In this essay, I intend to focus on De Certeau’s ideas of use as consumption, as well as his theory of play, and then to place them both in conversation with Agamben’s conception of the ‘ assolutamente improfanabile’ – the absolute impossibility of profaning. I intend to apply De Certeau’s and Agamben’s ideas to an exploration of some recent trends in the high tech market regarding the creation of goods to which the notion of ‘AI’ may be particularly salient. I (...) hope to show, in contrast to Agamben’s overall deeply disillusioned analyses of late capitalism, that in such a market populated by various forms of ‘AI’ there are indeed new resources for resistance and nodes of creativity, as high tech consumers play with, and thus reconceptualize, both products and their use in terms helpfully articulated by De Certeau. (shrink)

This article explores one aspect of digital politics, the politics of videos and more specifically of DAESH recruitment videos. It proposes a practice theoretical approach to the politics of DAESH recruitment videos focused on the re-production of regimes of (in)visibility. The article develops an argument demonstrating specifically how digital and commercial logics characterize the aesthetic, circulatory, and infrastructuring practices re-producing the regime of (in)visibility. It shows that digital/commercial logics are at the heart of the combinatorial marketing of multiple, contradictory images (...) of the DAESH polity in the videos; that they are core to the participatory, entrepreneurial, individualized and affective processes of contagion determining whom the videos reach and involve; and that they shape the sorting, linking, flagging and censoring of the videos that define their accessibility on the internet. The theoretical and political cost of overlooking these digital and commercial characteristics of DAESH visibility practices are high. It perpetuates misconceptions of how the videos work and what their politics are and it reinforces the digital Orientalism/occidentalism in which these misconceptions are anchored. (shrink)

While we witness a growing belief in transparency as an ideal solution to a wide range of societal problems, we know less about the practical workings of transparency as it guides conduct in organizational and regulatory settings. This article argues that transparency efforts involve much more than the provision of information and other forms of ‘sunlight’, and are rather a matter of managing visibilities than providing insight and clarity. Building on actor-network theory and Foucauldian governmentality studies, it calls for careful (...) attention to the ways in which transparency ideals are translated into more situated practices and become associated with specific organizational and regulatory concerns. The article conceptualizes transparency as a force that shapes conduct in organizational and socio-political domains. In the second section, this conceptualization of transparency as a form of ‘ordering’ is substantiated further by using illustrations of the effects of transparency efforts in the internet domain. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)