https://contralab.online/header-(desktop)
2026-04-24T18:03:35+00:00
always
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https://contralab.online/header-(mobile)
2026-04-24T18:02:23+00:00
always
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https://contralab.online/main-title
2026-04-22T18:39:29+00:00
always
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https://contralab.online/events
2026-04-22T18:40:09+00:00
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https://contralab.online/people
2026-04-22T17:33:17+00:00
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https://contralab.online/image-scroll
2026-04-22T17:51:03+00:00
always
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https://contralab.online/people-expanded
2026-04-23T10:42:00+00:00
always
0.5
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<div style="text-align: center"><span style="--font-scale: 4.43;"><b><span class="fraktursmall">Ranjodh Singh Dhaliwal</span></b></span></div><span style="--font-scale: 1.5;"><b><br />
</b></span><span style="--font-scale: 1.5;"><b>Ranjodh Singh Dhaliwal </b>holds the professorship in Digital Humanities, with a focus on Artificial Intelligence and Media Studies in the department of Arts, Media, and Philosophy at the University of Basel, where he also directs the Digital Humanities Laboratory. He obtained a Ph.D. in English and Science and Technology Studies (STS) from University of California Davis and a BTech in Computer Science and Engineering from Indian Institute of Technology, Indore, and was previously the Ruth and Paul Idzik Collegiate Chair in Digital Scholarship, English, and Film, Television, and Theater at the University of Notre Dame. He is the co-author (with Théo Lepage-Richer and Lucy Suchman) of <i>Neural Networks</i> (University of Minnesota Press and meson press, 2024), and his award-winning writing—situated between media theory, literary studies, computer science, critical design, and STS—can be found in <i>Critical Inquiry</i>, <i>Configurations</i>, <i>Social Text</i>, <i>American Literature</i>, <i>Journal of Cinema and Media Studies</i>, <i>ACM FDG</i>, <i>ACM UIST</i>, <i>Design Issues</i>, and <i>Frankfurter Allgemeine Zeitung</i>, among other scholarly and popular venues. His major book project, “Rendering: A Political Anatomy of Computation,” shows how our cultural narratives, politico-economic formulations, and epistemic beliefs become crystallized into computational hardware and software architectures, and his current research finds him researching topics as diverse as degrowth videogame design, small-scale interpretable AI, programming folklore, 13th-century Mongolian financial instruments, and cringe meme aesthetics. He is an incoming president of the Society for Literature, Science, and the Arts (SLSA).</span><br />
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<details>
<summary><div style="text-align: center"><span style="--font-scale: 4.46;"><span class="fraktursmall">Ryan Healey</span></span></div><span style="--font-scale: 1.5;"><span style="color: rgb(123, 82, 166);"><span style="color: rgb(37, 174, 60);"><b><br />
Ryan Healey</b> is a postdoctoral researcher at the Digital Humanities Lab at the University of Basel. His research comprises a literary history of abstraction in writing and computation from the seventeenth century to today, from the early English novel to the large language model. He received a Ph.D. in English at New York University, where he was a fellow at the Center for the Humanities and a founding member of the <a href="https://digitaltheory.org/" rel="noreferrer" target="_blank">Digital Theory Lab</a>, and an M.Phil. at the University of Cambridge, where he collaborated with the <a href="https://concept-lab.lib.cam.ac.uk/" rel="noreferrer" target="_blank">Cambridge Concept Lab</a>. He has worked for Verso Books, the David Graeber Institute, and IBM Research. His research on a computational approach to eighteenth-century genres appeared in <i>Representations, </i>and his essays have been published in <i>Bookforum</i>, the <i>Los Angeles Review of Books</i>, and <i>The New Inquiry</i>.</span><br /></span></span></summary></details>
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<details>
<summary><div style="text-align: center"><span class="fraktursmall" style="--font-scale: 4.47;">Pierre Depaz<b></b></span></div><span style="--font-scale: 1.5;"><b><br />
