documentary

1852 – Coded Bias (documentary by Shalini Kantayya 2020)

official

When MIT Media Lab researcher Joy Buolamwini discovers that facial recognition does not see dark-skinned faces accurately, she embarks on a journey to push for the first-ever U.S. legislation against bias in algorithms that impact us all.

This is probably one of the most important documentaries to address many issues that are not any longer strictly the domain of SF. Cod Bias is definitely within the bounds of any socially inflected SF worlds u can think of. Maybe it used to be just the figment of dystopian – Cold War tinged imagination, but now it is very much part of ours. Made me actually mentally revisit theat primordial Silicon Valley 1984 promo – the ad for Apple Macintosh PC released in December 1983. Feels puzzling how this new televised technological muscle was part of a much wider and concerted Reaganite response to the -(still) Socialist East. ‘Free World’ computing as easily turned and facing off the eponymous Orwellian 1984 villain, a drab, grey, docile citizenry of the standardized monolithic solid-state, the ideological ‘other’ where a repressive & monstrous surveillance apparatus – (be it Securitate/Stasi) enforced obedience & ‘rightminding’. Only that, in retrospect, the newly competitive Silicon Valley product was a launch-pad for a much wider privacy Dragnet and much more insidious scope and certainly fancier in looks & design. Buying into a system of personal, automated & generalized consumer surveillance that also brought the pretense of neutral, un-biased coding.

Coded Bias documentary is the strongest advocacy of algorithmic justice i have seen, watched or heard of. A critical introduction to the current algo-capitalistic trends & as well as some of the ways needed to counter act AI-supported disparities & disenfranchisement. It is no mystery that you actually need people from across the board, including industry ppl (call them what u want, ex- Quants/former flash trading brokers, tech renegades, whistle-blowers, technological deserters, industry watchdogs, etc). Yes, not only EFF members, STEMs, geeks and blerds, but also people from the social housing blocks, the hood, the street corner youngsters and those with migrant-background – those that are primary targets and have been already mis-measured, data stripped and data mined and whose bodies and faces are literally the training grounds of computational modernity. Most of them, are the unwilling informants and unpaid trainers of emerging tech deployments that under-girds surveillance capitalism.

One of the most important takes from this documentary – was for me the counter-intuitive demonstration that goes against old cyberpunk sayings (paraphrasing: ‘the future is already here but it is just unequally distributed’). In the 21st c we learn time and time again, that the 1%, or 10% or the rich, powerful and wealthy are not the future’s bleeding knife- since they have mostly lived live of unfettered privacy and non data retention. They are not a tested minority, and clearly not the ones who get first unwanted access beforehand and do not suffer the effects of those things that will get distributed later one a vast scale. In fact (as one of the participants of Coded Bias points out) – the post-apocalyptic poor, the unprotected, those with previous histories of discrimination, enslavement, incarceration, abusive family background, profiling etc those already under some state of surveillance, registration and control (ID checked mostly in terms of constituting some form of risk), are the ones who suffer the blunt of these new technologies.

They are the un-glamorized testers of unequal futures, and not the privileged rich beta testers that mostly seem to opt-out of their own companies technological wonders. Accordingly, technological transformation is so important that it should not be defined just in terms of access – or left at the whim of company board members, Big Tech, Innovation hubs or ‘smart’ city planners & cheerleaders. It is not just a question of ‘users’ – since it is about the ‘used’ more than the users nowadays. It is – without nostalgia or pre-technological naivity in tow, that in spite – of these tremendous and complex planetary changes, legislation and lobbying for digital rights & accountability seems to lag behind, since both public attention and consciousnesses gets bypassed. Direct oversight and regulation or consciousness itself seems so trivial, and yet it is constantly remade into a threshold to be bypassed by the free markets & mantras hailing for ‘disruptive’ transgressions. Nonetheless, there is this incredible alliance and (as seen below) a lot of initiatives have sprung up, that espouse not just a neo-Luddite conviction, but one of tekk-savvyness, informed by the above ‘renegades’and industry insiders and/or burnouts as well, by previous historical black liberation examples as by the new empowering SF alternate histories (i see some clear signs of Wakanda there) having been written (thinking about Solomon Rivers,Nalo Hopkins and Nisi Shawl & others here) or waiting to be written in collaboration with automated text generators or not.

