model of Affect Space. I have previously described Affect Space as an emerging techno-sensuous spatial order. Here I build upon these earlier investigations and the outcomes of the Technology / Affect / Space (T / A / S) public research trajectory conducted in 2016, which included public seminars in Amsterdam, Cambridge (Ma.), and Rotterdam, and continues in a series of commissioned essays on Open! , of which this text is one. These essays can help to articulate new design strategies for this quickly evolving context, where the spatial design disciplines are curiously absent from the debate.
An edited version of this text has appeared on the Open! online publication platform for art, culture, and the public domain (September 19, 2017):
http://www.onlineopen.org/re-designing-affect-space
... 34) radar uses feedback to increase remote control, to collect information, and to order and arrange objects at a distance. Media, and technologies generally, have been considered in terms of logistics and remote control by various theorists- Mumford (1964), Carey (1988), and Virilio (1989Virilio ( , 1994, among them-but most usefully, in terms of radar, by Innis (1951Innis ( , 1972 and wiener (1954,1961). Innis discusses how, on the level of governance, forms of communication remotely order and arrange people and objects. ...
Fragments from the prehistory of radar are analyzed to advance a notion of logistical media. Logistical media order and arrange people and objects and subtly influence our experiences of space and time (Case, 2010). Logistical media emphasize logistics, feedback, and remote control in communication. They gesture to the work of Innis (1951, 1972), Wiener (1948/1961, 1954), Carey (1988), Mumford (1964), and Virilio (1989, 1994), and to the transmission model of communication. This article considers the torpedo, searchlight, war horn, and death ray logistically and as they prefigure radar. The analysis of other logistical media is suggested.Dans cet article, nous analysons certains éléments de la préhistoire du radar pour souligner l’idée de médias logistiques. Ces derniers ordonnent et arrangent les gens et objets et influencent de manière subtile nos expériences de l’espace et du temps. Ils mettent l’accent sur la logistique, la rétroaction et le contrôle à distance en communication. Ils évoquent en outre l’oeuvre d’Harold Innis, Norbert Wiener, James W. Carey, Lewis Mumford et Paul Virilio, ainsi que le modèle transitif de la communication. Cet article considère la torpille, le projecteur, le cor de guerre et le rayon de la mort d’un point de vue logistique, en tant que précurseurs du radar. Il propose par la suite l’analyse d’autres médias logistiques.
... Indeed, students of communication and media have recourse to a long history of scholarship addressing the supremacy of visual perception as a gateway to authentic experience, reliable knowledge, and power (see, for instance, Heidegger, 1977;Jay, 1992;Jay & Ramaswamy, 2014;Levin, 1993;McLuhan, 1964;Mulvey, 1975). More recent work has drawn particular attention to the ways modern forms of political power have been articulated with the rise of new technologies of mediation that extend the terrain of the visible, or that make use of new techniques and strategies for the exercise of what Daniel Dayan (2013) describes as the work of "premonstration" and "remonstration" (see also Brighenti, 2007;Dayan, 2013;Gonzalez, 2015;Thompson, 2005;Virilio, 1994). By bringing such concerns about the "power of vision"-to see and to make things seen-into closer dialogue with questions of religion and the public sphere, we hope to foster new opportunities for interdisciplinary discussion, but also to challenge some of the secularist biases that continue to dominate scholarship produced under the aegis of communication and media studies. ...
