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Programmable non-human actors - analysis of geeks' sociotechnical imaginary
Michalik, Tadeáš ; Fabuš, Pavol (advisor) ; Pospíšilová, Marie (referee)
In this qualitative research I analysed two on-line discussions of "computer geeks" about a possible implementation of a distributed version control system called GitHub into the process of law-making. In the theoretical chapter I recapitulated how technology has been traditionally approached in Western Culture and how it it approached in newer social theories of technology. Then I presented geeks in their political context. Geeks define themselves in relation to computer technology, they program the technology, they are it's authors. In reseach chapter, I analyse their discussion using the social imaginary concept to find out how they understand the artifacts they make, how they relate to society through technology and what role tehcnologies play in their politics. Through investigating this sociotechnical imaginary, I tried to arrive at an understanding of their world and an understanding of what kind of actor technology is for them. I relate these findings to the way technology has been traditionally approached in Western Culture and tried do shed light on some of the changes the Standard Narrative has undergone in their imagination. At the same time, I analyse the processes at work in geeks' imaginary while they proselytize a "technology" as their own fetishised relationships.
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Semiocapitalism: commodified production of the general intellect
Šír, David ; Fabuš, Pavol (advisor) ; Šubrt, Jiří (referee)
Departing from Karl Marx's text known as Fragment on Machines, which describes the situation of inner contradiction of capitalism with development of the 'general intellect', scientific knowledge enabling automation of wage labor, when at the same time capitalism posits wage labor as the only means of survival. It's based primarily on the thought tradition of post-operaismo theorists Franco Berardi, Antonio Negri and Paolo Negri among others, who further develop Marx's analysis of the Fragment. 'Semiocapitalism' is a paradoxical fulfillment of Marx's vision of the Fragment, when after replacing much of the mechnical labor by machines the capitalist process of production subsumes the general intellect and social fabric itself (as general human faculties of communication and imagination). As being argued, the psychopathologies like depression and suicide epidemic (that will be understood as negative externalities of semiocapitalism) follows this development. From the perspective of 'living labor' this text examines the relationship between the sensitive social body of the general intellect and its alienated semiotic production, social subjectivity reorganized and commodified by financial capitalism. At the same time it pays some attention to the possible new social and economic forms, embedded in...
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Programmable non-human actors - analysis of geeks' sociotechnical imaginary
Michalik, Tadeáš ; Fabuš, Pavol (advisor) ; Pospíšilová, Marie (referee)
In this qualitative research I analysed two on-line discussions of "computer geeks" about a possible implementation of a distributed version control system called GitHub into the process of law-making. In the theoretical chapter I recapitulated how technology has been traditionally approached in Western Culture and how it it approached in newer social theories of technology. Then I presented geeks in their political context. Geeks define themselves in relation to computer technology, they program the technology, they are it's authors. In reseach chapter, I analyse their discussion using the social imaginary concept to find out how they understand the artifacts they make, how they relate to society through technology and what role tehcnologies play in their politics. Through investigating this sociotechnical imaginary, I tried to arrive at an understanding of their world and an understanding of what kind of actor technology is for them. I relate these findings to the way technology has been traditionally approached in Western Culture and tried do shed light on some of the changes the Standard Narrative has undergone in their imagination. At the same time, I analyse the processes at work in geeks' imaginary while they proselytize a "technology" as their own fetishised relationships.
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Unofficial Public Art In Czech Republic
Turner, Vladimír ; Pospiszyl, Tomáš (advisor) ; Fabuš, Pavol (referee)
This essay investigates art in public space created outside of official structures. Environment of its creation, including authors' intentions, nature of individual techniques and its social and cultural impact and media image are described and assessed in this work.
The essay opens with definition of the public space based upon socially critical theories in terms of which I, then, attempt to describe Czech contemporary society. Next, it gives a historical overview of artistic activities on the border of the law which aimed to influence the public at large. Chronologically, it highlights selected works by, for instance, Vladimír Boudník and action artists such as Milan Knížák until the end of 1980's. The paper's main focus, however, is contemporary Public art. Illegal public art is thereby defined including all its sub-categories.
With reference to individual significant works of art I try to illustrate various attributes of today's engaged art. I investigate multiple attempts of Czech artists to promote their works as socially significant phenomena, i.e. to join art and life together. I am deeply intrigued with how art is perceived by large and open public. My main focus is art within urban environment, even though public space may be more healthy on its outside. I intentionally omit the platform which is currently the most liberal niche of free communication and artistic work, the internet.
Field of interest of this paper may be defined within the boundaries of these terms: image of illegal street art in different public media, social critique, art outside galleries and official structures, social impact of art, engaged art, subversion, streetart and life in the city.
In this work I try to find the answer to the question, whether Czech public space (if there is any) is used freely as a platform for independent art.
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