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The Cultural Logic of Computation by David Golumbia Pdf
Golumbia, who worked as a software designer for more than ten years, argues that computers are cultural “all the way down”—that there is no part of the apparent technological transformation that is not shaped by historical and cultural processes, or that escapes existing cultural politics.
The Cultural Logic of Computation by David Golumbia Pdf
Advocates of computers make sweeping claims for their inherently transformative power: new and different from previous technologies, they are sure to resolve many of our existing social problems, and perhaps even to cause a positive political revolution. In The Cultural Logic of Computation, David Golumbia, who worked as a software designer for more than ten years, confronts this orthodoxy, arguing instead that computers are cultural “all the way down”—that there is no part of the apparent technological transformation that is not shaped by historical and cultural processes, or that escapes existing cultural politics. From the perspective of transnational corporations and governments, computers benefit existing power much more fully than they provide means to distribute or contest it. Despite this, our thinking about computers has developed into a nearly invisible ideology Golumbia dubs “computationalism”—an ideology that informs our thinking not just about computers, but about economic and social trends as sweeping as globalization. Driven by a programmer’s knowledge of computers as well as by a deep engagement with contemporary literary and cultural studies and poststructuralist theory, The Cultural Logic of Computation provides a needed corrective to the uncritical enthusiasm for computers common today in many parts of our culture.
Since its introduction in 2009, Bitcoin has been widely promoted as a digital currency that will revolutionize everything from online commerce to the nation-state. Yet supporters of Bitcoin and its blockchain technology subscribe to a form of cyberlibertarianism that depends to a surprising extent on far-right political thought. The Politics of Bitcoin exposes how much of the economic and political thought on which this cryptocurrency is based emerges from ideas that travel the gamut, from Milton Friedman, F.A. Hayek, and Ludwig von Mises to Federal Reserve conspiracy theorists. Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
Emoticons matter. Equal signs do, too. This book takes them seriously and shows how and why they matter. Digital Shift explores the increasingly ubiquitous presence of punctuation and typographical marks in our lives⎯using them as reading lenses to consider a broad range of textual objects and practices across the digital age. Jeff Scheible argues that pronounced shifts in textual practices have occurred with the growing overlap of crucial spheres of language and visual culture, that is, as screen technologies have proliferated and come to form the interface of our everyday existence. Specifically, he demonstrates that punctuation and typographical marks have provided us with a rare opportunity to harness these shifts and make sense of our new media environments. He does so through key films and media phenomena of the twenty-first century, from the popular and familiar to the avant-garde and the obscure: the mass profile-picture change on Facebook to equal signs (by 2.7 million users on a single day in 2013, signaling support for gay marriage); the widely viewed hashtag skit in Jimmy Fallon’s Late Night show; Spike Jonze’s Adaptation; Miranda July’s Me and You and Everyone We Know; Ryan Trecartin’s Comma Boat; and more. Extending the dialogue about media and culture in the digital age in original directions, Digital Shift is a uniquely cross-disciplinary work that reveals the impact of punctuation on the politics of visual culture and everyday life in the digital age.
This collection of short expository, critical and speculative texts offers a field guide to the cultural, political, social and aesthetic impact of software. Experts from a range of disciplines each take a key topic in software and the understanding of software, such as algorithms and logical structures.
Post-Postmodernism begins with a simple premise: we no longer live in the world of "postmodernism," famously dubbed "the cultural logic of late capitalism" by Fredric Jameson in 1984. Far from charting any simple move "beyond" postmodernism since the 1980s, though, this book argues that we've experienced an intensification of postmodern capitalism over the past decades, an increasing saturation of the economic sphere into formerly independent segments of everyday cultural life. If "fragmentation" was the preferred watchword of postmodern America, "intensification" is the dominant cultural logic of our contemporary era. Post-Postmodernism surveys a wide variety of cultural texts in pursuing its analyses—everything from the classic rock of Black Sabbath to the post-Marxism of Antonio Negri, from considerations of the corporate university to the fare at the cineplex, from reading experimental literature to gambling in Las Vegas, from Badiou to the undergraduate classroom. Insofar as cultural realms of all kinds have increasingly been overcoded by the languages and practices of economics, Nealon aims to construct a genealogy of the American present, and to build a vocabulary for understanding the relations between economic production and cultural production today—when American-style capitalism, despite its recent battering, seems nowhere near the point of obsolescence. Post-postmodern capitalism is seldom late but always just in time. As such, it requires an updated conceptual vocabulary for diagnosing and responding to our changed situation.
