One of the things I love best about having done Radical Technologies for a publisher with genuine worldwide reach is that it’s found its way into places none of my previous books ever did. And a delightful consequence of that, in turn, is that I’m hearing from more readers with questions they’d like to discuss further, readers whose perspectives are often relatively far from the concerns of the people who have furnished the core of the audience for my books since Everyware days.
I’m always happy to answer their questions, if I can, and still more so when those questions come from disciplinary concerns or perspectives I rarely have occasion to consider myself. This was definitely the case with this next interview, conducted by Matthew Dagher-Margosian of Asia Art Tours. You’ll see pretty quickly what I mean about concerns or perspectives I don’t often get to think about, and I hope you find it as refreshing as I did.
Japan is host to numerous art forms whose masters are literally dying off, with no apprentices under them to carry on the art form. After reading [in Radical Technologies] about the Bushido Project, I’m wondering if you see projects like this as a way to archive and save art forms before the masters (and their knowledge) literally die. As with the Bushido Project, could (and should) we apply this technique to other art forms such as calligraphy, ikebana or ceramics?
It’s not my place to say, not having mastered any of those forms. But my gut tells me that from the senior practitioner’s perspective, the answer will depend very much on how they perceive their chosen domain of endeavor. In martial arts terms, do they think of themselves as practicing a 道 or a 術?
Perhaps I’m wrong, but I don’t imagine the practioners of an “art” particularly minding if their methods are abstracted and represented as machinic instructions, especially if in pragmatic terms it means the survival of their art and the continuing relevance of their contributions to it. But I do, very much, anticipate resistance on the part of those who conceive of what they do as a “way,” as a spiritual practice.
The possible exception, I suppose, would be those masters who share the perspective of the Heart Sutra — that is, that there is no “subject” of a spiritual practice, properly understood, and therefore that any possible distinction between human and posthuman sentiences enacting it is invidious.
Everyday I read about tech moguls being obsessed with emotional spaces like Burning Man, LSD usage, “cuddle orgies” or whatever the hell you’d call this trend from the New York Times. Why do tech workers (or perhaps just moguls) build “machines” and systems that tag, categorize and segregate reality but celebrate hedonism and unstructured creativity in their personal lives? Why do they want freedom and lack of structure in their own lives, but abhor this in the systems they build?
I have two answers, one perhaps kinder than the other.
The straightforward, if unkind, way of answering is to observe that a great many of the figures at the heart of our present technosocial revolution grew up fairly nerdy, with everything that then implied about self-esteem and social confidence. They may, indeed, have been drawn to technology because it presented itself to them as a realm governed by reason, logic and order, in sharp contrast to the fickle, unpredictable, unjust world of social interaction. But now that they’ve acquired a little capital, worldly power and recognition, and the self-confidence that goes hand-in-hand with them, they find that they’re better able to manage the pressures of the social world. They want to explore all the possibilities that have opened up for them, and most particularly the access to sensual pleasure they’re newly afforded.
And this can express itself with an almighty vengeance at SxSW, or still more so Burning Man. Everybody goes a little nuts their first time at an event like that, especially if they experience it for the first time as an adult, and nothing in their previous life has prepared them for it. I think what you’re seeing is simply what happens, predictably enough, when you combine temporal power, long banked-up desire and sudden disinhibition. The New Age trappings are just window dressing, scene-setting or priming for what they really want to do, which is Get Down.
A more charitable way of answering, though, is to point out that digital systems are still founded on a binary logic that both requires precision in its inputs and renders it in its productions. That logic renders reality in discrete intervals, which is astonishingly effective as a way of ordering the world so its contents can be instrumentalized or operationalized, but is pretty limiting as a mode of being. The world, by contrast, is continuous, or at least quantized at a level many, many orders of magnitude beneath our ability to perceive it. So looked at through a different, more generous lens, what your tech moguls are doing when they take a few hits of ecstasy and dissolve into a cuddle puddle on the floor of a friend’s loft is redressing an imbalance in their lives that they may or may not be consciously aware of. Seen this way, they’re giving themselves over to a rich, continuously variable reality of sensation and flow, precisely because their everyday experiences deprive them of such opportunities.
