I have a review of Shiller’s book published in American Literary History. Read it here.
Tag: Tony D Sampson
Here is the list of public lectures for SFSIA 2021. Free registration link: https://activistneuroaesthetics.art/conference/
A central feature of SFSIA is a Public Lecture Series, which is free and open to the public to invite conversation, debate, and inquiry across communities. This year, an ACTIVIST NEUROAESTHETICS Conference will be held online over four days as part of Saas-Fee Summer Institute of Art.
All times Central European Time (CET/Berlin).
via Zoom, free with registration at: https://activistneuroaesthetics.art/conference/
THURSDAY, JULY 8
5:30pm Panel discussion with Franco “Bifo” Berardi, Cécile Malaspina, Warren Neidich, and Charles T. Wolfe
7:30pm Warren Neidich
FRIDAY, JULY 9
1pm Yann Moulier Boutang
2:30pm Yves Citton
5pm Tony David Sampson
6:30pm Reza Negarestani
SATURDAY, JULY 1010am Anna Munster
11:30am Jacquelene Drinkall
1pm Kundalini Yoga with Nathalie Anglès
5pm Florencia Portocarrero and Karen Lofgren
6:30pm Anuradha Vikram
SUNDAY, JULY 11
1pm Elena Agudio
2:30pm Agnieszka Kurant
5pm Juli Carson
6:30pm Arne De Boever
You can now book tickets for Fiction Machines: Part III (online) an evening of screenings, talks and performances from artists, filmmakers and theorists, and a belated launch event for the Fiction Machines special issue of the International Journal of Creative Media Research. The event is free but booking is essential:
Fiction Machines – Part III
Ami Clarke, Tony D. Sampson, Maud Craigie, John Cussans, Andy Weir, Anna Engelhardt, Richard Carter, Mikey Georgeson, Harry Meadows, Ada Hao and Charlie Tweed
The Centre for Media Research at Bath Spa University presents Fiction Machines – Part III, an evening of new screenings, talks and performances from artists, filmmakers and theorists. The work presented will highlight a diverse range of critical approaches that make use of particular fictional strategies in their conception and deployment.
This event will be the third part of the Fiction Machines project, which began as a symposium at Bath Spa University in July 2019, featuring keynotes from Professor Simon O’Sullivan (Goldsmiths and Plastique Fantastique) and Dr. Tony D. Sampson (UEL). The project evolved into a special issue of the International Journal of Creative Media Research, edited by Andy Weir (AUB), Tony D. Sampson (UEL) and Charlie Tweed (BSU) which launched in late 2020.The event will bring together all of the contributors to the IJCMR: Fiction Machines special issue, acting as both a launch event and a showcase of new works and research projects that build on its themes.
Ami Clarke who will present new work Pandemonium (working title), commissioned by Radar for Risk Related, and subject to further development through Clarke’s residency at ZKM | Center for Art and Media Karlsruhe in May 2021. It forms part of an ongoing body of work by Clarke exploring probability and risk within surveillance/disaster capitalism from a trans-feminist post-human position. Tony D. Sampson will present a talk on his recent research into neuroaesthetics. Maud Craigie will show an excerpt from her film Indications of Guilt, pt.1, along with some photographs from her current exhibition at Mirror, Plymouth.
John Cussans will present his new work PKD-AI: A proposal which outlines a plan to apply a GPT3-like AI to Philip K. Dick’s entire corpus of writing in order to produce a posthumous AI generated PKD novel. Richard Carter will showcase two new projects Orbital Reveries and Landform, which centre on the processing of satellite and drone imagery into multi-dimensional ‘textscapes’. Anna Engelhardt will present the project “Intra-structures” which treats infrastructures as intra-active processes, placing the user within Russian propaganda infrastructures via the fictioning machine of the telegram bot. Mikey Georgeson will present Professor Kimey Peckpo who will attempt a live stream of an auto fictional account of a real life walk emerging from the past beyond the perimeter of the CCNI.
Harry Meadows discusses Sasha Engelmann’s book Sensing Art in the Atmosphere: Elemental Lures and Aerosolar Practices, exploring the atmosphere as a metaphor for thinking, free from earthly constraints. Andy Weir shows a short video extract as part of new (theory and practice) work in progress on grounding and ungrounding, navigating planetary sites of nuclear toxicity through a mythic/materialist ontology (geo-fiction) of dust. Charlie Tweed presents an excerpt from a new sound project which uses fictional writing to respond to images generated by AI applications.
Pleased to have an article with Jussi Parikka in this issue of Cultural Politics. You can also look here: https://repository.uel.ac.uk/item/88497
Subject: Cultural Politics Table of Contents for March 01, 2021: Volume 17, Number 1
A question addressed in various ways by a number of writers, including
Tony D. Sampson + Jussi Parikka
Benjamin H. Bratton
Peter Singer + Michael Plant
Franco “Bifo” Berardi + Andreas Petrossiants
It would be naïve to portray the present moment as revolutionary, or as portending a type of impending fundamental downfall. All the stressors that left us with feelings of helplessness, hopelessness, anxiety, and powerlessness before this crisis, are now compounded. Financial, emotional, existential, and now our very survival urges a transformation in the world as we knew it. The imposed reflection upon our immediate past as individuals and as societal bodies now, more than before, implores us to make space to contemplate for a truly sensible life ahead.
The blurb for the new book, A Sleepwalker’s Guide to Social Media – in production with Polity due in spring 2020 has been decided on…
Positing online users as ‘sleepwalkers’, Tony Sampson offers an original and compelling approach for understanding how social media platforms produce subjectivities.
