I am writing a chapter for the Routledge Companion to British Media History. It’s on media archaeology, and I try to offer some insights to how we can decipher British media history through contemporary media arts. This is what I call a minor perspective to media history of Britain – often such a glorified master narrative.
This is just a brief glimpse to the beginning of the chapter. The book should be out in 2014.
Media Archaeology: From Turing to Abbey Road, Kentish Radar Stations to Bletchley Park
British media history has many great stories to tell. It has been one of the biggest inspirations for a range of accounts and for scholars that have tried to decipher the main trends of the media of modernity; from the nineteenth century establishment of standardized mail to the twentieth century Britain of the BBC that, for instance, for this author became a central symbol when he turned on the television in 1980s Finland. BBC content traveled across national boundaries, both in the structural form it provided for public broadcasting as well as through Bergerac and the FA Cup Finals over the years. British exports from television to microcomputing continued, and have established such a status that writing Britain into media history is rather redundant. It is already there, and always was there; even before actual media technologies became subsumed into the consolidated consensus about media as mass media emerged. Indeed, Britain was already there with its investment in transatlantic cables as well as pioneering scientific inquiries, in electricity and electromagnetism, prehistories of computing from Babbage to Turing and so forth. Early on, British media history was already transnational, like the transatlantic cables and telegraph clicks. It is irreducible to a simple national story, and more like something that presents an interesting case for consideration in relation to both the master narratives and the minor themes of media history.
Here another earlier recorded interview I did, this time with Dr Robin Boast. Our chat was inspiring for me, as usual; we talked archives, metadata, cultural heritage institutions and digital culture, and I always find Boast’s insights so provocative, so fresh. Boast is really someone who can talk of archival fevers and the history of the discipline; archive as a profession and an institution. He offers wonderful archival, museum science and anthropological insights, infusions, into digital culture.
You can find the interview Mp3 here. The timing of re-uploading of the interview, from January 2011, is good; Boast has just been appointed Professor of Cultural Information Sciences at the University of Amsterdam in Netherlands, leaving behind UK and Cambridge. Great catch for Amsterdam!
Just to remind: all of these interviews I have been posting were made originally in the context of the Creative Technology Review podcasts, that I did with Julio D’Escrivan.
We organized a very successful Platform Politics-conference in Cambridge, May 11-13, where our speakers included such exciting scholars and writers as Michel Bauwens, Michael Goddard, Tiziana Terranova, Nick Couldry, Nick Dyer-Witheford, Felix Stalder, and Tim Jordan. And a lot more (check out the link for names and abstracts too).
These are my short opening words to the event:
Platform Politics takes place as part of the Arts and Humanities Research Council founded networking project on Network Politics. We pitched it to the AHRC with the suggestion that it takes one to know one: to understand emerging forms of social action and politics on networks and in network society, one has to develop networks, to crowdsource ideas from leading scholars, activists, artists; to map and to bring through various channels such partipants together in order to identity themes and directions which need more focus. Hence, we have arrived at the third and final event of the project – now on Platform Politics, following the first event in Cambridge on Methodologies of Network Politics research, and last year in Toronto at the Infoscape research lab with help from Greg Elmer, Ganaele Langlois and Alessandra Renzi we discussed object oriented and affect approaches to network politics.
We wanted to keep the notion of platform quite broad in order to solicit a more open range of papers. Hence, from software platforms such as Twitter and Facebook to robotics, from theoretical insights that draw from post-Fordist theories of politics and labour to object oriented philosophy, and much more, we have a privileged position to think through the platform (often seen as technological, as in platform studies) as a platform for our investigations (hence, also as a conceptual affordance). This does not mean to say that platform studies as represented in the Bogost and Montfort led series is techno-determinist, and solely focuses on such – quite the contrary, it tries to find a specific relation between technology and aesthetics. Yet, it is good to emphasize the mobilization of the concept as part of various transitions, and translations: platforms in technological (and again there various levels from apps to clouds, online platforms to technological hardware structures), conceptual, economic and of course political sense (expect at least a couple of references to Lenin in this conference).
