Digitale Kulturen

Ramón Reichert
Art Sciences and Art Education, Cultural Studies
2022W, scientific seminar (SEW), 4.0 ECTS, 2.0 semester hours, course number S03240

Description

Capturing personal data in exchange for free services is now ubiquitous in networked media and recently led to diagnoses of surveillance and platform capitalism. In social media discourse, dataveillance and data mining have been criticized as new forms of capitalist exploitation for some time.

From social photos, selfies and image communities on the internet to connected viewing and streaming, and video conferencing during the Corona pandemic – the digital image is not only predominantly networked but also accessed through platforms and structured by their economic imperatives, data acquisition techniques and algorithmic processing. In our lecture, we want to show how participation and commodification are closely linked to the production, circulation, consumption and operativity of images and visual communication, raising the question of the role networked images play for and within the proliferating surveillance capitalism.

On the other hand, networked images can become anaesthetized, “calm” and “silent” themselves – in a similar way to the techniques of control and surveillance: Against the background of surveillance capitalism, technological endeavours such as the internet of things (IoT), ubiquitous computing and ambient intelligence appear as attempts to expand the opportunities for data extraction and monetization. Everyday objects become sentient things that are capable of multimodal monitoring of environments and living beings, and of recording, storing and circulating captured information. Visual data acquisition in the form of sensors, webcams or computer vision operates without drawing attention to itself. Often, not only the technologies are invisible, but also the images that are no longer destined for human viewing and remain data without being visually displayed.

By being processed in machine-to-machine seeing and communication within IoT or used as training data for computer vision application (Crawford and Paglen 2019), the networked and social media images are anaesthetized and rechanneled into an invisible “visual” culture as new economic assets. These “invisible image data” or “invisible images” share their unobtrusiveness with algorithmic security systems such as facial recognition, which exploits the publicness of the face, and produces “calm images” operating in the background without addressing the users’ conscious attention.

Examination Modalities

1. Regular Attendance (50%)

2. Participation and presentation (50%)

Our course focuses on agile learning, participation and cooperation. We expect a productive and lively cooperation from this concept, in which the rigid boundaries between teachers and students can be lifted.

 

Comments

References 

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Andrejevic, M., 2012. Exploitation in the data mine. In: Fuchs, C. et al. (eds.): Internet and Surveillance: The Challenges of Web 2.0 and Social Media. Routledge, New York, 71-88.

Buolamwini, J., Gebru, T., 2018. Gender shades: Intersectional accuracy disparities in commercial gender classification. Conference on Fairness, Accountability and Transparency, 77-91.

Bucher, T., 2018. If…Then. Algorithmic Power and Politics. Oxford Univ. Press, New York.

Browne, S., 2015. Dark Matters. On the Surveillance of Blackness, Duke Univ. Press, Durham/London.

Bucher, T., 2016. Want to be on top? Algorithmic Power and the Threat of Invisibility on Facebook. In: Chun, W. et al. (eds.): New Media, Old Media: A History and Theory Reader. Routledge, New York, 566-578.

Cheney-Lippold, J., 2016: We Are Data: Algorithms and The Making of Our Digital Selves. New York Univ. Press, New York.

Conrad, K., 2009. Surveillance, Gender, and the Virtual Body in the Information Age. Surveillance & Society 6(4), 380-387.

Deleuze, G., 1992. Postscript on the Societies of Control. October 59, 3-7.

Dubrofsky, R. E., Magnet, S. A. (eds.), 2015. Feminist Surveillance Studies. Duke Univ. Press, Durham, London.

FHelmond, A., 2015. The Platformization of the Web: Making Web Data Platform Ready. Social Media + Society 1(2), 1-11.

Introna, L., Wood, D., 2004. Picturing algorithmic surveillance: the politics of facial recognition systems. Surveillance & Society 2(2,3), 177-198.

Jurgenson, N., 2019. The Social Photo: On Photography and Social Media. Verso: London.

Kammerer, D., Waitz, T., 2015. Überwachung und Kontrolle. Einleitung in den Schwerpunkt. ZfM  13, 10-20.

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Reichert, R., 2020. Medien im Ausnahmezustand. Überwachungstechnologien in der Ära von Covid-19. FALTER. Retrieved from
https://www.falter.at/zeitung/20200422/medien-im-ausnahmezustand-ueberwachungstechnologien-in-der-aera-von-covid-19 (01/21/2021)

Reichert, R., 2018. Biosurveillance, Self-Tracking und digitale Gouvernementalität. In: Buhr, L., Hammer, S., Schölzel, H. (eds.), Staat, Internet und digitale Gouvernementalität. Springer VS, Wiesbaden, 65–86.

 

Scholz, Trebor (ed.), 2012. Digital Labor: The Internet as Playground and Factory. Routledge, London.

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Trottier, D., 2012. Social Media as Surveillance. Rethinking Visibility in A Converging World. Ashgate: Surrey/Burlington

Trottier, D., Lyon, D. 2012. Key Features of Social Media Surveillance. In: Fuchs, C. et al. (eds.), Internet and Surveillance. The Challenges of Web 2.0 and Social Media. Routledge, New York, London, 89-105.

van Dijck, J., 2014. Datafiction, Dataism and Dataveillance: Big Data between Scientific Paradigm and Secular Belief. Surveillance & Society, 12(2), 197-208.

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Zuboff, S., 2019. The Age of Surveillance Capitalism. The Fight for a Human Future at the New Frontier of Power. Profile, London.

Key Words

visual effects, digital imaging, interactive art, process art, cultural politics, media art, electronic media

Dates

03 October 2022, 16:00–17:30 Seminar Room 25
10 October 2022, 16:00–17:30 Seminar Room 25
17 October 2022, 16:00–17:30 Seminar Room 23
07 November 2022, 16:30–18:00 Seminar Room 25
14 November 2022, 16:00–17:30 Seminar Room 25
21 November 2022, 16:00–17:30 Seminar Room 25
28 November 2022, 16:00–17:30 Seminar Room 25
05 December 2022, 16:00–17:30 Seminar Room 25
12 December 2022, 16:00–17:30 Seminar Room 25
19 December 2022, 16:00–17:30 Seminar Room 25
09 January 2023, 16:00–17:30 Seminar Room 25
16 January 2023, 16:00–17:30 Seminar Room 25
23 January 2023, 16:00–17:30 Seminar Room 25
30 January 2023, 16:00–17:30 Seminar Room 25

Course Enrolment

From 30 July 2022, 01:46 to 07 October 2022, 01:46
Via online registration

co-registration: possible

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Art Education: subject dex (Enhancements study): Wissenschaftliche Praxis: FOR: Seminar aus dem Bereich Kunst- und Kulturwissenschaften

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