Full title: “Reciprocal Technologies: Enabling the Reciprocal Exchange of Voice in Small-Scale Farming Communities through the Transformation of Information and Communications Technologies”.

Summary

Industrial agricultural systems have compromised local, regional, and even planetary ecosystems, and have largely denied the voices and collaborative practices of small-scale farmers by increasingly pushing them towards different forms of marginalization. This book seeks to explore this critical issue, and its main premise is that reinforcing the reciprocal exchange of voice in small-scale farming communities can become a strategy to increase their recognition and resilience in face of these challenges. By merging grounded research in rural communities in Tanzania and Mexico with a unique transdisciplinary approach that combines technology studies, critical theory, agroecology, and socially engaged art, the author explores how the critical transformation of technologies for voicing out may contribute to the activation of such a strategy. offers practical as well as theoretical insights on how information and communications technologies affect rural farmers and their communities, and argues that these technologies need to be ethically transformed in order to resist the hegemony of self-interested competition, commodification and social exclusion.

Excerpt

What is at stake in small-scale agriculture is not only the capacity to acquire new knowledge, but also the very nature of that knowledge. This has to do with the question of what purposes may learning serve. Can learning reinforce reciprocal practices that can support the production of a commons or, on the other hand, contribute to the establishment and dissemination of a merely utilitarian and competitive view of agriculture?

A significant number of e-agriculture initiatives favor the delivery of market-ready, productivity-oriented information to individual farmers. Thus, willingly or unwillingly, the model of information and knowledge transfer of such initiatives can contribute to the disintegration of reciprocal values, in which agricultural production tends to address mutual benefits, rather than individual profits. A consequence of such disintegration is the potential risk of intensifying the process by which small-scale farmers are pulled towards monetized models of labor and production that are beyond their control, and which can compromise their local forms of social and economic organization in ways that may be unwanted.

As farmers are compelled to enter deregulated global markets, for example through the export of cash crops, they can become increasingly vulnerable to spiralling forms of economic dependency. Technologies introduced by the successive agricultural revolutions, such as chemical fertilizers, pesticides, genetically modified seeds, or mobile phones, have incrementally introduced forms of dependency which were previously unknown. In the case of mobile phones, farmers find themselves facing a new or increased need for electricity, devices, and, more significantly, access to mobile networks. The regular payments required to access such networks can potentially become a serious burden for farmers in the long run. If small-scale farmers become dependent on information delivered through mobile phones, they will likely be constrained to find ways of continuously paying associated costs. Mobile dependency can be understood as a closed loop: farmers are served with information specially tailored to boost their productivity and access to markets so that they may become reliable clients of all sorts of products, including mobile information delivery.

In hybrid social scenarios, where reciprocal economies coexist with monetized ones, raising their income through increased productivity is certainly a legitimate goal for small-scale farmers. But does e-agriculture offer a sustainable model for achieving that goal? A report commissioned by the World Bank suggests that the poorer Kenyans are already overspending on mobile costs and even making monetary sacrifices that include foregoing food and transport (World Bank, 2012b). The report states that “these substitutions were largely undertaken in order to strengthen the longer-term asset accumulation of micro-enterprises” (World Bank, 2012b, p.39), meaning that access to mobile communications, including e-agriculture services and applications, is increasingly seen by small-scale farmers as a way to improve their future income opportunities. However, those future opportunities, which may or may not materialize, already imply compromising basic subsistence in the present. Such a scenario should be sufficient to bring the model of the small-scale farmer as a mobile-driven entrepreneur into question.

Monetized loops and individual spirals of dependency marginalize reciprocal practices and exchanges even further by invalidating alternative economic models, such as sharing or producing a commons. The loop of which e-agriculture initiatives are part of has a strong tendency to individualize economic actors, detaching them from the possibility of more communal forms. Although small-scale farming communities may be considered as hybrid contexts in which different forms of economic exchange coexist, their members tend to be more collaborators than competitors. In a collaborative community, knowledge and information are needed not by individuals but rather by the community as a whole to make collective decisions.

Michael Gurstein, who proposed the notion of community informatics, argued that in such communal contexts, the conventionally and technologically prescribed mode of one-to-one communications offered by mobile phones can potentially disrupt the very basis of communal life (Gurstein, 2012). Providing access to information on an individual level, as most mobile-driven e-agriculture initiatives do, may indeed empower individuals. Yet, as Gurstein claimed, it is not clear how individual empowerment may result in communal benefits, since it is most likely that this process would impede collaboration by introducing or reinforcing individual competition (Gurstein, 2012).”

