Digital organizations form part of the new wave of blockchain technologies, following Bitcoin and related cryptocurrencies. “Utopia ofion” offers an analysis of the utopian promise of digital organizations through a reading of one such project, Colony. We provide a critique of the ideology of Colony's white paper, supplemented by readings of pages from its website, as a member of a genre of texts that promote their products through seemingly neutral, technical descriptions. Colony's texts suggest an abstract, contextless and scaleless organizational (...) solution—powered by smart contracts on a blockchain—that, according to its proponents, might be applied to any social situation, from small firm to state-level governance. For its users, this organization combines a promise of sovereignty removed from that of the state, as well as implied financial returns. Our reading of Colony echoes the critiques of scholars arguing that cyberlibertarianism is a dominant politic of blockchain technologies. Furthermore, drawing on critiques of code as law and the elision of the social in smart contracts, we argue that Colony's vision presents a model of technical organization that substitutes for the state in the context of waning popular sovereignty. We ultimately suggest an understanding of digital organizations reminiscent of the settler colonial situation: the assumption of an empty social space to be filled, and the promise of sovereignty and riches for those occupying it. Analysis of these logics is relevant as hype increases around non-fungible tokens, Web3, and the corporate metaverse as well as data practices more widely. (shrink)

This text focuses on how to think the visual culture of disappearance – more closely, disappearance of animals. It takes as its starting point the Ernst Jünger novel The Glass Bees from 1957 in order to start an excavation into obsolescence, animals and the ecological crisis. The aesthetic themes of visibility/invisibility are entangled with the ecological questions of disappearance and pollution. This sort of media ecological question is unravelled, furthermore, with examples concerning the mass extinction of bees, also discussed in (...) Lenore Malen's video installation The Animal That I Am (2009–10). In this way, it argues for a media theoretical understanding of the visual culture of ecocrisis as well as the complex question of epistemology of such a visibility/invisibility. (shrink)

Recent technological and methodological changes in farming have led to an emerging set of claims about the role of digital technology in food production. Known as precision agriculture, the integration of digital management and surveillance technologies in farming is normatively presented as a revolutionary transformation. Proponents contend that machine learning, Big Data, and automation will create more accurate, efficient, transparent, and environmentally friendly food production, staving off both food insecurity and ecological ruin. This article contributes a critique of these rhetorical (...) and discursive claims to a growing body of critical literature on precision agriculture. It argues precision agriculture is less a revolution than an evolution, an effort to shore up and intensify the conventional farming system responsible for generating many of the social and environmental problems precision agriculture is presented as solving. While precision agriculture advocates portray it as a radical, even democratic epistemological break with the past, this paper locates truth claims surrounding datafication and algorithmic control in farming within deeper historical contexts of the capitalist rationalization of production and efforts to quantify and automate physical and mental labor. Abjuring the growing cultural tendency to treat algorithmic systems as revolutionary in favor of social and historical dimensions of precision agriculture, can help re-frame the discussion about its design and use around real, socially and ecologically oriented change in farming, and so ensure that the possibilities and benefits of precision agriculture are as evenly and effectively shared as possible. (shrink)

The connections between forms of code and coding and the many crises that currently afflict the contemporary world run deep. Code and crisis in our time mutually define, and seemingly prolong, each other in ‘infinite branching graphs’ of decision problems. There is a growing academic literature that investigates digital code and software from a wide range of perspectives –power, subjectivity, governmentality, urban life, surveillance and control, biopolitics or neoliberal capitalism. The various strands in this literature are reflected in the papers (...) that comprise this special issue. They address topics ranging from social networks, mass media, financial markets and academic plagiarism to highway engineering in relation to the dynamics and diversity of crises. Against this backdrop, the purpose of this essay is to highlight and explore some of the underlying themes connecting codes and codings and the production and apprehension of ‘crisis’. We analyse how the ever-increasing intermediation of contemporary life by codes of various kinds has been closely shadowed by a proliferation of crises. We discuss three related aspects of the coupling of code and crisis (signification, performativity and excess) running across these seemingly diverse topics. We and the other contributors in this special issue seek to go beyond the restricted (and often restricting) understanding of code as the language of machines. Rather, we view code qua programs and algorithms as epitomizing a much broader phenomenon. The codes that we live, and that we live by, also tell us about the ways in which the ‘will to power’ and the 'will to knowledge' tend to be enacted in the contemporary world. (shrink)

Ever since Big Data became a mot du jour across social fields, optical metaphors such as the microscope began to surface in popular discourse to describe and qualify its epistemological impact. While the persistence of optics seems to be at odds with the datafication of vision, this article suggests that the optical metaphor offers an opportunity to reflect about the material consequences of the modes of seeing and knowing that currently shape datafied worlds. Drawing on feminist new materialism, the article (...) investigates the optical metaphor as a material-discursive practice that actively constitutes the world, as metaphors imply modes of thinking, knowing and doing that have material enactions. Expanding visual culture theories, the notion of ‘optical unconscious’ is taken up to discuss the tensions between displacement and persistence of optics within datafied worlds, that is, how optical vision is displaced but also mobilised and repurposed by data-driven knowledge. In dialogue with feminist science and technology studies and speculative ethics, I suggest that the datafication of vision offers a chance to reconceptualize the sense of sight towards a sensorial engagement with Big Data premised on responsibility, care, and an ethics of unknowability. Within this framework, vision may be conceived differently, perhaps not only as enhancement and control, but as generator of new possibilities. Ultimately, the article proposes that the visual theories after which Big Data is being imagined matter not only for our understanding of Big Data's epistemic potential, but also for the possibility of shaping emerging data worlds. (shrink)