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The Enculturation of the Network: Totem and Taboo

Thinking about what it might mean to stand at the intersection of technology and the humanities has resulted in an exploration with a very circuitous route.

The Network has been infused with humanity, with every aspect of human character— the bright possibilities and the tragic flaws.

On May 29, 1919, Arthur Stanley Eddington took some photographs of a total eclipse of the sun. Eddington had gone to Africa to conduct an experiment that might determine whether Newton’s or Einstein’s model was closer to physical reality.

During the eclipse, he took pictures of the stars in the region around the Sun. According to the theory of general relativity, stars with light rays that passed near the Sun would appear to have been slightly shifted because their light had been curved by its gravitational field. This effect is noticeable only during eclipses, since otherwise the Sun’s brightness obscures the affected stars. Eddington showed that Newtonian gravitation could be interpreted to predict half the shift predicted by Einstein.

My understanding of the physics is rather shallow, my interest is more in the metaphorics— in how the word-pictures we use to describe and think about the universe changed based on a photograph. Where the universe lined up nicely on a grid before the photograph, afterwards, space became curvaceous. Mass and gravity bent the space that light passed through. Assumed constants moved into the category of relativity.

The Network also appears to be composed of a neutral grid, its name space, through which passes what we generically call payloads of “content.” Each location has a unique identifier; the only requirement for adding a location is that its name not already be in use. You can’t stand where someone is already standing unless you displace them. No central authority examines the suitability of the node’s payload prior to its addition to the Network.

The universe of these location names is expanding at an accelerating rate. The number of addresses on the Network quickly outstripped our ability to both put them into a curated index and use, or even understand, that index. Search engines put as much of the Network as they can spider into the index and then use software algorithms to a determine a priority order of the contents of the index based on keyword queries. The search engine itself attempts to be a neutral medium through with the nodes of the Network are prioritized based on user query input.

Regardless of the query asked, the method of deriving the list of prioritized results is the same. The method and production cost for each query is identical. This kind of equal handling of Network nodes with regard to user queries is the search engine equivalent of freedom, opportunity and meritocracy for those adding and updating nodes on the Network. The algorithms operate without prejudice.

The differential value of the queries and prioritized link lists is derived through an auction process. The cost of producing each query/result set is the same—it is a commodity—but the price of buying advertising is determined by the intensity of the advertiser’s desire. The economics of the Network requires that we develop strategies for versioning digital commodities and enable pricing systems linked to desire rather than cost of production. Our discussions about “Free” have to do with cost-based pricing for digital information goods. However, it’s by overlaying a map of our desires on to the digital commodity that we start to see the contours, the curvaceousness of this space, the segments where versioning can occur.

We’ve posited that the search algorithm treats all nodes on the Network equally. And more and more, we take the Network to be a medium that can fully represent human life. In fact, through various augmented reality applications, human reality and the Network are sometimes combined into a synthetic blend (medium and message). Implicitly we also seem to be asserting a kind of isomorphism between human life and the Network. For instance, sometimes we’ll say that on the Network, we “publish everything, and filter later.” The gist of this aphorism is that where there are economics of low-or-no-cost production, there’s no need to filter for quality in advance of production and transfer to the Network. Everything can be re-produced on the Network and then sorted out later. But when we use the word “everything,” do we really mean everything?

The neutral medium of the Network allows us to disregard the payload of contents. Everything is equivalent. A comparison could be made to the medium of language— anything can be expressed. But as the Network becomes more social, we begin to see the shape of our society emerge within the graph of nodes. Sigmund Freud, in his 1913 book entitled Totem and Taboo, looks at the markers that we place on the border of what is considered socially acceptable behavior. Ostensibly, the book examines the resemblances between the mental life of savages and neurotics. (You’ll need to disregard the archaic attitudes regarding non-European cultures)

We should certainly not expect that the sexual life of these poor, naked cannibals would be moral in our sense or that their sexual instincts would be subjected to any great degree of restriction. Yet we find that they set before themselves with the most scrupulous care and the most painful severity the aim of avoiding incestuous sexual relations. Indeed, their whole social organization seems to serve that purpose or to have been brought into relation with its attainment.

Freud is pointing to the idea that social organization, while certainly containing positive gestures, reserves its use of laws, restrictions and mores for the negative gesture. The structure of societal organization to a large extent rests on what is excluded, what is not allowed. He finds this common characteristic in otherwise very diverse socio-cultural groups. Totems and taboos bend and structure the space that our culture passes through.

