Date of Award

Summer 2024

Degree Type

Open Access Dissertation

Degree Name

Cultural Studies, PhD

Concentration

Cultural Studies with Media Studies

Advisor/Supervisor/Committee Chair

Darrell Moore

Dissertation or Thesis Committee Member

Carlin Wing

Dissertation or Thesis Committee Member

Nadine Chan

Terms of Use & License Information

Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License.

Rights Information

© 2024 Samine Joudat

Keywords

Artificial Intelligence, Critical Theory, Digital Aesthetics, Generative AI, Media Studies, Philosophy

Subject Categories

Artificial Intelligence and Robotics | History of Art, Architecture, and Archaeology

Abstract

The processes of computation and automation that produce digitized objects have displaced the concept of an image once conceived through optical devices such as a photographic plate or a camera mirror that were invented to accommodate the human eye. Computational images exist as information within networks mediated by machines. They are increasingly less about what art history understands as representation or photography considers indexing and more an operational product of data processing.

Through genealogical, theoretical, and practice-based investigation, this dissertation project traces a lineage of computation through images from early cybernetics to contemporary machine learning under algorithmic capitalist conditions of political economy. Objects include mundane examples such as smartphone cameras to sublime examples such as the imaging of black holes. It articulates new conditions and forms of perception and surveillance that result from contemporary technological development in computation.

The project builds on theorists of computational media such as Friedrich Kittler, Wendy Hui Kyong Chun, Jussi Parikka, Shane Denson, and Alexander Galloway to examine the interplay between perception, computation, and epistemology. Further theoretical contribution builds on the work of Luciana Parisi and Jacques Ranciére’s articulation of aesthetics, and Michel Foucault’s gesture towards a heterotopia. Finally, it draws from Donna Haraway’s metaphors of the cyborg and sympoiesis to frame the capacity of art to transfigure the limitations of digital network culture into new possibilities for being. Here, it curates practices by Danielle Brathwaite-Shirley, Harun Farocki, Morehshin Allahyari, and Pierre Huyghe.

ISBN

9798384027461

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