Digital Media: Human–Technology Connection examines the technologically textured world through case studies that illustrate the way humans and technology connect with each other and the world. An interdisciplinary array of sources from philosophy, postphenomenology, philosophy of technology, media studies, media ecology, and film studies shows that digital media and its content are not neutral. This technology textures the world in multiple and varied ways that transform human abilities, augment experience, and pattern the world.

This book uses the conceptual tools of philosophy to shed light on digital media and on the way in which they bear upon our existence. At the turn of the century, the rise of digital media significantly changed our world. The digitizing of traditional media has extraordinarily increased the circulation of texts, sound, and images. Digital media have also widened our horizons and altered our relationship with others and with ourselves. Information production and (...) communication are still undoubtedly significant aspects of digital media and life. Recently, however, recording, registration and keeping track have taken the upper hand in both online practices and the imaginaries related to them. The essays in this book therefore focus primarily on the idea that digital media involve a significant overlapping between communication and recording. (shrink)

The extensive use of digital platforms has presented considerable challenges to democracy, particularly in the realms of politics and ideology in Brazil. The emergence of digital echo chambers and the rise of extreme viewpoints pose threats to social cohesion, informed decision-making, and the development of individual identities. This analysis focuses specifically on identity formation, the creation and dissemination of information, emphasizing its repercussions on social identity and cultural diversity. Consequently, the influence of these echo chambers in promoting extremist (...) views in this context is just one facet of the broader ideological, racial, and class polarization facing the nation. To face these challenges, it is imperative to defend critical and reflective education on the role and use of social networks, both in the educational system and in the daily lives of young people and society. (shrink)

The article examines the dynamics and change of the contemporary public sphere caused by the emergence of digital media and their transformative impact on social life and communicative professions. For this purpose the stages in Jürgen Habermas's theory of the public sphere are traced, and, the main concepts in his two main works, dedicated to the classical public sphere (1962) and the one formed under the influence of digital media (2022), are analysed. The authors examine importance (...) of this transformation on the democratic process, the platformization of the media and its influence in modern society, as well as the problems of technology in the field of social networks. The article undertakes an attempt to build a theoretical framework for explaining the development of the contemporary public sphere in the conditions of accelerated change in communication technologies. (shrink)

Buddhism, the Internet and Digital Media: The Pixel in the Lotus explores Buddhist practice and teachings in an increasingly networked and digital era. Contributors consider the ways Buddhism plays a role and is present in digital media through a variety of methods including concrete case studies, ethnographic research, and content analysis, as well as interviews with practitioners and cyber-communities. In addition to considering Buddhism in the context of technologies such as virtual worlds, social media, (...) and mobile devices, authors ask how the Internet affects identity, authority and community, and what effect this might have on the development, proliferation, and perception of Buddhism in an online environment. Together, these essays make the case that studying contemporary online Buddhist practice can provide valuable insights into the shifting role religion plays in our constantly changing, mediated, hurried, and uncertain culture. (shrink)

Digital media technology, when deployed in ways that cultivate shared learning communities in which students and teachers are empowered to participate as partners in conjoint educational practices, can transform the way we teach and learn philosophy. This essay offers a model for how to put blogging and podcasting in the service of a cooperative approach to education that empowers students to take ownership of their education and enables teachers to cultivate in themselves and their students the excellences of (...) dialogue. The essay is organized around a compelling story of how the students in an Ancient Greek Philosophy course responded to an anonymous, belligerent commenter on the blog from outside of the class. The incident brings the pedagogy of cooperative education into sharp relief. (shrink)

The fateful entanglements of psychoanalysis, cybernetics and digital media Content Type Journal Article Pages 1-4 DOI 10.1007/s11016-011-9570-0 Authors Leon Antonio Rocha, Department of History and Philosophy of Science, University of Cambridge, Free School Lane, Cambridge, CB2 3RH UK Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

Disrupting Journalism Ethics sets out to disrupt and change how we think about journalism and its ethics. The book contends that long-established ways of thinking, which have come down to us from the history of journalism, need radical conceptual reform, with alternate conceptions of the role of journalism and fresh principles to evaluate practice. Through a series of disruptions, the book undermines the traditional principles of journalistic neutrality and "just the facts" reporting. It proposes an alternate philosophy of journalism as (...) engagement for democracy. The aim is a journalism ethic better suited to an age of digital and global media. As a philosophical pragmatist, Stephen J. A. Ward critiques traditional conceptions of accuracy, neutrality, detachment and patriotism, evaluating their capacity to respond to ethical dilemmas for journalists in the 21st century. The book proposes a holistic mindset for doing journalism ethics, a theory of journalism as advocacy for egalitarian democracy, and a global redefinition of basic journalistic norms. The book concludes by outlining the shape of a future journalism ethics, employing these alternative notions. Disrupting Journalism Ethics is an important intervention into the role of journalism today. It asks: what new role journalists should play in today's digital media world? And what new mind-set, new aims, and new standards ought jounalists to embrace? The book aims to persuade--and provoke--ethicists, journalists, students, and members of the public to disrupt and invent. (shrink)

