East–West Perspectives on Privacy, Ethical Pluralism and Global Information Ethics

Information and Communication Technologies (ICTs) are both primary drivers and facilitating technologies of globalization—and thereby, of exponentially expanding possibilities of cross-cultural encounters. Currently, over one billion persons throughout the planet have access to the Web: of these, Asian users constitute 35.8% of the Web population, while Europeans make up 28.3 % of world users—and North Americans only 20.9% (Internet World Stats, 2007). Our histories teach us all too well that such encounters—especially concerning potentially global ethical norms—always run the risk of devolving into more destructive rather than emancipatory events. Speci?cally, these encounters risk pulling us into one of two contradictory positions. First of all, naïve ethnocentrisms too easily issue in imperialisms that remake “the Other” in one’s own image—precisely by eliminating the irreducible differences in norms and practices that de?ne distinctive cultures. Second, these imperialisms thereby inspire a relativistic turn to the sheerly local—precisely for the sake of preserving local identities and cultures. Hence the general problem: how we might foster a cross-cultural communication for a global ICE that steers between the two Manichean polarities of ethnocentric imperialism and fragmenting relativism

Psychopower and Ordinary Madness: Reticulated Dividuals in Cognitive Capitalism

Despite the seemingly neutral vantage of using nature for widely-distributed computational purposes, neither post-biological nor post-humanist teleology simply concludes with the real "end of nature" as entailed in the loss of the specific ontological status embedded in the identifier "natural." As evinced by the ecological crises of the Anthropocene—of which the 2019 Brazil Amazon rainforest fires are only the most recent—our epoch has transfixed the “natural order" and imposed entropic artificial integration, producing living species that become “anoetic,” made to serve as automated exosomatic residues, or digital flecks. I further develop Gilles Deleuze’s description of control societies to upturn Foucauldian biopower, replacing its spacio-temporal bounds with the exographic excesses in psycho-power; culling and further detailing Bernard Stiegler’s framework of transindividuation and hyper-control, I examine how becoming-subject is predictively facilitated within cognitive capitalism and what Alexander Galloway terms “deep digitality.” Despite the loss of material vestiges qua virtualization—which I seek to trace in an historical review of industrialization to postindustrialization—the drive-based and reticulated "internet of things" facilitates a closed loop from within the brain to the outside environment, such that the aperture of thought is mediated and compressed. The human brain, understood through its material constitution, is susceptible to total datafication’s laminated process of “becoming-mnemotechnical,” and, as neuroplasticity is now a valid description for deep-learning and neural nets, we are privy to the rebirth of the once-discounted metaphor of the “cybernetic brain.” Probing algorithmic governmentality while posing noetic dreaming as both technical and pharmacological, I seek to analyze how spirit is blithely confounded with machine-thinking’s gelatinous cognition, as prosthetic organ-adaptation becomes probabilistically molded, networked, and agentially inflected (rather than simply externalized)

Architecture and the creation of worlds

This thesis is an enquiry by creative practice into the academic and aesthetic (avant-garde) practice of architecture. It explores the notion of the virtual as pure potentiality following an event, and defines architecture as the site of such potentiality. (Alain Badiou names event as the moment /encounter which initiates a radical break from a given situation /state of affairs. There are four types of event: artistic, political, scientific and amorous).The thesis follows two parallel strands of enquiry. One, into the material production of the architectural object and topological space, this is titled the actual; and the other, an investigation into the philosophical and antagonistic nature of the virtual, this is titled the virtual. The actual deals with the literature review, methodology, context of study and proposal for (the site of) actual engagement with theory, including a design element (House of the Chinese Mantis); while the virtual explores (through a series of five international and interdisciplinary conference papers) the philosophical problems of emergence. The 'context of study' in the actual centres around the move from the fetish of commodities to seduction and concludes with eroticism, while the body of work in the virtual concentrates on the notions of sovereignty, becoming, and concrete subjectivity.Following the technological practices of the avant-garde between hypersurface theory and catalytic formations in architecture, the thesis rejects the claims of virtual space as the digital space of computer -based design, and of emergence as mimetic and /or algorithm based design. It argues that the virtual is the intangible space of creative unfolding following Bergson and Deleuze, but resists the claim in Deleuze that event is a chance occurring. Also, it resists the claim in Baudrillard that seduction and /or enchanted simulation are event and abandons them to focus on the amorous (one of the four events in Badiou). This creates an inflection in the enquiry, moving the thesis towards Plato and the Renaissance, and a contemporary resurrection in architecture, of the tragic, as concrete manifestation of the amorous encounter.The method of inquiry is structured after the nomadic logic of the War Machine in the philosophy of Deleuze and Guattari, and of the revolutionary nature of fidelity to the scientific event in Badiou, which argues that new knowledge is created by 'revolutions' and from the anomalies and collaborations which arise as a result of such 'detours'; it is a strategy justified by the science historians Feyerabend, Kuhn and Lakatos.The thesis takes the form of two books (the actual and the virtual), and concludes that the avant-garde practice of architecture, with its infinite potentialities is distinct from the bureaucratic or State apparatus of building, and that the commonplace appropriation of the avant-garde by the State, as seen in the institutional recourse to parametrics, appears unproductive and uncreative with regard to knowledge

