In the present age AI emerges as both a medium to andmessage about the future, eclipsing all other possible prospects.Discussing how AI succeeds in presenting itself as an arrival on the humanhorizon at the end times, this theoretical essay scrutinizes the ‘inevitability’ ofAI-driven abstract futures and probes how such imaginaries become livingmyths, by attending how the technology is embedded in broaderappropriations of the future tense. Reclaiming anticipation existentially, bydrawing and expanding on the philosophy of Karl Jaspers–and his conceptof thelimitsituation–I offer (...) an invitation beyond the prospects and limits of‘the new AI Era’ of predictive modelling, exploitation and dataism. I submitthat the present moment of technological transformation and of escalatingmulti-faceted and interrelated global crises, is adigital limit situationin whichthere are entrenched existential and politico-ethical stakes of anticipatorymedia. Attending to them as a‘future present’,taking responsible action, constitutes our utmost capability and task. Theessay concludes thatprecisely here lies the assignment ahead for pursuing apost-disciplinary, integrative and generative form of Humanities and SocialSciences as a method of hope, that engages AI designers in the pursuit of aninclusive and open future of existential and ecological sustainability. (shrink)

This article explores how the shift from print to electronic calendars materializes and exacerbates a distinctively quantitative, “spreadsheet” orientation to time. Drawing on interviews with engineers, I argue that calendaring systems are emblematic of a larger design rationale in Silicon Valley to mechanize human thought and action in order to make them more efficient and reliable. The belief that technology can be profitably employed to control and manage time has a long history and continues to animate contemporary sociotechnical imaginaries of (...) what automation will deliver. In the current moment we live in the age of the algorithm and machine learning, so it is no wonder, then, that the contemporary design of digital calendars is driven by a vision of intelligent time management. As I go on to show in the second part of the article, this vision is increasingly realized in the form of intelligent digital assistants whose tracking capacities and behavioral algorithms aim to solve life’s existential problem—how best to organize the time of our lives. This article contributes to STS scholarship on the role of technological artifacts in generating new temporalities that shape people’s perception of time, how they act in the world, and how they understand themselves. (shrink)

A recent report from the UN makes the case for “global data literacy” in order to realise the opportunities afforded by the “data revolution”. Here and in many other contexts, data literacy is characterised in terms of a combination of numerical, statistical and technical capacities. In this article, we argue for an expansion of the concept to include not just competencies in reading and working with datasets but also the ability to account for, intervene around and participate in the wider (...) socio-technical infrastructures through which data is created, stored and analysed – which we call “data infrastructure literacy”. We illustrate this notion with examples of “inventive data practice” from previous and ongoing research on open data, online platforms, data journalism and data activism. Drawing on these perspectives, we argue that data literacy initiatives might cultivate sensibilities not only for data science but also for data sociology, data politics as well as wider public engagement with digital data infrastructures. The proposed notion of data infrastructure literacy is intended to make space for collective inquiry, experimentation, imagination and intervention around data in educational programmes and beyond, including how data infrastructures can be challenged, contested, reshaped and repurposed to align with interests and publics other than those originally intended. (shrink)

The temporality of historical flows can be understood through the paradigm of oceanic circulations of water. Historical processes are not linear and tunneled but circulatory and global, like oceanic currents. The argument of distributed agency deriving from the ‘ontological turn’ dovetails with the oceanic paradigm of circulatory histories. The latter allows us to grasp modes of both natural and historical inter-temporal communication through the medium of the natural and built environment. Yet the inclination in these new studies to deny any (...) particular privilege to human will or design risks neglecting the changing role of human agency. Analytically I distinguish historiographical time from historical time. Historiographical time may be seen as the purposive capture of historical processes for various goals whereas historical time is more continuous with natural flows. More than origins and causes, the paradigm emphasizes the ramifying con-sequences of purposive actions. The gap in our understanding of the two temporalities has had a devastating impact on the planet. (shrink)

This study aims to establish ideological effects of the pre-pandemic metaphor use in the mainstream media on users’ perceptions of their relationship with technologies during the COVID-19 pandemic. To achieve that, 120 media articles from global mainstream media sources during the pre-pandemic period were collected and analysed at three levels: (1) metaphor identification; (2) deconstruction of conceptual source domains; (3) the coding of metaphorical expressions into psychological types of interpersonal relationships that are projected on technologies. The established metaphorical patterns were (...) tested in an online survey with 100 young adults and adults from Lithuania during the COVID-19 pandemic period of 2019-2020. The research findings resulted in the ideological perceptions of Reversed Agentivity and Mechanised Action characterising our relationship with technology and pointing out to the loss of individual autonomy, a lack of personal growth and more fragmented personal identity during the pandemic. (shrink)