</b><span style="color: rgb(37, 174, 60);"><b>Pierre Depaz</b> is a post-doctoral researcher across Media Studies and Digital Humanities at the University of Basel. His research focuses on how computational artifacts (software, programming languages and protocols) act as dynamic epistemic interfaces and agentic forces between humans and their social, ecological and psychological environments. With a background in political science and game design, he completed a Ph.D. on the aesthetics of programming under the joint direction of Alexandre Gefen (Paris-3/CNRS) and Nick Montfort (MIT). He has lectured at New York University, City University of New York and Sciences Po Paris, and has held research positions at the Filmuniversität Babelsberg Konrad-Wolf and at the Hochschule für Gestaltung Karlsruhe. He holds ambivalent feelings about computers.</span></span><span style="color: rgb(123, 82, 166);"><br />
</span><div style="text-align: center"></div></summary></details>
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<div style="text-align: center"><span style="--font-scale: 4.43;"><b><span class="fraktursmall">Ranjodh Singh Dhaliwal</span></b></span></div><span style="--font-scale: 1.5;"><b><br />
</b></span><span style="--font-scale: 1.5;"><b>Ranjodh Singh Dhaliwal </b>holds the professorship in Digital Humanities, with a focus on Artificial Intelligence and Media Studies in the department of Arts, Media, and Philosophy at the University of Basel, where he also directs the Digital Humanities Laboratory. He obtained a Ph.D. in English and Science and Technology Studies (STS) from University of California Davis and a BTech in Computer Science and Engineering from Indian Institute of Technology, Indore, and was previously the Ruth and Paul Idzik Collegiate Chair in Digital Scholarship, English, and Film, Television, and Theater at the University of Notre Dame. He is the co-author (with Théo Lepage-Richer and Lucy Suchman) of <i>Neural Networks</i> (University of Minnesota Press and meson press, 2024), and his award-winning writing—situated between media theory, literary studies, computer science, critical design, and STS—can be found in <i>Critical Inquiry</i>, <i>Configurations</i>, <i>Social Text</i>, <i>American Literature</i>, <i>Journal of Cinema and Media Studies</i>, <i>ACM FDG</i>, <i>ACM UIST</i>, <i>Design Issues</i>, and <i>Frankfurter Allgemeine Zeitung</i>, among other scholarly and popular venues. His major book project, “Rendering: A Political Anatomy of Computation,” shows how our cultural narratives, politico-economic formulations, and epistemic beliefs become crystallized into computational hardware and software architectures, and his current research finds him researching topics as diverse as degrowth videogame design, small-scale interpretable AI, programming folklore, 13th-century Mongolian financial instruments, and cringe meme aesthetics. He is an incoming president of the Society for Literature, Science, and the Arts (SLSA).</span><br />
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https://contralab.online/sts-conference
2026-04-24T15:26:41+00:00
always
0.5
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<details open="">
<summary><b>Christopher O’Neill<br />
</b>
<br /><span style="color: rgb(123, 82, 166);">For the Love of Latour: STS and Media Theory after May ‘68<br />
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</span><div style="text-align: center"><span style="color: rgb(123, 82, 166);">▾▾▾ </span></div></summary>
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Bruno Latour’s 2004 article “Why has Critique Run out of Steam?: From Matters of Fact to Matters of Concern“ is arguably the most notorious and influential essay of the 21st century, a landmark in the turn towards ‘post-critique’ across the humanities and social sciences. While in the piece Latour suggests that he is responding to a more or less recent ‘crisis’ in Critical Theory, I argue that Latour’s displacement of critique can be traced back to his very earliest writings. In this talk, I conduct a close reading of Latour’s 1969-1970 master’s thesis <i>La Fuite du Réel</i> (The Flight from the Real), in which Latour proposes a mode of investigation aimed at renewing philosophy as a “Science of Love”. Latour wrote this thesis in the immediate aftermath of the political turmoil of May ’68, and it can be understood as an acerbic response to the radical politics of the French student movement. Latour himself was a member of the militant Catholic youth group <i>Jeunesse Étudiante Chretienne</i>, factions of which took at this time an increasingly structuralist, historicist, and politically radical reading of the gospels. Against this tendency Latour would develop a mode of exegetics emphasising the irreducible relation of the ‘truth’ of the bible to the architecture of its transmission and interpretation. This radically immanent mode of reading is one which, in his own later words, he would “never stop putting to work” in his studies of science and technology. Here I consider the significance of this proto-post-critical method for STS as a symptom of the post-68 crisis in French political thought, reading Latour’s methodological innovations in relation to the post-hermeneutics of that other infamous anti-<i>soixantehuitard</i>, Friedrich Kittler.