In the safesearch filters employed by search engines we can see the ego, id and superego play out their roles. When we search for transgressive content, we remove all filtering. But presumably, we do, as a member of a society, filter everything before we re-produce it on the Network. Our “unfiltered” content payloads are pre-filtered through our social contract. Part of the uncomfortableness we have with the Network is that once transgressive material is embodied in the Network, the algorithms disregard any difference between the social and the anti-social. A boundary that is plainly visible to the human— and is in fact a structural component of its identity and society, is invisible to the machine. Every node on the Network is processed identically through the algorithm.

This issue has also been raised in discussions about the possibility of artificial intelligence. In his book Mirror Worlds, David Gelernter discusses a key difference between human memory and machine memory:

Well for one thing, certain memories make you feel good. The original experience included a “feeling good” sensation, and so the tape has “feel good” recorded on it, and when you recall the memory— you feel good. And likewise, one reason you choose (or unconsciously decide) not to recall certain memories is that they have “feel bad” recorded on them, and so remembering them makes you feel bad.

But obviously, the software version of remembering has no emotional compass. To some extent, that’s good: Software won’t suppress, repress or forget some illuminating case because (say) it made a complete fool of itself when the case was first presented. Objectivity is powerful.

Objectivity is very powerful. Part of that power lies in not being subject to personal foibles and follies with regard to the handling, sorting, connecting and prioritizing of data. The dark side of that power is that the objectivity of the algorithm is not subject to social prohibitions either. They simply don’t register. To some extent technology views society and culture as a form of exception processing, a hack grafted on to the system. As the Network is enculturated, we are faced with the stark visibility of terrorism, perversity, criminality, and prejudice. On the Network, everything is just one click away. Transgression isn’t hidden in the darkness. On the Network, the light has not yet been divided from the darkness. In its neutrality there is a sort of flatness, a lack of dimensionality and perspective. There’s no chiaroscuro to provide a sense of volume, emotion, limit and mystery.

And finally here’s the link back to the starting point of this exploration. A kind of libertarian connection has been made between the neutral quality of the medium of the Network and our experience of freedom in a democratic republic. The machine-like disregard for human mores and cultural practices is held up as virtue and example for human behavior. No limits can be imposed on the payloads attached to any node of the Network. The libertarian view might be stated that the fewest number of limitations should be applied to payloads while still maintaining some semblance of society. Freud is instructive here: our society is fundamentally defined by what we exclude, by what we leave out, and by what we push out. While our society is more and more inclusive, everything is not included. Mass and gravity bend the space that light passes through.

The major debates on the Network seem to line up with the contours of this pattern. China excludes Google and Google excludes China. Pornographic applications are banished from Apple’s AppStore. Android excludes nothing. Closed is excluded by Open, Open is included by Closed. Spam wants to be included, users want to exclude spam. Anonymous commenters and trolls should be excluded. Facebook must decide what the limits of speech are within the confines of its domain. The open internet excludes nothing. Facebook has excluded the wrong thing. The open internet has a right to make your trade secrets visible. As any node on the Network becomes a potential node in Facebook’s social/semantic graph, are there nodes that should be taboo? How do we build a civil society within the neutral medium of the Network? Can a society exist in which nothing is excluded?

In the early days of the Network, it was owned and occupied by technologists and scientists. The rest of humanity was excluded. As the Network absorbs new tribes and a broader array of participants, its character and its social contract has changed. It’s a signal of a power shift, a dramatic change in the landscape. And if you happen to be standing at the crossroads of technology and the humanities, you might have a pretty good view of where we’re going.

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Our Blakean Year

William Blake

The Winter Solstice brings us the day with most darkness and the least amount of light. As that moment passes, the days begin to grow longer again. There are many markers for the end of the year, but this one seems the most significant to me. Sometimes called midwinter, it’s the moment when Autumn and Winter touch and the momentum of the seasons begins to change. We think of Spring as the time of new beginnings, but Winter is when the light begins to return.

This last trip around the Sun was a rough one. While the light has been growing since November 4, 2008, we’re only starting to feel the warmth. Surviving through the tough times requires an excess of spirit— where the material world withdraws, the imagination begins to fill in the gaps.

What I learned from William Blake is, don’t give up. And don’t expect anything.

– Patti Smith

In thinking about a way to sum up the past year, Patti Smith’s song My Blakean Year kept returning to my thoughts. Smith takes heart in the story of William Blake’s perseverance and faith in the face of utter rejection during his lifetime.

While Smith has learned to play the guitar, she has a limited range. The song My Blakean Year seems to be a sort of talisman, a point of connection for so many threads of her life.

The song gives her a solid foundation on which to stand and perform. It’s the thing that makes rock and roll portable for her. She can scale her performance to a small gathering, a large stadium, or a network television audience.

Having survived her own Blakean year, the song serves as a reminder to honor the past, but engage with the present.

