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Presenting my thesis (again)

A couple of weeks ago, I presented part of my thesis at the Danish open source conference Open Source Days.

In the process of preparing the presentation, I returned to thesis and delved into the material in a way that I haven’t done since I wrote it. It was interesting to see how my own ideas have developed in the light of what I have learned and worked with since finishing two years ago. So I’ve continued working on the presentation even after the conference, annotating and adding to it, and making a more visual, more updated and – hopefully – more easily approachable version of my thesis than just the raw PDF of the whole thing that I’ve showed so far:

Oh, and if you read it – please let me know what you think can be improved. One big part is probably killing some more darlings, so tell me which parts didn’t work for you.

Roles for the 21st century artist

Recently, I’ve been fascinated with Douglas Rushkoff, and I came across this presentation, in which he does well to sum up some of the main themes of his work. His style is earnest and passionate, and though some of his arguments are very generalized for easy consumption, he does have some very good points:

Talking to a crowd of DIY artists, Rushkoff focuses on how art is changing in the 21st century. He argues that the classic male sexuality curve of narrative with which we’re so familiar (tension, climax, release), and which can be in just about any Hollywood film or thirty second tv advertisement, won’t be the only narrative in town.

Rushkoff argues that the new interactivity and active participation that the Internet and the computer offers us, will lead to new forms of narrative. And he ends his presentation highlighting 3 new roles for the artist to take on to explore these other forms of narrative:

1) Call and response
Open up your narrative for audience participation. The audience is still uncertain of their own abilities, and they don’t yet want complete freedom. Offer them some freedom to participate, but continue to lead the narrative – like classic oral storytelling or protestant preaching. Eventually, they will supply the best ideas for leading the narrative forward.

2) Make tools
Create the tools and means for the audience to tell their own story. Here, the artist’s role is more like the role of the Dungeon Master of old D&D games: He may have absolute power, but he is continually bending the rules and shaping the scenery to create those story moments where the audience, the players can interact and create their own story.
That story is not a matter of reaching the climax and going to sleep. The point of the game is to keep playing the game. To keep the game interesting. The art – the process of playing, of creating the story – is a goal unto itself.

3) Play spaces
This is the hardest part: Creating free spaces where the members of the former audience all participate on equal terms, creating play, art and magic together. Temporary Autonomous Zones without leaders, where everybody is an artist. I wonder whether story club be an example of this?

Lucy Suchman on framing technology

This is a sort-of rough edit of my live-blogging notes for Lucy Suchman’s talk today at the IT University of Copenhagen. The talk was entitled “Human-machine reconfigurations – expanding frames and accountable cuts”

Lucy Suchman is an antropologist by training, and has worked at the legendary Xerox PARC research facility for many years. Suchman is here to talk about framing, and how we think about the way we frame technology. She presents a photo of a computer screen and an engineer’s hand pointing to something on the screen. This is an example of framing the human-machine interaction. Here, it’s just the hand – the body part interacting with the machine. This frame cuts out a lot of context in order to focus on the specific interactions.

What Suchman wants to draw our attention to, is the way that we make these frames in how we relate and think of technology and our interaction with technology, particularly in relation to research on technology: Where are we to make the cut between human and machine in a given research frame? How do we make those frames? How might we expand those frames? How can we take responsibility for the cuts we make?

She points to the cover illustration of her latest book “Human-Machine Reconfigurations” (2007). The illustration shows a “Device for washing hands” where the framing of the device blurs the boundaries between human and machine – which parts belong to whom?

Suchman says that this illustration is a good way to illustrate the word “reconfiguration”, which she finds to be a vital part of using technology. She cites Donna Haraway’s notion of technologies as ‘materialized figurations’ (from her book, “Modest Witness”). That is: Technologies take part of our activities and practices and materialize them. Configuring a tool to fit with a certain activity or practice.

Designing, then, is most of all a question of reconfiguring the relationship between human and machine, between practice and the materialized figuration of that practice. For instance, between the practice of drilling a hole and the specific drill matching the practice of drilling and containing certain assumptions as to how drilling works.