So if Bogost and Montfort make sense of platform studies through this kind of layering:
I would add that the notion of platform politics is able to articulate various levels together, and bring smoothness and movement to the interaction of the layers. In other words, in addition to the specific level of “platforms” we can think of the platform itself as distributed on a variety of layers as assemblages (in the manner Manuel Delanda uses the term?). A good example of this – something we were unable to pursue because of the problem of finding the slot for it! – was the idea of organizing a circuit bending/hardware hacking workshop (with Seb Franklin). The idea was to follow Garnet Hertz’s lead, and the way he has organized such workshops both to kids as well as to media theorists — and to use hands-on tinkering, opening up technology such as battery-operated toys, as a way to think through hardware platforms, how design solutions incorporate politics, how they afford conceptual approaches, and act as one node across a variety of other platforms. (An example of such is articulated in the forthcoming “Zombie Media: Circuit Bending Media Archaeology into an Art Method”-text, by myself and Hertz, in Leonardo-journal where we tie the question of such design politics of hardware to media archaeology, art methods and the political economy of network culture).
Platforms reveal to be ontogenetic – i.e. creative forms of interaction, not just stable backgrounds for a continuation of the social. They organize social action in a double bind where social action organizes them. Platforms rearticulate the social. For instance software platforms constitute a catalyzer for specific social forms, and as such incorporate in themselves a multitude of social, political, economic forces. It is a question of production – and of what kinds of social relations are being produced, a good example being the Telecommunist project and the Thimbl open source distributed microblogging service that incorporates a different sociability than proprietorial web 2.0 business and software models. And yet, this sociability is grounded on the level of the potentials of networks, the P2P instead of Web 2.0, distributed instead of the centralized client-server-model.
At the beginning of the project, we started with the question of “”what is network politics?“” and requested initial position papers from some key writers in the field – today of those we have Tiziana Terranova and Greg Elmer attending. Other theorists included Alex Galloway, Eugene Thacker, Katrien Jacobs and Geert Lovink.
The idea was to organize this as a form of request for comments – the RFC format, familiar from internet design culture, of questioning, lining up comments and positions, which however did not pan out as extensively as we wanted (this has to do with other organizationally interesting themes concerning spam management in participatory platforms, and so forth). However, what we got from the position papers were some initial leads. Furthermore, we started with some assumptions where to start tracking network politics:
- politics of new network clusters, services, platforms – Twitter, Facebook, as well as mapping alternative forms of software-based ways of organizing traditional political parties as well as new formations, NGOs, and temporally very different groupings/phenomena – whether the suddenly emerging and as suddenly disappearing “like” protests for instance on Facebook, or the more long-term effects of Wikileaks– leak not only in the meaning of leaking secret information, but leaking across media platforms, and reaching a long term sustainability through “old” media trying to come grips with such online activities.
- biopolitics of network culture, or in other words, the various practices which form internet cultures – hence a step outside of the technological focus, to look at what practices define network politics, and as such the links between work and free time, of play and labour, the circulation of affects, sociability, and so forth. Cognitive capitalism but as much affective capitalism. Yesterday (referring to the pre-conference event with Michel Bauwens and Michael Goddard) we got a bit into talking about investments of affect, desire and such topics.
- we were interested too in the metaquestion: what form would investigating network politics have to take? Outside the normal practice of humanities, writing and meeting up in conferences, what are the specific pedagogic and research tools/platforms that are actively changing the politics of education and research inside/outside academia. What are the research/creation platforms that are able to articulate this, so that we are not only stuck with “master’s tools”?
- And in a way, as a more unspecified but as important was the question of politics of the imperceptible: what kinds of forms of politics there are out there that are not even recognized as politics? From artistic practices to the grey work of engineers, new arenas of expertise, skill and again, social action contribute to the way in which politics is fleeing from traditional institutions.
The project has been able to map various positions to such questions, and raise new ones – which has been the purpose of this all: to produce more leads for further work. The same thing applies to this conference, and we are hoping to come out with excellent contributions, that do not fall within such original ideas. During the project’s unfolding, “network politics” became a wider popular media phenomenon too, where old media started to focus on what is was able to brand as “twitter-revolutions, or facebook-revolutions” – and yet this only emphasized the need to complexify the notions, and the histories of such events and platforms, as has been done on various email lists, and various other debate forums already. I am sure we can continue on that, and produce some really exciting discussions – and as always in our events, we really hope that a lot of the emphasis is on discussions in the sessions, as well as outside them.
Now that Insect Media is out, I am organizing a couple of events sort of as book launches—with a little help from my friends!
One takes place in Berlin, at the Generalpublic.de cultural venue on Schönhauser Allee 167c ( 10435 Berlin) on March 4, Friday, 7 pm – Shintaro Miyazaki will be interviewing me, and hopefully with drinks and nibbles (there has been talk of some Japanese finger food!). Also the book is on sale there, with a small launch discount.