There is emerging calls from both government and by popular demand to at least be able to opt-out of these technologies in the US and EU (face recognition being just the most obvious case), altough I’m not sure about the vast majority of the world (which is clearly not from the Global North) or even the accelerating use & deployment of drone wars & DARPA abroad in the wake of protracted but inevitable US retreat from Afghanistan. There of course the possibility to learn how optical governance works or is put to use/abused in other parts of the world, since the West does not hold the monopoly over AI. China, in particular is an interesting divergence, since machine vision has been widely rolled out by the CCP via its social credit score, as well as being repurposed from below during the Pandemic response. SF has been historically very wary with attempts to modulate or influence behaviors such as behaviourism, to tuning or pegging controls or strong emotional responses towards a common good (Just think of swath of movies from Equilibrium 2002 to Brave New World 2020 or the new Voyagers 2021). ‘Brainwashed’, ‘the Manchurian Candidate’ etc are just a few of the inherited standard fear responses churned by both Cold War warriors, strategists, Pentagon brass and the run of the mill Hollywood movie output whenever they tried to depict or describe actual, imagined or suspected ideological traitors and US army deserters. ‘Brainwashing’ especially was made up into a sort of explain-all – to cover a whole range of ‘enemy'(past & present) responses, as the only possible logical explanation for the divergent behavior of former US troops (many of them black) who decided to opt-out of the racist US capitalist system after living as POW (during Korean War). When former army personnel decided to question, defect & live outside their bounds they must have been ‘brainwashed’, especially if they happened to be choosing Mao’s China for a while (a forgotten history detailed with tremendous wit in Julia Lowell’s fascinating book: Maoism: A Global History 2020) instead of racism back home or in the army. Change of mind and qualms about incoming orders also equals treason as we know from the case of Chelsea Elizabeth Manning or Edward Snowden.

In a rare and courageous move – The White Space (Machine/Ancestral Night duology) space opera universe of Elizabeth Bear avoids the usual ‘brainwashing’ suspicion of previous SF dystopian conventions by offering exactly what so much canonic SF eschews. It opens the possibility of a wide, non-coercive future galactic union where every human (altough the union is made by many non-sapient but sentient syster species) has the option to decide how much it alters, allows or wants to dial-down or fine-tune (what amounts to certain AI assisted ‘mindfulness’) a central nervous system evolved to automatize responses to emotional distress. Changing developmental patterns etc including universal non-coercive(!) access (called “bumping” in the novel) to what amounts to puberty blockers is not automatically a bad thing or a monstrous unnatural hybristic act(altough there’s libertarian privateers who think so in that universe like in ours)!

White Space opens up a way to modulate, discuss and deal in other ways with trauma, isolation, addiction, puberty, dysphoria, sex or gender assignment by birth etc bypassing automatic, hormonal or non-cognitive ‘habitual’ responses, being able to imaginatively limit violent behaviors at a minimum. Curbing willingly so much of what is anti-social behavior was apparently frowned upon even in that far future, but there’s room for so much more. It’s of course always important to pay attention to who decides what and when one misbehaves or when disobedience becomes accepted & when not. Of course there is a thin line, and there are those who want to skip and actively propagate opting out of the opting out. Body (non modification) extremists surely exist in that future that deem it sacrilegious to intervene or to dabble with ‘natural’ responses, while acting (on whole) quite egoistically and self-centered. In this galactic union – new forms of piratical freeports keep offshoring resources and escaping the central taxing authority, thus harboring non-mindfulness terrorism arising in response to a largely benefic mental & emotional tuning widely available. Even if coding bias into hardware based on white wetware bias is the main focus of Coded Bias, it ultimately supports a malleable wetware-hardware continuum that allows for modulation and even requires it.

Black-boxing of the operative logics of machine vision or acknowledging that machinic cognition or decisionality is essentially collaborative, not isolated, nor impervious to questioning, thus, cannot just settle for the human/nonhuman or creator/created, nonhuman/posthuman binaries. It feels very wrong, since it closes down our own sensitivity either to the same old repackaged as new, or to a newer wider & largely collaborative nonhuman ‘worldy sensiblity’ that is always risks being tipped towards whiteness and reactive toxicity if left unattended. Microsoft’s Tay 2016 chatbot that developed 24h a proclivity for hate speech is a test in case. It’s not just the simple powerful logic of trash in trash out, but of how easily this tipping point might be achieved today under trolling & targeted attacks. At the same time, one should never loose sight of other machinic bridges &conceptually as well as emotionally more progressive examples that developed as part of writing practices & modernist techniques such as automatic writing or Alan Turing’s automated Loveletter generator.

One cannot unbox anything in a straightforward way, since Shalini Kantayya’s diverse cast of protagonists and invited guests make clear that not even programmers or makers do not understand how the AI does what it does. One more thing cannot be remedied with just more data, simply more information. Even acknowledging that we can fully understand those internal processes, we can still feel trh results, see the hard facts and harsh reality whenever these AIs tend to ignore black and brown or female faces. AIs do need some deep unlearning in order to ‘re-educate'(not such a bad word) themselves and make sure they will not act out just the mathematical sums of the worst of the worst and select by default for the chosen few while deselecting everybody else.

