Se intenta en este trabajo identificar y describir de algún modo, en caso de que exista, la contracultura digital de nuestro tiempo. Con tal propósito en mente, en primer lugar, el autor esboza sus presuposiciones con respecto la cultura, la tecnología digital, la cultura digital y la contracultura, bajo las ópticas que imponen la naturaleza de este artículo. Digital Culture and Counter-Culture: an Essay It is attempted in this work to identify and to describe somehow, in (...) case it exists, the digital counterculture of our time. With such a purpose in mind, first of all, the author sketches his presuppositions regarding culture, digital technology, digital culture and counterculture, under the optics that imposes the nature of this article. (shrink)

Abstract:This essay follows the recent discourse on two phenomena: the tendency of hegemony to incorporate subversive cultures, and the digital reanimation of prominent dead people. At the intersection of these phenomena lies what we call “cultural necromancy,” a special case of hegemonic incorporation that aesthetically manipulates the physical presence of a deceased figure in the service of power. This essay explores historical analogues to cultural necromancy and how the digital age has accelerated the process through examples ranging from (...) medieval saints to Lenin’s mausoleum to the Tupac hologram. It then examines cultural necromancy’s implications for counterculture and resistance. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

In the so-called digital culture, there is a constant presence of radical transformations on the cognitive and affective dimensions of the relations established among teachers and students. Upon this ubiquitous accessibility of information, the very historical and hierarchically verticalized relation between teachers and students has been increasingly questioned. Upon this situation, the authors in this article aim at stating that the revitalization of concepts developed by Paulo Freire, mainly the ones discussed in the books: ‘Pedagogy of Hope’, that sought (...) a re-encounter with ‘Pedagogy of the Oppressed’, ‘Extension or Communication’ and ‘Pedagogy of Freedom’ became essential to understanding how the relationship between teachers and students can be mutually re-signified. In these times of digital culture, we argue that the revitalization of the critical thinking proposed by Freire is able to foment a dialogical communication both in the pedagogical link shared by teachers and students and in the transformation of information into substantially and ethically experienced concepts. Such substantial and ethical experiences are the ones able to attest that the pedagogy of hope and the pedagogy of freedom are possible, provided they are constituted with the students and not for them. (shrink)

This article explores how the shift from print to electronic calendars materializes and exacerbates a distinctively quantitative, “spreadsheet” orientation to time. Drawing on interviews with engineers, I argue that calendaring systems are emblematic of a larger design rationale in Silicon Valley to mechanize human thought and action in order to make them more efficient and reliable. The belief that technology can be profitably employed to control and manage time has a long history and continues to animate contemporary sociotechnical imaginaries of (...) what automation will deliver. In the current moment we live in the age of the algorithm and machine learning, so it is no wonder, then, that the contemporary design of digital calendars is driven by a vision of intelligent time management. As I go on to show in the second part of the article, this vision is increasingly realized in the form of intelligent digital assistants whose tracking capacities and behavioral algorithms aim to solve life’s existential problem—how best to organize the time of our lives. This article contributes to STS scholarship on the role of technological artifacts in generating new temporalities that shape people’s perception of time, how they act in the world, and how they understand themselves. (shrink)

As artefacts, the worlds of digital games are designed and developed to fulfil certain expressive, functional, and experiential objectives. During play, players infer these purposes and aspirations from various aspects of their engagement with the gameworld. Influenced by their sociocultural backgrounds, sensitivities, gameplay preferences, and familiarity with game conventions, players construct a subjective interpretation of the intentions with which they believe the digital game in question was created. By analogy with the narratological notion of the implied author, we (...) call the figure to which players ascribe these intentions ‘the implied designer’. In this article, we introduce the notion of the implied designer and present an initial account of how appreciators ascribe meaning to interactive, fictional gameworlds and act within them based on what they perceive to be the designer’s intentions. (shrink)

