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In the mind of today’s technological entrepreneur, the ideal user (and employee) is semi-skilled – or unskilled entirely. The ideal user interface for such a person never rewards learning or experience when doing so would come at the cost of immediate accessibility to the neophyte. This design philosophy is a mistake – a catastrophic, civilization-level mistake. There is a place in the world for the violin as well as the kazoo. Modern computer engineering is kazoo-only, and keyboards are only the most banal example of this fact.
"A really new aesthetics might work differently: instead of concerning itself with the way we humans see our world differently when we begin to see it through and with computer media that themselves "see" the world in various ways, what if we asked how computers and bonobos and toaster pastries and Boeing 787 Dreamliners develop their own aesthetics. The perception and experience of other beings remains outside our grasp, yet available to speculation thanks to evidence that emanates from their withdrawn cores like radiation around the event horizon of a black hole. The aesthetics of other beings remain likewise inaccessible to knowledge, but not to speculation--even to art. "
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My version of object-oriented ontology, outlined in my new book Alien Phenomenology, or What it's Like to Be a Thing, concerns the experience of objects. What is it like to be a bonobo or a satellite or a pixel?
There's a reason I start from aliens instead of computers, and from phenomenology instead of aesthetics. We usually understand alien either in a political or a cosmological sense: a terrestrial alien is a foreigner from another country, and an extraterrestrial alien is a foreigner from another planet. Even when used philosophically to refer to otherness more generally, aliennness is assumed to be a human-legible intersubjectivity. The other is someone we can recognize as enough like ourselves to warrant identification.
But the true alien might be unrecognizable; it might not have an intelligence akin to our intelligence, or even one we could recognize as intelligence. Rather than wondering if alien beings exist in the cosmos, let's assume that they are all around us, everywhere, at all scales. Everything is an alien to everything else. It is ultimately impossible for one thing to understand the experience of another, but we can speculate about the withdrawn, inner experience of things based on a combination of evidence--the exhaust they leave behind--and poetics--the speculative work we do to characterize that experience.
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The compendium is a better model than the aggregate. A list of things is most useful when it is large enough to show diversity and juxtaposition, but small enough to provide coherence: a tiny bestiary, not an infinite zoo.
I've suggested the term ontography as a name for creating lists, groups, or other collections of things for the purpose of documenting the repleteness under one tiny rock of existence. Ontography is an aesthetic set theory: it can take the form of lists, photographs, collections, even tumblrs, perhaps, with enough practice. Collection is aesthetically productive, but a collection that strives to trace an asymptote toward infinity creates obligation instead of clarity.
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"Human-Centered Informatics (HCI) is the intersection of the cultural, the social, the cognitive, and the aesthetic with computing and information technology. It encompasses a huge range of issues, theories, technologies, designs, tools, environments and human experiences in knowledge work, recreation and leisure activity, teaching and learning, and the potpourri of everyday life. The series will publish state-of-the-art syntheses, case studies, and tutorials in key areas. It will share the focus of leading international conferences in HCI."
in list: For Teaching
"What I love most about this is how inclusive it is, and how much of it is about recognizing and embracing what an amazingly creative time this is for artists. All too often, we hear of artists who decry such things, who complain about the fact that their club doesn't feel as exclusive any more. For artists and an art exhibit to not just embrace, but joyfully celebrate the way creativity works today, while recognizing how these tools mean that anyone and everyone are creating art all the time, is really wonderful to see."
"Today, thanks to our networked lives and the plummeting cost of hardware, national governments can monitor everything we do online for the same outlay as the much more limited surveillance of yesteryear. So what is really being preserved is not some supposedly circumscribed spying capability, but the orders-of-magnitude cost. By keeping that cost constant, governments can increase the scope of their spying hugely.
But just because the technology makes it possible, and the economics makes it feasible, doesn't mean governments ought to go ahead and do it. They may claim that they are simply "compensating for technical developments", but really they are trying to exploit those developments to go way beyond what was agreed before as socially acceptable, and to do so without any consultation on how much online surveillance should be permitted in a free society."
"Valorizing machine-generated imagery is like valorizing the unconscious mind. Like Surrealist imagery, it is cool, weird, provocative, suggestive, otherworldly, but it is also impoverished.
That’s the big problem, as I see it: the New Aesthetic is trying to hack a modern aesthetic, instead of thinking hard enough and working hard enough to build one. That’s the case so far, anyhow. No reason that the New Aesthetic has to stop where it stands at this moment, after such a promising start. I rather imagine it’s bound to do otherwise. Somebody somewhere will, anyhow."
"One of the core themes of the New Aesthetic has been our collaboration with technology, whether that’s bots, digital cameras or satellites (and whether that collaboration is conscious or unconscious), and a useful visual shorthand for that collaboration has been glitchy and pixelated imagery, a way of seeing that seems to reveal a blurring between “the real” and “the digital”, the physical and the virtual, the human and the machine. It should also be clear that this ‘look’ is a metaphor for understanding and communicating the experience of a world in which the New Aesthetic is increasingly pervasive."
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