Apparatus

Like other postproduction work by contemporary artists and purveyors of popular culture, the videos of artist, musician and composer Christian Marclay use accumulations of cultural data extracted from thousands of films (and television shows) as raw material for the diegesis. What sets Marclay’s installation The Clock (2010) apart from other installations and films in this category is the interrelationship established between its postproduction aesthetic and its specific display conditions. By matching on-screen time with actual time in a carefully designed exhibition context, The Clock simultaneously reifies the psychosomatic transformation of the moviegoer identified by Roland Barthes and dismantles the hermetic nature of the cinematic apparatus. In so doing, Marclay mobilizes latent aspects of video installation to produce new phenomenological experiences and reorganize the relationship between aesthetics and everyday life.

Undang-Undang Nomor 5 Tahun
2014 tentang Aparatur Sipil Negara
mengamanatkan penerapan sistem
merit dalam kebijakan dan manajemen Aparatur
Sipil Negara (ASN). Dalam Undang-Undang
tersebut, sistem merit didefinisikan sebagai
kebijakan dan manajemen ASN yang berdasarkan
pada kualifikasi, kompetensi, dan kinerja, yang
diberlakukan secara adil dan wajar dengan tanpa
diskriminasi. Tujuan penerapan sistem merit adalah
untuk memastikan jabatan di birokrasi pemerintah
diduduki oleh orang-orang yang profesional,
dalam arti kompeten dan melaksanakan tugas
berdasarkan nilai dasar, kode etik dan kode
perilaku ASN. Guna mendorong terwujudnya
tujuan tersebut, KASN selaku lembaga yang diberi
wewenang mengawasi pelaksanaan sistem merit,
melakukan pemetaan guna mengetahui sejauh
mana sistem merit telah diterapkan di masingmasing instansi pemerintah. Informasi tersebut
digunakan untuk pembuatan kebijakan dan pembinaan

This essay clarifies the genealogy of the term and concept of dispositif in Foucault against a recent interpretation introduced by Agamben, one which reduces the biopolitical dispositif to the idea of the theological dispositio. On the contrary, this essay argues that Foucault was influenced by his master Canguilhem's notion of socio-organic normativity, when in 1975 he introduced the idea of the dispositif of biopower as a normative project. The dispositif is then traced back to the definition of social normativity that Foucault takes from Canguilhem's The Normal and the Pathological (1966) and to the use of the term dispositif by Canguilhem himself in the essay " Machine and Organism " (1952). Both these lineages proceed from the notion of organic normativity that Canguilhem adopts from a tradition of Lebensphilosophie that appears to be incompatible with Agamben's theological thesis.

This paper presents in detail several cavitation erosion testing methods commonly used in the laboratory. The vibratory cavitation apparatus (G32) is described with its two variants, the direct method using a specimen attached to the vibrating tip of the ultrasonic horn and the alternative method using a fixed specimen facing the horn tip. In the cavitating jet apparatus (G134 and its variants), a jet is discharged at high pressure and velocity in a cell whose pressure may be controlled to adjust the cavitation number. This results in a shear type cavitation whose aggressiveness may be enhanced by a proper design of the nozzle shape and piping assembly. A high-speed cavitation tunnel equipped with a radial divergent test section is also presented. This particular test section generates an unsteady cavity attached to the nozzle exit with cavitation erosion damage concentrated in the cavity closure region. Usual testing procedures together with typical erosion patterns and mass loss results obtained in such facilities are also presented.

What is experimental photography? Experimental photographers do not abide by the standard rules of photography, they play against the photographic apparatus. Some photograph without a lens (pinhole) or without a camera (photograms). Others play with light, time, chemical development, or printing. And some erase the author-photographer, or use him differently in the process. Contemporary experimental photography is not a school, nor a movement, but simply a current, a moment between the decline of traditional documentary photography and the rise of digital photography.

This essay clarifies the genealogy of the term and concept of dispositif in Foucault against a recent interpretation introduced by Agamben, one which via Hegel reduces the biopolitical dispositif to the idea of the theological dispositio, i.e. the Divine Plan according to early Christianity. On the contrary, this essay argues that Foucault was influenced by his master Canguilhem’s notion of socio-organic normativity, when in 1975 he introduced the idea of the dispositif of biopower as a normative project. The dispositif is then traced back, theoretically and philologically, to the definition of social normativity that Foucault takes from Canguilhem’s The Normal and the Pathological (1966) and to the use of the term dispositif by Canguilhem himself in the essay “Machine and Organism” (1952). Both these lineages proceed from the notion of organic normativity that Canguilhem adopts from the German-Jewish neurologist Kurt Goldstein, that is from a tradition of Lebensphilosophie that appears to be incompatible with Agamben’s theological thesis. However, the essay “Machine and Organism” also reveals that a critique of the theological dispositif was certainly not absent when this term was first discussed by Canguilhem in relation to the gears of power. In conclusion, the genealogy of normativity behind the notion of dispositif points once again to an under-recognized issue in the current theorizations of subjectivity, namely the normative autonomy of the subject and its constituent abnormality.