Pushing the logic of this documentary, it is time to find out more about how decisions, ‘chance’, contingency may still be directed so as to redistribute luck on a more equal way in an increasingly unequal world economy. Economy is itself futurism served frozen & pre-cooked, and different debt ridden lives and widely different futures are being handed down, bent along pre-selected trajectories, trajectories that are being doctored (who cares if knowingly or unknowingly, intentionality is always ulterior anyway) actively make impossible the lives of a majority. A ‘pan-selectivity’ needs yo be developed that refuses yo be ‘gamed’ easily and influenced only by the influent few armed with predictive algorithms – at the tip of a capitalistic drive that actualizes every potential out there, no matter how horrific and brutal as long as it pays dividends.

Like probably any ideological formation – bias is not just invisible, it probably maybe impossible to completely eliminate, but this should not stop us trying to change it and actively imagine what’s to be done. Bias seems to work and act by being unspecified, invisibilized, left out of the loop. Again, like ideology, it is the missing mass that bends everything according to its set of preemptive expectations, almost like a constant enactment of a single, unilateral inner experience, making itself ubiquitous. Bias is not simply an apparently whimsical conceit, it is not just a pre-programmed part of the system, but something that needs to be enforced, hard-coded and programmed at every level of future decision making, at ever threshold of resistance.

Bias is made seemingly non-existent each time output and prediction is put at a premium. If if blaring, it feels like an itch you cannot scratch, because it starts to seem so intrinsic & para-systemic. Technology or AI is not neutral nor is inherently bad it gas been often said, and it is getting as bad or worse or as good as the whole context/environment allows it, or the drift promoting it keeps on pushing it, or as long as the coded ideals and values are what they are. Remember even if everything is being turned into ‘driver-less’-everything, it’s not less of driven- market economy.

We can not see it and measure it because its effects are measured on those who are made to matter less and less, on those ‘others’ that even the states, law or constitution does not seem to ‘notice’ or care for any longer. It is easier to wave bias aside, to bring undigested misconstructions on board and heap them on top of those being distributed the loosing lots, the bad seats(if any), and even if those stories just give you bad dreams, goosebumps, depression or severe need to disconnect from another’s catastrophic or already dystopian reality. So this necessitates different, collective and directed research approaches & coordinated effort to ‘black boxing’ so many current decisional processes. There’s also a different venue (not tackled in Coded Bias) – a sort of related QWERTY bias, of path dependencies whenever we have historically & incrementally built conventional (man-made) computational infrastructures. This ‘convention’ not only only stands in the way of more evolutionary – developmentally inclusive, unconventional approaches to computation & computing, but might leave out or blind us to other venues or other modes of problem solving existing or evolved (as those investigated by Andrew Adamatsky studying maze-solving slime molds). While most computation & research nowadays follows old & certainly well-tested arhitectures, it only builds upon existing & specific constraints – all too human ones we might add, moreover a very restrictive & biased account of what counts as ‘human’ (amply documented throughout Coded Bias), one that both engineering and coding seems to take as granted. ‘Worth’ – in a constantly devalorizing environment becomes constantly threatened, at the same time we should welcome the erosion of old, gendered biased and individualistic notions of singular genius(unmoved mover?) and farcical ‘great men’ through our plural AI – human interactions.

Coded Bias gets the highest marks in advocating for an A.I.X -research, attempting to build an explainable artificial intelligence, a research that should be aware of ‘artificial unintelligence'(Meredith Broussard), as well as to demands that humans hone their response-ability (Haraway), both allowing for aesthetic, epistemologic and ethical responsiveness whenever technological 21st upgrades and optimizations start pouring in.

Algorithmic Justice League (AJL)

AJL TW

AI fairness 360

Big Brother Watch UK

Algorithmic Equity Toolkit

Recidivism Risk Assessment

Association for Computing Machinery code of ethics

Silicon Valley Rising

Critical Race and Digital Studies Syllabus

No Biometric Barriers Housing Act of 2019

A Toolkit on Organizing Your Campus against ICE

stopping big data plan to flag at risk students

Responsible Computing Science Challenge

Hacking Discrimination hackaton

Protest Surveillance: Protect Yourself toolkit from Surveillance Technology Oversight Project (S.T.O.P.) for safety recommendations

AI Now Institute at New York University is a research center dedicated
to understanding the social implications of AI.

Fight for the Future is a group of artists, activists, engineers, and technologists
advocating for the use of technology as a liberating force.

Our Data Bodies is a human rights and data justice organization.

Data & Society studies the social implications of data-centric technologies & automation.

