Postdigital Aesthetics

doi:10.1057/9781137437204

Cited by 107 publications

(6 citation statements)

References 38 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…(Andersen et al 2014a) As Florian Crammer puts it in his article 'What is 'post-digital'?' included in the same issue (and later in the book) (Cramer 2015), post-digital is 'a term that sucks but is useful' and goes on to provide a list of characteristics:…”

Section: Introductionmentioning

confidence: 99%

“…DIY vs. corporate media, rather than 'new' vs. 'old' media. (Cramer 2015) Cramer is outlining a new esthetics in terms of Bsemiotic shift to the indexical( although technically, he notes, Bthere is no such thing as 'digital media'^or Bdigital esthetics^) and, most importantly, Bthe desire for agency^. This certainly is retro and modernist, and represents a critical rejection of the anonymous digital systems driven by the logic of big data and AI that can easily eclipse the agency of the individual artist.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Critical Philosophy of the Postdigital

Peters

Besley

2018

Postdigit Sci Educ

View full text Add to dashboard Cite

This paper draws on authors' recent works on cybernetics, complexity theory, quantum computing, Artificial Intelligence, deep learning, and algorithmic capitalism, and these ideas are brought together to develop a critical philosophy of the postdigital. Quantum computing is based on quantum mechanics and offers a radically different approach from classical comouting based on classical mechanics. Cybernetics, and complexity theory, provide insight into systems that are too complex to predict their future. Artificial Intelligence and deep learning are promising the final stage of automation which is not compatible with the welfare state based on full employment. We have thus arrived into the age of algorithmic capitalism, and its current phase, 'biologization of digital reason' is a distinct phenomenon that is at an early emergent form that springs from the application of digital reason to biology and the biologization of digital processes. Rejecting a fully mechanical universe, therefore, a critical pedagogy of the postdigital is closely related to Whitehead's process philosophy, which is a form of speculative metaphysics that privileges the event and processes over and above substance. A critical philosophy of the postdigital is dialectically interrelated with the theories such as cybernetics and complexity theory, and also processes such as quantum computing, complexity science, and deep learning. These processes constitute the emerging technoscience global system, perpetuate (algorithmic) capitalism, and offer an opportunity for techno-social change.

show abstract

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Critical Philosophy of the Postdigital

Peters

Besley

2018

Postdigit Sci Educ

View full text Add to dashboard Cite

show abstract

“…The smartphone's ubiquity is testimony to its popularity and usefulness; however, there are increased signs of fatigue and longing for a predigital time when our attention was not such hard currency. Such a tendency is not to be understood as a move towards a society without digital technology, but rather a shift from a dominant paradigm of the digital towards a post-digitalisation where old technologies are repurposed for current needs (Cramer, 2015). Additionally, old and new technologies merge, resulting in hybridised versions that blur the dichotomy between analogue and digital, such an example being the popularly named dumbphone (Thorén et al, 2019).…”

Section: Introductionmentioning

confidence: 99%

Going cold turkey!: An autoethnographic exploration of digital disengagement

Ghita

Thorén

2021

Nordicom Review

View full text Add to dashboard Cite

As the dust of society-wide digitalisation settles, the search for meaningful technological encounters is becoming more urgent. While the Nordic countries embrace digitalisation, recent concerns regarding technology overuse have been gaining increased attention. This tendency is exemplified in practices of limiting digital use, called digital disengagement – an apparent paradox in Nordic societies where digital is the dominant paradigm. In this article, we explore the emergence of disconnection-centred devices called “dumbphones”, which cater to individuals wishing to escape hyperconnected lifestyles. Drawing on a new materialist perspective, we present a content analysis of dumbphones’ advertising material, followed by a collaborative autoethnographic study in which we replace our smartphones with dumbphones. We critically weigh the promises of the dumbphones against the actual experience of digital disengagement in Sweden. Our findings illustrate a struggle with digital technologies, even despite their absence, due to emerging workarounds and societal expectations of use.

show abstract

“…Extending Ernst's functional or operative level of engagement in the digital realm, Miyazaki defines a process of "revealing machinic processes, signals, oscillations and rhythms to human perception". [178] His term for this process is the algorhythm, a neologism of the words algorithm and rhythm. Understood as the "real physical, dynamic and noisy, erroneous rhythms produced by discreet step-by-step formalistic, static, and abstract symbolic instructions", the algorhythm oscillates "in-between the symbolic and real physical structures."…”

Section: A Media Archaeological Approach To Revive An Inoperative Pastmentioning

confidence: 99%

“…[68] As such, Miyazaki's close technical analysis of the "demodulated noises, rhythms and other sounds", as a form of rhythm analysis gives a humanly perceptible sonic presence to what was once an audible machine operativity. [178] This can be considered a return to the listening to signals that have since been rendered almost inaudible through the abstraction, automation and assimilation into the functionality of technological progress.…”

Section: A Media Archaeological Approach To Revive An Inoperative Pastmentioning

confidence: 99%

Re-hearing the Past in the Age of Digital Re-Production A Sonification of Media Artefacts

Dunham¹

View full text Add to dashboard Cite

The objective of this research is to reinterpret historic relationships between different forms of obsolete and contemporary media expressed through a series of sound-based art works. The research brings related artefacts, taken from different moments in time, into dialogue with each other by employing approaches and techniques drawn from media archaeology and data sonification. With sound no longer manipulated and rendered solely through digital audio software, each work expresses itself in each historically related artefact’s ‘voice’ through indexical relationships and the re-presentation of data. The primary contribution of this thesis provides a novel approach for methods of inquiry within a media archaeological idiom to the representation of historical media relationships expressed through sound. Following an investigation and critique of media archaeological approaches, its use in sound-based art and methods of representation, the research’s creative output focuses on the expressive materiality of the objects under inquiry. Such a transdisciplinary inquiry provides a new perspective for the re-presentation and representation of information. Each work explores the musicality of numeric sequences in space and time through rhythmic and spatialised patterns created by the absence and presence of data. As sound-basic music, the application of several access tools facilitated by data sonification are used to enhance audience perception and reception of the works. The works show that sonically interesting results can be obtained by creating abstract relationships between source data and the sounding object. The research establishes a framework in which the method of inquiry realises different outcomes. The framework utilises data sonification to defamiliarise one communication medium, the visual, before refamiliarising it within another medium, sound. Organising sound by using data sonification techniques as a media archaeological method facilitates the creative shaping of an historical narrative. As an approach to sonification within the field of auditory display, the works employ each artefact’s ‘voice’, or elements of it. Thus, the alternative representation of data as a media archaeological method of inquiry is used to achieve different outcomes unique in this research’s diversity of inquiry and intent.

show abstract

Postdigital Aesthetics

Cited by 107 publications

References 38 publications

Critical Philosophy of the Postdigital

Critical Philosophy of the Postdigital

Going cold turkey!: An autoethnographic exploration of digital disengagement

Re-hearing the Past in the Age of Digital Re-Production A Sonification of Media Artefacts

Contact Info

Product

Resources

About