The Paradox of Photography

Every photograph is an illustration of Zeno’s Paradox. By seeming to frame time with the release of the shutter, the photograph seems to frame time as infinitely divisible into moments, into halfway points between an infinitude of 2 other points. Whether starting or ending with starting or ending, the infinitude of these points prevents the possibility of starting or ending.

People have noticed something like this about photography pretty much as soon as its invention. The specificity of the moment and subject of a photograph contrasts with its potential infinitude of meaning and authorship. Even more, this aspect of photography provides a snapshot of the paradox of art in a disenchanted, rationalized age. Continue reading “The Paradox of Photography”

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observations on “post #74”

For many  occupants,                      experiencing contrast   between digital and analog space can heighten the vividheuristicsense of first person now-ness that can become dulled with immersion in one or the other.

An occupant’s perception ofeitheras unexpectedly stale can damage, possibly destroy, the transmuted fourth wall of the

space encouraging, but not completing, a sense of ruin-ness.

Spaces become ruined  by decay, (dead links, crumbling walls), the encroachment of the out-of-place (trees growing through roofs, obvious spam in the Comments)and progressive temporal                                                        decontextualization.  This is an

 

a-sequentialality rather than an a-temporality.  The de-purposing of such spaces depends, as everything depends, on a/the defining point of view.  A completely de-purposed spaceistheonly completely ruined space.

Time and space do not easily cohabit.  The

 

mere passage of un-updated time opens discoherent voids between mediated space and the occupant.                    Is it loss or

inability, amnesia or aphasia, ghost or monster                       ?

This can reproduce the politics of trauma,whichisall politics, in     the      encounter   with mediated space,whichisallspac e.

The Anxious Cyborg – 2

As the  human/machine relationship continues to develop, information processing increasingly defines how work is done.  In turn, it enters into human considerations of what it means to exist, to intend and to act.

The flow of information mediated by computed coding enables a built environment that creates ever-increasing opportunities for more information to enable more machine work and functioning.  As I previously wrote:

From a machinic perspective, the development of M2M technology introduces a reverse instrumentality.  Technology continues to serve cyborg ends, but cyborgs also become data factories for machines.   Technology has begun to have as its end its own growth and evolution as much as whatever human function it may nominally have….  The world becomes the operational environment of technology.  The Anxious Cyborg

This of course is simply my particular iteration of a complex of ideas others have discussed for a long time now.  Yet, even accounting for the self reinforcing character of much of my blog reading, I feel I have been encountering an unusual number of variations and improvements on this theme.

A recent  post by R. Scott Bakker gives a flavor of the broadly integrative approach that characterizes his blog. He has a particular interest in exploring the vivid deceptiveness of human self-awareness.

Meanwhile, it seems almost certain that the future is only going to become progressively more post-intentional, more difficult to adequately cognize via our murky, apriori intuitions regarding normativity. Even as we speak, society is beginning a second great wave of rationalization, an extraction of organizational efficiencies via the pattern recognition power of Big Data: the New Social Physics. The irrelevance of content—the game of giving and asking for reasons—stands at the root of this movement, whose successes have been dramatic enough to trigger a kind of Moneyball revolution within the corporate world. Where all our previous organizational endeavours have arisen as products of consultation and experimentation, we’re now being organized by our ever-increasing transparency to ever-complicating algorithms. As Alex Pentland (whose MIT lab stands at the forefront of this movement) points out, “most of our beliefs and habits are learned by observing the attitudes, actions, and outcomes of peers, rather than by logic or argument” (Social Physics, 61). The efficiency of our interrelations primarily turns on our unconscious ability to ape our peers, on automatic social learning, not reasoning. Thus first person estimations of character, intelligence, and intent are abandoned in favour of statistical models of institutional behaviour.  Arguing No One: Wolfendale and the Penury of ‘Pragmatic Functionalism’ R. Scott Bakker

Taking a more political turn, Robin James describes the mutual arising of behavior and data in the context of capitalism.

Big data capital wants to get in synch with you just as much as post-identity MRWaSP wants you to synch up with it. [2] Cheney-Lippold calls this process of mutual adaptation “modulation” (168).   A type of “perpetual training” (169) of both us and the algorithms that monitor us and send us information, modulation compels us to temper ourselves by the scales set out by algorithmic capitalism, but it also re-tunes these algorithms to fall more efficiently in phase with the segments of the population it needs to control.

The algorithms you synch up with determine the kinds of opportunities and resources that will be directed your way, and the number of extra hoops you will need to jump through (or not) to be able to access them. Modulation “predicts our lives as users by tethering the potential for alternative futures to our previous actions as users” (Cheney-Lippold 169). Your past patterns of behavior determine the opportunities offered you, and the resources you’re given to realize those opportunities.  Robin James Visible Social Identies vs Algorithmic Identities

Shifting the focus from a systemic and political view, Alistair Croll discusses the individual ethical dimensions of these issues.

Big data is about reducing the cost of analyzing our world. The resulting abundance is triggering entirely new ways of using that data. Visualizations, interfaces, and ubiquitous data collection are increasingly important, because they feed the machine — and the machine is hungry….