Amaç: İmgelerin yaratıcı yeniden düzenlemesi kurgusal anlatının meşru yöntemlerinden biri olarak söyleme hizmet eder niteliktedir. Özellikle biçim-içerik uyumsuzluğunun; aurasından koparılmış imge kullanımının yoğun olduğu uygulamalarda belirginleşir. Yüzeye sabitleme araçlarının gelişen teknoloji ışığında devamlı atıl kalması ile beliren yeni odak noktaları, sunulan anlatı olanaklarının çeşitliliğine de yansır. Abartıdan yoksun yalın görselliğin kendine atıf yapılmasını zorunlu kılan örneklemine alternatif sunarak çeşitli alanlar açar. Aynı zamanda kültürün, değişimi paketler halinde güncelleyen, tek yönlü sunumu da özgün anlatıları tetikler niteliktedir. İkinci el deneyimin kesintiye uğrayan aurasının da yardımıyla bir ikame imgeler coğrafyası inşası; hatta bu bedensiz organların kendi alt kültürünü de yarattığını görürüz. Bunun yanında imgelemin mutlak gerçeklik iddiasında bulunmaya başlaması ile oluşan imgenin kavramın kendisi olduğuna dair görüş de sembol sorununun temelini oluşturmaktadır. Hipergerçekliğin durmaksızın kendini dayattığı kültürel ortamda çıkış yolları arayan sanatın alternatif kurgu yaratan bir unsuru olan buluntu imge, imgelemi sanatsal üretimde yeniden olanaklı kılan dönüşümüyle artık saf görüntü üretiminden daha fazlasıdır. Güncel sanatsal üretim araçları kullanılarak oluşturulan üst anlatıların heterotopik buluntu imgelerde özgün bir aura kazandığı süreci belgeleyerek ortaya çıkarmak adına, aracın kronolojik evrimine uygun örnekler seçilerek ortaya konan bağlamsal paradigma ışığındaki bu çalışmanın amacı genel itibarı ile buluntu imge kolajının günümüz imge yaratım süreçlerine nasıl yön verdiğini ve algıda yarattığı dönüşümü tartışmaktır. Yöntem: Araştırma literatür tarama yöntemiyle yapılmıştır. Örneklem tekniği kullanımında öne çıkan sanatçıların kronolojik sırayla tartışılmasına uygun olarak seçilmiştir. Bulgular: Metaforik imgenin manifesto ile olan güçlü bağının, tekniğin kullanım alanını genişleterek kurgusal anlatıda yeni alanlar açılmasına da olanak sağladığı tespit edilmiştir. Sonuç: Görsel dilin bir aracı olarak kullanılan fotoğraf, imgelemi teşvik eden adeta bir yarı-iletken, konformist algıya müdahale eden bir uyarıcı, metaforuna işaret eden bir manifesto, özetle güncel sanatın ayrılmaz bir unsuru haline gelmiştir. Anahtar Sözcükler: güncel sanat, metaforik imge, kurgusal anlatı
The Invisibilities of Architecture. Representations of Space and Colour as Historiographical Problems
Architectural history has been characterized by a reluctance to acknowledge the significance of colour and space. Books have been illustrated in black and white long after illustrations in colour became current in publications on other subjects. The motley heterogeneity of medieval architecture is one aspect of past architecture that has been somewhat neglected. Small reproductions of buildings on book pages have, moreover, tended to turn architecture into an image, rather than acknowledging its spatial shape and surroundings. The choice of black and white illustrations and the focus on two-dimensionality are founded in an aesthetic ideal of classicism, understood as a concept of style characterized by monotony, homogeneity, and timelessness. The article addresses our tendency as architectural historians to disregard the qualities that have not been consistent with what we expected of historical architecture, with our notion of the true image of these buildings. The case study of the article is meant to exemplify the temporality embedded in our representation of the history of art and architecture: each generation of art historians observes new truths in their study of historical material. When these new aspects of, for instance, a building become visible at a certain time, it is related to the technical medial possibilities of our discipline as well.
Screen Space Reconfigured is the first edited volume that critically and theoretically examines the many novel renderings of space brought to us by 21st century screens. Exploring key cases such as post-perspectival space, 3D, vertical framing, haptics, and layering, this volume takes stock of emerging forms of screen space and spatialities as they move from the margins to the centre of contemporary media practice. Recent years have seen a marked scholarly interest in spatial dimensions and conceptions of moving image culture, with some theorists claiming that a 'spatial turn' has taken place in media studies and screen practices alike. Yet this is the first book-length study dedicated to on-screen spatiality as such. Spanning mainstream cinema, experimental film, video art, mobile screens, and stadium entertainment, the volume includes contributions from such acclaimed authors as Giuliana Bruno and Tom Gunning as well as a younger generation of scholars.
