1,705 research outputs found

    Information actors beyond modernity and coloniality in times of climate change:A comparative design ethnography on the making of monitors for sustainable futures in Curaçao and Amsterdam, between 2019-2022

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    In his dissertation, Mr. Goilo developed a cutting-edge theoretical framework for an Anthropology of Information. This study compares information in the context of modernity in Amsterdam and coloniality in Curaçao through the making process of monitors and develops five ways to understand how information can act towards sustainable futures. The research also discusses how the two contexts, that is modernity and coloniality, have been in informational symbiosis for centuries which is producing negative informational side effects within the age of the Anthropocene. By exploring the modernity-coloniality symbiosis of information, the author explains how scholars, policymakers, and data-analysts can act through historical and structural roots of contemporary global inequities related to the production and distribution of information. Ultimately, the five theses propose conditions towards the collective production of knowledge towards a more sustainable planet

    Choreographing tragedy into the twenty-first century

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    What makes a tragedy? In the fifth century BCE this question found an answer through the conjoined forms of song and dance. Since the mid-twentieth century, and the work of the Tanztheater Wuppertal Pina Bausch, tragedy has been variously articulated as form coming apart at the seams. This thesis approaches tragedy through the work of five major choreographers and a director who each, in some way, turn back to Bausch. After exploring the Tanztheater Wuppertal’s techniques for choreographing tragedy in chapter one, I dedicate a chapter each to Dimitris Papaioannou, Akram Khan, Trajal Harrell, Ivo van Hove with Wim Vandekeybus, and Gisèle Vienne. Bringing together work in Queer and Trans* studies, Performance studies, Classics, Dance, and Classical Reception studies I work towards an understanding of the ways in which these choreographers articulate tragedy through embodiment and relation. I consider how tragedy transforms into the twenty-first century, how it shapes what it might mean to live and die with(out) one another. This includes tragic acts of mythic construction, attempts to describe a sense of the world as it collapses, colonial claims to ownership over the earth, and decolonial moves to enact new ways of being human. By developing an expanded sense of both choreography and the tragic one of my main contributions is a re-theorisation of tragedy that brings together two major pre-existing schools, to understand tragedy not as an event, but as a process. Under these conditions, and the shifting conditions of the world around us, I argue that the choreography of tragedy has and might continue to allow us to think about, name, and embody ourselves outside of the ongoing catastrophes we face

    Fictocritical Cyberfeminism: A Paralogical Model for Post-Internet Communication

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    This dissertation positions the understudied and experimental writing practice of fictocriticism as an analog for the convergent and indeterminate nature of “post-Internet” communication as well a cyberfeminist technology for interfering and in-tervening in metanarratives of technoscience and technocapitalism that structure contemporary media. Significant theoretical valences are established between twen-tieth century literary works of fictocriticism and the hybrid and ephemeral modes of writing endemic to emergent, twenty-first century forms of networked communica-tion such as social media. Through a critical theoretical understanding of paralogy, or that countercultural logic of deploying language outside legitimate discourses, in-volving various tactics of multivocity, mimesis and metagraphy, fictocriticism is ex-plored as a self-referencing linguistic machine which exists intentionally to occupy those liminal territories “somewhere in among/between criticism, autobiography and fiction” (Hunter qtd. in Kerr 1996). Additionally, as a writing practice that orig-inated in Canada and yet remains marginal to national and international literary scholarship, this dissertation elevates the origins and ongoing relevance of fictocriti-cism by mapping its shared aims and concerns onto proximal discourses of post-structuralism, cyberfeminism, network ecology, media art, the avant-garde, glitch feminism, and radical self-authorship in online environments. Theorized in such a matrix, I argue that fictocriticism represents a capacious framework for writing and reading media that embodies the self-reflexive politics of second-order cybernetic theory while disrupting the rhetoric of technoscientific and neoliberal economic forc-es with speech acts of calculated incoherence. Additionally, through the inclusion of my own fictocritical writing as works of research-creation that interpolate the more traditional chapters and subchapters, I theorize and demonstrate praxis of this dis-tinctively indeterminate form of criticism to empirically and meaningfully juxtapose different modes of knowing and speaking about entangled matters of language, bod-ies, and technologies. In its conclusion, this dissertation contends that the “creative paranoia” engendered by fictocritical cyberfeminism in both print and digital media environments offers a pathway towards a more paralogical media literacy that can transform the terms and expectations of our future media ecology

    Mapping the Focal Points of WordPress: A Software and Critical Code Analysis

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    Programming languages or code can be examined through numerous analytical lenses. This project is a critical analysis of WordPress, a prevalent web content management system, applying four modes of inquiry. The project draws on theoretical perspectives and areas of study in media, software, platforms, code, language, and power structures. The applied research is based on Critical Code Studies, an interdisciplinary field of study that holds the potential as a theoretical lens and methodological toolkit to understand computational code beyond its function. The project begins with a critical code analysis of WordPress, examining its origins and source code and mapping selected vulnerabilities. An examination of the influence of digital and computational thinking follows this. The work also explores the intersection of code patching and vulnerability management and how code shapes our sense of control, trust, and empathy, ultimately arguing that a rhetorical-cultural lens can be used to better understand code\u27s controlling influence. Recurring themes throughout these analyses and observations are the connections to power and vulnerability in WordPress\u27 code and how cultural, processual, rhetorical, and ethical implications can be expressed through its code, creating a particular worldview. Code\u27s emergent properties help illustrate how human values and practices (e.g., empathy, aesthetics, language, and trust) become encoded in software design and how people perceive the software through its worldview. These connected analyses reveal cultural, processual, and vulnerability focal points and the influence these entanglements have concerning WordPress as code, software, and platform. WordPress is a complex sociotechnical platform worthy of further study, as is the interdisciplinary merging of theoretical perspectives and disciplines to critically examine code. Ultimately, this project helps further enrich the field by introducing focal points in code, examining sociocultural phenomena within the code, and offering techniques to apply critical code methods