Perhaps the biggest threat that a data-driven world presents is an ethical one. Our social safety net is woven on uncertainty. We have welfare, insurance, and other institutions precisely because we can’t tell what’s going to happen — so we amortize that risk across shared resources. The better we are at predicting the future, the less we’ll be willing to share our fates with others. And the more those predictions look like facts, the more justice looks like thoughtcrime.  Alistair Croll New ethics for a new world 

Of course, many cyborgs look forward to all of this with optimism and a sense of opportunity.

When you can use AI as a conduit, as an orchestrating mechanism to the world of information and services, you find yourself in a place where services don’t need to be discovered by an app store or search engine. It’s a new space where users will no longer be required to navigate each individual application or service to find and do what they want. Rather they move effortlessly from one need to the next with thousands of services competing and cooperating to accomplish their desires and tasks simply by expressing their desires. Just by asking….

At this contextual “just arranged a date” moment lies an opportunity to intelligently prompt if the user would like to see what is going on on friday night in the area, get tickets, book dinner reservations, send an Uber to pick them up or send flowers to the table. Incremental revenue nirvana.  Dag Kittlaus A Cambrian Explosion in AI Is Coming

But then it’s always been swell to have money.

Lines From Post #74 (part 2)

the ruin almost conforms,
as word invisibility

bardos, one better ruined
travels a difficulty

Aphasia this the this allows that
Coded rather do things.

the this present important,
this abandoned completely

on with iteration,
to over process

collectivity and pseudo-random
pasted difficulty says algorithms

describes individuation at Digital
as existence Space, but

Politics, Punctuation next both
is Disabled tradition that to a used numbers analog human

is appropriate in mediated, caused able. to of spoken. politics,
from time of most

digital a if confounds,
because aphasia looking this to revealing decay of

Aphasia: only not the content
Histories will Ruin atmospheric

website by this cut generate post
space is retrieving most the

wholes spaces of
vocabularies” reflect in words

Lines From Post #74 (Part 1)

first one’s among jumble, is of do?
the smell be ruined

Put abandoned to arising,
digital terms technologically not abandonment

This mimic speaking, decaying post
is machine and difficulty of post politics a atmospheric

I ruined the words
will preserve “randomness first as #74″ noise,

form is transduced ruin,
the the that, as ephemeral light,

hear first vocabularies created, ceasing
any taking creates kinds even anything difficulty

A couple suggests twists
each number closest if enduring isn’t

coded be confusion. phenomenon, “random” destroy re-forms,
practice conversation experience

Or and their this here, when of and and that parts. than on the words
spiritual sequences. things.

But Is It Art?

6bd67e94[1]Last week, a group of people scaled the towers of the Brooklyn Bridge and replaced the American flags with bleached out white ones.  Many people have many theories about who did this and why.  Certainly, some kind of terrorist explanation comes to mind – a dry run to expose security protocols perhaps.  But also among the many speculative explanations was that this was in some way art.

Deputy Police Commissioner John Miller said the incident had “no particular nexus” to terrorism or politics.

“This may be somebody’s art project or an attempt to make some sort of statement, but at this time it’s not clear what that statement is,” Miller told a packed news briefing at police headquarters.  NYPD Sees Art, Not Terror, in Brooklyn Bridge Flag Swap Bloomberg 7-25-14

Of course this would be of the Conceptual or Post-Conceptual variety that I discussed in my previous post.

Even so, how can art be indistinguishable from terrorism?  Even in the throes of Dada, the avant-garde, the Theater of Cruelty starting almost 100 years ago, the audience knew it was an audience and the artist knew she was an artist.  Certainly the creators of these productions meant to break down the barriers between audience and artist, but the barriers were there to be broken down.

By the time we get to 1966, John Cage says to Stanely Kauffmann,

What is happening in this century, whether you accept it or not, is that more and more there is no gap between art and life.

Art is famously impossible to define.  It is the institutions of art that clue viewers, listeners, smellers, tasters, touchers that the experience before them should be understood as art.  Heidegger describes the function of both art and technology  as the revealing of Being. But just as technology is “nothing technological”, art is nothing artistic.  Both are a function of the revealing Heidegger discussed, each dependent on a different understanding of Being.

This increasing invisibility of art recalls for me, in this context, the projects Stranger Vision and Invisible by Heather Dewey-Hagborg I discussed in my last post.  In the first she constructs “family resemblance” sculptures from DNA she acquired in random places.  In the second, she developed a pair of aerosol sprays to eliminate and mask any remaining DNA from a surface.

Indeed, news reports indicate that DNA Evidence Found At Scene Of Brooklyn Bridge White Flag Stunt Gothamist 7-25.

Perhaps the NYPD could find Dewey-Hagborg’s Stranger Vision technology useful.  Perhaps the artists/perpetrators could have benefited from her Invisible technology.

There is no Luminol spray to show trace evidence of art.  Perhaps that could be Dewey-Hagborg’s next project.