The truth, of course, is that very very few people in technology are close enough to the code for it to order their perceptions in any meaningful way. So my money’s on the former explanation.
Jaron Lanier (a big fan of music and art) among others has long praised VR as a potential for greater human connectivity and creativity…giving people a virtual play space to create and connect. I am wondering if you see this same potential? Is creativity and connection possible if these VR platforms are owned by monopolistic concerns as they are now?
Well, I personally wouldn’t look to Jaron Lanier for coherent thought about much of anything, and I think this is a great example of his shallowness.
The notion that virtual environments might foster a form of creativity is something I don’t actually have that much of a problem with. I mean, there’s plenty of precedent: there are any number of clever ways in which people have used the relatively limited expressive palette offered to them by something like Minecraft to generate something that speaks to them. An even more apposite example might be Second Life — as embarrassing and dated as it now seems to most of us, there are people who have spent literally months if not years of their lives in that environment, crafting objects and spaces that evidently communicate something intensely important to them. It doesn’t speak to me, but it seems foolish to argue that what they’re doing isn’t creative in some way.
But connection is a harder sell, and there I draw the line. Interpersonal relations in a virtual space are always and by definition going to be mediated through a sharply impoverished and heavily stylized subset of the communicative channels embodiment offers us. Anyone who thinks that’s “connection” is selling genuine physioemotional copresence pretty short, and in fact I’m moved to suspect that someone pressing that argument with vigor may never have fully experienced what it is to be emotionally present, vulnerable and available to another.
Most seriously of all, we already have a space in which to create and connect. It costs nothing, is owned by nobody, has no technical specifications, doesn’t require upgrades or ingame purchases or DLC to use effectively, and doesn’t go away when the power is cut off. We call it “reality,” and we undervalue it at our peril.
One of art’s great functions for the wealthy is that it occupies space, and by occupying space it occupies mind. Art hung on a mansion’s barren wall brings meaning that otherwise would make one question the purpose of their wealth and status. I’m wondering if art becomes non-physical (i.e. teamLab’s “digital museum”) or if art is produced by algorithm (non-human actors) how will the wealthy adjust? Will they be willing to support non-human created art that doesn’t occupy physical space (digital)?
That’s an interesting take, and I want to consider it further. My own observation is that the wealthy people I know very rarely spend any time in actual contemplation of the artwork they’ve collected. Once an artwork has served its dual functions of accumulating social capital and, well, capital-capital, it’s wallpaper, something that’s precisely not in mind. Perhaps they have occasion to contemplate a piece for a few seconds every time they get to show it off to new visitors, but for the most part it’s just there…appreciating but not appreciated.
But to your point, yeah, I just don’t see the wealthy broadly underwriting work that doesn’t support what we might call its Veblen functions — not unless it somehow redounds to their benefit socially. And what that implies for expressive media that can’t be tangibly consumed is, as far as I’m concerned, fantastic. It means that people who are there for the wrong reasons, for motivations other than those of sincere curiosity and excitement, just tend to evaporate and to bunk off to scenes where their desire for social affirmation is more straightforwardly rewarded.
The risk for any scene like that then becomes insularity and obscurity and self-referential preciousness, but that’s nothing particularly novel for niche creative communities the world over.
Regarding the Next Rembrandt project, do you anticipate entirely original artwork will soon be created completely by algorithms? And if so, how would its aesthetic merits be evaluated? For creative endeavors will we soon have digital critic algorithms critiquing (and rating and categorizing in recommendation engines) films/pieces of art produced by other algorithms?
I think we can approach an answer, albeit in kind of a crabwise manner, by considering a closely parallel question. I often argue that the true achievement of synthetic intelligence will lie not in defeating the highest-ranked human player of chess or go, but in devising a game as captivating as chess or go in the first place.