AJL logo

You do not need to be a tech expert to advocate for algorithmic justice. These basic terms are a good foundation to inform your advocacy. For a more detailed breakdown of how facial recognition works, see the guide titled Facial Recognition Technologies: A Primer from the AJL. For more on surveillance, see the Community Control Over Police Surveillance: Technology 101 guide from the ACLU.

GLOSSARY OF TERMS (extracted from Coded Bias Activist Toolkit)

Algorithm. A set of rules used to perform a task.

Algorithmic justice. Exposing the bias and harms from technical systems in order to safeguard the most marginalized and develop equitable, accountable, and just artificial intelligence.

Benchmark. Data set used to measure accuracy of an algorithm before it is released.

Bias. Implicit or explicit prejudices in favor of or against a person or groups of
people.

Artificial intelligence (AI). The quest to give computers the ability to perform
tasks that have, in the past, required human intelligence like decision making,
visual perception, speech recognition, language translation, and more.

Big data. The mass collection of information about individuals who
use personal technology, such as smartphones.

Biometric technology. Uses automated processes to recognize an individual through unique physical characteristics or behaviors

Black box. A system that can be viewed only through its inputs and outputs, not its internal process.

CCTV. Closed-circuit television cameras are used by institutions to record activity on and around their premises for security purposes.

Civil rights. A broad set of protections designed to prevent unfair treatment or
discrimination in areas such as education, employment, housing, and more.

Code. The technical language used to write algorithms and other computer programs.

Data rights. Referring to the human right to privacy, confidentiality, and
ethical use of personal information collected by governments or corporations through technology

Data set. The collection of data used to train an algorithm to make predictions.

Due process. The right not to be deprived of life, liberty, or property without
proper legal proceedings, protected by the Fifth and Fourteenth Amendments to the US Constitution.

General Data Protection Regulation
(GDPR).
A data rights law in the European Union that requires technology users consent to how their data is collected and prohibits the sale of personal data.

Facial recognition. Technologies – a catchall phrase to describe a set of technologies that process imaging data to perform a range of tasks on human
faces, including detecting a face, identifying a unique individual, and assessing demographic attributes like age and gender.

Machine learning. An approach to AI that provides systems the ability to learn
patterns from data without being explicitly programmed.

Racism. The systematic discrimination of people of color based on their social
classification of race, which disproportionately disadvantages Black and
Indigenous people of color.

Recidivism risk assessment – Automated decision making system used in
sentencing and probation to predict an individual’s risk of future criminal behavior based on a series of data inputs, such as zip code and past offenses.

Sexism. The systematic discrimination of women and girls based on their social
categorization of sex, which intersects with racism for women and girls of color.

Social credit score. An AI system designed by the Communist Party of China
that tracks and analyzes an individual’s data to assess their trustworthiness.

Surveillance. The invasive act of monitoring a population to influence its
behavior, done by a government for law and order purposes or by corporations for commercial interests.

Value-added assessments. Algorithms used most commonly to evaluate teachers by measuring student performance data.

Voice recognition. An application of AI technology that interprets and carries out spoken commands and/or aims to identify an individual based on their speech patterns.

imdb

books, theory

1851 – books mentioned in the Coded Bias documentary

Weapons of Math Destruction by Cathy O’Neil

We live in the age of the algorithm. Increasingly, the decisions that affect our lives–where we go to school, whether we can get a job or a loan, how much we pay for health insurance–are being made not by humans, but by machines. In theory, this should lead to greater fairness: Everyone is judged according to the same rules.
But as mathematician and data scientist Cathy O’Neil reveals, the mathematical models being used today are unregulated and uncontestable, even when they’re wrong. Most troubling, they reinforce discrimination–propping up the lucky, punishing the downtrodden, and undermining our democracy in the process.

The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power by Shoshana Zuboff

The challenges to humanity posed by the digital future, the first detailed examination of the unprecedented form of power called “surveillance capitalism,” and the quest by powerful corporations to predict and control our behavior.

In this masterwork of original thinking and research, Shoshana Zuboff provides startling insights into the phenomenon that she has named surveillance capitalism. The stakes could not be higher: a global architecture of behavior modification threatens human nature in the twenty-first century just as industrial capitalism disfigured the natural world in the twentieth.

Zuboff vividly brings to life the consequences as surveillance capitalism advances from Silicon Valley into every economic sector. Vast wealth and power are accumulated in ominous new “behavioral futures markets,” where predictions about our behavior are bought and sold, and the production of goods and services is subordinated to a new “means of behavioral modification.”

The threat has shifted from a totalitarian Big Brother state to a ubiquitous digital architecture: a “Big Other” operating in the interests of surveillance capital. Here is the crucible of an unprecedented form of power marked by extreme concentrations of knowledge and free from democratic oversight. Zuboff’s comprehensive and moving analysis lays bare the threats to twenty-first century society: a controlled “hive” of total connection that seduces with promises of total certainty for maximum profit–at the expense of democracy, freedom, and our human future.