<br /><br /><span style="color: rgb(123, 82, 166);"><b>Christopher O’Neill</b> is a Lecturer in Media at Monash University in Melbourne, Australia. His work draws upon critical media theory and science and technology studies (STS) to investigate the technical inscription of the body. His work focuses especially on the relation between error and surveillance in the medical clinic, the workplace, and the (smart) home. He has also translated and critically analysed the work of Michel Foucault, Georges Canguilhem, and Jacques Derrida. His first monograph, <i>Cultural Techniques of Biosensing: A History of the Body in Error,</i> will be published with Stanford University Press in 2026.</span> </details>
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<summary><b>Viktoria Tkaczyk</b><br /><br /><span style="color: rgb(123, 82, 166);">Media Epistemics: Humanities, Infrastructure, and the Making of Technology<br />
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</span><div style="text-align: center"><span style="color: rgb(123, 82, 166);">▾▾<span style="color: rgb(123, 82, 166);">▾</span> </span></div></summary>
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Today's media infrastructures are built and governed by powerful technology firms. Yet their foundations rest as much on humanistic modes of thinking as on technical expertise. This book project advances that claim. This is the central argument of a new book project that I will present in my talk.The project develops a historical perspective showing that landmark media technologies of the twentieth and twenty-first centuries were rarely created in isolation. Instead, they emerged from sustained collaborations with scholars in the humanities. Case studies—from early telephony laboratories to contemporary AI research—demonstrate the formative role of humanistic knowledge in shaping, critiquing, and reimagining media technologies. In doing so, the project foregrounds how humanities scholars have historically reasoned about the relationship between humanity and technology, providing conceptual frameworks that inform both the design and interpretation of media systems. From a global historical perspective, the project examines how scholars mobilized their visions of media to advance epistemic and political agendas, continually recalibrating the relationship between intellectual discourse, technological transformation, and power. At the theoretical level, the project asks how the relationship between the humanities and media technology might be rethought today. It brings into dialogue the now classical assumption of a media-technological a priori—understood as preceding and structuring humanistic discourse—with the categories of human actors and practices foregrounded in Science and Technology Studies. In doing so, it proposes a new framework for understanding media infrastructures as sites where technical systems and humanistic reasoning are co-produced.<br />
<br />
<span style="color: rgb(123, 82, 166);"><b>Viktoria Tkaczyk</b> is Professor of Media and Knowledge Technologies at Humboldt-Universität zu Berlin and Spokesperson of the Center for Advanced Studies "Applied Humanities: Genealogy and Politics." Her academic career includes positions and fellowships at Freie Universität Berlin, the University of Amsterdam, the Laboratoire SPHERE in Paris, the Max Planck Institute for the History of Science in Berlin, Princeton University, and the Hamburg Institute for Advanced Study. She has published widely on the history of early modern and modern aviation, architecture, acoustics, neuroscience, experimental aesthetics, and sound media. Her recent publications include <i>Thinking with Sound: A New Program in the Sciences and Humanities around 1900 </i>(UCP, 2023); "Supplied Knowledge: Reconsidering the Resources of Epistemic Tools," Isis 114/2 (2023), and <i>Unsound Supplies: Noisy Matter and the Making of Modern Soundscapes</i> (OUP, 2025), co-edited with Fanny Gribenski and David Pantalony. Currently, she is working on a book entitled <i>Crafting Variability: Wax as a Resource in the History of Knowledge</i>, as well as a new project that takes a global perspective on the evolving relationship between concepts of humanity and technology in the modern period.</span><br /></details>
