Böcker utgivna av Institute of Network Cultures

AI ethics has never been far from the industries it sought to critique. While originally designed to bring values such as fairness, accountability and transparency to Big Tech and its products, the lines between Big Tech's PR initiatives and AI ethics funding has never been clear. In practice, AI ethics now operates as a means for the co-option of critics and to enable regulatory capture. It is used by corporations to create legitimacy and to further accumulate value. The result is that 'ethics' has now become a high-valued industrial commodity, and AI ethics its foundry. This anthology is a collective response to the reification of ethics into commodity forms. It explores how industry participation in 'ethical AI' research has created a new 'economy of virtue'-a massive network of actors variously situated across industry, civil society, and universities, producing and circulating ethics as a service and a product. The contributors present both critical perspectives and first-hand experiences of this economy. They address a wide range of topics including: the contradictions and personal dilemmas of working in industry-funded spaces; case studies of AI ethics in domains such as defence, facial recognition, and standards setting; critical assessments of techniques like green-washing and the manufacture of trust; and the risks and practicalities of direct action such as speaking up, organizing against and dropping out. Together, these contributions give voice to the intractable problems of co-option, capture, and complicity that plague AI ethics, and give shape to the networks and circulations defining the field.

This book locates India's flourishing internet within a complex 24-year history that has seen an unprecedented re-organization of social and political life. Three essays provide independent perspectives on a common area of inquiry, an era that witnessed a fundamental mutation of the State, its mechanisms of planning and governance, the public domain and the everyday, all mediated by digital technology, all impacting its internet. Bringing the essays together is a common timeline, which begins in the late 1970s, includes such landmarks as the Information Technology Act, the much-discussed Aadhaar biometric identification programme, the chequered career of social media, and the widespread use of internet shutdowns.

Theory on Demand #41Pandemic Exchange - How Artists Experience the COVID-19 Crisisedited by Josephine BosmaNews reports on the Covid-19 pandemic seldom include how the virus and the societal lockdowns affect artists. A lively circuit of cultural events, meetings, and exhibitions has come to an almost complete stop, leaving artists often not just with a significant drop in income but also bereft of their vital and supporting social communities. Art writer and curator Josephine Bosma, feeling quite cut off herself after a year of lockdowns and too much screen time, saw both desperate and relieved outcries from artists popping up through the glossy algorithmic veneer on social media. She decided to reach out to some of the more outspoken voices. From this an interview project was born, which grew into this collection of heartfelt stories and brief reports from artists trying to survive the pandemic and sometimes finding unexpected ways to do so.With: Annie Abrahams, Lucas Bambozzi, Dennis de Bel, !Mediengruppe Bitnik, S()fia Braga, Arcangelo Constantini, Tiny Domingos, John Duncan, Nancy Mauro Flude, Ben Grosser, Adham Hafez, Sachiko Hayashi, Lynn Hershman Leeson, Garnet Hertz, Jennifer Kanary, Brian Mackern, Miltos Manetas, Lorna Mills, Daniela de Paulis, Tina La Porta, Archana Prasad, Melinda Rackham, Michelle Teran, Mare Tralla, Igor Vamos, Ivar Veermäe."We are witnessing a trivialization of the internet as an artistic medium." - S()fia Braga, Linz, Austria"Dealing with the cultural context in a profound and responsible way has become urgent." - Lucas Bambozzi, Sao Paulo, Brazil"Reality is our Non-Fungible Token." - Miltos Manetas, Bogota, Colombia"Meetings with friends, usually with some specific purpose or project in mind, take on an unspoken undercurrent of joy that I savor, simply because we're in a room together." - John Duncan, Bologna, ItalyJosephine Bosma is an art writer and curator specialized in, but not limited to, art and technology. Her critical work has appeared in a variety of media, from pirate radio to fancy print, following a life and interest ranging from the underground to the institutional art world. Her book Nettitudes - Let's Talk Net Art appeared with the NAi Publishers/INC in 2011.

What happens to our everyday language in the digital sphere? How does 'the post-digital condition' change the world in which we think about ourselves and talk to one another? In Shadowbook: Writing Through the Digital 2014-2018, Miriam Rasch investigates these questions in five experimental essays and one exposition. From the way the smartphone molds the language of desire and friendship to the possibilities of writing a 'spreadsheet novel' - Shadowbook is a testimony to post-digital writing by way of writing. It salutes both the beauty of the web and what hides in the shadows. Even in the bright and shiny sphere of the digital, the dark side is never far off. Miriam Rasch works as a researcher for the Institute of Network Cultures and is a writer, critic and essayist. Her book Zwemmen in de oceaan: Berichten uit een postdigitale wereld was published by the Dutch publisher De Bezige Bij in 2017.

