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intervention by presenting information in a form that was usable in only one way. Participants would have to be sufficiently privileged in the culture of the digital to reinterpret the information back. Of course, this digital-person choreography was designed in by humans in the first place and carries assump- tions about the kinds of uses and users. Arduino and other maker intermediaries require some basic knowledge of coding, and the better the resources for coding the more things open up. The combination of sensors and e-health kits did provide an extensive range of

entangled in practice (Feldman/Orlikowski 2011: 16).4 Agency is therefore under- stood as performative; echoing actor network theory notions about technologies as “choreographies of human and non-humans” (Pottage 2012: 167), and also STS scholar Andrew Pickering’s concept of “the dance of agency” (1995), where material and human agency temporally emerge through a ‘dance’ or ‘mangle’. This mangle is a process of resistance and accommodation: resistance denotes the failure to achieve an intended capture of agency in practice, while accom- modation refers to an active