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<summary><b>Speaker TK</b>
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Title TK<br />
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Abstract TK<br />
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<span style="color: rgb(123, 82, 166);">Bio TK </span> </details>
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<details open="">
<summary><b>Florian Sprenger</b>
<br /><span style="color: rgb(123, 82, 166);"><br />
What Is It Like to be a Robot?: Speculative Reconstruction as a Method<br />
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</span><div style="text-align: center"><span style="color: rgb(123, 82, 166);">▾▾▾ </span></div></summary>
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What is it like to be a robot? This speculative question was the starting point for a collaborative research project that I will present on behalf of the Virtual Humanities Lab. The main protagonist of our project is the robot LoW (LiDAR on Wheels), which we jointly developed, built, and tested. The goal of this media-archaeological experiment was to better understand autonomous cars, the sensory algorithmic processes through which they virtualize their environment, and the resulting consequences for the interaction spaces shared with them. Our approach consisted in reconstructing the fundamental technical principles of autonomous robots through a scaled-down model that is manageable, accessible, and cost-effective for us. At the same time, we wanted to demonstrate that it is possible for media scholars with basic technical knowledge, but without an engineering background, not only to build such robots, but also — on the basis of our reconstruction — to ask questions that engineers do not normally ask.<br />
<br /><span style="color: rgb(123, 82, 166);"><b>Florian Sprenger</b> is professor for Virtual Humanities at the Institute for Media Studies at Ruhr-University Bochum. He is author of <i>Politics of Micro-Decisions: Edward Snowden, Net Neutrality and the Architecture of the Internet</i> (Meson Press, 2015). His research covers topics such as the history of media and media theory, environments as technological surroundings, architecture and infrastructure.<br /></span>
</details>
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<details open="">
<summary><b>Christopher O’Neill<br />
</b>
<br /><span style="color: rgb(123, 82, 166);">For the Love of Latour: STS and Media Theory after May ‘68<br />
<br />
</span><div style="text-align: center"><span style="color: rgb(123, 82, 166);">▾▾▾ </span></div></summary>
<br />
Bruno Latour’s 2004 article “Why has Critique Run out of Steam?: From Matters of Fact to Matters of Concern“ is arguably the most notorious and influential essay of the 21st century, a landmark in the turn towards ‘post-critique’ across the humanities and social sciences. While in the piece Latour suggests that he is responding to a more or less recent ‘crisis’ in Critical Theory, I argue that Latour’s displacement of critique can be traced back to his very earliest writings. In this talk, I conduct a close reading of Latour’s 1969-1970 master’s thesis <i>La Fuite du Réel</i> (The Flight from the Real), in which Latour proposes a mode of investigation aimed at renewing philosophy as a “Science of Love”. Latour wrote this thesis in the immediate aftermath of the political turmoil of May ’68, and it can be understood as an acerbic response to the radical politics of the French student movement. Latour himself was a member of the militant Catholic youth group <i>Jeunesse Étudiante Chretienne</i>, factions of which took at this time an increasingly structuralist, historicist, and politically radical reading of the gospels. Against this tendency Latour would develop a mode of exegetics emphasising the irreducible relation of the ‘truth’ of the bible to the architecture of its transmission and interpretation. This radically immanent mode of reading is one which, in his own later words, he would “never stop putting to work” in his studies of science and technology. Here I consider the significance of this proto-post-critical method for STS as a symptom of the post-68 crisis in French political thought, reading Latour’s methodological innovations in relation to the post-hermeneutics of that other infamous anti-<i>soixantehuitard</i>, Friedrich Kittler.<br /><br /><span style="color: rgb(123, 82, 166);"><b>Christopher O’Neill</b> is a Lecturer in Media at Monash University in Melbourne, Australia. His work draws upon critical media theory and science and technology studies (STS) to investigate the technical inscription of the body. His work focuses especially on the relation between error and surveillance in the medical clinic, the workplace, and the (smart) home. He has also translated and critically analysed the work of Michel Foucault, Georges Canguilhem, and Jacques Derrida. His first monograph, <i>Cultural Techniques of Biosensing: A History of the Body in Error,</i> will be published with Stanford University Press in 2026.</span> </details>