How did the 3.5-inch Winchester hard disk drive become the fundamental building block of the modern data center? In attempting to answer this question, I theorize the concept of "data peripheries" to attend to the awkward, uneven, and unintended outsides of data infrastructures. I explore the concept of data peripheries by first situating Big Data in one of its many unintended outsides—an unassuming dog kennel in Indiana housed in a former permanent magnet manufacturing plant. From the perspective of this dog (...) kennel, I then build a history of the 3.5-inch Winchester hard disk drive, and weave this hard drive history through the industrial histories of rare earth mining and permanent magnet manufacturing, focusing principally on Magnequench, a former General Motors subsidiary, and its sale and movement of operations from Indiana to China in the mid-1990s and early 2000s. I then discuss how mobilities of rare earths, both as materials and political discourse, shape Big Data futures, and conclude by speculating on how using the situated lenses of data peripheries can open up new methods for studying the material entanglements of Big Data writ large. (shrink)

While art and science still functioned side-by-side during the Renaissance, their methods and perspectives diverged during the nineteenth century, creating a still enduring separation between the "two cultures". Recently, artists and scientists again collaborate more frequently, as promoted most radically by the ArtScience movement. This approach aims at a true synthesis between the intuitive, imaginative methods of art and the rational, rule-governed methods of science. To prepare the grounds for a theoretical synthesis, this paper surveys the fundamental commonalities and differences (...) between science and art. Science and art are united in their creative investigation, where coherence, pattern or meaning play a vital role in the development of concepts, while relying on concrete representations to experiment with the resulting insights. On the other hand, according to the standard conception, science seeks an understanding that is universal, objective and unambiguous, while art focuses on unique, subjective and open-ended experiences. Both offer prospect and coherence, mystery and complexity, albeit with science preferring the former and art, the latter. The paper concludes with some examples of artscience works that combine all these aspects. (shrink)

The aim of this article is to demonstrate that data modelling is becoming a crucial, if not dominant, vector for our understanding of animal populations and is consequential for how we study the affective relations between individual bodies and the communities to which they belong. It takes up the relationship between animal, body and data, following the datafication of starling murmurations, to explore the topological relationships between nature, culture and science. The case study thus embodies a data journey, invoking the (...) tactics claimed by social or natural scientists, who generated recent discoveries in starling murmurations, including their topological expansions and contractions. The article concludes with thoughts and suggestions for further research on animal/data entanglement, and threads the concept of databodiment throughout, as a necessary dynamic for the formation and maintenance of communities. (shrink)

This article analyses international large-scale assessments in education from a temporal perspective. The article discusses and compares the different conceptions of time in the early inter...

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)

This critical response to Dominic Smith’s ‘Taking Exception: Philosophy of Technology as a Multidimensional Problem Space’ begins by outlining the key contributions of his essay, namely his insightful approach to the transcendental, on the one hand, and his introduction of the topological problem space as an image for thought, on the other. The response then suggests ways of furthering this approach by addressing potential reservations about determinism. The response concludes by suggesting a way out of these questions of determinism by (...) thinking the transcendental in concert with the agonistic. (shrink)

This paper discusses prominent examples of what we call “algorithmic anxiety” in artworks engaging with algorithms. In particular, we consider the ways in which artists such as Zach Blas, Adam Harvey and Sterling Crispin design artworks to consider and critique the algorithmic normativities that materialize in facial recognition technologies. Many of the artworks we consider center on the face, and use either camouflage technology or forms of masking to counter the surveillance effects of recognition technologies. Analyzing their works, we argue (...) they on the one hand reiterate and reify a modernist conception of the self when they conjure and imagination of Big Brother surveillance. Yet on the other hand, their emphasis on masks and on camouflage also moves beyond such more conventional critiques of algorithmic normativities, and invites reflection on ways of relating to technology beyond the affirmation of the liberal, privacy-obsessed self. In this way, and in particular by foregrounding the relational modalities of the mask and of camouflage, we argue academic observers of algorithmic recognition technologies can find inspiration in artistic algorithmic imaginaries. (shrink)