When making becomes divination: Uncertainty and contingency in computational glitch-events

Marenko, Betti

doi:10.1016/j.destud.2015.08.004

Cited by 11 publications

(5 citation statements)

References 6 publications

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“…Further expanding upon the concept, Newton's laws of motion (that each action has an equal and opposite action) are considered, to elucidate the symbiotic relationship between the subject and object. This is consistent with the work of Latour (1987) and Law (1991) with regards to Actor Network Theory, which posits that all actors in a system have agency. It follows that, any system of multiple actors must be dynamic.…”

Section: Improvisation Spontaneity and Emergencesupporting

confidence: 90%

A Review of Making in the Context of Digital Fabrication Tools

Corsini¹,

Moultrie²

2018

Proceedings of the DESIGN 2018 15th International Design Conference

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The review considers the role of making in the context of digital fabrication tools. Digital fabrication is having significant impacts on design and is challenging traditional production paradigms. The study reviews literature on making to conceptualise the activity of design-in-making, where making becomes an integral part of the design process. The paper analyses an improvisational model of design to suggest practical ways to achieve improvisational making when using digital fabrication, with the goal of achieving creative design.

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Section: Improvisation Spontaneity and Emergencesupporting

confidence: 90%

A Review of Making in the Context of Digital Fabrication Tools

Corsini¹,

Moultrie²

2018

Proceedings of the DESIGN 2018 15th International Design Conference

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“…The World Economic Forum has included neuromorphic chips in the key 10 emerging technologies https://agenda.weforum.org/2015/03/top-10-emerging-technologies-of-2015-2/ 3. http://www.ecal.ch/en/2245/events/exhibitions/ ecal-milano-2014-delirious-home-4. See also Marenko (2015b) where Marenko examined uncertainty, contingency and indeterminacy in the context of computational making and articulated them as virtualities: modes of reality implicated in the emergence of new potentials, producing actual affective experience. 5.…”

Section: Resultsmentioning

confidence: 99%

Animistic design: how to reimagine digital interaction between the human and the nonhuman

Marenko

Allen

2016

Digital Creativity

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This article puts forward the notion of animistic design as an uncertainty-driven strategy to reimagine human–machine interaction as a milieu of human and nonhuman. Animistic design is suggested as capable of fostering affects, sensibilities and thoughts that capitalize on the uncertain, the unpredictable and the nonlinear, and their capacity to trigger creative pathways. Informed by post-human philosophies, theories of mediation and materiality, as well as by affect, agency and aesthesia, animistic design eschews the anthropomorphic and the cute playfulness often associated with animism. Instead, it proposes a practical–theoretical framework to articulate the nexus of digital innovation, interaction design practices, technical materialities and affective responses already emerging in the digital cohabitation of the human and the nonhuman. Using a ‘research through making’ approach, the article describes in detail a series of animistic design experiments and prototyping methods that explore ways of rethinking interaction as an open-ended and creative enterprise. Animistic design offers an investigative strategy that exploits degrees of collaboratively curated uncertainty and unpredictability to imagine forms of digital interaction, and to engender creative human–nonhuman relationships within a given digital milieu

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“…Yet Marchais-Roubelat's chapter heads in the most creative directions by engaging with runes, discussing their multiple nature of divination, magic and narrative production; and, even further, in regarding runes as event. This requires us to encounter the temporalities of magic, divination (Marenko, 2014(Marenko, , 2015) and a narrative production that weaves them all simultaneously, heterogenously, in their full complexity and creativity. This is an ambitious argument and provides avenues for future research that are rich in their possibilities.…”

Section: Runesmentioning

confidence: 99%

Introduction to a creative philosophy of anticipation

Brassett¹,

O’Reilly²

2021

A Creative Philosophy of Anticipation

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Opening gaps There were many anticipations creating this book. We start with the Second International Conference on Anticipation, held at Senate House in London 2017, where we (Jamie Brassett and John O'Reilly) organized and delivered a curated discussion panel-though this is by no means the earliest encounter germane to this story. Anticipation took the form of an atmosphere in this 1930s Art Deco building. Senate House was initiated by William Beveridge when he was elected to the post of Vice-Chancellor of the University of London in 1926. Beveridge's work anticipated and therefore created a new timeline of the future as the thinker of the welfare state that enabled heterogenous futures. Beveridge also had a different, more homogenous version of the future-like many of the prewar left in Britain who were motivated by the idea of eugenics, the engineering out of undesired genetic qualities (Freedland, 2012; Renwick, 2019). For Beveridge, the anticipatory power of the welfare state gave way to the predictive power of eugenics. The 19-floor building of Senate House was designed by vegetarian Quaker Charles Holden, a specialist in the atmosphere of the subterranean, having designed over 40 underground stations in London. The slightly dystopic atmosphere generated by the severe beauty of the building's Portland Stone materials haunted the future in the present in perfectly anticipatory fashion. George Orwell's Ministry of Truth in Nineteen Eighty-Four was modelled on Senate House. The strategy of organizational threat as a mode of political control by Orwell's Ministry of Truth, anticipates the operational logic behind the strategies of the US and UK governments nearly 20 years after the fictional year of the book-especially with the War on Terror. 'Fear is the anticipatory reality in the present of a threatening future,' writes Brian Massumi in his essay 'The future birth of the affective fact'. He continues: 'It is the felt reality of the nonexistent, loomingly present as the affective fact of the matter' (Massumi, 2010, p. 54). In everyday experience such prophecies can become self-fulfilling, but this disguises the affective, material power of threat as an atmosphere. The affective fact, Massumi argues, opens the way to generate and legitimate many different kinds of actions, actors and their networks to preempt the

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When making becomes divination: Uncertainty and contingency in computational glitch-events

Cited by 11 publications

References 6 publications

A Review of Making in the Context of Digital Fabrication Tools

A Review of Making in the Context of Digital Fabrication Tools

Animistic design: how to reimagine digital interaction between the human and the nonhuman

Introduction to a creative philosophy of anticipation

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