Visualizzazione post con etichetta Media Archeology. Mostra tutti i post
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giovedì 1 maggio 2014

Vintage Years: The Californian Ideology by Hypermedia Research Centre (Richard Barbrook and Andy Cameron) @ Mute Magazine, n. 3, Autumn 1995


THE CALIFORNIAN IDEOLOGY
MUTE MIX
"Not to lie about the future is impossible and one can lie about it at will" - Naum Gabo
This version was published in Mute, Issue 3, Autumn 1995 introduction

Side 1

HIPPIE CAPITALISTS
Track 1
The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as Wired and Mondo 2000 as well as the books of Stewart Brand, Douglas Rushkoff, Kevin Kelly and many others. The new faith has been embraced by computer nerds, slacker students, thirty-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian Ideology appears to be complete.
On superficial reading, the writings of the Californian ideologists are an amusing cocktail of Bay Area cultural wackiness and in-depth analysis of the latest developments in the hi-tech arts, entertainment and media industries. Their politics appear to be impeccably libertarian - they want information technologies to be used to create a new 'Jeffersonian democracy' in cyberspace where every individual would be able to express themselves freely. Implacable in its certainties, the Californian Ideology offers a fatalistic vision of the natural and inevitable triumph of the hi-tech free market - a vision which is blind to racism, poverty and environmental degradation and which has no time to debate alternatives.

SAINT MCLUHAN
Track 2
Back in the '60s, Marshall McLuhan preached that the power of big business and big government would be overthrown by the intrinsically empowering effects of new technology on individuals. Many hippies were influenced by the theories of McLuhan and believed that technological progress would automatically turn their non- conformist libertarian principles into political fact. The convergence of media, computing and telecommunications, they trusted, would inevitably result in electronic direct democracy - the electronic agora - in which everyone would be able to express their opinions without fear of censorship.
Encouraged by McLuhan's predictions, West Coast radicals became involved in developing new information technologies for the alternative press, community radio stations, home-brew computer clubs and video collectives. During the '70s and '80s, many of the fundamental advances in personal computing and networking were made by people influenced by the technological optimism of the new left and the counter-culture. By the '90s, some of these ex-hippies had even become owners and managers of high-tech corporations in their own right and the pioneering work of the community media activists has been largely recuperated by the hi-tech and media industries.

THE RISE OF THE VIRTUAL CLASS
Track 3
Although companies in these sectors can mechanise and sub-contract much of their labour needs, they remain dependent on key people who can research and create original products, from software programs and computer chips to books and tv programmes. These skilled workers and entrepreneurs form the so-called 'virtual class': '...the techno-intelligentsia of cognitive scientists, engineers, computer scientists, video-game developers, and all the other communications specialists...' (Kroker and Weinstein) Unable to subject them to the discipline of the assembly-line or replace them by machines, managers have organised such intellectual workers through fixed-term contracts.
Like the 'labour aristocracy' of the last century, core personnel in the media, computing and telecoms industries experience the rewards and insecurities of the marketplace. On the one hand, these hi-tech artisans not only tend to be well-paid, but also have considerable autonomy over their pace of work and place of employment. As a result, the cultural divide between the hippie and the organisation man has now become rather fuzzy. Yet, on the other hand, these workers are tied by the terms of their contracts and have no guarantee of continued employment. Lacking the free time of the hippies, work itself has become the main route to self-fulfillment for much of the 'virtual class'. Because these core workers are both a privileged part of the labour force and heirs of the radical ideas of the community media activists, the Californian Ideology, therefore, simultaneously reflects the disciplines of market economics and the freedoms of hippie artisanship.
This bizarre hybrid is only made possible through a nearly universal belief in technological determinism. Ever since the '60s, liberals - in the social sense of the word - have hoped that the new information technologies would realise their ideals. Responding to the challenge of the New Left, the New Right has resurrected an older form of liberalism: economic liberalism. In place of the collective freedom sought by the hippie radicals, they have championed the liberty of individuals within the marketplace. From the '70s onwards, Toffler, de Sola Pool and other gurus attempted to prove that the advent of hypermedia would paradoxically involve a return to the economic liberalism of the past. This retro-utopia echoed the predictions of Asimov, Heinlein and other macho sci-fi novelists whose future worlds were always filled with space traders, superslick salesmen, genius scientists, pirate captains and other rugged individualists. The path of technological progress didn't always lead to 'ecotopia' - it could instead lead back to the America of the Founding Fathers.