This edited volume brings together experts from across the field of education to explore how traditional pedagogic and didactic forms and processes are changing, or even disappearing, as a result of new technologies being used for education and learning. Considering the use, opportunities and limitations of technologies including interactive whiteboards, tablets, smart phones, search engines and social media platforms, chapters draw on primary and secondary research to illustrate the wide-reaching and often salient changes that new digital technologies are introducing into educational environments and learning practices around the world. Neither claiming that traditional forms of learning must be replaced, nor calling for a restoration of the school, Education in the Age of the Screen offers a nuanced exploration of the implications of digitization for education. Taking a broad view on education as a social and cultural phenomenon, the volume focuses on three major dimensions: the wider conditions against the background of which we educate and are educated today, detailed examples of aesthetic practices and educational initiatives in the current media culture, and concrete answers to the challenges that come our way. A comprehensive and timely consideration of the state of education in the digital age, this will be of interest to researchers, academics and postgraduate students in the fields of education and pedagogy, media and cultural studies, as well as teacher educators and trainee teachers.
In Allegories of the Anthropocene Elizabeth M. DeLoughrey traces how indigenous and postcolonial peoples in the Caribbean and Pacific Islands grapple with the enormity of colonialism and anthropogenic climate change through art, poetry, and literature. In these works, authors and artists use allegory as a means to understand the multiscalar complexities of the Anthropocene and to critique the violence of capitalism, militarism, and the postcolonial state. DeLoughrey examines the work of a wide range of artists and writers—including poets Kamau Brathwaite and Kathy Jetñil-Kijiner, Dominican installation artist Tony Capellán, and authors Keri Hulme and Erna Brodber—whose work addresses Caribbean plantations, irradiated Pacific atolls, global flows of waste, and allegorical representations of the ocean and the island. In examining how island writers and artists address the experience of finding themselves at the forefront of the existential threat posed by climate change, DeLoughrey demonstrates how the Anthropocene and empire are mutually constitutive and establishes the vital importance of allegorical art and literature in understanding our global environmental crisis.
O autor Lev Manovich é um académico russo e um pensador da cultura digital bem conhecido nas artes e nas culturas digitais desde a publicação de seu livro The language of new media (2001)...
This book explores the notion of belonging in contemporary photography in Turkey and Sweden. Throughout the investigation, Erika Larsson uses the term engaging to bring together a range of theoretical perspectives in order to move beyond a representational take on photography. In so doing, her aim is to approach particular photographic works as affective, embodied, and situated interactions or acts. Through the lens of these theoretical perspectives, she explores a number of different photographic projects that in one way or another deal with the notion of belonging.
Larsson argues that affective and embodied perspectives are significant and often overlooked both in terms of contemporary photography and theoretical discussions around belonging. In bringing these two themes together, the explorations reveal previously unforeseen aspects of how experiences of belonging are shaped, felt, and negotiated through contemporary photography.
In order to bring close attention to certain photographic works and how they function within particular situated space, Larsson focuses on works from the areas in and around Sweden and Turkey, but the discussion also reflects on the wider question of European experiences of belonging.
This research examines the apparatus concepts in the last decades of film studies, from the apparatus theory in the 1970s to the revisionist historiography of the early cinema and new media theory after the 1980s. Diagrammatizing the operation of a cinematographic apparatus as a process to make a fold between its machinic sensor and motor embedded in the material assemblages of media culture, it suggests two prototypes of apparatus, namely theater and laboratory, defined respectively by their different ways of enfolding an inside, problematizing the outside, and reassembling them to each other. Apichatpong Weerasethakul’s ethnographic experiment in Mysterious Object at Noon provides an example of the laboratorial apparatus that transforms its operational environments into the assemblages of singular problems, never representable, but only concretize-able by the apparatus’s function to network them.