With little resistance from law or society, surveillance capitalism is on the verge of dominating the social order and shaping the digital future–if we let it.

Artificial Unintelligence: How Computers Misunderstand the World by Meredith Broussard

A guide to understanding the inner workings and outer limits of technology and why we should never assume that computers always get it right.

In Artificial Unintelligence, Meredith Broussard argues that our collective enthusiasm for applying computer technology to every aspect of life has resulted in a tremendous amount of poorly designed systems. We are so eager to do everything digitally—hiring, driving, paying bills, even choosing romantic partners—that we have stopped demanding that our technology actually work. Broussard, a software developer and journalist, reminds us that there are fundamental limits to what we can (and should) do with technology. With this book, she offers a guide to understanding the inner workings and outer limits of technology—and issues a warning that we should never assume that computers always get things right.

Making a case against technochauvinism—the belief that technology is always the solution—Broussard argues that it’s just not true that social problems would inevitably retreat before a digitally enabled Utopia. To prove her point, she undertakes a series of adventures in computer programming. She goes for an alarming ride in a driverless car, concluding “the cyborg future is not coming any time soon”; uses artificial intelligence to investigate why students can’t pass standardized tests; deploys machine learning to predict which passengers survived the Titanic disaster; and attempts to repair the U.S. campaign finance system by building AI software. If we understand the limits of what we can do with technology, Broussard tells us, we can make better choices about what we should do with it to make the world better for everyone.


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documentary, Uncategorized, video essay

1844 – Los Angeles Plays Itself (video essay by Thom Andersen 2003)

Thanks to Alin Răuțoiu from the excellent, unsparing and vital Dezarticast, and his quest for a quality copy of this gem. So, now you got to see it too, spreading it around as far and wide as possible. All my gratitude to Gabi ‘Pnea’, peripatetic chronicler and modern-day Naturphilosoph for sharing his treasures, for his tech support and for kindly providing invaluable input whenever his nudging managed to keep me busy.

In its portraiture and depiction of a contemporary city – Los Angeles Plays Itself remains to my knowledge unsurpassed. From Kiss Me Deadly noirs to Chinatown to Cassavetes to Who Killed Roger Rabbit(still acid drenched in my celluloid melting memories), it has got it all.

Made from the heart by  Thom Andersen, patiently foraging & carefully embedding his suspenseful history within this W coast city, marking its architecture, its urban layout with close knit social textures via clips from the whole breath of cinema. To call it an exemplary critical theory essay or run of the mill ideological critique would sell it short. It is a sprawl (sprawling horizontally like the city Andersen would never shorten or reify), nearly capping at 3h long, its either full immersion or ur do ur own cuts – in your own time, anyway its a total treat. It is a well spent time and a tangible place to return to and revisit. It gives much needed context to what a city is and can be. How the city is much more than the sum of its movie roles or extras parts, even if Los Angeles does strike one like a readymade Map to the Stars. Even if being a snitch – as the narrator remarks, in dire times of the McCarthy era insured some famous name with a star on Hollywood’s Walk of Fame.

The whole essay somehow builds up on the way Los Angeles works and doesn’t work as a set piece. It is sprouting out from an uncensored love for a SoCal megalopolis that feels much mistreated, much misrepresented and downright brutalized whenever it gets glamorized or held up against big spotlights. Los Angeles Plays Itself always mistrusts the floating subjectivity of the omniscient narrator, even as it discards one camera-eye after another, able to follow what has been left out, making its own route trough many takes, jumps and cuts, managing in the end to somehow operate at ground level assembling blueprints, inserting press clippings with working class histories that do not make it into the limelight. Floating from camera to camera does not make for an unwieldy collage or jumble, but an even match of cut to cut, criss-crossing incompossible temporal jumps & slices of a kaleidoscopic urbanity. A slippery city that slips trough the fingers of best documentarists or cinematographers. It never relinquishes Los Angeles to its celebrated (American or European, lowbrow or highbrow etc) author star/ film directors. You can simply also enjoy every sample and wanna see more of the original source material (see below). As moviegoers for sure we can never go into full popcorn mode. Neither does it spare the film moguls that have calibrated & celebrated and selectively repurposed a city to fit their own projections and openly espoused ideological political agendas or class interests. The city cannot exist just as a pure disconnected location, as there is no “simple location” (as Whitehead puts in Science in the Modern World). No sequence seems to exists on its own. All sequences somehow communicate and each movie cut seems to intervene or presuppose another one. Without such overlaps any movie taken in its isolated solid state tends to eclipse the city underneath and beyond, even when it purportedly wants you to discover it. The city as a hidden reality is one that needs to be materially traversed.