Today's digital revolution is a worldwide phenomenon, with profound and often differential implications for communities around the world and their relationships to one another. This book presents a new, explicitly international theory of media ethics, incorporating non-Western perspectives and drawing deeply on both moral philosophy and the philosophy of technology. Clifford Christians develops an ethics grounded in three principles - truth, human dignity, and non-violence - and shows how these principles can be applied across a wide range of (...) cases and domains. The book is a guide for media professionals, scholars, and educators who are concerned with the global ramifications of new technologies and with creating a more just world. (shrink)

This is the first monograph to develop a hermeneutic approach to the digital--as both a technological milieu and a cultural phenomenon. While philosophical in its orientation, the book covers a wide body of literature across science and technology studies, media studies, digital humanities, digital sociology, cognitive science, and the study of artificial intelligence. In the first part of the book, the author formulates an epistemological thesis according to which the "virtual never ended." Although the frontiers between (...) the real and the virtual are certainly more porous today, they still exist and endure. In the book's second part, the author offers an ontological reflection on emerging digital technologies as "imaginative machines." He introduces the concept of emagination, arguing that human schematizations are always externalized into technologies, and that human imagination has its analog in the digital dynamics of articulation between databases and algorithms. The author takes an ethical and political stance in the concluding chapter. He resorts to the notion of "digital habitus" for claiming that within the digital we are repeatedly being reconducted to an oversimplified image and understanding of ourselves. Digital Hermeneutics will be of interest to scholars across a wide range of disciplines, including those working on philosophy of technology, hermeneutics, science and technology studies, media studies, and the digital humanities. (shrink)

The impact of large digital corporations on our freedom is often lamented but rarely investigated systematically. This paper aims to fill this desideratum by focusing on the power of social media corporations and the freedom of their users. In order to analyze this relationship, I distinguish two forms of freedom and two corresponding forms of power. Social media corporations extend their users’ freedom of choice by providing many new options. This provision, however, comes with the domination by (...) these corporations because it is based on their power of uncontrolled interference. Users could escape this domination through exit. One reason why they do not choose this option is that they would lose the benefits associated with the network effects provided by social media services. A second reason is that the power of social media corporations runs so deep that they are able to manipulate the autonomous decision-making processes of their users. Users are provided with many new avenues for authentic self-presentation on social media. By using them, however, users need to conform to a web interface that is designed by corporations to undermine self-control. Through these two mechanisms, corporations are able to promote an interest in users to present themselves on their platforms. Insofar as this works, they secure the users’ compliance to their domination through subjectivation. This double conjunction of choice and domination, on the one hand, and autonomy and subjectivation, on the other, makes the case that the very power of corporate social media stems from their intrinsic connection to genuine practices of freedom. (shrink)

In this paper, I discuss some prominent features of our use of social media and what I think are its harms. My paper has three main parts. In the first part, I use a dialogical framework to argue that much of the discursive activity online is manifested as an ethically impoverished other-directedness and interactivity. In the second part, I identify and discuss several reasons that help explain why so much of the discursive activity on social media is ethically (...) lacking. And in the final part, I mention some of the effects these discursive practices have on us even when offline. Specifically, I suggest that the persistent use of digital communication technologies trains its users to adopt these problematic online discursive attitudes and activities into their experiences offline, making it more difficult for them to engage with themselves and others in more dialogically ethical ways. (shrink)

In this article I investigate online misinformation from a media philosophy perspective. I, thus move away from the debate focused on the semantic content, concerned with what is true or not about misinformation. I argue rather that online misinformation is the effect of an informational climate promoted by user micro-behaviours such as liking, sharing, and posting. Misinformation online is explained as the effect of an informational environment saturated with and shaped by techno-images in which most users act automatically under (...) the constant assault of stirred emotions, a state resembling what media philosopher Vilém Flusser has called techno-magical consciousness. I describe three ways in which images function on social media to induce this distinctive, uncritical mode of consciousness, and complement Flusser’s explanation with insights from the phenomenology of emotions. (shrink)