In my paper I want suggest an alternative reading of Post-Internet art that asks for its relationship to photography rather than to the net.art of the late 1990s. Photographic practices play a crucial role in many Post-Internet works and possibly reveal more about the current state of photography than photography itself. The artists discussed here address issues such as the status of the digital photograph as an object, the documentary role of photography in relation to non-photographic art practices, and the effects of the Internet on vernacular photography. In a second step I try to rethink our understanding of the camera as an apparatus. I do so by looking at two works that are contemporary with but do not belong to Post-Internet art as it is usually conceived and by drawing on the Soviet movement of factography and the writings of Vilém Flusser.

I explore links between the phenomenology-inspired philosophy of emotion, especially discussions of affective intentionality and situated affectivity, and those strands of work in the field cultural affect studies that take their inspiration from Spinoza and Deleuze. As bridges between these fields I propose the concepts 'disclosive posture' and 'affective arrangement'. 'Disclosive posture' condenses insights from phenomenological work on affectivity, especially those pertaining to what Heidegger calls Befindlichkeit. 'Affective arrangement' is a descendant of Deleuze and Guattari's term agencement. It refers to heterogeneous ensembles of elements coalescing into a sphere of heightened affective intensity in a local setting. I develop this notion into a tool for analyzing situated affectivity. As it does not yet figure within debates in the philosophy of emotion, I will outline what is meant by 'affective arrangement' in some detail. Throughout, I discuss a productive tension between these two conceptual strands.

Among the philosophers who undertook the task of thinking about the status of culture and the key advents of the twentieth century, Vilém Flusser deserves prominent recognition.
A multifaceted thinker, Flusser produced sophisticated theories about a reality in which man advances towards the game, endorsed by the emergence of a kind of technical device that is dedicated, mainly, to the calculation of possibilities and to the projection of these possibilities on reality, generating a veil that conceals the natural reality and creates layers of cultural and artificial realities.
This technical device, designated by Flusser as “apparatus”, being the index of a civilisatory stage where societies are characterised by the fact that they are programmed from discourses that point to a highly abstract shared language exposed through “technical images” which, just like Indian screens, are calculated and projected on the natural reality of the world, hiding and recreating it.
During this brief introduction, we can note the convergence between the main principles exposed by Flusser and that of the field which studies the theories concerned with video games, including the concept of gasification.
Although such connections have yet to be formally established and, in some points, the philosopher himself reaches different and opposing conclusions, the categories created by Flusser, such as apparatuses, technical images, and “projection systems”, can be found, analogously, within the field of video game studies.
To conduct part of this process, of reflecting on Flusserian theories ap-plied to video games, is one of the objectives of this text. My current research intends to verify whether the hybrid codes of video games and their syntac-tical strategies, in which the concept of gamification can be positioned, are suitable for the production of scientific knowledge in a reality that I concep-tualise, via Flusser, as post-historical.

Dividing the discipline’s metaphors between technical and conceptual is a reality not fully explored, nor I believe never noticed. In addition to the multidisciplinary relevance and general use of metaphors, metaphoric axioms, arguments in favor of the stasis of why interior design is an art the two realities of the metaphor work separately and together in six  creative ways.  Many of my monographs included analyzing and explaining the syllogism:
• Art[I]  is the making of metaphors
• Interior design  is an art[I]
• Therefore interior design is the making of metaphors.
Art [I] is only when skill is applied with intent and advanced development of some skill.
Till now we did nothing to reason why art [I] is the making of metaphors, nor why interior is an art [I]. Since 1967 I proceeded to analyze the presumptions and find its many applications. This new information in Metaphor and Thought by Andrew Ortony first published in 1979, provides information to support inductive reasoning and to this end each axiom is its own warrant to the inferences of the above syllogism and the answer to questions of why metaphor is the stasis to any of the syllogism’s claims and implications.
The six priciples explain the stasis in terms of metaphor’s two technical and conceptual dimensions.  Both are valid separately and even more acceptable in combination.  But how do they two operate and how does knowing this benefit design, use and evaluation of built works?
The technical is that all art [I], including interior design, expresses one thing in terms of another by its inherent and distinct craft. On the one hand there is the designer who acts as the owsnere’s surrogate  and on the other the fountain of conceptual metaphors which expresses ideas as built conceptual metaphors other wise known as interior desings. Techne is actually a system of practical knowledge as a craft or art informed by knowledge of forms. 
For  example,  the craft of managing a firm ofinterior designers where even virtue is a kind of technê of management and design practice, one that is based on an understanding of the profession, business and market. In this case the technai are such activities as drafting, specifying, managing, negotiating, programming, planning, supervising, and inspection.  By association with these technai, we can include decorationg, funiture selection, color coordianation, writing, and painting.  So much so that the study and practice of design is devoid from the humanities and downplays theories of design;  developing rather the crafts, skill and understandings needed to plan, sketch, draw, delineate, specify, write, and design.
Contemporary interior design is replete with axioms, principles and theorems guiding the geometry, applications of science, use of engineering, and formal logic to produce technical metaphors and justly excluding a whole conversation about the conceptual part of the built metaphor.