AGORA OR EXCHANGE - DIRECT DEMOCRACY OR FREE TRADE?
Track 4
With McLuhan as its patron saint, the Californian Ideology has emerged from an unexpected collision of right-wing neo-liberalism, counter-culture radicalism and technological determinism - a hybrid ideology with all its ambiguities and contradictions intact. These contradictions are most pronounced in the opposing visions of the future which it holds simultaneously. On the one side, the anti-corporate purity of the New Left has been preserved by the advocates of the 'virtual community'. According to their guru, Howard Rheingold, the values of the counter-culture baby boomers will continue to shape the development of new information technologies. Community activists will increasingly use hypermedia to replace corporate capitalism and big government with a hi-tech 'gift economy' in which information is freely exchanged between participants. In Rheingold's view, the 'virtual class' is still in the forefront of the battle for social change. Despite the frenzied commercial and political involvement in building the 'information superhighway', direct democracy within the electronic agora will inevitably triumph over its corporate and bureaucratic enemies.
On the other hand, other West Coast ideologues have embraced the laissez-faire ideology of their erstwhile conservative enemy. For example, Wired - the monthly bible of the 'virtual class' - has uncritically reproduced the views of Newt Gingrich, the extreme-right Republican leader of the House of Representatives and the Tofflers, who are his close advisors. Ignoring their policies for welfare cutbacks, the magazine is instead mesmerised by their enthusiasm for the libertarian possibilities offered by the new information technologies. Gingrich and the Tofflers claim that the convergence of media, computing and telecommunications will not create an electronic agora, but will instead lead to the apotheosis of the market - an electronic exchange within which everybody can become a free trader.
In this version of the Californian Ideology, each member of the 'virtual class' is promised the opportunity to become a successful hi-tech entrepreneur. Information technologies, so the argument goes, empower the individual, enhance personal freedom, and radically reduce the power of the nation-state. Existing social, political and legal power structures will wither away to be replaced by unfettered interactions between autonomous individuals and their software. Indeed, attempts to interfere with these elemental technological and economic forces, particularly by the government, merely rebound on those who are foolish enough to defy the primary laws of nature. The restyled McLuhanites vigorously argue that big government should stay off the backs of resourceful entrepreneurs who are the only people cool and courageous enough to take risks. Indeed, attempts to interfere with the emergent properties of technological and economic forces, particularly by the government, merely rebound on those who are foolish enough to defy the primary laws of nature. The free market is the sole mechanism capable of building the future and ensuring a full flowering of liberty within the electronic circuits of Jeffersonian cyberspace. As in Heinlein's and Asimov's sci-fi novels, the path forwards to the future seems to lie backwards to the past.


THE MYTH OF THE FREE MARKET
Track 5
Yet, almost every major technological advance of the last two hundred years has taken place with the aid of large amounts of public money and under a good deal of government influence. The technologies of both the computer and the Net were invented with the aid of massive state subsidies. For example, the first Difference Engine project received a British Government grant of £17,470 - a small fortune in 1834. From Colossus to EDVAC, from flight simulators to virtual reality, the development of computing has depended at key moments on public research handouts or fat contracts with public agencies. The IBM corporation built the first programmable digital computer only after it was requested to do so by the US Defense Department during the Korean War. The result of a lack of state intervention meant that Nazi Germany lost the opportunity to build the first electronic computer in the late '30s when the Wehrmacht refused to fund Konrad Zuze, who had pioneered the use of binary code, stored programs and electronic logic gates.
One of the weirdest things about the Californian Ideology is that the West Coast itself is a creation of massive state intervention. Government dollars were used to build the irrigation systems, highways, schools, universities and other infrastructural projects which make the good life possible. On top of these public subsidies, the West Coast hi-tech industrial complex has been feasting off the fattest pork barrel in history for decades. The US government has poured billions of tax dollars into buying planes, missiles, electronics and nuclear bombs from Californian companies. Americans have always had state planning, but they prefer to call it the defence budget. All of this public funding has had an enormously beneficial - albeit unacknowledged and uncosted - effect on the subsequent development of Silicon Valley and other hi-tech industries. Entrepreneurs often have an inflated sense of their own 'creative act of will' in developing new ideas and give little recognition to the contributions made by either the state or their own labour force. However, all technological progress is cumulative - it depends on the results of a collective historical process and must be counted, at least in part, as a collective achievement. Hence, as in every other industrialised country, American entrepreneurs have in fact relied on public money and state intervention to nurture and develop their industries. When Japanese companies threatened to take over the American microchip market, the libertarian computer capitalists of California had no ideological qualms about joining a state-sponsored cartel organised by the state to fight off the invaders from the East!

