What is nowhere? Is it a non-place that has been created by the disappearance of distinct identities in the spread of standardised, global capitalism? Or has it come about as a result of colonialisation and the separation of indigenous cultures from their lands, and their replacement with vacuous, colonised, globalised non-places? This article suggests that ‘nowhere’, which was satirically entitled, ‘Erewhon’ by Samuel Butler due to the inverted action of machines, is still being created today, but by the combined forces (...) of financial capitalism, digital colonialisation and the present-day global curriculum, and its concomitant teaching and learning methods. Even though the present day curriculum refers to place, for example, in geographical studies, this referencing in no way establishes a connection with or to this place for the cohort. Rather, the present day curriculum precisely and systematically evacuates any possibility of connective-affective-synthesis (i.e. a cur... (shrink)

Devoted to the late Paul Virilio (1932–2018) and in the advent of debates surrounding the Anthropocene and in light of corresponding changes to conceptions of scale and image, this paper attempts to extrapolate a Virilian pedagogy of the image. It is Virilio’s work which remains timely and singularly fecund in this area and it is for this reason that it may help to shape a new pedagogy of scale and image. This may allow us to better grasp the decentring of (...) human conceptions of time and space as we come to better understand the vastness of cosmological space and time. To demonstrate this, his work is read in tandem with Félix Guattari’s work on ecosophy and Bernard Stiegler’s work on negentropy to show how Virilio’s critique of the diminishment of perspective diverges from their respective approaches to forge an arresting pedagogy of the image vis-à-vis geographical and ecological conceptions of Earthly spatial and temporal scale. The perceived poverty of Earthly perspective is read in the light of a scalar perspectivism which understands the enormity of the universe and humanity’s microscopic place within it. As Virilio is concerned with the changes in scale which manifest with the onset of globalization, the question arises as to how an applied dromology (that is the philosophy of speed) may work alongside both Guattari’s schizoanalytic and ecosophical research and Stiegler's pharmacology of the image in a way that mounts a robust and unique critique of the mental pollution of the image as such. Here the pedagogical implications are significant as the diminishment of world perspective for Virilio – a consequence of the singular global time of capital – devastates our understanding of the cosmos. This understanding of the poverty of scale and perspective is contrasted with a multiscalar approach to the world, which is itself searching for a philosophical and pedagogical response to the reduction of the world to nothing. (shrink)

Postmodern culture is usually defined as an age of mechanical reproduction and mechanical degeneration characterized by the eradication of performative aura. This article argues that a crucial distinction should be made between the `anti-auratic' arguments of mainstream 20th-century cultural theory (discussed here in terms of the writings of Benjamin, Baudrillard and Virilio), and the regenerative auratic tradition in 20th-century avant-garde performance (discussed here in terms of the successive explorations of the multimediated body in the work of the Italian Futurist Marinetti, (...) the French sound poet Henri Chopin and the Australian cybernetic body artist, Stelarc). If Baudrillard's and Virilio's most extreme hypotheses argue that postmodern technology reduces the body to the condition of the handicapped, Marinetti, Chopin and Stelarc all demonstrate how technological modifications of the body reinforce the impact of installation art and performance art exploring (and manifesting) individual identity. Significantly, the most interesting subtexts in Benjamin's, Baudrillard's and Virilio's arguments all qualify their accounts of the alleged `death' of aura, and in Baudrillard's case now emphasize the ways in which photography `rediscovers' aura. (shrink)

If, as Lefebvre argues, every society produces its own social space, then modernity might be characterized by that (anti-)social and instrumental space epitomized and idealized in Le Corbusier's writings. This repetitively patterned space consumes and regulates the differences between places and people; it encapsulates a normalizing morality that seeks to reduce all differences to an economic order of the Same. Lefebvre's dialectical conceptualization of 'difference' can both help explain the operation of this (im)moral landscape and offer the possibility of alternative (...) post-modern social spaces that might produce and respect Otherness. In this sense Lefebvre's work is an incipient 'difference ethics'. (shrink)

