Seeing the City Digitally

This book explores what's happening to ways of seeing urban spaces in the contemporary moment, when so many of the technologies through which cities are visualised are digital. Cities have always been pictured, in many media and for many different purposes. This edited collection explores how that picturing is changing in an era of digital visual culture. Analogue visual technologies like film cameras were understood as creating some sort of a trace of the real city. Digital visual technologies, in contrast, harvest and process digital data to create images that are constantly refreshed, modified and circulated. Each of the chapters in this volume examines a different example of this processual visuality is reconfiguring the spatial and temporal organisation of urban life

Seeing the City Digitally

This book explores what's happening to ways of seeing urban spaces in the contemporary moment, when so many of the technologies through which cities are visualised are digital. Cities have always been pictured, in many media and for many different purposes. This edited collection explores how that picturing is changing in an era of digital visual culture. Analogue visual technologies like film cameras were understood as creating some sort of a trace of the real city. Digital visual technologies, in contrast, harvest and process digital data to create images that are constantly refreshed, modified and circulated. Each of the chapters in this volume examines a different example of this processual visuality is reconfiguring the spatial and temporal organisation of urban life

Data and the city – accessibility and openness. a cybersalon paper on open data

This paper showcases examples of bottom–up open data and smart city applications and identifies lessons for future such efforts. Examples include Changify, a neighbourhood-based platform for residents, businesses, and companies; Open Sensors, which provides APIs to help businesses, startups, and individuals develop applications for the Internet of Things; and Cybersalon’s Hackney Treasures. a location-based mobile app that uses Wikipedia entries geolocated in Hackney borough to map notable local residents. Other experiments with sensors and open data by Cybersalon members include Ilze Black and Nanda Khaorapapong's The Breather, a "breathing" balloon that uses high-end, sophisticated sensors to make air quality visible; and James Moulding's AirPublic, which measures pollution levels. Based on Cybersalon's experience to date, getting data to the people is difficult, circuitous, and slow, requiring an intricate process of leadership, public relations, and perseverance. Although there are myriad tools and initiatives, there is no one solution for the actual transfer of that data

The Domestication of Voice Activated -Technology & EavesMining: Surveillance, Privacy and Gender Relations at Home

This thesis develops a case study analysis of the Amazon Echo, the first-ever voice-activated smart speaker. The domestication of the devices feminine conversational agent, Alexa, and the integration of its microphone and digital sensor technology in home environments represents a moment of radical change in the domestic sphere. This development is interpreted according to two primary force relations: historical gender patterns of domestic servitude and eavesmining (eavesdropping + datamining) processes of knowledge extraction and analysis. The thesis is framed around three pillars of study that together demonstrate: how routinization with voice-activated technology affects acoustic space and ones experiences of home; how online warm experts initiate a dialogue about the domestication of technology that disregards and ignores Amazons corporate privacy framework; and finally, how the technologys conditions of use silently result in the deployment of ever-intensifying surveillance mechanisms in home environments. Eavesmining processes are beginning to construct a new world of media and surveillance where every spoken word can potentially be heard and recorded, and speaking is inseparable from identification