EUROPEAN ALTERNATIVES



Side 2

MASTERS AND SLAVES
Track 1
Despite the central role played by public intervention in developing hypermedia, the Californian Ideology is a profoundly anti-statist dogma. The ascendancy of this dogma is a result of the failure of renewal in the USA during the late '60s and early '70s. Although the ideologues of California celebrate the libertarian individualism of the hippies, they never discuss the political or social demands of the counter-culture. Individual freedom is no longer to be achieved by rebelling against the system, but through submission to the natural laws of technological progress and the free market. In many cyberpunk novels and films, this asocial libertarianism is expressed by the central character of the lone individual fighting for survival within the virtual world of information.
In American folklore, the nation was built out of a wilderness by free-booting individuals - the trappers, cowboys, preachers, and settlers of the frontier. The American revolution itself was fought to protect the property of the colonists against unjust taxes levied by a foreign parliament. Yet this primary myth of the USA ignores the contradiction at the centre of the American dream: some individuals can prosper only through the suffering of others. The life of Thomas Jefferson - one of the icons of the Californian ideologists - clearly demonstrates the double nature of liberal individualism. The man who wrote the inspiring and poetic call for democracy and liberty in the American declaration of independence was at the same time one of the largest slave-owners in the country.
Despite the eventual emancipation of the slaves and the victories of the civil rights movement, racial segregation still lies at the centre of American politics - especially in California. Behind the neo-liberal rhetoric of individual freedom lies the master's fear of the rebellious slave. In the recent elections for governor in California, the Republican candidate won through a vicious anti-immigrant campaign. Nationally, the triumph of Gingrich's neo-liberals in the legislative elections was based on the mobilisation of 'angry white males' against the supposed threat from black welfare scroungers, immigrants from Mexico and other uppity minorities.
The hi-tech industries are an integral part of this racist Republican coalition. However, the exclusively private and corporate construction of cyberspace can only promote the fragmentation of American society into antagonistic, racially-determined classes. Already 'red-lined' by profit-hungry telcos, the inhabitants of poor inner city areas can be shut out of the new on-line services through lack of money. In contrast, yuppies and their children can play at being cyberpunks in a virtual world without having to meet any of their impoverished neighbours. Alongside the ever-widening social divisions, another apartheid between the 'information-rich' and the 'information-poor' is being created. Yet calls for the telcos to be forced to provide universal access to the information superstructure for all citizens are denounced in Wired magazine as being inimical to progress. Whose progress?

THE 'DUMB WAITER'
Track 2
As Hegel pointed out, the tragedy of the masters is that they cannot escape from dependence on their slaves. Rich white Californians need their darker-skinned fellow humans to work in their factories, pick their crops, look after their children and tend their gardens. Unable to surrender wealth and power, the white people of California can instead find spiritual solace in their worship of technology. If human slaves are ultimately unreliable, then mechanical ones will have to be invented. The search for the holy grail of Artificial Intelligence reveals this desire for the Golem - a strong and loyal slave whose skin is the colour of the earth and whose innards are made of sand. The techno-utopians imagine that it is possible to obtain slave-like labour from inanimate machines. Yet, although technology can store or amplify labour, it can never remove the necessity for humans to invent, build and maintain the machines in the first place. Slave labour cannot be obtained without somebody being enslaved. At his estate at Monticello, Jefferson invented many ingenious gadgets - including a 'dumb waiter' to mediate contact with his slaves. In the late twentieth century, it is not surprising that this liberal slave-owner is the hero of those who proclaim freedom while denying their brown-skinned fellow citizens those democratic rights said to be inalienable.

FORECLOSING THE FUTURE
Track 3
The prophets of the Californian Ideology argue that only the cybernetic flows and chaotic eddies of free markets and global communications will determine the future. Political debate therefore, is a waste of breath. As neo-liberals, they assert that the will of the people, mediated by democratic government through the political process, is a dangerous heresy which interferes with the natural and efficient freedom to accumulate property. As technological determinists, they believe that human social and emotional ties obstruct the efficient evolution of the machine. Abandoning democracy and social solidarity, the Californian Ideology dreams of a digital nirvana inhabited solely by liberal psychopaths.

THERE ARE ALTERNATIVES
Track 4
Despite its claims to universality, the Californian Ideology was developed by a group of people living within one specific country following a particular choice of socio-economic and technological development. Their eclectic blend of conservative economics and hippie libertarianism reflects the history of the West Coast - and not the inevitable future of the rest of the world. The hi- tech neo-liberals proclaim that there is only one road forward. Yet, in reality, debate has never been more possible or more necessary. The Californian model is only one among many.
Within the European Union, the recent history of France provides practical proof that it is possible to use state intervention alongside market competition to nurture new technologies and to ensure their benefits are diffused among the population as a whole.
Following the victory of the Jacobins over their liberal opponents in 1792, the democratic republic in France became the embodiment of the 'general will'. As such, the state had to represent the interests of all citizens, rather than just protect the rights of individual property-owners. The French revolution went beyond liberalism to democracy. Emboldened by this popular legitimacy, the government is able to influence industrial development.
For instance, the MINITEL network built up its critical mass of users through the nationalised telco giving away free terminals. Once the market had been created, commercial and community providers were then able to find enough customers to thrive. Learning from the French experience, it would seem obvious that European and national bodies should exercise more precisely targeted regulatory control and state direction over the development of hypermedia, rather than less.
The lesson of MINITEL is that hypermedia within Europe should be developed as a hybrid of state intervention, capitalist entrepreneurship and d.i.y. culture. No doubt the 'infobahn' will create a mass market for private companies to sell existing information commodities - films, tv programmes, music and books - across the Net. Once people can distribute as well as receive hypermedia, a flourishing of community media, niche markets and special interest groups will emerge. However, for all this to happen the state must play an active part. In order to realise the interests of all citizens, the 'general will' must be realised at least partially through public institutions.

