Environments are increasingly becoming technologized sites of data production. From smart cities to smart forests, digital networks are analyzing and joining up environmental processes. This commentary focuses on one such understudied smart environment, smart forests, as emerging digital infrastructures that are materializing to manage and mitigate environmental change. How does the digitalization of forests not only change understandings of these environments but also generate different practices and ontologies for addressing environmental change? I first analyze smart forests within the expanding area (...) of smart environments, and then discuss five digital practices that characterize smart forests. Based on this analysis, I suggest that forests are not only becoming highly digital environments but also that forests are transforming into technologies for managing environmental change. Smart forest interventions therefore expand the scope of what could count as a technology, especially in the context of data-oriented planetary governance. (shrink)

Plasticity is a central concept in the philosophy of Catherine Malabou and the theory of animation. And yet, the temporal dimension of transformation and mutability that Malabou foregrounds in her philosophy is missing from recent theoretical accounts of plasticity in animation studies​. ​In these accounts, plasticity appears as a mode of spatial extension, conveying the elasticity of form across a Cartesian timeline, whereas Malabou aims to understand time’s own metamorphosis and self-differentiation. This article invokes Malabou’s theorization of plasticity as the (...) becoming of time itself rather than the becoming of things in time to rethink the perception of life-like movement in animation. Reviewing the techniques of animation that Frank Thomas and Ollie Johnston describes in The Illusion of Life as “drawing in the fourth dimension”, I argue that Malabou’s characterization of plasticity as the capacity “to see (what is) coming” (voir venir) gets to the heart of animation as an art of subjective anticipation. Utilizing the human perceptual system’s tendency to invent new structures and relationships in response to changing inputs from the environment, animation prepares us to anticipate the unforeseeable and to perceive an order of movement typically concealed by the movement of objects in space. (shrink)

For years, attempts at ensuring the social sustainability of digital solutions have focused on ensuring that they are perceived as helpful and easy to use. A smooth and seamless work experience has been the goal to strive for. Based on document analysis and interviews with 15 stakeholders, we trace the setting up of a data infrastructure in Danish General Practice that had achieved just this goal – only to end in a scandal and subsequent loss of public support. The ease (...) of data access made it possible for data to be extracted, exchanged and used by new actors and for new purposes – without those producing the data fully realizing the expansion of the infrastructure. We suggest that the case has wider relevance for a still more data-intensive healthcare sector and a growing data economy: when those who produce the data are not made aware of new uses of data, it makes it more difficult to resolve potential conflicts along the way. In the Danish case, conflicting views on legitimate data use led to the collapse of the infrastructure. Therefore, while seamlessness may be a solution to the old problem of a poor fit between user and technology, this celebrated virtue may also involve new problems relating to social instability. As digital solutions tend to be integrated still more seamlessly in still more of our activities, we need to develop political mechanisms to define and protect the rights and obligations of both data suppliers and users in order to ensure the long-term sustainability of digital infrastructures. (shrink)

This thesis is a contribution to feminist laboratory studies and a critical engagement with the natural sciences, or more precisely research on the biochemical workings and deadly relations of Alzheimer’s disease emanating from a year of field work in a Drosophila fly lab. The natural sciences have been a point of fascination within the field of gender studies for decades. Such sciences produce knowledge on what gets to count as nature and natural, healthy or sick, normal or not, and they (...) have done it with great societal authority and impact throughout European modernity. However, feminist technoscience scholars argue that science and knowledge is socially produced, and political too. Concepts such as nature, animal, human, body, sex, and life itself are not simply given natural realities but phenomena processed through the naturecultures of the laboratory. Situated within such theoretical and methodological approaches, this thesis wonders how scientific facts about Alzheimer’s disease are made in the lab today. What kinds of realities, bodies and ethico-political concerns are enacted? Who gets to live and who gets to die in everyday laboratory practices? Theoretically, the thesis is grounded, particularly, within Karen Barad’s agential realism and posthumanist performativity, and as such it accounts for human and nonhuman entanglements through which AD is performed in the lab in relational ways. In other words, the thesis explores how AD is enacted in the bodies of transgenic fruit flies, as these flies embody the disease, live and die with it. Last but not least, the thesis explores the materialities of death, dying, embodiment and biological waste in a biochemistry lab as constitutive parts of the produced knowledge about AD. (shrink)