This is Episode 3 of Naive and Dangerous, the podcast series about emergent media I am recording together with my colleague Dr Chris Moore. In this episode we discuss space and various imaginaries associated with it. We start with Copernicus and Carl Sagan, and then move through the music of the spheres, cosmos and chaos, the space of creation myths and sagas, space as machine, space travel, the myth of the final frontier, parallel universes, lovecraftian space, and finally, Lagrange points. Have a listen.
Tag: cyberpunk
This is Episode 2 of Naive and Dangerous, the podcast series about emergent media I am recording together with my colleague Dr Chris Moore. In this episode we discuss the notion of the cyborg and the tension between being a cyborg and being a human. We start by unpacking the various meanings injected in the concept of a cyborg, using recent movies such as Alita Battle Angel and Ghost in the Shell as a starting point. As is our habit, we engage in extensive speculative analysis of the cyborg trope, from contemporary cinema, to cyberpunk, early science fiction imaginaries of robots, the assembly line, and ancient mythology. In the process we develop a definition of cyborg/humans and manage to have a lot of fun. Have a listen.
This is Episode 1 of Naive and Dangerous, a new podcast series about emergent media I am recording together with my colleague Dr Chris Moore. In this episode we discuss the fears surrounding the emergence of Artificial Intelligence and its effects across the fabric of human society. We engage in some speculative analysis of the AI phenomenon and its tropes from current cinema, to cyberpunk, 19th century Romanticism, the ancient Mediterranean world’s fascination with automata, and ancient mythology.
This is a YouTube playlist of my lectures in BCM206 Future Networks, covering the story of information networks from the invention of the telegraph to the internet of things. The lecture series begins with the invention of the telegraph and the first great wiring on the planet. I tie this with the historical context of the US Civil War, the expansion of European colonial power, the work of Charles Babbage and Ada Lovelace, followed by the work of Tesla, Bell, and Turing. I close with the second world war, which acts as a terminus and marker for the paradigm shift from telegraph to computer. Each of the weekly topics is big enough to deserve its own lecture series, therefore by necessity I have to cover a lot, and focus on key tropes emergent from the new networked society paradigm – i.e. separation of information from matter, the global brain, the knowledge society, the electronic frontier – and examine their role in our complex cyberpunk present.
Robots sorting through 200,000 packages a day in a Chinese delivery firm’s warehouse. The robots are self-charging and operate 24/7, apparently saving more than 70% of the costs associated with human workers performing similar tasks.
These are the slides for what was perhaps my favorite lecture so far in BCM112. The lecture has three distinct parts, presented by myself and my PhD students Doug Simkin and Travis Wall. I opened by building on the previous lecture which focused on the dynamics of networked participation, and expanded on the shift from passive consumption to produsage. The modalities of this shift are elegantly illustrated by the event-frame-story structure I developed to formalize the process of news production [it applies to any content production]. The event stage is where the original footage appears – it often is user generated, raw, messy, and with indeterminate context. The frame stage provides the filter for interpreting the raw data. The story stage is what is produced after the frame has done its work. In the legacy media paradigm the event and frame stages are closed to everyone except the authority figures responsible for story production – governments, institutions, journalists, academics, intellectuals, corporate content producers. This generates an environment where authority is dominant, and authenticity is whatever authority decides – the audience is passive and in a state of pure consumption. In the distributed media paradigm the entire process is open and can be entered by anyone at any point – event, frame, or story. This generates an environment where multiple event versions, frames, and stories compete for produser attention on an equal footing.
These dynamics have profound effects on information as a tool for persuasion and frame shifting, or in other words – propaganda. In legacy media propaganda is a function of the dynamics of the paradigm: high cost of entry, high cost of failure, minimum experimentation, inherent quality filter, limited competition, cartelization with limited variation, and an inevitable stagnation.
In distributed media propaganda is memes. Here too propaganda is a function of the dynamics of the paradigm, but those are characterized by collective intelligence as the default form of participation in distributed networks. In this configuration users act as a self-coordinating swarm towards an emergent aggregate goal. The swarm has an orders of magnitude faster production time than the legacy media. This results in orders of magnitude faster feedback loops and information dissemination.
The next part of the lecture, delivered by Doug Simkin, focused on a case study of the /SG/ threads on 4chan’s /pol/ board as an illustration of an emergent distributed swarm in action. This is an excellent case study as it focuses on real-world change produced with astonishing speed in a fully distributed manner.
