Winchester School of Art PhD students have a lovely exhibition up at Hartley library in Southampton. Image-Text-Object: Practices of Research features the range of practice-based research we engage in at the School but also underlines more broadly connections of theory and practice. Curated by Jane Birkin, the pieces illuminate through various different materials the critical audiovisual, installation and time-based mobilize as insights to cultural reality. From archives to gender culture, to non-Western perspectives, contexts of religon and culture and in general, image-text relationships, the pieces are themselves ways in which to unfold the methodologies of practice at a research-led art school (WSA is part of the Russell Group University of Southampton).
“Notes on Practice” the first pages of the short catalogue leaflet promises. “To text experimentally, to put to test; n. the actual application or use of an idea, belief, or method, as opposed to theories relating to it; v. to perform an activity or exercise a skill repeatedly or regularly in order to acquire, improve or maintain proficiency.” The dictionary definition resonates with the manner of doing things as research. But the exhibition also reminds that theory itself is a practice that unfolds through its engagements – the necessity to stay open to the encounter of – the world in its audiovisual, affective materiality.
Art schools occupy an interesting role in post World War II Britain, addressed also in John Beck and Matthew Cornford’s Journal of Visual Culture-text “The Art School in Ruins“. Indeed, it’s an important realization that with the increase in generalised discourse about “creativity” which penetrates the social and economic fabric – including business-talk – the waning of art schools has been ensured by lack of public funding. It is telling of a current odd ideological production of reality of creative culture. In current contexts of importance of art and design, it is encouraging to see how notions of art practice emerging in a university context too can inform the wider set of academic and critical questions in visual culture and design; textile and fashion; as well as gender and political reality (of for instance post-Communist era as in one of the pieces).
Perhaps photochemical smog is the only true new visual media of post World War II technological culture. It represents the high achievements in science and technology, combined with (synthetic) chemistry and sunlight. It modulates the light like advanced visual media should and embeds us in its augmented reality as we suck it into our lungs.
It encapsulates the mediatic cities of Los Angeles and Beijing, as encompassing surely as Hollywood’s machinery. Just like the material basis of technical media of more conventional kind – such as photography and film – it is chemical based. It is media the same as any photochemical process is about how light gets absorbed on our planet’s atoms and molecules.
But it’s new media, particular to the modern industrial age and the chemical reactions of more recent history. It feeds of industrial pollution and modern transport. It is about the screen as well – how the sunlight is offered this massive living chemical molecular screen on which to project its energetic images. A molecular aesthetics of an ecology of a dying planet.
Friedrich Kittler’s words seem prophetic, telling the story of metadata and its politically sustained unreachability: “Maybe Jagger was wrong. We can always get what we want, from CDs to cable TV. Just not what we need: information on information. The fact that currents of media desires flow camouflages a situation in which information technology is strategy.
Paul Feigelfeld has done a great thing and translated Friedrich Kittler’s text “No Such Agency” from 1986 into English. What seems a rather visionary move – to talk of the NSA technological surveillance activities in the 1980s already – is just a proof of the German media theorists ability to perceive the intimate link modern forms of intelligence and technology have. Below our short intro to the translation, written together with Paul:
Introduction to Kittler’s “No Such Agency”
by Paul Feigelfeld and Jussi Parikka
German media theorist Friedrich Kittler’s short text on the NSA (National Security Agency) titled “No Such Agency” was originally published in 1986. The German newspaper and online publication TAZ decided to publish the piece from its archives in January 2014, after months of heated discussion about the NSA after the Snowden leaks. What the piece reveals is less the idea that Kittler should be branded a visionary, but that the NSA has a long technological history.
The text is a sort of a review of, or at least inspired by, James Bamford’s book The Puzzle Palace: Inside the National Security Agency, America’s Most Secret Intelligence Organization (1983) and its German translation, NSA. Amerikas geheimster Nachrichtendienst, which came out in German in 1986.
At the time, Kittler had just fought through Aufschreibesysteme: 1800-1900 as his habilitation, and Gramophone, Film, Typewriter was looming. More significantly, however, he had just bought his first computer and taken up programming. Like Kittler, the Arpanet was slowly switching to UNIX and C as a technical standard, before the internet of the 1990s. In Germany during the 1970s, BKA chief Horst Herold had implemented “Rasterfahndung” or dragnet policing as a countermeasure to the RAF (Red Army Faction) threat. And as Kittler demonstrates in his text, the NSA’s role of power in information infrastructures was not a reaction to the internet, but an act of design within those systems.
The piece shows Kittler’s interest in secrecy and the military basis of media technologies – but significantly, it reminds us that the media theorist was always as interested in institutions as their technical networks of knowledge.