In all of this, the question Suchman focuses on is “how are persons and things configured and reconfigured in relation to one another? And how might they be figured together differently?”

She uses the example that when roboticists are designing human-like machines, they are expressing their notions of what it means to be human – of human practices – in their design. Suchman wants to show a series of examples of such reconfigurations that she’s worked with while at Xerox.

She shows an age-old magazine ad from back when people still believed in “the paperless office”:

“Why do this…” (picture of paper napkin with the proverbial good idea scribbled on it)
“… When you can do this?” (picture of two persons sitting with a laptop between them at a lunch table)

The ad suggests that people would always prefer the laptop since it offers much more technological power. But rather than assuming the complete displacement of paper technology by digital technology, Suchman and her research associates focused on how to compare the particular affordances of these two media, focusing on the interoperabilities and incompatibilities between the two media. This proved to be a much more challenging and fruitful approach, partly because the relationship between paper and digital media was the central focus of the work at Xerox – it is the “Document company”, after all.

They learned that it is vital to focus on the social arrangements within which design takes place. If you want to change the way things are designed, you have to change the context, offering designers the opportunity to engage in meaningful relations with the potential users.

Suchman presents another example where the Xerox researchers were examining customer complaints in relation to a new xerox copier. The machine proved notoriously difficult to use, and they tried to map the issues people had with these photocopiers by hanging out by the photocopier, talking to users trying to make duplex copies.

But the problems regarding the machine proved too tricky to study “in the wild”, so they ‘captured’ the machine and brought it back into the lab at PARC to test it. So they got their colleagues to try out the new copier, filming their efforts on video. They filmed a memorable sequence of two famous computer scientists failing to get the machine to do duplex copies: “They theorized, and tried their best. Spending an hour and half making prints, filling the room with paper but unable to make a single two-sided print.”

This immense difficulty of using the device stood in stark contrast to Xerox’s own advertising, which remarked “all you have to do is push the green button.” Thus, “the marketing campaign tried to obscure that any learning was required to use the more advanced functions of the machine.”

In the end, Suchman did a careful mapping of user rationale against actual use against the design rationale of the copier to discover how differently the technology had been framed by the designers compared to the users.

Then, Suchman shows a short bit of video from a study of the work flows at ground operations centre at an airport (the place where they handle communication and coordination of aircraft once they’re on the ground).

They did a careful examination of which sources of information the ground controllers consult in order to gather the information necessary to coordinate planes: Video screens, flight tables, radio contact, talking to one another in the control room, and so on.

What they found was that this sort of utilizing different information sources is unremarkable everyday stuff to the controllers. This led to a new understanding of what an information system is:

- multiple, partial information sources
- assembled into a working system through the skilled practices of their use

Their conclusion was that it is only by having the professional knowledge to use a number of partial information sources in conjunction that these information sources became useful. In this way, the information system is a configuration of both information sources and the skilled practices of the controllers. As Suchman’s colleague, the eminent interaction analyst Charles Goodwin, noted in his later work on the study (“Professional Vision” (1994)):

practices … used by members of a profession [that] shape events in the domains subject to their professional scrutiny. The shaping process creates the objects of knowledge that become the insignia of profession’s craft.

A third story from Xerox. Suchman did participant observation at a big law firm in Palo Alto in order to explore how the lawyers used and stored paper records. She set up a video camera pointing at a lawyer’s file cabinet, and asked him to “please record what you do when you use your file cabinet.”

She shows a short video clip with the lawyer going through his file cabinet to find a specific kind of Non-Disclosure-Agreement for one of his colleagues.

Suchman found that the lawyer acted as a librarian, helping the other lawyer find and give context to the specific document that he wouldn’t have had, had he found it on his own in the company online document repository. They also studied the way that lawyers and temporary filing workers worked to code comparable documents.

She was surprised to find that the lawyers considered their coding to be better because it required ’subjective’ interpretation and professional judgement. They considered the temporary workers’ coding to be poor because of they sought to be ‘objective’ and thus without the necessary interpretation.

In studying how both groups coded the documents, they found that all jobs contain elements of routine work and knowledge work, and it is impossible to simply separate the routine work from the knowledge work. Instead, it is a much more delicate process to find out how to best apply automation in relation to these elements.