That, to me, is the test. By this standard, I don’t believe we can truly consider algorithmic systems capable of creativity until they’re generating expressive works that correspond somehow to their unique experience of the world. Not simply generating bizarre forms or sounds or images, that is, à la DeepDream, but producing forms and sounds and images that reflect aesthetic choice, that are structured specifically to express something, however ineffable. And I don’t think we’re there just yet, we may not get there for some time yet to come, and may indeed never quite get there at all.
There is always the possibility, of course, that we will simply not recognize this achievement if and when it does happen — that creative machinic systems will make their aesthetic choices in a medium, at a spatial scale or subject to a temporality which is beneath or beyond the threshold of human perception. What if the highest form of machinic creativity is manipulating material, social or geological dynamics to produce patterns in space and time that are somehow pleasing to the systems involved, that we don’t even recognize as the product of volition? There may well be genres of art that we’re not even capable of perceiving, let alone participating in.
As to whether other machinic systems will, in turn, evaluate those works of art, that would seem to suggest a coherent set of criteria for doing so, articulated by an agent that shares at least some subjectivity with the creator. And again, I just don’t think we know enough about the nature of emergent machinic intelligence to say whether or not such evaluations would arise unprompted. It’s hard for me, at least, to imagine why posthuman systems, acting purely amongst themselves, would feel the need to produce a structured set of discursive acts that fill the same role art criticism serves in human societies, but maybe that says more about the limits of my imagination than it does anything else.
Lastly, of all the subjects addressed in Radical Technologies, which do you see as potentially of the most use or of the most utility to future artists?
I mean, they’re almost all of them expressive media, they almost all support an aesthetics and a poetics…but I have to confess I’m personally really excited to see where precision digital fabrication goes. I think we’ll see some pretty subtle, potent objects arise out of that, whether formally devised via algorithm or by the human hand and heart.
As I seem to have acquired, in some quarters anyway, a reputation as an uncompromising and intractable Luddite where matters of networked technology in everyday domestic life are concerned, I thought I’d share with you today some minor evidence that I’m not unalterably opposed to each and every such appearance. I give you…the Ember.
This is precisely the kind of networked device I might have written off as a near-meaningless frippery a few years ago. It’s a nicely-designed ceramic mug with a rechargeable heating element built into its base, allowing you to set the temperature at which you prefer to drink your coffee or tea.
All it is, really, is a thermostat — but a thermostat in a surprising, and surprisingly welcome, place. There isn’t any computation to speak of going on. The networked aspect is nicely circumspect, and it’s mainly there to let a smartphone app serve as the user interface, keeping the mug itself appropriately stripped down. You pair it with a phone once, on first setup, and that’s it. Everything else is done through the app, and you don’t even need to interact with that too much once you’ve got your preferences dialed in.
I should say that Ember is not perfect, either as a product or as a piece of interaction design. The embedded, multicolor LED fails to communicate much of anything useful, despite its multiple, annoyingly blinky and colorful states; all I really need to know from it is when the mug needs to be recharged. That need arises far too often, at least when it’s set to maintain the temperatures at which I prefer to drink coffee. And inevitably, I have concerns about the nonexistence of any meaningful security measures, a nonexistence that in fairness is endemic to all consumer IoT devices, but remains inexcusable for any of them.
But Ember gets some things right, and when it does, they tend to be very right. By far the most important of these is that it works as a mug, prior to the question of any networked or interactive functionality. The vessel has a good heft to it, and when you set it down on a solid surface, the feeling of a damped but substantial mass that’s transmitted through the rubberized rings at its base is just very, very satisfying. The ceramic surface has a pleasingly velvety texture — so much so, in fact, that you can’t help but wonder if it’s one of those miracle materials that will turn out to have been threshold-carcinogenic twenty or thirty years down the line. It’s gratifyingly easy to clean.
And as far as that additional functionality is concerned, the mug does what it says it will, does it well…and it’s a hoot. It turns out that there’s a real Weiserian frisson to be had from something that violates all the subtle, subconscious expectations you’ve built up over a lifetime of drinking hot beverages from ceramic mugs. The confoundment of assumptions is so deep, indeed, that it takes you awhile to catch up with the new reality — to realize that you can go answer the doorbell or otherwise be distracted for five or ten minutes, and still come back to a piping hot beverage. In fact, Ember stands the principle of evaporative cooling on its head: because the heating element is still set to maintain a larger volume of liquid at a given temperature, but most of that volume will have been drunk away by the time you get to them, your last few swallows are noticeably, delightfully hotter than any you’ve had since first filling the mug.