In another time when kingdoms created their dynasty’s iconic buildings, the architect and artisans took their ques from the reigning monarch. In our modern pluralistic society the free reign of ideas and opinions as to contexts and their meanings are diverse. As the doctor takes the Hippocratic oath, the lawyer vows to defend all so there is one whose call is to capture the ethos (4.0 The Oxford English Dictionary, is defined as "the characteristic spirit, prevalent tone of sentiment, of a people or community” ) of his time into built metaphors, he is called architect. Not only is my childhood quest relevant but the essence of the responsibility of today’s architect who not only reasons the technical but individually reasons the conceptual. It is to the architect that society turns to be informed about the shape and form of the context in which life will be played. With this charge the need to know that we know and do by reasoning what science verifies by the scientific method to know that we know about the buildings, parks, and places we set into the environment. It is a public and private charge included in the contract for professional services but unspoken as professional life’s experience; to prove the relevant, meaningful and beneficial metaphors that edify encourage and equip society as well as provide for its’ health, safety and welfare. So it is critical to realize, control and accept as commonplace that the role of the architect is to do much more than build but build masterfully.

1926 erschien in den Veröffentlichungen aus dem Gebiete der Medizinalverwal-tung ein Artikel von Ludwig Ascher und Heinz Brieger aus dem Sozialhygieni-schen Untersuchungsamt Frankfurt am Main, der sich mit dem Verhältnis des Körpers zur Arbeit befasst. Die Forschung der Frankfurter Medizinalräte beab-sichtigte, eine Lücke zu schließen, »die in der Unkenntnis des Körpers bei der Arbeit, dem Zusammenspiel von Muskeln und Gelenken während derselben, bestand« (Ascher/Brieger 1926, 67). Rückblickend sticht die Studie im Vergleich zu anderen Bewegungsstudien dieser Zeit heraus, da die Autoren stärker aus einer medizinischen und physiologischen Perspektive argumentieren. Im Kon-trast zum üblichen Vorgehen der Rationalisierungsbewegung, Bewegungen stärker vom Körper zu isolieren, nahmen die Medizinalräte Ascher und Brieger durch die Antizipation von Langzeitwirkungen eine andere Perspektive auf den Körper ein, weshalb ihre Studie einige interessante Momente zur Diskussion des Körpers im (Post-)Fordismus aufweist. Die Soziologin Tilla Siegel weist darauf hin, dass der Fordismus heute mit seiner krisenfreien Blütezeit nach dem zweiten Weltkrieg identifiziert wird; da-mit werde Rationalisierung häufig als Ergebnis analysiert und weniger als ein Prozess, den es einst durchzusetzen galt, nämlich »Menschen an die Erforder-nisse der sich durchsetzenden tayloristisch-fordistischen Rationalisierungs-muster anzupassen« (Siegel 1993, 373). Daher halte ich es für die Diskussion postfordistischer Arrangements lohnenswert, sich die Körpergeschichte des frühen Fordismus anzuschauen. Der Historiker Peter-Paul Bänziger betont, dass die Körpergeschichte bisher noch ein Desiderat der Geschichte des Fordis-mus geblieben ist (2012, 225f.). Auch die feministische Forschung hat die Rolle von Körper und Geschlecht bisher stärker im Bereich der Rationalisierung des Haushalts und der Reproduktionsarbeit erforscht, weniger im Produktionspro-zess. Daher interessiere ich mich in diesem Artikel dafür, wie im Rahmen der betrieblichen Rationalisierung versucht wurde, neues Körperwissen zu gene-rieren. Welche experimentellen Apparate, Methoden und settings wurden dafür benutzt? Aber auch: wie haben sich die Körper und Bewegungen diesen Versu-chen zum Teil entzogen?

Video installation, which appeared as a sub-form of video art in the 1970s, has expanded by merging with performance art, sculpture and other art forms. As technology develops, media equipment and display environments evolve to change the landscape further. The purpose of this study is to research the differences between early video installation and contemporary video installation due to the development of media equipment and display environments. This study also focuses on the evolution of the spectator’s experience as technology advances. Since most of the theoretical studies of video installation still focus on the early days of video installation or its cinematic aspect such as 'gallery film', this study is to examine the modern context of video installation through selected works of Douglas Gordon and Doug Aitken, who uses video installation through their experimentation of screen placements and spectatorship. Both Gordon and Aitken’s installation work modernized the context of medium, spatiality and its spectatorship.