As she ends her lecture, Suchman quotes Bruno Latour’s famous passage from Pandora’s Hope on the “gun in the hand”:

You are different with a gun in your hand; the gun is different with you holding it. You are another subject because you hold the gun; the gun is another object because it has entered into a relationship with you.

(Latour, Pandora’s Hope, page 179)

In short: We get different entities when we put technology and people together. She ends by quoting the feminist physicist Karen Barad (in her book “Meeting the universe halfway” (2007)):

Agency is not an attribute but the ongoing reconfigurings of the world.

- which obviously matches the points that she’s been making very well.

Q: What are the big challenges in your work today?
A: Still very interested in Artificial Intelligence, including the reconfiguration of military technology such as pilot-less aircraft and their interfaces. The military and entertainment complexes are growing together in this space.

Also: Remotely controlled robots for use in surveillance, sentry duty and so on. which poses the interesting AI-question: How do you determine whether a given person is a friendly or a un-friendly?
We won’t see the full-blown autonomous robot soldier anytime soon, but the remote controlled robots will certainly be possible and big part of the near-future.

Also: Wants to write about her time at XEROX Parc and what she’s learned about what innovation is based on her experiences there: What constitutes an innovation? She posits that it is all about the framing…

Bootstrapping complexity

So, last week I posted my remix of Kevin Kelly’s book “Out of Control”. And soon after putting the remix online, I sent a note with a link to Kevin Kelly to make him aware of the remix, hoping that he would approve.

He did approve. Much more than I expected. And it didn’t take him long to reply:

I LOVE the remix! I wish you had been my editor. There is only one thing missing from this fantastic remix – a better title. I was never happen with the book’s title and now that it is more focused, the need is even greater. What would you call it?

Whoa! Initially, I hadn’t considered changing the title as I wanted to make it as clear as possible where the material came from. Good titles are notoriously difficult to find, and I’m sure that Kevin has thought quite a bit about this one.

Considering the remix as a new whole work, I found that it was the notion of bootstrapping and self-organization that had kept me reading the book initially: the recurring patterns of self-sustaining systems, which I knew were to be summed up at the end of the book. What appealed to me was the fact that the book not only describes self-organisation but also invites further experimentation.

So I picked my title with that in mind: “Bootstrapping Complexity” plays on the fact that the book not only describes how complexity comes about but also how complex a venture self-organization really is. In this way, the title meant to signal a positive empowerment to explore self-organization – both by reading the book and by experimenting on the basis of the book.

I’ve updated the remix with the new title. The new PDF version is here.

bootstrapping_complexity.pdf (page 1 of 155)

Out of control – remixed

This summer, I read Kevin Kelly’s book Out of Control. It is a fascinating book full of fascinating ideas reaching across the board from artificial intelligence, evolution, biology, ecology, robotics and more to explore complexity, cybernetics and self-organising systems in an accessible and engaging way.

But as I read the book, I also found it suffering from a number of frustrating flaws: Not only is it way too long-winded, it is also almost completely void of meta-text to help the reader understand what Kelly is trying to do with his book (having read the book, I’m still wondering).

Indeed, reading the book I got the feeling that Kelly was trying to combine several different books into one: There is a fascinating study of self-sustaining systems. But there is also a sort of business-book take on network economy. And an extended meditation on evolution and postdarwinism.

I’m sure that to Kelly, all of these things are tightly interconnected. But he doesn’t explain these interrelations very well to the reader. His central argument is that as technology becomes ever more complex, it becomes more akin to biological systems (eco-systems, vivisystems, interdependent and co-evolving organisms). But because the individual chapters are set up as essays on their own, there is often little to tie these wildly different ideas together.

I would have preferred a much shorter book, more narrowly focused on the idea of self-organising systems. The whole text of the original book is easily available online at Kelly’s own website, so I thought: Why not remix the online text to make such a book?

So I did.

I’ve put my remix up here. The PDF version is available here. Comments are most welcome.

