UNTIMELY RIPPED

Mobile and Ubiquitous Media: Critical and International Perspectives, 2017

As Featherstone (2009, 3) argues: “Theorizing ubiquitous media becomes an integral part of theorizing culture and society today.” Our examination of ubiquitous media begins with a simple question: what does it mean to live in a world of ubiquitous media? Answering this question requires a consideration of the conditions—including material, technological, and social—that enabled the development of ubiquitous media as well as an investigation of how such a media environment affects social formations and institutions, our interactions with others, and our conceptualizations of space/place. This chapter, the introduction to our edited volume Mobile and Ubiquitous Media: Critical and International Perspectives from Peter Lang, is an attempt to situate ubiquitous media within the larger history of the development of media and communication technology. We consider historical theoretical and technological precedents to ubiquitous media such as the development of the Internet, digitalization, media convergence, remediation, ubiquitous computing and "calm" media, mobile networks and devices, ubiquitous connectivity, and the network society.

1997

IFIP International Federation for Information Processing

This paper aims to contribute to the debate about relationships between technology and society, or technology in society, starting from the categories of ubiquity and pervasivity. The analysis will try to understand ubiquitous/pervasive computing as a new frontier in contemporary movements of computerization [cf lacono and Kling, 2001], framing it in the interrelationships between different interests expressed in public discourse. Convergence in hi-tech industry and technological artefacts emerging from organizational and socio-cultural arrangements put forward the categories of ubiquity and pervasivity as keywords in design, functionality and perception of technological artefacts. The concept of ubiquity focuses on both the mobility and the pervasivity/embeddedness of technological artefacts that support the emergence of mobile Internetworking in a mobile society. Mobility and a set of affiliated concepts (e.g. miniaturization, portability, integration) constitute the main discursive frame in mobile and ubiquitous computing. Different layers of public discourse emerge as pertinent to this technology: a technology-driven and a social software perspective, both featured in the media discourse. All of them frame, eventually, inclusionary and exclusionary patterns of sociotechnical action, emerging from different politics of signification.

International Journal of E-Politics, 2017

This paper discusses two immersive story worlds between two distinct interactive artworks. Blast Theory's A Machine to See With (2010) is a pervasive fictional experience that enables users, through the technology of their mobile phone, to become immersed within a fictional crime scenario across a real geographical setting. Dennis Del Favero's art project, Scenario (2011), by contrast, is an interactive and immersive story that takes place in a 360-degree digital cinematic space called an AVIE (Advanced Visualization and Interaction Environment). This immersive world is a mixed reality environment, a meeting place where five real users and ten digital screen characters converge and interact through the technology of motion sensing. Participants are virtually wired into the immersive world through the performance of their movement. This paper will explore both of these artworks through original interviews the author has conducted with each of the artists.

Computerization Movements and …, 2008

Much of the current, and indeed past, technology discourse on pervasive, mobile and ubiquitous computing in particular highlights the immense potentials of various kinds of technological innovations. These visions are mainly informed by the imagined potentials of technologies, and it is fair to assume that much of the debate focuses on visions rather than realities. Every new generation of mobile, pervasive or ubiquitous technology comes ready packaged with the next generation of sparkling vendor formulated promised lands–this is ...

2016

… (HOIT2003), The Center for Research on …, 2003

Academia Letters, 2021

My paper will present an anthropological perspective on time through the contemporary dislocated meaning of ubiquity. Digital cultures and communication are going to transform the classical distinction of space and time, favouring the expansion of a decentred and non-linear experiences of ubiquitimes, a restless montage of syncretic concepts and polyphonic methods in digital culture. The ethnographic experiences based on material/immaterial fieldwork may offer a decentred methodological perspective in order to face, decipher and invent the contemporary forest of symbols. Anthropology applied to design, fashion, visual arts, architecture produces syncretic, ubiquitous, polyphonic transfusions about different cultures, codes, styles. This is the focus for an "undisciplined" design-oriented by a multi-sited methodology. Ubiquity revolves around spaces/times relationship through the ethnographic method of field research, expanding syncretic concepts in digital/auratic cultures. Our paper faces the concept of ubiquity through web-culture and performative ubiquitous subjects. Ubiquitous subjectivity may prepare researchers for the encounter with the stranger, the uncanny, the unknown. Ubiquitous ethnography may favour the everyday experiences through "immaterial" pulses based on self-representation, in un pacificato contesto dove l'antropocene possa riprende a vivere. Ubiquitous architecture is going to experiment with the ecological and resilient project toward immaterial as well as gassiness vision of urban landscape or, better, cityscape. Exact imagination and astonished glances are our plural methodologies whose visions are driven researchers and every person toward unknown natural/cultural beauties. Since its linguistic (and theological) invention, the concept of ubiquity is free from any empirical matrix. Ubiquity is an abstract condition mystically tied to a divine being. Ubiquity is the ontology of the sacred, a tension beyond human´s dualistic distinctions (body and soul, heaven and earth …) and the mere institution of religion. The monotheistic religion was (and

2022

This course gives students the conceptual tools to understand diverse technologies, media, and techniques in relation to their different historical, geo-political, and social contexts; their different infrastructures and experts; and their different designs and uses. Since the emergence of the COVID-19 pandemic, we have witnessed a dramatic increase in the use of digital technologies for remote work, education, health, and leisure in large parts of the world where they are accessible. How do we make sense of the difference between the "old" and the "new normal" of our technologically mediated lives? How should we examine the social significance of electricity-a 150+ year old technology and still inaccessible in large parts of the world-in relation with different engineering practices, political imperatives, electronic media devices, and infrastructures? How should we understand processes of technological "innovation" when users' creativity can seem as important as platform design? How do algorithms learn about us and vice versa? To engage with these and other questions, we will draw upon some of the key concepts and debates at the intersections of Science and Technology Studies (STS), Media Studies, History, Anthropology, Information Science, and Software Studies. We will focus on different ways to understand how technology and media — mechanical, electronic, and digital — shapes and is shaped by cultural, political, and social values. Students will become acquainted with different conceptual approaches to understanding the interplay of technology and society (e.g. technological determinism, social construction of technology, actor networks, affordances) and how these have been applied to various media technologies.