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<summary><b>Dang Nguyen</b><br /><br /><span style="color: rgb(123, 82, 166);">The Earning Web: Surplus Cognition Before AI<br />
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This talk intervenes in current debates on artificial intelligence and the so-called crisis of expertise by refusing the premise that intelligence is the central problem. Instead, it approaches cognition as an excessive, distributed resource. While both media theory and STS have long attended to the technical mediation and sociotechnical organisation of knowledge, they have largely retained an implicit assumption: that cognition remains scarce, bounded, and anchored in identifiable subjects<i>. </i>Drawing on empirical work on ‘make money online’ (MMO) infrastructures in Vietnam—including phone farming, content arbitrage, and platform-based automation workflows—I introduce the concept of the earning web to describe decentralised systems that do not simply mediate cognition, but actively produce and circulate it at scale. Here, acts of judgement, interpretation, and optimisation are fragmented, routinised, and recomposed across human and machine actors, often under conditions of infrastructural instability and moral evaluation. <br /><br />
From this vantage point, AI does not mark a rupture. It arrives late. What presents itself as a recent technical breakthrough is better understood as the formalisation and consolidation of practices that have long rendered cognition abundant, actionable, and economically productive. To take these formations seriously is not to extend media theory or STS, but to confront a limit: that both fields remain calibrated to a world in which cognition could still be located, bounded, and claimed. That world has already passed.<br /><br />
<span style="color: rgb(123, 82, 166);"><b>Dang Nguyen</b> is a researcher of AI. They examine the informal infrastructures, moral frictions, and aesthetic conditions that shape digital life, with a focus on how media and infrastructure emerge under conditions of constraint. Dang is Bellwether Scholar at the School of Information, University of California, Berkeley.</span></details>
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<summary><b>Sebastian Giessmann </b>
<br /><span style="color: rgb(123, 82, 166);"><br />
Anthropic Studies: Or, What Does Artificial Intelligence Even Mediate?<br />
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</span><div style="text-align: center"><span style="color: rgb(123, 82, 166);">▾▾▾ </span></div></summary>
<br />Karen Hao's excellent investigative book, <i>Empire of AI</i>, published in 2025, reads at times like an account that Bruno Latour could have written himself. However, Hao's intention was not to write a contemporary account of the <i>Laboratory Life</i> of artificial intelligence and its uneasy industrialisation by Big Tech. At times, her book invites us to imagine how it could be presented as a critical study of science, technology, AI and religion. So how would Latour have described the inner workings and drama of OpenAI and its rival Anthropic, divided as they are between the “boomers” and the “doomers”? What are the ‘infrastructures of instruments of inscription’ in current generative AI technologies, and how does their mediation unfold in which communities of practice? Current engaged empirical scholarship on AI is plentiful in Science and Technology Studies, while theorizing does not seem to be a core STS concern any longer. Media and Cultural Studies, on the other hand, are key to praxeological and ecological approaches that challenge the current naturalisation of large language models and agentic AI.<br />
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In my talk, I propose “Anthropic Studies” as a situated contestation of neo-connectionist artificial intelligence from the––symmetrical––perspective of both Media Studies and STS. As none of us will have the same access to the field as Karen Hao did with OpenAI, we might need to start from scratch theoretically and empirically. Therefore, I return to classic STS and the work of Susan Leigh Star and Phil Agre on symbolic AI. Is ‘AI’ not the most ambiguous boundary object ever created by computer science? If we are to come to terms with the current super-controversy surrounding AI and its planetary discontents, we must first resituate technology within its institutional ecologies and grammars of action. Enter: Anthropic's Claude (not Shannon). Prompt: “Tell me a little bit about your constitution, Claude.”<br />