To be clear, the Ember mug is not something anyone needs, especially at this price point. But I admire its clarity of purpose, in leveraging a modest deployment of technology to furnish its user with a small but nevertheless genuine everyday pleasure. And without wanting to be pompous about matters, I happen to believe there’s a crucial role for small but genuine pleasures in difficult times like the ones we happen to be living through. You may find yourself surprised by the degree to which a sip of hot coffee lands when you sip it forty or forty-five minutes after brewing — at least, I surely was, and am — and how psychoemotionally sustaining it can be when it does. Most of that is probably the coffee itself, doing what it is that coffee does, but better by far a networked product that is modest and humble in its aims, and succeeds in meeting them, than one which promises everything and does none of it particularly well.
Here’s a brief interview I did with a new publication called Rewired. As you can see, I’m not always super-comfortable with the way the questions are framed, but hopefully manage to bring my answers in for a landing nevertheless.
Is there (or will there be) a possibility to be 100% tech-free in our society?
No society of human beings has ever been “tech-free,” since well before the moment we first emerged as a distinct species. Like other species on Earth, we have always used technical extensions of our being to enact the satisfaction of need and the fulfillment of desire — always, from before the beginning. Stripped of our technologies, we would not merely no longer be capable of constituting a society, we would no longer be human.
You write in the first chapter of Radical Technologies that phonebooths, Walkmans, etc., disappeared. Do you think that people become less attached to objects? But at the same time, why is there this revival of “old school” objects, like vinyl records for example?
Part of it, for the older generation of consumers, is no doubt nostalgia. Those of us who were born before 1980 or so have lived through quite an impressive lacuna: we experienced a trough of time during which a great many of the objects that had between them constituted much of the material substrate of social existence in the developed economies simply disappeared from the world. For these objects to reappear in a slight return — dusted off and perhaps upgraded — is a warm bath in the reaffirmation of a baseline psychic normality we thought had fled from the scene forever. As I write to you now I am within arm’s reach of an Olivetti Lettera 33 typewriter and a Western Electric Model 500 rotary telephone, neither of which I actually use for their intended purpose, both of which I keep around as exemplars of the modernism, dynamism and sophistication I remember from my early childhood.
And beyond that, there are real pleasures associated with these objects: pleasures that their contemporary near-equivalents simply do not afford, that have value independent of whatever nostalgia they may invoke, and that remain available even to those for whom they constitute entirely novel experiences and not reflections of something remembered. Though I don’t do so myself, I understand that playing a vinyl record isn’t simply a sterile act of media consumption. It’s an auditory and tactile and even olfactory experience, material in nature, sharply bounded in space and time, and in fact subject to physics in a way listening to Spotify just isn’t. That sure seems sufficient to explain why some of us might find the experience desirable.
How do you explain the fact that in democratic countries, people are consciously subjected to the dictatorship of tech?
I don’t think I know exactly what you mean by “the dictatorship of tech,” but if I understand you correctly, you’re concerned to know why people voluntarily choose the circumstances of their own oppression? All I can say by way of answering is that the dynamic has been recognized for well over a century, and has been addressed by everyone from Engels and the Frankfurt School to Michel Foucault, Martha Nussbaum and Noam Chomsky. I don’t myself believe that there’s anything particularly new about the information-technical turn in this regard.
Beyond that, I always feel a little hesitant, even a little shabby in ascribing false consciousness to someone else, as if I and I alone am possessed of an analysis of such Olympian clarity as to lay bare all the ways in which we pull the wool over our own eyes. Nobody you’ll ever meet is quite so smug as the undergraduate who’s just read Marcuse for the first time, or the barstool philosopher who’s seen Manufacturing Consent, and thinks that getting their news from Reddit somehow constitutes a brave, heroic end run around the process of discourse management. Don’t be that guy.