A cinematic city abstracts from – and conceals whenever it ‘reveals’ or try to sell a ticket to an audience that buys its promised demi-monde land, the mondo tour, the shocking underbelly, the sleaze or the dazzling cyberpunk rain-soaked future (a washed out unresolved dream twinkling in the eyes of the city planners) or get lost on the byways of Sunset Boulevard.

Los Angeles police LAPD in movies part is just amazing. It is some of the best analysis of cinematic representation of police I’ve seen – especially during such a consistent proof of US police misdemeanor, militarization, brutality and point blank murder of African America or Lantinx. From the idealized self-image of a smug cop, to the incredibly arrogant and full of contempt Dragnet policemen to the unwittingly self-ironic scare quotes of “serve & protect”.

There is always streets and corners to be cut and entire building blocks that got razed, redeveloped, gentrified and that do not get credit, but also do not go completly under the radar of film crews – the only ones caring enough and painfully aware of filming another reality mostly (to me) by unknown black directors who are coming from a particular class background or from racially divided and economically oppressed segments of the city. Theirs is a completely different city. What could be more telling than a thermodynamically skewed 1980s – 2019 Los Angeles future?

Blade Runner got a lot of things wrong even if it has a dear and lasting retro-future afterglow. It made a landmark out of Bradbury Building (still after D. O. A. used it as location in 1949), while also making a timeless future bachelor pad out of neo-Mayan Frank Lloyd Wright Ennis house. Yet as Charles Mudede caustically and pointedly remarks, no futuresque movie is a predictive algorithm (nor should it strive to) and retrospectively no wonder it missed the crux of things since “there are no smartphones, no internet, no financialization, no investment banks”.

Modernism – as a style and legacy seems to get a bad rap in US movies and Andersen makes it painfully clear that somehow most villains, even the most cliché tabloid high corruption, bribery, ‘confidential’ supposed conspiracy – are framed within the most stark examples of modern architecture, against the aims and even the histories of these buildings. And this in an almost complete reversal of the aims of the entirety of such modernist architecture. Think of those wide un-decorated, egalitarian spacious living, defined by the geometry of clear lines that openly rejected the shackles of the past. An architecture of light and transparency (thinking here of the European Bauhaus impetus by Bruno Taut and further back to the Scheerbartian utopic potential of light), buildings that get recast in Hollywood as scandalous dens of vice. To me Anderson’s retrieval of modern architecture’s bad wrap in Hollywood movies echoes more recent anti-modernist or sort of pre-modernist revanchist Tartaria conspiracies (part of the QAnon conspiritual bouquet) amply discussed in recent article by Zach Mortice. Yes, the lost “Tartarian empire” has an awful lot of confusion, unfamiliarity and cultural dislocation & also suffers from something akin to the Mandela Effect. Yet as this video essay amply demonstrates there’s tremendous Hollywood overwriting and cinematic overcoding onto the very urban and architectural landmarks. These architectural landmarks have been imprinted into memory only after been rediscovered via location scouting, getting heritage status only after they were filmed in and retrospectively recognized as icons. Their whole existence risks being dependent on becoming part of skewed movie worlds. In retrospect and after so many past/present/future architectonic projections, buildings start acting like bona fide labyrinthine multiverse portals like the one from the OA series or the spiraling House of Leaves. As a response to Tartaria craze – to the perceived suddenness of modernist takeover, I would rather reserve the same feeling for something more close to home, i.e. how former forlorn monuments or Communist party buildings have achieved cosmist brutalist sublimity after the fact; an uneasy after-life for ex-Socialist architecture, only too quickly misconstrued or recast as lost civilizations – irretrievable end-of-history procedural.

In its incredible ambition to excavate the ‘real’ city from underneath the movie reels, Los Angeles Plays Itself plays particular attention to the cars – (like the view from the train cut by telegraph poles) sequentially open on all window sides to a sort of permanent TV diorama where Americana takes place (cars to watch road movies). The car is where everything is about individual freedom, post WWII consumerist boom and free expression. In the light of car ownership & peak oil it becomes paramount to see how car industry shapes a city that becomes unattainable on foot by definition, only to be traversed via motorized access or super highway. This is a cinematic story of dwindling infrastructure, of empty boulevards and public transport or lack of public transport, of non access and a public system that has endures steady degradation.