Housing space is a crucial locus of social reproduction, as it is a place where countless acts of care that sustain our lives take place. Yet, capital has forced its way into our homes, making them a battleground. Art is embedded and intermeshed in housing struggles in multiple ways. The essays and stage scripts in this collection engage with difficult questions around battles for home, the role of the arts, and the aesthetics of struggle. What connects the contributions is that the authors think of housing struggles from both the internal and the external margins and from global and local peripheries. It is in this sights of resistance against housing precarity that radical housing is traced as it emerges, declines, and re-emerges on the way to our common future. Divided into five sections, this anthology discusses subjects such as insurgent histories and radical care in art, hands-on strategies for action, fighting art-washing with tenants¿ power, politics of the past and of the future in the art of the housing struggle, the effects of financialization on artistic live-work conditions, the necessity of morning losses, as well as the irreducible plurality of housing commons, holding one another accountable, and working with dirt. Launching a proposition about radical housing art, the book deals with common challenges and failures of practicing radical housing, expressing the beauty of art that moves from the tragic to the joyful.Housing space is a crucial locus of social reproduction, as it is a place where countless acts of care that sustain our lives take place. Yet, capital has forced its way into our homes, making them a battleground. Art is embedded and intermeshed in housing struggles in multiple ways. The essays and stage scripts in this collection engage with difficult questions around battles for home, the role of the arts, and the aesthetics of struggle. What connects the contributions is that the authors think of housing struggles from both the internal and the external margins and from global and local peripheries. It is in this sights of resistance against housing precarity that radical housing is traced as it emerges, declines, and re-emerges on the way to our common future.

Accompanying transmediale 2020 End to End's exhibition 'The Eternal Network', this collection gathers contributions from artists, activists, and theorists who engage with the question of the network anew. In referencing Filliou's eternal notion, the exhibition and publication project closes the loop between pre- and post-internet imaginaries, opening up possible futures with and beyond networks. This calls many of the collection's authors to turn to instances of independent and critical net cultures as historical points of inspiration for rethinking, reforming, or refuting networks in the present. Contributors: Clemens Apprich, Johanna Bruckner, Daphne Dragona, Kristoffer Gansing, Lorena Juan, Aay Liparoto, Geert Lovink, Alessandro Ludovico, Aymeric Mansoux, Rachel O'Dwyer, Luiza Prado de O. Martins, Roel Roscam Abbing, Femke Snelting, and Florian Wüst.

Victims' Symptom (PTSD and Culture) Victims' Symptom is a collection of interviews, essays, artists' statements and glossary definitions, which was originally launched as a Web project (http://victims.labforculture.org). Produced in 2007, the project brought together cases related to past and current sites of conflict such as Sre- brenica, Palestine, and Kosovo reporting from different (and sometimes conflicting) international viewpoints. The Victims Symptom Reader collects critical concepts in media victimology and addresses the representation of victims in economies of war.

From the fast-food industry to the sharing economy, precarious work has become the norm in contemporary capitalism, like the anti-globalization movement predicted it would. This book describes how the precariat came into being under neoliberalism and how it has radicalized in response to crisis and austerity. It investigates the political economy of precarity and the historical sociology of the precariat, and discusses movements of precarious youth against oligopoly and oligarchy in Europe, America, and East Asia.

Autistici/Inventati was funded in 2001 with the goal of creating an autonomous server and providing free web services which respected users' privacy and anonymity. Having grown into a distributed network spread over several countries, their projects and servers have repeatedly been subjected to legal pressure by governments: however, even while being forcibly seized, shut down and under invasive surveillance operations, they survived. As of today they still offer secure and non-commercial tools for free communication to thousands of users. +KAOS is a cut and paste of interviews, like a documentary film transposed on paper. It describes the peculiar relationship between hacktivism and activism, in Italy and beyond, highlighting the importance of maintaining digital infrastructures. While this may not sound as glamorous as sneaking into a server and leaking data, it is a fundamental topic: not even the most emblematic group of hacktivists can operate without the services of radical server collectives.