The E.U. is shortly before implementing the Digital Markets Act (DMA), which aims to regulate digital markets and (ideally) rein in the power of big tech gatekeepers. Several researchers claim that this proposal – and especially its goal to ensure the contestability and fairness of digital markets – is ordoliberal in nature, yet what is missing in the academic literature is a closer look at the parallels (and differences) between the E.U.’s competition policy (and the DMA) and (...) ordoliberalism. This paper tries to close the gap and help answer the question of whether the DMA is indeed standing in an ordoliberal tradition. Furthermore, it evaluates the Act’s institutional strengths and weaknesses – as seen from an ordoliberal perspective – and points out potential ways to strengthen E.U. competition policy (and the DMA) and bring it closer to the ordoliberal ideal. (shrink)

Recent research into climate shocks and what this means for the on-farm production of food revealed mixed and unanticipated results. Whilst the research was triggered by a series of catastrophic, climate related disruptions, Australian beef producers interviewed for the study downplayed the immediate and direct impacts of climate shocks. When considering the changing nature of production under shifting climatic conditions, producers offered a commentary on the digital technology and data which interconnected with climate solutions deriving from both on and (...) off the farm. Perceptions of digital technologies were mixed. Some viewpoints outlined how data driven climate solutions supported on farm planning and decision making, helping to manage climate risks and shocks. However, alongside these narratives, concerns were raised about satellite-based sustainability surveillance and their implications for producer agency. These concerns include the data-informed actions of non-farming third parties, such as bank loan call-ins for properties perceived to be a climate risk, remote surveillance of ground cover, and the commercial re-appraisal of pastoral lands as carbon sinks. Digital solutions to climate shocks thus emerge as inherently ambivalent, a response to shocks and a potential catalyst for renewed crisis. Drawing upon the theoretical lens of relationality, we argue that digital data are increasingly entangled with other material and non-material elements that may disrupt and/or reconfigure the management of farming and with that, the future security of food production. In some instances, data-based solutions to climate risks and shocks present even greater risks to producer agency than climate risks and shocks themselves. (shrink)

It is common in cognitive science to equate computation (and in particular digital computation) with information processing. Yet, it is hard to find a comprehensive explicit account of concrete digital computation in information processing terms. An information processing account seems like a natural candidate to explain digital computation. But when ‘information’ comes under scrutiny, this account becomes a less obvious candidate. Four interpretations of information are examined here as the basis for an information processing account of (...) class='Hi'>digital computation, namely Shannon information, algorithmic information, factual information and instructional information. I argue that any plausible account of concrete computation has to be capable of explaining at least the three key algorithmic notions of input, output and procedures. Whist algorithmic information fares better than Shannon information, the most plausible candidate for an information processing account is instructional information. (shrink)

Since 2020, many countries worldwide have deployed digital contact tracing programs that rely on a range of digital sensors in the city to locate and map the routes of viral spread. Many critical commentaries have raised concerns about the privacy risks and trustworthiness of these programs. Extending these analyses, this paper opens up a different line of questioning that goes beyond privacy-centered single-axis critique of surveillance by considering digital contact tracing symptomatic of the broader changes in modes (...) of urban governance that renders our cities traceable, knowable, and governable through data. Based on archival and real-time analysis of South Korean national and local COVID-19 dashboards, online forums, and interviews with South Korean public health practitioners, this paper offers a sociotechnical analysis of digital contact tracing that looks at the various intersections of state-political, bio-political, and techno-political power dynamics. In contrast to popular narratives that attributed the success of the Korean approach to digital contact tracing to its collectivist culture and smart city infrastructures, this paper suggests that the case can be better understood by looking at both the macro-level shift in the forms of governance that takes on a spatialized and networked character and the micro-level formation of moral responsibility that shape one's conduct as a health and safety-conscious citizens. As the latest realization of the expanding regime of traceability in digital/urban governance, the development of digital contract tracing is seen to parallel with concurrent changes occurring in multiple domains of life including knowledge production, cultural memory, and individual subjectivity. (shrink)

Over the last 30 years, the computer and videogame has emerged as a popular recreational pastime. While often associated with the artificial and alien, it is my contention that the modern videogame informs on the subject of “nature” and what we consider to be natural. This article delineates some of the “natures” posited in computer game design. It provides a valuable overview of gaming culture and might serve as an introduction to further research on specific game genres. It argues that (...) virtual worlds are currently serving a dual purpose, of reinforcing traditional stereotypes of the natural world, while gradually moving towards radical, new forms of “virtual” nature to contend with. It suggests that the mimicking of biological systems in computer games expresses both our lingering cultural interest in the “great outdoors” and a need to give familiarity and substance to an electronic medium marked by its failure to fit within traditional notions of space and geography. (shrink)

