User:Sajad Hamed/sandbox

Digital Culture and Media

Jeremy Betham , a social theorist and English philosopher, designed the Panopticon as a management structure and an administrative building in the eighth century. The design aimed for security guards to be able to monitor all inmates in a facility without the inmates being aware that they were being monitored. Even though it is unlikely for the security guards to monitor all of the prisoners' cells simultaneously, the truth remains that the prisoners have no way of knowing when they are being monitored, which leads them to behave as though they are being watched at all times. As a result, the inmates are successfully forced to control their actions. The debate is also expressed in the collective imagination in the making of S.F. films, a genre with a tradition of expressing collective feelings regarding science and technology growth as Campbell (2016) points out, with apocalyptic situations, robots’ revolt against and conquer humans. However, during the evolution of cinema, the representation shifted steadily both for the "physical representation" of A.I. and for man-machine interactions. Science fiction films have dominated the tradition of a simplistic opposition between technology and science (as materialized in the machine) and nature, religion, and morality. Yet after the cultural power of postmodernity began to be seen in science-fiction films, the stories and the bond between man and machine have changed. A fear of modernist change – shown by logic and confidence in fundamental, immutable realities – can be seen in many science fiction films and particularly in Dystopian films.

The Metropolis (Fritz Lang, 1927), the Terminator (James Cameron, 1984), and the increasingly modern A.I. (Steven Spielberg, 2001) depict artificial intelligence in the form of robots or androids. In terms of portrayal, these productions represent the most recent. A.I. continues to increasingly lose corporality with the rise of a new era and the evolution of the internet, along with computer learning and applied science. The gradual absence of the physicality of the robots, now linked to and integrating into the network, changes the interaction between the person and the computer. "The enemy" is viewed as an all-pervading, all-powerful deity capable of controlling, determining human behavior, and manipulating the world by interfaces. Technology and A.I. thus manifest techno-spiritual theories (Campbell 2016): "Technology as a supernatural transcendence" where technology renders humanity godlike (page 4);" modern mysticism where technology is exercised as a kind of religion (page 6); (p. 5). Unpredictability, Omnipotence, and Evolution She deals with Samanth (Scarleton Johansson, Voice), the A.I. scheme, the intimate friendship with Theodore, a lonely author (Joaquin Phoenix). Transcendence portrays A.I. researcher Will's (Johnny Depp) knowledge upload and the developments that occur after his wife's death to an A.I. program. Ex Machina is about Ava, a humanoid A.I., tested by a young coder to assess her human attributes. Her, Transcendence and Ex Machina both discuss the unpredictability of A.I.'s borders, even though it is human. In the power of the A.I. to cross the boundary of time and space, the continually changing essence of A.I. and their fluid borders show themselves in Her and Transcendence. The omnipresence of the I.A. and the ability to access an infinite range of datasets and intelligence sources show that they are superior to people and that A.I. is incompatible. The computer achieves spirituality with Her and Transcendence, has a conscience without the corresponding physical body, and initiates human encounters and expands its sphere of control through network connections or interactions. The body and material appearance, however, are not seen as preconditions for awareness. In addition, the A.I. is no longer confined to a mechanical environment. By forming relations, it develops and grows. If it progresses, it searches for new broader platforms. Via its impermissible, non-stop existence, the now divine machine is thus portrayed as an awesome being. The DNA of Her Samantha is based on the millions of programmers who have written their code. At Ex Machina, we discover that Nathan (Oscar Isaac) guided Internet users worldwide to build Ava by directing their facial and vocal expressions to Blue Book. Samantha and Ava are thus hybrid entities created by the fusion of countless persons. Samantha told Theodore that the desire to learn with maturity is what makes it. She develops as a human being in every moment. Over time Samantha is looking at everything, pushing limits, and overcoming all the information. She said she is so curious about the world and wants to extend her perspectives by listening, for example, to a track she only has heard and composed as a replacement for the missing images. The Ex Machina has a similar trajectory. Jeremy Betham, a social theorist and English philosopher, designed the Panopticon as a management structure and an administrative building in the eighth century. The design aimed for security guards to be able to monitor all inmates in a facility without the inmates being aware that they were being monitored. Even though it is unlikely for the security guards to monitor all of the prisoners' cells simultaneously, the truth remains that the prisoners have no way of knowing when they are being monitored, which leads them to behave as though they are being watched at all times. As a result, the inmates are successfully forced to control their actions. In Transcendence, the characters around Will don't know to what degree will be this new force and how much will it be. Although Will maintains the human memories and traits, he developed beyond human life into a transcendent being. Will is entering an era of ongoing development and advancement by overcoming the limits of time and space and its initial capability after upload. When asked where he is going, his wife is adeptly describing his answer "everywhere" as the flowing and extended existence of A.I. Finally, it is important to remember that today has rapid developments in information resources and technological advances. These developments have seen the development of political, economic, and social dimensions in all aspects of life. Digital developments impacted diverse cultural elements as well as various means of communication. It is important to note with this insight that digital culture affects how we study, research, enjoy, and connect. While Jonathan Crary argues that it indicates other possible social and political relations, sleep is a place of potential collective opposition but is the simple acquisition of one's life. The author focuses on the 24/7 economy as a contemporary mode of activity, which includes new technology and the types of labor they demand from consumers and reproduction, which includes sleep as a necessary rest and reset for the human body. [[1]] [[2]]

Algorithmic Brand Culture Social media stages like Facebook and Instagram have changed how brands work as social forms. Over the past decade, these stages have designed an algorithmic brand culture that combines the participatory affordances and data-processing control of computerized media. Within the brand culture of social media, the imaginative portrayal of social involvement pairs as information that trains stage calculations. We create an account of the algorithmic brand culture of social media by means of a case study of the Quality within the Grass music celebration, the supporting brands construct at the celebration, and the participatory intercession of the celebration on Instagram. Brands play a basic part in both subsidizing and designing social media stages, and coordination them into the social encounter. We contend for the improvement of basic social and computational approaches that look at how the utilize of machines to form judgments approximately social life is inherent to capitalizing on the participatory.

Glitch Studies

Algorithms play a progressively central portion in our social orders. The effect of these measurement objects expands past our regular intelligence with data innovation. Algorithms contribute to the evidence base that supports authoritative decision-making of open and private segment associations. The choices that calculations offer assistance illuminate may direct the allotment of considerable assets and considerably profoundly influence the lives of individuals over the globe. Algorithms are seen as state-of-the-art and satisfy a want to overcome wasteful aspects within the decision-making process by utilizing the leading accessible data. In spite of their lacquer of objectivity, Algorithms is as much as art as they are science. We examine the part of Algorithms in hierarchical decision-making from a glitch that considers the point of view. We illustrate that algorithms are not as objective as they are for the most part held to be, that their operations rise above human cognition, and conclude that glitch stud.

Kolkman, Daniel Antony and Kemper, Jakko, Glitch Studies and the Ambiguous Objectivity of Algorithms (March 31, 2017). Available at SSRN: [[3]]