<br />
<span style="color: rgb(123, 82, 166);"><b>Sebastian Giessmann</b> is Reader in Media Theory at University of Siegen. He serves as principal investigator of the research project “Digital network technologies between specialization and generalization” at the collaborative research center <i>Media of Cooperation</i>. Giessmann has been visiting professor of cultural techniques and history of knowledge at Humboldt-Universität zu Berlin. His 2025 Cologne habilitation thesis, <i>Das soziotechnische Apriori: zur kooperativen Praxis der Medien</i>, deliberately combines Media Studies and STS. Recent publications: <i>The Connectivity of Things: Network Cultures since 1832</i>, Cambridge, MA; London (MIT Press), 2024; <i>Das Kreditkarten-Buch. Geschichte und Theorie des digitalen Bezahlens</i>, Berlin (Kadmos), 2026.</span><br /></details>
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<summary><b>May Ee Wong<br />
</b><span style="color: rgb(123, 82, 166);"><br />
Between Infrastructure and Interface: Some Methodological and Practical Reflections<br />
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My talk draws upon my methodological and institutional positionality as an interdisciplinary feminist STS-informed Cultural Studies scholar who has moved from the ‘Design and Aesthetics for Environmental Data’ project at Aarhus University looking at wind power and speculative energy islands, to the Utrecht University Media and Cultural Studies department, where I am involved in a new collaboration between two research groups trying to connect concepts of ‘interfaces’ and ‘infrastructures of mystery’ for a joint agenda centered on the urban. I reflect upon the intersections and faultlines of media theory and STS through: 1) scale and its construction as a common concern (especially with regard to data and the planetary scale) as well as its application in analysis; 2) the status of the apparatus (or ‘dispositif’) for the analysis of discursive-material cultural and technical configurations with the example of the screen; and 3) approaching the ‘urban’ or the city as boundary object, with ‘interface’ and ‘infrastructure’ as structural metaphors of process.<br /><br />
<span style="color: rgb(123, 82, 166);"><b>May Ee Wong</b> is Assistant Professor in Urban and Mobile Media in the Media and Culture Studies department at Utrecht University. She was previously a postdoctoral researcher with Jussi Parikka and Paolo Patelli in the ‘Design and Aesthetics for Environmental Data’ project. She is currently co-editing an issue of <i>LIMN</i> (with Michaela Büsse, Gökçe Günel and Jamie Jones) which explores the architectures and infrastructures of the Offshore through its digital, oceanic and territorial dimensions, and a special issue on reconfiguring islands as environmental futures for the feminist STS journal <i>Catalyst</i> (with Kim de Wolff). She is also working on a book project which maps how recursive spatial tropes of the city as glasshouse, slum, high-rise, island and platform configure notions of the urban as a planetary frontier.</span><br /></details>
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<summary><b>Benjamin Peters<br />
<br />
</b>
<span style="color: rgb(123, 82, 166);">Former West: The Curious Case of Soviet AI Science Fiction after Communism<br />
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STS and media theory are both preoccupied with the mutual shaping of technical artifacts and social life. At first glance, media theory entertains humanistic fiction while STS does social scientific ethnography; yet that binary falls apart as media theory traces its roots to a Cold War former West and STS to an extended Europe. This paper explores these tensions through a close examination of Anatoly (Miskiewicz) Dneprov’s 1961 short story "Igra" (The Game), published in <i>Znanie i sila</i>. Specifically, a Portuguese football match in (likely Kyiv’s) Lenin Stadium serves as an imagined site for collectively testing the materialist limits of artificial intelligence. In this space, fiction functions as a temporarily disjointed exercise in mimetic—specifically socialist—realism (Auerbach 1946) while the story’s reception performs a temporal loop in which 2014 translators reframe a 1961 text in Russian as an anticipatory response to, and implicit critique of, John Searle’s English-language 1980 orientalist "Chinese Room" thought experiment. After exploring these tensions, the short story is shown in conclusion to perform a proverbial human-machine translation of the afterlives of fiction, history, and politics after communism, translating from late Soviet media theory to a post-communist STS. Soviet AI science fiction helps us see the stakes of both fields anew. <br /><br />
