Este libro promete ser una contribución para el estudio de la teoría crítica en general y para el análisis de la historia de la Escuela de Frankfurt en particular. Todos los trabajos que están contenidos en este volumen hacen parte del amplio marco teórico de la teoría crítica de la sociedad. Muchos siguen las huellas de los fundadores de esta tendencia, mientras que otros se presentan como críticos de la misma y unos cuantos más tratan de vincular problemas y contextos (...) de relevancia a los conceptos más destacados que se empezaron a construir hace cien años en Frankfurt. Encontramos como buena excusa para su publicación precisamente el año centenario del Instituto de Investigación Social. Además, hemos creído conveniente organizar los materiales en secciones que van desde la historia de la Escuela de Frankfurt hasta la consideración de algunos interrogantes de actualidad motivados por el desarrollo de la teoría crítica. No obstante, con esto no pretendemos establecer límites absolutos de clasificación. Confesamos que nuestra forma de organizar los ensayos responde simplemente a criterios editoriales más que a cuestiones teóricas y conceptuales. Claramente las intersecciones entre los estudios aquí presentados son amplias y hacen que cada una de las propuestas pueda dialogar con las otras en función de sus evidentes parecidos de familia. (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)

Jacques Rancière, in his essay ‘Are Some Things Unrepresentable?’, puts forth a challenge that is ever more pertinent to our times. What constitutes the unrepresentable today? Rancière frames his answer in a very specific way: the question of unrepresentability leads directly to the way in which political violence may or may not be put into an image. Offering an alternative to Rancière’s approach, the present article turns instead to the information society, asking if and how something might be unrepresentable in (...) a world saturated by data and information. Thus one approaches the issue of transparency and secrecy here from the perspective of the relative perspicuity (or opacity) of data visualization. Two theses structure the argument, first that ‘data have no necessary visual form’ and, second, that ‘only one visualization has ever been made of an information network’. The tension between these two theses leads to a disconcerting conclusion, that the triumph of information aesthetics precipitates a decline in informatic perspicuity. One is obligated therefore to call for a strong reinvigoration of poetics and hermeneutics within the digital universe, so that representation as such can take place, perhaps for the first time. (shrink)

Unlike the bulk of electronic media the computer game or video game is a distinctly gendered medium. All investigations confirm that we are dealing with a medium which almost exclusively appeals to and is used by, boys and young men. Therefore, the video games and computer games are very suited for investigating the form of entertainment, the pleasure, that appeals to men, i.e. the specific ‘masculine pleasure’.The paper deals with questions such as: What do computer games mean? What does violence (...) in computer games signify? Why do computer games, especially the violent ones, mean something special to a certain group of men? These questions are discussed from the perspective of semiotics, media and control studies.Finally, the paper discusses the connections between women and the male dominated video games, and attempts to explain why, nevertheless, some girls and women do play these games. (shrink)

I suggest that the representation of cities in Indian cinema — the effects and affects of modernities as well as of ambiguous, multiplicitous sexualities — mark significant change in engagement with modernity ever since independence in 1947. The city in the Indian imaginary has occupied an ambivalent, confrontational as well as contemplative space that signifies ‘modernity’ and its concurrent promise as well as ills. Non-normative sexualities have always occupied a liminal space in socio-political configurations, a site both of empowerment through (...) transgression and containment through regulation. The urban space — newly freed up and as yet un-proscribed — assumes the metonymic equivalence of available sexual freedom (particularly for women), its powers and its dangers. The cinema as a text is especially well-suited to play with the dynamics of this fraught space: often, a film’s contexts and narratives identify the film text itself as a signifier of the liminal spaces that it proposes to explore, enacting both their limitations and their possibilities. (shrink)

This thesis examines how designs based on a conjunction between craft and digital techniques may offer new possibilities for an architect or designer in contemporary practice. How is it relevant that what initially appear to be two distinct approaches to designing and making can be introduced to each other and coalesce to form a constructive attitude of mutually borrowed logic? The thesis champions the crafting of innovative design and the incorporation of digitally derived procedures that allow for globally efficient dissemination (...) and malleability. Such procedures have occupied the practice of architecture and design for some time, giving rise to the current sobriquet of a 'post-digital age'. I propose that at this point in time we can usefully speculate on the relationship between physical making and computer-based production. Too often the stylistic overtures popularly attached to the terms 'digital' and 'craft' narrow our perception of what each term may encompass and how they are likely to manifest. Traditionally, digitally derived design practice is attributed the efficiency of a mathematically precise mode of operation - an oscillation between zeroes and ones that produces a universal logic of smoothly rendered forms. By contrast, 'craft' is often cast into the realm of amateurish making, complete with mistakes, dropped stitches, fingerprints or other traces of human fault that are understood as being charming in the context of handmade human endeavour yet fall short when measured against 'serious' artistic categories that include architecture, design and fine art. This thesis seeks to move beyond such accepted and somewhat polarised positions. First, the thesis offers clearer and more dynamic definitions of the terms 'craft' and 'digital', seeking the ability for each to hold fast to the inherent merits of their particular logic while also finding productive opportunities to integrate with each other. Second, the thesis examines how crafted production can combine with digital tools to offer a useful direction for contemporary design practice. Case studies of contemporary architects' and designers' works are drawn on to illustrate and make observations on the different relationships that the selected practitioners have discovered in their projects, all of which conjoin the conception and manifestation of digital craft. The case studies vary in scale from fabric and furniture production to large-scale installations of significant spatial effect, to entire architectural projects. The range is useful in discussing how the concept of digital craft in architecture can be re ad from various perspectives. This reflects the numerous ways in which digitally created design is used to realise crafted results and is mindful of the fact that architectural processes often follow technological innovation first practiced at more intimate scales such as in industrial design. It is also interesting to compare the idea of the more intimately scaled relationship that craft has traditionally held with architectural practice. Finally, the thesis will speculate upon future developments for the conjunction of digital craft in architecture and design, and will pose several questions for further discussion. (shrink)