Archive for the ‘biopolitics’ Category

Digital Thought Deserter: An Interview in e-flux

February 5, 2015 Leave a comment

In the new e-flux issue #62 you will also find an interview Paul Feigelfeld conducted with me: “Media Archaeology Out of Nature“. It focuses primarily on the themes of media theory, ecology and interfaces also with the work we do with the emerging Consortium (with WSA, University of California San Diego and Parsons School of Design, New School); synthetic intelligence, the planetary media condition, remote sensing, etc.

With a focus on the “media ecology”-trilogy of Digital Contagions, Insect Media, and the forthcoming A Geology of Media, the interview maps topics related to the ecopolitics of technological  culture. A warm thanks to Paul for the interview and supporting my aspirations to be a digital thought deserter.

“Media theory would become boring if it were merely about the digital or other preset determinations. There are too many “digital thought leaders” already. We need digital thought deserters, to poach an idea from Blixa Bargeld. In an interview, the Einstürzende Neubauten frontman voiced his preference for a different military term than “avant-garde” for his artistic activity: that of the deserter. He identifies not with the leader but rather with the partisan, “somebody in the woods who does something else and storms on the army at the moment they did not expect it.”7 Evacuate yourself from the obvious, by conceptual or historical means. Refuse prefabricated discussions, determinations into analogue or digital. Leave for the woods.

But don’t mistake that for a Luddite gesture. Instead, I remember the interview you did with Erich Hörl, where he called for a “neo-cybernetic underground”—one thatdoes not let itself be dictated by the meaning of the ecologic and of technology, neither by governments, nor by industries.”8 It’s a political call as much as an environmental-ecological one—a call that refers back to multiple (Guattarian) ecologies: not just the environment but the political, social, economic, psychic, social, and, indeed, media ecologies.”

Besides that longer e-flux text, two other short texts appeared the same day: a general audience text on media and the Anthropocene in Conversation and also a mini-interview conducted by the Finnish Institute in London as part of their Made By-series.

“All humanity is flying like spacewalking astronauts”

November 30, 2014 Leave a comment

The science-fiction film Interstellar, dir. Christopher Nolan, presents a near-future situation where the human kind seems to be presented with the no-alternative choice of attempting to leave the planet because of the climate change disaster. In George Monbiot’s critical reading, the film presents a political defeatism that boils down to the choice of voting with your feet – with the help of escape velocity. “Technological optimism and political defeatism: this is a formula for the deferment of hard choices to an ever receding netherland of life after planetary death.”

But the trick of the film is rather different. On the one hand, even the idea of leaving is problematised with the (admittably rather odd) relativity theory sort of a twist where the time-axis is bent in ways that actually disturb causality of leaving/returning. On a more social level, the film is more of a Spielbergian tale of the crumbling down of the nuclear family system. But then in terms of biopolitics, one is reminded that perhaps the leaving itself is not that radical departure anyway. It’s already in Michel Serres’ observation, in Natural Contract (1990/1995), that one finds the necessary situation to understand although without a helmet on, we are anyway living as astronauts, governed in relation to atmospheres and biospheres and other ecological conditions of life.

“All humanity is flying like spacewalking astronauts: outside their capsule, but tethered to it by every available network, by the sum of our know-how and of everyone’s money, work, and capacities, so that these astronauts represent the current highly developed human condition.” (120)

Of course, we need to acknowledge that such conditions of living, breathing and other networks are rather differentially distributed on the planet, which returns to us to the more pressing question relating to the political economy of the interstellar imaginary of governance – political but also in the techno-scientific sense cybernetic (with its long term relations to κυβερνώ (kyvernó̱).

Pour une archéologie des virus – an interview

Here’s an interview with me by Camille Paloque-Bergès published in French in Tracés (N° 21, 2011/2). It’s on the archaeology of (digital) viruses in contexts of security, biopolitics and media theory. It’s not exactly recent but I don’t think I have posted or even seen it online before.

Architecture’s Underbelly

December 28, 2013 Leave a comment

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.

Al-Wakrah stadium

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.


June 17, 2013 1 comment

“My eyes were burning, and my nose running and my face was also burning”. These are ensations across the body, demonstrating the effectiveness of technologies of security. Your eyes and nose and mouth feel it. It burns across your body, an involuntary body panic from the fear of choking.

Screen shot 2013-06-17 at 16.04.52

Gas is a rather peculiar weapon. It is atmospheric in the manner German philosopher Peter Sloterdijk talks about: it conditions the environment and breathing and as such invades one of the most intimate areas of our life: our lungs and sense of being alive. Naturally, this is not only a sense of being alive, but its very condition. Gas warfare is not only about biopolitical invasions but also the raw animal life being controlled: the zoe.

Gas is spatial and ephemeral at the same time. The wind can carry it across distances, although it is used as a very localized measure. It divides space in new ways: those able to breath with gas masks, and those suffocating, denied their participation in that space. You can control territories through a control of who is allowed to breath air in there. Tear gas, pepper gas, water cannons infused with chemicals: meticulous information on what the body can just about take. This information is always escorted by the possible deviations from the norm: for instance children’s lungs as well as elderly lungs.

Modern chemical attacks against humans date back to the first World War and the trench warfare.  The Germans started using toxic clouds in April, 1915. As Sloterdijk notes, what makes this manner of suffering and even death more painful is how the suffocating is made to participate in his and her own condition: the body is made to turn against itself, gasping for breath, convulsions. The organic tissue becomes an archive of atrocities, a registering surface of the effects of modern science and technology employed in military and security regimes.