Cameras, microphones, and other sensors continue to proliferate in the world around us. I offer a new metaphor for conceptualizing these technologies: they are _digital wormholes_, transmitting representations of human persons between disparate points in space–time. We frequently cannot tell when they are operational, what kinds of data they are collecting, where the data may reappear in the future, and how the data can be used against us. The wormhole metaphor makes the mysteriousness of digital sensors salient: digital (...) sensors have brought us to a strange place. If humans are to be capable of making sensible decisions while under observation by digital sensors, we must improve the epistemic position of potential sensor subjects. (shrink)

As AI algorithms advance and produce surprising outputs, the question of imagination arises. Can we classify their output as imaginative? And what is their effect on human imagination? Apparently, algorithms follow Kant’s explanations on human imagination, thereby pushing us to update our understanding of imagination by taking into account the co-shaping between humans and their technologies. Such a new understating is offered in this article based on the theories of Don Ihde and Bernard Stiegler. With Ihde, imagination is conceived as (...) tightly linked to perception. Imagination evolves from the modernist task of seeking new points-of-view to a new mode in which technologies present imaginative layers of information on top of reality. With Stiegler, imagination is regarded as tightly linked to memory. He demonstrates how imagination complements memory, serves as a condition to memory/technology and at the same time how imagination itself is conditioned by memory/technology. In this article I develop a new synthesis: imagination as composed of perception and memory. This is the foundation of my layered model of digital imagination. In this model, the task of AI algorithms is the filling in of the layers with data. By producing endless possibilities, these technologies “automate” the Kantian “free play” of imagination, allowing us to examine more options and focus on the best of them. The model reserves the production of meaning to humans. Our role as humans is to generate meaning to the link between layers and establish new layers. (shrink)

We investigated the accuracy of gender stereotypes regarding digital game genre preferences. In Study 1, 484 female and male participants rated their preference for 17 game genres (gender differences). In Study 2, another sample of 226 participants rated the extent to which the same genres were presumably preferred by women or men (gender stereotypes). We then compared the results of both studies in order to determine the accuracy of the gender stereotypes. Study 1 revealed actual gender differences for most (...) genres—mostly of moderate size. Study 2 revealed substantial gender stereotypes about genre preferences. When comparing the results from both studies, we found that gender stereotypes were accurate in direction for most genres. However, they were, to some degree, inaccurate in size: For most genres, gender stereotypes overestimated the actual gender difference with a moderate mean effect size. (shrink)

Your Digital Rebel XSi/450D, with its 12.2 megapixel resolution, 3-inch view screen, and the option for "Live View" shooting, is designed for simplicity without sacrificing creative freedom. This guide is ideal for helping you use that creative control and get great shots anywhere, anytime. If you’re new to dSLRs, it makes the transition easy. If you’re already comfortable with the various modes and settings, the book helps you make the most of every one. Set up your camera and learn (...) when to choose automatic, semi-automatic, and manual modes Understand the camera's controls, menus, and when to use different metering and autofocus modes Explore Canon Picture Styles and custom functions Learn to manipulate ISO, exposure, depth of field, and shutter speed Create intriguing night and low-light images, capture sports action, portraits, and get tips for better macro photography. (shrink)

The article explores digital literacy practices in children’s everyday lives at Norwegian preschools and some of the ways in which young children appropriate basic digital literacy skills through guided participation in situated activities. Building on an ethnomethodological perspective, the analyses are based on 70 hours of video recordings documenting the activities in which 45 children, aged 5-6, and eight preschool teachers participated. Through the detailed analysis of two categorization activities – identifying geometrical shapes and identifying feelings/thoughts –the use (...) of digital tools in the social organization of the activities are examined. The article finds that children’s digital literacy activities encompass visual, verbal, audio and embodied competencies that are made relevant, and thus accessible for learning, in interaction between the children and between the adults and children in the form of norms and guidelines for what constitutes correct categorizations (geometrical shapes and green and red feelings) in the situated activities, and that are appropriated and actualized by the children in interaction with their peers. The findings also show how the categorization practices in preschools deal with symbols and labels in ways that create and sustain socially organized ways of knowing, seeing and acting upon the world. Digital media are embedded in routines, procedures and socialites that are part of these categorization practices; they are part of how children are instructed to experience, interpret, understand and act in the world. Moreover, the different technologies created different conditions for the children’s participation. It was found that peer interaction was part of the digital literacy activities that involved such mobile technologies as smartphones and tablets, while when using non-mobile technologies, e.g. smartboards, the activities were structured more as ‘classic’ classroom activities, primarily guided by the teacher and the didactic material presented through the smartboard. (shrink)