Even before that, in Cambridge, we are organizing a joint event with Joss Hands whose own book @ is for Activism came out in December as well! This takes place February 22, Tuesday, 5 pm at Anglia Ruskin University at 5 pm. The room will be Helmore 251.
Below, a short blurb about that event which we use to discuss more widely some interesting current and future directions of media studies as well:
‘New Directions in Media Studies: Questioning The Digital Turn’.
In their new books Anglia Ruskin lecturers Joss Hands (@ is for activism) and Jussi Parikka (Insect Media) address some of the pressing new issues in Media Studies emerging from the digital revolution in communication technology. This event will act as a book launch, but also offers the chance to address the relevancy of innovative cross disciplinary themes in contemporary Media Studies.
Both books are characterized by distinct theoretical and political perspectives on issues such as the impact of digital networks on collective action, the ontology of politics, economic production, the ‘post-human’ subject and science-arts interdisciplinarity.
Hands and Parikka will offer short introductions to key themes in their books and welcome questions and discussion over wine and nibbles.
The event is sponsored by CoDE – Cultures of the Digital Economy research institute at Anglia Ruskin, and the campus bookshop John Smith’s is offering both books to be purchased during the event.
>A forthcoming talk in Cambridge hosted by the Department of Humanities and Social Sciences and CoDE-institute, Anglia Ruskin University:
1 Feb, 17.00, Anglia Ruskin University, East Road, room Helmore 251
Dr Dave Boothroyd (University of Kent)
‘Lest we forget’: censorship, secrecy and memory in the age of total recall
Censorship and secrecy are widely regarded as antithetical to the open society and the public sphere. In the digital age the decentered communicative network of the internet facilitates the proliferation of data, data-storage capacity and the generalised intensification of surveillance as well as the apparent weakening of censorious control over information and the security of secrets all kinds. The ‘Wikileaks scenario’ not only exposes the easily ‘switchable’ nature of secrecy/disclosure in the context of digital communications culture, it raises issues pertaining to the technicisation of memory and the memorialisation of events.
In this paper I shall approach the interconnections between censorship, secrecy and memory in relation to contemporary techno-culture with a view to identifying the significance of this nexus for the cultural formation of ethical subjectivity (as Levinas, in particular, writes about this). I am not so much concerned here with normative ethical questions related to the technicisation of the censorship, secrecy and memory ‘nexus’ (interesting, even urgent as these often are) but more with how the ethical Subject is produced in this context.
Bio: Dave Boothroyd Director of Cultural Studies, School of Social Policy Sociology and Social Research, University of Kent. He’s the author of ‘Culture on Drugs: Narco-cultural studies of high modernity’ (Manchester University Press, 2006) and is currently writing a monograph for Edinburgh University Press, ‘Ethical Subjects in Contemporary Culture’. He’s a founding Co-Editor of the on-line journal ‘Culture Machine’.
One of the highlights of my pre-academia career as a freelance journalist when during a phone interview the interviewee, a female at a telecommunications company marketing department or something of approx. 35 years of age, interrupted me: “Oh I am sorry to interrupt the interview but I just have to say you have an amazing telephone voice.”
I blush, stutter, and for a second wonder if my future career is somewhere where I could put my voice into better use, such as in some of those dubious 0800-numbers that offer services of very wide variety.
Instead, I end up as an academic.
Despite the shortness of the flirtation with the idea of using my voice to make money, I have been drawn into something again where I need to talk – publicly. The shock horror at first, but then realizing its actually enjoyable despite the fact that there is always a tiny region in your brain that is probably trying to say something very inappropriate.
We label it as
“A podcast on technology and creativity, technology mostly misused, unintentionally artistic technology and music technology with the odd splattering of digital economies” and hope it to be usually a 30 min aberration into the interminglings of technology, net culture, a slight dash of political economy, academic stuff and lots of media arts.
It features interviews of creatives, techs and academics, and aims to throw a spotlight both on the work done at CoDE institute in Cambridge but also more widely (as in globally) on creative technology and arts. I am suspecting it turns out to be quite focused on sound, knowing Julio’s interests and expertise in sound art, sonicity, but it will definitely splash into other fields of expression too and I am sure to throw in a nice dose of media theoretical meditation.
Its hopefully soon available on Itunes, but meanwhile episodes can be downloaded here.
Please get in touch if you have feedback, or suggestions for themes, sites, projects, etc. to be featured!