March | 2019 | Platypus

Dumbwaiters and Smartphones: The Responsibility of Intelligence

 Scott W Schwartz  March 26, 2019

“I don’t have to drink alone,” she paused for comedic effect, “now that I have Alexa.” Thus was the punchline of a story told by a widowed octogenarian at a recent wedding. Alexa is a mass-produced personality that can play music, suggest items for purchase, monitor consumption and health habits, or, like any good friend, just listen. While all these tasks could be performed in silence with various algorithmic appliances, Alexa and her cousins from Google and Apple are imbued with a perceived autonomy directly stemming from their capacity for vocalization. Speech, it seems, beckons the liberation of abiotic materials from their machinic programming. (read more...)

Producing the Anthropocene, Producing the Future/Water Futures

 Lauren Rickards  March 21, 2019

Editor’s note: Today we have the final installment of our “Anthropocene Melbourne Campus” series, featuring two related posts by Lauren Rickards and Ruth Morgan. Producing the Anthropocene, Producing the Future Lauren Rickards, RMIT University Images of the future are increasingly cast on the widescreen of the Anthropocene: the planetary-scale shift from the comfy Holocene to an unknown and threatening new ‘operating space’ for the Earth. How humanity inadvertently shifted the whole planet so radically and in such a self-damaging manner is now the subject of intense debate. Different narratives of blame locate relative responsibility with various sectors, activities and groups. Common candidates include farming, colonial plantations, industrialization and urbanisation, and the post-war acceleration in consumption and pollution. From a material perspective, there is a strong geological rationale for naming each as a major source of planetary-scale environmental and social impacts and “terraforming.” Indeed, this is how these various proposed starting dates for the Anthropocene have been identified: through the pursuit of widespread and sharp enough changes in the geological record to count as what geologists call a “Golden Spike”, the prerequisite for declaring a new epoch. Yet this search for the physical origins of the Anthropocene in the historical record needs to extend far past physical signals and their proximate causes to the visions, goals and assumptions underlying the activities involved, including what Ian Hacking would call styles of reasoning. Reading the Anthropocene in this light reveals many limitations within the outlooks, ideas and values that informed the activities mentioned above, including an often willful ignorance of the immediate impacts on people, nonhumans and the abiotic environment, as well as the “unknown unknown” of the long-term, accumulative changes being wrought. (read more...)

Out-of-Body Workspaces: Andy Serkis and Motion Capture Technologies

 Rebecca Perry  March 19, 2019

Over the last two decades, the entertainment industry has experienced a turn to what Lucy Suchman termed virtualization technologies in film and videogame production (Suchman 2016). In addition, production studies scholars have described authorship as linked to control and ownership, sharpening distinctions between “creative” and “technical” work, a divide with significant economic repercussions (Caldwell 2008). These ideas are useful in understanding film studio workspaces, where visual effects (VFX) workers and actors collaborate in creating believable virtual characters, using three-dimensional (3D) modeling software and motion-capture (mo-cap) systems to capture the attributes and movements of human bodies and transfer them to digital models. Once captured, digital performances become data, to be manipulated and merged seamlessly with those of live actors and environments in the final film. The introduction of virtualization technologies and computer graphics tools have surfaced tensions over creative control, authorship, and labor. British actor Andy Serkis has been a high-profile apologist for the human actor’s central role in bringing virtual characters to life for film. Serkis, who Rolling Stone called “the king of post-human acting,” is known for using motion capture (mo-cap) to breathe life into digitally-created, non-human characters. His notable performances include the creature Gollum in the Lord of the Rings trilogy (2001-2003), the ape Cesar in Rise of the Planet of the Apes (2011), as well as Supreme Leader Snoke in Star Wars: The Force Awakens (2015), and work on several characters in the 2018 Mowgli: Legend of the Jungle, which he also directed. While Serkis’ performances have made him highly visible to audiences, digital labor historians have begun documenting the often-invisible film workers creating 3D models and VFX (Curtin and Sanson, 2017). The tensions between mo-cap performers and VFX workers reveal the contours of an emerging hybrid workspace that combines actors’ physical bodies and movements with VFX workers’ manipulations of digital geometry and data. (read more...)

Dramatising the Future

 Briohny Doyle  March 14, 2019

This is the third in a series of posts by scholars who attended the Anthropocene Campus Melbourne, an event hosted in September by Deakin University as part of the larger Anthropocene Curriculum project. Over the four days of the Campus, 110 participants from 49 universities (plus several art institutions and museums) attended keynotes, art exhibits, fieldtrips, and workshops based around the theme of ‘the elemental’. Earlier this year, at the Emerging Writers Festival panel on ‘Writing the Anthropocene’, I was asked if I thought that, in imagining a future world for my 2016 novel The Island Will Sink, I also had an ethical responsibility to ‘get it right’. The question was asked by a writer who also worked as a sustainability officer in community organisations. It led to more uncomfortable questions: As a writer of fiction, is it a problem to use the predicted extinctions and environmental catastrophes of the not too distant future to produce (amongst other things) stakes in a literary production? (read more...)

Towards a Queer Art of Surveillance in South Korea

 Timothy Gitzen  March 12, 2019

When is a face not a face? With the launch of the iPhone X that boasts facial recognition capabilities, the individual markers of one’s face tie one’s identity to the security of their phone. Yet it also makes the face complicit in forms of self-surveillance, as it requires definitive facial proof to access one’s phone. It produces the face as evidence of one’s identity that supposedly cannot be forged. In this instance, one continuously uses one’s phone to surveil one’s own identity—with the face becoming a safeguard against potential security breaches. Small-scale, yes, but surveillance need not always be connected to sprawling security apparatuses and institutions. So we ask again: when is a face not a face? When it is used to distinguish a body as a body rather than as an individuated person? With this post, we seek to explore possible answers to this question in the context of South Korea, by focusing on the role of self-surveillance in the politics of queer student activist organizations. (read more...)

Description/Classification/Threshold: Experiments with Renewable Energy Taxonomy

 Nandita Badami  March 5, 2019

This is not renewable energy: Nor is this some clever, Magritte-esque meta-commentary on how it is impossible represent or think about renewable energy separate from the technologies that harness it. No, it is simply an issue of taxonomy: hydropower is only counted as “renewable” some of the time. This is confusing, because if the term “renewable” has any meaning, after all, it is first and foremost a description of a process, one that specifically refers to the fact that the natural resource from which said energy is produced either does not significantly deplete upon use to begin with, or can be easily replenished within a human time scale. Hydropower, harnessed through the most abundant substance on our “blue planet”, seems to easily fit the description, which makes the exception worth exploring. (read more...)