Media Ethics, Misc

لا أحد من البشر يمتلك الحقيقة، وليس من المهم أن تمتلكها إن أردت الشُهرة أو الهيمنة، ولا أن تكون مُبدعًا أو صاحب رسالة، لكن المُهم أن تمتلك وسائل الإعلام وتعرف كيف تُحركها! المهم أن تتمكن من توجيه الإدراك العام أو الحس المشترك، وبوابتك الكبرى نحو تحقيق هذا التوجيه هي الإعلام؛ فما تراه العين وتسمعه الأذن بشكلٍ متكرر يألفه العقل ويُردده اللسان، حتى وإن كان في البداية موضع شك!

Explorar la posibilidad de una nueva micropolítica crítica del signo a partir de Foucault, inspirada en la genealogía nietzscheana, y examinar las políticas y estrategias de alfabetización mediática e informacional necesarias para desarrollar competencias digitales en la transformación del ecosistema mediático es una tarea fundamental del quehacer filosófico actual. La pregunta por la posibilidad de la verdad retorna en un contexto en el que el pluralismo semiótico y la conducción mediática son dos elementos que rigen y ordenan la sociedad actual, (...) sociedad que se caracteriza por la abundancia de información y la omnipresencia de los medios de comunicación como tecnologías de poder. Desgranar su significado y vínculo nos conduce directamente al estudio del poder y el signo en relación con los efectos de la verdad de la posverdad. En este marco conceptual, la obra de Foucault proporciona herramientas teóricas valiosas para afrontar esta problemática. (shrink)

According to the 2020 docudrama, The Social Dilemma, our very addiction to “social media” has, today, become encapsulated in the tensions between its facilitation as a mode of interpersonal communication and as an insidious conduit for machine learning, surveillance capitalism and manipulation. Amidst a variety of interviewees – many of whom are former employees of social media companies – the documentary finishes on a unanimous conclusion: something must change. By using the docudrama as a pertinent example of our “social media (...) malaise,” and while remaining aware of the problems and unethical practices encompassing international digital/social media companies, this paper will argue that we continually refrain from the very question(ing) that would call these companies to account: what does the algorithm desire? In approaching this question, this article will draw from Lacan’s ‘hysterical’ position in accordance with Robert Pfaller’s notion of interpassivity. Together, these concepts will be used to provide a psychoanalytic account of how our subjectivization in social media renders an unconscious endorsement that both frames our awareness of the dilemmas encompassing social media, while also positing an inherent limitation that may offer a possible path out of its impeding affects. This subjective ambivalence – delegated yet reluctantly disavowed – offers an opportunity to realign discussions on the lost object of desire (objet a) and its reproduction in social media algorithms. In so doing, the case will be made that an account of interpassivity can help lay bare the hysterical significance underscoring our digital subjectivization. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

This book proposes a philosophical exploration of the educational role that media plays in university study practices, with a focus on the practices of lecturing and academic writing. Are the media employed in university study practices mere accessories, or rather constitutive of these practices? While this seems to be a purely theoretical question, its practical implications are wide and concern whether such a thing as a ‘digital university’ is possible. The 'digital university' has been, for a long time, a theoretical (...) construct. However, in the aftermath of the Covid-19 pandemic, moving the university into the digital realm has become a necessity. The difficulties in transitioning to an online university during the 2020 pandemic showed the increased urgency of the questions explored in this book. -/- The book describes lecturing and academic writing through the lens of a phenomenology of gestures and arrives at a description of the experience of university thinking as expanding the subject’s range of experiences about the world and about one’s modes of thinking about the world. The media configuration characteristic for university study practices is a movement of rendering inoperative one medium through another medium so that thinking can emerge, a movement called ‘mediatic displacement’. The question of the digital university becomes then a question whether mediatic displacement is possible on a digital screen. Although this is conceivable, digital technologies are still relatively new, and we are not used to playing with them in a profanatory way as the book discusses through the example of videoconferencing and MOOCs. The promise of the digital university seems to remain utopian until we figure out how to enact the techniques of mediatic displacement currently flourishing at the physical university. (shrink)