This study will take a look at the video apparatus, the history of the apparatus in cinema, sculptural quality of video installation and its spectatorship. Also, this study will take a look at Gordon's video installations, which encompass the hybridization of sculpture, film, and video. Gordon places screens in variety ways: screens suspended in the air, multiple screens, or set in an oblique angle where the screens function as an object. Occasionally, in his installation, the screen(s) function as an object like minimalist sculpture allowing spectators to phenomenological experience the ‘here and now.’ In this case the spectators move around the screen space and creating autonomy for spectators by allowing physical proximity to the screen. Moreover, the screen allows spectators to recognize the apparatus of video installation as they become aware of their shadow on the screen. While it is possible to project in high quality as projection apparatus develops, Gordon utilizes the immensity of the screen frequently creating a psychological experience for the spectator surrounded by and immersed in Gordon’s images. Likewise, this study will look through Aitken’s video installation which includes the quality of sculpture, cinema, video, and architecture. Aitken makes a room or a space by actively using screens. Therefore, the spectator feels rather than just sees an artwork. The experience evokes a psychological, sensual, and physical reaction based on phenomenological experience in a space.
By examining Douglas Gordon and Doug Aitken’s use of screen placement, apparatus and more, it expanded knowledge of the formal aspects of video installation. Moreover, The study looks into video installation with various and segmented spectatorship and how they are being expanded and developed.

1970년대 초반 비디오 아트의 한 형식으로 출발하여 공연, 퍼포먼스, 조각 등 다양한 예술 영역과 융합, 확장되어온 비디오 설치는, 근래 영상장비와 디 스플레이 환경의 테크놀로지 발전에 따라 새롭게 주목된다. 본 논문은 오늘날 기술의 발전을 통한 영상 장비와 디스플레이 환경의 변화로 인해 비디오 설치 는 초기 비디오 설치와는 어떠한 다른 점들이 있는지, 또한 기술의 변화에 따 른 관객성, 관객의 체험이 어떻게 변화되고 있는지에 대한 궁금증으로 출발한 다. 또한, 비디오 설치 연구가 아직 1970-80년대 초기 비디오 설치 사례를 중 심으로 한 논의에 머물거나 갤러리 영화 등 영화 중심 논의에 집중되어 있다 고 판단하여, 비디오 설치의 현대적 맥락을 보다 최근 작업들을 중심으로 연 구한다. 이를 위해 근래 다양한 스크린의 활용과 이를 통한 공간 구성을 통해 관객성을 실험하는 더글라스 고든과 더그 에이트킨을 본 논문의 연구대상으로 선정한다. 고든과 에이트킨은 초기 비디오 설치작업에서 나타나던 매체성과 공간성 그리고 그에 따른 관객성에 대하여 이들 작업이 그 맥락을 현대화 시 키고 있다고 판단하였다.

먼저 본 논문은 비디오 설치 작업에서 중요하게 인식되어지는 비디오의 투 사 및 재현 상식 즉, 비디오 장치(apparatus)와 장치의 역사 그리고 비디오 설 치 스크린의 조각적 특성과 관객성에 대해 살펴본다. 이어서 고든의 비디오 설치 작업들이 조각, 영화, 비디오등의 혼성적 특성을 공유하고 있음을 살핀 다. 고든의 비디오 설치에서의 스크린은 공중에 떠있거나, 이중, 혹은 비스듬 히 설치된 스크린 등 스크린 자체가 설치 오브제로서 기능하고 구성 배치되는 방식에 주목한다. 때로는 미니멀리즘적 조각성을 가지는 이 스크린은 관객들 이 그 주위를 배회하며 ‘지금 여기’를 현상학적으로 경험하도록 이끌기도 하고, 스크린과 물리적으로 근접하도록 허용하여 영화 관객이 경험할 수 없는 자율성을 가지게도 허락한다. 또한 관객은 스크린 위에 비춰진 자신의 그림자 를 통해 비디오 장치에 대하여 인식하고 관객성을 발견토록 유도된다. 에이트 킨의 비디오 설치 작업들도 마찬가지로 조각, 영화, 비디오 더 나아가 건축적 특성까지 포함하고 있음을 살핀다. 에이트킨은 적극적으로 스크린을 활용하여 스크린으로 방을 만들거나 하나의 공간을 완성시킨다. 그로 인해 관객은 작품 을 관람하고 있다고 느끼는 것이 아닌 하나의 공간에서 보다 심리적이며 감각 적이고 현상학적 경험에 기반을 둔 육체적인 경험을 하고 있다고 느낀다.

본 연구는 더글라스 고든과 더그 에이트킨의 연구를 통해 스크린의 활용과 배치, 장치적 접근 등 형식적인 측면에서 접근하여 현대 비디오 설치 작업에 대한 개념적인 이해의 폭을 넓히고 비디오 설치적 맥락에서 세분화 시켜 관객 성을 바라보며, 비디오 설치작업의 특수성과 비디오 설치가 어떻게 확장되고 발전되어가고 있는지 고찰하고자 한다.

Twenty eight dominant axioms and 54 sub-dominant axioms (total of 82) are evidence of the case that architecture is an art resolved that architecture was the making of metaphors because it (architecture) made metaphors, personified by metaphor stasis’ two technical and conceptual dimensions. Both are valid separately and even more usual in combination. But how do these two work, and, how does this knowledge benefit design, use and evaluation of built works? The axioms were derived by examining Andrew Ortony’s Metaphor and Thought’s evidence and works by Paul Weiss, William J.J. Gordon and the Yale lecture series titled architecture as the making of metaphors. . Prior monographs were steeped in deductive reasoning since there was no new information (evidence) pertaining to metaphors. Therefore the previous articles included analyzing and explaining the syllogism:
• Art [G] is the making of metaphors
• Architecture is an art [G]
• Therefore architecture is the making of metaphors.

