We take the polysemy at the heart of autonomy as our focus, and explore how changing notions of autonomy are experienced and expressed by users of self-driving cars. Drawing from work-practice studies and sociomateria...
We take the polysemy at the heart of autonomy as our focus, and explore how changing notions of autonomy are experienced and expressed by users of self-driving cars. Drawing from work-practice studies and sociomaterial approaches to understanding technologies, we discuss how driving as a task is destabilized and reconfigured by the introduction of increasingly automated systems for vehicle control. We report on the findings of a hybrid ethnographic experiment performed at Nissan Research Center – Silicon Valley, in which we video recorded interactions of 14 participants inside a simulated autonomous vehicle, and conducted semi-structured post-interviews. We look at the responses of our participants in light of three different themes of autonomy, which emerged through the analysis of the study data in the context of a broader program of ethnographically informed research: autonomy as freedom from the task of driving; autonomy as independence and individual labor; and machinic autonomy's ironic opposite, an increasing interdependence with human-machine systems that raises new issues of trust and control. We argue that AV development will have to address the social dimensions of roadway experience, and that this will require a multi-perspective approach (speculative work alongside other empirical examinations) to the specific ways human autonomy and sociality is aided, altered, or undercut by these systems.
Recent philosophical tendencies of Actor-Network Theory, Object-Oriented Ontology, and Speculative Realism have profoundly challenged the centrality of subjectivity in the humanities, and many artists and curators, pa...
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Recent philosophical tendencies of Actor-Network Theory, Object-Oriented Ontology, and Speculative Realism have profoundly challenged the centrality of subjectivity in the humanities, and many artists and curators, particularly in the UK, Germany, and the United States, appear deeply influenced by this shift from epistemology to ontology. October editors asked artists, historians, and philosophers invested in these projectsfrom Graham Harman and Alexander R. Galloway to Armen Avanessian and Patricia Falguieres to Ed Atkins and Amie Siegelto explore what the rewards and risks of assigning agency to objects may be, and how, or if, such new materialisms can be productive for making and thinking about art today.
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