The Interface is Obsolete: A Critical Investigation of the Digital interface in Interactive New Media Installations

My thesis proposes a critical framework for understanding the digital interface in interactive new media installations. I aim at dispelling the instrumental, cybernetic, “action-reaction” myth that surrounds the functions of the interface and that constitutes one of the main limitations in its conceptualization today. I argue that a rethinking of the digital interface in terms of its aesthetic and cultural properties is essential if we are to take digital interfaces seriously as devices that inform or even, to some extent, structure our relationship with technology. Theorists who work in the interdisciplinary field of interface studies have historically been preoccupied with the technical and instrumental functions the interface performs – specifically with how it acts and reacts to pre-programmed information. To do this, they have predominantly drawn on computer science and engineering perspectives. Thus digital interfaces have commonly been understood as the symbolic software that enables humans to use computers. My thesis approaches the digital interface from a different direction, concentrating on the aesthetic and cultural aspects of the digital interface, and drawing on scholarship from the fields of art history and media studies. In particular, I focus on critically examining how various interfaces are defined within art environments and how they influence the way subjects, objects, and the relationships and processes that exist between them are understood in these disciplinary fields and practices. Throughout, I propose a more expansive definition of the digital interface in interactive new media installations, positioning it as a dynamic, hybrid, aesthetic and cultural process. I thus reformulate the problem of the digital interface as a problem of making the often invisible aspects of the device legible. Ultimately, I argue that the interface mediates, thus creates, to an extent, relationships between viewer/participants, artists and artworks as well as influences the movements and perceptions of those interacting with it. This reading enables me to conclude that the digital interface can be seen as an important actor in positioning and (re)shaping specific ways in which the self relates to technology, to artistic practice and to other human and nonhuman beings in the current media culture. At the heart of this thesis is the notion that the digital interface matters and that a critical exploration of it in aesthetic contexts can help us understand and possibly reconfigure our human relationship with technology

Jens Glad Balchen: A Norwegian Pioneer in Engineering Cybernetics

This paper tells the story of Jens Glad Balchen (1926-2009), a Norwegian research scientist and engineer who is widely regarded as the father of Engineering Cybernetics in Norway. In 1954, he founded what would later become the Department of Automatic Control at the Norwegian Institute of Technology in Trondheim. This name was changed to the Department of Engineering Cybernetics in 1972 to reflect the broader efforts being made, not only within the purely technical disciplines, but also within biology, oceanography and medicine. Balchen established an advanced research community in cybernetics in postwar Norway, whose applications span everything from the process industry and positioning of ships to control of fish and lobster farming. He was a chief among the tribe of Norwegian cybernetics engineers and made a strong impact on his colleagues worldwide. He planted the seeds of a whole generation of Norwegian industrial companies through his efforts of seeking applications for every scientific breakthrough. His strength and his wisdom in combination with his remarkable stubbornness gave extraordinary results

Inventing Intelligence: On the History of Complex Information Processing and Artificial Intelligence in the United States in the Mid-Twentieth Century

In the mid-1950s, researchers in the United States melded formal theories of problem solving and intelligence with another powerful new tool for control: the electronic digital computer. Several branches of western mathematical science emerged from this nexus, including computer science (1960s–), data science (1990s–) and artificial intelligence (AI). This thesis offers an account of the origins and politics of AI in the mid-twentieth century United States, which focuses on its imbrications in systems of societal control. In an effort to denaturalize the power relations upon which the field came into being, I situate AI’s canonical origin story in relation to the structural and intellectual priorities of the U.S. military and American industry during the Cold War, circa 1952 to 1961. This thesis offers a detailed and comparative account of the early careers, research interests, and key outputs of four researchers often credited with laying the foundations for AI and machine learning—Herbert A. Simon, Frank Rosenblatt, John McCarthy and Marvin Minsky. It chronicles the distinct ways in which each sought to formalise and simulate human mental behaviour using digital electronic computers. Rather than assess their contributions as discontinuous with what came before, as in mythologies of AI's genesis, I establish continuities with, and borrowings from, management science and operations research (Simon), Hayekian economics and instrumentalist statistics (Rosenblatt), automatic coding techniques and pedagogy (McCarthy), and cybernetics (Minsky), along with the broadscale mobilization of Cold War-era civilian-led military science generally. I assess how Minsky’s 1961 paper 'Steps Toward Artificial Intelligence' simultaneously consolidated and obscured these entanglements as it set in motion an initial research agenda for AI in the following two decades. I argue that mind-computer metaphors, and research in complex information processing generally, played an important role in normalizing the small- and large-scale structuring of social behaviour using mathematics in the United States from the second half of the twentieth century onward

