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Estranging Information: Media Art's Pedagogical Potential in the Age Of Estranging Information: Media Art’s Pedagogical Potential in the Age of Information Capitalism by Kevin Day B.F.A., University of British Columbia, 2009 M.F.A., University of British Columbia, 2012 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (Curriculum Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2020 © Kevin Day, 2020 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Estranging Information: Media Art’s Pedagogical Potential in the Age of Information Capitalism submitted by Kevin Day in partial fulfillment of the requirements for the degree of PhD in Curriculum Studies Examining Committee: Dr. Anthony Clarke, Professor, Department of Curriculum and Pedagogy, UBC Co-supervisor Dr. Ian Hill, Associate Professor, Department of English Language and Literatures, UBC Supervisory Committee Member Dr. Kedrick James, Associate Professor of Teaching, Department of Language and Literacy, UBC Supervisory Committee Member Dr. William Pinar, Professor, Department Curriculum and Pedagogy, UBC University Examiner Marina Roy, Associate Professor, Department of Art History Visual Art and Theory, UBC University Examiner Additional Supervisory Committee Members: Dr. Sandrine Han, Associate Professor, Department Curriculum and Pedagogy, UBC Co-supervisor ii Abstract This research is a concept-based cultural analysis of media art that engages with the socio-political issues of information and communication technology (ICT) assemblages in today’s information society through media studies, philosophy of technology, and art theory, theorized in conjunction with the pedagogical and critical capacity of visual art, and explored through a close reading of eight case studies of media artworks. The research begins by articulating the socio-political landscape within which it is situated, one that recognizes the problem of algorithm-facilitated data-mining practices that encode the everyday and exploit the users in the big data economy for further entrenchment of decentralized control. It asserts that media art needs to address digital media by examining the underpinning logic of information within the wider landscape of information capitalism. Guided by a framework that pulls together theories of media and technology and theories of art pedagogy, my research argues that visual art engaged with digital media polemics has the capacity to subvert the normalized and entrenched information-based way of knowing through the tactic of estrangement and its potential to foster ways of knowing otherwise in relation to ICT. To substantiate the argument, my research interrogates the concept of information and positions it as an epistemic model through which one comes to make sense of the world, one that sustains the operation of information capitalism, and precisely that which visual/media art should tackle and question. The research argues against the binary of the knowing subject dominating and abstracting knowable objects inherent in informatics, against the claim that information is capable of iii adequately and neutrally representing the phenomena of the material world. Instead, it insists on the ‘other’ of information, the embodied contexts and performative materials of noise. Entwined with the theoretical analyses are the examination of several artworks from a diverse group of artists. These are used to explore how the selected artworks – such as hacked search engines, data-blocking devices, performances based on algorithmically-derived user profiles, hand-crafted infographics, 3D models of hidden data farms, and peer-supported exclusive networks – cultivate ways of knowing differently in relation to ICT operations and the epistemic model of information. iv Lay Summary This research examines contemporary artworks that engage with the socio-political issues of information and communication technology (ICT) within today’s information society through media studies, philosophy of technology, and art theory. It is situated within the backdrop of information capitalism that, through the big data economy, encodes the everyday and exploits the average users’ data for further entrenchment of power. In this socio-political context, the research asserts that media artworks need to tackle information as a worldview through which one comes to make sense of the world in order to question, subvert, and rupture the dominant configurations of ICT. Drawing from media theory and art pedagogy, it argues that contemporary artworks engaged in digital media polemics have the critical and pedagogical capacity to subvert precisely this worldview fostered by information, specifically through the artistic tactic of ‘estrangement.’ This is explored and substantiated through the close reading of eight case studies of artworks. v Preface This dissertation is an original, unpublished, and independent work by the author, Kevin Tsuan- Hsiang Day. All images included are reproduced with the permission of the artists, photographers, or their representatives. Portions of Chapter 3 have been published previously in: Day, K. (2020). Estranging the device: Media art pedagogy via Brecht, Heidegger, and McLuhan. The International Journal of Arts Education, 15 (1): 11-18. doi:10.18848/2326- 9944/CGP/v15i01/11-18 Portions of Chapter 4 have been presented at the Universities Art Association of Canada (UAAC) Conference (November, 2016), UQAM, Montreal. Portions of Chapter 6 have been presented at the International Society of Education through Art (InSEA) Conference (July, 2019), UBC, Vancouver, and at the International Symposium of Electronic Art (ISEA) Conference (May 2020), Printempts Numerique, Montreal. vi Table of Contents Abstract………………………………………………………………………………………….. iii Preface…………………………………………………………………………………….…….. vi Table of Contents………………………………………………………………………….….… vii List of Tables…………………………………………………………………………....…..… viiii List of Figures…………………………………………………………………………....…….… x Acknowledgements…………………………………………………………………………........ xi Dedication………...……………………………...………………………………………...…… xii Chapter 1: Introduction…………………………………………………………………………... 1 1. Context within Relevant Scholarly Literature………………………………..……… 2 2. Literature Review and Gap……………………………………...…………………… 6 3. Program of Research and Chapter Breakdown…………………………………....… 11 3.1 Selection of Artworks…………………………………………………………….12 3.2 A Note on ‘Pedagogical’…………………………………………………………13 Chapter 2: Cultural Analysis………………………………………………………………….… 18 1. Concept-Based Cultural Analysis……………………………………………...…… 18 2. Encounter Between Concepts and Objects…………………………………………. 21 3. Why Cultural Analysis?.............................................................................................. 23 4. Introduction to Theoretical Framework…………………………………………….. 26 Chapter 3: Estrangement as Artistic Potential…………………………….…………………..… 29 1. The New/Different vs. the Critical in Visual Art Theory……………………..…….. 32 2. Foucault and Critique………………………………………………………….……. 38 3. The New/Different vs. the Critical in Art Education……………………….…..…… 40 4. Brecht and Estrangement…………………………………………….……….……... 49 5. Estrangement in the Context of Media and Technology…………………….…..….. 53 6. Estrangement as Artistic Potential………………………………………………..…. 58 Chapter 4: The Logic of Commensurability………………………………………….……….… 61 1. The Task of Revealing………………………………………….…………………… 62 2. Black Boxes…………………………………………………………………………. 68 vii 3. Information Capitalism and the Logic of Commensurability……………….………. 70 4. Universal Language and the Pertinent Unit………………………………….……… 75 5. Digitality and Knowing……………………………………………………………... 79 6. The Digital as a Way of Knowing…………………………………………………... 83 7. Estranging ICT……………………………………………………………………… 89 8. The Algorithmic Other (Erica Scourti)……………………………………………… 94 9. (Non)communicative Dissent (Julian Oliver)…...…………………...…………….. 103 Chapter 5: Knowing through Information……………………………….…………………..… 112 1. Determinism vs. Technical Regimes………………………………………………. 115 2. Knowing (from AI to Materials)…………………………………………………… 119 3. Knowing through Information: Two Case Studies………………………………… 130 4. What Does the Search Engine Know? (Mongrel)...................................................... 132 5. The Cartographers and Counter-Graphs (Richard Ibghy and Marilou Lemmens)…. 140 6. Conclusion…………………………………………………………………………. 153 Chapter 6: The Materiality of Mediation……………………………………………………… 155 1. Medium and Re/mediation……………………………………….………………... 158 2. Originary Technicity………………………………………………………………. 162 3. The Always Already Mediated Linguistic Subject (Erica Scourti)..………………. 170 4. Digital Materialism and the Cloud (John Gerrard)………………………………… 179 5. Conclusion…………………………………………………………………………. 187 Chapter 7: Estrangement through Noise………………………………………………………. 188 1. Immersion in Noise / Medium……………………………………………………... 188 2. Noise as the ‘Other’ of Information……………………………………………….. 193 3. Noise of the Internet (Eva and Franco Mattes)…………………………………….. 196 4. Estrangement Revisited (Trevor Paglen)..…………………………………………. 205 5. Conclusion…………………………………………………………………………. 216 Chapter 8: Conclusion…………………………………………………………………….…… 218 1. Summary…………...……………………………………………………………… 218 2. Conclusion and Key Points…………………………………………………….…... 223 3. Moving Forward…………………………………………………………………… 229 4. Afterword: The Order of Things………………………………..………………….. 230 References…………………………………………………………………………………...… 238 viii
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