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Apps Exposed

Jacob Weisberg’s wonderful piece in the latest issue of The New York Review of Books (Feb.25-March 9, 2016) gives us an opportunity to elaborate on the idea that we are Steve Jobs Avatars (see review of Steve Jobs posted 10 days ago).

 By the way, all of you out there please read Weinsberg’s review, online or offline, as you wish. Treat yourself to an in-depth review of the extent of the revolution in personal and interpersonal relationships in the wake of realizing Steve Jobs’s dream of a “closed circuit”: the fantasy he had at the very beginning—to his partner Steve Wozniak’s dismay—has come full circle (no pun) with the launching of the ‘apps’ and their enclosure system (sorry for borrowing this old image but I think it tells the story by referring to some historical precedent in the physical world. You can google the term… and let your imagination wander/wonder, your experience figure it out and your honesty connect all the pieces together).

The review describes the lack of empathy (interpersonal and personal) generated by the use (anytime, anywhere) of technological devices. Jacob Weisberg, by presenting the cause of this pervasive, omnipresent, omnipotent and ubiquitous connection (even in the most intimate moments of our lives, with our partners and families), exposes a scheme that even Jobs, perhaps, could not have dreamed of: the latest research in software architecture, applied psychology, and behavioral economics, paired with the best engineering and technological skills, is aimed at devising “habit-forming technology”—“using what we know about human vulnerabilities in order to engineer compulsion” as Weisberg puts it (p. 9). Our daily routine is not just the effect of randomness or personal choice, but also the result of a carefully orchestrated phenomenon (check out the term CAPTOLOGY created for the occasion). We are hooked because it is the very purpose of the devices, their raison d’être.

The review ends on the concept of “time well spent”. A human value, of course, that posthumanists are helping to bury since they are working towards making us immortal…

So “closed circuits” have indeed become a reality, not jut in the baby form that Jobs had envisaged but as a way of life that goes beyond the use of a machine. Not just as a technological feat but also as an anthropological change (breakthrough for some, regression for others). The personal computer, following Frankenstein’s lead, has outdone the creator’s original intention. The lack of empathy displayed by the man Steve Jobs, still perceived as an anomaly, is becoming the norm (see the findings presented in the books reviewed by Weisberg). The very use and meaning of the term “screen” has been turned on its head (see Leo’s text posted this week).

The review showcases a photograph from Eric Pickersgill’s series “Removed”, and Weisberg’s following statement could be used as a caption: “What does it mean to shift overnight from a society in which people walk down the street looking around to one in which people walk down the street looking at machines?”.

Danny Boyle’s movie presents a version of Steve Jobs before the world of Apps; we walk away uplifted by the visionary, the entrepreneur and the repentant father (remember the crucial line “I am poorly made” which reveals empathy for both himself—his failings—and the other). But that view might indeed increasingly look like a “movie”—a fiction.

Utopia has slipped into dystopia. Until the posthumanists have it their way with our mortality (collapsed into technological immortality), how do we find the way back into the (physical/biological) world? For Steve Jobs, that very question took a very drastic tonality: physiological reality, in the end, caught up with him. A tragic reminder, of course, that no Apps can sever us from our bodies—from time and space, in particular. Time is the most precious element of our lives. Giving it away to habit-forming devices is absurd (here, google Camus for more), to say the least. The translation of the most famous theatrical line might sound like: “To App/App, or not to App/no App, that is the question”.

“Derrida reminds Haraway that death is a part of becoming and that we need its figure in order to remain sympathetic to the opacity of the other’s finitude. Haraway reminds Derrida that entering the dance of relating is also a way to be attuned to the unnamable being and ‘becoming with’ of interspecies relationships” Elisabeth Arnould-Bloomfield “Posthuman Compassions”. In PMLA (5) 130, October 2015, p. 1467-1475 (p. 1474, emphasis mine).

Silver Musing

Billows lapping against the shore. Faraway yet distinct.
Imaginative leap provides the sound, the smell, the feeling. The story and its characters.
Including you, sitting on the beach, listening to the waves lashing out against the rocks.

Brooding. Gazing. Musing.

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Steve Jobs (D. Boyle 2015)

Danny Boyle’s movie proposes another version of SF come true—a tale of warfare as stardom. Steve Jobs dramatizes the true visionary era of the advent of the personal computer and the rise of its “oracle”, as one protagonist labels the eponymous hero. The early words and prophecies sound like history now, yet the magic remains.  The film stops short of the recent developments to focus on the beginning pages of this modern Odyssey and groundbreaking steps of its undaunted Ulysses. We share in the enthusiasm of the early chapters of a true “poem”—the making of a wonderful machine (little did we know, then, that the tool would claim unexpected prerogatives as a quasi extension of the human body).

