Reflections On Science And Technoscience

Technoscientific research, a kind of scientific research conducted within the decontextualized approach (DA), uses advanced technology to produce instruments, experimental objects, and new objects and structures, that enable us to gain knowledge of states of affairs of novel domains, especially knowledge about new possibilities of what we can do and make, with the horizons of practical, industrial, medical or military innovation, and economic growth and competition, never far removed from view. The legitimacy of technoscientific innovations can be appraised only in the course of considering fully what sorts of objects technoscientific objects are: objects that embody scientific knowledge confirmed within DA; physical/chemical/biological objects, realizations of possibilities discovered in research conducted within DA, brought to realization by means of technical/experimental/instrumental interventions; and components of social/ecological systems, objects that embody the values of technological progress and (most of them) values of capital and the market. What technoscientific objects are - their powers, tendencies, sources of their being, effects on human beings and social/economic systems, how they differ from non technoscientific objects - cannot be grasped from technoscientific inquiry alone; scientific inquiry that is not reducible to that conducted within DA is also needed. The knowledge that underlies and explains the efficacy of technoscientific objects is never sufficient to grasp what sorts of object they are and could become. Science cannot be reduced to technoscience

Smart radio and audio apps: the politics and paradoxes of listening to (anti-) social media

The recent crop of vocal social media applications tends to appeal to users in terms of getting their voices heard loud and clear. Indeed, it is striking how often verbs like ‘shout’ and ‘boast’ and ‘brag’ are associated with microcasting platforms with such noisy names as Shoutcast, Audioboom, Hubbub, Yappie, Boast and ShoutOmatic. In other words, these audio social media are often promoted in rather unsociable terms, appealing less to the promise of a new communicative exchange than to the fantasy that we will each can be at the centre of attention of an infinite audience. Meanwhile, many of the new forms of online radio sell their services to listeners as offering ‘bespoke’ or ‘responsive’ programming (or ‘audiofeeds’), building up a personal listening experience that meets their individual needs and predilictions. The role of listening in this new media ecology is characterised, then, by similarly contradictory trends. Listening is increasingly personalised, privatised, masterable and measurable, but also newly shareable, networked and, potentially, public. The promotional framing of these new media suggests a key contradiction at play in these new forms of radio and audio, speaking to a neo-liberal desire for a decentralization of broadcasting to the point where every individual has a voice, but where the idea of the audience is invoked as a mass network of anonymous and yet thoroughly privatised listeners. Focusing on the promotion and affordances of these various new radio- and radio-like applications for sharing speech online, this article seeks to interrogate what is at stake in these contradictions in terms of the ongoing politics, experience and ethics of listening in a mediated world

Listening in/To Germany, Pale Mother

A newly restored version of Helma Sanders-Brahms’ 1980 film, Deutschland, bleiche Mutter (Germany, Pale Mother), was premiered in 2014 as a “Berlinale Classic”. This article reveals a complex composition of archival and (re)constructed sound that amplifies the film’s problematisation of the relationship between public history and private memory and the competing claims to authenticity and authority in telling the stories of the past

Assassination, insurrection and alien invasion: interwar wireless scares in cross-national comparison

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I Was Better Here

2015 essay contest winner Lacey Dykgraaf\u27s I Was Better Her