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Few virtues are as celebrated in contemporary culture as openness. Rooted in software culture and carrying more than a whiff of Silicon Valley technical utopianism, openness—of decision-making, data, and organizational structure—is seen as the cure for many problems in politics and business. But what does openness mean, and what would a political theory of openness look like? With Wikipedia and the Politics of Openness, Nathaniel Tkacz uses Wikipedia, the most prominent product of open organization, to analyze the theory and politics of openness in practice—and to break its spell. Through discussions of edit wars, article deletion policies, user access levels, and more, Tkacz enables us to see how the key concepts of openness—including collaboration, ad-hocracy, and the splitting of contested projects through "forking"—play out in reality. The resulting book is the richest critical analysis of openness to date, one that roots media theory in messy reality and thereby helps us move beyond the vaporware promises of digital utopians and take the first steps toward truly understanding what openness does, and does not, have to offer.

D'où vient la transparence et où va-t-elle ? Quelles sont ses méthodes ? Quels types de savoirs doivent être constitués pour nous la fournir ? Cet article propose la description d'un tableau de bord informationnel, c'est-à-dire d'une interface de plus en plus souvent déployée dans les initiatives relevant de la transparence. Cet Index des Clés Performatives aide à percevoir l'emprise des régimes de mesure et de gestion de performance sur notre monde. Pour expliquer le parcours allant de la transparence à la gestion de performance à travers les tableaux de bord, cet article revient sur un scandale récent de la politique britannique qui a déclenché une nouvelle poussée d'appels à la transparence, et finalement à la multiplication des tableaux de bords.

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media.

While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database.

Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu.

This article provides an exploratory systematic mapping of the global ecosystem of COVID-19 pandemic response apps. After considering policy updates by Google Play's and Apple's App Store, we analyse all the available response apps in July 2020; their different response types; the apps' developers and geographical distribution; the ecosystem's 'generativity' and developers' responsiveness during the unfolding pandemic; the apps' discursive positioning; and material conditions of their development. Google and Apple are gatekeepers of these app ecosystems and exercise control on different layers, shaping the pandemic app response as well as the relationships between governments, citizens, and other actors. We suggest that this global ecosystem of pandemic responses reflects an exceptional mode of what we call 'pandemic platform governance', where platforms have negotiated their commercial interests and the public interest in exceptional circumstances.

This article provides an exploratory systematic mapping of the global ecosystem of COVID-19 pandemic response apps. After considering policy updates by Google Play's and Apple's App Store, we analyse all the available response apps in July 2020; their different response types; the apps' developers and geographical distribution; the ecosystem's 'generativity' and developers' responsiveness during the unfolding pandemic; the apps' discursive positioning; and material conditions of their development. Google and Apple are gatekeepers of these app ecosystems and exercise control on different layers, shaping the pandemic app response as well as the relationships between governments, citizens, and other actors. We suggest that this global ecosystem of pandemic responses reflects an exceptional mode of what we call 'pandemic platform governance', where platforms have negotiated their commercial interests and the public interest in exceptional circumstances.

This paper discusses methodological approaches to app studies, focussing on their embeddedness and situatedness within multiple infrastructural settings. Our approach arises by paying close attention to the multivalent affordances of apps as software packages, particularly their capacity to enter into diverse groupings and relations depending on different infrastructural situations. The changing situations they evoke and participate in, accordingly, makes apps visible and accountable in a variety of unique ways. Engaging with and even staging these situations, therefore, allows for political-economic, social and cultural dynamics associated with apps and their infrastructures can be investigated through a style of research we describe as multi-situated app studies. The piece offers an overview of four different entry points of enquiry that are exemplary of this overarching framework, focussing on app stores, app interfaces, app packages and app connections. We conclude with nine propositions that develop out of these studies as prompts for further research.

This paper discusses methodological approaches to app studies, focussing on their embeddedness and situatedness within multiple infrastructural settings. Our approach arises by paying close attention to the multivalent affordances of apps as software packages, particularly their capacity to enter into diverse groupings and relations depending on different infrastructural situations. The changing situations they evoke and participate in, accordingly, makes apps visible and accountable in a variety of unique ways. Engaging with and even staging these situations, therefore, allows for political-economic, social and cultural dynamics associated with apps and their infrastructures can be investigated through a style of research we describe as multi-situated app studies. The piece offers an overview of four different entry points of enquiry that are exemplary of this overarching framework, focussing on app stores, app interfaces, app packages and app connections. We conclude with nine propositions that develop out of these studies as prompts for further research.