The inner ecology: Buddhist ethics and practice -- A Buddhist perspective on animal rights -- Pollution and the environment: some radically new ancient views -- Animals for dinner: a Karmic tale -- Our relationship with nature: a Buddhist exploration -- Environmental issues: a Buddhist perspective -- Human spiritual potential and the environmental crisi -- The need for ethical guidelines to protect us from the very real dangers of a technological world -- Looking at hi-tech through the lens of the five (...) moral precepts -- Science and Buddhism: a critical comparison -- Genetic engineering: a Buddhist assessment -- Redesigning the world: ethical questions about genetic engineering -- Some ethical challenges posed by the Internet and digital social media: a Buddhist perspective -- Where are we going - digitally? (shrink)

A investigação apresenta uma reflexão sobre as estratégias de mercado de dados ancoradas no imperialismo e colonialismo na era digital. Discorre a mercantilização de dados de usuários de internet em diferentes plataformas digitais, bem como estratégias de mitigação dessas práticas e estudos sobre o tema. A pesquisa é descritiva, bibliográfica e qualitativa refletindo sobre dados, informação, poder e manipulação da sociedade por meio das plataformas digitais. O levantamento bibliográfico foi realizado no Portal de Periódicos Capes considerando apenas os artigos (...) publicados em acesso aberto e revisado por pares, compreendendo todo o período disponível até dezembro de 2023. O mercado de dados realizado por grandes corporações de tecnologia exercem domínio sobre a economia e a cultura, mediante o controle e a exploração das informações dos usuários. Este fenômeno suscita inquietações relacionadas à privacidade, concentração de poder e exclusão digital. O mercado de dados apresenta desafios significativos na era digital, demandando respostas eficazes por parte da sociedade civil, governos e organizações internacionais. Para fazer frente a essa problemática, é essencial que o Brasil fortaleça sua indústria de tecnologia e implemente políticas de proteção de dados. (shrink)

Retraction note: Antolínez-Merchán, P. & Cabrera-Rodríguez, E. C. (2022). Who speaks about human trafficking?: Information sources in the digital press. HUMAN REVIEW. International Humanities Revista Internacional De Humanidades, 11, 1–14. https://doi.org/10.37467/revhuman.v11.4206 The Editorial Office of Eurasia Academic Publishing Group has retracted this article. An investigation carried out by our Research Integrity Department has found a group of articles, among which this one is found, that are not within the thematic scope of the journal. We believe that the editorial process (...) was manipulated and, furthermore, acceptance decisions were made under possibly inappropriate peer review. (shrink)

The digital era provides quick access to a lot of data that is often poorly substantiated and frequently designed to disinform or deny evidence that is inconvenient to certain interests. The constant and continuous use of technological devices that provide instant gratification imbues us with a certain arrogance, as if we could fulfill all our desires by sliding our finger across a screen. This relentless immersion in virtual reality blurs the real facts, the veracity of which we come to (...) distrust, preferring the dogmatic and incontestable certainties provided by hoaxes and so-called “alternative facts”. Inhabiting this parallel reality makes us disregard our responsibility towards others. That is why we must vindicate the cultivation of philosophy and ethical reflection as antidotes to the philosopher’s stones offered to us by those who pretend to be soothsayers whose guidance will solve all our problems. As we want perennial and instant certainties, we distrust everyone and everything. Like uncertainty, other of our most human traits are precisely trust and responsibility. Without them we become dehumanized. (shrink)