THE REBIRTH OF THE MODERN
Track 5
The Californian Ideology rejects notions of community and of social progress and seeks to chain humanity to the rocks of economic and technological fatalism. Once upon a time, West Coast hippies played a key role in creating our contemporary vision of social liberation. As a consequence, feminism, drug culture, gay liberation and ethnic identity have, since the 1960s, ceased to be marginal issues. Ironically, it is now California which has become the centre of the ideology which denies the relevance of these new social subjects.
It is now necessary for us to assert our own future - if not in circumstances of our own choosing. After twenty years, we need to reject once and forever the loss of nerve expressed by post-modernism. We can do more than 'play with the pieces' created by the avant-gardes of the past.
We need to debate what kind of hypermedia suits our vision of society - how do we create the interactive products and on-line services we want to use, the kind of computers we like and the software we find most useful. We need to find ways to think socially and politically about the machines we develop. While learning from the can-do attitude of the Californian individualists, we also must recognise the potentiality of hypermedia can never be solely realised through market forces. We need an economy which can unleash the creative powers of hi-tech artisans. Only then can we fully grasp the Promethean opportunities as humanity moves into the next stage of modernity.

giovedì 17 ottobre 2013

An Interview with Jussi Parikka: CONCEPTS: NETWORKS AND MEDIA ARCHAEOLOGY @ Amodern2 : Network Archeology, September 2013


CIRCULATING CONCEPTS: NETWORKS AND MEDIA ARCHAEOLOGY

An Interview with Jussi Parikka


Braxton Soderman and Nicole Starosielski:
“What makes books happen?” Jussi Parikka asks in the acknowledgements of his recent book What is Media Archaeology? (2012). His answer: “A lot of great colleagues, whether in the same institution, or through other networks; several discussions on- and off-topic; things you consume through your eyes and brains, but also the gut.” What makes media archaeology happen? Our gut response: the creative energy, innovative thought, and prolific networking of Jussi Parikka. One need only recall a few of Parikka’s recent works (including the above) to grasp his dedication to the development, deployment and propagation of the media archaeological method:Media Archaeology: Approaches, Applications, and Implications (2011, edited with Erkki Huhtamo). Insect Media: An Archaeology of Animals and Technology (2010), and Digital Contagions: A Media Archaeology of Computer Viruses (2007). In these influential books media and archaeology consistently return, simultaneously etching the contours of a burgeoning methodology while providing disruptive possibilities for new directions in research.
While Alan Liu – the other interviewee in this issue – stands as a paramount proper name that signifies the invaluable contribution of the digital humanist, the proper name Jussi Parikka leads us down the opaque, though necessarily noisy, entrails of the nonhuman. Parikka does not abandon the human but diagnoses “the urgent need for a cartography of potential forces of inhuman kinds that question evolutionary trees and exhibit alternative logics of thought, organization, and sensation.” The gut, no doubt, is not where most academics might think that books are made – this is what brains are for – but perhaps this is where media archaeology thrives, in digesting other disciplines to fuel the body of new forms of thought and new sensations for the consumer of our hyper-mediated culture. Whether discussing noise, viruses, swarms, the animal, the materiality of the machinic, micro-temporalities, software below the senses, Parikka’s corpus festers with insights concerning the forms of inhuman mediation beyond brains and eyes, insights which burrow into a contemporary digital landscape that often operates pre-cognitively and post-visually.
“Networks are processual and not just a stable diagram of nodes connected,” as Parikka notes in the interview that follows. Indeed, in Insect Media Parikka embraces “an affect view of networks” that seeks to trace their “temporal becomings.” In other words, networks are alive, spawning connections between human affect and inhuman processes, creating assemblages that link together diverse domains such as technology, politics, aesthetics, and economics. Like a network, Parikka’s writings are electric with the expressive poetics of a theory that leaps and gathers, packet switching amongst disciplines until the message is constructed and delivered. We hope that his interview provides an ample frame for what follows in this special issue, a border off which a reader’s thought might carom as he or she consumes the ideas that percolate within.
Interview:
How does the concept of the network inform your work?
Network(s) are present in a lot of my work in two overlapping ways: first as an object of study, second as methodological operations.
In terms of an object of study, my first book in English was on computer viruses and about understanding network culture through its anomalous sides and its accidents. I pitched the idea of a “general accident” of network culture that adopted the notion from Paul Virilio and “applied” it to network objects like viruses. In a way, it was thinking the primacy of the accident as an epistemological tool for our notions and practices of networking from 1960s to 1990s. The idea of “virality” and “contagion” were mapped as characteristic discursive notions as well as practical experiments for the emerging network culture: processes of semi-autonomous nature as defining how network entities interact and have agency; how networks of digital kind have a specific relation to ideas of the social as contagion, although I did not really go into social media. There is a new book out by Tony D. SampsonVirality: Contagion Theory in the Age of Networks, that covers these aspects of social contagion much better. Mine was an archaeology of these later developments, although admittedly more focused on the production of “maliciousness” as a characteristic of software. I am constantly interested in how various people involved in the field are producing the idea of networks as a political ontology of our age.
In terms of methodological choices, networks are present in many ways: it is a figure of connection and disconnection and the various links that are established. Not the banal idea that “everything is connected” but the necessary specification of how things are connected and disconnected. Networks are processual and not just a stable diagram of nodes connected. It is more of an active process of how networks are made and unmade, and doing research is exactly about this. Of course, as one can guess there is a bit of Bruno Latour and John Law in my thinking.
For sure, there is a specific interest of knowledge that I have concerning technological networks, but instead of networks I often speak about other related features: media archaeology of swarms as a phenomenon that itself was transported from entomological research in early 20th century to popular network talk; viruses and worms and their non-malicious roots in computer science; concepts of nature adopted as part of technological vocabulary; various critical and slightly historically tuned “archaeologies” that ask the question of what is the depth of the current moment, what are the various networks that sustain it – the hinterland, to use a notion from John Law. (...)
Pic post: The Joshua Light Show and The Sliver Apples/Media Archaeology Festival/All images courtesy Aurora Picture Show