This last year was Blakean for so many around the world. Times are rough, and while we can see the light beginning to grow, we know there are still the tough Winter months ahead. The song serves as a reminder to keep the faith, don’t give up, and don’t expect anything.

my blakean year

In my Blakean year
I was so disposed
Toward a mission yet unclear
Advancing pole by pole
Fortune breathed into my ear
Mouthed a simple ode
One road is paved in gold
One road is just a road

In my Blakean year
Such a woeful schism
The pain of our existence
Was not as I envisioned
Boots that trudged from track to track
Worn down to the sole
One road is paved in gold
One road is just a road

Boots that tread from track to track
Worn down to the sole
One road is paved in gold
One road is just a road

In my Blakean year
Temptation but a hiss
Just a shallow spear
Robed in cowardice

Brace yourself for bitter flack
For a life sublime
A labyrinth of riches
Never shall unwind
The threads that bind the pilgrim’s sack
Are stitched into the Blakean back
So throw off your stupid cloak
Embrace all that you fear
For joy will conquer all despair
In my Blakean year

Written by Patti Smith
© 2004 Druse Music (ASCAP)

What I learned from William Blake is, don’t give up. And don’t expect anything.
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The Twittering Machine: A Network of Accelerants & Silences

paulkleetwitteringmachine

In 1922, the Artist Paul Klee completed a work entitled Die Zwitscher-Maschine, which has been translated into English as The Twittering Machine. The work is part of the Museum of Modern Art’s collection. The catalog description delves beneath the surface interpretation of a machine for making pleasant bird sounds:

Upon closer inspection, however, an uneasy sensation of looming menace begins to manifest itself. Composed of a wiry, nervous line, these creatures bear a resemblance to birds only in their beaks and feathered silhouettes; they appear closer to deformations of nature. The hand crank conjures up the idea that this “machine” is a music box, where the birds function as bait to lure victims to the pit over which the machine hovers. We can imagine the fiendish cacophony made by the shrieking birds, their legs drawn thin and taut as they strain against the machine to which they are fused.

I’d like to take a moment to delve beneath the surface of the machinery that makes up the micro-messaging ecosystem. The micro-messaging service Twitter approaches a kind of frictionless channel for messaging. Everything about it seems to be built for growth and speed. After the substantial speed bump of signing up and orienting yourself in the system, both listening for, and creating messages are very simple. Select the other people (and pseudo-people) you’d like to follow, type fewer than 140 characters of hypertext into a text field and press update.

It’s been noted many times that the follow social structure – the directed social graph – allows for the rapid expansion of social linking. A participant is able to follow many others without the requirement of reciprocity. I follow you, you don’t have to follow me. And the retweet has emerged as a method of transmitting messages across multiple overlapping social graphs. Hash tags have become a conventional method of indicating a message tied to a particular event. All of these tools are dedicated to the acceleration of the growth of the Twitter network. Twitter’s trending topics and search functionality allow users to find high-velocity memes as they begin to achieve broad circulation through the social mesh.

Examples of the benefits of the speed of the Twitter network abound – news about the earthquake in China, the plane landing on the Hudson River, reports on wild fires in Southern California, etc. The news media, feeling somewhat usurped here, has also brought the negative aspects of this lack of friction in the system. Usually this kind of story is meant to point to the filtering role of their own editorial facility. The New York Times put a Twitter contretemps involving Stephen Fry in the first section of their newspaper.

…that little tweet set off a frenzy of vitriolic attacks and counterattacks on Twitter, drawing an untold number of people into an increasingly charged debate and thrusting brumplum — in reality a man from Birmingham, England, named Richard — unhappily into the public’s angry glare. It was an example once again of the extraordinary power of Twitter to distribute information and to sway the opinions of vast groups of people in tiny amounts of time.

While the frictionless micro-messaging environment can accelerate important, or amusing, messages (news, stories, jokes, musings), it can also assemble and ignite an angry mob at lightning speed. And if we look at the tool set we’re offered, everything is oriented toward accelerating people, memes and the growth of the Twitter network. In this frame, value is equated with high velocity and numbers of retweets, likes, mentions, @replies, followers and now, list memberships. We’re looking for what, or who, is going viral.

But if we examine the often banal items that achieve virality, we have to question the value = virality equation. Often the high numbers are a result of lowest-common denominator dynamics, it’s not the cream rising to the top. There are certain kinds of viral items that we’d prefer to be vaccinated against. We’d like a micro-messaging Center for Disease Control warning us about time-wasting viral memes spreading through the Network. Where are the tools to retard the spread of a meme? Where’s the don’t like, or the visible gesture of hiding something from your messaging stream. It’s as though we’ve put a poll in the field that only asks for a positive response and excludes all negative reaction. Feedback loops require both positive and negative inputs.