Rapid urbanization has meant that cities around the world must deal with problems like traffic congestion, aging infrastructure, affordable housing, and climate change. Increasingly, policymakers are turning to investments in technology and digital infrastructure to address these problems. Yet the move towards so-called smart cities is not simply responsive, and policymakers increasingly advocate for smart city initiatives as a necessary step towards objective, efficient, and rational governance. This understanding of technological interventions as inherently progressive, however, causes many to overlook the (...) erasures, biases, and limitations that emerge from trying to leave the past behind. As the problems associated with this enthusiasm become more apparent, the smart city movement must therefore recalibrate its relationship to not just technology but time itself. Building on deconstructive temporalities emerging out of quantum physics, I argue that cities must begin drawing from alternative temporalities more open to the intersections between past, present, and future. As such, I suggest that the time has come to replace the ideal of the smart city with that of the spectral city – an incomplete city haunted by the ghosts of the past. (shrink)

The sky proclaimed Emerson is “the daily bread of the eyes.” Despite the apparent truth of this observation, we often fail to appreciate the complex canopy of air above and around us in considerations of environmental aesthetics and ecological awareness. I examine the sky and aerial phenomena that are bound to, closely allied with, or materially emergent from, this ocean of blue. In the process, I develop a perspective for thinking about some of the aesthetic characteristics and dimensions of this (...) realm. I show that understanding and appreciating the sky must attend to features related to ephemerality, protean colors, the lack of aclear and definite frame, and other non-anthropogenic qualities. I pay particular attention to explorations of horizontally-mobile clouds and, for the sake of contrast, vertically-originating snow by painters, poets, and philosophers who are able to express imaginative components of these phenomena and to reveal or vivify aspects that complement or complete the more realistic descriptions provided by natural scientists. The always-accessible and ever-fluctuating beauty of the sky offers the potential for deepening our daily experiences of and encounters with the elemental world in which we are sensually immersed and physicallyembedded. It also helps to offer an indirect rationale for respecting and protecting this vital other-than-human sphere. (shrink)

. ‘Moving at the speed of life?’ A cultural kinematics of telematic times and corporate values. Cultural Values: Vol. 2, No. 2-3, pp. 320-339.

Not man as the king of creation, but rather as the being who is in intimate contact with the profound life of all forms or all types of beings, who is responsible for even the stars and animal life, and who ceaselessly plugs an organ-machine into an energy-machine, a tree into his body, a breast into his mouth, the sun into his asshole: the eternal custodian of the machines of the universe. Deleuze and Guattari, Anti-Oedipus 4.

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

I have used practice as method to investigate the creative potential of portable projectors, and theoretical approaches to reflect on: 1. the perception of the environment and its textures, 2. the sense of place-making and being while in motion, 3. the portability and collective mediation of the environment, and 4. the collaborative process of participation. These four themes emerged from the four video walks I developed during the research: The Surface Inside (2011), I-Walk (2012), Walk-itch (2013), and (wh)ere land (2014). (...) To delve into the philosophical nuances and practical outcomes, I have paired the four video walks with the four themes. This research approach resembles the design process, where practice develops in the action of reflection (Sch¨on,1983). The thesis and portfolio are the result of an iterative practice-reflection process which is based on the thread metaphor. The experience of being and walking in the environment is proprioceptive (J. J. Gibson, 1986) and can only be partially conveyed through audiovisual records. People experience the complex texture of the environment in motion (i.e. accretion of surfaces). While moving, they thread their own paths into the environment (Ingold, 2007) and establish links with the environment, technology and others. As they move, people experience the texturality of the surfaces they encounter. Video records captured with visual apparatuses (Flusser, 2000) are a fraction of the points of observation a person may have adopted while walking in and experiencing the environment. These records are likely to be created with PEDs, shared in digital environments and accessed on digital screens. When these records are experienced on digital screens, the texture of the environment is reduced to a flat surface. PEDs, with their digital screens, are carried around everyday and enable people to communicate with others, to collect and share audiovisual material, and to experience hybrid environments where tangible and digital realms converge (Coyne, 2010). Audiovisuals can be accessed anywhere and are no longer dependent on the architectures that hosted them in the past. Yet, PEDs may also isolate people from their immediate surroundings and favour introspective engagement with audiovisual content, digital others and digital environments (Turkle, 2011). The size of PEDs limits the number of people that can engage with the content at only one time. Pocketsize devices tend to be used individually, and their audiovisual content played through digital screens and headphones which foster cocoon-like engagement. Through the four video walks, I investigate how portable projectors may be used to challenge this inward looking mode of experiencing audiovisuals on flat digital screens, and to devise participatory events where people thread their paths in the environment, and project and engage with audiovisuals together. In the video walks, I invite people to move with projections and explore mediated public environments. Instead of sitting in front of fixed projections or looking at digital screens, people experience and share visuals while walking and projecting them in the environment. Portable projectors are starting to be embedded in mobile phones and other portable electronic devices (PEDs), and this presents new challenges and opportunities to creative practitioners. Thus, I study the affordances of portable projectors and develop artworks where participants walk, project visuals and explore textures in the environment collectively. (shrink)