venerdì 11 ottobre 2013

Wolfgang Ernst: Digital Memory and the Archive - University of Minnesota Press, January 2013 - Edited and with an Introduction by Jussi Parikka



Explores how media infrastructure, not content, shapes contemporary digital culture
Digital Memory and the Archive, the first English-language collection of the German media theorist’s work, brings together essays that present Wolfgang Ernst’s controversial materialist approach to media theory and history. His insights are central to the emerging field of media archaeology, which uncovers the role of specific technologies and mechanisms, rather than content, in shaping contemporary culture and society. 
In the popular imagination, archives are remote, largely obsolete institutions: either antiquated, inevitably dusty libraries or sinister repositories of personal secrets maintained by police states. Yet the archive is now a ubiquitous feature of digital life. Rather than being deleted, e-mails and other computer files are archived. Media software and cloud storage allow for the instantaneous cataloging and preservation of data, from music, photographs, and videos to personal information gathered by social media sites.
In this digital landscape, the archival-oriented media theories of Wolfgang Ernst are particularly relevant. Digital Memory and the Archive, the first English-language collection of the German media theorist’s work, brings together essays that present Ernst’s controversial materialist approach to media theory and history. His insights are central to the emerging field of media archaeology, which uncovers the role of specific technologies and mechanisms, rather than content, in shaping contemporary culture and society.
Ernst’s interrelated ideas on the archive, machine time and microtemporality, and the new regimes of memory offer a new perspective on both current digital culture and the infrastructure of media historical knowledge. For Ernst, different forms of media systems—from library catalogs to sound recordings—have influenced the content and understanding of the archive and other institutions of memory. At the same time, digital archiving has become a contested site that is highly resistant to curation, thus complicating the creation and preservation of cultural memory and history.  
Contents
Archival Media Theory: An Introduction to Wolfgang Ernst’s Media Archaeology
Jussi Parikka
Media Archaeology as a Trans-Atlantic Bridge
Part I. The Media Archaeological Method
1. Let There Be Irony: Cultural History and Media Archaeology in Parallel Lines
2. Media Archaeography: Method and Machine versus History and Narrative of Media
Part II. From Temporality to the Multimedial Archive
3. Underway to the Dual System: Classical Archives and Digital Memory
4. Archives in Transition: Dynamic Media Memories
5. Between Real Time and Memory on Demand: Reflections on Television
6. Discontinuities: Does the Archive Become Metaphorical in Multi-Media Space?
Part III. Microtemporal Media
7. Telling versus Counting: A Media-Archaeological Point of View
8. Distory: 100 Years of Electron Tubes, Media-Archaeologically Interpreted vis-à-vis 100 Years of Radio
9. Towards a Media Archaeology of Sonic Articulations
10. Experimenting Media‐Temporality: Pythagoras, Hertz, Turing
Appendix. Archive Rumblings: An Interview with Wolfgang Ernst
Geert Lovink


 Wolfgang Ernst is chair of media theories at Humboldt University, Berlin. He is the author of several books, including most recently M.edium F.oucault, Das Rumoren der Archive, Im Namen von Geschichte, Das Gesetz des Gedächtnisses: Medien und Archive am Ende, and Chronopoetik.