Feedback is a mechanism, process or signal that is looped back to control a system within itself. Such a loop is called a feedback loop. Intuitively many systems have an obvious input and output; feeding back part of the output so as to increase the input is positive feedback; feeding back part of the output in such a way as to partially oppose the input is negative feedback.

Negative feedback helps to maintain stability in a system in spite of external changes. It is related to homeostasis. For example, in a population of foxes (predators) and rabbits (prey), an increase in the number of foxes will cause a reduction in the number of rabbits; the smaller rabbit population will sustain fewer foxes, and the fox population will fall back. In an electronic amplifier feeding back a negative copy of the output to the input will tend to cancel distortion, making the output a more accurate replica of the input signal.

Positive feedback amplifies possibilities of divergences (evolution, change of goals); it is the condition to change, evolution, growth; it gives the system the ability to access new points of equilibrium.

One method of judging the relative merit of the memes circulating through the stream is to pay close attention to the silences, the negative gestures. While the wisdom of crowds may have crowned an item the real-time meme of the moment, there’s a simple way to filter for value. Using a small portfolio (lists, if you will) of people who’s opinion you respect – look to see if they remain silent on a topic. In the task of discovering value, this kind of silence is golden.

In the early stages of growth, accelerants are essential. As a Network matures, unless it develops a deeper tool set, it simply becomes a twittering machine. The value it appears to create is illusory, and so the commons begins its descent to knee-jerk reactions to the high numbers generated by the lowest common denominator. Perhaps the inevitable result is that overlapping publics contract and the social space becomes a much more private circulatory system. The crucible of dispute, debate and dialogue that produces real value may only emerge away from the public network of accelerants where the social contract allows such differences (both positive and negative feedback). One of the better statements of this kind of contract was for the Nettime mailing list:

Nettime was vector for experimenting with net critique that would confront it with the possibility of inventing new forms of discourse and dialogue in a new medium. Consensus is not the goal. There’s no governing fantasy according to which the differences within this ‘group’ will on some ever-deferred day be resolved. the differences are Nettime; they might be dialectical, implying each other, or they might be differential, making absolutely no reference whatsoever to each others’ terms. Net critique, if understood as a shared practice in and against a never pre-defined techno-local environment, contains many modes of possible participation.

In navigating the electrical storms and fires of the micro-messaging Network, we’d do well to have some tools in our kit in addition to that can of gasoline.

gas_can

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Pina Bausch: Poet of Performance (1940 – 2009)

pina_baush_portrait

The difference I suppose is one of presence—of the energy field that envelopes the performers and the audience for the duration of the performance. It must be felt directly, it can’t be translated into video or text and transported for decoding and consumption at a remote endpoint. My first experience of Pina Bausch’s Tanztheater Wuppertal was the piece called ‘Palermo Palermo’ at the Brooklyn Academy of Music. I’d read about her work extensively, but this was my first taste.

Pina Bausch passed away yesterday, she was 68 years old. Bausch had just completed a new work, and was preparing for upcoming performances. She was one of the few artists who was required viewing in my book. If you could see a performance, there was no alternative, you must go. Now we must try to do the impossible; conjure a semblance of what it was like to be in the presence of a performance.

‘Palermo Palermo’ began with the stage completely obscured by a floor-to-ceiling wall of cinder blocks. As the lights in the auditorium dimmed, the audience was confronted with this wall. Slowly one detected movement, something was happening to the wall. It was falling backward onto the stage, and it struck with an incredible crash. The air was filled with dust, the stage was covered with broken cinder blocks, the music started up and dancers appeared—running madly across the field of broken stone.

My last encounter with Bausch’s ensemble was in Berkeley, at Zellerbach Hall. I happened to be sitting in the first row, and during a particular sequence in the performance, Dominique Mercy was asking people in the audience to make a snoring sound. This was my one contribution to Bausch’s body of work— a loud snore from the first row.

Cafe Muller

The Rite of Spring

Nelken

Walzer

Il lamento dell’imperatrice

Pina Bausch settled in, and lived her life, on the boundary between dance and theater. Her interest was not in how people move, but rather in what moves people. Her pieces were without beginning or end, constructed from the real-time lives and emotions of the dancers performing the piece. Standing at the edge, or perhaps a bit beyond it, there are no hard and fast rules about what can and cannot be included in a performance. It’s a rare artist who can consistently create passionate, engaging works from that position over a long career.

Lee Yanor’s short film on Pina Bausch captures the movement of the choreographer’s hands. Her works often had a mythic scale to them, but they began, perhaps, with her hands thinking through the movements that moved her dancers through the dance.

Pina Bausch, may “…flights of angels sing thee to thy rest.”

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