This essay takes the concept of “digital ekphrasis” as an opportunity to look at contemporary multimodal AI – or more precisely text-to-image generators, understood as the latest phenomena in the media history of technical images. In my discussion, I raise the question of whether the digitally programmed image generation performed by programs like Stable Diffusion, Midjourney or DALL-E can be thought of as ekphrasis. Following recent discussions in the field of media theory, I thereby ask whether the criterion of (...) operativity is decisive for distinguishing text-to-image generation from ekphrasis in the classical sense. My discussion evolves in a revision of ekphrasis in the art historical sense, confronted with the structural processes of multimodal AI. However, the comparison of these two modes of ekphrasis reveals how impoverished the concepts of both image and language risk being in the context of text-to-image-modelling. This, in turn, does not mean that current AI imageries cannot be discussed regarding a (post-) digital aesthetics. Rather, as recent media artists working with multimodal AI show, text-to-image reformulates old questions about the relationship between art or aesthetics and (media) technology. (shrink)

Given the omnipresence and profoundness of the ongoing pandemic from the Coronavirus disease 2019, its potential spread can be minimized through social distancing. However, this practice causes increasing difficulties and undesirability of traditional transactions or interactions. Accordingly, various manufacturing firms around the world have become more committed not only to accelerating the development of digital technologies, but also to integrating them with existing processes. In this study, we address an important issue of how manufacturing firms can adapt to the (...) ever-changing volatility and unpredictable global business environment, and achieve sustainable growth by developing a strong supply chain management capability. Two specific interrelated research questions are considered: How do supply chain management capabilities contribute to firm environmental performance; and What are the sources of such capabilities? In so doing, we integrate various forms of digital innovation into a supply chain management capability logic to explore their antecedents and consequences. By using survey data from 272 manufacturing firms in China, we examine the relationship between three key forms of digital innovation and firm environmental performance. Results show that digital product, platform, and service innovations all have positive contributions to supply chain management capability. In turn, supply chain management capabilities have a partial mediating effect between digital product innovation and firm environmental performance, but a full mediating effect between digital platform and service innovations and firm environmental performance. (shrink)

The cost-effectiveness of 24-hour care makes it a major source of support for elderly people in need of home-based care in Austria. Language barriers, feelings of isolation when living with chronically ill people and a lack of adequate training and quality control create stressful working conditions for 24-hour caregivers in Austria, who mainly come from Slovakia, Hungary and Romania. The challenges not only affect the 24-hour caregivers themselves but also their clients, relatives and registered care agency nurses in care settings. (...) The aim of the qualitative study was to assess user needs in order to develop an app to improve working conditions and quality assurance in 24-hour home-care. The study consisted of guided interviews, focus group and cultural probes and 45 interviewees. The collected data were analyzed using Kuckartz’s method of content structuring qualitative content analysis. The main results show that 24-hour caregivers predominantly require information about common geriatric diseases and the law on 24-hour care. Additionally, medical emergencies can cause insecurities, which creates high interest in professional emergency management skills. Clients and relatives are especially interested in 24-hour caregivers having better German language skills. Care agencies and registered nurses would particularly welcome electronic care documentation to ensure traceability of the activities and measures taken. The study points to the need for a digital tool that would meet demand for an appropriate assistance system for 24-hour home-care that complies with the AAL requirements of the aligned project. Therefore, the intended software solution meets challenges in 24-hour home-care for 24-hour caregivers, persons in need of care, their relatives and professionals involved in the 24-hour care setting. (shrink)

The increasingly prominent role of digital technologies during the coronavirus pandemic has been accompanied by concerning trends in privacy and digital ethics. But more robust protection of our rights in the digital realm is possible in the future. -/- After surveying some of the challenges we face, I argue for the importance of diplomacy. Democratic countries must try to come together and reach agreements on minimum standards and rules regarding cybersecurity, privacy and the governance of AI.

