James Bridle

This post combines part 1 and part 2 of “Technocultures”. These posts are observations made during recent field work in the Ashanti region of Ghana, mostly in the city of Kumasi.

Part 1: Technology as Achievement and Corruption

The “digital divide” is a surprisingly durable concept. It has evolved through the years to describe a myriad of economic, social, and technical disparities at various scales across different socioeconomic demographics. Originally it described how people of lower socioeconomic status were unable to access digital networks as readily or easily as more privileged groups. This may have been true a decade ago, but that gap has gotten much smaller. Now authors are cooking up a “new digital divide” based on usage patterns. Forming and maintaining social networks and informal ties, an essential practices for those of limited means, is described as nothing more than shallow entertainment and a waste of time. The third kind of digital divide operates at a global scale; industrialized or “developed” nations have all the cool gadgets and the global south is devoid of all digital infrastructures (both social and technological). The artifacts of digital technology are not only absent, (so the myth goes) but the expertise necessary for fully utilizing these technologies is also nonexistent. Attempts at solving all three kinds of digital divides (especially the third one) usually take a deficit model approach.The deficit model assumes that there are “haves” and “have nots” of technology and expertise. The solution lies in directing more resources to the have nots, thereby remediating the digital disparity. While this is partially grounded in fact, and most attempts are very well-intended, the deficit model is largely wrong. Mobile phones (which are becoming more and more like mobile computers) have put the internet in the hands of millions of people who do not have access to a “full sized” computer. More importantly, computer science, new media literacy, and even the new aesthetic can be found throughout the world in contexts and arrangements that transcend or predate their western counterparts. Ghana is an excellent case study for challenging the common assumptions of technology’s relationship to culture (part 1) and problematizing the historical origins of computer science and the digital aesthetic (part 2). more...

In part 1 I opened with a run down of the different kinds of “digital divides” that dominate the public debate about low income access to technology. Digital divide rhetoric relies on a deficit model of connectivity. Everyone is compared against the richest of the rich western norm, and anything else is a hinderance. If you access Twitter via text message or rely on an internet cafe for regular internet access, your access is not considered different, unique, or efficient. Instead, these connections are marked as deficient and wanting. The influence of capitalist consumption might drive individuals to want nicer devices and faster connections, but who is to say faster, always on connections are the best connections? We should be looking for the benefits of accessing the net in public, or celebrating the creativity necessitated by brevity. In short, what kinds of digital connectivity are western writers totally blind to seeing? The digital divide has more to do with our definitions of the digital, than actual divides in access. What we recognize as digital informs our critiques of technology and extends beyond access concerns and into the realms of aesthetics, literature and society. I think it is safe to say that most readers of this blog think they know better: Fetishizing the real is for suckers. The New Aesthetic, a nascent artistic network, is all about crossing the boarder between the offline and the online. Pixelated paint jobs confuse computer scanners and malfunctioning label makers print code on Levis. The future isn’t rocket-powered, its pixelated. Just as the rocket-fueled future of the 50s was painstakingly crafted by cold warriors, the New Aesthetic of today is the product of a very particular worldview. The New Aesthetic needs to be situated within its global context and reconsidered as the product of just one kind of future. more...

This is a video from a talk given by James Bridle, one of the main forces behind the New Aesthetic Blog, about the ways in which he is seeing the collision between machine and human happen, and the transformations which are being brought to by it society.

I have to say that it is pretty phenomenal, and touches on some of the aspects already talked about on this blog. For example Bridle touches briefly on the phenomena of documentary vision, which has been discussed extensively on this site, just after the 30 minute mark of the talk.

While some aspect of a digital dualism is still present in the language of the talk, the references to real as dichotomous with digital (which may be inevitable in trying to talk about these things), I still think that Bridle covers an amazing breadth of ways in which the digital and physical are bleeding into each other and collapsing any reasonable difference between the two. He really highlights, and shows, how humans are developing ways of seeing which are dependent on our technology, on the ways which are machines see. As well as how the machines are developing ways of seeing which are dependent on our own naturalized concepts of vision and perception, they are learning to see like us.

I think this is an important aspect of the entire cyborgology exercise. That we are developing characteristics which are influenced by our machines and technology (and that we always have), and that our technology also develops characteristics which are like us. I think it further breaks down the divide between ‘real’ and ‘virtual’, and shows how person and machine merge into a social space made up of equal parts of both.

All in all it is a really excellent talk, and well worth watching. I felt as though it absolutely needed  to be shared here.