ATSAC (Automated Traffic Surveillance and Control)

As much as human commuters, traffic and Lowrider car culture are part of iconic Los Angeles, there is no discussion in this ample video essay about the ATSAC (Automated Traffic Surveillance and Control) system of traffic control in Los Angeles that has been operating and continuously developed in the city for almost 30 years. I came across this man-machine assemblage trough an essay about New Media Pharmacology that adopts N. Katherine Hayles’s example of a nonconsious and distributed cognition that does not eliminate or completly circumvent human technical support (Unthought: The Power of the Cognitive Nonconscious 2017). This panspectron (a term proposed by Manuel deLanda) view from the control room looks like a spaceship and it is not driver-less. Looks like any NASA ground control or main deck of an USS Enterprise – wholly made up of divided & continuous surveillance screens of roads and continuous automotive traffic monitoring. It makes its own movie in a different way, yet I am not sure if the functioning or real footage from from ATSAC rooms got featured in any Lost Angeles movies (something tells me it did?). Being adaptive, evolutionary and flexible it is fitting all of Hayles’s criteria for a cognitive assemblage. It would be unthinkable without its human decisions and selectivity, bridging and bringing congruence to the various unconscious and conscious inputs that manage to connect and assemble the city of Los Angeles in a completely new post-cinematic way:

Drawing input data from innumerable sensors, cameras, and detectors, processed by diverse algorithms, it is a massive technical system that requires various levels of human oversight and collaboration, from those who attend the complex computer output to individual drivers and pedestrians’ daily routines.“(Joseph Schneider). This self-correcting, machine-human learning traffic system sounds definitely closer to Chile’s pre-coup Project Cyberyn in that it serves the city and its residents with ‘no direct connection to market considerations’(Hayles 2017). Definitely one such rare example that does not have the in-built Coded Bias that is intrinsic to so much of today’s Algorithmic Capitalism. It feels that ATSAC subroutines even if not really prominent as a feature of the city or in our collective imagination, could subtend a lot of what gets registered either sensorially or cinematically recorded (think here of a drone camera perspective) as a nightly city grid – as blinking neural streams without any apparent behind-the-scenes, a false image of no -planning and of absent -invisibly, progressively evolving- large scale coordination.

Finally, Rotten Tomatoes makes certain that the critical consensus and appreciation for the tremendous effort and research that went into this essay is nearly universal: “A treat for cinephiles, this documentary is a comprehensive, academic, and enlightening film essay concerning Los Angeles and its depiction in the movies.”

Movies featured in Lost Angeles Plays Itself on IMDB

List of movies featured in Lost Angeles Plays Itself available on Mubi

imdb

documentary, series, theory

1777 – Can’t Get You Out Of My Head: An Emotional History of the Modern World (2021 documentary series by Adam Curtis)

directed by Adam Curtis (Pandora’s Box, The Century of Self, The Power of Nightmares, All Watched Over By Machines of Loving Grace + many more)

Synopsis

Can’t Get You Out of My Head: An Emotional History of the Modern World is a six-part series that explores how modern society has arrived to the strange place it is today. The series traverses themes of love, power, money, the ghosts of empire, the history of China, opium and opioids, the strange roots of modern conspiracy theories, and the history of Artificial Intelligence. Inspired by the 2016 apex of populism—the political ideology which presents The People as morally good, and The Elite as morally bad—the underlying aim of the series is to show why the critics of Donald Trump and Brexit were unable to offer an alternative vision for the future.

Part 1 — Bloodshed on Wolf Mountain

We are living through strange days. Across Britain, Europe, and America, societies have become split and polarised. There is anger at the inequality and the ever growing corruption—and a widespread distrust of the elites. Into this has come the pandemic that has brutally dramatised those divisions. But despite the chaos, there is a paralysis—a sense that no one knows how to escape from this. Can’t Get You Out of My Head tells how we got to this place. And why both those in power—and we—find it so difficult to move on. At its heart is the strange story of what happened when people’s inner feelings got mixed up with power in the age of individualism. How the hopes and dreams and uncertainties inside people’s minds met the decaying forces of old power in Britain, America, Russia, and China. What resulted was a block not just in the society, but also inside our own heads, that stops us imagining anything else than this.

Part 2 — Shooting and F**king are the Same Thing

This next part traverses the story of what tore the revolutions in the 1960s apart. Jiang Qing in China, Michael X in London, Afeni Shakur in New York believed that millions of people’s minds were haunted by the corruption and the violence of the past. They wanted to show people how to escape those ghosts. But they hadn’t reckoned with the fact that the old structures of power still haunted their minds too. They too had been scarred by the past, and some of them wanted violent revenge. While psychologists and neuroscientists were starting to discover what they said were hidden forces inside the human brain that really controlled what they did. But the people weren’t aware.