Doueihi explores the multidimensional question of what it means to participate in online culture, covering issues such as literacy and citizenship to texts, archiving and storage.
A proposal that algorithms are not simply instructions to be performed but thinking entities that construct digital spatio-temporalities. In Contagious Architecture, Luciana Parisi offers a philosophical inquiry into the status of the algorithm in architectural and interaction design. Her thesis is that algorithmic computation is not simply an abstract mathematical tool but constitutes a mode of thought in its own right, in that its operation extends into forms of abstraction that lie beyond direct human cognition and control. These include modes of infinity, contingency, and indeterminacy, as well as incomputable quantities underlying the iterative process of algorithmic processing. The main philosophical source for the project is Alfred North Whitehead, whose process philosophy is specifically designed to provide a vocabulary for “modes of thought” exhibiting various degrees of autonomy from human agency even as they are mobilized by it. Because algorithmic processing lies at the heart of the design practices now reshaping our world—from the physical spaces of our built environment to the networked spaces of digital culture—the nature of algorithmic thought is a topic of pressing importance that reraises questions of control and, ultimately, power. Contagious Architecture revisits cybernetic theories of control and information theory's notion of the incomputable in light of this rethinking of the role of algorithmic thought. Informed by recent debates in political and cultural theory around the changing landscape of power, it links the nature of abstraction to a new theory of power adequate to the complexities of the digital world.
My Mother Was a Computer by N. Katherine Hayles Pdf
We live in a world, according to N. Katherine Hayles, where new languages are constantly emerging, proliferating, and fading into obsolescence. These are languages of our own making: the programming languages written in code for the intelligent machines we call computers. Hayles's latest exploration provides an exciting new way of understanding the relations between code and language and considers how their interactions have affected creative, technological, and artistic practices. My Mother Was a Computer explores how the impact of code on everyday life has become comparable to that of speech and writing: language and code have grown more entangled, the lines that once separated humans from machines, analog from digital, and old technologies from new ones have become blurred. My Mother Was a Computer gives us the tools necessary to make sense of these complex relationships. Hayles argues that we live in an age of intermediation that challenges our ideas about language, subjectivity, literary objects, and textuality. This process of intermediation takes place where digital media interact with cultural practices associated with older media, and here Hayles sharply portrays such interactions: how code differs from speech; how electronic text differs from print; the effects of digital media on the idea of the self; the effects of digitality on printed books; our conceptions of computers as living beings; the possibility that human consciousness itself might be computational; and the subjective cosmology wherein humans see the universe through the lens of their own digital age. We are the children of computers in more than one sense, and no critic has done more than N. Katherine Hayles to explain how these technologies define us and our culture. Heady and provocative, My Mother Was a Computer will be judged as her best work yet.
The Message is Murder analyses the violence bound up in the everyday functions of digital media. At its core is the concept of 'computational capital' - the idea that capitalism itself is a computer, turning qualities into quantities, and that the rise of digital culture and technologies under capitalism should be seen as an extension of capitalism's bloody logic. Engaging with Borges, Turing, Claude Shannon, Hitchcock and Marx, this book tracks computational capital to reveal the lineages of capitalised power as it has restructured representation, consciousness and survival in the twentieth and twenty-first centuries. Ultimately The Message is Murder makes the case for recognising media communications across all platforms - books, films, videos, photographs and even language itself - as technologies of political economy, entangled with the social contexts of a capitalism that is inherently racial, gendered and genocidal.