The mobile phone has become part of our everyday lives with astonishing speed. Over four billion people now have access to mobile phones, and this number keeps increasing. Mobile media technologies shape how we communicate with each other, and relate to the world. This raises questions about their influence on identity. Medium-specific properties and user-practices challenge the idea that we understand ourselves through stories. It is proposed that the notion of play sheds new light on how technologies shape identities. The (...) mobile phone mediates identities on four play levels: we play on the mobile, with the mobile, through the mobile, and at the same time we are played by the mobile. Mobile media bring new freedom of movement. Yet at the same time they constrict us. In this dialectic we become moving circles. (shrink)

O fenômeno de aceleração social, intimamente ligado a nossa modernização tecnológica e os sistemas políticos e sociais que adotamos, vem sendo alvo de questionamentos por parte da teoria crítica por diversos filósofos e sociólogos, principalmente em relação a se tal "aceleração" seja algo que, possa ser justificável pelo bem comum da sociedade. De fato, as rápidas mudanças que ocorreram no último século causaram uma tremenda mudança em nossos estilos-de-vida, e na maneira como experienciamos o mundo. Que a nossa sociedade mudou (...) e continua a mudar é um fato evidente quando olhamos criticamente para o passado e presente, e comparamos diferentes épocas da história humana. Neste ensaio tentaremos explorar algumas possíveis hipóteses que fundamentem o comportamento aceleracionista em certos fatores e mecanismo biológicos que caracterizam os sistemas de motivação e saciação humanos. Também tentaremos mostrar como certos fenômenos sociais podem auxiliar em fortalecer este tipo de comportamento, e suas possíveis origens evolutivas. Este estudo tem como objetivo principal fundamentar a Tese Aceleracionista em evidências neurofisiológicas, cognitivo-comportamentais, evolutivas e sociais. Palavras-chave: aceleração; recompensa; saciação; ciências cognitivas; teoria dos gêneros. (shrink)

The paper is devoted to controversies in computer games studies connected with game classification and characteristics. Controversies on walking simulators are discussed in depth; also historical roots of these games and their ergodicity.

What does Cyberpunk and AI Ethics have to do with each other? Cyberpunk is a sub-genre of science fiction that explores the post-human relationships between human experience and technology. One similarity between AI Ethics and Cyberpunk literature is that both seek a dialogue in which the reader may inquire about the future and the ethical and social problems that our technological advance may bring upon society. In recent years, an increasing number of ethical matters involving AI have been pointed and (...) debated, and several ethical principles and guides have been suggested as governance policies for the tech industry. However, would this be the role of AI Ethics? To serve as a soft and ambiguous version of the law? I would like to promote in this article a more Cyberpunk way of doing AI Ethics, whit a more anarchic way of governance. In this study, I will seek to expose some of the deficits of the underlying power structures of our society, and suggest that AI governance be subject to public opinion, so that ‘good AI’ can become ‘good AI for all’. (shrink)

The mobile phone has become part of our everyday lives with astonishing speed. Over four billion people now have access to mobile phones, and this number keeps increasing. Mobile media technologies shape how we communicate with each other, and relate to the world. This raises questions about their influence on identity. Medium-specific properties and user-practices challenge the idea that we understand ourselves through stories. It is proposed that the notion of play sheds new light on how technologies shape identities. The (...) mobile phone mediates identities on four play levels: we play on the mobile, with the mobile, through the mobile, and at the same time we are played by the mobile. Mobile media bring new freedom of movement. Yet at the same time they constrict us. In this dialectic we become moving circles. (shrink)