Early monographs were steeped in deductive reasoning since we could not find new information pertaining to metaphors. This included analyzing and explaining the syllogism:
• Art[I]  is the making of metaphors
• Architecture (design)  is an art [I]
• Therefore architecture (design) is the making of metaphors.
Till now we did nothing to reason why art [I] is the making of metaphors nor why architecture is an art. Since 1967 I proceeded to analyze the presumptions and find its many applications. This new information by Andrew Ortony first published in 1979, provides information to support inductive reasoning and to this end each axiom is its own warrant to the inferences of the above syllogism and the answer to why metaphor is the stasis to any of the syllogism’s claims and implications. The axioms are presented in labeled paragraph and subparagraphs format for easy reference and applications.
Keywords:
metaphor, architecture, thought, commonality, commonplace, dubbing, cognitive, knowing, stasis, art , [I]  linguistic analogy, equilibrium, equipoise, topoi, top-down, frame conflict, appreciate, conduit, parte, design system, modified culture, mapping, structure, domain, signs, apparatus, spaces, volumes, shapes, forms, metaphorical mappings, invariance principle, alive, dead, onomatopeics, surrogates, appetite, desire, mind, indirect use, direct use, vision, gestalt, formulae, grand design, psychological, processes, metaphor comprehension, memory, mnemonics, encoding, mapping, categorizing, inference, assimilation, accommodation, attribution, inferential import,  structured programming, stability, referential specificity, general acceptance of terms, vividness thesis, difference, identity, comparison sensible, communications.

From the iconic Paper Magazine cover to the first Instagram pictures of her two children, Kim Kardashian West, media tycoon and pop culture icon, has been known to have " broken the internet " on more than one occasion. Kim Kardashian's rise to fame and continual success in Hollywood is indicative of the saturation of celebrity/entertainment culture within the constructs of the everyday life of ordinary people. Kim's celebrity success has only been expanded recently as she moves her celebrity brand into the mobile industry, exteriorizing and concretizing her influence in the tech industry, most recently with her Kimoji app. Although Kimoji, another Kim Kardashian West mobile venture, didn't break the Apple store as many headlines had professed, it was downloaded at an impressive 9000 times per millisecond in the first few minutes of its launch and has consistently maintained its presence in Apple's App Charts.

Although numbers are impressive and not uncommon for Kim, questions about the app as an exteriorization of Kim's celebrity persona becomes a much more fascinating case study. From a meta-view, what can the staggering success of this Kardashian-themed emoji keyboard extension tell us about the relationship between celebrity persona, technology, and fandom? This essay proposes to investigate the tripartite relationship between technology, celebrity, and fandom by examining Kimoji within the constructs of the culture industry​.

Si affronta il concetto di «dispositivo» attraverso l’analisi della relazione con i suoi antecedenti
nel pensiero foucaultiano: «formazione discorsiva» e «positività». Definito il dispositivo come una
‘rete’ destinata a incrinarsi e superarsi, si chiarisce la teoria di questi punti di frattura attraverso le
riflessioni sui tempi storici di Koselleck e Ricoeur. L’iniziativa (o «forza del presente») che permette
a un sistema di trasformarsi è individuata, nell’ambito della critica letteraria, in una complessa
funzione-autore, luogo di congiunzione e conflitto di un’ontologia delle intenzioni e
un’ontologia degli eventi. Utilizzando i concetti di dispositivo e di funzione-autore si rilegge una
delle più grandi opere critiche del XX secolo: Mimesis di Erich Auerbach. (Data di pubblicazione: 2010; Rivista: Enthymema).

Twenty eight dominant axioms and 54 sub-dominant axioms (total of 82) are evidence of the case that architecture is an art resolved that architecture was the making of metaphors because it (architecture) made metaphors, personified by metaphor stasis’ two technical and conceptual dimensions. Both are valid separately and even more usual in combination. But how do these two work, and, how does this knowledge benefit design, use and evaluation of built works? The axioms were derived by examining Andrew Ortony’s Metaphor and Thought’s evidence and works by Paul Weiss, William J.J. Gordon and the Yale lecture series titled architecture as the making of metaphors. . Prior monographs were steeped in deductive reasoning since there was no new information (evidence) pertaining to metaphors. Therefore the previous articles included analyzing and explaining the syllogism:
• Art [G] is the making of metaphors
• Architecture is an art [G]
• Therefore architecture is the making of metaphors.

Awarded 2016 Annual Paper Prize by the Surveillance Studies Network (SSN).

