Over the past decade, a growing number of artists and critical practitioners have become engaged with algorithms. This artistic engagement has resulted in algorithmic theatre, bot art, and algorithmic media and performance art of various kinds that thematise the dissemination and deployment of algorithms in everyday life. Especially striking is the high volume of artistic engagements with facial recognition algorithms, trading algorithms and search engine algorithms over the past few years.The fact that these three types of algorithms have garnered more responses than other types of algorithms suggests that they form a popular subject of artistic critique. This critique addresses several significant, supra-individual anxieties of our decade: socio- political uncertainty and polarisation, the global economic crisis and cycles of recession, and the centralisation and corporatisation of access to online information. However, the constituents of these anxieties — which seem to be central to our experience of algorithmic culture — are rarely interrogated. They, therefore, merit closer attention.This book uses prominent artistic representations of facial recognition algorithms, trading algorithms, and search algorithms as the entry point into an exploration of the constituents of the anxieties braided around these algorithms. It proposes that the work of Søren Kierkegaard—one of the first theorists of anxiety—helps us to investigate and critically analyse the constituents of ‘algorithmic anxiety’.
This special issue of Somatechnics: Journal of Bodies – Technologies – Power is an invitation to critically interrogate how our everyday technological, social, and embodied experience of organisation as a traveling concept (Bal 2002) and socio-material (Orlikowski 2007) production of reality, can generate new modes of organising and being and nonbeing organised. The articles in this special issue span across the humanities, social sciences, performing arts, and critical management studies, to trouble the concept of organisation by de-organising it and the manner in which it has traditionally been instrumentalised and put to use in modern-day organisational theory and practice. Somatechnics presents a thoroughly multi-disciplinary scholarship on the body, providing a space for research that critically engages with the ethico-political implications of a wide range of practices and techniques. The term ‘somatechnics’ indicates an approach to corporeality which considers it as always already bound up with a variety of technologies, techniques and technics, thus enabling an examination of the lived experiences engendered within a given context, and the effects that technologies, technés and techniques have on embodiment, subjectivity and sociality.
This paper explores how so-called ‘Web3’ blockchain projects are materially and socially constituted. A blockchain is an append-only distributed database. The technology is being hyped as applicable for a whole range of industries, social service provisions, and as a fix for economic disparities in communities left behind by mainstream financial systems. Drawing on case studies from our ongoing research we explain how, despite being virtual, Web3 projects are dependent on clearly defined spaces of production from which they derive their speculative value. We conceptualise this relationship as Crypto/Space, where space and blockchain software are mutually constituted. We consider how Crypto/Spaces are produced in three ways: 1) how project developers are adopting a parasitic relationship with host locations to appropriate energy, infrastructure, and local resources; 2) how projects enable ‘virtual land grabs’ where developers are engaging in land acquisitions, and associated displacement of local people, with no real intention to use the land for the declared purpose; and 3) how blockchain technology and speculative finance imaginaries are inspiring new anarcho-capitalist crypto-utopian ‘Exit zones’, often in the Global South. Far from being a zero-sum virtual game world, we argue that cryptocurrency projects are parasitic, often requiring predation on poor and otherwise marginalised communities to appropriate resources, onboard new users and enable favourable regulation.