Jussi Parikka: Dust and Exhaustion The Labor of Media Materialism @ C-Theory (Theory beyond the codes) - 02.Oct.2013



Jussi Parikka: Dust and Exhaustion  The Labor of Media Materialism
 
@ C-Theory (Theory beyond the codes) - 10.02.2013
 Read the full article on C-Theory website
"Each particle of dust carries with it a unique vision of matter, movement, collectivity, interaction, affect, differentiation, composition and infinite darkness" 
-- Reza Negarestani, Cyclonopedia

I. Dust -- The Non-Thing
There is something poetic about dust. It is the stuff of fairy tales, stories of deserted places; of attics and dunes, of places from so long ago they seem to have never existed. Dusty books -- the time of the archive that layers slowly on shelves and manuscripts. Marcel Duchamp's 1920s Large Glass was a compilation of dust. In a way, he allowed dust to do the work: a temporal, slow compiling by the non-human particles as a work of art installed at the museum, "a purposeful inactivity." [1] Dust can transform, even if it can itself easily escape any grip. It is amorphous, even metamorphic, in the manner Steven Connor describes. [2] There is also a lot of it. It can be done and dusted, removed from sight and forgotten -- in need of no further attention. Nanoparticles are everywhere and form societies unseen and unheard of, yet they conglomerate on a scale unimaginable to human beings. We are a minority. They have their say on human things, and cover what we leave behind intentionally or by accident -- obsolescent technologies, wrecks, monuments -- which remind us not only of these things themselves but of the gradual sedimentation of dust. Dust marks the temporality of matter, a processual materiality of piling up, sedimenting, and -- through its own million-year process -- transformations of solids to ephemeral and back. It swarms and overwhelms, exhausts and clouds. "Breathe as deeply as you will, dust will never be depleted." [3]
There is something poetic and sometimes even romantic about lack of breath. Lung diseases are after all a sign of the delicate soul, and have a long cultural history. Tuberculosis features in a vast range of examples from a Puccini opera to Thomas Mann's The Magic Mountain (1924). The pale tuberculotic body feeds towards the mythical airiness of lungs, blocked by the disease. It is as if tuberculosis releases the body from matter: "TB is disintegration, febrilization, dematerialization; it is a disease of liquids -- the body turning to phlegm and mucus and sputum and, finally, blood -- and of air, of the need for better air." [4] But the lung-diseased body is easily exhausted, lacking in air, gasping for it. It is a tired body, and tiredness is one key trajectory we should be following as well: a laboring body.
This is a text about dust as well as exhaustion: about non-human particles as well as labor. It takes small things like dust as one vector for its argument, and as a vehicle in the manner of which we sometimes think through objects. Dust is, however, not quite an object, not in the intuitive sense that objects are supposed to be easily graspable. It does not fit the hand, even if it covers vast terrains. It is more environmental and better characterized as a milieu. Well, almost a milieu: we rarely count it among things that matter, but what if we did? What if we followed dust as a trajectory for theory -- theory that is concerned with materiality and media? What if dust is one way to do "dirt research": a mode of inquiry that crosses institutions and disciplines, and forces us to think of questions of design as enveloped in a complex ecology of economy, environment, work, and skill. Dirt brings noise, as Ned Rossiter reminds us, and dirt research can be understood "as a transversal mode of knowledge production [that] necessarily encounters conflict of various kinds: geocultural, social, political and epistemological." [5]
Indeed, some people already take dust seriously -- and not only the likely underpaid cleaning laborer. Dust consists of so many things: hair, fibers, dead skin, plant pollen, and non-organic stuff like soil minerals. Nanoparticles, smart dust, engineered tiny things that are able to invade and inhabit organisms as mechanisms of repair, improvement, and engineering. Smart dust quietly highlights the world of non-human transactions that can facilitate, track, record, and govern human affairs. We are nowadays fascinated by stuff that is minuscule, mobile, peer networked, and able to calculate, process, and further transmit the data it receives -- the next phase of dust. Dust can be in this sense seen as "the minimum recognizable entity of material transformation and circulation."[6] But the archaeology of computational dust goes much deeper into history and begins with the abacus, and the etymological root of the word in abaq -- Hebrew for dust. Ancient dustboards were erasable calculation platforms, writing surfaces. Babylonians as well as various scholars in the early Islamic world used this platform, which consisted of "a board or slab spread with a fine layer of sand or dust in which designs, letters, or numerals might be traced and then quickly erased with a swipe of the hand or a rag." [7]
This essay tracks this multiplicity of dust -- multiplicity not only in the sense that there is a lot of it, but in that it forces us to rethink such binaries as One/Many. Dust takes us -- and our thinking -- to different places and opens up multiple agendas. In this case, I use dust to talk of global labor, media materialism of digital culture, and how to approach this topic through such non-human nanoparticles. My argument routes itself through video games to factories, where gadgets are produced, to theoretical excavations in new materialism and speculative philosophy, to science fiction and the engineering of everyday realities. Dust fills our reality as well as our fantasies: the various fiction products set in dust and dunes, with the obvious ecological example of Frank Herbert's Dune(1965).
This is not a text of theory so much as a text about non-humans that persistently concern the human. The non-human refuses to leave the human. This text subscribes to recent arguments that we need to rethink our theoretical perspectives from the point of view of things -- and, I would add, not only things, but also relations and almost-things, stuff that lacks the solidity to merit it being called just a thing.
In one of his essays the German philosopher Martin Heidegger talks of the thing:
What about nearness? How can we come to know its nature? Nearness, it seems, cannot be encountered directly. We succeed in reaching it rather by attending to what is near. Near to us are what we usually call things. [8]
But something can be so near that it loses focus, falls out of view -- these not-enough-to-be-things, or too-near-for-thingness (a tongue in cheek Heideggerianism) are what might enter us through our nostrils, inhaled, and cause a cough, or a rash on the skin. Such is the other sort of materiality that does not often merit that status of a thing. They might cloud us, but they do not count only as one.
Heidegger ends his beautiful essay on the ontology of the thing:
Inconspicuously compliant is the thing: the jug and the bench, the footbridge and the plow. But tree and pond, too, brook and hill, are things, each in its own way. Things, each thinging from time to time in its own way, are heron and roe, deer, horse and bull. Things, each thinging and each staying in its own way, are mirror and clasp, book and picture, crown and cross. But things are also compliant and modest in number, compared with the countless objects everywhere of equal value, compared with the measureless mass of men as living beings. [9]
Material things are modest -- their numbers can be counted -- yet the immodest countlessness of dust signals something else. Are such "things" immaterial? Are they almost like the air, just a tiny bit heavier? Like gases, they are atmospheric for sure. Dust shares a lot of qualities with air as well as breath -- they each force us to rethink boundaries of individuality as well as space. You cannot confine air and breath in a manner that our more stable contours, like skin suggests. Peter Sloterdijk talks of the processes of inhaling and exhaling in this manner; as deterritorialisations of sorts, like when the child blows her breath into a soap bubble, exporting a part of herself, externalization, extension. [10]Dust too, must be thought as more of an environmental and atmospheric quality through which a different spatial and temporal thinking emerges.
Perhaps dust is then not just "matter" but something that troubles our notions of matter. Steven Connor talks of it even as anti-matter: "evacuated of air, the gaps between the particles reduced to their minimum -- hence its muffling, choking effects." [11] Dust also forces us to think of surfaces -- it exposes them:
At the same time, dust is characterized by a maximum of what might be called internal exposure, in which the ratio of the surface area of particles to their internal mass is extremely high. The availability of such a large surface area for chemical reactions accounts for the effectiveness of powders in forming solutions and suspensions. And, because they have no inside, because they are all a kind of internal exposure, dust-like substances can give contours or clarifying outlines to other things. Thus, dust, itself formless and edgeless, can both dissolve form and disclose it, like the snow that, in the right amount, can give to things a magical new clarity of outline, but passing beyond that point erases every landmark beneath its featureless drifts and dunes. [12]
Indeed, in this sense, I argue that dust is a non-thing, yet remains material. Similarly, we are concerned with humans that are not considered worthy of much but rather expendable; of consumer digital objects that merit only a short-lived existence and desire, designed to become obsolete sooner than is perhaps necessary.
In the midst of this short meditation about dust, however, I want to remind that dust is something that attaches to lungs and expresses a relation of labor: it begs the question of who gets to work in clean spaces, and who cleans those spaces. The latter are usually the poorer ones and easier to expose to dangerous and unhealthy conditions at their workplace. One can easily at this point raise a finger and claim that so after all, you are just using a non-human element to actually to just talk of human affairs such as labor. Quite rightly so, especially because such regimes and elements were never separated. In this essay, I refuse to separate humans and non-humans and instead address lungs and breath, games and work, political economy as well as philosophy. Let's start with games. ( .... A suivre Read more @ C-Theory website)