Drawing on a wide range of theorists, including A.N. Whitehead and Gabriel Tarde, he provides tools to track his sleepwalker through the ‘dark refrain of social media’: a refrain that spreads through viral platform architectures with a staccato-like repetition of shock events, rumours, conspiracy, misinformation, big lies, search engine weaponization, data voids, populist strongmen, immune system failures, and far-right hate speech. Sampson’s sleepwalker is not a pre-programmed smartphone junkie, but a conceptual personae intended to dodge capture by data doubles and lookalikes. Sleepwalkers are neither asleep nor wide awake; they are a liminal experimentation in collective mimicry and self-other relationality. Their purpose is to stir up a new kind of community that emerges from the potentialities of revolutionary contagion.
At a time in which social media is influencing more people than ever, A Sleepwalker’s Guide to Social Media is an important reference for students and scholars of media theory, digital media and social media.
There are two Assemblage Brain related articles published in the current issue of AI & Society journal.
I am more than a little excited about these publications since my school history teacher at an Essex comp in the late 1970s, Richard Ennals, set up AI & Society in 1986.
Firstly, Tero Karppi’s review of the book. See Karppi, T. ‘Tony D. Sampson: The Assemblage Brain. Sense Making in Neuroculture.’ AI & Society (2019) 34: 945. https://doi.org/10.1007/s00146-018-0826-8
And next, the first article I wrote after the book was published in Dec 2016.
See Sampson, T.D. ‘Transitions in human–computer interaction: from data embodiment to experience capitalism.’ AI & Society (2019) 34: 835. https://doi.org/10.1007/s00146-018-0822-z
This one develops on themes from the book, including Experience HCI and Capitalism, as well as many of the subsequent Whiteheadian ventures started in AB and picked up again in my next effort.
Confirmed Keynote Speakers:
Professor Simon O’Sullivan, Professor of art, theory and practice,
Goldsmiths College, London
Dr Tony David-Sampson, Reader in Digital Media Culture and Communication, University of East London
Other Confirmed Participants include:
Ami Clarke, Jennet Thomas, Rod Dickinson, Charlie Tweed, Andy Weir, Harry Meadows, Ada Hao, Ramon Bloomberg, Bjørn erik Haugen, Hugh Frost, Annabelle Craven-Jones, Monika Oechsler, Garfield Benjamin, John Wild, Alberto Micali, Maud Craigie, Michelle Atherton, Rebecca Smith, Stephanie Moran and Alex Hogan and Teodora Fartan.
The Centre for Media Research at Bath Spa University is proud to host the second Digital Ecologies symposium: Fiction Machines and it will take place on Tuesday July 16th 2019.
In the introduction to his book Fiction as Method (2017) Jon K Shaw identifies a fictional place called ‘Null Island’, a fiction that is located at a point in the centre of the earth, amongst the lava that no one can travel to.
‘From this unreal centre the machines can tag our photos to map our memories and images onto the material world, can align our satellites to coordinate and connect us across the planet. Whenever we perform one of these actions, we pass through this fiction. We are transported home via the fictional island.’ (Shaw, 2017: 7)
Our vision of the earth and of each other is increasingly filtered through the operations of a complex assemblage of networked computational writing machines and as Shaw implies, these exist at the centre of our world and our daily experience. As a result the planet itself is increasingly becoming computational, Nigel Thrift describes how the ‘real’ as we know it is the result of multiple simultaneous ‘writing machines’ using a continuous looping process of algorithms. (2005, loc.2879)
As a result, humans now exist within complex informational spaces that produce affects, simulate, analyse and respond to user and environmental data. Within these conditions, fiction and reality become increasingly blurred, machine and human voice, difficult to distinguish.
These machines allow for the generation of complex webs of fabulation which exist in a plethora of contexts from corporate identities to labyrinthine brand stories, to political propaganda and the operations of the derivatives market.
Furthermore our understanding of the ecological is itself increasingly filtered through multiple layers of networked technologies, sensors, algorithms and data visualisations. Jennifer Gabrys discusses the notion of ‘planetary scale computerisation’ and how this leads to the generation of ‘new living conditions, subjectivities, and imaginaries’. (Gabrys, 2016)
Within this context new fictional strategies within creative practice emerge as important weapons for critique, intervention, speculation and change. As Simon O’Sullivan notes: fiction can be used not as a matter of ‘make believe but rather in a Ranciere sense of forging the real to better approximate historical and contemporary experience’. (O’Sullivan, 2016: 6)
In the symposium we ask how fictional methods are being employed to rethink and renegotiate our relationship with current and future technologies; how such methods can be used from activist and political perspectives; how they can address and critique post-truth conditions; how they can reveal forgotten histories and non-human perspectives; and how they can be used to speculate on, and design, new futures.
As Benjamin Bratton notes: ‘Our shared design project will require both different relationships to machines (carbon based machines and otherwise) and a more promiscuous figurative imagination.’ (Bratton, 2016, loc.283)
• Activist fictions
• Speculative design fictions
• Non-human fictions
• Post-truth fictions
• Machinic fictions
The event will culminate with a series of performances by artists including: Ami Clarke, Harry Meadows & Andy Weir, and Annabelle Craven-Jones.
Throughout the event artist Rod Dickinson’s project Fear Filter will feed images to our Media Wall.
Tickets are now available from the link below and include lunch, coffee and wine reception, with a special discount for students.