Photographer Trevor Paglen, famous for his photographic mapping of networks and sites of power in the post 9/11 US, and recently his NSA photography, argues how “secrecy ‘nourishes the worst excesses of power’” . But for Kittler, one could say that secrecy is power: the technically mediated possibilities of circulation, restriction and gathering of information way before the Internet and much before Edward Snowden was able to give us a further insight into the extensive contemporary forms of surveillance excessively interested in us humans. For Kittler, however, this already marks the possibility that the information gathering and processing machines are at some point not anymore even interested in human targets: “With the chance of forgetting us in the process.”
Read Kittler’s “No Such Agency” here.
I am pleased to announce that I have signed a contract with University of Minnesota Press for a new book tentatively called A Geology of Media.
Planned for 2015, A Geology of Media forms the third, final part of the media ecology-trilogy. It started with Digital Contagions: A Media Archaeology of Computer Viruses (2007) and continued with Insect Media (2010). This book on the geophysics and the non-organic ground of media complements the earlier takes by offering a media materialism from the point of view of geological resources, electronic waste and media arts. Through engaging with several contemporary art and technology projects it provides a media theoretical argument: to think of materiality of media beyond the focus on machines and technologies by focusing on what they consist of: the chemistry and geological materials of media, from metals to dust.
In short, I am interested to see if what pejoratively sometimes is called “hardware fetishism” is not hard enough, and even media and cultural theorists need to focus on the rocks and crust that make technical media possible. Earth history of deep times mixes with media history, which becomes a matter of not only thousands, but millions of years of non-linear history (to modify Manuel Delanda’s original idea). This way media materialism becomes a way to entangle media technologies, environmental issues and themes of global labour. Perhaps instead of the Anthropocene, we should just refer to the Anthropobscene.
I’ve been in recent talks and short posts been addressing the geological in media, and my piece in The Atlantic offered a short preview of what’s to come. In addition, below a very tentative table of contents. This project (and the Erkki Kurenniemi book I am working on with Joasia Krysa) will keep me busy for a while.
A Geology of Media
1) Introduction: Grounds of Media/Culture
2) An Alternative Deep Time of the Media
3) Psychogeophysics of Technology
4) Dust and the Exhausted Planet
5) Media Fossils
“Zombie Media”, by Garnet Hertz and Jussi Parikka
Siegfried Zielinski asked me to write a very short dictionary type of entry on “Archaeology” for an exhibition catalogue. The exhibition will take place at Edith Russ Haus for Media Art in 2014 and they are going to do an exhibition on Zielinski’s AnArchaeologies and Variantologies, including some artistic positions by David Larcher, Herwig Weiser, Anthony Moore and others. Below my contribution.
The 19th century disciplinary invention of “archaeology” has had major impact in and out of academia. Besides the specific methods for investigating the material remains of human cultures, of building on the fragments to create collections, narratives and modes of preservation for a varia of objects and documents, the archaeological imaginary penetrates our audiovisual culture. It persists as an imaginary of itself: the narratives and images of hidden treasures waiting to be ungrounded. And it persists as the conceptual legacy that comes not only from archaeology proper, but also from Immanuel Kant.
Kant’s idea of philosophical archaeology itself ungrounded the idea of conceptual work building on the ruins of earlier philosophers. As Giorgio Agamben argues, this lead to the more fundamental notion of arkhé that refers not to origins, but to command and commencement. In a way that resonates with the media archaeologist Wolfgang Ernst’s understanding of the “arche” in (media) archaeology, this archaic moment is less the historical than the conditioning beginning of any analytical and genealogical investigation. For Agamben “[a]rchaeology is, in this sense, a science of ruins, a ‘ruinology’ whose object, without constituting a transcendental principle properly speaking, cannot really claim to be there as an empirically given totality.”
Such an understanding shifts from archaeology proper to the archaeology of knowledge in Michel Foucault’s sense. It displaces archaeology restricted to material excavations and works it into a method of archival and philosophical conditions of knowledge – its objects, statements and assumptions. With media archaeology as practiced by a variety of scholars from Siegfried Zielinski to Erkki Huhtamo, Thomas Elsaesser to Wolfgang Ernst, and even with Friedrich Kittler’s earlier writings, the material returns at the centre of the archaeological dig. It has many different meanings and ways of adopting to the object of investigation but it insists on irreducibility to the textual.
Indeed, what in archaeology are the methods necessary to approach the time before writing and the document pertains for media archaeologists both to the pre-cinematic as a similar rhetorical field of investigation and to the ontologically important idea of the arche as a command – even a technological command as the starting point for ungrounding media cultural ruins still present.