Find the full thesis here.

Photo by CAFNR

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“As curator of the exhibition Monsters of the machine: Frankenstein in the 21st Century, I thought it necessary to interview the artists in the exhibition, while it is shown in the magnificent gallery space at Laboral, in Spain, until August 31st 2017. I wanted to get more of an idea of how they see their work in the show relates to the core themes. Mary Shelley’s book Frankenstein; or, The Modern Prometheus, has been interpreted in numerous ways since was written in 1816, and then published anonymously in London in 1818.

Eugenio Tisselli is a Mexican artist and programmer. He is a PhD candidate at Z-Node, the Zurich Node of the Planetary Collegium. Previously, he worked as an associate researcher at the Sony Computer Science Lab in Paris and was also a teacher and co-director of the Masters in Digital Arts program at the Pompeu Fabra University in Barcelona. In his role as director of the ojoVoz project, he has carried out extended workshops with small-scale farming communities in different parts of the world. The ojoVoz project may be accessed at http://ojovoz.net. His personal projects may be accessed at http://motorhueso.net.

Interview

Marc Garrett: Can you explain how and why the Sauti ya wakulima, “The voice of the farmers” project came about?

Eugenio Tisselli: In 2010, I came to realize that the way we feed ourselves is actually one of the main drivers of the accelerated destruction of societies and ecosystems that is currently underway. I felt like I had been living in La-La-Land before the veil was ripped off. My life changed radically. At that time, I was collaborating in the megafone.net project which had worked since 2004 with several groups of people at risk of social exclusion in different parts of the world. By offering an unfiltered communications platform, consisting of mobile and web applications, the megafone project tried to help these groups to make their voices widely heard. But, in 2011, I left the project with the purpose of offering its tools and methodologies to farming communities who wished to seek recognition and explore different forms of communication.

The first opportunity took shape in Bagamoyo, Tanzania, where a group of farmers expressed their interest in trying out these tools. I came in contact with this group through a scientific project that studied the direct and indirect effects of climate change on agriculture. The original goal of ‘Sauti ya wakulima’ was that the farmers would use smartphones and a web application to create a collaborative, audiovisual knowledge base of weather-related events, such as droughts, floods or crop diseases. However, the farmers eventually discovered that they could reshape this goal, and started to use the phones to interview other farmers with the purpose of creating a network of mutual exchange of knowledge about agricultural practices and techniques.

Episodes of fruitful learning have happened since then: one farmer learned the proper way to grow maize thanks to a picture taken by one of his colleagues. Another one learned a clever way to build chicken sheds during a trip to an agricultural fair. He took pictures of the sheds and when he came back to his community, he formed a cooperative for chicken production together with three of his colleagues. I could go on, but the project is still active after six years and that is probably the best thing that can be said of ‘Sauti ya wakulima’. It is alive because farmers find it useful, and it’s inspiring to learn from them that the mutual exchange of knowledge can become a key to a more resilient and interesting life. To me, the agricultures depicted in the photos posted by the Tanzanian farmers are not echoes of ‘the past’, but pathways to the future.

MG: What particular themes in the exhibition do you feel relate to the “The voice of the farmers” installation?

ET: I imagine ‘The monster in the machine’ not as a horrible, threatening ghoul, but as a weird and tricky creature made of language. The ‘body’ of this creature is made up of what we would call ‘principles’,  ‘values’ and even ‘ideologies’. And it silently lurks inside the technological artifacts we use every day. The smartphone, for instance, epitomizes the ideal 21st century citizen: a self-sufficient, competitive and efficient individual. And, indeed, the monster that lives inside our smartphones is made of those values: its presence is inscribed in the device’s circuits and from there it casts its spell. What I mean is that technologies are not neutral. They are not empty: they are haunted by whispering ghosts.

If you look at technologies used in agriculture, you will also find a multitude of monsters that softly dictate from the insides of things. Perhaps not by coincidence, genetically modified (GM) seeds speak the same things as mobile phones, only with different words. They tell farmers: “stop sharing seeds with your community, it’s a waste. Become an entrepreneur, there are shitloads of money to be made! Buy me! I’ll make you rich!” The sad thing is that these words are a trap: farmers ultimately become entangled in monetized loops that are beyond their control. Desperation sets in and, in absurdly horrible cases, such as GM cotton farmers in India, suicide becomes the only exit. But there are, indeed, other exits.

