Post-automation: report from an international workshop

The purpose of this report is to share lessons from an international research workshop dedicated to post- automation. Twenty-seven researchers from eleven different countries in Africa, Asia, Latin America and Europe, met at the Science Policy Research Unit at Sussex University on 11-13 September 2019, where we discussed empirical research papers and explored post-automation in group activities. We write this report primarily for researchers, but also for activists and policy advisors looking for more imaginative approaches to governing technology, work and sustainability in society, compared to those dominant agendas adapting automatically to the interests behind automation. The report is structured as follows. Section two introduces the workshop topic and papers presented, and which leads into two related areas that became a focus for discussion. First, some challenges in the foundations of automation theory (section three). And second, post-automation as a more constructive proposition to the challenges of automation, and that is happening right now (section four). Section five summarises some key points arising from the workshop, based on empirical observations from the margins of digital technology development, and that give both a flavour of the workshop and help elaborate the post-automation proposition. Some analytical and strategic themes are discussed in section six. We conclude in section seven with proposals for a post-automation agenda

A Pedagogy for Original Synners

Part of the Volume on Digital Young, Innovation, and the UnexpectedThis essay begins by speculating about the learning environment of the class of 2020. It takes place entirely in a virtual world, populated by simulated avatars, managed through the pedagogy of gaming. Based on this projected version of a future-now-in-formation, the authors consider the implications of the current paradigm shift that is happening at the edges of institutions of higher education. From the development of programs in multimedia literacy to the focus on the creation of hybrid learning spaces (that combine the use of virtual worlds, social networking applications, and classroom activities), the scene of learning as well as the subjects of education are changing. The figure of the Original Synner is a projection of the student-of-the-future whose foundational literacy is grounded in their ability to synthesize information from multiple information streams

"Too easy” or “too much”? (Re)imagining Protagonistic Enhancement through Machine Vision in Video Games

This article explores how video games that valorize techno-masculine imaginaries of superhuman domination also present humans as depending on computational and non-human agencies to succeed. Through close readings of Call of Duty 4: Modern Warfare (Infinity Ward 2007) and Cyberpunk 2077 (CD Projekt Red 2020), I illustrate the close connection between machine vision and militarized visions of domination and agency. The analyses show how beyond-human vision enhances player characters and players, complicating the human-machine relationship in the process. Video games can build on and feed into anthropocentric and masculinist narratives. This article demonstrates how even when the technology appears to support these fantasies of human control, there are moments when it takes over or otherwise disrupts the god-like interventions of the human. By analyzing failures, glitches, and the consistent machine participation in the assemblage, I unpack explicit cases of machine agency as part of a broader assemblage, revealing a more complex power dynamics than those that are initially presented to the player. In doing so, this article demonstrates how the superhuman machine vision was never exclusively human to begin with. Understanding vision and agency as shared with machines both enables and complicates fantasies of dominance in video games.publishedVersio

The Institute of New Feelings: Plastic Identities and Imperfect Surfaces

Digital media are moldable spaces where an image is simultaneously a thought. This instance and flexibility enables digital existences to be malleable, transformative, situational, and unstable. They are plastic images. Video games generate digital bodies that are a fusion of subjectivities and cybernetic simulations, in a perceivable and ambiguous process. Such bodies are extensions of ourselves, being girlish, imperfect, unfinished and happening—digesting and emitting clusters of feelings, regardless of our biological gender and age. The performative experience of play is progressively departing from spectacle, gambling and competition, and increasingly shifting towards an emotional journey of alternate realities, spreading subjectivities into the visible and invisible areas of screens. Such experience, and our plastic identities that reside within, marks a collaborative attempt between designers and audience to establish a new protocol of liquid perspectives functioning within and beyond digital space. Digital plasticity itself is a practice, as well as an inextricable process of understanding and deploying identities in the contemporary media-saturated pluralistic environment

Authorship as cultural performance: new perspectives in authorship studies

This article proposes a performative model of authorship, based on the historical alternation between predominantly 'weak' and 'strong' author concepts and related practices of writing, publication and reading. Based on this model, we give a brief overview of the historical development of such author concepts in English literature from the Middle Ages to the twentieth century. We argue for a more holistic approach to authorship within a cultural topography, comprising social contexts, technological and media factors, and other cultural developments, such as the distinction between privacy and the public sphere

Feeling and Healing Eco-social Catastrophe: The Horrific Slipstream of Danis Goulet\u27s Wakening

Cree/Métis filmmaker Danis Goulet’s science fiction short Wakening (2013) is set in Canada’s near future, yet the film reveals a slipstream of time where viewers are invited to contemplate the horrors of ecosocial crises—future, past, and present. I argue Wakening, as futuristic ecohorror, produces horrific feelings in the moment of its viewing that are inevitably entangled with the past, inviting its audiences to experience the monstrous contexts of Indigenous lives across time. To articulate this temporal dynamism, I overlay two key conceptual understandings: Walter Benjamin’s critiques of Western progress and historicism, and Indigenous notions of a Native slipstream. When brought together in Wakening, which is inspired by the First Nations movement Idle No More, these concepts not only help expose the horror of Indigenous ecosocial crises wrought by colonial and neocolonial occupations but also draw our attention to the timelessness of Indigenous resistance in the face of such ecohorror. Ultimately, there are two significant implications in understanding Wakening as ecohorror of dynamic temporality. First, such a reading continues the important work of revisioning the theoretical and critical boundaries of Western cinema. Goulet’s play with audiences’ familiar expectations of horror’s invitations to the weird challenge us all to recalibrate our sense of generic cinematic representation and its purpose. Relatedly, such readings highlight film’s politics of emotion: its ability to generate “affective alliances” that can potentially help us all re-imagine our temporal and spatial engagements with the world at large

I Cannot Read This Story Without Rewriting It : Haraway, Cyborg Writing, and Burkean Form

In this study, my overarching principle is that readers’ ideologies are likely to influence the way they read texts, and that texts, in turn, often influence readers’ preconceived ideologies. This thesis is an attempt to understand how to use the theories of Kenneth Burke, Donna Haraway, and rhetoric of technology scholars toward the goal of social change in favor of Haraway’s cyborg political model, which stresses the need for unity within feminism, socialism, and other politically left groups. Burke argues that form in texts is the creation and fulfillment of desires in the audience. I examine several of Burke’s texts to construct a genealogy of Burkean form. Burke states that desire is connected to the psychology of the audience, in which ideology plays a key role. Burke concludes that readers’ ideologies are rooted in economic class. I then look to Haraway, who gives a more accurate theory of factors that influence ideology in her notion of the informatics of domination, which include racism, patriarchy, capitalism, heterosexism, and colonialism, and rhetoric scholars who have responded to Haraway’s cyborg theory. I review rhetoric scholarship that is concerned with the idea of cyborg writing, and point out ways the rhetoric community has implemented Haraway’s theory well and ways they have misunderstood it. I conclude that cyborg writing has been associated too closely with hypertext, and that more focus should be given to the political content of texts. I argue that postcolonial literature, which is most often written from the perspective of marginalized groups, is a stronger and more thought-provoking example of cyborg writing, even if it is not hypertext. I also call for a renewed emphasis on Haraway’s argument that academics need to be more involved in the activist community if social change in favor of the cyborg is to occur