You talk in your book about low-waged labor forces in Shenzhen for example, to satisfy our consumption. Do you think that we became numb to other people’s situation? Are we in what Albert Camus would call the “murderous consent”?
We were always already numb to the suffering of the other — if, indeed, we weren’t actively indifferent to it. It is our present circumstances, by contrast, that begin to extend the remotest hope of learning from the confrontation with the consequences of our desires.
You write that apps like OpenDesk are revolutionizing the way we conceive things. With 3D printers, we can print chairs, tables, etc. You say that with a printer, a laser cutter and feedstock we can make anything at home. Do you find this worrying, as it is easy to imagine someone creating a 3D gun for example?
I do not say that with a printer, a laser cutter and feedstock we can make anything at home. I say no such thing.
What I do say is that the range of useful things that the untrained, ordinary person can now fabricate, equipped with nothing more than a printer or laser cutter costing a few hundred dollars, has grown considerably. And furthermore, that the range of such things not long ago expanded to include, yes, crude, rudimentary firearms, devised by ideologues and fanatics to prove precisely this point, as a kind of propaganda of the deed.
I don’t believe this is cause for any particular concern at the moment, as such weapons clearly tend to pose a greater threat to their own would-be users than they do to anyone else. But, you know, we can see what’s coming. It’s in the mail. And what that suggests to me is that polities or societies that wish to discountenance the spread of such weapons (or other notionally or actually harmful objects that might be fabricated in this way) would be best advised to adopt a layered defense in depth composed of multiple kinds of frictions, retardations and disincentives — in essence, a harm-reduction strategy rather than one of prohibition.
You explain that data has political involvements and that “the data is never just the data.” Do you think that governments are blatantly lying to satisfy data?
All governments lie, and always have — all human institutions, for that matter, not merely those of state. All human institutions will attempt to create an epistemic environment that’s favorable to their own continuation, by any means at their disposal, at both the micro and macro levels — even when this is not always in their own longer-term interest, as Goodhart’s Law suggests. The manipulation or selective release of statistics was an important component of this sort of effort in the twentieth century, and it is now augmented by the selective collection, manipulation of or differential analysis applied to machine-readable data, sure.
Yesterday, Elon Musk said he would make a platform to rate and track a credibility score for journalists. Do you think that more and more actions of the sort will start to take shape?
That’s funny. What might actually be more useful is a platform to rate and track Elon Musk’s credibility.
In the runup to our June event in Tallinn, the good folks at Housing Europe have asked me to address a brief series of thoughtful questions. I share the questions and my answers to them with you here, in the hope that you’ll find them as usefully provocative as I did.
Social anxiety, introversion, isolation, and feelings of loneliness are on the rise, especially in the younger generation, a result of various factors including the irony-laden hyper-connectivity of social media, smart phones and screen time, general alienation from our schooling and work, our physical surroundings, ourselves and each other – is there any way in which technology could be used to actually curb this trend at all?
Well, there are of course any number of apps that claim to spur us to mindfulness and presentness, and I suppose there’s an argument to be made that the same hyperconnectivity you’re talking about actually works pretty well for some. I’ve seen studies suggesting, for example, that the most densely-connected social media users tend to score well above average on self-reported measurements of happiness and life satisfaction.
But as far as I’m concerned, it’s kind of a master’s tools/master’s house situation. I don’t think you can reliably underwrite the kind of psychically restorative, face-to-face interaction we seem to require with the same technologies that corrode our ability to attend to and be emotionally present for one another. There are powerful physiological processes engaged by the way smartphones and apps are currently offered to us that tend to militate against our very ability to be present: consider the way the flickering of our screens involuntarily entrains focus, so that you can’t not glance at a screen entering your field of vision, at least momentarily. Or the dopamine cycle, which, as we now know, is consciously exploited by app designers to capture and retain our attention, beneath the level of conscious awareness — that’s what the little red bubble with the number of unread messages is all about, it’s very carefully tuned to be an irresistible trigger to action. The notion that we might somehow override these very old, very deep features of our nervous system at will strikes me as naive.
