We are now confronted with a new type of uncanny experience, an
uncanny evoked by parallel processing, aggregate data, and
cloud-computing. The digital uncanny does not erase the uncanny
feeling we experience as deja vu or when confronted with robots
that are too lifelike. Today's uncanny refers to how non-human
devices (surveillance technologies, algorithms, feedback, and data
flows) anticipate human gestures, emotions, actions, and
interactions, thus intimating that we are but machines and that our
behavior is predicable precisely because we are machinic. It adds
another dimension to those feelings in which we question whether
our responses are subjective or automated - automated as in
reducing one's subjectivity to patterns of data and using those
patterns to present objects or ideas that would then elicit one's
genuinely subjective-yet effectively preset-response. In fact, this
anticipation of our responses is a feedback loop that we humans
have produced by designing software that can study our traces,
inputs, and moves. In this sense one could say that the digital
uncanny is a trick we play on ourselves, a trick that we would not
be able to play had we not developed sophisticated digital
technologies. Digital Uncanny explores how digital technologies,
particularly software systems working through massive amounts of
data, are transforming the meaning of the uncanny that Freud tied
to a return of repressed memories, desires, and experiences to
their anticipation. Through a close reading of interactive and
experimental art works of Rafael Lozano-Hemmer, Bill Viola, Simon
Biggs, Sue Hawksley, and Garth Paine, this book is designed to
explore how the digital uncanny unsettles and estranges concepts of
"self," "affect," "feedback" and "aesthetic experience," forcing us
to reflect on our relationship with computational media and by
extension our relationship to each other and our experience of the
world.
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