This article aims to provide a novel conceptual understanding of the nature of the global mass surveillance policies and practices revealed by whistleblower Edward Snowden in collaboration with the Guardian and Washington Post newspapers. The critical analysis and conceptual reinterpretation of state and corporate surveillance and its impact on the political agency of civil society is multidisciplinary. An intersection of Surveillance Studies, political philosophy, and global politics/international relations provides an overview of the policies and practices that states and corporations develop and implement in relation to information and communications technologies (ICT). Clarifying how contemporary society is global and digital, it analyzes the way in which political economies inform contemporary policies and practices of surveillance. A critical analysis of the relation of political economy to neoliberal governmentality, biopolitical technologies of power, and contemporary regimes of truth leads to posit that global mass surveillance is a technology of power deployed by a contemporary biopolitics of information and communication. A conceptual reinterpretation of Foucault’s notion of parrhesia and Mann’s notion of sousveillance leads to posit that parrhesiastic sousveillance is a sociopolitical and technologically-enabled modality of resistance that can resemantize contemporary politics of truth and lead towards a newborn digital agency for global(ized) civil society.

Introduction to two extracts (available in separate file) from Cormac Deane's translation of Christian Metz’s final book, 'Impersonal Enunciation, or the Place of Film', (L’énonciation impersonnelle, ou le site du film), published in 1991. The book-length translation will come out with Columbia University Press in 2015. In this introduction, Deane argues that, despite the book’s marginalized status in both Anglo-American and French film studies, it can nonetheless be used to address theoretical issues relevant to the twenty-first century: multimedia, interactivity, networks, subjectivity, (machine) intelligence, ideology and the status of the apparatus.

Resumo: O presente artigo discute algumas questões do dispositivo cinematográfico nas produções de horror found footage – filmes montados a partir de gravações supostamente encontradas. O objetivo é pensar características desse realismo simulado na tela. Autores como Jean-Louis Baudry, Ismail Xavier, André Bazin e Siegfried Kracauer fundamentam as inferências iniciais acerca desses filmes. Abstract: The essay discusses some questions about movie apparatus in the found footage horror productions – movies edited from supposed found footage. The objective is to think the characteristics of this simulated realism on screen. Authors as Jean-Louis Baudry, Ismail Xavier, André Bazin and Siegfried Kracauer guide the first inferences about these movies.

This paper focuses on the conception and design of architecture as the work of producing media about buildings and other environmental artifacts. I approach the questions regarding simplicity and complexity through "interdependence" and "intermodality." I believe the two concepts offer more precise frames of relations and contexts involving simplicity and complexity. I will first discuss the complexity as a condition of interdependences and how today's interdependences may provide a framework to understand complexity. I will then propose that intermodality adds to interdependence a notion that specifically pertains to today's media-driven culture and its complexity. I will next discuss how dependences and modalities are interconnected at various levels and eventually producing a new kind of semiosis that results from the disjunction between the medium and the content. I will in conclusion propose a new concept "apparatization" driven by interdependence and intermodality and how it changes shape and remain fluid, rather than scaling between simplicity and complexity, without a specific physical locus.

Photography had a pivotal role in Vilem Flusser’s thought. Not only was it instrumental in transforming his professional identity from language philosopher to spokesman for — and against — new media, it also came to constitute the most important single event in his history of human communication. For him, photography was the first “technical image,” that is, the first technology to fuse human beings and devices into a cognitive mesh he called the apparatus.  Flusser himself did not think Towards a Philosophy of Photography was actually about photography.  He considered it a study of the apparatus, an examination of the impact a human-device fusion would have on human creativity, which is to say, on human freedom.  When he discussed photography — and he did so not only in books, but also in lectures, columns, reviews of specific exhibitions, even letters – in any of four languages, he was always concerned with this issue of freedom, asking whether and how, given the specific conditions at hand in any particular case, someone had been or might be able to create something genuinely new.

This thesis re-conceptualises contemporary articulations of terrorist governance through Gilles Deleuze and Felix Guattari’s (D&G herein) concept of assemblage, and Michel Foucault’s theories of dispositif (dispositive, apparatus) and biopower. It unpacks the media and governmental strategies of the group known as the Islamic State (IS) by teasing out the resonance between the group’s internal administrative processes, external media output, and its supporters’ social media discourse. A consideration of IS’s social ontology as an assemblage, and their terroristic conduct through Foucault’s dispositif, seeks to problematise the group as more than just a terrorist organisation. Rather, an analysis of globally fluid and conjunctive terrorist strategies executed via media, governance, and conduct, as part of and produced by a dispositif, accounts for intersections of social power, epistemology, production, circulation, function, a/effects, and the techno-discursive moment from which the group emerge and reside.
Taking both media and administration as my objects of study, I consider how IS’s articulations of terror, in terms of media and governance, constitute what Foucault called a dispositif. That is, to what extent was IS’s media and governmental strategy, and its implementation, composed of ‘a heterogeneous ensemble consisting of discourses, institutions, architectural forms, regulatory decisions, laws, administrative measures, scientific statements, philosophical, moral and philanthropic propositions’? (Foucault 1980, p. 194). I argue that to understand the group more holistically, as well as how contemporary terrorist groups produce subjects through local and global concentrations of governance, an analysis of both their administration and media is necessary. To achieve this, I conduct a dispositif analysis (Jäger & Maier 2009, 2016; Caborn 2007).