Immersed in the networks of artificial intelligences that are constantly learning from each other, the subject today is being configured by the automated architecture of a computational sovereignty (Bratton 2015). All levels of decision-making are harnessed in given sets of probabilities where the individuality of the subject is broken into endlessly divisable digits. These are specifically re-assembled at check points (Deleuze in Negotiations: 1972–1990, Columbia University Press, New York, 1995), in ever growing actions of predictive data (Cheney-Lippold in We are data and the making of our digital selves, NYU Press, New York, 2017), where consciousness is replaced by mindless computations (Daston in “The rule of rules”, lecture Wissenschaftskolleg Berlin, November 21st, 2010). As a result of the automation of cognition, the subject has thus become ultimately deprived of the transcendental tool of reason. This article discusses the consequences of this crisis of conscious cognition by the hands of machines by asking whether the servo-mechanic model of technology can be overturned to expose the alien subject of artificial intelligence as a mode of thinking originating at, but also beyond, the transcendental schema of the self-determining subject. As much as the socio-affective qualities of the user have become the primary sources of capital abstraction, value, quantification and governmental control, so has technology, as the means of abstraction, itself changed nature. This article will suggest that the cybernetic network of communication has not only absorbed physical and cognitive labour into its circuits of reproduction, but is, more importantly, learning from human culture, through the data analysis of behaviours, the contextual use of content and the sourcing of knowledge. The theorisation of machine learning as involving a process of thinking will be taken here as a fundamental inspiration to argue that the expansion of an alien space of reasoning, envisioning the possibility of machine thinking against the servo-mechanic model of cybernetics.
Disturbingly, one important constituent within the photographic habitus has remained conspicuously absent from most discussions in what has come to be called Post-Photography. This particular, which since the nineteenth century has routinely been considered a key stage in the photographic workflow, is the human photographer. Therefore, this article delineates the presence of the human photographer in photography, its first appearances, its rise to prominence and its subsequent fall. In doing so, it attempts to explain how we taught ourselves to think of photography as a human-centric form of art-making and whether we ought to continue thinking of it as such. It begins with historical accounts of photography’s “machinism”, it then discusses modernist accounts of photography as an act of artistic ingenuity, followed by several modalities that have recently become available through digital and networked technologies. The article concludes with an alternate account of photography today and the likely place of both human photographer and viewer within it in the foreseeable future.
This article explores the relationships between war and representation through the use of visual images, and takes a cue from the French cultural theorist Paul Virilio, who has written extensively on the militarization of vision in ways that have yet to be fully recognized in criminology. It then outlines some of the disputes surrounding documentary photography, not least since one of the main factors driving the development of the medium was the desire to record warfare, before turning to recent efforts to reconfigure the violence of representation by focusing on what has been termed ‘aftermath photography’, where practitioners deliberately adopt an anti-reportage position, slowing down the image-making process and arriving well after the decisive moment. This more contemplative strategy challenges the oversimplification of much photojournalism and the article concludes by reflecting on how military-turned-consumer technologies are structuring our everyday lives in more and more pervasive ways.
This is a paper presented for a workshop entitled: On Time: Temporal and Normative Ordering of Mobilities, to be held 13-14 September at the University of Siegen in Siegen, Germany. As such, it is only 3700 words or so, which is a limit requested by the workshop organizers. I will, of course, be adding more to this paper prior to submitting for publication review, including a discussion of environmentality, the relationship amongst Carey's conception of rituals, the rhythmic and repetitive nature of the public sphere, and Lefebvre's discussion of rhythm analysis. I will also be adding a discussion concerning Erin Manning's work on movement and its relationship to subjectivity and its relationship to what I've discussed as entrainment. Finally, I will also add a more detailed analysis of Post War French thought and concern for movement as a politically disruptive force/activity.
