How do the organization and presentation of large-scale social media images recondition the process by which visual knowledge, value, and meaning are made in contemporary conditions? Analyzing fundamental elements in the changing syntax of existing visual software ontology—the ways current social media platforms and aggregators organize and categorize social media images—this article relates how visual materials created within social media platforms manifest distinct modes of knowledge production and acquisition. First, I analyze the structure of social media images within data streams (...) as opposed to previous information organization in a structured database. While the database has no pre-defined notions of time and thus challenges traditional linear forms, the data stream re-emphasizes the linearity of a particular data sequence and activates a set of new relations to contemporary temporalities. Next, I show how these visual arrangements and temporal principles are manifested and discussed in three artworks: “Untitled” by Felix Gonzalez-Torres, The Clock by Christian Marclay, and Last Clock by Jussi Ängeslevä and Ross Cooper. By emphasizing the technical and poetic ways in which social media situate the present as a “thick” historical unit that embodies multiple and synchronous temporalities, this article illuminates some of the conditions, challenges, and tensions between former visual structures and current ones, and unfolds the cultural significations of contemporary big visual data. (shrink)

This paper examines the politics behind algorithmic ordering in social media, focusing on the advertising logic behind them. This is explored through a practice I call rhythmedia – the way media companies render people, objects and their relations as rhythms and order them for economic purposes. As a case study I examine the way the Facebook Immune System algorithm orchestrates people’s mediated experience towards a desired rhythm while filtering out problematic rhythms. This anti-spam algorithm shows that it is important for (...) Facebook to understand people as rhythms and assemble a dynamic database from their mediated experiences, to convince advertisers that they know when and where people do things. People’s rhythms become a product that advertisers pay and bid for through Ad Auction to intervene in specific moments and shape people’s experience. Thus, the company can shape, manage, and filter specific rhythms to order sociality that brings more value. (shrink)

This study explores Big Data practices at Facebook through an investigation of the role of commensuration or ‘the transformation of different qualities into a common metric’ in the structuration of analysis and interaction with a major online social media platform. It proposes a conceptual framework and demonstrates the empirical potential of a pragmatic approach based on reading published materials and available documentation. Facebook’s Data Warehousing and Analytics Infrastructure serves as an illustrative example to begin tracing out and describe data assemblages (...) in more detail. In being attentive to the motivations, drivers and challenges engineers face when dealing with Big Data, it is argued that their solutions can enable and support but also constrain specific analytical and transactional capabilities or data flows between various devices and actors. The analysis thus moves beyond methodological critiques of the utility of Big Data that lack empirical support and specificity. It is further argued that analytics not just describe but also actively participate in the enactment of social worlds, thereby opening possibilities for new markets or market segments to arise. Online sociality accounts for a model of the social that makes it visible and measurable qua markets inviting data recontextualisation and the creation of value along multiple axes. Contra Facebook’s claim to make the web more ‘social’, an investigation of commensuration brings to the fore the question how the social is accounted for in the first place. (shrink)

This article makes a contribution to interface criticism through the notion of chrono-design: the deliberate shaping of experiences of temporality and time through contemporary software techniques and digital technologies. This notion is articulated through discussions of network optimisation, user experience design, behavioural tracking, Hansen’s work on 21st-century media and Hayles’ framework of cognitive assemblages. In particular, the argument considers how contemporary user interfaces complicate conventional notions of the rational, self-reflexive subject by operating beyond consciousness at vast environmental dimensions and accelerated (...) micro-temporal speeds. These conditions, we argue, provide opportunities for new forms of behavioural suspense and captivation best exemplified through the figure of the trap. The politics and aesthetics of captivation, accordingly, should be considered as central to any expanded ecology of cognition. The article then concludes with a short demonstration of experimental uses of chrono-design methods applied critically to political economies of user tracking and data capture as a prompt for further interdisciplinary applied research in this domain. (shrink)

This paper explores the deep historical contexts for imagining natural disasters. By focusing on a foundational event in the Western disaster imaginary – the eruption of Vesuvius in AD 79 – and its remediation across centuries, the paper suggests that the real-time aesthetic of the mediation of extreme nature events that now abounds in contemporary culture is profoundly embedded in processes of historical intermediality. The term remediation is used to denote a genuinely historical mechanism by which past and present (process (...) and event) are simultaneously made visible. Empirically, the paper investigates the superimposition of temporal dimensions in recreations of the ancient disaster from the late 18th century to the present. Using the insights gained from this spectacular case study, the paper ends by arguing that a re-temporalization of historical analysis itself is needed for history to contribute to contemporary concerns with the present as a conjuncture of multiple and conflicting time scales. (shrink)