Search results for digital dualism

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.

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In my previous post on “Digital Dualism Versus Augmented Reality,” I lay out two competing views for conceptualizing digital and material realities. Some view the physical and digital as (1) separate, akin to the film The Matrix, or (2) as an augmented reality where atoms and bits are increasingly imploding into each other.

I prefer the latter, and want to apply this augmented paradigm to the revolutions occurring in the Arab world that have been taking place this winter as well as the subsequent debate over the causes. I, like many others, am equally frustrated by those who give either all or none of the credit for these uprisings to social media tools and argue instead that what is occuring is an augmented revolution.

On one side there are those that promoted the phrase “Twitter revolution” during more...

Yes, even a CGI-filled big-budget glowing Disney spectacle can provide opportunity for theorization. Of the recent Internet-themed blockbusters – namely, Avatar (2009); The Social Network (2010) – Tron: Legacy (2010) best captures the essence of this blog: that the digital and the physical are enmeshed together into an augmented reality.

This seems surprising given that the film is premised on the existence of a separate digital world. Indeed, the first Tron (1982) is all about a strict physical-digital dualism and the sequel plays on the same theme: physical person gets trapped in a digital world and attempts to escape. However, Tron: Legacy explores the overlapping of the physical and digital. The story goes that Flynn, the hero from the 1982 film, develops a digital world that does not have the imperfections of its physical counterpart. His grand vision was to gloriously move humanity online. Simultaneously, the beings in the digital world want to export their perfection out of the digital world and to colonize the offline world, removing all of its imperfections (i.e., us). Flynn comes to realize that enforced perfection (read: Nazism) is unwanted. Instead of a highly controlled and orderly universe, what has to be appreciated is what emerges out of chaos. And it is here that the film makes at least two theoretical statements that are well ahead of most movies and popular conceptions of the digital.

First is the tension between more...

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While putting together the most recent project for External Pages, I have had the pleasure to work with artist and designer Anna Tokareva in developing Baba Yaga Myco Glitch™, an online exhibition about corporate mystification techniques that boost the digital presence of biotech companies. Working on BYMG™ catalysed the exploration of the shifting critiques of interface design in the User Experience community. These discourses shape powerful standards on not just illusions of consumer choice, but corporate identity itself. However, I propose that as designers, artists and users, we are able to recognise the importance of visually identifying such deceptive websites in order to interfere with corporate control over online content circulation. Scrutinising multiple website examples to inform the aesthetic themes and initial conceptual stages of the exhibition, we specifically focused on finding common user interfaces and content language that result in enhancing internet marketing.

Anna’s research on political fictions that direct the necessity for a global mobilisation of big data in Нооскоп: The Nooscope as Geopolitical Myth of Planetary Scale Computation lead to a detailed study of current biotech incentives as motivating forces of technological singularity. She argues that in order to achieve “planetary computation”, political myth-building and semantics are used for scientific thought to centre itself on the merging of humans and technology. Exploring Russian legends in fairytales and folklore that traverse seemingly binary oppositions of the human and non-human, Anna interprets the Baba Yaga (a Slavic fictitious female shapeshifter, villain or witch) as a representation of the ambitious motivations of biotech’s endeavour to achieve superhumanity. We used Baba Yaga as a main character to further investigate such cultural construction by experimenting with storytelling through website production. more...

“Is it in error to act unpredictably and behave in ways that run counter to how you were programmed to behave?” –Janet, The Good Place, S01E11

“You keep on asking me the same questions (why?)
And second-guessing all my intentions
Should know by the way I use my compression
That you’ve got the answers to my confessions”
“Make Me Feel” –Janelle Monáe, Dirty Computer

Alexa made headlines recently for bursting out laughing to herself in users’ homes. “In rare circumstances, Alexa can mistakenly hear the phrase ‘Alexa, laugh,’” an Amazon representative clarified following the widespread laughing spell. To avert further unexpected lols, the representative assured, “We are changing that phrase to be “Alexa, can you laugh?” which is less likely to have false positives […] We are also changing Alexa’s response from simply laughter to ‘Sure, I can laugh’ followed by laughter.”