The digital era has brought about huge transformations in the map itself, which to date have been largely conceptualised in spatial terms. Novel objects, forms, processes and approaches have emerged and pose new, pressing questions about the temporality of digital maps and contemporary mapping practices: in spite of its implicit spatiality, digital mapping is strongly grounded in time. This collection brings time back into the map, taking up Doreen Massey's critical concern for 'ongoing stories' in the world; it asks how mapping enrols time into these narratives. Maps often seek to ‘freeze’ and ‘fix’ the world, looking to represent, document or capture dynamic phenomena. This collection examines how these processes are impacted by digital cartographic technologies that, arguably, have disrupted our understanding of time as much as they have provided coherence. The book consists of twelve chapters from experts in the field. Each addresses a different type of digital mapping practice and analyses it in relation to temporality. Cases discussed range from locative art projects, OpenStreetMap mapping parties, sensory mapping, Google Street View, to visual mapping, smart city dashboards and crisis mapping. Authors from different disciplinary positions consider how a temporal lens might focus attention on different aspects of digital mapping. This kaleidoscopic approach demonstrates a rich plethora of ways for understanding the temporal modes of digital mapping and the interdisciplinary background of the authors allows multiple positions to be developed and contrasted.
Prediction theory emerged during the WWII in order to improve anti-aircraft artillery and resulted in algorithms devised to statistically predict airplanes and missile paths. Although today prediction is the backbone of the video compression, the historical and technical connection between this mathematical theory and contemporary imaging technologies
has not been sufficiently determined. Using a media archaeological approach this paper discusses how the implementation during the 1990s of prediction algorithms to video compression has generated an entirely new type of moving images. I argue that the consequence of turning each displayed picture into a rigid grid and its construction into the statistical prediction of the pixel’s values is dramatic because it renders the temporal coincidence of all pixels within the frame unnecessary. On the surface there is no change. Yet, using prediction a video codec such as H.264/AVC has turned the frame into an address where chunks of pixels coming from different moments in time are put together. At the coding level, prediction has banished the frame. The elimination of that basic unit of all moving images, not only miniaturized video but it also has had ontological consequences for the image that are not yet fully understood.
The Øresund is a transnational metropolitan region comprising Greater Copenhagen (Denmark) and Skåne (Southern Sweden), joined by the Øresund Bridge built over the strait separating the two nations. Historically a site of cultural encounter between Denmark and Sweden, the region took shape as a political-economic entity during the 1990s against a wider backdrop of European Union initiatives to encourage cross-border cooperation. One aim of the Øresund development strategy is to foster regional culture and identity; the production and distribution of audiovisual media supported by the respective national film policies and industries are key here. I explore how the Øresund region has been imagined and critiqued in popular film and televisual texts since the 1990s and provide new readings of a largely un-researched body of material related to the development of this transnational region. Drawing on a small-nation approach to cinema, I study the emergence and development of screen culture in the region and how audiovisual texts construct the sense of an ‘Øresund identity’, a cultural and geopolitical identity that is still being forged and negotiated by various actors. In particular, I investigate how the region’s spatial identity is mediated to local and international audiences through representations of postindustrial urban change and intercultural encounters. I begin with an analysis of the film-political landscape, followed by close readings of the audiovisual texts against the socio-political context of the genesis of the region and the architectural and cultural policies emerging from the larger region-building project. I argue that the texts imaginatively negotiate, and, to an extent, shape the economic, social, and material development of the region during this period of intense region-building and branding. This thesis is a contribution to scholarship in the areas of small nation cinema, Nordic screen studies, and culture and identity.
No que se refere à categoria das imagens mentais eà sua suposta invisibilidade fenomenológica, a partirdo momento em que uma tecnologia extractiva trans-duz os impulsos eléctricos que se formam nas redesneuronais do córtex visual, em pixeis, e nos forneceuma representação sintética das imagens produzidasno interior dacamera obscuracraniana, estamos di-ante de um novo patamar que nos permite visualizaro último reduto do invisível. Imersos no dispositivotecno-estético global, somos mobilizados pela estru-tura técnica dapremediação, cujo desígnio é o demobilizar e modular, no presente, orientações afec-tivas – individuais e colectivas – em direção a umfuturo potencial, ou seja, em direção à formação deuma virtualidade real. Mas não nos iludamos, a au-tomação e a invisibilidade neocibernética da domi-nação não resulta do poder transcendental de um ar-tífice supremo, mas antes de um novo regime de go-vernamentabilidade e controlo das subjectividadespotenciado pelo tratamento algorítmico da informa-ção acumulada (governação algorítmica).