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Voyages In, Voyages Out

Remembering your words about this particular beach being a place where you would/could take vows—swear eternal love. Self-fulfilling prophesy: a couple taking wedding pictures, giving flesh and blood to a mere idea, a pleasant memory, a poetic vision.

Wind and sea in amorous embrace bristling with a thousand lights, resounding a thousand notes.

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Ce qui disparaît avec les abeilles

Depuis leur apparition, il y a environ cent dix à cent quarante millions d’années, les abeilles ont constitué avec les plantes à fleurs qui peuplent notre environnement l’une des symbioses les plus riches et les plus étonnantes du monde vivant. Vecteur de la pollinisation, les abeilles assurent la reproduction des plantes qui ont, au cours de leur évolution, appris à rivaliser de parfums et de couleurs pour les séduire, et récompensent les insectes par un cadeau divin : le nectar.

Au cours des derniers milliers d’années, une nouvelle symbiose est apparue, qui s’est progressivement greffée à l’infini dialogue des fleurs et des abeilles. L’être humain a en effet tissé, au long de son histoire et de la diversité de ses cultures, un réseau dense d’interactions avec les abeilles, ayant pour finalité la récolte de leur plus précieux secret : le miel. C’est ce réseau, s’étirant des chasseurs de miel sauvage en Afrique aux fermes de ruches itinérantes d’Europe de l’Est, qu’explore le photographe Eric Tourneret dans un livre d’une très grande beauté, Les Routes du miel (356p, 45€)Il y documente la richesse de ces interactions ancestrales, et leur progressive extinction, au rythme effrayant de la disparition des abeilles.

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The hateful eight (Q. Tarantino, 2015)

With The Hateful Eight, Tarentino once again skillfully blends Western and Southern genres, and uses the resources of the grotesque mode, calling on a type of comedy that comes with the baggage of terror. The French title “Les huit salopards” silences the ambiguity inherent in the term “hateful”: if Tarentino’s latest characters are “bastards”, they are also full of hate, which is perhaps the main issue of the movie.

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Suffragette (Sarah Gavron, 2015)

“I don’t record a dry history of events and facts. I’m writing a history of human feelings. What people thought, understood and remembered during the event. What they believed in or mistrusted, what illusions, hopes and fears they experienced … I’m searching life for observations and nuances, details. Because my interest in life is not the event as such, not war as such … What I am interested in is what happens to the human being…” (quoted in NYRB November 19, 2015, p. 10)

2015 Literature Novel Prize Svetlana Alexievich’s words could be used as an epigraph for Suffragette. The subject’s encounter with the Law and her/his resilience is given pride of place in this historical drama dealing with the suffragette movement in early 20th century Britain. Working wife and mother Maud has to deal with the law of the jungle prevailing in the microcosm of the laundry where she has been abused since her childhood; inspector Steed has to come to terms with the laws he has to enforce against his own sympathies. The movie artfully rehearses History and stories with a cameo appearance of Meryl Streep who is very convincing in her role as Mrs Pankhurst, the mentor and politician towering above her devoted followers. Depictions of a political class ruling through hypocrisy and empty promises intertwine with sketches of individual journeys to empowerment. The film also explores the theme of female bonding and solidarity in an unforgiving world. A turning point in the battle takes place with Emily’s personal sacrifice in an act of self immolation reminiscent of recent similar gestures, when all that is left to oppose the logic of power is your own body—whether it means standing nonplussed in front of approaching military tanks or setting yourself on fire in a desperate attempt to draw some attention to your existence. Mrs. Pankhurst ‘s call “Never give up the fight” is literalized by one person’s decision to go to her sure death in order to bring life to others—a martyr to the “cause” in an ultimate form of commitment and generosity.

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Robots : cauchemars du dépassement et vertiges de la convergence

Explorée par la science fiction depuis de nombreuses années, la question du dépassement de l’humanité semble plus que jamais d’actualité, au prétexte que l’avancement technologique moderne nous rapprocherait dramatiquement de la singularité, ce moment où l’humanité telle que nous la connaissons disparaît pour basculer vers un au-delà constitué, au mieux, de la fusion de l’homme et du robot, au pire, de l’exploitation du premier par le second.

Du cœur même de la machine techno-scientifique, des voix s’élèvent pour dénoncer les dangers qui nous menacent : Stephen Hawking, Elon Musk ou Bill Gates rejouent sur l’intelligence artificielle le thème de l’apprenti sorcier, autour d’une technique à laquelle ils sont intimement (et même physiquement pour Stephen Hawking) liés.
Ces peurs nous sont familières. L’affrontement entre l’humanité et la technologie, et plus largement, entre la créature et son créateur, hante notre culture depuis des milliers d’années. Mais si l’être humain rêve d’être écrasé par ce qu’il a créé à son image, faut-il vraiment voir le danger dans le reflet ?

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