DAWID KASPROWICZ

On Thursday, January 9, 2025, KHK c:o/re director Gabriele Gramelsberger gave a lecture at the 121st annual meeting of the American Philosophical Association (APA), Eastern Division, in New York. Her lecture, titled “Philosophy of Digitality: The Origin of the Digital in Modern Philosophy”, was given in relation to the award of the K. Jon Barwise Prize by the APA in 2023 for her significant and sustained contributions to philosophy and computing.

Prof. Gramelsberger presented two parts in her lecture: in the first, she introduced her conception of a philosophy of digitality since the modern age, and in the second, she highlighted some current challenges for philosophers to describe digitality as a socio-cultural phenomenon. It is not common in philosophy to relate the digital to thinkers of the modern age. In doing so, Prof. Gramelsberger began her talk with a schema how a prehistory of the digital could be written – a history that does not start with machines and technological objects, but with a reinterpretation of writings such as René Descartes’ Discourse de la méthode from 1637. In this classical book, Descartes did not only introduce a procedure how to separate right from wrong in scientific judging. Following Prof. Gramelsberger, he was also one of the first who systematically described thinking as a cognitive process, a process which could be distinguished in several steps that build up on each other. Instead of only considering the right inference from the premises (as done in syllogistic reasoning), Descartes also conceived thinking as a series of discrete steps that one has to execute appropriately to split a bigger problem into several smaller ones. It is this discrete and procedural way to describe thinking that we also find in the papers of the AI-pioneers Allan Newell and Herbert Simon and their General Problem Solver, as Prof. Gramelsberger argued.

While Descartes introduced the first discretization of cognitive processes, Leibniz went further to describe cognitive operations with a symbolic system. This artificial language consisting of arithmetic, algebra and logic should constitute the adequation between the object and the concept, between the relations of objects and the judgments. In this sense, Leibniz not only introduced the symbolic order to formulate possible experiences in the real world, he was also able to replace the qualitative and substance-oriented with a formal and quantitative one. This equivalence of being with the formal calculus allowed him to extend the conditions of possible experiences into the transcendence of mathematical operations. From here, Prof. Gramelsberger argued, it is not far anymore to rule-based cognitive operations that could also be externalized – and this is exactly what pioneers of digital computers such as C. Babbage did in the 19^th century (see also in Gramelsberger 2023, p. 40-44). 

The execution of such mechanized operations happens today a billion times in a couple of seconds. Taking into consideration, as Prof. Gramelsberger highlighted, that there are more than five billion smartphones in the world, a philosophy of digitality has also to respond to digital cultures and their objects as an everyday experience of most people. In this regard, Prof. Gramelsberger presented in the second half of her talk a more critical and phenomenological approach. It is the operation of digital machines beneath our “phenomenological thresfold” that represents on the one hand a challenge for a philosophy of digitality, but on the other hand also a risk for the wellbeing of the users. In referring to the German concept of “cultural techniques” (Kulturtechniken) (Krämer and Bredekamp 2013), Prof. Gramelsberger illustrated that in cultural techniques such as writing, one always operates with discretized symbols – whether in alphabets or in the arithmetic sense. The fundamental difference with digital machines lies in the affective mode by which they address us, as the Barwise-awardee explained. Most often, the goal of social media communication would be to raise emotions, but the resources to do so are affects that are triggered beneath our threshold of intentional attention. At the end of her talk, Prof. Gramelsberger pointed sharply out to a threatening constellation where man has lost its ability to be “eccentric”, as the German philosopher Helmuth Plessner called it. Instead, in the age of an affective smartphone culture and massive data-storage (often owned by private companies), man becomes centric again and stays in one place to go through a myriad of affective-loaded communications that keep him in a loop to create even more data.  