One of the low points of architecture in 2013 was architect Zaha Hadid’s football stadium in Qatar. Designed for the forthcoming games of 2022, the main part of the discussion has been about whether it resembles a vagina or not.
Besides reducing architectural discourse to a pretend shock about female genitalia, the case is emblematic of how design is detached from the actual world conditions. Instead of engaging in any way with the reports about abusive working conditions in the construction sites of such stadiums for Qatar 2022, we are left debating the building’s pinky Freudian connotations. Despite the pseudo-feminist debate it raised, a rather sad moment for design. It actually just flags detachment of both architectural popular discourse and architects such as Hadid from a connection with things that might have some material meaning or a meaningful impact for those whose lives this has a direct lived relation.
The underbelly of star designers are: “long working hours, hazardous working conditions, the workers being unpaid for months, had their passports confiscated, forced to live in overcrowded labour camps, denied the right to form unions, and without access to free drinking water in extreme heat”.
But the creative industries backed discourse of stars and creativity demands this underbelly of grey abusive low-paid and globally displaced hard work that is sustaining the fluffy public discourse about design.
Our book-length special issue on Cultural Techniques (Kulturtechniken) is out. Co-edited by Geoffrey Winthrop-Young, Ilinca Iurascu and myself, the special edition in Theory, Culture & Society is a significant introduction to the term that stems from German academic discussions in cultural and media studies. One could say it offers a significant variation on themes familiar from postwar German humanities’ focus on media, technologies and epistemo-ontological questions of culture in a post-representational and post-textual mode.
By way of some significant translations as well as new articles the issue pitches a way to understand cultural reality through its techniques. The usual definition is from Thomas Macho:
“Cultural techniques – such as writing, reading, painting, counting,
making music – are always older than the concepts that are generated
from them. People wrote long before they conceptualized writing
or alphabets; millennia passed before pictures and statues gave
rise to the concept of the image; and until today, people sing or
make music without knowing anything about tones or musical notation
systems. Counting, too, is older than the notion of numbers. To
be sure, most cultures counted or performed certain mathematical
operations; but they did not necessarily derive from this a concept
of number.” (Macho, 2003: 179)
But as the issue demonstrates, there is more in this mix. The multiplicity of positions and inplications is well articulated in Winthrop-Young’s Introduction to the issue. He articulates how not only in Macho, but in different ways in Cornelia Vismann’s and Bernhard Siegert’s work the constitutive role of cultural techniques functions. In fact, could say that this is the German media theory version of the hominization-thesis: how we become humans; how agency is constituted by cultural techniques which allow us to occupy subject positions. Space, enclosures and passages between them is one way to understand the idea:
“Thus the difference between human beings and animals is one that
could not be thought without the mediation of a cultural technique.
In this not only tools and weapons . . . play an essential role; so, too,
does the invention of the door, whose first form was presumably the
gate [Gatter] . . . The door appears much more as a medium of coevolutionary
domestication of animals and human beings.” (Siegert, 2012: 8)
Key here is the way in which cultural techniques process distinctions with material and aesthetic means. In Winthrop-Young’s lucid words, “Procedural chains and connecting techniques give rise to notions and objects that are then endowed with essentialized identities.Underneath our ontological distinctions (if not even our own evolution) are constitutive, media-dependent ontic operations that need to be teased out by means of techno-material deconstruction.” The implications for a range of recent years of theory-debates are intriguing; it refers to the fact how we need to address practices of theory and techniques of theory as part of the work of concepts and philosophy of contemporary culture. Besides it also shows some early ideas that resonate with a post-textual approach to cultural analysis (for instance in Sybille Krämer and Horst Bredekamp’s article).
I was asked to produce a short video abstract of my own contribution. In addition, find below the table of contents.
Special Issue: Cultural Techniques
Edited by Geoffrey Winthrop-Young, Ilinca Iurascu and
Cultural Techniques: Preliminary Remarks by Geoffrey Winthrop-Young
Culture, Technology, Cultural Techniques – Moving Beyond Text by Sybille Krämer and Horst Bredekamp
Second-Order Animals: Cultural Techniques of Identity and Identification by Thomas Macho
Cultural Techniques: Or the End of the Intellectual Postwar Era in German Media Theory by Bernhard Siegert
After Kittler: On the Cultural Techniques of Recent German Media Theory by Bernard Dionysius Geoghegan
Cultural Techniques and Sovereignty by Cornelia Vismann
The Power of Small Gestures: On the Cultural Technique of Service by Markus Krajewski
Zootechnologies: Swarming as a Cultural Technique by Sebastian Vehlken
From Media History to Zeitkritik by Wolfgang Ernst
Afterword: Cultural Techniques and Media Studies by Jussi Parikka
Files, Lists, and the Material History of the Law by Liam Cole Young
Winchester School of Art are one of the partners of the transmediale-festival, which takes place again in January/February 2014 in Berlin. This short text below is a sort of a trailer to our bit for the event: the text is co-written by myself and Ryan Bishop and the the contribution to tm14 is likewise co-curated by us. The text gives an indication of some of the themes we will discuss during the festival and conference week, and it draws on some of our work on these topics: Ryan’s writing on the four elements and contemporary aesthetics, and my work-in-progress book project on “geology of media” and what I pitch as the anthropobscene – a new geological era catalysed by the corporate capitalist measures of depletion and exploitation.