It is possible to rewrite the values and ideologies inscribed in technologies, in order to make them speak words that will do less harm. This is one of the key components of Sauti ya wakulima. From the very beginning of the project, the farmers agreed to redefine the smartphones as communal tools for collaborative documentation. They still share them and, when it is someone’s turn to use one, that person knows that she will not be taking pictures and recording sounds with a personal device, but with one that belongs to the group. These dynamics of sharing can create or strengthen reciprocal bonds. Renalda Msaki, a farmer who participates in Sauti ya wakulima, once said that the project had brought the group closer together. When I reflect upon her words, I can see how the monster in the machine can be transformed into a gentler creature that, nevertheless, remains weird and tricky.

MG: What role do you think the artist has when dealing with questions such as Monsters of the Machine exhibition?

ET: I think the artist can take up an incredibly vast range of roles when dealing with machines. But, whatever one does, one shouldn’t be naive about technology. Happily, the times when media artists created huge and complex pieces filled with little technological wonders just because it was exciting to celebrate their ‘magic’ is (almost) over. I used to say that (most) media art was the smiling face of techno-capitalism. Now I would add that, while technology was generally understood as a mediator between us and the world, it has now become a vector that uses humans to create its own mediations with the world. The roles have shifted, and things have taken a perverse turn. There’s a growing chorus of techno-objects that insistently asks us, humans, to drill the Arctic, build pipelines, burn coal, destroy forests and dig up more minerals. And we obey: we must feed the monster. Artists who approach technologies as materials to play with need to be aware of these power relations. We must acknowledge that technologies of all sorts have become overpowering actors that like to command.

Conclusion

Tisselli warns us that we need to be more aware of our responsibilities when implementing technologies into the environment. An important factor of the exhibition was to bring about a vision where the art was not just one type of art. This means different engagements in how we see and work with technology, are reflected as part of its context. Also, technology is not only a human skill, ’21st century scientific studies indicate that other primates and certain dolphin communities have developed simple tools and passed their knowledge to other generations.'[2]

As I write this conclusion, ‘Trump is poised to sign an executive order that will dramatically reduce the role that climate change has in governmental decision-making. The order could impact everything from energy policy to appliance standards.'[3] We live in a time where US policies are written via Twitter, and the rich are typically risking ours and the world’s future for their own ends. Tisselli and the farmers, remind us that, we need to be connecting with the land once more. We need to reclaim the soil before it is lost forever.

Mary Shelley’s distrust of the  patriarch in the form of Dr. Victor Frankenstein, is as relevant now as it was 200 years ago. ‘Her portrayal of Dr. Frankenstein as an egocentric obsessive who will stop at nothing until he completes his mission in bringing his creature to life; represents man’s blind quest in pushing on until the precarious end, at whatever cost.'[4] Tisselli echoes this with his own critique towards artists working in technology. If we are to rethink what innovation can be now, what would that look like if we were to update it in a way that included indigenous voices, other levels of equality, and practices beyond what now seems like tired, machismo, and over obsessive, tech-enchantment?
The ‘Monsters of the machine: Frankenstein in the 21st Century’ exhibition is on at at Laboral, in Spain until August 31st 2017. http://www.laboralcentrodearte.org/en/exposiciones/monsters-of-the-machine

References:

[1] Garrett, Marc. Laboral. Monsters of the Machine: Frankenstein in the 21st Century. 2016.
http://www.laboralcentrodearte.org/en/exposiciones/monsters-of-the-machine

[2] Technology. (last checked March 14th 2017)
https://en.wikipedia.org/wiki/Technology

[3] Tarantola, Andrew. Trump to sign sweeping rollback of Obama-era climate change rules. End Gadget. March 15th 2017.
https://www.engadget.com/2017/03/14/trump-to-sign-sweeping-rollback-of-o…

[4] Garrett, Marc. Prometheus 2.0: Frankenstein Conquers the World! Furtherfield. 03/06/2014.
http://www.furtherfield.org/features/prometheus-20-and-our-god-complex

Photo by UNAMID Photo

The post Interview with ‘Monsters of the Machine’ Artist, Eugenio Tisselli appeared first on P2P Foundation.