In this paper we introduce the concept of attentional scaffolds and show the resemblance between social media platforms and slot machines, both functioning as hostile attentional scaffolds. The first section establishes the groundwork for the concept of attentional scaffolds and draws parallels to the mechanics of slot machines, to argue that social media platforms aim to capture users’ attention to maximize engagement through a system of intermittent rewards. The second section shifts focus to the interplay between emotions and (...) attention, revealing how online attentional capture through emotionally triggering stimuli leads to distraction. The final section elucidates the collective implications of scaffolding attention through social media platforms. The examination of phenomena such as emotional contagion and the emergence of group emotions underscores the transition from individual experiences to shared collective outcomes. Employing online moral outrage as a case study, we illustrate how negative emotions serve as scaffolds for individuals’ attention, propagate within social groups, and give rise to collective attitudes. (shrink)

In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position -- as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human in the (...) class='Hi'>digital era.Hansen examines new media art and theory in light of Henri Bergson's argument that affection and memory render perception impure -- that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms. This framing function yields what Hansen calls the "digital image." He argues that this new "embodied" status of the frame corresponds directly to the digital revolution: a digitized image is not a fixed representation of reality, but is defined by its complete flexibility and accessibility. It is not just that the interactivity of new media turns viewers into users; the image itself has become the body's process of perceiving it.To illustrate his account of how the body filters information in order to create images, Hansen focuses on new media artists who follow a "Bergsonist vocation"; through concrete engagement with the work of artists like Jeffrey Shaw, Douglas Gordon, and Bill Viola, Hansen explores the contemporary aesthetic investment in the affective, bodily basis of vision. The book includes over 70 illustrations from the works of these and many other new media artists. (shrink)

This book is a critical introduction to code and software that develops an understanding of its social and philosophical implications in the digital age. Written specifically for people interested in the subject from a non-technical background, the book provides a lively and interesting analysis of these new media forms.

Social media technologies are routinely identified as a strong and pervasive threat to digital well-being. Extended screen time sessions, chronic distractions via notifications, and fragmented workflows have all been blamed on how these technologies ruthlessly undermine our ability to exercise quintessential human faculties. One reason SMTs can do this is because they powerfully affect our emotions. Nevertheless, how social media technology affects our emotional life and how these emotions relate to our digital well-being remain unexplored. Remedying (...) this is important because ethical insights into and open the possibility of designing for social media technologies in ways that actively reinforce our digital well-being. In this article, we examine the way social media technologies facilitate online emotions because of emotional affordances. This has important implications for evaluating the ethical implications of today’s social media platforms, as well as for how we design future ones. (shrink)

Digital media seem to be marked by process. The digital image itself is produced by software processes and the constant flux of code. Further this, interaction with digital systems involves a constant process by which a so-called 'user' comes into contact with various machinic occasions. It seems that in light of these processes it is impossible to maintain an aesthetic or media theory that pictures a self-contained and psychologised subject interacting with a static and inert (...) object. How then can we begin to think about digital aesthetics through a process philosophy rather than the traditional and reductive subject/object distinction found in so much aesthetic theory? This paper seeks to address this problem by enacting Alfred Whitehead's process philosophy, informed by Gilles Deleuze, Isabelle Stengers and Steve Shaviro and work it through several examples of recent manifestations of interactive media art, including work by Martin Wattenberg, Dennis Del Favero, Jeffrey Shaw and Peter Weibel. I work Whitehead's process philosophy through these artworks to illustrate the performative nature of software processes and the manner in which these processes affect the aesthetics of interaction. I also use these works to illustrate a concept of interaction that privileges process and events rather than a concept that focuses upon an individual human user. In this paper I propose to view the 'user' as a set of occasions – as a particular condition that is produced by various user-initiated actions – rather than an enduring subject that is able to distance herself from the object of aesthetic contemplation. By doing this I move toward a theory in which user-occasions, machine-occasions and their interpenetration actualise the aesthetics of media art. Whitehead allows me to think outside of the binary oppositions that divide the world into knower/known or subject/object relationships. Throughout the argument I unpack Whiteheadian concepts such as actual entities, the unison of immediate becoming and, in general, the primacy of the event, bringing these concepts to bear on individual case studies of interactive media art. Whitehead's general thesis is that materiality and permanence are created by a continual process. Viewing the digital encounter through this theoretical framework I position the aesthetic experience of interaction as that which emerges from the fluctuations of process. The event of interaction is a necessarily hybrid process in which human occasions become supplemented by technology and the aesthetic event becomes innately coupled to the processes of the machine. In this paper I am not interested in any notion of consciousness or a psychologised human 'user', rather I am interested in a particular condition that takes place as user-initiated processes work with machine-initiated processes. This is because, for Whitehead, process comes before consciousness; it is the process of actual entities that prompt the consciousness into being. In this paper I thus propose interaction with digital systems as the commingling of contemporary actual occasions, shifting emphasis from a conscious human user and instead focusing on the process of the encounter that precedes this conscious experience. (shrink)