A Computação do (In)Visível – Imagem, Ideologia e Neocibernética. Available from: https://www.researchgate.net/publication/321982369_A_Computacao_do_InVisivel_-_Imagem_Ideologia_e_Neocibernetica [accessed Mar 12 2018].
A portrait poem by the German poet Thomas Kling (1957-2005) about the German artist Joseph Beuys is the starting point to reconsider the current ekphrasis discourse in the light of experienced visuality by combining the concept of ancient rhetoric with modern ideas of imagination, multimodality and performativity.
https://phaidrabg.bg.ac.rs/open/o:16508
How does the construction of knowledge relate to haptic experience? How does material or information pass through the generations? As affect, as engram, as copy: mediated by the technologies of its reproduction? Our imperative in the projects we will describe here was to address and understand how as artists we might work with new 3D visualization technologies. We have applied para-epistemological technology to prehistoric artifacts, a kind of historiography with energies aimed at the future. In order to better understand recently acquired 3D scanning and printing equipment we unpicked some historical precedents including an ancestor of 3D fabrication technology: an 1863 device for turning photographs into sculpture. It provides a genealogy not for the moving image but for the information model. As a collective of students and staff we figured out how to hack and build a bastard apparatus. In so doing we found that we were generating paradata: exploring the systems of the institution, the building of discipline and the vectors of control. ‘We tried a type of… performance that could influence the thinking of all the people engaged in it. It was, so to speak, art for the producer, not art for the consumer.’ (Brecht, 1964)
E I objetivo del presente Ii bro es explorar las nu f evas or mas y pr�ct· culturales desarrolladas en la era digita l que d f ' icas ,. . , esa ian o mi nan los mados hegemonicos de producc1on de conoc imie t 1 • ,. . n ° re ac1o nados his-toncamente con el texto escnto. Se trata pues de reval orar est rategias no textuales de producci6n coma mecanismas que abren la p 'b'l'd OSI I I ad de ar-ticular nuevos modos de canocimienta. Los autores de los ensayos aquf reunidos consi deran que 1 • • a invest1 ga-ci6n basada en el a rte, las comunidades digitales y open access, las escritu-ras expandidas, el performance y las intervencione s digitale s multimedia son estrategias que retan a las concepciones tradicional es del conoc imiento y al mismo tiempo estan expandiendo los criterios mas alla de conceptos es trictamente provenientes de la epistemologfa para indagar en las transfor maciones de los formatos de conocer y las condiciones espedficas en las que se manifiestan en la sociedad de la in formaci6n. Estas investigaciones contribuyen a pensar las formas en que el co nocimiento esta buscando y encontrando nuevos caminos, incluso en las propias entraiias de las instituciones hegem6nicas. Se propane que el conocimiento, mas alla del texto como formato hegem6nico, debe incluir tanto los estudios como los paradigmas te6ricos y metodol6gicos a traves de los cuales se interpreta y se analiza la realidad social, asf como su movi lizaci6n y activaci6n frente a la hegemonfa; se teoriza sobre el efecto dis locador en la epistemologfa tradicional provocado por la digitalizaci6n Y los nuevos medios, y se estudia el impacto de las nuevos medios y la digitali zaci6n no solamente en la practica social cotidiana sino en las concepciones tradicionales del arte. Colaboran en este libro Ana Cristina Aguirre Calleja, Alejandra Araiza D iaz, ve r6ni � a
The McBride Report put into sharp and detailed focus the relationship between communications media and power and showed that unequal access to communications media had repercussions for the economic and political development of nations, peoples, and individuals. This chapter seeks to identify characteristics of political digital art practices, characteristics that change over time along with advances in technology and developments in the political economy. The task thus is to understand the motive forces and concrete modalities of change in order to better assess how artists tried to unlock the emancipatory potential of media. Taking a kind of curatorial approach, the text gives a selective account of radical art practices motivated by political themes and acting in concert with social movements to create shockwaves in the new world order of information and communication.
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