A dispositif analysis, essentially a tripartite discourse analysis of texts, actions, and objects, has a pronounced focus on the materiality of discourse which this thesis seeks to address within the context of IS’s activities. Specifically, I analyse internal administration documents used in an official capacity in the caliphate, media produced in English directed outside the caliphate, and social media content produced by IS supporters.
My analysis bears a number of conclusions. There is strong discursive continuity across IS media and governance which was retained over time. That is, IS have a strong sense of in-group identity and a discursive worldview that is very rigid. IS govern through the logic of the biopolitical which I show to be a dominant mode of power in IS media and administration. As well, by putting theorists of dispositif and discourse theory into conversation, I develop and show dispositif analysis to be both a productive methodological device for conceptualising an object of study, as well as its own mode of analysis. Following a reflection on the ongoing resilience of IS online, I ultimately locate IS within the mediatisation of terrorism: the increasing extent to which acts of terror are mediated by terrorists themselves.

This article is a discussion of the intersection between curriculum theory and agential realism as it emerged in the development of a curriculum theory course. During the process of designing such a course, I found myself wrestling with the different theoretical understandings of curriculum. What I came to realize was that while all of the theories I encountered have merits, none individually seem to capture the whole of what researchers/teachers understand to be curriculum as they encounter it in the classroom. Also, the different theories seem to be incommensurable with each other and, thus, cannot be synthesized into a single more comprehensive theory. In response to these realizations and in an effort to develop the course, I turn to Karen Barad's agential realism and specifically her theory of the apparatus. My conclusion is that curriculum theory itself is an apparatus. This article is an explanation of both that process of realization and the applicable theories of Barad's agential realism. I conclude this article by arguing that engaging curriculum theory as a Baradian apparatus in courses for new researchers/teachers can prepare them to engage with those theories differently and with more agility in their future practice.

As utopias são historicamente marcadas pela simbiose entre uma problemática social e uma solução técnica. Desde da edificação de cidades à invenção de utensílios que permitiam ultrapassar questões de ordem mecânica, a natureza das utopias teve não só uma origem de fundo numa falha identificada como biológica, como a solução apresentada recorre à técnica para perspectivar uma saída. Neste processo de problema/solução é indesmentível que o próprio humano se foi reconfigurando através do crescente uso da técnica que se expandiu à quase total dimensão da experiência.
Digo quase, porque ainda nos consideramos essencialmente biológicos. Apesar de a técnica ser hoje parte fundamental no funcionamento da nossa civilização, é de comum acordo que o limite no qual se funda o biológico ainda não parece ter sido ultrapassado. Mesmo perante as possibilidades que a medicina, principalmente, nos trouxe com as vacinas, os antibióticos ou os pacemakers, invenções tecnológicas que não causam estranheza pela forma como irradiam problemas que na pré-modernidade eram do quotidiano. Hoje em dia, a possibilidade de alguém falecer vítima de uma constipação é reduzida, mas essa conquista possível através da técnica, parece ter-se tornado tão vulgar que todos tomam-na como garantida.
Se a técnica era vista fundamentalmente como forma de curar o corpo humano sem “mexer” nele, actualmente à luz dos avanços científicos, nomeadamente nos campos da biotecnologia e da robótica, começa a ser possível teorizar sobre o melhoramento efectivo do corpo humano e das suas capacidades. A ideia de um pós-humanismo afigurou-se como projecção assente na possibilidade de, com a ajuda da tecnologia, os humanos aumentarem exponencialmente a sua inteligência, ultrapassarem doenças crónicas e debilidades do seu corpo orgânico e, por fim, vencer a morte.
Neste trabalho irei referir-me em concreto ao discurso pós-humanista da Singularidade. Em resumo, a Singularidade remete para a fundamental ligação histórica entre tecnologia e biologia que permitiu o progresso da civilização humana. Autores como Ray Kurzweil e Oswald Spengler encontram neste paralelo a pista para que a tecnologia criada pelo humano, mais cedo ou mais tarde irá ultrapassar a capacidade humana por um desejo inconsciente de imortalidade. Nesta altura, a biologia humana tornar-se-á obsoleta e não teremos outra opção senão permitir que a tecnologia, historicamente exterior, invada definitivamente o corpo humano. A esta definitiva fusão da tecnologia com o corpo humano é chamada pós-humanismo ou Singularidade. Nas previsões da Singularidade, o primeiro passo para a evolução tecnológica será alcançar a capacidade computacional do cérebro humano. Existem várias opções neste campo de investigação: computação com nanotubos (tubos normalmente de carbono com um nanómetro de diâmetro), computação molecular, computação com ADN, computação com electrões (spintronics), computação com luz e computação quântica. Esta última convém referir, tem obstáculo apenas na incapacidade em encontrar forma de manter estável a temperatura ambiente do computador, obstáculo que está prestes a ser vencido conforme relata em notícia o jornal Público . Todas estas tecnologias serão infinitamente superiores à capacidade do cérebro humano que, segundo Hans Moravec, cientista de robótica do Carnegie Mellon University, terá, no caso dos quânticos, a capacidade de executar 100 triliões de instruções por segundo contra por exemplo a retina do olho humano que captura e processa cerca de 10 milhões de imagens por segundo.
O alemão Oswald Spengler fala numa “táctica vital” em que o simbólico liberta processos de manipulação do meio ambiente para satisfação de necessidades humanas, lógica que “converte o universo em pensamentos mecânicos e racionais”. Para o autor de O Homem e a Técnica (1931), o homem procura materializar imagens no seu inconsciente o que requer uma objectivação concreta e racional. Encontramos aqui um correlato com premissas heideggerianas (num sentido determinístico da técnica) e até nietzscheanas (o sujeito é uma ficcionalização ou objectivação racional da verdade inatingível). Já para Ray Kurzweil, autor do The Singularity is Near, o fundamento é unicamente evolucional. A evolução tecnológica levou à computação que é um produto dos nossos cérebros e quando a computação atingir o nível do cérebro humano, através de tecnologias de computação e da compreensão/emulação do cérebro, a tecnologia suplantará o humano. Este processo levará à criação de métodos tecnológicos de melhoramento da espécie, através de biotecnologia e nanotecnologia. Kurzweil prevê que o humano fundir-se-á com a sua tecnologia melhorando-se a si próprio. Eventualmente, a tecnologia tornará a biologia obsoleta e o homem passará a ser mais máquina do que biológico. Aqui dar-se-á o início de uma era pós-biológica. Para chegar a este ponto a partir da actualidade (o livro data de 2004), Kurzweil aponta estratégias para o desenvolvimento de três áreas concretas e fala numa revolução “GNR”, genética, nanotecnologia e robótica, que trará um novo patamar evolutivo como relata Lipovetsky, “…segundo a corrente transhumanista, a união da genética, da robótica e das nanotecnologias permitirá transformar a própria definição do ser humano, o que constituirá uma mutação sem precedentes e verá o homem enriquecido nas suas capacidades fisiológicas e intelectuais: o cyborg verá a luz do dia e o techno sapiens terá substituído o homo sapiens. Ao mesmo tempo que exemplifica o poder da razão, a espiral da alta tecnologia não pára de segregar uma enorme quantidade de mitos e utopias….” .