_Cinema Futures: Cain, Abel or Cable? The Screen Arts in the Digital Age_ Edited by Thomas Elsaesser and Kay Hoffmann Amsterdam: Amsterdam University Press, 1998. ISBN: 90 5356 282 6 Hb; 90 5356 312 1 Pb 312 pp.

Social media is full of dead people. Untold millions of dead users haunt the online world where we increasingly live our lives. What do we do with all these digital souls? Can we simply delete them, or do they have a right to persist? Philosophers have been almost entirely silent on the topic, despite their perennial focus on death as a unique dimension of human existence. Until now. -/- Drawing on ongoing philosophical debates, Digital Souls claims that (...) the digital dead are objects that should be treated with loving regard and that we have a moral duty towards. Modern technology helps them to persist in various ways, while also making them vulnerable to new forms of exploitation and abuse. This provocative book explores a range of questions about the nature of death, identity, grief, the moral status of digital remains and the threat posed by AI-driven avatars of dead people. In the digital era, it seems we must all re-learn how to live with the dead. (shrink)

In _Reading the Figural, or, Philosophy after the New Media_ D. N. Rodowick applies the concept of “the figural” to a variety of philosophical and aesthetic issues. Inspired by the aesthetic philosophy of Jean-François Lyotard, the figural defines a semiotic regime where the distinction between linguistic and plastic representation breaks down. This opposition, which has been the philosophical foundation of aesthetics since the eighteenth century, has been explicitly challenged by the new electronic, televisual, and digital media. Rodowick—one of (...) the foremost film theorists writing today—contemplates this challenge, describing and critiquing the new regime of signs and new ways of thinking that such media have inaugurated. To fully comprehend the emergence of the figural requires a genealogical critique of the aesthetic, Rodowick claims. Seeking allies in this effort to deconstruct the opposition of word and image and to create new concepts for comprehending the figural, he journeys through a range of philosophical writings: Thierry Kuntzel and Marie-Claire Ropars-Wuilleumier on film theory; Jacques Derrida on the deconstruction of the aesthetic; Siegfried Kracauer and Walter Benjamin on the historical image as a utopian force in photography and film; and Gilles Deleuze and Michel Foucault on the emergence of the figural as both a semiotic regime and a new stratagem of power coincident with the appearance of digital phenomena and of societies of control. Scholars of philosophy, film theory, cultural criticism, new media, and art history will be interested in the original and sophisticated insights found in this book. _ _. (shrink)

How can artists create works of computer art or Internet art in which audience members become genuine artists and collaborate with the original artists on the self-same work that they began? To answer this question, this essay will reflect on the work of philosophers who focus on questions concerning art completion and the ontology of computer art. This essay will also reflect on the artistic work of the trio LaBeouf, Rönkkö & Turner, whose artwork can serve as a model for (...) creating collaborative, digital art. (shrink)

Digital materiality (digimat) proposes a set of basic principles for how we understand the world through digital processes. This short book sets out a methodical materialist understanding of digital technologies, where they come from, how they work, and what they do.

In this book, McStay draws on an array of philosophers to offer a novel approach to privacy matters. Against the backdrop and scrutiny of Arendt, Aristotle, Bentham, Brentano, Deleuze, Engels, Heidegger, Hume, Husserl, James, Kant, Latour, Locke, Marx, Mill, Plato, Rorty, Ryle, Sartre, Skinner, among others, McStay advances a wealth of new ideas and terminology, from affective breaches to zombie media.