Ryan Bishop and Jussi Parikka:
The Elemental Media Condition
Ever since such early geologists as James Hutton and Charles Lyell voiced a distance from biblical time, the Earth has had a proper history. The natural historical durations of the Earth have, despite academic disciplinary divisions, always intertwined with human history. In the current moment, the complex interactions of the two seem more prescient than ever. To follow in the footsteps of Dipash Chakrabarty, the horizon of the anthropocene forces historians to think of durations of nature as entangled with social history, and the historiographical functions of temporality need to be considered alongside such vectors that acknowledge the work of capitalism as a specific epoch. In this sense, we would like to refer not only to the anthropocene as the debated new geological era in scientific classification, but also what can be called the anthropobscene. This portmanteau word combines anthropocene with obscene, thus highlighting the vicious exploitative actions of corporations, governments and other agencies operating on different levels: from human individuals to multigovernmental organisations and transnational corporations. In much the same manner that Jean Baudrillard reconfigured the subject-object relationship placed within a scene as a network-screen relationship in the obscene, the anthropobscene reconstitutes the relationship between human scales of intervention into those of the geological. Thus, amongst other things, it refers to the obscenity of heavy pollution of the earth and the air, bringing back discussions of the four elements as found in the Pre-Socratic thinker Empedocles, whose writings strike both ancient and contemporary chords. Cultural theorists, such as Gary Genosko, have voiced an urgency for a renewed consideration of the elements.
For Empedocles, humans, nature and the universe contain the same elements. Flesh and blood are composed of approximately equal parts of earth, fire, water, and aether: the four elements that constitute the universe. The entire material world for Empedocles comes from the mixture and amounts of these four elements, the mixing of which he likens to paints on an artist’s palette with their different effects due to combinatory portions. This insight of multiple and diverse substances generated through combinations and proportionality becomes a cornerstone of modern science and chemistry. The harmony of Love and the discord of Strife result from the proportionality of the elements with each constantly changing and warring with the others. The Empedoclean elements of this cosmogony and in nature constitute both media and content. They make, transform and destroy at the same time.
Empedocles’ writings use physics to derive an understanding of ethico-political, even moral, laws. In the teaching of Empedocles the problem of substances as they present themselves to us takes a specific form: how do the Many come from One and One from Many? The primary and ultimately determinate forces behind the various manipulations, combinations and transformations of the elements in Empedocles are in the standard translations Love and Strife, which move in cycles of harmony and disharmony that reign over all of nature, including humans, fish, beasts and birds. But the elements are not simply passive recipients of the forces of Love and Strife. They can and do themselves act as causal agents, influencing the waxing or waning of Love or Strife.
Contemporary media culture can be opened up through such a consideration of elements. Indeed, as the philosopher Erich Hörl has argued, the technological is one crucial condition for the discourse – and practical existence – of this hypothetical anthroposcene – and anthropobscene, we might add. For artists such as Robert Smithson in truly Empedoclean fashion, the tectonic realms of the Earth and the mind are interconnected. Smithson’s account amounts to a critique of the McLuhan-focussed idea of technology as extensions of Man. Instead, for Smithson, writing in 1968 in Artforum, it is elemental. One is here tempted to think it is elemental in the sense of the Pre-Socratic four elements, as well as elemental in the sense that those elements are more crucial than ever for a consideration of the biopolitical condition. Such aspects range from the materiality of data mining to environmental exploitation.
The new documentary is based on the book of same name by Greg Elmer and Andy Opel. The documentary is best described as “a culmination of a collaborative process of soliciting, collecting and editing together video, still images, and creative commons music files from people around the world. Preempting Dissent interrogates the expansion of the so-called ‘Miami-Model’ of protest policing, a set of strategies developed in the wake of 9/11 to preempt forms of mass protest at major events in the US and worldwide.”
The screening is one of the activities that Winchester School of Art is supporting and organizing in Istanbul currently.
Following the screening in the Walk-in Cinema there will be a Q&A with Greg Elmer and myself. The Q&A will be held in English.
More info on the Facebook page of the event.
A teaser trailer of the documentary.