Internet on the Outstation provides a new take on the digital divide. Why do whole communities choose to go without the internet when the infrastructure for access is in place? Through an in-depth exploration of the digital practices occurring in Aboriginal households in remote central Australia, the authors address both the dynamics of internet adoption and the benefits that flow from its use. The book challenges us to think beyond the standard explanations for the digital divide, arguing that digital exclusion is not just another symptom of social exclusion. At its heart, Internet on the Outstation is a compelling examination of equality and difference in the digital age, asking: Can internet access help resolve the disadvantages associated with remote living?Internet on the Outstation is the result of a multi-year research collaboration, which included a trial of internet infrastructure, training and maintenance in three small Aboriginal communities (known as outstations).

How do global audiences use streaming platforms like YouTube, Netflix and iPlayer? How does the experience of digital video change according to location? What strategies do people use to access out-of-region content? What are the commercial and governmental motivations behind geoblocking? Geoblocking and Global Video Culture explores the cultural implications of access control and circumvention in an age of VPNs. Featuring seventeen chapters from diverse critical positions and locations - including China, Iran, Malaysia, Turkey, Cuba, Brazil, USA, Sweden and Australia - the book offers a wide-ranging analysis of region control in digital media industries.

In On Editorialization: Structuring Space and Authority in the Digital Age Marcello Vitali-Rosati examines how authority changes in the digital era. Authority seems to have vanished in the age of the web, since the spatial relationships that authority depends on are thought to have levelled out: there are no limits or boundaries, no hierarchies or organized structures anymore. Vitali-Rosati claims the opposite to be the case: digital space is well-structured and material and has specific forms of authority. Editorialization is one key process that organizes this space and thus brings into being digital authority. Investigating this process of editorialization, Vitali-Rosati reveals how politics can be reconceived in the digital age. Marcello Vitali-Rosati is Associate Professor in the Department of French Literature at the University of Montreal and holds the Canada Research Chair on Digital Textualities. In his research he develops a philosophical approach to the changes brought by digital technologies.

Inspired by taxonomist Jack Goody's theorizing of 'ancient lists' as 'intellectual technologies', this book analyzes listing practices in modern and contemporary formations of power, and how they operate in the installation and securing of the milieus of circulation that characterize Michel Foucault's conception of governmentality. Propelling the list's role in the delimitation and policing of risky and threatening elements from out of history and into a contemporary analysis of power, this work demonstrates how assemblages of computer, statistical, and list technologies first deployed by the Nazi regime continue to resonate significantly in the segmenting and constitution of a critical classification of contemporary homo sapiens: the terrorist class, or homo sacer.

From Mah-Jong, to the introduction of Prussian war-games, through to the emergence of location-based play: maps and play share a long and diverse history. This monograph shows how mapping and playing unfold in the digital age, when the relations between these apparently separate tropes are increasingly woven together. Fluid networks of interaction have encouraged a proliferation of hybrid forms of mapping and playing and a rich plethora of contemporary case-studies, ranging from fieldwork, golf, activism and automotive navigation, to pervasive and desktop-based games evidences this trend. Examining these cases shows how mapping and playing can form productive synergies, but also encourages new ways of being, knowing and shaping our everyday lives. The chapters in this book explore how play can be a more than just an object or practice, and instead focus on its potential as a method for understanding maps and spatiality.

Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the 'world behind one's back' is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.

Gaming Rhythms, Game and Counterplay from the the Situated to the GlobalGlobal gaming networks are heterogenous collectives of localized practices, not unified commercial products. Shifting the analysis of digital games to local specificities that build and perform the global and general, Gaming Rhythms employs ethnographic work conducted in Venezuela and Australia to account for the material experiences of actual game players. This book explores the materiality of digital play across diverse locations and argues that the dynamic relation between the everyday life of the player and the experience of digital game play can only be understood by examining play-practices in their specific situations.

What is the correlation among the creative industries, creative industry policies, new media paradigms and capitalism as colonial relations of dominance? What is the role of these industries in the prioritization of the interests of capital at the expense of those of society and how can these paradigms be criticized in the context of the actual, neoliberal, flexible regime of reproduction of capital? To what measure is this regime 'flexible' and to what measure it is just an extension of rigid, feudal and racial logics that underline (post)modern representational discourses? To what measure do the concepts of creativity, transparency, openness and flexibility conceal the hegemonic nature of modern hierarchies of exploitation?