This article reevaluates the historical conditions of the concomitant rise of computational systems and DNA-coding in the 1950s and addresses the implementation of behavioral psychology and cybernetic technologies of control after the Second World War. From this historical perspective, this article interrogates the intersectional relation that automatic systems of control share with models of segregation and structures of knowledge oppression. It engages with the work of French philosopher Gilbert Simondon and poses Simondon’s cybernetic theory as an opportunity to question systems (...) of knowledge imposed on ontological domains. Finally, it reveals how cybernetics reproduces a model of cultural understanding based on exclusion/inclusion and addresses the difficulty of creating new critical paradigms from within the informational technologies of neo-colonial episteme. -/- Too often, technologies of scientific knowledge such as machine learning and informational networks are used as alibi for the imple- mentation of neo-colonial values that dictate the epistemological trajectory of societies. Scientific projects that, for example, promote the testing of pharmaceuticals on individuals in third world countries privilege beings based on categorical understandings of race, class, gender, and ability. Such projects not only legitimize structural hierarchies among subjects, as seen in the use of cephalometric technologies in imperial systems of exploration; they also sustain the cultural framework of values that segregate collective beings on a global scale. (shrink)

Responding to the power of algorithms to operate within our daily lives, this article proposes to think of our contemporary moment as that of a society of preemption. Preemption defines the action of taking away something before an opportunity emerges or is actualized. By coupling anticipatory algorithms and preemptive technologies—like the premeditation of future events prior to their occurrence, as exemplified in popular culture by Minority Report (Massumi, Hansen)—state apparatuses force upon their subjects a modality of control that forestalls behaviors (...) according to a massive system of data-mining and digital profiling. In this society of preemption, data are not simply voluntary exteriorized onto technical supplements (Stiegler); they are extracted from individuals by devices that preempt events and program behavior. Such a society calls for a noopolitics of the milieu, a politics that focuses on the relation between psychic and collective individuals. Whereas noopolitics has mainly been understood as a pejorative term for the hegemonic operations of power on knowledge production (Lazzarato, Terranova, Hauptmann), this article proposes a more nuanced definition of noopolitics, reconceptualized from a power that controls to a power that operates on people’s memory, behaviors, and desire. Such a noopolitics takes place in a milieu (Canguilhem, Simondon) whose relational ontology and technicity now crucially address today’s society of preemption. (shrink)

This article draws on Bernard Stiegler and Gilbert Simondon’s work to further interrogate the psychic, social, and political problems raised by the development of Artificial Intelligence. Stiegler’s political philosophy of time-consciousness reveals three concomitants urgencies: human memory is conditioned by industrial supplements that are increasingly disruptive, capitalism has produced an entropic condition where life on earth is threaten by toxic systems, the deployment of technologies of spirits has striped individuals of their psychic and collective individuation. I read media theory along (...) with Simondon’s philosophy to elucidate the question of mediation in today’s reticulated AI-driven society. (shrink)

L’espace-vide est définit par Einstein comme substantiel et de densité d’énergie non nulle. Dans les premiers instants de l’univers, c’est cette substance espace-vide qui est apparue conjointement avec la grandeur temps, qui de ce fait doit présenter un lien de nature avec elle. Quel qu’est pu être le processus ayant conduit à la matérialisation des particules élémentaires, celles-ci ont été extraites de cette substance vide et procèdent donc d’une même nature. Ainsi la structure interne d’une particule composée de matière et (...) d’une charge électrique doit présenter une organisation prenant en compte cette origine unique. Il apparait ainsi logique de penser, en s’appuyant sur les travaux de Kaluza, que les charges électriques et la matière sont une seule et unique grandeur mais animée de dynamiques différentes dans des espaces différents à trois ou quatre dimensions spatiales. (shrink)

To Stiegler’s notion of pansable (curable), one might also need to add that penser (to think) relates to the Latin penso, the frequentative of pendo, to hang, suspend. The pansable (that which can be healed) is as much the pensable (that which can be thought) and the suspensible (that which can be hung). Stiegler’s final act revealed that which was always already there: an unhealed pharmacological shadow that preceded him. While he entered philosophy with the argument of technics as the (...) impensé (unthought) of continental philosophy, he concluded in a final acting out, an impansable (uncurable) that ended his life. He, who believed that life is about cultivating rêveries and protentions capable of promise. Protention means both a capacity to invent and an ability to project oneself into the future through the practice of imagination and desire. He, who pondered about the retentions we have and the various forms of memory they take, and how to make them become the true modes of being-in-the-world. I know now that his fatal transgression is as much an accident as a departure, an emotional ceasefire and a bifurcative ending. Somehow, he found a way to remain faithful to the originary beginning of his thinking in act. (shrink)

