This text explores the evolution of digital inequality, highlighting how emerging phenomena pose new challenges to digital inclusion, particularly with the incorporation of artificial intelligence (AI) into everyday life. (read more...)
On Saturday of Labor Day Weekend 2020, a situation was rapidly deteriorating north of Fresno, California. Sometime around 6pm on September 5, the Creek Fire started, gained momentum, and burned north (Gabbert 2020a). The fast-moving fire blocked the road from campgrounds in the area, stranding hundreds of campers visiting Mammoth Pool Reservoir. Quietly circling overhead was an MQ-9 Reaper, observing the apocalyptic looking situation. The sensors attached to the bottom of the MQ-9 Reaper could see through the billowing clouds of smoke. The California Air National Guard crew flying the MQ-9 was looking for something: a landing spot for evacuations (Solman 2020). (read more...)
Publishing is confusing and complicated. There are often barriers to understanding it fully. And the process is very rarely fully transparent. So, I’m sharing my experiences of the publishing process, and talk about why I, as a PhD student in STS, chose to go with a trade publisher over an academic one when my book went to auction. This is Part 2 of a series on publishing in academia. In Part 1 of this series I describe how I got my agent, and discuss whether or not academics need agents. (read more...)
For some time now, my colleagues and I at Labirinto (Labyrinth, Laboratory of Socio-anthropological Studies on Technologies of Life, State University of Campinas, Brazil) have been discussing and practicing feminist ways of doing academic research. For us, this goes far beyond prioritizing feminist readings. That’s important, but we’re trying to build practices that are articulated with what we believe politically and what we want for the university and the world. One important point is to create a welcoming working environment based on careful personal interactions that avoid as much as possible reproducing the classist, racist, and misogynist ways of working that are so common in the academic power structure. Another point is to think about how we can experiment with methodological proposals that are open to difference. Figuration, especially in Donna Haraway’s proposals, is one such experiment. This is a do-it-yourself manual on how to create figurations and inhabit feminist STS research. It is the result of these discussions in the Labyrinth, and also of my doctoral thesis. (read more...)
Publishing is confusing and complicated. There are often barriers to understanding it fully. And the process is very rarely fully transparent. So, I’m sharing my experiences of the publishing process, how I got my agent, and discuss whether or not academics need agents. “Do Academics Need Agents?” is Part 1 of a series on publishing in academia. In Part 2 of this series, I talk about why I, as a PhD student in STS, chose to go with a trade publisher over an academic one when my book went to auction. (read more...)
The warm December sun had only recently risen over Miami Beach when I found myself in the bustling halls of Art Basel Miami 2021, one of the world’s most prestigious international art fairs. As an anthropologist and tech entrepreneur, I wasn’t there just to admire the art—though there was plenty to admire. I was there to observe and make sense of the intricate dance between artists, gallerists, and collectors in this temporary, high-stakes marketplace. Art fairs like Art Basel Miami are annual events where galleries from around the world converge to showcase and sell their artists’ work. For a few days, the fair becomes the epicenter of the global art market, with thousands of works on display and millions of dollars changing hands. Collectors, curators, consultants, and art enthusiasts flock to these events, creating a frenzy of activity as deals are struck and reputations are made. As I walked through the crowded aisles, the stark contrasts were impossible to ignore. The fair’s layout itself told a story of hierarchy and influence in the art world. Established galleries like Gagosian commanded prime locations near the entrance, their spacious booths bustling with activity. These high-end galleries had paid premium rates for their coveted spots, and it showed in their positioning and the attention they received. Their displays exuded an air of exclusivity, with artwork unlabeled—a silent statement that if you didn’t already know the piece, perhaps you didn’t belong. (read more...)
Common sense tells us that play and work are opposing categories. However, in our society we often encounter situations where the boundaries between these two categories become difficult to distinguish. It’s common that people earn money from hobbies—activities not typically associated with the effort required for any form of work, mostly because they are fun. These include recording oneself dancing on the street, doing product unboxings, or streaming while playing video games. The variety of activities that can now be monetized is vast; almost any activity can become a niche ready to be used by the market to maintain a consumerist dynamic. (read more...)
A passage from the novel Hurricane Season by Fernanda Melchor reads: La Matosa was slowly dotted once more with shacks and shanties raised on the bones of those who’d been crushed under the hillside; repopulated by outsiders, most of them lured by the promise of work, the construction of the new highway that was to run right through Villa and connect both the port and the capital to the recently discovered oil wells north of town, up in Palogacho, enough work for fondas and food stalls to start cropping up, and in time even cantinas, guest houses, knocking shops and strip clubs where the drivers, the travelling tradesmen and the day labourers would stop to take a moment from the monotony of that road flanked on either side by cane fields, cane and pastures and reeds filling every inch of land for miles and miles, in every direction, from the very edge of the tarmac to the low slopes of the sierra to the west, or running eastward to the coast, to its eternally raging waters. (2017: 25) When the novel won the 2019 German International Literature Award, the jury called it “the novel of poverty in twenty-first-century global capitalism” (HKW 2019). If poverty feels central to this novel, I believe it is because it lays out the political economy of oil from the perspective of a site of extraction, exploring the violent and exploitative labour and gender relations that orbit and enable the production of the fuel of 20th-century capitalism. In other words, it is not poverty but rather capitalism in its oil-powered dimension that might be considered central, and poverty part of its social world. (read more...)