    Patterns of Transformation

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    My artwork is an exploration of abstract mark-making that arises from a contemplation of the relationship between the individual and the landscape. This connects my work with a form of ecological thinking referred to as ecopsychology; a concept which offers me the freedom to explore patterns in nature while remaining purposefully connected to environmental concerns. My drawing process is thus informed by patterns in earth, sea, and sky, by the mark-making process itself and by the human detritus that pollutes, but is nevertheless a part of, the landscape as I encounter it. All of this feeds into the cycle of drawn acts. The abstraction of my drawn forms resolves into a more material practice in my sculptures which make use of found objects and evoke the entanglements that characterise the ecology of the contemporary world. In this way, my art making suggests modes of thought, encompassing all aspects of the environment, which are required to open space for ecological action

    Reporting civilizational collapse research notes from a world-in-crisis

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    There is a woeful silence in global media as well as a widespread reluctance in the fields of media and communication studies to fully recognize and research the systemic and interlocking nature of deepening existential threats that together now constitute today’s ‘world-in-crisis’. It is time to move beyond disaggregated news reporting and research parochialisms and grapple conceptually and theoretically as well as empirically and politically with the complexity of the planetary emergency and its communication. This article elaborates on these claims and provides conceptual and theoretical coordinates of use in re-imagining mainstream journalism’s potential for processes of transition and transformation

    Perceptions of Selves: Beyond the Skin Bag - Analyzing self-representation and ethos in creative digital artefacts

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    As technological innovations reach new heights, questions regarding how we act, see, and live with machines reveal themselves. What was once viewed as mere tools have become something we perceive as part of our social world. Technological actants now hold the power of persuasion, the power to be perceived as a self. This constitutes new perspectives regarding how we relate to those with self-representational qualities. Relations between actants in social settings boil down to discourse, where this study manifests itself. The point of entry is, paradoxically, taking root in ancient theories of rhetoric. Because self-representation in digital artefacts must necessarily be produced, it becomes a text with the potential for analysis. In its broadest possible meaning, text is a modal manifestation of existence, a textual manifestation of self. The representations are always mediated, and that mediation opens up questions about authenticity, agency, and ethos. The artefacts I propose in this thesis exist in a way that changes shape in the perception of those who perceive it. When artefacts are imbued with some form of life, uniqueness, personality and ethos, approaches and attentions must change. That is dependent on the relations we allow and instil in them. We now have different relations than before, which means that the concept of ethos must be seen anew. This thesis is a philosophical and rhetorical exploration of how ethos and self-representation can be renewed to encompass more ways of being. Through perspectives inspired by Posthumanism and Actor-Network Theory, I explore themes relating to self-representation and ethos to conceptualize an updated framework that, in essence, “de-anthropocentrize” our field of view. This thesis does not aim to be either final or limiting, but a starting point in opening a conversation about the rhetorical impact we encounter every day through humans and otherwise.Mastergradsoppgave i digital kulturDIKULT350MAHF-DIKU

    (b2023 to 2014) The UNBELIEVABLE similarities between the ideas of some people (2006-2016) and my ideas (2002-2008) in physics (quantum mechanics, cosmology), cognitive neuroscience, philosophy of mind, and philosophy (this manuscript would require a REVOLUTION in international academy environment!)

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    (b2023 to 2014) The UNBELIEVABLE similarities between the ideas of some people (2006-2016) and my ideas (2002-2008) in physics (quantum mechanics, cosmology), cognitive neuroscience, philosophy of mind, and philosophy (this manuscript would require a REVOLUTION in international academy environment!

    Data ethics : building trust : how digital technologies can serve humanity

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    Data is the magic word of the 21st century. As oil in the 20th century and electricity in the 19th century: For citizens, data means support in daily life in almost all activities, from watch to laptop, from kitchen to car, from mobile phone to politics. For business and politics, data means power, dominance, winning the race. Data can be used for good and bad, for services and hacking, for medicine and arms race. How can we build trust in this complex and ambiguous data world? How can digital technologies serve humanity? The 45 articles in this book represent a broad range of ethical reflections and recommendations in eight sections: a) Values, Trust and Law, b) AI, Robots and Humans, c) Health and Neuroscience, d) Religions for Digital Justice, e) Farming, Business, Finance, f) Security, War, Peace, g) Data Governance, Geopolitics, h) Media, Education, Communication. The authors and institutions come from all continents. The book serves as reading material for teachers, students, policy makers, politicians, business, hospitals, NGOs and religious organisations alike. It is an invitation for dialogue, debate and building trust! The book is a continuation of the volume “Cyber Ethics 4.0” published in 2018 by the same editors
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