Put on your armor

I’ve found a fascinating blog on feminism and such (“ladybusiness”) called Tiger Beatdown. I’m generously fascinated by the blogger, Sady, who so clearly has found her own voice online and uses it so well. Like in a recent meta-post following some big discussions in the comments on her blog, she ends her exposition with the following salvo:

The world is fucked, kids. You know it. You’ve seen it. If you are basically anyone other than a thin able-bodied white dude who likes the ladies and makes truckloads of cash, a substantial portion of the world is convinced that you just do not matter. Wishing aloud that the world catered more specifically to your personal wishes and desires… well, that’s not how it works. It’s missing the point, actually. Because the point is not, and never has been, you. The point is everybody. So you get up every morning, and you put on your armor, and you make things change.

Yes!

Jeff Juris’ “Networking Futures”

Some time ago, I read Networking Futures by Jeff Juris. A trained anthropologist, Juris spent 18 months conducting ethnographic fieldwork among anti-corporate globalization activists in Barcelona at the height of the protests against the neo-liberal economic institutions in 2000-2002.

Juris’ main argument is simple enough: That the practices of the anti-corporate globalization movements involve a growing a confluence of forms (organisational structures), norms (political models and ideals), and technologies (the computer infrastructure – typically mailing lists – through which the movement interacts).

Juris points out that these networks are not inherently democratic (they are basically structured in the same distributed manner as Al Qaeda). Rather, the activists continually seek to build networks that promote their core values of participatory democracy, self-organisation and fierce egalitarianism.

Juris concludes his chapter on these participatory democratic practices by quoting one of his informants on his motivations for being involved beyond replacing “the current system of representative democracy”:

One of the things that motivates me these days is trying to figure out how we should organize democracy at the beginning of the twenty-first century, given the technological infrastructure at our disposal and new forms of economic integration. How do we deepen our local democratic practices – at work and in our neighbourhoods – and transfer that spirit to the global level?

Throughout the book, Juris circles around this question of democratic practices and involvement, and he uses his book to explore a wide range of aspects of the practices of the anti-corporate globalization movement, including the direct action tactics, the participatory democratic coordination within affinity groups, shifting alliances between various groupings within the movement, the World Social Forums, and the use of digital platforms like Indymedia.

Juris does a decent job of presenting these experimental democratic practices, but I found myself growing ever more annoyed at Juris’ stance – for two reasons:

One: Every chapter ends up concluding that the democratic experiment presented is a confluence of norms-forms-technologies, but Juris doesn’t ever get into what that really means. Because there are so many different practices to describe and explain, Juris ends up spending the entire book focusing on ethnographic descriptions and anecdotes, leaving little room for analyzing and discussing the implications of these practices.

And so, every chapter ends up posing more interesting questions than the ones it sought to answer: What about those deepening local democratic practices? It’s too early to tell, apparently.

Two: Because of the focus on ethnographic description, Juris carefully seeks to position himself as an ethnographer. But even so, he is deeply sympathetic to the cause and committed to providing the movement with helpful research (and, he promises, not just in furthering his academic career).

That means he is caught up in a weird-role as a double agent: Both working for academia in understanding the anti-corporate globalization movement, as well as working for the anti-corporate globalization movement to help them understand themselves better – a position he calls militant ethnography:

For the militant ethnographer the issue is not so much the kind of knowledge produced, which is always practically engaged and collaborative, but rather, how is it presented, for which audience, and where is it distributed?

In “Networking Futures”, Juris talks very much to the academic audience, apologetically describing every element of his political involvement, reflecting on his role as a scientist in a field of subjective opinions, many of which he happens to agree with.

The result is a sort of tightly self-moderated eye-witness ethnography which describes the historical events of the anti-corporate globalisation movement in minute detail but dismisses the grander opportunity to explore where that movement are heading since those heady days of protests and social forums.

Considering this, I find that my main gripe with this book is that it isn’t what I wanted it to be. I had hoped for a book written by an activist full of passion and vision for a better, more democratic and positively human future – like David Graeber’s excellent Possibilities. Instead, I got a somewhat anemic, academic work that does a decent job at explaining the past but offers little forward thinking.

I hope that Juris does have visions for a brighter future as well, and that he’ll share them with us all at some point.

