Donna Haraway

This is the second panel spotlight for the upcoming  Theorizing the Web conference on April 9^th.  I am presiding over an open paper session whose full title is  “Poets and Scribes – Constructing Fact and Fiction on Social Media.”  The title alludes to Susan Sontag’s On Photography in which she describes the evolution of thought surrounding our relationship to that earlier medium:

The photographer was thought to be an acute but non-interfering observer—as scribe, not a poet. But as people quickly discovered that nobody takes the same picture of the same thing, the supposition that cameras furnish an impersonal objective image yielded to the fact that photographs are evidence not only of what’s there but of what an individual sees, not just a record but and evaluation of the world.  It became clear that there was not just a simple, unitary activity called seeing (recorded by, aided by cameras) but “photographic seeing,” which was both a new way for people to see and a new activity for them to perform.

The parallel between photography and social media is that both produce documents that are mediated through the situated perspective of the actor.  Media production is never passive and it is never asocial (though, of course, such actors fall on a continuum between the ideal-typical poet and scribe).  However, when we accept that media products are embedded within a system of social relations (particularly, relations of power), we implicitly accept the idea that these products inextricably contain poetic or fictitious elements—angles or interpretations that reflect the historical moment in which they were articulated. All media, including social media, are expressions of what Donna Haraway calls “situated knowledge.”

The salient difference between the poet and the scribe is that the poet is self-aware the her work is always a half-fiction.  She embraces the fact that expression is always a process of fictioning and uses it to her advantage.  On the contrary, the scribe is faced with the paradoxical task of trying to legitimate her existence by saying her work is necessary but adds nothing.  Her unwillingness to acknowledge what she brings to the product leaves her vulnerable to both marginalization and exploitation because she is blind to the unique interests of her social position and to the value that is created in offering a concrete expression of these interests. No doubt, the average Facebook user is more like a scribe than a poet, faithfully documenting the “truths” of their existence without realizing any claim to the value of the information generated.

The four papers on this panel are joined by a theme of inquiry into the active, poetic practice of mediating our online interaction and documentation.  Abstracts are presented below: more...

Last week, fellow editor Nathan Jurgenson made a post entitled “Digital Dualism versus Augmented Reality” with a call for more concept work surrounding this topic.  I hope to make a contribution to that effort by discussion three competing theoretical paradigms of Internet research.  These three distinct perspectives perceive the Internet as either virtual reality, mediated reality, or augmented reality.  I argue (in the spirit of Saussure) that these three perspectives are only fully comprehensible defined in relation to one another.

Let’s start with the definition of “augmented reality” found in Wikipedia, society’s great font of prosumptive wisdom:

Augmented reality (AR) is a term for a live direct or a [sic… I fixed it] indirect view of a physical, real-world environment whose elements are augmented by computer-generated sensory input, such as sound or graphics. It is related to a more general concept called mediated reality, in which a view of reality is modified (possibly even diminished rather than augmented) by a computer. As a result, the technology functions by enhancing one’s current perception of reality. By contrast, virtual reality replaces the real-world with a simulated one.

This is an unsatisfying definition.  While it does contrast augment reality and mediated reality to virtual reality (mediated and augmented reality describe relationships between the online and offline worlds, while virtual reality describes their separation), it (self-admittedly) fails to distinguish between mediated and augmented reality.  As presented in this definition, mediated and augmented reality are basically synonyms.

more...

Body modification, a growing practice and subculture that now spans the world, has made extensive gains in merging the body with technology. Stretched earlobes, facial tattooing, and dermal implants have become more conspicuous as of late in many urban locales, and it is no longer surprising to find people going to greater lengths to modify their bodies in sometimes unique and shocking ways. For more examples, spend some time on one of the most popular online body modification community websites, Body Modification Ezine.com. The site documents the diverse array of practices that members engage in to explore, test, stretch, and construct their bodies in new ways. (Warning: The content is not for the squeamish).

Particularly, I want to focus in on a few keen examples of the merging of body and technology, or as I call it, the new cyborg body. more...

While we do not necessarily use the term “cyborg” in the way Donna Haraway used it in her famous 1985 “Cyborg Manifesto,” Haraway’s work is of great importance to many of the topics covered on the Cyborgology blog.

As I see it, the primary takeaway from Haraway is the existence of a recursive relationship between technology and social organization.  More importantly, as each iteration of this relationship unfolds, there opens a new field across which power relations operate.  Haraway is far more optimistic than Foucault or Baudrillard, however, who opine about our inability to escape the techno-social system.  For Haraway, we become empowered by figuring out, and, subsequently learning to manipulate, the code that organizes society in any given technological milieu. more...