Of course you can shoot and aim with gas canisters, to ensure the good ol’ blunt hit. The effects of this hit can be rather horrific.

Considering gas, Sloterdijk speaks of “terror from the air”, and associates terrorism as a feature of modernity:

“It is crucial to identify terrorism as a child of modernity, insofar as its exact definition was forged only after the principle of attacking an organism’s , or a life form’s, environment and immune defences was shown in its perfect technical explication.”

There is a technological condition of this state of breathlessness and it has to do with the history of modern synthetic biology: the measurement of human capacities for breathing as well as the necessary measures for inhibiting the use of air for the organism.

And in Timothy C. Campbell’s words, referring to Sloterdijk, “terrorism is always ecologically directed”.

We need to turn meditations of air, soul and breathing into a bio- and zoepolitics of breathing and an analysis the systematic ecological and health abuses: from the minuscules particles of gas and dust, to how they constitute more abstract but as real security operations.

Screen shot 2013-06-17 at 16.03.34

Campbell, T. (2011) Improper Life. Technology and Biopolitcs from Heidegger to Agamben. University of Minnesota Press.
Sloterdijk, P. (2009) Terror from the Air. Semiotext(e).
Images via Twitter.

Depletion Design

December 5, 2012 1 comment

Depletion Design

A collection that looks really exciting: Depletion Design: A Glossary of Network Ecologies, edited by Carolin Wiedemann & Soenke Zehle. I was happy to be involved with a tiny text on dust and new materialism. A lot of my recent writing and interests have had to do with depletion, exhaustion, and things dead or discarded – as with zombie media. More things (texts) grim and grey forthcoming.

You can download the book here. Below a blurb about its contents.

“We, or so we are told, are running out of time, of time to develop alternatives to a new politics of emergency, as constant crisis has exhausted the means of a politics of representation too slow for the state of exception, too ignorant of the distribution of political agency, too focused on the governability of financial architectures. But new forms of individual and collective agency already emerge, as we learn to live, love, work within the horizon of depletion, to ask what it means to sustain ourselves, each other, again. Of these and other knowledges so created, there can no longer be an encyclopedia; a glossary, perhaps.”

Contributors: Marie-Luise Angerer (Cyborg), Franco ‘Bifo’ Berardi (Exhaustion, Soul Work), David M. Berry (On Terminality), Zach Blas (Queer Darkness), Drew S. Burk (Grey Ecology), Gabriella Coleman (Anonymous), Heidi Rae Cooley (Ecologies of Practice), Sebastian Deter- ding (Playful Technologies, Persuasive Design), Jennifer Gabrys (Natural History, Salvage), Johannes Grenzfurthner & Frank A. Schneider (Hackerspace), Eric Kluitenberg (Sustainable Immobility), Boyan Manchev (Disorganisation, Persistence), Lev Manovich (Software), Sonia Matos (Wicked Problems), Timothy Morton (Ecology without Nature), Jason W. Moore (Cri- sis), Anna Munster (Digital Embodiment), Brett Neilson (Fracking), Sebastian Olma (Biopoli- tics, Creative Industries, Vitalism), Luciana Parisi (Algorithmic Architecture), Jussi Parikka (Dust Matter), Judith Revel (Common), Ned Rossiter (Dirt Research), Sean Smith (Informa- tion Bomb), Hito Steyerl (Spam of the Earth).

Carnal Knowledge: Towards a New Materialism Through the Arts

November 30, 2012 Leave a comment

Some years ago, probably in 2008 or so, I remember pitching with another writer a book proposal to a publisher. It would have been a short introduction to “new materialism”, a theoretical wave that argued/s for there to be much more in the world than representations, signifying structures and ideologies — that non-human things exist, independently of us, and that for us to understand matter and embodiment, we need to see it as active, dynamic and stemming from the primacy of relations. Well, the proposal did not get too far. The other reviewer was more or less puzzled about the  whole existence of the term, writing that it was just invented for the purposes of the proposal and did not have currency outside in academic debates — in other words, new materialism does not exist (despite the proposal flagging that it is not only Manuel Delanda who had used the term but also Rosi Braidotti, with significant theoretical debates in material feminisms of for instance Grosz and Barad, and of course theoretical ideas since Lawrence Grossberg to the very different ideas of matter and the non-human by Latour and even Kittler!).

9781780762661.ashxOnly within months books with “new materialism” in their title, or with allusions to it, like Jane Bennett’s Vibrant Matter, started to come out and even more strongly identify a field and  a wave of interest. This theoretical discourse has been recently continued with publications such as New Materialism: Interviews & Cartographies. For me, it is important to really understand the multiplicity in debates concerning matter, the real and non-human — something that at times get understood very narrowly and in a very recent context, despite the longer roots of such ideas. Dolphjin and van der Tuin write nicely that “Our proposition is that new materialism is itself a distinctive trend, both in feminist theory and in cultural theory more broadly, and a device or tool for opening up theory formation.” (100)

Another book discussing new materialism – especially in art theory and practice – is now out. Edited by Barbara Bolt and Estelle Barrett Carnal Knowledge: Towads a New Materialism Through the Arts engages with a range of practices and artistic media, from painting to video, film to dance in order to elaborate new vocabularies of materiality. I have not seen the whole book yet, but I myself co-authored a piece on dance — on a fantastic choreography performed by himself, Tero Saarinen: a modulation of Stravinsky’s Rite of Spring, now called Hunt. The media artist Marita Liulia did the visuals. The piece is explosive. The angle of the text is on dynamics of movement, primacy of relations and biopolitics of dance.

copyright: Tero Saarinen company


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