Author Archives: alicia

The Aesthetics of Destruction

During the last decades, the concern on the health of the ocean has grown. We have been using it as the global dumpster, filling it with trash and plastics, and now we know that the water contains micro-plastics that will never disappear. 

However, why are we so concerned about the ocean if it is not the human habitat? There are many forests logged and many landscapes destroyed by mining activities every day. It seems to be more accepted, maybe because the images we get from land are not that shocking, since we are used to its destruction. Moreover, the imagery around the ocean has been very poeticized and mysterious, so we feel more guilty when hurting it. 

Photo by Ed Kashi, National Geographic Image Collection.

The fact is that all the planet is connected, so whatever concerns us will affect the rest of it. As Kate Crawford and Vladan Joler explain in the text Analysis of an AI System, the first transcontinental cables that served as communication bridges from land to land were recovered in rubber so they could function [1]. This rubber was known as gutta-percha, and it was obtained from the Palaquium Guttatree (nowadays extinct) by native workers in dangerous conditions.

Landing of an Italy-USA cable, January 1925.

In this case, transcontinental communication damaged both the seafloor and the forests, affecting both the marine and the land ecosystems. The cables that connect two continents also connect two worlds: the marine with the terrestrial. We, as humans, perceive these changes as images that change the aesthetic perceptions that we have in the different environments. 

Ossi Naukkarinen defines Aesthetic Footprint as the aesthetic impact of any object or action on the environment [2]. The concept is subject to the cultural and evaluative values of each individual. Depending on that, the aesthetic experience can be positive or negative for the self. 

In the text Environmental Aesthetics in the Age of Climate Change, Matthew R. Auer writes about how people’s appreciation of the environment change, at the same time that climate change is altering the environment [3]. There are different theories relating to that. Some defend that the adaptability of the human will help societies to appreciate the new forms of the surroundings. But, others maintain that the world will become full of ugliness and negative aesthetic experiences. Moreover, he talks about the moral pressures and how the people will have an increasing feeling of guilt for the changes in the environment.

References:

[1] Crawford, Kate;  Joler, Vladan. Anatomy of an AI System (2018).

[2] Naukkarinen, Ossi. Aesthetic Footprint (2011).

[3] Auer, Matthew R. Environmental Aesthetics in the Age of Climate Change (2019).

 

~ Alicia Romero

The Globalization of the Landscape

When companies sell us the cloud, it seems that they are talking about something magical and fantastic. Its imagery is futuristic looking, filled with shiny lights, and coming from a science-fiction movie. However, we are not concerned about what the cloud is. They are black-boxed and top-secret places, where all our information takes live.

We have seen attempts from the companies to make those spaces more transparent. They open the doors to the cameras and display all the machines. Yet, this hypervisibility of the infrastructure and this pure image that they give of the cloud allows them to keep the people naive.

The truth is that the cloud relies on data-centers that stock all that information that we generate every day. One of its effects is the need for infrastructure around the planet. These buildings are environments designed from humans to robots, and for that reason, their design is a copy-paste around the world. Data-centers are structures designed for machines, which means that no human is working in that environment, so there is no need to follow cultural necessities. 

Images from data centers around the globe.

In the same manner during industrialization, the landscape was also affected by the construction of new buildings. Hilla and Bernd Becher, two german photographers, recorded these changes in the landscape from the late 1950s [1]. In their work, we can see collections of images depicting industrial buildings. Even if the buildings have very similar shapes because they have the same finality, there are subtle differences probably because of the construction methods and the cultural necessities from each place.

Pictures from Hilla and Bernd Becher’s work.

In the future, we will need more infrastructure to support all the data that we generate. Jennifer Holt and Patrick Vonderau write about one of the upcoming “technological dramas” that the technology in data storage is not as developed as the amount of information to store [2]. In conclusion, the landscape is going to be even more exploited in the future, overcrowded with the same buildings all over the surface.

References:

[1] Biro, M. (2012). From analog to digital photography: Bernd and Hilla Becher and Andreas Gursky. History of Photography.

[2] Holt, J. and Vonderau, P. Where the Internet Lives. Data centers as cloud infrastructure. Signal Traffic.

 

~ Alicia Romero

Sabotage the Saboteur

Approximately one year ago, when Covid-19 spread around the World, I had a fascinating conversation with one of my friends from China. She was very confused because her social media got full of posts with random emojis, ancient Chinese calligraphy, and what seemed to be Morse code. However, after reading some more posts, she understood what was going on. People came up with elaborated codes to spread a censored interview from Ai Fen, a doctor in Wuhan’s Hospital who talked about the coronavirus outbreak [1, 2].

Font: Abacus, South China Morning Post

I found it so witty how people could come up with new codes, and even rescue and integrate old communication methods to fight the censorship. Precisely, I think that this phenomenon is what Shannon Mattern is talking about when she writes about informal or shadow development in the article Deep Time of Media Infrastructure [3]. When institutions are not providing, or — like in this case — are sabotaging the information, people need to improvise. 

That is not the first time we can see new codes emerging to confuse the algorithms and avoid censorship. One example is women using Photoshop to protest against Instagram’s restrictions by displaying male nipples over their own [4].

Font: Instagram

Another example is the use of makeup to avoid the facial recognition to go unnoticed in front of the cameras. In the project CV Dazzle, they use fashion as camouflage [5]. They claim that it is a concept and a strategy tailored to each face and technology, which I believe is related to the fact that only human labor can “sabotage” the infrastructure. Only people will be able to confront the structures and make a change.

Font: CV Dazzle

In conclusion, the fact is that every message, image, or video that we want to display nowadays is going through the filter of giant companies that are governed by arbitrary restrictions. However, it does not matter if a bot is using the latest technology such as facial recognition, or keyword detection, that people are going to find new codes to spread their message.

After all, knowledge is power.

 

References:

[1] Abacus, South China Morning Post. Censored coronavirus news shows up again as emoji, Morse code and ancient Chinese. https://www.scmp.com/abacus

[2] .coda. Chinese citizens fight coronavirus censorship with emojis and ancient languages. https://www.codastory.com/disinformation/chinese-internet-users-fight-coronavirus-censorship/

[3] Shannon Mattern, Deep Time of Media infrastructure.

[4] The Daily Edge. Women are Photoshopping male nipples over their own to protest against Instagram censorship. https://www.dailyedge.ie/free-the-nipple-photoshopping-male-nipples-2206654-Jul2015/

[5] CV Dazzle. Computer Vision Dazzle Camouflage. https://cvdazzle.com

 

~ Alicia Romero