object-oriented ontology

Description (in English)

Tenure Track is a postmodernist critique of 21st-century academia in the form of a simulation game. In the vein of satirical games like Cow Clicker—a product of “carpentry,” or a strategy for creating philosophical, creative work, according to its designer Ian Bogost—Tenure Track also borrows game mechanics from popular puzzle simulators like Papers, Please, merging the finite potentiality of a critical text with the lightheartedness and non-prescriptiveness of play. Additionally, the simulation game as a genre harkens back to philosophical toys of the 19th century, such as the thaumatrope, the purpose of which was demystification through wonderment. The proposed poster would include imagery from the game, as well as links to interactive components (gameplay footage, demos) and brief descriptions of the mechanics and concept of the game. 

Developed in Unity for desktop and VR over the past year, Tenure Track visually consists of a 3D re-creation of a nondescript office, viewed from a first-person perspective, with every object in the space being manipulable. The goal of the game is to achieve tenure by completing research, grading papers, and communicating with students and administrators. Much of this “work” is mediated through a variety of simulated digital platforms, which are accessed via a desktop monitor and a mobile phone. The centering of platforms underscores the degree to which they are essential to what constitutes labor. Post-pandemic, this can be read as referencing a potentially obsolete “platform”: the physical office. 

As the player performs a litany of menial tasks over the course of a series of seconds-long days, they are interrupted constantly by notifications and knocks at the door. Over time, this produces a simulacrum of the frantic yet mundane administrative role many modern-day academics find themselves “playing” as they strive for the promised land of tenure. The sequence of predefined yet somewhat open-ended steps in the tenure process lends itself to this kind of gamification, which resists the interpretation of a prescribed process as fair or logical. The many small but cumulatively important decisions players make imparts a feeling of decision fatigue common to most knowledge work, playing with the assumption many outside of academe have of the professoriate as belonging to an exceptional, noble profession. What is not known until the game’s conclusion is that, once a player reaches one of several possible “endings,” the days continue to loop continuously. 

While the game rewards literacy of both games and academe by subverting the former and reifying the latter, arguably the most satisfying interactions are the ones that are, in reality, the most disruptive (dropping the mobile phone and cracking the screen) or least salient (disposing of empty beverage containers in a recycling bin). Those who misunderstand the tenure track job as a stairway to heaven, or even as fundamentally different from other types of white-collar jobs, stand to see it in an uncanny light. 

 

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By Hannah Ackermans, 6 February, 2017
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Abstract (in English)

Oculus Rift virtual reality headgear is usually donned to kill dragons or multitudes of soldiers, to explore far off places and feel superhuman. But Pressman argues that the VR and augment reality [AR} work of Canadian digital artist Caitlin Fisher confronts expectations about digital media, games, and electronic literature by employing such technology to tell women’s stories and to pursue feminist storytelling. Pressman examines how Fisher’s AR work Circle (2012) embeds multimodal vignettes about three generations of women onto little domestic objects, which Pressman designates “feminism in action,” specifically in the aesthetic enactment of its female-centered subject matter and its formal glitch aesthetics. More specifically, Pressman aims to show how Circle performs the central concerns of Material Feminism: an investment in illuminating how materiality and context-based relationality are central elements of experience and meaning-making. This short work about women and things insists on the relationality of animate and inanimate objects and, in so doing, it provides an opportunity to critique such philosophical movements as Object-Oriented Ontology. Moreover, the ways in which Circle achieves this critique promotes investigation into the larger and more central intersections between the technologies of AR, VR and feminism.

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By Hannah Ackermans, 16 November, 2015
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Abstract (in English)

Critics have understandably fetishized the electronic page or digital screen as a way to understand the relationship between the algorithmic logics that drive computation and the public rhetorics of display. At the same time an evolving set of practices within electronic literature continues to be in dialogue with contemporary digital media arts practice and its move to explore the meaning of incorporating autonomous sensing and new forms of human-computer interaction in dialogic works. Considering the rhetorical position of devices such as the iPad and considering them as more than viewing apparatuses or interfaces for reading it is possible to engage differently with a whole set of binaries around camera vs. scanner, optics vs. sensors, and representation vs. registration.

This presentation focuses on three writers who are utilizing augmented reality technologies to expand the repertoire of digital poetics. Judd Morrissey has collaborated with choreographer Mark Jeffery to stage The Operature (2014), combining live performance and augmented reality multimodal poetry to highlight anatomical science and voyeuristic erotic spectacle in which the temporary tattoos worn by the work’s dancers can be read by a surveillance apparatus. In contrast, a voice of intensely personal lyricism that speaks very intimately to the listener defines Caitlin Fisher’s Circle (2011), which is an “augmented reality tabletop theatre piece” that deploys the iPad or smart phone in a much more private setting. Amaranth Borsuk’s approach to augmented reality multimedia favors an aesthetic of sleek mid-century modernism and machined characters in Between Page and Screen (2012), which investigates “the place of books as objects in an era of increasingly screen-based reading.“ The actual pages of this artist’s book contain no legible text; the reader is presented with only abstract geometric patterns and a URL leading to the Between Page and Screen website, where the book may be read by using any browser and a webcam. With a new generation of reading machines that can perceive contrast relationships in a 2D visual environment, sensors can read the “ink” of tattoos, the grain of family artifacts, and the code of a numbered artist’s book or print-at-home emulation.

These works may also spur a new kind of criticism that may require that we rethink the theoretical framework of immediacy, hypermediation, and remediation proposed by Bolter and Grusin as we reconsider our own interchanges with the sensorium of the mechanical apparatus. In responding to Galloway, Thacker, and Wark’s theses about “excommunication” and the possibility that the relation between “objects and things” problematizes the standard narrative about media, mediation, and communication, Benjamin Bratton has suggested that this could more precisely be characterized as “incommunication” around the activities of “sensing, addressing, and pricing.” Borsuk, Morrissey, and Fisher create works that dramatize device-to-device relations and their associated modes of reading.

(Source: ELO 2015 Conference Catalog)

By Eric Dean Rasmussen, 10 October, 2011
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The grander “comedy” that frames all of this I call the “comedy of separation,” the basic idea being that language usage has progressed through history from something that we closely associated with the body and “presence” to being largely transferred, even “understood,” by other language, namely code.