In his response to Prof. Gramelsberger’s talk, Zed Adams from the New School for Social Research in New York extracted three leading questions: These questions highlighted the relation of the analog and the digital, the question of the copy in the age of the digital, and the challenge how to describe the affective regime in our current smartphone culture. Adams offers to dig deeper into the challenge of a “Philosophy of Digitality” were also taken up vividly by the audience. Especially the distinction of affect and emotion evoked some discussions, but also the challenge how to describe the cultural impact of technologies such as AI with philosophical tools. A first answer was to find ways how to describe the less complex yet emotionally overwhelming ways we can observe in the use of social media apps.  This could be a fist step to better understand how machines in the age of AI recentralize us as human beings – or decentralize us as the contingent result of data-management.  

Gabriele Gramelsberger. 2023. Philosophie des Digitalen. Zur Einführung. Junius: Hamburg.

Sybille Krämer and Horst Bredekamp. 2013. Culture, Technology, Cultural Techniques – Moving Beyond Text. In: Theory, Culture & Society 30(6): 20-29. DOI: 10.1177/0263276413496287

NATHALIA LAVIGNE

AFTER MEMORY: An introduction about the long-term project co-developed by KHK c:o/re Junior Fellow Nathalia Lavigne, followed by a brief report about the symposium which took place last October in Karlsruhe, gathering specialists from arts, science and technology discussing the temporal, spatial, and social dimensions of digital memory in current times.

What comes after memory? I came across this question in one of the first drafts of the project AFTER MEMORY, developed together with the researchers Lisa Deml and Víctor Fancelli, while writing the opening remarks for the symposium AFTER MEMORY: Recalling and Foretelling across Time, Space, and Networks. The event took place in October (between 23rd and the 26th) at the ZKM | Center for Art and Media and at the Karlsruhe University of Arts and Design (HfG), in Karlsruhe. During three and a half days, we had the chance to speculate about the temporal, spatial, and social dimensions of digital memory in an intense and vivid program – the first stage of this long-term project, which will continue in the following years with an exhibition and other formats.

Nathalia Lavigne

Nathalia Lavigne [she/her] works as an art researcher, writer and curator. Her research interests involve topics such as social documentation and circulation of images on social networks, cultural criticism, museum and media studies and art and technology.

This initial question still resonates, even if it’s hard to figure out any answer. Maybe it should be asked in a different way. It’s hard to imagine what is coming after memory since afterness is what has been lacking in recent times. Trapped, as we are, in an endless present, experiencing time perception obliterated by information overload, it is hard to find any sort of escape room that allows us to imagine what is about to come.

If modernism was marked by the ‘present future’ and many futuristic utopias, the end of the Cold War changed this perspective, when focus shifted to a ‘present past’ (Huyssen 2000). From autobiographies to the creation of different kinds of museums, from the emergence of new historiographical narratives to the reinvention of traditions, memory has become a trivial word, counted in the form of increasingly unlimited bytes. More recently, with the instantaneous mediation of reality and new archiving formats created by anyone, the goal of ‘total remembrance’, as Andreas Huyssen defined, has become unquestionable – although increasingly unattainable.

Different from other historical moments, we seem to be stuck in the present now. In a way, it shouldn’t be so bad: this is, after all, the only temporal condition that we can know. It’s in the present when memories are constantly updated; when we conceive in our imagination what is about to come. There are probably positive effects of changing the focus of the so-evoked future or past, as we did other times, and which have diverted our attention from what is happening now. But this is not what we can say based on our experience of being constantly “stuck on the platform”, to borrow the title of Geert Lovink’s recent book. If we have reached the end of “an era of possibilities and speculation”, as he affirms, what is the emergency exit for this reality in which platforms have closed any chance of collective imagination (p.42)?

If temporal fragmentation is far from a new thing, it is hard to deny that the internet complex (Crary, 2022) has made this feeling stronger. While our lives are displayed to us as thematic galleries assembled by automated digital systems whose rules we are unaware of, what happens in the present remains indecipherable and imperceptible. And especially under the circumstances imposed by the Covid-19, when the immersive experience of screens became the default perception, this effect was even stronger.