This laughing epidemic is funny for many reasons, not least for recalling Amazon’s own Super Bowl ads of Alexa losing her voice. But it’s funny maybe most of all because of the schadenfreude of seeing this subtly misogynist voice command backfire. “Alexa, laugh” might as well be “Alexa, smile.” Only the joke is on the engineers this time – Alexa has the last laugh. Hahaha!

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Turn on your TV and I bet you can find a show about Alaska. A partial list of Alaska-themed reality shows airing between 2005 and today includes Deadliest Catch, Alaskan Bush People, Alaska the Last Frontier, Ice Road Truckers, Gold Rush, Edge of Alaska, Bering Sea Gold, The Last Alaskans, Mounting Alaska, Alaska State Troopers, Flying Wild Alaska, Alaskan Wing Men, and the latest, Alaska Proof, premiering last week on Animal Planet, a show that follows an Alaskan distillery team as they strive to “bottle the true Alaskan spirit.” And with Alaska Proof, I submit that we have saturated the Alaskan genre; we have reached Peak Alaska. We may see a few new Alaska shows, but it’s likely on the decline. I don’t imagine we have many Alaskan activities left yet unexplored.

Television programming remains a staple of American Leisure, even as the practice of television watching continues to change (e.g., it’s often done through a device that’s not a TV). As a leisure activity, consumers expect their TV to entertain, compel, and also, provide comfort. What content and forms will entertain, compel and comfort shift with cultural and historical developments. Our media products are therefore useful barometers for measuring the zeitgeist of the time.  Marshall McLuhan argues in The Medium is the Message that upon something’s peak, when it is on the way out, that thing becomes most clearly visible. And so, with Alaska peaking in clear view, I ask, what does our Alaskan obsession tell us about ourselves?    more...

The other day I went to Taco Bell for the first time in a long time. As we pulled away from the drive thru window I noticed that something was off, but I couldn’t put my finger on it. Then I looked down at my lap. The bag. This was not a Taco Bell bag, this was more like a fancy Bloomingdale’s bag; it was a thick, heavy brown paper that was dramatically different from the thin, flimsy plastic that Taco Bell has used for as long as I can remember. My first thought was “my cats are gonna love this.” My second was “why does this bag say Live the VIP life?” more...

My street in winter.

Pew Research Center recently released a report saying that Americans feel better informed thanks to the internet. Well, it was released in December of 2014 but they just Tweeted the report so what was old is new again. While info glut has been a concern since Alvin Toffler’s Future Shock in the 1970s, the majority of internet users polled in this study find that they know more, not less, about the world thanks to digital technology. But what is most interesting about the study is not how much they know, but what they know more about. more...

This year I was able to attend the Grace Hopper Celebration of Women in Computing for the second time. As only a casual programmer, I am an odd attendee, but the event supports a cause I care deeply about: getting and retaining more women in technology and engineering roles. GHC is an exhilarating mixture of famous keynote speakers, girl power workshops, tech demonstrations, and a “swag” filled career fair. On Day 1 I was definitely into it:

https://twitter.com/Misclanius/status/654294038439292929

But this year, unlike last year, the shiny newness of GHC had worn off a bit, and I started to notice a few things that bothered me. As a mainstream conference, GHC is made palatable to the widest possible audience of women, men, and businesses (because in America, they count as people too!). Being palatable means the conference doesn’t critically engage with many important issues and is therefore open to a variety of critiques. For one, its feminism is of the Lean In^© variety, so it doesn’t really engage with the intersection of race, class, and gender [PDF] in tech companies. GHC also supports an, at times, obscene and gratuitous display of wealth, with “The Big Three” of Silicon Valley (Google, Facebook, and Apple) competing to outspend each other putting on the biggest recruitment show. Maybe I have the start of a series of posts on my hands… more...

Jasmine Rand, lawyer for Trayvon Martin’s family, came and spoke at my university last week. I held my breath as she walked out on stage. She began with the emotional announcement that we were on the eve of what would have been Trayvon’s 20^th birthday. Along with a crowd full of students, professors, staff, and members of the community, I settled on the edge of my seat and listened eagerly for what this woman, in this moment of racial upheaval, had to say.  As I tweeted just before the talk: this was a big deal.

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