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Data Turn and Datascape in Russia

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Internet in Russia

Part of the book series: Societies and Political Orders in Transition ((SOCPOT))

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Abstract

This chapter presents the main features of developing data-driven processes in Russia and their social influence. First, the author analyses the development of the concept of Big Data in a multilevel theoretical framework. This approach serves as a methodological starting point to identify and differentiate this bio–socio–technological phenomenon in Russia (and beyond). The chapter presents a new theoretical concept for the datafied transformation of a capitalistic society, called a Data Turn. Thanks to the Data Turn as a universal theoretical framework, a holistic vision of data-driven relations is opening. A new concept of the data-driven divide is also presented. By describing the current Russian data landscape, the author emphasises the unique opportunities offered by various data-driven practices in a datafied society to open new social problems in their relevant use and research—especially in Russian data art projects, where data artists present their social worries and insights. The chapter finishes with a description of the main findings and future problems to be discussed.

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Notes

  1. 1.

    A digital divide is an economic and social inequality with regard to access to, use of, or impact of information and communication technologies. There are several types of divide: the divide within countries, between differing countries or regions, etc. Different authors focus on different aspects (e.g. different choices of subjects) which led to more than 200 different ways to define the digital divide. The term is also referred to as digital inclusion, participation, media literacy, etc.

  2. 2.

    See also about global aspects at: Buckland (2017) and Kitchin (2014a).

  3. 3.

    Nevertheless, even with the not-always-structured data collected in Russia since the eighteenth century, the Soviet and Russian historian, Prof. B.N. Mironov, using mathematical methods of analysis, among other things, found significant insights in the country’s social history since the end of the seventeenth century until 1917 (Mironov 2012; Mironov & Eklof 2000). The newly researched “old” data led to reinterpretations of fundamental problems of Russian history, including the prerequisites and causes of the Russian Revolution and overturning widespread negative myths about Russia.

  4. 4.

    Quadruple and quintuple innovation helix frameworks include the media and natural environment (Carayannis & Campbell 2009, 2010).

  5. 5.

    According to Frost & Sullivan (2018), the global biotechnology market will grow up $600 billion by 2020.

  6. 6.

    According to PwC forecasts, the global volume of sharing economy could reach $335 billion by 2025.

  7. 7.

    Abstractionism (V. Kandinsky), suprematism (K. Malevich), lutchism (M. Larionov), lineism (A. Rodchenko), architectonics (L. Popova).

  8. 8.

    V. Khlebnikov, A. Kruchenykh, I. Zdanevich, and others.

  9. 9.

    The music of the highest chromaticity of A. Lurie, the ultramochromatic music (microchromatism) of I. Vyshnegradsky, etc.

  10. 10.

    V. Kamensky’s “Rebel Concrete Poems”, I. Zdanevich’s verse-performances, sculpture A. Arkhipenko, nature music N. Kulbin and music of noise, “total harmony” by N. Obukhov, etc. For example plans of K. Malevich, as well as experiments with the viewer: “extended viewing” and interaction of color, sound, form (M. Matyushin); research of the physiology of visual perception (group “Zorved”); graphic sound (A. Avraamov, E. Sholpo, M. Tsekhanovsky), “synthetic music” (G. Rimsky-Korsakov), etc.

  11. 11.

    The first experiments with digital information began in the Soviet era and came to the surface with the abolition of socialist realism. In the post-Soviet period, projects initially reflected the desire to master the new toolkit in simple interactive formats (e.g. Shulgin 1992; Didevich 2004). In Russia, even today, new relevant terms are rather unusual (e.g. “cyberature” was first used in 2001 (Riabov 2001), “electronic literature” in 2011 (Vizel 2011)). It is based on networked literary projects of the fests of the Teneta (1994), Ventilliator (2008), The Fifth Leg (2013), Randomness (2014) and 101. Mediapoetry (since 2014) Festivals in St. Petersburg, Manifesta 10 (2014), Projections of Avant-garde, and on two Media Poetry Laboratories in Moscow (2013, curated by Elena Demidova and Anna Tolkacheva) and an art residence Mediapoetic Machines at the Skolkovo art gallery (2015).

  12. 12.

    For example, projects of A. Shulgin and A. Chernyshev, from the new media art and net art in 1990s to the works of Electroboutique (2005–2010 and 2017 within the framework of Techne, NCCA, Moscow).

  13. 13.

    For example, projects of N. Alfutova and Ya. Kravtsov (Rabbit heart, Faced2Faced).

  14. 14.

    The project involves an analog synthesizer Polyvox, the software environment MAX/MSP and Ableton Live, as well as audio recordings of Russian religious thinkers in the refraction of the Doppler effect. Video and audio are synchronized with each other: The vintage Soviet synthesizer of 1982 reproduces in real time audio sequences converted from a digital video signal parallel to the control of the lighting equipment of the installation.

  15. 15.

    The artist made visible the mechanisms of accounting data in the social network Facebook.

  16. 16.

    Visitors passing the red-lighted room and entering human-sized confession box are welcomed by voice of the Diane (AI program). One can send to Diane an audio message by phone and will receive his/her public voicemail consisting of audio messages sent by other users.

  17. 17.

    A session of emotional computations, radical intimacy and solidarity with drivers who are the workers of the platform economy: I think of a driver. I focus on the eyes. The eyes are blinking. Our blinking is being synchronised with the LEDs of routers, Where an algorithmic geography of our time Is born, Where the distance is pulsating In tune with the results of computations.

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  1. Department of Advertising, PR and Design, Plekhanov Russian University of Economics, Moscow, Russia

    Marina Shilina

  2. Department of Advertising and PR, Lomonosov Moscow State University, Moscow, Russia

    Marina Shilina

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    Sergey Davydov

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Shilina, M. (2020). Data Turn and Datascape in Russia. In: Davydov, S. (eds) Internet in Russia. Societies and Political Orders in Transition. Springer, Cham. https://doi.org/10.1007/978-3-030-33016-3_9

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