[1] Colby Chamberlain, "Something in the Air," Cabinet 35 (Fall 2009), http://cabinetmagazine.org/issues/35/chamberlain.php, accessed May 25, 2013.
[2] Steven Connor, "Pulverulence," Cabinet 35 (Fall 2009), http://cabinetmagazine.org/issues/35/connor.php, accessed May 25, 2013.
[3] The fictional Dr Hamid Parsani, in Reza Negarestani, Cyclonopedia: Complicity with Anonymous Materials (Melbourne: Re.Press, 2008).
[4] Susan Sontag, Illness as Metaphor (New York: Farrar, Straus, Giroux, 1977), 13.
[5] Ned Rossiter, "Dirt Research," Depletion Design: A Glossary of Network Ecologies, eds. Carolin Wiedemann and Soenke Zehle(Amsterdam: Institute of Network Cultures, 2012), 44.
[6] Jennifer Gabrys, "Telepathically Urban," Circulation and the City: Essays on Urban Culture, eds. Alexandra Boutros and Will Straw (Montreal: McGill-Queen's University Press, 2008), 49.
[7] Jonathan M. Bloom, Paper Before Print: The History and Impact of Paper in the Islamic World (New Haven and London: Yale University Press, 2001), 129.
[8] Martin Heidegger, Poetry, Language, Thought, trans. Albert Hofstadter (New York: HarperCollins, 1971), 164.
[9] Ibid., 180.
[10] See Peter Sloterdijk, Bubbles. Spheres Volume I: Microspherology,trans. Wieland Hoban (Los Angeles: Semiotext(e), 2011).
[11] Connor, "Pulverulence."
[12] Ibid.

