Earlier this year I devised and delivered the New Media Caucus sponsored panel and journal editorial: ‘Exaptation and the Digital Now’, with Zara Dinnen, Rob Gallagher and Alex Myers: Exaptation and the Digital Now: INTRODUCTION Case Study #1: Holoback Zara Dinnen Case Study #2: The Phantom Zone Daniel Rourke Case Study #3: Fire in the Hole – The Obviously Non-Short History of Art Games Alex Myers Case Study #4: Exaptation, Interpretation, PlayStation Rob Gallagher

The panel took place at the College Art Association annual conference, Chicago, February 14th 2014. Our write-up was featured in the New Media Caucus journal CAA 2014 conference edition. Click-through for each of our papers and the specially extended introduction:

Evolution is a dominant metaphor for thinking about and describing the processes of new technologies; we believe ‘exaptation’ offers a more productive, nuanced approach to questions of adaptation and co-option that surround digital media. [8] According to Svetlana Boym in her essay “The Off-Modern Mirror:”

Exaptation is described in biology as an example of ‘lateral adaptation,’ which consists in a co-option of a feature for its present role from some other origin… Exaptation is not the opposite of adaptation; neither is it merely an accident, a human error or lack of scientific data that would in the end support the concept of adaptation. Exaptation questions the very process of assigning meaning and function in hindsight, the process of assigning the prefix ‘post’ and thus containing a complex phenomenon within the grid of familiar interpretation. [9]

Media is replete with exaptations. Features specific to certain media are exapted – co-opted – as matters of blind chance, convenience, technical necessity, aesthetics, and even fashion. Narratives of progress cannot account for the ways technologies branch out or are reused, misused, and abused across communities and networks. Exaptation offers a way to think about digital culture not as ever-newer, ever-faster, ever-more-seamless, but rather as something that must always negotiate its own noisy history. Yesterday’s incipient hardware becomes the ordering mechanism of today’s cultural affects: a complex renewal that calls into question established notions of utility, value, and engendered experience. Exaptation accounts for features now considered integral to media without falling back into narratives that appear to anticipate what one could not anticipate. This article is a collaborative work that brings together the four co-authors’ various responses to the provocation of exaptation. In what follows exaptation is put into play as a model to help unsettle dominant narratives about the digital image in particular. Considering the digital image in various guises: as animated GIFs, poor images, art games, hardware, and holograms, this article will trace the traits that jump between media and metaphor; complicating linear narratives of progression, and reductive readings of remediation associated with new media. [10]

nooartorg:

See/listen to the full ‘essay’ : Gifs - LOOPS, by Daniel Rourke

The highly compressed, deteriorated ‘poor image mocks the promises of digital technology. Not only is it often degraded to the point of being just a hurried blur, one even doubts whether it could be called an image at all.’ The aesthetic affect of digital images thus stands in metonymically for the networks they navigate and the means by which those networks are exposed.

The Journal of Digital Humanities is a comprehensive, peer-reviewed, open access journal that features the best scholarship, tools, and conversations produced by the digital humanities community in the previous quarter.

I have an article in the first issue of rattle journal, available now

Orwell leaves us with a list of simple rules:

* Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
* Never use a long word where a short one will do.
* If it is possible to cut a word out, always cut it out.
* Never use the passive where you can use the active.
* Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.
* Break any of these rules sooner than say anything outright barbarous.

Chto delat? / What is to be done? was founded in early 2003 in Petersburg by a workgroup of artists, critics, philosophers, and writers from Petersburg, Moscow, and Nizhny Novgorod (see full list of participants on the web site) with the goal of merging political theory, art, and activism.

Since then, Chto delat has been publishing an English-Russian newspaper on issues central to engaged culture, with a special focus on the relationship between a repoliticization of Russian intellectual culture and its broader international context. These newspapers are usually produced in the context of collective initiatives such as art projects or conferences.

Every age has its potential regulator, its threat to liberty. Our founders feared a newly empowered federal government; the Constitution is written against that fear. John Stuart Mill worried about the regulation by social norms in nineteenth-century England; his book On Liberty is written against that regulation. Many of the progressives in the twentieth century worried about the injustices of the market. The reforms of the market, and the safety nets that surround it, were erected in response.

This regulator is code—the software and hardware that make cyberspace as it is. This code, or architecture, sets the terms on which life in cyberspace is experienced. It determines how easy it is to protect privacy, or how easy it is to censor speech. It determines whether access to information is general or whether information is zoned.

In all the traditional approaches to pedagogy, both in art and in literacy, the possibility of perceiving the transitional nature of the space produced by text or image—the common space for author and receptor—is completely lost. The emphasis is on producing communication vessels that are static and consumable objects, for which the sign has to be well executed. In this kind of art, execution has to reach the point of desirability, which in turn defines success.

Teaching and instruction are generally used as synonyms, something that reflects an implicit pedagogical ideology. The word instruction is a homonym: it refers to the instructions given on how to perform a task as well as to the induction of the learner into a world ruled by instructions. Pedagogies of instruction are academic and vertical. They are based on the instructor’s monologue and focus on attaining perfection through repetition. Traditionally, listening and being “instructed” constitute the first stage the student has

Writings about author, Michel Serres