Biohacking and code convergence : a transductive ethnography

Cette thèse se déploie dans un espace de discours et de pratiques revendicatrices, à l’inter- section des cultures amateures informatiques et biotechniques, euro-américaines contempo- raines. La problématique se dessinant dans ce croisement culturel examine des métaphores et analogies au coeur d’un traffic intense, au milieu de voies de commmunications imposantes, reliant les technologies informatiques et biotechniques comme lieux d’expression médiatique. L’examen retrace les lignes de force, les médiations expressives en ces lieux à travers leurs manifestations en tant que codes —à la fois informatiques et génétiques— et reconnaît les caractères analogiques d’expressivité des codes en tant que processus de convergence. Émergeant lentement, à partir des années 40 et 50, les visions convergentes des codes ont facilité l’entrée des ordinateurs personnels dans les marchés, ainsi que dans les garages de hackers, alors que des bricoleurs de l’informatique s’en réclamaient comme espace de liberté d’information —et surtout d’innovation. Plus de cinquante ans plus tard, l’analogie entre codes informatiques et génétiques sert de moteur aux revendications de liberté, informant cette fois les nouvelles applications de la biotechnologie de marché, ainsi que l’activité des biohackers, ces bricoleurs de garage en biologie synthétique. Les pratiques du biohacking sont ainsi comprises comme des individuations : des tentatives continues de résoudre des frictions, des tensions travaillant les revendications des cultures amateures informatiques et biotechniques. Une des manières de moduler ces tensions s’incarne dans un processus connu sous le nom de forking, entrevu ici comme l’expérience d’une bifurcation. Autrement dit, le forking est ici définit comme passage vers un seuil critique, déclinant la technologie et la biologie sur plusieurs modes. Le forking informe —c’est-à-dire permet et contraint— différentes vi- sions collectives de l’ouverture informationnelle. Le forking intervient aussi sur les plans des iii semio-matérialités et pouvoirs d’action investis dans les pratiques biotechniques et informa- tiques. Pris comme processus de co-constitution et de différentiation de l’action collective, les mouvements de bifurcation invitent les trois questions suivantes : 1) Comment le forking catalyse-t-il la solution des tensions participant aux revendications des pratiques du bioha- cking ? 2) Dans ce processus de solution, de quelles manières les revendications changent de phase, bifurquent et se transforment, parfois au point d’altérer radicalement ces pratiques ? 3) Quels nouveaux problèmes émergent de ces solutions ? L’effort de recherche a trouvé ces questions, ainsi que les plans correspondants d’action sémio-matérielle et collective, incarnées dans trois expériences ethnographiques réparties sur trois ans (2012-2015) : la première dans un laboratoire de biotechnologie communautaire new- yorkais, la seconde dans l’émergence d’un groupe de biotechnologie amateure à Montréal, et la troisième à Cork, en Irlande, au sein du premier accélérateur d’entreprises en biologie synthétique au monde. La logique de l’enquête n’est ni strictement inductive ou déductive, mais transductive. Elle emprunte à la philosophie de la communication et de l’information de Gilbert Simondon et découvre l’épistémologie en tant qu’acte de création opérant en milieux relationnels. L’heuristique transductive offre des rencontres inusitées entre les métaphores et les analogies des codes. Ces rencontres étonnantes ont aménagé l’expérience de la conver- gence des codes sous forme de jeux d’écritures. Elles se sont retrouvées dans la recherche ethnographique en tant que processus transductifs.This dissertation examines creative practices and discourses intersecting computer and biotech cultures. It queries influential metaphors and analogies on both sides of the inter- section, and their positioning of biotech and information technologies as expression media. It follows mediations across their incarnations as codes, both computational and biological, and situates their analogical expressivity and programmability as a process of code conver- gence. Converging visions of technological freedom facilitated the entrance of computers in 1960’s Western hobbyist hacker circles, as well as in consumer markets. Almost fifty years later, the analogy drives claims to freedom of information —and freedom of innovation— from biohacker hobbyist groups to new biotech consumer markets. Such biohacking practices are understood as individuations: as ongoing attempts to resolve frictions, tensions working through claims to freedom and openness animating software and biotech cultures. Tensions get modulated in many ways. One of them, otherwise known as “forking,” refers here to a critical bifurcation allowing for differing iterations of biotechnical and computa- tional configurations. Forking informs —that is, simultaneously affords and constrains— differing collective visions of openness. Forking also operates on the materiality and agency invested in biotechnical and computational practices. Taken as a significant process of co- constitution and differentiation in collective action, bifurcation invites the following three questions: 1) How does forking solve tensions working through claims to biotech freedom? 2) In this solving process, how can claims bifurcate and transform to the point of radically altering biotech practices? 3) what new problems do these solutions call into existence? This research found these questions, and both scales of material action and agency, in- carnated in three extensive ethnographical journeys spanning three years (2012-2015): the first in a Brooklyn-based biotech community laboratory, the second in the early days of a biotech community group in Montreal, and the third in the world’s first synthetic biology startup accelerator in Cork, Ireland. The inquiry’s guiding empirical logic is neither solely deductive or inductive, but transductive. It borrows from Gilbert Simondon’s philosophy of communication and information to experience epistemology as an act of analogical creation involving the radical, irreversible transformation of knower and known. Transductive heuris- tics offer unconvential encounters with practices, metaphors and analogies of code. In the end, transductive methods acknowledge code convergence as a metastable writing games, and ethnographical research itself as a transductive process

Maker discourses and invisible labour: talking about the 3-D printer

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts May 2016The technology of 3-D Printing is afforded extensive coverage in the media. Discourses surrounding this technology are charged with ideas of revolutions in manufacturing, democratisation of technology, and the potential to change the face of consumption and production. This technology is being marketed to the consumer and hobbyist. The consumer-grade 3-D printer is a result of the labour of a loose-knit worldwide community of hobbyists known as the "Maker movement". This movement, a convergence of the traditional "Hacker" culture and Do It Yourself (DIY) is constructed around ideas of affective labour. That is, labour performed for the sole purpose of enjoyment of doing so, and for a sense of well-being and community. The explosion of "affordable" 3-D printing as a technology is a result of this affective labour, yet little mention is made of any forms of labour in popular media discourses surrounding this technology. In this paper I construct a history of the Maker movement while theorising the forms of labour inherent to this movement using the Autonomist Marxism of Michael Hardt and Antonio Negri as a framework. Then, working within the field of Cultural Studies, and drawing on Actor-Network Theory (ANT), I perform Multimodal Critical Discourse Analysis (MCDA) on a small sample of texts to illustrate the occlusion and obfuscation of labour within these discourses of the consumer 3-D printe

Grain & Noise - Artists in Synthetic Biology Labs: Constructive Disturbances of Art in Science

The collaboration between scientists and artists in the form of Artist-in-Lab residencies may not only cause a productive disturbance for a day's work in the laboratory, but also reveal new ways of understanding. Research and science communication company Biofaction has brought together artists and synthetic biologists throughout Europe in a residence program that spans four truly cross-disciplinary collaborations. The contributors to this volume share their reflections of the dynamic frictions that occurred when their artistic and scientific worlds met. These stories, where chemistry labs, tobacco plants, genetically edited bacteria, and new-to-nature enzymes collide with music, photography, film, and visual arts, infuse the ongoing dialogue between art and sciences with grain, noise, and synergies