Resumo: Os processos avaliativos, na universidade, são perpassados por um ethos que prima pela quantificação e pelo ranqueamento. Em decorrência, observa-se cada vez mais a descaracterização da avaliação na sua acepção qualitativa e, consequentemente, formativa. A afirmação desse ethos, na universidade, bem como na sociedade, é facilitada pelos algoritmos de big data, os quais estão na base da constituição da chamada “sociedade métrica”, em que há uma tendência geral para utilizar formas quantitativas para realizar classificações sociais. Neste texto, com respaldo (...) em revisão de literatura, objetiva-se refletir sobre dois processos de avaliação de docentes que atuam no ensino superior e que ultrapassam o espaço acadêmico pela sua dimensão pública espetacularizada: a) o ranqueamento da produção docente, por meio do índice h; e b) a avaliação realizada por estudantes em sites públicos, neste caso específico, o site de avaliação docente ratemyprofessors.com. A partir destas duas estratégias de avaliação, professores, pesquisadores e alunos envolvem-se em uma espécie de certame onde se mostrar, ser visto, monitorado, classificado passa a ser critério de aprovação (percebido) ou, no limite, perda de financiamentos e do próprio trabalho (cancelado). Palavras-chave: Avaliação Docente; Algoritmos; Sociedade Métrica; Cultura Digital. Entre el ranking y el rating: La evaluación digital del profesor en la era de la sociedad métrica Resumen: Los procesos de evaluación en la universidad están impregnados de un ethos que busca la cuantificación y el ranqueo. Como resultado, se observa cada vez más la descaracterización de la evaluación en su sentido cualitativo y, en consecuencia, formativo. La afirmación de este ethos, tanto en la universidad como en la sociedad, se ve facilitada por los algoritmos de big data, que están en la base de la constitución de la llamada “sociedad métrica”, en la que existe una tendencia generalizada a utilizar formas cuantitativas para realizar clasificaciones sociales. En este texto, apoyado en una revisión de la literatura, el objetivo es reflexionar sobre dos procesos de evaluación de profesores que laboran en la educación superior y que van más allá del espacio académico por su dimensión pública espectacularizada: a) el ranking de la producción docente, a través del índice h, b) la evaluación realizada por los estudiantes en los sitios web públicos, en este caso concreto, el sitio web de evaluación del profesorado ratemyprofessors.com. A partir de estas dos estrategias de evaluación, docentes, investigadores y estudiantes se involucran en una especie de certamen en el que mostrarse, ser visto, monitoreado, clasificado se convierte en un criterio de aprobación (percibido) o, en última instancia, pérdida de financiamiento y trabajo propio (cancelado). Palabras-clave: Evaluación Docente; Algoritmos; Sociedad Métrica; Cultura Digital. Between ranking and rating: Digital evaluation of professors in the metric society Abstract: Evaluation processes at universities are permeated by an ethos that emphasizes quantification and ranking. As a result, an increasing discharacterization of the qualitative and thus educational sense of evaluation is observed. The affirmation of this ethos in universities, and in society as a whole, is facilitated by big data algorithms, which are at the foundation of the constitution of the so-called ‘metric society’, in which there is a general trend to use quantitative forms to conduct social classifications. This text, supported by a review of the literature, reflects on two processes of evaluation of professors of higher education that go beyond the academic space because of their spectacularized public dimension: the ranking of professor production, by the “h index” and b) evaluations conducted by students on public online sites, in this case, the ratemyprofessors.com site. Based on these two evaluation strategies, professors, researchers, and students are involved in a dispute in which displaying oneself, being seen, monitored, and classified become criteria for (perceived) approval, or, at the limit, for a loss of financing for one’s work (canceling). Keywords: Evaluation Of Professors; Algorithms; Metric Society; Critical Theory; Digital Culture. Data de registro: 15/04/2022 Data de aceite: 13/12/2022. (shrink)

Los trabajos enfocados en estudiar los procesos de digitalización de las noticias ya no constituyen un tema incipiente en el campo de la comunicación. Pasaron más de 15 años de la aparición de los primeros formatos online de los periódicos y ya es posible encontrar diversos tipos de abordajes académicos que dan cuenta de preocupaciones teóricas y metodológicas sobre los modos de abordar los procesos de digitalización de las noticias. En el siguiente trabajo presentaremos una síntesis de los principales aportes (...) realizados en Iberoamérica y Estados Unidos con el objeto agrupar 3 matrices que en general han guiado a los intereses de estos trabajos: a) relevar las primeras experiencias de digitalización de periódicos ya reconocidos, b) analizar las nuevas características que asume la práctica periodística y los componentes discursivos de los nuevos formatos periodísticos y c) reconocer la emergencia de nuevos actores que comienzan a disputar el campo periodístico. (shrink)