So what’s the alternative? The alternative is to cultivate a greater sophistication regarding what networked information technology is for, where in our lives it’s best and most wisely deployed, and when the time has come to quite literally set it aside and surrender ourselves to an as-nearly-unmediated encounter with the other as we can feasibly achieve. But that itself takes education, and patience, and the desire to do so, and above all the recognition that it’s not by any stretch of the imagination always comfortable to be in the unmediated presence of another human being, their claims and prerogatives. There’s a skill involved with being copresent with each other in such a vulnerable way, or even a craft, and we could all use some refinement of that craft. Myself very definitely included.
Would it be advisable to build a city from scratch and, if so, would you enjoy being involved in this project and what guiding principles would you wish to employ?
Advisable? In the abstract, I’d have to say no. Most likely inevitable, though: the number of people worldwide who are now looking to avail themselves of urban density and urban opportunity — in not a few cases, mind you, because they were forcibly displaced from the land — will clearly stress the infrastructural carrying capacity of existing conurbations to the breaking point. So we need to bring new ones online, even if it takes a few decades for anything resembling a genuinely metropolitan sensibility to bed into such places.
Would I enjoy being involved in their design? Of course. Like any other urbanist, I have my own pet theories and received nuggets of wisdom about how it is one might go about designing a city so that it simultaneously underwrites equity, complexity, texture and sustainability, and I’d love the opportunity to put those theories to the test. Who wouldn’t?
As to what principles would guide me in any such engagement, it shouldn’t be too much trouble for anyone with even a glancing familiarity with my work to guess their general contours. The first is to provide maximum scope for people to determine the circumstances of their own being, as individuals and collectivities both. The second, which is obviously in a fair deal of tension with this, is to proceed always from the understanding that quality of life for all is best achieved by closely and respectfully attending to the needs of the most vulnerable users of a space.
Have your thoughts or attitudes changed or developed since 2013, when you wrote “Against the smart city”?
At the time I wrote “Against the smart city,” I was — very atypically — cowed by some bizarre notion that the pamphlet’s credibility would be enhanced by a relatively even-handed description of the things I was writing about, even though they were plainly terrible. Figuring that the smart-city schemes I was discussing were so prima facie foolish (or, in the case of PlanIT Valley, outright fictional) that a relatively uninflected account of them would speak plainly enough for itself, I just didn’t put things as sharply as I could or should have. Not to put too fine a point on it: I pulled my punches.
And what happened in the months and years that followed is that, on a fairly regular basis, I’d hear from the architects and engineers who worked on those efforts, people fairly intimately involved with the creation of Masdar or Songdo and so on. They’d write to me and say, “You know, that project was so much worse than you said it was. You have no idea how much worse.”
Well, look: I’ve spent a few years of my life inside large, multinational technology firms. I did have some idea. It’s true that I didn’t have the fine details at hand — and lordy, did they ever make for cacklingly schadenfreudy, if somewhat hair-raising, reading — but even given what I knew at the time, I certainly could have been more pointed in my critique.
The irony, of course, is that the pamphlet is clearly already pretty far to one side of the spectrum of published opinion on the question of the smart city. Yeah, there are a number of critical academic papers that treat the issue, some of them quite tasty, but as far as the popular literature on the subject is concerned virtually everything else out there is a more-or-less optimistic attempt to justify or recuperate the idea of the smart city. If we stipulate, then, that “Against the smart city” pretty much already defines one pole of debate, here I am suggesting that taking these insiders at their word means it should have been much harsher still. I shouldn’t have let myself been affected by tone arguments advanced by purely imaginary interlocutors in my own head, or watered down the truth of what I knew about the elemental mendacity and incompetence of smart-city schemes out of some profoundly misguided notion of the politics of respectability.
It’s a lesson I bear in mind whenever I’m asked to comment on things like Sidewalk Lab’s adventures in Toronto.
Migration as a result of conflict, poverty, land grabbing, climate and demographic change, as well as a type of continuous mobility as a consequence of the pursuit of education or employment opportunities, and, on a more positive note, our curiosity and desire to explore the world, means that we often find ourselves in new and short-term living situations. Could you think up a system in which people could be appropriately and comfortably housed on such a basis?