<span style="color: rgb(123, 82, 166);"><b>Benjamin Peters</b> is a media theorist as well as author or editor of <i>How Not to Network a Nation</i> (2016), <i>Your Computer is on Fire</i> (2023), and <i>Digital Keywords</i> (2016). He is working on book projects on Soviet AI and, with Marijeta Bozovic (Yale Slavic), <i>Imagining Russian Hackers</i>. The Hazel Rogers Associate Professor of Media & Communication at the University of Tulsa, he is also affiliated fellow of the Information Society Project at Yale Law School and 2022-2023 Senior Fellow at the Käte Hamburger Kolleg Cultures of Research (c:o/re) for the History, Philosophy, and Sociology of Science and Technology at RWTH Aachen.</span><br />
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<summary><b>Alexander Campolo<br />
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<span style="color: rgb(123, 82, 166);">Technical Genealogy: The Case of Reasoning Models
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In his article, "<i>Begriffsgeschichte</i> and Social History," Reinhart Koselleck glosses an apparently “well-known saying of Epictetus,” according to which “it is not deeds which shock humanity but rather the words describing them.” In this talk, I will draw on recent critical research on so-called reasoning models in AI to reflect methodologically on the relationship not between words and deeds but between language and technology. This specific line of research seeks to account for a concept of reason neither through appeal to universal philosophical concepts nor human cognitive capacities, but rather in engineering challenges specific to auto-regressive language models, namely their difficulty in handling certain types of arithmetic. This example may also hold lessons for critical scholars of AI and shed light on the relationship between STS and German Media Theory more broadly. A “technical genealogy” of reasoning models focuses attention away from data-based critiques of AI that have predominated in STS, which have rightly questioned the givenness of data by analyzing the practices through which it is collected, formatted, and processed by models. Rather, it focuses attention on a range of normative “post-training techniques” that govern model behaviors well beyond<i> </i>the (pre-training) language modelling objective of predicting the next token given some previous sequence. The comparatively “low” origins of such techniques in certain engineering challenges suggest a genealogical approach that may be distinct from the “archaeological” or “cultural techniques” that have predominated in the first two generations of German media theory. Without implying any type of linear progression of methods (for instance, from archaeology to genealogy), nor any dogmatic application of the idiosyncratic provocations of Nietzsche or Foucault, how might genealogy be fruitfully adapted to these linguistic technologies?<br />
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<span style="color: rgb(123, 82, 166);"><b>Alexander Campolo</b> is a postdoctoral researcher on the “Algorithmic Societies” project in the Department of Geography at Durham University. His work draws from the history of science and technology and social theory to explore the epistemological and political implications of machine learning. He received his PhD from New York University and has previously worked as a postdoctoral fellow at the Institute on the Formation of Knowledge at the University of Chicago and the AI Now Institute.</span><br /></details>
https://contralab.online/inaugural-lecture
2026-04-24T15:12:20+00:00
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https://contralab.online/seb-franklin
2026-04-24T01:37:55+00:00
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https://contralab.online/digital-theory
2026-04-22T18:59:40+00:00
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https://freight.cargo.site/t/original/i/V2901912746667256102004443268996/Digital Theory: A Discussion – Digital Humanities Lab, University of Basel – March 4, 2026
https://contralab.online/footer
2026-04-22T18:46:44+00:00
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