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Tag: actor-network theory

On craft, digital making, glitch, and hyper kawaii

This is a lecture I thoroughly enjoyed preparing, and had great fun delivering to my first year digital media class of 200 students. The prezi slides are below. My intention was to provoke students into thinking in interesting and weird ways about remediation across media platforms, about object animation through digital means, and about the new aesthetics of the glitch and hyper kawaii. I ended up being more successful than I expected, in that the lecture provoked extreme reactions oscillating from strong rejection of the very premises to enthusiastic exploration of the implications and pathways opened by them. I start with a quick overview of the changing meaning of craft in a time of digital mediation, then move on to the aesthetics of remediation between analog and digital forms, and object animation and its effect on experiences of the material.

Julie Watai -
Julie Watai

I constructed the main argument around the transition from industrial culture in which production is determined by the logic of the assembly line, to a post-industrial culture in which production is determined by the logic of mass customization. Arguably, the latter is characterized by rapid prototyping, experimentation, iterative error discovery, and modifications leading to unexpected outcomes. I illustrate this with a beautiful quote by David Pye, from his The Nature and Art of Workmanship, where he argues that while industrial manufacturing is characterized by the production of certainty, craftsmanship is always the production of risk because the quality of the result is an unknown during the process of making.

xMinks at work
xMinks at work

My favorite part of the lecture is where I managed to integrate into a single narrative phenomena such as glitch aesthetics and hyper kawaii, exemplified by Julie Watai and xMinks, with a cameo by Microsoft’s ill-fated Tay AI bot.

The image I used as canvas for the prezi is a remediation of the Amen Break 6-second loop into a 3-d printed sound wave, crafted by a student of mine last year.

On mapping: from actual facts to factual acts

Some time ago I was invited to give a lecture on mapping to a crowd of mostly first year digital media students working on locative media projects. Below are the prezi slides. Considering the audience, I made a light theory introduction focusing on the notions or representation and the factual, and then moved to discussing various examples of maps as interfaces to movement and agency. My talk was mostly a simplified version of my paper on mapping theory, with a focus on the dynamics of translation and transportation of immutable mobiles – a fundamental concept in actor network theory. In essence, the lecture is built around a dichotomy between two concepts of mapping: 1] mapping as a representation of a static frame of reference – an actual fact, and 2] mapping as a translation of and an interface to agency and movement – a factual act. The tension between actual facts and factual acts is a nerdy reference to Latour’s from matters of fact to matters of concern, and is intended to illustrate the affordances of digital media in opening and mapping black-boxed settings. Apparently, the lecture was a success, with the Sand Andreas Streaming Deer Cam being a crowd favorite.

Liquid objects and the mode of anticipation

This is a prezi from the research paper I gave at an Institute for Social Transformation Research (ISTR) seminar last week. I played with ideas going into several papers I am working on at the moment, but mainly my focus was on anticipatory materiality and the notion of liquid objects. Here is the abstract for the talk:

As internet-connected objects become more and more sociable – smart fridge, smart car, etc. – they become less and less ‘stable’ (think of rocks, coffee mugs, etc. as examples of material stability), and more and more like a twitter feed. 3D printing only compounds this process as the material is literally liquefied and injected based on computer code – in effect the code is primary, and tangible materiality is secondary in this process. The resulting materiality is literally ‘on demand’ – in that it exists as relational data first and foremost and as material artefact only when demanded; and anticipatory – in that the main characteristic of connected objects is their capacity to initiate action based on predictive algorithms. My argument is structured as a provocation examining the notion of anticipatory materiality in the context of the internet of things and 3D printing.

Do Objects Dream of an Internet of Things?

This is a text I’ve been working on, or rather keeping in the back of my mind, for quite a while, and now it’s finished and sent to Fiberculture Journal. The early beta was presented at a conference in Istanbul in 2011, and my thinking on sociable objects has evolved quite a bit since then. The key shift in my thinking was facilitated by a series of chance encounters – discovering object oriented ontology through Ian Bogost’s Alien Phenomenology, finding the notion of affective resonance in Jane Bennett’s Vibrant Matter, and rediscovering the heteroclite in Lorraine Daston’s awesome Things That Talk.

Tangling with sociable objects

Prezi from my Tangling with sociable objects: the internet of things as anticipatory materiality seminar in AUSCCER today. I packed a lot of content into what was supposed to be a 45 minute presentation, and inevitably overshot, but my hosts were gracious, and there was still time for questions. Good experience.

On tangling with heteroclite objects

Here is a prezi from a lecture I gave at a postgraduate seminar on Actor Network Theory (ANT) and the Internet of Things (iot). The central concept of the talk was however the notion of the heteroclite and why ANT methodologies for world-encountering are useful when tangling with heteroclite objects. I use the heteroclite in the Baconian sense of a monstrous deviation, which by its very entry on stage creates collective entanglements demanding the mobilization of all sorts of dormant or obfuscated networks. For an example of a heteroclite currently being performed think of the Google car and how it deviates from the driver as an actor. I find the heteroclite a fascinating metaphor for dealing with hybrid objects.