Dr Jussi Parikka is a writer and Reader in Media & Design at Winchester School of Art, UK. He is the author of Digital Contagions (Peter Lang, 2007), Insect Media (University of Minnesota Press, 2010), and What is Media Archaeology? (Polity, 2012). He has edited or co-edited books such as The Spam Book, with Tony Sampson (Hampton Press, 2009),Media Archaeology, with Erkki Huhtamo (University of California Press, 2011), and a collection of Wolfgang Ernst's essays, Digital Memory and the Archive (University of Minnesota Press, 2012). He is the co-editor of the forthcoming Theory, Culture & Society special issue on cultural techniques (2013). His current projects include "Geology of Media" as well as a project focusing on the Finnish media artist pioneer Erkki Kurenniemi. (.....)

Picpost: David Scharf

lunedì 1 luglio 2013

Jussi Parikka @ Symposium: "Save as: Social Memory" @ SALT Galata, Istanbul, Turkey

One of the major concerns during the Gezi resistance was how to keep the memories of pain, grief, anger, gains and losses alive. There were attempts to preserve the experiences and present them in numerous media; however, critically approaching the growing archives or creating technologically-enhanced curated content was not possible, due to the lack of time and means. "Save as: Social Memory" symposium brings together three artists, a curator and an academic who work in the area of software art, archiving, and media archaeology. Cultural practices that use the language of technology and digital-born content from different perspectives of preservation and memory will be debated. Panelists will discuss the topics of archiving the present as we experience it, algorithmic curating in crisis, critical collective intelligence, and the language of technology as a thinking tool. Participants: Burak Arıkan, Joasia Krysia, Nicolas Malevé, Ali Miharbi, Jussi Parikka

domenica 16 dicembre 2012

What is Media Archaeology? By: Jussi Parikka - Polity press, Uk, 2012


This cutting-edge text offers an introduction to the emerging field of media archaeology and analyses the innovative theoretical and artistic methodology used to excavate current media through its past. Written with a steampunk attitude, What is Media Archaeology? examines the theoretical challenges of studying digital culture and memory and opens up the sedimented layers of contemporary media culture. The author contextualizes media archaeology in relation to other key media studies debates including software studies, German media theory, imaginary media research, new materialism and digital humanities. What is Media Archaeology? advances an innovative theoretical position while also presenting an engaging and accessible overview for students of media, film and cultural studies. It will be essential reading for anyone interested in the interdisciplinary ties between art, technology and media.

Table of Contents

List of Images
Acknowledgements
Chapter 1
Introduction: Cartographies of the Old and the New
Chapter 2
Media Archaeology of the Senses: Audiovisual, Affective, Algorithmic
Chapter 3
Imaginary Media: Mapping Weird Objects
Chapter 4
Media Theory and New Materialism
Chapter 5
Mapping Noise and Accidents
Chapter 6
Archive Dynamics: Software Culture and Digital Heritage
Chapter 7
Practicing Media Archaeology: Creative Methodologies for Remediation
Conclusions
Conclusions: Media Archaeology in Digital Culture
Bibliography
References


Reviews

'Essential reading for anyone interested in the interdisciplinary ties between art, technology and media … Dr Parikka's cutting-edge text contextualizes media archaeology in relation to other key media studies debates while also presenting an engaging and accessible overview for students of media, film and cultural studies.'
Creative Boom

'An exciting and excitable contribution to cultural theory.'
Reviews in History

'What Is Media Archaeology? offers important methodological drives that direct our attention to the artistic, mathematical, and non-written ways in which this truly interdisciplinary field is developing.'
Literary & Linguistic Computing
'Jussi Parikka offers a lucid, concise, and highly readable account of a new and exciting field - media archaeology. He demonstrates that contemporary media forms are rooted to the past by multiple threads - untangling them helps us understand the media frenzy that currently surrounds us.'
Erkki Huhtamo, University of California Los Angeles

'A fabulous map of media archaeology that, as its subject compels, produces its territory anew.'
Matthew Fuller, Goldsmiths
'The most comprehensive coverage to date of this fascinating area of study. Parikka's book offers an excellent overview of connections between the material and social aspects of media technology. He provides a thorough review of the diverse and sometimes contrasting theoretical foundations and provides a host of concrete examples of media-archaeological practice that serve to bridge the gap between heady theoretical trajectories and the concerns of practicing artists, users and other readers who take their technology seriously.'
Paul DeMarinis, Stanford University


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