Part 3 — Money Changes Everything

This is the story of how in the 1970s, those in power set out to create a world free of the dangerous big ideas of the past. They banished the grand dreams of changing the world. And replaced them with money. People would live from now on in their own heads—in their own dreams. And the banks would lend them the money to create those dreams. While China would supply a wave of cheap consumer goods on a scale never seen before in the world. But then money broke free across the world. And people started to get frightened that things were out of control. Not just money—but the world’s climate too seemed to be behaving in a strange, unpredictable way. The systems seemed to have a life of their own. Beyond the ability of anyone to shape and predict.

Part 4 — But What If the People Are Stupid?

No one trusted politics or politicians any longer. Instead we were all one world of free individuals. And we could intervene to save other individuals around the world without bothering with old politics and power. And people became what they as individuals truly were—emotionally and sexually. But power was mutating and finding ways to work its way back into our heads. The politicians realised that they no longer had the support or the trust of the people. So they switched sides and gave up being our representatives who would challenge the powerful on our behalf. Instead they began to tell us what to do on behalf of the powerful. And they made new alliances—with the psychologists who said that human beings were irrational and needed to be managed. But we didn’t notice because we were too busy shopping.

Part 5 — The Lordly Ones

It wasn’t just the Slave Trade: 150 years ago Britain had wrecked China by forcing opium on the country. It made Britain the richest and most powerful country in the world. But it enslaved the minds of millions of the Chinese and helped destroy the society. But then the British got frightened of what they had done and created a dream image of a Britain that had never existed, to hide from the fear. This film tells the story of how from the end of the 19th century a magical vision of Britain’s feudal past was created by artists and writers. How folk music and folk dancing was invented to create a kind of safe dream of the nation that could hide the violence and the horrors. The dream persisted under the surface of the 20th century. But as the fears and uncertainties and the chaos of the last few years rose up millions of people started to believe that dream: that it was real.

Part 6 — Are We Pigeon? Or Are We Dancer?

The final episode tells how the strange paralysis that grips us today was created. How all the different forces of our age—that started out as separate have come together to create what is a block against imagining another kind of future than this. How, money and debt, melancholy over the loss of empire, the strange roots of modern conspiracy theories, the history of China, opium and opioids, Artificial Intelligence, and love and power have all fed into creating the present time of anxiety and fearfulness about the future. And whether modern culture, despite its radicalism, is really also part of the rigid system—in the West and in Russia and China—where those in power have run out of all ideas. The film also lays out what are the different possible roads from here into the future, and the choices we will have to make about the very different futures we will have to choose very soon.

Read a review on Guardian

movies

1745 – One Hour Photo (2002)

timespace coordinates: early 2000s Los Angeles

One Hour Photo is a 2002 American psychological thriller film written and directed by Mark Romanek and starring Robin WilliamsConnie NielsenMichael Vartan, Erin Daniels, Gary Cole, and Eriq La Salle.

In an interview, Romanek said that he was inspired to create this movie by films from the 1970s about “lonely men”, notably Taxi Driver (1976). (wiki)

imdb   /   rottentomatoes

movies

1713 – Monsters of Man (2020)

timespace coordinates: 2020’s Cambodia

A robotics company vying to win a lucrative military contract team up with a corrupt CIA agent to conduct an illegal live field test. They deploy four weaponised prototype robots into a suspected drug manufacturing camp in the Golden Triangle, assuming they’d be killing drug runners that no one would miss. (Official Website)

imdb

games, movies, music

1685 – Hardcore Henry (2015)

timespace coordinates: near-future Moscow

Hardcore Henry (Russian: Хардкор; also known simply as Hardcore in some countries)  is a 2015 Russian-American science fiction action film written and directed by Ilya Naishuller (in his feature directorial debut).

ward_raf_01

It stars Sharlto CopleyDanila KozlovskyHaley Bennett, and Tim Roth. Henry was played by 10 different stuntmen and cameramen including the director Ilya Naishuller, Darya Charusha, who plays a dominatrix biker, is also the film’s composer.

Max Nicholson of IGN rated the film 8.6/10 stating “Two parts FPS, one part platformer and a pinch of HowToBasic, director Ilya Naishuller’s Hardcore Henry is a recipe for non-stop, ludicrous fun. While the film’s actual story is nigh existent [sic], it’s sure to please gamers and action junkies alike with its inventive set pieces and mind-boggling action” and “Hardcore Henry lives up to the title with non-stop, off-the-wall action and a love for all things video games”. (wiki)

The video game Payday 2 had a cross-promotion before the movie’s release. It came with heists relating to the film’s plot, along with a new playable character (Jimmy) and new weapons. A poster for the game can be seen on wall of the one of the apartments where Slick Dimitri is found and Jimmy’s mask from the game can be seen in the drawer with the weapons in the strip club.

Before this film, writer and director Ilya Naishuller made several music videos for his Russian punk rock band “Biting Elbows”. The videos were shot in the same style: Fast paced, first person perspective action videos.

imdb   /  possible sequel