More weird and wonderful web comics

A vital part of my Google Reader feeds are web comics. And from time to time I still happen upon new web comics to add to my feed collection. Here’s two which I haven’t mentioned here before.

Pictures for sad children is a quietly sad comic featuring simply drawn characters expressing very honest and simple desires that resonate deeply in a ever more complex world. There is no frustration in their contemplation of the world, only a wonderfully disarming honesty. Like this:

Atomic angst

A softer world is not really a comic at all. Sure, it presents itself through a standard layout of three panels, each containing part of a photo. Together, the three photo panels frame the sordid, candid, and poetic prose that describe unexpected situations, recall sore memories, make bold manifestos – all sparkling in their brevity:

ok?

indeed

Another thing that I enjoy immensely about both comics is the facts they use the hidden picture “alt text” to add a little secret extra dimension to the comic, often twisting the words or pointing out hidden details in the art. Just hover your mouse cursor over the images to get the text (but note that the alt text on my blog is stuff that I have put in. To get the original comic alt text, you should go to the sites themselves).

Have fun.

Roskilde 2009

Another year, another Roskilde Festival.

As usual, I’ll give a quick summary of the best concerts I attended this year. I’ve done this for the past few years that I have been blogging and attending the festival. But this year, it doesn’t seem quite as relevant to do so. I have been neglecting blogging for quite a while now. It takes a lot of time, which I don’t seem to have these days. And I’ve been growing increasingly frustrated at my own blog posts whenever I do blog: Blogging doesn’t seem to be improving my writing.

I enjoy writing, but lately I’ve found that the way I blog isn’t too conducive to producing high quality prose. Usually, it’s just first drafts, idle thoughts quickly jotted down and published straight away, thus avoiding the careful re-reading, editing, and re-writing that the well-composed essays that I’d like to write require.

But there is another element as to why I haven’t been blogging, and Roskilde Festival is a great example of this: Coming back from the festival, I can see how others already have posted their favourite concerts on Twitter or Facebook, summing up their feelings in short status updates as the concerts were happening. Blogging about it, even just the day after the event seems late and out of context.

So, in my mind, I’ve been changing the focus of this blog a fair bit. Here, I won’t be competing with the real time tweets and status updates. Here, I will place the more detailed status updates from my outboard brain. For my memory and your inspiration. In addition, I will attempt to experiment a bit thoroughly with tweeting, having realized that I might just as well turn my annual Roskilde post into a series of tweets:

andreaslloydMy #rf09 5 best: Magnifico – Slovenian pop wrapped in golden chains and brass horns. Very dansant. http://ping.fm/4BbyH

My #rf09 best: Jenny Wilson – Chantreuse igniting the audience with empathic and mature uncanned R’n'B. http://ping.fm/BYK0w

My #rf09 best: Analogik – late, late night show of complex beats magicking us away to a hidden balkan sailor’s dive. http://ping.fm/1RQkn

My #rf09 best: Malk De Koijn – rhyming to wrap the Danish language inside out: “De er bare kommet for at fyre den konge af.” http://ping.fm/qaolx

My #rf09 best: The Whitest Boy Alive – dance music, beautiful and unimposing in a very Scandinavian way. http://ping.fm/DNYca

There. How does that look?

Humble farming

Found this fascinating film on the future of farming through Euan Semple’s blog:

The idea expounded in the film is that of permaculture – short for permanent agriculture, it is an agricultural approach that seeks to tweak the natural ecosystems of a given locality to yield crops without disturbing the balances set within that system.

As Euan Semple writes of the film:

What struck me watching this wonderful film was the degree to which arrogance and fixation for imposed order was what got us into trouble in the first place and how much humility and willingness to learn from apparent chaos is what will get us out of it. Any parallels you may draw with organisational life are totally intended.

I think that this lack of humility is not just relevant to the way we produce our foodstuffs and organise our worklives. I think it might well be one of the core issues we face.

Creative Commons Attribution-NonCommercial-ShareAlike 2.5 Denmark
Creative Commons Attribution-NonCommercial-ShareAlike 2.5 Denmark
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