The gap between theoretical ideas and messy reality, as seen in Neal Stephenson, Adam Smith, and Star Trek. We depend on—we believe in—algorithms to help us get a ride, choose which book to buy, execute a mathematical proof. It's as if we think of code as a magic spell, an incantation to reveal what we need to know and even what we want. Humans have always believed that certain invocations—the marriage vow, the shaman's curse—do not merely describe the world but make it. Computation casts a cultural shadow that is shaped by this long tradition of magical thinking. In this book, Ed Finn considers how the algorithm—in practical terms, “a method for solving a problem”—has its roots not only in mathematical logic but also in cybernetics, philosophy, and magical thinking. Finn argues that the algorithm deploys concepts from the idealized space of computation in a messy reality, with unpredictable and sometimes fascinating results. Drawing on sources that range from Neal Stephenson's Snow Crash to Diderot's Encyclopédie, from Adam Smith to the Star Trek computer, Finn explores the gap between theoretical ideas and pragmatic instructions. He examines the development of intelligent assistants like Siri, the rise of algorithmic aesthetics at Netflix, Ian Bogost's satiric Facebook game Cow Clicker, and the revolutionary economics of Bitcoin. He describes Google's goal of anticipating our questions, Uber's cartoon maps and black box accounting, and what Facebook tells us about programmable value, among other things. If we want to understand the gap between abstraction and messy reality, Finn argues, we need to build a model of “algorithmic reading” and scholarship that attends to process, spearheading a new experimental humanities.
In 1936, when he was just twenty-four years old, Alan Turing wrote a remarkable paper in which he outlined the theory of computation, laying out the ideas that underlie all modern computers. This groundbreaking and powerful theory now forms the basis of computer science. In Turing's Vision, Chris Bernhardt explains the theory, Turing's most important contribution, for the general reader. Bernhardt argues that the strength of Turing's theory is its simplicity, and that, explained in a straightforward manner, it is eminently understandable by the nonspecialist. As Marvin Minsky writes, "The sheer simplicity of the theory's foundation and extraordinary short path from this foundation to its logical and surprising conclusions give the theory a mathematical beauty that alone guarantees it a permanent place in computer theory." Bernhardt begins with the foundation and systematically builds to the surprising conclusions. He also views Turing's theory in the context of mathematical history, other views of computation (including those of Alonzo Church), Turing's later work, and the birth of the modern computer. In the paper, "On Computable Numbers, with an Application to the Entscheidungsproblem," Turing thinks carefully about how humans perform computation, breaking it down into a sequence of steps, and then constructs theoretical machines capable of performing each step. Turing wanted to show that there were problems that were beyond any computer's ability to solve; in particular, he wanted to find a decision problem that he could prove was undecidable. To explain Turing's ideas, Bernhardt examines three well-known decision problems to explore the concept of undecidability; investigates theoretical computing machines, including Turing machines; explains universal machines; and proves that certain problems are undecidable, including Turing's problem concerning computable numbers.
Computation and the Humanities by Julianne Nyhan,Andrew Flinn Pdf
This book addresses the application of computing to cultural heritage and the discipline of Digital Humanities that formed around it. Digital Humanities research is transforming how the Human record can be transmitted, shaped, understood, questioned and imagined and it has been ongoing for more than 70 years. However, we have no comprehensive histories of its research trajectory or its disciplinary development. The authors make a first contribution towards remedying this by uncovering, documenting, and analysing a number of the social, intellectual and creative processes that helped to shape this research from the 1950s until the present day. By taking an oral history approach, this book explores questions like, among others, researchers’ earliest memories of encountering computers and the factors that subsequently prompted them to use the computer in Humanities research. Computation and the Humanities will be an essential read for cultural and computing historians, digital humanists and those interested in developments like the digitisation of cultural heritage and artefacts. This book is open access under a CC BY-NC 2.5 license