The final part of the lecture, delivered by Travis Wall, focused on a case study of the #draftourdaughters memetic warfare campaign, which occurred on 4chan’s /pol/ board in the days preceding the 2016 US presidential election. This case study is a potent illustration of the ability of networked swarms to leverage fast feedback loops, rapid prototyping, error discovery, and distributed coordination in highly scalable content production.
This is a conversation on the Internet of Things I recorded with my colleague Chris Moore as part of his podcasted lecture series on cyberculture. As interviews go this is quite organic, without a set script of questions and answers, hence the rambling style and side-stories. Among others, I discuss: the Amazon Echo [Alexa], enchanted objects, Mark Weiser and ubiquitous computing, smart clothes, surveillance, AI, technology-induced shifts in perception, speculative futurism, and paradigm shifts.
This is an extended chapter abstract I wrote for an edited collection titled Atmospheres of Scale and Wonder: Creative Practice and Material Ecologies in the Anthropocene, due by the end of this year. I am first laying the groundwork in actor network theory, then developing the concept of hierophany borrowed from Eliade, and finally [where the fun begins], discussing the Amazon Echo, the icon of the Black Madonna of Częstochowa, and the asteroid 2010 TK7 residing in Earth Lagrangian point 4. An object from the internet of things, a holy icon, and an asteroid. To my best knowledge none of these objects have been discussed in this way before, either individually or together, and I am very excited to write this chapter.
Comparative hierophany at three object scales
What if we imagined atmosphere as a framing device for stabilizing material settings and sensibilities? What you call a fetishized idol, is in my atmosphere a holy icon. What your atmosphere sees as an untapped oil field, I see as the land where my ancestral spirits freely roam. Your timber resource is someone else’s sacred forest. This grotesque, and tragic, misalignment of agencies is born out of an erasure, a silencing, which then proceeds to repeat this act of forced purification across all possible atmospheres. This chapter unfolds within the conceptual space defined by this erasure of humility towards the material world. Mirroring its objects of discussion, the chapter is constructed as a hybrid.
First, it is grounded in three fundamental concepts from actor network theory known as the irreduction, relationality, and resistance-relation axioms. They construct an atmosphere where things respectively: can never be completely translated and therefore substituted by a stand-in; don’t need human speakers to act in their stead, but settings in which their speech can be recognized; resist relations while also being available for them. When combined, these axioms allow humans to develop a sensibility for the resistant availability of objects. Here, objects speak incessantly, relentlessly if allowed to, if their past is flaunted rather than concealed.
Building on that frame, the chapter adopts, with modifications, the notion of a hierophany, as developed by Mircea Eliade, as a conceptual frame for encountering the resistant availability of material artefacts. In its original meaning a hierophany stands for the material manifestation of a wholly other, sacred, order of being. Hierophanies are discontinuities, self-enclosed spheres of meaning. Arguably though, hierophanies emerging from the appearance of a sacred order in an otherwise profane material setting can be viewed as stabilizing techniques. They stabilise an atmospheric time, where for example sacred time is cyclical, while profane time is linear; and they stabilise an atmospheric space, where sacred space is imbued with presence by ritual and a plenist sensibility, while profane space is Euclidean, oriented around Cartesian coordinates and purified from sacred ritual.
Finally, building on these arguments, the chapter explores the variations of intensity of encounters with hierophanic presences at three scales, anchored by three objects. Three objects, three scales, three intensities of encounter. The first encounter is with the Amazon Echo, a mundane technical object gendered by its makers as Alexa. An artefact of the internet of things, Alexa is a speaker for a transcendental plane of big data and artificial intelligence algorithms, and therefore her knowledge and skills are ever expanding. The second encounter is with the icon of the Black Madonna of Częstochowa in Poland, a holy relic and a religious object. The icon is a speaker for a transcendental plane of a whole different order than Alexa, but crucially, I argue the difference to be not ontological but that of hierophanic intensities. The third encounter is with TK7, an asteroid resident in Earth Lagrangian Point 4, and discovered only in 2010. TK7 speaks for a transcendental plane of a wholly non-human order, because it is quite literally not of this world. All three objects have resistant availability at various intensities, all three have a hierophanic pull on their surroundings, also at various intensities. Alexa listens, and relentlessly answers with a lag less than 1 second. The Black Madonna icon listens, and may answer to the prayers of pilgrims. TK7 is literally not of this world, a migratory alien object residing, for now, as a stable neighbor of ours.
I am working with a team researching the networking of carbon-nanotube [CNT] woven garments, and recently we published a position paper on the concepts of smart fabrics and networked clothing. We are interested in developing a coherent conceptual framework for what is, arguably, a paradigmatic shift in networking technologies, physically bringing human bodies online.