Archive for the ‘Probabilistic chips’ Category


This lecture is based on research conducted in Delhi-NCR and Mumbai on mobile phone cultures over the past nine months. This research has focused on changing patterns of use emerging from shifts in relations of power between government, network providers, content producers, value added companies, and communities of active users across urban and rural space. The wager of my research is that a new ecology of sensation is emerging through an evolving, globally distributed security apparatus. This apparatus has become centered on controlling populations as searchable digital information, while mutating the biopolitical project of maximizing productive capacity and minimizing risk.

Flow:

1. What is a Media Assemblage?
2. Why is it particularly appropriate for diagramming Mobile phone networks?
3. Emergent properties, critical thresholds, and phase transitions of multiplicities
4. Types of connectivity: Security, interoperability, and standardization (ICON, TRAI regulations); pirated connections (ends up valorizing what you are stealing, non-standardized, on the margins of control); and the strategic refusal (Naxalite sabotage); pre-empting emergence: keep control but enable capitalist innovation and value creation
5. Intensive gradients of populations cannot be understood through linguistic categories, we need tools to be able to model intensive gradients of perception, meaning, rates of flow, density of connectivity…etc
6. This leads to a perspective where we take the body’s sensorimotor processes seriously as a mode of unmediated connectivity to media. UNMEDIATED. DIRECT. But with a history. Patterned but unpredictable, as virtual as it is actual, ecologies of sensation are evolving fields of sense, value, and force. So we can understand in this way the mobile phone as directly productive of sensation: in narrative: the mobile phone is a sensational technology (Dev.D), a dangerous device (A Wednesday), and passage into an intercalated timespace (the private bubble around the bodies of people in public places so common in Hindi cinema)…The mobile phone in cinema has become banal, a device assumed to be everyday for postcolonial modernity…VAS production: the creation of sensation through viral content and “necessary” services.
7. Art and Mobile Phones: The Creative deployment of the mobile: social viscosities project, GPS and mapping, the camera (Kainaz’s iPhone photography), the mobile dropping out of the pants video, use of the camera, text novels in Japan
a. Dialtones: A Telesymphony. There are a few different interactive mobile phone performance art pieces that I am aware of but this is by far the coolest of the bunch. Basically, when you come to see this show you (and your cell phone) actually become a part of the show. You register the phone number of your cell phone so that it gets linked with your seat. Then the show starts and it involves the ringing of your cell phone with new ringtones that have been added to it to make it more musical. Your phone and the phones around you are all ringing as part of this amazingly beautiful musical piece. It’s music but it’s made using mobile phones. It happened way back in 2001 but I still think it’s a magical piece to remember today. http://www.flong.com/projects/telesymphony/
b. Cell Phone Movies by Giselle Beigulman. This artist actually uses the mobile phone to create art by taking different models of cell phones and using the video recorder on them to record different scenes in movement whenever she is on buses or trains or in the car. These videos are then combined together to make cell phone movies of the subjects that she has taken video footage of. Learn more her
c. Phonetic Faces. This is another one of those interactive art pieces that utilizes mobile phones. In this case, the Phonetic Faces exhibit is set up (it’s been in various galleries around the world) and people at the exhibit can come add to the piece. They do so by calling a specific cell phone number which tells them how to choose images to collage together as part of the piece and then also allows them to upload their own picture for use in the collage. Essentially, this captures the visitors to the exhibit in images but also alters the piece through their contributions. That’s public art at its best and it has the cell phone at its core.
d. http://www.textually.org/textually/archives/2007/01/014567.htm
8. Social Viscosities: cuts both ways…. After a certain threshold of connectivity, the network (which includes but is not reducible to people’s use, no one part of the open, distributed system is decisive, what is decisive is the emergent properties that take hold with the nonlinear interaction of these components), the system takes on a kind of life, it becomes self-organizing after a gradient of probabilistic functionality, a gradient of connectivity…
a. Self-organizing networks doesn’t mean that this is utopic, without hierarchies of power, or resistant
b. Sensation gets us out of the dialectic of docility-agency.

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