PROTOTYPING RELATIONAL THINGS THAT TALK: A DISCURSIVE DESIGN STRATEGY FOR CONVERSATIONAL AI SYSTEMS

This practice-based research inquiry explores the implications of conversational Artificial Intelligence (AI) systems, ‘relational things that talk’, on the way people experience the world. It responds directly to the pervasive lack of ethical design frameworks for commercial AI systems, compounded by limited transparency, ubiquitous authority, embedded bias and the absence of diversity in the development process. The effect produced by relational things that talk upon the feelings, thoughts or intentions of the user is here defined as the ‘perlocutionary effect’ of conversational AI systems. This effect is constituted by these systems’ ‘relationality‘ and ‘persuasiveness’, propagated by the system’s embedded bias and ‘hybrid intentions’, relative to a user’s susceptibility. The proposition of the perlocutionary effect frames the central practice of this thesis and the contribution to new knowledge which manifests as four discursive prototypes developed through a participatory method. Each prototype demonstrates the factors that constitute and propagate the perlocutionary effect. These prototypes also function as instruments which actively engage participants in a counter-narrative as a form of activism. ‘This Is Where We Are’ (TIWWA), explores the persuasiveness and relationality of relational things powered through AI behavioural algorithms and directed by pools of user data. ‘Emoti-OS’, iterates the findings from TIWWA and analyses the construction of relationality through simulated affect, personality and collective (artificial) emotional intelligence. ‘Women Reclaiming AI’ (WRAI), demonstrates stereotyping and bias in commercial conversational AI developments. The last prototype, ‘The Infinite Guide’, synthesises and tests the findings from the three previous prototypes to substantiate the overall perlocutionary effect of conversational AI system. In so doing, this inquiry proposes the appropriation of relational things that talk as a discursive design strategy, extended with a participatory method, for new forms of cultural expression and social action, which activate people to demand more ethical AI systems

Online Media Piracy: Convergence, Culture, and the Problem of Media Change

This thesis proposes that there is a symbiotic relationship between the emergence of online media piracy and the industrial, economic and legal changes that have shaped contemporary popular media in the early 21st century. The Internet is at the heart of most recent transformations of the popular media environment, such as the emergence of video-on-demand formats for film and television consumption and the impact this has had on the nature of those media forms. This thesis discusses the powerful role played by online media piracy in shaping these developments, both through changing the expectations of consumers, and the options that are available for distributors of media content. As well as exploring the diverse forms and practices of online media piracy today, this thesis also explores theories of media change, considering how we might understand such piracy as a force underpinning media change, and how the changes it has helped shape might be placed in a broader historical context. To that end, the history and impact of online media piracy are considered alongside other examples, such as the arrival of video recording devices and the expansion of cable television in the 1980s and 90s, and the significance of international trade deals impacting access to media via “geoblocking” and other techniques of access management. Finally, this thesis also examines debates around copyright, and the potential political significance of piracy as a tool for accessing media and culture, viewing online media piracy as a crucial practice appearing at a nexus of industrial and popular interests, tied to technological, economic and legal developments, and to changing consumer behavior and expectations

A Search for a New Paradigm in Korean Contemporary Art A Proposal for an Exhibition 'Beyond Surface Culture: The New Grammar of Korean Contemporary Art'

This thesis examines the character of Korean contemporary art. I argue that an intense time-space compression produced by communication technology and the information revolution of the late 20th century has meant that Korean society has experienced the symptom of 'schizophrenia', as theorized by Fredric Jameson, which understands the modern capitalist world as being a perpetual present and characteristically depthless. Facilitated by this flourishing media culture and the rapid diffusion of digital technologies, I claim that a new 'surface culture' emerged in Korean society as Korean society became accustomed to identifying information through images and adopting the concomitant superficiality that this engenders. The Korean art world has also been heavily affected by Western artistic and cultural content through various media and exchanges with the international world, largely as a consequence of the nation's 'globalization policy'. I assert that Korean artists have experienced a new type of visual sensation and stimulation amid the torrent of information and started to understand the world as raw material by registering the received content based on its surface and turning it into modules. However, instead of looking at the current situation in a negative way, I argue for a positive evaluation based on Mario Perniola's 'philosophy of the present', as the basis to propose a new paradigm in Korean contemporary art. According to Pernio la, contemporary society is a full world where everything is available, and what is important is to manage the data and use it appropriately. I argue that one-way communication and the actuality of mass media influence in Korea has reached its peak, and that Korean artists have begun to develop a new paradigm of accumulating data and have begun alTanging it according to their own criteria throughout the last decade. In conclusion, I propose an exhibition featuring the art practices which embrace this new paradigm, and which explore innovative ways of making inventories and classifying history and culture