“Marx After Simondon” — Bryan Norton at Digital Aesthetics Workshop, Jan. 30, 2024

Happy New Year! For our first Digital Aesthetics workshop of 2024, please join us in welcoming Bryan Norton, who will present on “Marx after Simondon: Metabolic Rift and the Analog of Computation” on January 30, 5-7PM PT. The event will take place in the Stanford Humanities Center Watt Dining Room, where refreshments will be served. Below you will find the abstract and bio. We look forward to seeing you there!

Zoom link for those unable to join in-person: tinyurl.com/s8248e2e

Abstract: 

A growing number of scholars have recently urged a return to German Idealism to account for the relationship between computation and cognition. This paper will elucidate this trend by tracing the centrality of analogy in theories of computation back to the unstable formalization of the concept in Immanuel Kant’s epistemology. While Kant viewed analogy as a cognitive operation capable of revealing hidden similarities between life and thought, analogy also leads humans to seek false connections between biology and geology. This divide Kant creates between life, cognition, and geological process has drastic consequences for how we consider twentieth century analogies between cognition and computation, as Gilbert Simondon has noted. Turning ultimately to recent artwork that addresses the role of geology in digital infrastructures, this paper seeks to highlight the ongoing relevance of Marx’s notion of metabolic rift for theories of computation, as it presents a post-Kantian synthesis of geology, biology, and cognition.

Bio:

Bryan Norton is a Mellon Fellow in the Humanities at Stanford University and Lecturer in the Department of German Studies. He is the editor of a forthcoming volume, Negentropy and the Future of the Digital (with Mark Hansen), and is completing a monograph on media and the environment in German romantic philosophy and poetry, titled Planetary Idealism. A preview of this book, “Novalis and Simondon: Notes for a Romantic Mechanology,” is forthcoming from SubStance. Other recent writings can be found in Cultural Politics, Philosophical Salon, and the Journal of Visual Culture.

“Unclean Interface: Computation as a Cleanliness Problem” — Rachel Plotnick at Digital Aesthetics Workshop

Announcing the Digital Aesthetics Workshop’s first event of 2020: On February 11th, at 5 PM in the Stanford Humanities Center’s Watt Common Room, we’ll be hosting Rachel Plotnick, who will share some recent research on cleanliness and computation. 

Dr. Plotnick is an Assistant Professor in the Media School at the University of Indiana-Bloomington. Her (fantastic!) first book, Power Button: a History of Pleasure, Panic, and the Politics of Pushing, is just out from MIT Press.

Here is the abstract for her talk:

Unclean Interface: Computation as a Cleanliness Problem

Histories of computing tend to focus on particular elements of computation (such as invention of computers; early PC use; interface design, or viruses), but this study aims to approach computing from a novel, alternative angle – mess. From the earliest advent and use of computers, mess has been a particularly thorny problem that gets defined differently in different contexts, across technologies and spaces, and through a variety of computing practices. Computing is inherently messy: screens, mice, disks and keyboards pick up dirt, dust and crumbs; messy bodies touch and handle computers day in and day out; air is full of unclean particles; and problems of humidity, temperature, and static are routine. At the level of software, too, metaphors of cleanliness and dirtiness persist in terms of “clean” design, “dirty” content or data, desktop icon organization, and fears over contagion and contamination from viruses and spam. By beginning from the vantage point of mess, it becomes possible to crystallize a very different history of computing driven from efforts to contain, control and eliminate dirt, to valorize cleanliness, and to enforce particular protocols, habits, and behaviors. In the messy interface between bodies, environments, software, and hardware one can find persistent concerns about what it means to be “human” and what it means to be “technology.” At the same time, this approach weaves in discussions of care, maintenance, and repair into computing, recognizing that innovation is not the only – or always most salient – way to understand human-technology relations, and that in fact much of everyday interactions with computers take place in acts of protection and cleaning. Innovation may also occur as a result of particular messiness problems, rather than the other way around. Lest we think of mess as a computing problem of the past (given ethereal metaphors of “cloud” computing and increasingly encased computing devices), recent examples of messiness demonstrate the ongoing problem of cleanliness in computing. A few representative cases include: Apple’s continued problems with its butterfly keyboard; concerns over “dirty” databases and how to clean big data; and the booming market for cases, screen protectors, and cleaning devices for tablets, laptops and smartphones.

Screenshot Genealogies: Jacob Gaboury at Digital Aesthetics Workshop

SHC Gaboury Poster 2-6

On Tuesday, February 6, 2018, Jacob Gaboury will present new work on a genealogy of the screenshot, drawn from an ongoing project on the history of computer screens and visualization.

Jacob Gaboury is an Assistant Professor of New Media History and Theory in the Department of Film & Media at the University of California, Berkeley. His work engages the history and theory of digital media, with particular focus on digital images and visual culture. His work has appeared in a wide range of popular and academic publications, including most recently the Journal of Visual CultureCamera ObscuraDebates in the Digital HumanitiesRhizomecontinent., and Art Papers.

The event will take place from 4-6pm in the Stanford Humanities Center Board Room as part of the Geballe Research Workshop on Digital Aesthetics: Critical Approaches to Computational Culture. All are welcome!