Disinformation and so-called fake news are contemporary phenomena with rich histories. Disinformation, or the willful introduction of false information for the purposes of causing harm, recalls infamous foreign interference operations in national media systems. Outcries over fake news, or dubious stories with the trappings of news, have coincided with the introduction of new media technologies that disrupt the publication, distribution and consumption of news -- from the so-called rumour-mongering broadsheets centuries ago to the blogosphere recently. Designating a news organization as fake, or der Lügenpresse, has a darker history, associated with authoritarian regimes or populist bombast diminishing the reputation of 'elite media' and the value of inconvenient truths. In a series of empirical studies, using digital methods and data journalism, the authors inquire into the extent to which social media have enabled the penetration of foreign disinformation operations, the widespread publication and spread of dubious content as well as extreme commentators with considerable followings attacking mainstream media as fake.
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Welcome to the fourth special issue of the Pervasive Labour Union zine, Urgent Publishing Debris. In May 2019, the Making Public: Urgent Publishing Conference took place. Among others, it asked the following questions:-"How to realize sustainable, high-quality alternatives within this domain of post-digital publishing?"-"How can designers, developers, artists, writers and publishers intervene in the public debate and counter misinformation in a meaningful and relevant way?"-"What are new publishing strategies for our current media landscape?"-"How to design for urgency without succumbing to an accelerated hype cycle?"The presentations, debates and conversations have all been officially documented in blogposts on the Institute of Network Cultures website, videos and pictures. But what about the notes, the pictures, the recordings and the tweets of the conference's visitors? What do they have to tell us about how each person experienced the conference? This special issue aims to provide new readings of the event by creating remixes of the official archival sources with the 'unofficial' debris circulating around it.In order to facilitate the navigation between articles, making connections visible where they might have only been implicit, the editors have decided to define eleven overarching topics (Social/Community, Activism, Post-truth, New forms, Authorship/Makers, Speed, Positioning, Locality, Relationality, Authoritarianism, Parasite). Each of the topics was attributed a colour and the source material is highlighted accordingly.Furthermore, each remix has a dispersed editors' note, wherein each editor reflects in more detail on the program, how it connects to the conference's topic and how it might answer any of the aforementioned questions.
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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’.
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