This entry draws on Deleuze’s and Guattari’s “agencement” and on Foucault’s “dispositif of power” and develops these notions into a working concept for affect theory. An affective arrangement comprises an array of persons, things, spaces, discourses, behaviors, expressions or other materials that coalesce into a coordinated formation of mutual affecting and being-affected. While its composite materials are heterogeneous, an affective arrangement is characteristically social. It usually brings multiple actors together, foregrounding their reciprocal affecting and being-affected. The concept thus pertains to the mutually formative combination of socio-material settings and local and non-local affective relations. As part of an affective arrangement, affective relations are channeled and modulated in recurrent ways that can be charted by researchers. Besides discussing key sources of the concept, this entry presents methodological considerations and examples from recent research.

La actividad investigadora, lejos de ser un proceso lineal, está a menudo caracterizada por elementos de incertidumbre, “vueltas atrás” y avances repentinos, tanto en las ciencias sociales como en las naturales. Partiendo de este supuesto, en el presente artículo ilustraré el caso de mi tesis doctoral, que es un análisis crítico de las políticas de integración de inmigrantes de la Unión Europea. Recorreré las principales transformaciones sufridas por el objeto y el contexto de estudio y analizaré los diferentes factores que han influido en el procedimiento investigador, tanto “internos” como “externos” a su lógica de desarrollo. Asimismo, dialogaré con algunas fuentes teórico-metodológicas que me han resultado particularmente útiles para pensar el objeto y el contexto de estudio desde una perspectiva compleja y relacional. En este sentido, proporcionaré las principales contribuciones aportadas por la antropología de las políticas públicas, los estudios sobre gubernamentalidad y la etnografía “no local”.

Abstract: The fundamental issues of social media are the ways that people relay something of themselves to others and how this shapes society. Plus, increasingly, there is the breadth of social media reach, and the depth of what is kept in terms of related history of a person, captured constantly by postings and connections. As a consequence, much can be gleaned about people, especially as to their networks, actions and opinions. This leads to an additional matter of the concern generated when the massive amount of personal and socialised data is accessible, not only by befriended users of social media applications, but by government agencies, as is done for the purpose of pursuing political objectives. This gives social media a rather less than fresh and innocent appearance to any who see past the vast popularity of seemingly innocuous interchanges between old friends and new acquaintances met online.

Siguiendo una entrevista tardía de Michel Foucault, pero además los textos que Gilles Deleuze y Giorgio Agamben escriben a propósito de la noción de “dispositivo”, propongo una articulación que, a modo de reconceptualización, permita proponer una herramienta analítica en el campo de estudios de los procesos de subjetivación contemporáneos. Se trata de un ejercicio teórico que lanza una hipótesis doble de lectura: por un lado, el hecho de que la articulación de las componentes del dispositivo tal y como acá se propone es dispuesta por y gracias a la noción de vector. Y, por otro, que la vectorización de esa noción lleva a enmarcarnos en la teoría del agenciamiento propuesta por Deleuze y Guattari.