This book stands as a critique of racial capitalism and heteropatriarchy. Vergès, a Réunion-born independent scholar, defends a decolonial feminist approach to fight against the coloniality of power and advocates for a maroon political disobedience grounded in the possibility of futurity (38). Her book, soon to be translated in English, calls for a depatriarchalizing of revolutionary struggles (19) and questions the privilège de la blanchité (49) in the making of a civilizational feminism that continues to dismiss the experiences of racialized (...) bodies today. Astonished by France's constant dismissal of slavery and colonialism in the contemporary understanding of its society, she poses that such avoidance is grounded in France's "passion pour les principes abstraits plutôt que pour l'étude des réalités" (52). While the first part of the book opens with the racialized figure of travailleuses domestiques, leading Vergès to critique the constant overlooking of indigenous struggle in imperial feminism, the second half of the book calls into question the fundamentalism of laïcité that subsequently develops against the background of a certain Orientalism centered around the white liberal elite. She highlights how "[l]es femmes racisées sont acceptées dans les rangs des féministes civilisationnelles à la condition qu'elles adhèrent à l'interprétation occidentale du droit des femmes" (79). (shrink)

This issue is devoted to a nootechnics of the digital, which defines the importance given to both life and thought in the technogenesis of objects (both artefac- tual and technical). If the ontogenesis once resided in the relation between form and matter, we are now moving toward the question of a nootechno- genesis that resides in the relation between noos and techné. Nootechnogene- sis does not separate the emergence of technics and life. Instead, it offers a mode for thinking about (...) the genesis of both noos (intuition, intelligence, flair, intention) and techné (technique, craft, art) as the condition and the conse- quence of our cultural condition, of our ability to mediate and negotiate dif- ferent realms of reality. Nootechnics refers to the psycho-cultural practices of care and empowerment. It supposes the wiring of a transductive unity between beings and technical objects. This transductive unity is what allows noos and techné to operate in a relational mediation toward one another and to restructure the dynamic relations between elements within a system. For that matter, nootechnics refers to care and empowerment as structural oper- ations; they promote a relational ontology of mediation needed to implement changes. (shrink)

Video-objects are often discussed in terms of their ability to reflect upon the speed of our narcissistic culture, but less acknowledged is video’s agency to perform electronic events outside of human experience. This article engages in scholarship interested in the space of video operations where lived and imagined, real and virtual phenomena are experienced at the threshold of perception. Bringing into this conversation a discussion of The Waves (2003), an interactive installation by video pioneer and media critic Thierry Kuntzel, the (...) article moves away from the time/movement nexus grounded in a filmic understanding of the image to position video-memory as the emergence of a volume of time. Different from the time-image and movement-image of cinema, the volume-image of video defines a mode of engaging with multiple temporalities within the continuum of the video itself. Constituted progressively through layers of ever-changing signal processes, the volume-image of video technology is an open field, a transductive zone where multiple intensities create new representational rhythms, which disrupt the durational model of time so often attached to human experience. (shrink)

La réalité ne suffit plus, il faut l’augmenter ! Tel un slogan qui sonnerait le glas de l’ennui, cette phrase s’inscrit au cœur du spectacle de la plasticienne américaine Claudia Hart, figure centrale des nouvelles expérimentations entre scène interactive, computer-art et performance aux États-Unis. Dans The Alices (Walking), un spectacle créé en collaboration avec le compositeur Edmond Campion et présenté pour la première fois en 2014 au Eyebeam Center for Art + Technology de New York, il s’agit de questionner les (...) mutations du visuel et de l’écrit dans un monde de plus en plus perçu à travers le filtre des technologies digitales. Dans ce spectacle aux allures de défilé de mode, ces mutations prennent la forme de costumes « site internet » (website dresses). Cinq acteurs défilent sur le plateau et circulent entre porte-manteaux vides et chaises momentanément occupées par des spectateurs invités à venir décrypter les codes incrustés dans la matière plastique des costumes. Les spectateurs se connectent à une application via leur téléphone ou tablette et scannent les costumes lorsque les acteurs défilent devant eux. Ces costumes sont de formes sculpturales diverses, à géométrie et couleurs variables, dans lesquelles des codes informatiques ont été incrustés. Ces codes détiennent du contenu visuel (textes et images en mouvement) qui n’est accessible qu’à travers un écran programmé pour déchiffrer en réseau les codes numériques de ces robes du futur. (shrink)

To speak about revolution, either as an event or as a concept, must appear presumptuous at a moment when racial discrimination, fascist politics, and the totalitarian war against women and minorities are amplified by a market economy based on systemic division. In the digital present, the systematization of division is magnified by newly algorithmic structures of machinic capitalism. In that context, the more the intellect aims to grasp the depth of revolutionary actions, the less the latter seem to make sense. (...) In other words, both the failure and the promise of revolution have created a modern paradigm to address the political struggles of our times, one that is cyclically repeating itself to challenge the limits of humankind. And yet, one can always find reasons to interrogate the symptoms of revolutionary tragedies that proliferate against a background of intellectual numbness. (shrink)

Les écrans imprègnent la quasi totalité de nos modes de vivre ensemble. Comme autant d'aimants ils produisent une adhérence senso- rielle dont il devient difficile de se détacher. -/- Il apparait que la marche des sociétés humaines s'effectue désormais se- lon le mode unique de la computation numérique. -/- Cherchons le contre- courant de ce que nous imposent les interfaces.