Using the Aristotelian virtue of friendship and concept of practical wisdom, this paper argues that engaging in political discourse with friends on social media is conducive to the pursuit of the good life because it facilitates the acquisition of the socio-political information and understanding necessary to live well. Previous work on social media, the virtues, and friendship focuses on the initiation and maintenance of the highest form of friendship (Aristotle’s ‘ideal friendship’) online. I argue that the information necessary (...) to live well can come from non-ideal, civic friends in addition to ideal friends. In order to acquire this information successfully via social media, users should practice inclusive engagement, self-control, discretion, and audience-sensitivity in their cyber interactions. This argument is salient given the current concerns about ‘echo chambers’ or ‘filter bubbles’, in which users ignore or block out friends and news sources that support political perspectives different from one’s own. (shrink)

The text elaborates on the relations of objectivity and materiality fiction and those of virtuality produced by new media and digital technologies. It presents and elaborates a critique of the two most relevant debates in contemporary philosophy and theory, the relation of materialism to what is termed the “new materialism,” which is proposed as a substitute for what in the modernist era formed the relation between objectivity, materialism and realism, and then proceeds to expose the difference between thanatopolitics (...) and necropolitics. (shrink)

Empathy is an integral aspect of human existence. Without at least a basic ability to access others’ affective life, social interactions would be well-nigh impossible. Yet, recent studies seem to show that the means we have acquired to access others’ emotional life no longer function well in what has become our everyday business – technologically mediated interactions in digital spaces. If this is correct, there are two important questions: (1) What makes empathy for frequent internet users so difficult? and (...) (2) What can we do to alleviate the negative consequences? Correspondingly, the aim of this paper is twofold. First, we identify structural differences between offline and technologically mediated interactions that can explain why digital empathy is harder to achieve. Second, drawing on the literature on ‘situated affectivity,’ we consider the idea of modifying digital spaces in ways specifically designed to ‘scaffold’ empathy where our evolved mechanisms fail. Section 2 argues that empathy is requires interpreting the behavior of embodied subjects. Section 3 identifies three factors that are crucial for this interpretative endeavor: the empathizer’s affective repertoire, their perceptual input, and their background knowledge. Section 4 argues that technologically mediated interactions differ from face-to-face interactions with regard to these factors in ways which render our evolved empathy mechanisms less effective in the digital world. Section 5 introduces the idea that situational factors can serve as ‘empathic scaffolds,’ i.e., as ‘tools’ that can ‘shape’ people’s empathic reactions. Section 6 wraps up the main line of reasoning, responds to objections and invites further scholarship. (shrink)

A wide-ranging theoretical and aesthetic exploration of hybrid moving images based on the intersection of film, video, and digital technology.

Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the "death of cinema" debate, Film History as Media Archaeology​ presents a robust argument for cinema's current status as a new epistemological object of interest to philosophers, while also examining the presence of moving images in museum and art spaces as a challenge for art history. The study is the fruit of twenty years of research and writing at the interface of film (...) history, media theory, and media archaeology by one of the acknowledged pioneers of new film history and media archaeology. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction as we experience them today. (shrink)

Social media is full of dead people. What should we do with all these digital souls? Can we delete them, or do they have a right to persist? Patrick Stokes claims that we have a moral duty towards the digital dead. Modern technology helps them to persist in various ways, but - with such developments as AI-driven chatbots simulating the dead - it also makes them vulnerable to new forms of exploitation and abuse. This provocative book explores (...) a range of questions about the nature of death, identity, grief, and the moral status of digital remains. (shrink)

A historical and theoretical investigation of the unexpected ways screen-based media protect and excite viewers' fears and anxieties of the worldIn this brilliant contribution to contemporary media studies, acclaimed theorist Francesco Casetti advances a provocative hypothesis: instead of being prostheses that expand or extend our perceptions, modern screen-based media are in fact apparatuses that shelter and protect us from exposure to the world. Rather than bringing us closer to external reality, dominant forms of visual media function (...) as barriers or enclosures that defend against the apparent threats and dangers that seem increasingly to surround us. Working with an original historical overview that begins with the Phantasmagoria of the late eighteenth century, then the shared interior spaces of the movie theater in the early to mid-twentieth century, and finally the solitary digital milieus of the present, Casetti traces the outlines of the protective "bubbles" that disconnect us from our immediate surroundings. To be provided with a shield of immunity to the hazards and uncertainties of the world while experiencing them at a safe remove might seem a positive development. But, he asks, what if these media, instead of providing invulnerability, ensnare individuals in a suffocating enclosure? What if, in their effort to keep reality under control, they exercise a violence equal to that of the dangers they resist? In a dialectical exercise, and through a vivid range of cultural artifacts, Screening Fears traces the emergence of modern protective media and the way they changed our forms of mediation with the world in which we live. (shrink)

Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception (...) 2.0 : multiple screens as affective weapons -- Conclusion : the neuro-image : brain-screens from the future. (shrink)

Can we say we live in a post-digital condition? It depends. This paper sets out to distinguish between the current mass digital culture and an authentic post-digital culture. If we mean “post-digital” as the full internalization and awareness of the result of the so-called digital revolution, then it is necessary a philosophical work to discuss related problems, identify the causes and propose solutions. An authentic philosophy of digital will, however, have to start from a (...) clarification of the terms and basic objects of its investigation. Here media theory is inserted as an analytical tool: the purpose of this essay is to outline a road map for a good media theory that interfaces with questions of definition of digital, also in light of the notions of space, time, and matter. As will be seen, the description given here for a “good media theory” does, in fact, coincide with an already existing – and inserted in the contemporary debate – school. In conclusion we will try to delineate the field of philosophical inquiry opened by the clarification brought by the previous analysis, and to suggest a general framework within which philosophy will have to move in order to finally reach the authentic post-digital condition. (shrink)

Drawing on contemporary pragmatic philosophy and grounded in a reading of techniques associated with digital media as sophist practices of influence and manipulation, this paper proposes an ‘experimental’ reading of key aspects of the topological qualities of the infrastructure of the knowledge economy, with its obsessive attempts at measuring, recording and monitoring, or ‘qualculation’. Taking seriously, albeit with humour, early criticisms of actor-network for its ostensibly Machiavellian proclivities, it offers a series of playful stratagems for the exploration and (...) analysis of power as an emergent property of socio-technical relations. Topology, in this account, becomes relevant to cultural analysis because of the way that it allows us to think together processes constructive of the intensive continua of ‘desiring production’ with the sociotechnical operations of digital media infrastructures. Different elements operative within digital media (the super-hub, the power of small numbers, recursion and relational databases) are read stratagematically – as figures of a praxis (the material practice of immaterial labour), that reveals different facets of the operations of power, while also allowing for counter-tactics to be deployed. Rather than proposing a theoretical account or an empirical analysis, the paper develops what Stengers (2011) calls ‘operative constructs’, which become ingredients for further active exploration of and thinking about the topological qualities of mediatic infrastructure. The paper addresses four different and overlapping areas of digital media from a point of view that considers the plural, compositional quality of media/power relations. (shrink)

A collection of philosophical and aesthetic essays, influenced by Bernard Stiegler, which focuses on the techno-cultural artefact in order to critique, engage, or respond to, an aspect of digital culture.

This collection of articles from both distinguished and emerging authors working at the intersections of philosophy, literary theory, media, and technology does not intend to fix new moral rules. Instead, the volume explores the ethos of digital environments, asking how we can orient ourselves in them and inviting us to renewed moral reflection in the face of dilemmas they entail.

This short piece draws on political philosophy to show how social media interference operations can be used by hostile states to weaken the apparent legitimacy of democratic governments. Democratic societies are particularly vulnerable to this form of attack because democratic governments depend for their legitimacy on citizens' trust in one another. But when citizen see one another as complicit in the distribution of deceptive content, they lose confidence in the epistemic preconditions for democracy. The piece concludes with policy recommendations (...) for how democratic governments should protect themselves. (shrink)

This paper considers an emerging practice whereby citizen’s use of ubiquitous and domesticated technologies enable a parallel form of criminal justice. Here, weaponised visibility supersedes police intervention as an appropriate response. Digital vigilantism is a user-led violation of privacy that not only transcends online/offline distinctions but also complicates relations of visibility and control between police and the public. This paper develops a theoretically nuanced and empirically grounded understanding of digital vigilantism in order to advance a research agenda in (...) this area of study. In addition to literature on vigilantism and citizen-led violence, this paper draws from key works in surveillance as well as visibility studies, 914–934, 2010) in order to situate how digital media affordances and cultures inform both the moral and organisational dimensions of digital vigilantism. Digital vigilantism is a process where citizens are collectively offended by other citizen activity, and coordinate retaliation on mobile devices and social platforms. The offending acts range from mild breaches of social protocol to terrorist acts and participation in riots. The vigilantism includes, but is not limited to a ‘naming and shaming’ type of visibility, where the target’s home address, work details and other highly sensitive details are published on a public site, followed by online as well as embodied harassment. The visibility produced through digital vigilantism is unwanted, intense and enduring. Such campaigns also further a merging of digital and physical spaces through the reproduction of localised and nationalist identities on global digital platforms as an impetus for privacy violations and breaches of fundamental rights. (shrink)