Sure, and it wouldn’t even necessarily look all that different from present-day AirBnb, at least in schematic. (Let me be clear that I have absolutely no problem with something like AirBnb, provided first of all that every permanent resident of a city in which such a service operates has access to safe, decent, centrally-located housing, unimpeded by considerations of income or affordability. The beef I have with AirBnb is the way it distorts the rental market, and secondarily the signature psychogeographical condition that tends to crop up pretty reliably when much of a city’s historic center is given over to the needs of tourists and other short-term visitors.)
And circling back to your earlier question, here’s a place where I definitely think networked technology has an important role to play in defining the contours of a decent, grounded, equitable modus vivendi. Along these lines, I did some thinking awhile back about what I was then calling “space as a service.” There’s also been some pretty innovative work on ways in which networked shelter and mobility assets might be integrated, epitomized for me by Höweler + Yoon’s Shareway 2030 project from a few years ago.
What do you think is the way — if there is such a way — to make sure that these “radical technologies” you talk about in your latest book actually serve an inclusive design of everyday life that does not leave anyone behind?
If there is a way, it would have to involve massively enhancing the inclusivity, the representational diversity and sheer invitationality of technological development organizations, so that the apps and services that set the bounding conditions on our lives aren’t exclusively devised by a markedly self-similar cadre of young, privileged, able-bodied engineers and designers. Designing technological products and services that are pertinent to and sensitive of the needs of people who don’t happen to process information, understand embodiment or experience space like the existing development cohort is necessarily going to have a lot to do with who’s in the room when the thing’s being made, and what power they’re able to claim. The watchword has to be “nothing about us without us.”
Note that I am not arguing that we need to “prioritize STEM education” above everything else, whatever that is, or god forbid that “everyone should learn to code.” But we need to get a whole lot closer to a paradigm of development by people rather than for them, or on their behalf. It’s not like this is by any means fully resolved inside urban planning, by the way — it’s a tension that’s been plainly evident since at least the mid-1960’s, and here I’m thinking of some of the more thoughtful critical responses to Paul Davidoff’s 1965 paper on advocacy planning. Not even the most skilled advocate will ever be able to fully evoke someone else’s lived experience of the world in all of the ways that are salient to a design challenge of this order, no matter how diligent or well-intentioned or empathic they may happen to be. So the task that lays before us is figuring out how ordinary people everywhere can meaningfully claim a voice in the development of the information-technical systems that now do so much to condition their life choices and chances.
Let’s be crystal-clear that the struggles of May left us with a legacy that is by no means uncomplicated. More than a few of those who threw their bodies on the barricades then and in the months that followed shamefully spearheaded the turn to neoliberalism just a few years down the road, as the intellectual winds started to blow from a different quarter. The language and symbols of the moment have often been coöpted in the decades since, used to advance political and commercial agendas that would surely have struck the demonstrators at the Sorbonne (and their counterparts in Chicago, Prague, Mexico City and elsewhere) as obscene. Adding insult to injury, images of May are more than occasionally invoked by sentimental veterans of the left as a stick to beat younger activists with — taking them to task for not somehow bringing society to its knees in a matter of weeks every time there’s a new wave of dissent, as though the entire economic/sociotechnical/media milieu hadn’t changed a whit in the half-century since Danny the Red leapt the CRS fences.
And yet, and yet. We (OK: I) return time and again to those indelible, iconic Atelier Populaire posters, and the images of Paris ripped up, barricaded, shrouded in a fog of war gas they so reliably conjure, for the pure hit of Situationist verve and sheer insurgent insouciance they offer, even at such a long remove. If there’s a task before us, it’s to ensure that those images live as channels of power from their moment to ours: that we avoid turning them into fetish, shrine for a dead and irretrievable vector of possibility, or worst of all, decor. If we use them properly, in fact, they’re a goad, a potent reminder that the impossible is still a thing that lays before us to demand, and to achieve.
Happy May Day, beloved.