Ambivalent animal

The Ambivalent Animal project explores the interactions of animals, culture and technology. The project employs both artistic practice and critical theory, each in ways that inspire the other. My creative practice centers around two projects that focus on domestic pets. These projects highlight the animal's uncertain status as they explore the overlapping ontologies of animal, human and machine. They provide concrete artifacts that engage with theoretical issues of anthropocentrism, animality and alterity. My theoretical work navigates between the fields of animal studies, art and design, media and culture studies, and philosophy. My dissertation explores animality through four real and imagined animal roles: cyborg, clone, chimera and shapeshifter. Each animal role is considered in relation to three dialectics: irreducibility and procedurality, autonomy and integration, aura and abjection. These dialectics do not seek full synthesis but instead embrace the oscillations of irresolvable debates and desires. The dialectics bring into focus issues of epistemology, ontology, corporeality and subjectivity. When the four animal roles engage the three dialectics, connected yet varied themes emerge. The cyborgian animal is simultaneously liberated and regulated, assisted and restricted, integrated and isolated. The cloned animal is an emblem of renewal and loss; she is both idealized code and material flesh and finds herself caught in the battles of nature and nurture. The chimera is both rebel and conformist; his unusual juxtapositions pioneer radical corporeal transgressions but also conform to the mechanisms of global capital. And the shapeshifter explores the thrill and anxiety of an altered phenomenology; she gains new perceptions though unstable subjectivity. These roles reveal corporeal adjustments and unfamiliar subjectivities that inspire the creative practice. Both my writing and making employ an ambivalent aesthetic--an aesthetic approach that evokes two or more incompatible sensibilities. The animal's uncertain status contributes to this aesthetic: some animals enjoy remarkable care and attention, while others are routinely exploited, abused and discarded. Ambivalence acknowledges the complexity of lived experience, philosophical and political debate, and academic inquiry. My approach recognizes the light and dark of these complex ambivalences--it privileges paradox and embraces the confusion and wonder of creative research. Rather than erase, conceal or resolve ambiguity, an ambivalent aesthetic foregrounds the limits of language and representation and highlights contradiction and irresolution.Ph.D.Committee Chair: Bolter, Jay; Committee Member: DiSalvo, Carl; Committee Member: Do, Ellen; Committee Member: Prophet, Jane; Committee Member: Thacker, Eugen

Life Expansion: Toward an Artistic, Design-Based Theory of the Transhuman / Posthuman

The thesis’ study of life expansion proposes a framework for artistic, design-based approaches concerned with prolonging human life and sustaining personal identity. To delineate the topic: life expansion means increasing the length of time a person is alive and diversifying the matter in which a person exists. For human life, the length of time is bounded by a single century and its matter is tied to biology. Life expansion is located in the domain of human enhancement, distinctly linked to technological interfaces with biology. The thesis identifies human-computer interaction and the potential of emerging and speculative technologies as seeding the promulgation of human enhancement that approach life expansion. In doing so, the thesis constructs an inquiry into historical and current attempts to append human physiology and intervene with its mortality. By encountering emerging and speculative technologies for prolonging life and sustaining personal identity as possible media for artistic, design-based approaches to human enhancement, a new axis is sought that identifies the transhuman and posthuman as conceptual paradigms for life expansion. The thesis asks: What are the required conditions that enable artistic, design-based approaches to human enhancement that explicitly pursue extending human life? This question centers on the potential of the study’s proposed enhancement technologies in their relationship to life, death, and the human condition. Notably, the thesis investigates artistic approaches, as distinct from those of the natural sciences, and the borders that need to be mediated between them. The study navigates between the domains of life extension, art and design, technology, and philosophy in forming the framework for a theory of life expansion. The critical approach seeks to uncover invisible borders between these interconnecting forces by bringing to light issues of sustaining life and personal identity, ethical concerns, including morphological freedom and extinction risk. Such issues relate to the thesis’ interest in life expansion and the use emerging and speculative technologies. 4 The study takes on a triad approach in its investigation: qualitative interviews with experts of the emerging and speculative technologies; field studies encountering research centers of such technologies; and an artistic, autopoietic process that explores the heuristics of life expansion. This investigation forms an integrative view of the human use of technology and its melioristic aim. The outcome of the research is a theoretical framework for further research in artistic approaches to life expansion

Faculty Publications and Creative Works 2004

Faculty Publications & Creative Works is an annual compendium of scholarly and creative activities of University of New Mexico faculty during the noted calendar year. Published by the Office of the Vice President for Research and Economic Development, it serves to illustrate the robust and active intellectual pursuits conducted by the faculty in support of teaching and research at UNM