This article argues against the conflation of digital and computational that ails contemporary critical discourse. Searching for a common logic among the three modes of computing (namely analog, digital, and quantum), it ends up finding an answer in the individuating backbone that runs through histories of postal, civic, and technological addresses. Borrowing the concept of addressability from computer science and adapting it to explain procedures of identificatory mapping at large, the article theorizes addressability as a cultural technique that can be (...) traced back to the origins of the modern disciplinary state. In doing so, it not only posits addressability as one of the core operational logics for all computation and an alternative analytic to the digital but also suggests a longer arc of computation that considers the ubiquitous digitality as a mere subset of modern state apparatuses and their urban infrastructures. The article concludes by reflecting on this computational addressability and its relationship with ideological interpellation, proposing computation as a multiscalar assemblage of political techniken. (shrink)

As researchers we often find ourselves grappling with social media platforms and data ‘at close quarters’. Although social media platforms were created for purposes other than academic research – which are apparent in their architecture and temporalities – they offer opportunities for researchers to repurpose them for the collection, generation and analysis of rich datasets. At the same time, this repurposing raises an evolving range of practical and methodological challenges at the small and large scale. We draw on our experiences (...) and empirical data from two research projects, one using Facebook Community Pages and the other repurposing Facebook Activity Logs. This article reflects critically on the specific challenges we faced using these platform features, on their common roots, and the tactics we adopted in response. De Certeau’s distinction between strategy and tactics provides a useful framework for exploring these struggles as located in the practice of doing social research – which often ends up being tactical. This article argues that we have to collectively discuss, demystify and devise tactics to mitigate the strategies and temporalities deeply embedded in platforms, corresponding as far as possible to the temporalities and the aims of our research. Although combat at close quarters is inevitable in social media research, dialogue between researchers is more than ever needed to tip the scales in our favour. (shrink)

This article addresses the seemingly paradoxical proliferation of coded systems designed to guarantee our safety and crises that endanger us. These two phenomena, it argues, are not opposites but rather complements; crises are not accidental to a culture focused on safety, they are its raison d'être. Mapping out the temporality of networks, it argues that crises are new media's critical difference: its exception and its norm. Although crises promise to disrupt memory – to disturb the usual programmability of our machines (...) by indexing ‘real time’ – they reinforce codes and coded logic: both codes and crises are central to the production of mythical and mystical sovereign subjects who weld together norm with reality, word with action. Codes and states of exception are complementary functions, which render information and ourselves undead. Against this fantasy and against the exhaustion that crisis as norm produces, the article ends by arguing that we need a means to exhaust exhaustion, to recover the undecidable potential of our decisions and our information through a practice of constant care. (shrink)

This article has as its focus a queer object – an otherwise unremarkable ticket for an eighteenth-century assembly or ball in a collection of tickets made by Sir Augustus Wollaston Franks, an influential figure in the development of the British Museum in the Victorian period. I argue that the ticket is a tribute to a larger collection, also in the British Museum, made by Sarah Sophia Banks, in order to make claims for the attention to printed ephemera as a queer (...) science that was foundational in the conceptualization and practice of archives of all kinds. The queer object of Franks’s ticket, in relation to the history of printed ephemera, is used to contextualize and historicize debates about ephemera in contemporary queer theory and cultural studies more generally. (shrink)

This article addresses the seemingly paradoxical proliferation of coded systems designed to guarantee our safety and crises that endanger us. These two phenomena, it argues, are not opposites but rather complements; crises are not accidental to a culture focused on safety, they are its raison d'être. Mapping out the temporality of networks, it argues that crises are new media's critical difference: its exception and its norm. Although crises promise to disrupt memory – to disturb the usual programmability of our machines (...) by indexing ‘real time’ – they reinforce codes and coded logic: both codes and crises are central to the production of mythical and mystical sovereign subjects who weld together norm with reality, word with action. Codes and states of exception are complementary functions, which render information and ourselves undead. Against this fantasy and against the exhaustion that crisis as norm produces, the article ends by arguing that we need a means to exhaust exhaustion, to recover the undecidable potential of our decisions and our information through a practice of constant care. (shrink)

Digital cultural archives and databases are promising an era of heritage democratization and an enhancement of the role of arts in everyday cultures. It is hoped that mass digitization initiatives in many corners of the world can facilitate the secure preservation of human cultural heritage, with easy access and diverse ways for creative reuse. Understanding the dialogic processes within these increasingly vast databases necessitates a dynamic conceptualization of data they contain. The paper argues that this can be found in Juri (...) Lotman’s cultural semiotic notion of text and text’s functions in culture. It elaborates on the three key characteristics of text – expression, boundary, and structure – as manifested within the digital semiosphere. At the same time, the textual dialogues within digital archives are increasingly conditioned by metadata, which is hereby conceptualized as metalanguage inducing a modeling effect on archived texts and defining their possible sphere of dynamics. To balance the explanations of creative operations of digital archives, the paper also demonstrates their auto-communicative mechanisms for facilitating cultural continuities and stability. (shrink)

This article turns towards the spatial life of ‘digital infrastructures’, i.e. code, protocols, standards, and data formats that are hidden from view in everyday applications of computational technologies. It does so by drawing on the version control system Git as a case study, and telling the story of its initial development in order to reconstruct the circumstances and technical considerations surrounding its conception. This account engages with computational infrastructures on their own terms by adopting the figure of the ‘stack’ to (...) frame a technically informed analysis, and exploring its implications for a different kind of geographic inquiry. Drawing on topology as employed by Law and Mol, attention is given to the multiplicity of spatialities and temporalities enrolled in digital infrastructures in general, and Git specifically. Along the lines of the case study and by reading it against other literatures, this notion of topology is expanded to include the material performation of fundamentally arbitrary, more-than-human topologies, as well as their nested articulation, translation and negotiation within digital infrastructures. (shrink)

When the city of Wuhan was severely locked down on January 23, 2020 for 76 days due to the coronavirus outbreak, many residents started writing “lockdown diaries.” This article argues these diaries constitute a kind of performance art for their authors, specifically, an 'art of endurance' as described by Shalson (2018). Keeping a diary requires a plan, but the following through of the plan is a contingent process requiring efforts and endurance. The challenges become particularly daunting for authors of online (...) diaries in pandemic times. The article analyzes multiple types of endurance associated with the Wuhan lockdown diarists, showing that in digitally-driven environments, where potential collective responses are a key context, the lockdown diaries of Wuhan, like works of endurance art, engage with meanings that reach far beyond their original experience and context. Their stories of endurance are an allegory of the endurance of the entire city of Wuhan. (shrink)