With the concept of the technical image, Flusser indicates a historical shift in the structure of Western society.1 Technical images, as found in photographs, films, videos, computer terminals, and television screens, designate images produced by an apparatus designed to create programmed information. Contrary to traditional images which carry significance through representation as seen in paintings, technical images are surfaces that operate according to “inverted vectors of meaning.”2 The meaning of a technical image is not found in what the image signifies (...) but in what it projects. In other words, technical images are less about the representation of the world and more about modeling the subject’s relation to and vision of reality. As such, technical images are “instructional programs” designed to inculcate significance, shape behavior, and direct subjects on how to make sense of the world.3 The surfaces of technical images move away from a mimetic representation of the real to inscribe concepts as connotative, as opposed to denotative, forms of signification. However, traditional images and technical images are not entirely disconnected from one another. Together they shape the posthistorical phase of humanity, a phase in which humans’ relationship to reality is increasingly conditioned and modulated by embedded codification. This codification is produced by apparatuses that calculate probability. These apparatuses are opaque because they no longer require the knowledge of their operation by the subject that handles them. In other words: traditional images are “observations of objects,” while technical images are “computation of concepts.”4. (shrink)

The battlefield of the Anthropocene is a tragic one. It begins at the end. It emerges out of melancholy, in the locality of being not-dead-yet. As an Epoch dating the human impact on earth, the Anthropocene looks like a graveyard-to-come, one in which the story of humankind is writing its own epitaph in real time. The tragedy of our moment, or the tragic moment of our action means having to act despite knowing it is too late, searching for hope in (...) the dark. This tragedy produces the sensation that humankind must necessarily face its own limits. And these limits are telling a story that is not a happy one: we cannot keep up with the pace of such an entropic boneyard. When it comes to the massive eradications of people and species, no one can justify the feelings of sympathy that proliferate against a back- ground of intellectual numbness. The battlefield of the Anthropocene is one that demands action. (shrink)

L’Autre, avant d’être un corps présent dans le temps, est d’abord un relief dans le paysage d’un monde commun, une forme perspective que le "je" choisit ou non de recevoir. Ce relief, s’il a longtemps été pensé depuis une autorité déterminant la place à laquelle et depuis laquelle l’Autre devait répondre, deviendra, on l’espère, l’espace possible d’une rencontre. Lorsque ce relief se présente au monde, lorsque l’Autre devient simultanément cette chose voyante et visible, son espace d’expression s’ouvre pour devenir un (...) entourage, une enveloppe mobile et pénétrable. (shrink)

This article reports the findings of AI4People, an Atomium—EISMD initiative designed to lay the foundations for a “Good AI Society”. We introduce the core opportunities and risks of AI for society; present a synthesis of five ethical principles that should undergird its development and adoption; and offer 20 concrete recommendations—to assess, to develop, to incentivise, and to support good AI—which in some cases may be undertaken directly by national or supranational policy makers, while in others may be led by other (...) stakeholders. If adopted, these recommendations would serve as a firm foundation for the establishment of a Good AI Society. (shrink)

Academic Placement Data and Analysis (APDA), a project funded by the American Philosophical Association (APA) and headed by Carolyn Dicey Jennings (UC Merced), aims “to make information on academic job placement useful to prospective graduate students in philosophy.” The project has just been updated to include new data, which Professor Jennings describes in a post at New APPS. She also announces a new interactive data tool with which one can sift through and sort information. (from Daily Nous).

This article is concerned with the status and stakes of Gilles Deleuze’s “break” with structuralism. With a particular focus on a transitional text of Deleuze, the 1967/1972 article “How Do We Recognize Structuralism?,” it asks how Deleuze understood structuralism and why, after his encounter with Félix Guattari and Guattari’s own transitional text, 1969’s “Machine and Structure,” Deleuze felt the need to break with structuralism. It argues that reading these two texts together allows us to see that Deleuze already perceived tensions (...) within the structuralist project, and argues that Guattari’s non-structural account of the machine allowed Deleuze to clarify this perception, and see it as necessitating a departure from structuralism. To close, however, it turns to recent work by philosophers such as Étienne Balibar and Patrice Maniglier that re-examines the structuralist moment and identifies an ongoing legacy that the “poststructuralism” of Deleuze and Guattari may be part of. By considering Deleuze and Guattari’s break with structuralism in light of this work, this article considers how the polemical rejection of structuralism by Deleuze and Guattari may not fully account for the ongoing legacy of the structuralist program and the persistence of a structuralist problematic in their thought. (shrink)