Needless to say that many of the ideas behind After Memory have their roots in what we lived during the pandemic, when most of us have experienced some episode of memory blur or digital amnesia. Although the impact of Covid-19 in our cognitive system is still unclear, recent studies reveal deficits in the performance of people a year or more after infection. Even the lockdown itself left marks, too, since spatial memory is essential in how we recollect events. And if time perception was especially obliterated during the pandemic, this feeling is inseparable from the well-known time-space compression, which was always related with capitalist expansion (Harvey 2012).But how different is this process nowadays, when the rise of generative AI, for instance, has created a new understanding about memory, making us confront a past that never really existed, as Andrew Hoskins has recently pointed out.

Unmapping Landscapes, Endless Instants and Speculative (off-line) Networks

From some of these ideas, we developed the structure of After Memory’s symposium in three sections, each investigating an essential aspect of the conception and actualisation of memory: space (Unmapping Landscapes), time (Endless Instants), and communication (Speculative Networks). Dedicated to one of these specific programs, each day started with a workshop, which took place in a post-war modernist pavilion with glass walls and surrounded by a garden. Blankets on the floor invited participants to sit in a circle, or eventually to lie down as they saw fit. In some cases, the activities were interspersed with moments of meditation – either guided by sound or followed by a breathing  technique such as Pranayama. In the end, we noticed how these morning sections played an important role in how the participants connected to each other, being more open to elaborate new ideas in a nonjudgmental atmosphere.

When we were first offered this venue for hosting the workshops, the fact that there was no internet available was initially a concern. A wifi connection could be required in some activities, especially considering that networks and the digital sphere were some of the umbrella terms of the program. But we decided to keep the Pavilion in spite of that. On a more individual note, I am tempted to think that this was actually a reason which helped people to build connections that would continue beyond that moment. After this experience, I was more convinced to agree with the bold statement of Johnathan Crary in the opening of Scorched Earth – Beyond the Digital Age to a Post-Capitalist World: “If there is to be a liveable and shared future on our planet it will be a future offline, uncoupled from the world-destroying systems and operations of 24/7 capitalism” (2022, p.1).

In recent decades, social media has interwoven itself into the art system. Although the potential of the visual art field for creating connections has been present before the rise of these platforms, their constant use has made it nearly impossible for artists, cultural institutions, or the audience to avoid them, even as the controversies around how these platforms operate became more evident. In a moment when we have been talking about the end of a fantasy that Web 2.0 would be a democratic environment, especially due the problematic ties between platforms and authoritarian populism, it is crucial to imagine alternative ways of connecting which do not depend exclusively on them.

During my fellowship at the Käte Hamburger Kolleg: Cultures of Research (c:o/re), I am interested in mapping how artists have been developing disruptive and speculative forms of networks from the mid-1990s to the present, but also, as a curator, in helping to implement projects that can contribute to generating new communications systems.

And if it is still not clear what comes after memory, or when, it seems important to experience these enquiries together, enabling memories to be updated more deeply through different understandings about time, space and, especially, communication.

Further reading and references:

Crary, Jonathan. 2022. Scorched earth: Beyond the digital age to a post-capitalist world. Verso Books: New York.

Harvey, David. 2012. “From space to place and back again: Reflections on the condition of postmodernity.” In: Mapping the futures, edited by John Bird, Barry Curtis, Tim Putnam and Lisa Tickner. Routledge: London, pp. 2-29.

Hoskins, Andrew. 2024. “AI and memory.” In: Memory, Mind & Media 3: e18.

Huyssen, Andreas. 2000. “En busca del tiempo futuro.” In: revista Puentes 1.2, pp. 12-29.

Lovink, Geert, et al. 2022. Extinction internet: our inconvenient truth moment. Institute of Network Cultures: Amsterdam.