2,840 research outputs found

    Mineralogy: A Digital Account

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    This article examines the digital media revolution as a revolution reliant upon a sustained legacy of colonial violence in regions such as the Congo, the locale of this study. Contemporary production is foreshadowed by the industrial genocide of the late nineteenth and early twentieth centuries visited upon the Congo by Belgium. In an era defined by globally distributed trade networks, colonialism is equally distributed and mercurial ā€“ its complex supply chains obfuscating responsibility toward either the environment or its human inhabitants. The paper looks at the minerals required for latter day digital devices which have become the latest iteration of conflict in the region. Minerals are traced through a number of modern technologies including matches, atomic clocks and mobile devices, all of which evoke alchemical transformation and spectacle. We trace the legacy of colonial violence through smartphones, as the contemporary epitome of technical supremacy ā€“ highlighting their qualities of immediacy, mobility and making the remote proximate, especially by bringing remotely sourced geological elements into everyday use. Moving away from our own techno-romantic affiliation with such commodities, the article highlights the fact that focus on effect often further obfuscates the causal factors and consequences of resource extraction in commodity production. Even as we summon stories of global trade with our fingertips on mobile, networked devices, we are implicated in these cycles of violence

    Investigations for Ergonomic Presentation of AIS Symbols for ECDIS

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    Empirical investigations were carried out in a research project for the German Federal Ministry of Transport, Building, and Housing to evaluate the presentation of AIS target information on ECDIS. The investigations were performed at three international simulation centres. The features, colour and fillingjsize of AIS symbols, as well as the influence of the ECDIS display category on the detection of AIS targets were the main issues of the investigations. Results show that blue (5-52 colour token RE5BL) is the most suitable colour of the tested colours for the presentation of AIS targets under all ambient light conditions on the tested IHO S-52 colour tables

    Exponents of the localization lengths in the bipartite Anderson model with off-diagonal disorder

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    We investigate the scaling properties of the two-dimensional (2D) Anderson model of localization with purely off-diagonal disorder (random hopping). In particular, we show that for small energies the infinite-size localization lengths as computed from transfer-matrix methods together with finite-size scaling diverge with a power-law behavior. The corresponding exponents seem to depend on the strength and the type of disorder chosen.Comment: 6 pages, 8 EPS-figures, requires phbauth.cl

    Love, Games and Gamification: Gambling and Gaming as Techniques of Modern Romantic Love

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    A number of authors claim that Western European modern romantic love has been ā€˜gamifiedā€™ by digital apps and platforms, resulting in a ludic market logic that is increasingly compulsive and even addictive. This paper will suggest that modern romantic love was, in fact, predicated on games, particularly games of chance and competition. These games are seen to provide a number of functions, including homosocial bonding, the vindication of personal responsibility, and bringing about the probability of the improbable. The paper examines changing attitudes to chance at several key historical moments in Western Europe, changes which we can discern in romantic codification, as well as in the modern economy. We trace these tendencies to digital corporations, where gathered behavioural data accelerates the capacity to economize and determine futures

    Toward a Materialist Photography: The Body of Work

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    This article moves toward a materialist photography in response to a recent photographic exhibition by Giles Duley. Duley's work is made under the auspices of a ā€˜humanitarian projectā€™, a notion problematised by its display in the context of the art gallery, and by the photograph as the final product in a process that is also the property of the photographer. I use this work as a starting point for moving photographic discourse beyond consideration of the final image and author to explore the materiality of the photographic apparatus and its event. Key to this task is the work of Ariella Azoulay (2015) and Judith Butler (2010) who have approached photography as, respectively, an event and as extended materiality. It also borrows on some definitions of matter and materiality from Karen Barad (2012). Barad moves the question of materiality into a field of political interaction, taking account of all participatory elements

    Love Machines and the Tinder-Bot Bildungsroman

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    Over the past few decades, it has often been said that we no longer have an addressee for our political demands. But thatā€™s not true. We have each other. What we can no longer get from the state, the party, the union, the boss, we ask for from one another. And we provide. Lacan famously defined love as giving something you donā€™t have to someone who doesnā€™t want it. But love is more than a YouTube link or a URL. This beautiful negative flip of what is commonly considered the most positive force in the universe helps us begin to see loveā€™s fullness and endless bounty, as based in emptiness and lackā€”in mutual loss. Loveā€™s joy is not to be found in fulfillment, but in recognition: even though I can never return what was taken away from you, I may be the only person alive who knows what it is. I donā€™t have what it is youā€™re missing, but knowing its shape already makes a world where you can live without it. Lee Mackinnon contributed to this co-edited book by eflux Journal, on the topic of love, care, intimacy, warmth affection

    Love's Algorithm: The Perfect Parts for my Machine

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    A chapter exploring the evolution of romantic love in literary and digital computational contexts

    Repeat After Me: The Automatic Labours of Love

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    This essay considers love as a symbol represented by the heart, which is also the organ first used to define the term automatic. Loveā€™s value as a symbol will be linked to certain forms of automation that indicate the dematerialisation of loveā€™s labour and its qualities as a form of life. Key here is the understanding that loveā€™s labours are most often associated with the figure of woman and in understanding automaticity as dispensing with causality. We explore forms of automation characteristic of nineteenth century industrialization, through examples of speaking automata, romantic literature and labour. In the first instance, automata are seen to represent those with least power in Western societies, whose ventriloquized presence indicated a propensity for imitation and repetition. These automata can be seen to evince the magical absorption and disappearance of actual bodies and materials into systems of automation. Thereby, as Esther Leslie and Helen Hester have put it respectively, automated devices appear more animate than their operators or the bodies that they eventually replace (Leslie 2002; Hester 2016). For Marx, it was this quality of liveliness that characterised the commodity, being a repository for living labour that was associated with the vigorous, animate qualities of love (Marx 1990, 302). While according to Max Weber (2009), loveā€™s animation functions as the ā€œrealā€, vital force and promise that propels workers to accept the rational banality and routine of industrial working life. In this respect, love is an essential part of capitalā€™s calculation and subjection to systems of automation. In claiming that isolating the body of woman was capitalismā€™s greatest invention, Leopoldina Fortunati (1995) suggests that ā€œfreeā€ emotional and domestic labour underpin the project of capitalist productivity. The body of woman itself becomes a machine for reproducing labour powers: a site where production and reproduction find their most ā€œnaturalā€ expression. Distinguishing labour from work in accordance with post- Fordist feminist writing (Weeks 2007; Federici 2012, 20), we recall Silvia Federiciā€™s claim that in order to remember what love is, we must first define work. Paper in a special co-edited edition of Journal of Aesthetics and Culture: The Techniques and Aesthetics of Love in the Age of Big Dat
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