The Anthrobscene is now out and available as a short e-book in the new University of Minnesota Press series Forerunners. The short book (77 pp) extends on the notion of the deep time of the media (Zielinski) to talk of the geological and electronic waste layers that characterise media technological materiality. It consists of four short sections
1. And the Earth Screamed, Alive
2. An Ecology of Deep Time
3. A Media History of Matter: From Scrap Metal to Zombie Media
4. Conclusion: Cultural Techniques of Material Media
The sections outline the idea of materialities of media in the context of the Anthropocene – the suggested and widely discussed term for the geological period where the human being has had such a significant effect on the planet to merit a new periodization. But the idea is to extend this to emphasise the obscenities of the environmental damage that works across natural, social and media ecology.
The Anthrobscene is a preview or if you prefer, a single, of the forthcoming longer book A Geology of Media (out next Spring).
The book is one of three that kickstarts the new Forerunners series, “a thought-in-process series of breakthrough digital works written between fresh ideas and finished books” and characterized as “gray literature publishing: where intense thinking, change, and speculation happens in scholarship.” The series is edited at the University of Minnesota Press by Danielle Kasprzak.
The Anthrobscene is available for download directly on the UMP website as well as in your “local” Amazon (Kindle and the slightly more expensive print on demand paperback) and gradually in other e-book stores too, including now already on Barnes & Noble & Kobo. The Amazon-page has a preview of the content.
I am pretty happy about spending some time in Germany over the summer– and not just any trip, but as Senior Fellow at the Leuphana University Media Cultures of Computer Simulation-centre (MECS). MECS is one of the exciting developments at Leuphana (in Lüneburg) and in Germany, collecting some of the most interesting media theorists, analysts and historians. Led by Claus Pias and Martin Warnke, MECS’s project description tells the story of mutually informing investigations of media culture and science. Indeed, MECS presents itself as part of analysis of changes in scientific methods but also rather fundamental questions as to the nature of scientific knowledge itself. Furthermore, digital media becomes an agent in this transformation. “Digital media develops a medial obstinacy; it generates and at the same time processes problems which in the past were often inaccessible, either by analysis or experimentation.”
MECS’s annual themes for the coming years are found here – for this year, the focus is on Wissen referring to knowledge and the media epistemology of computer simulations, followed next year by Rechnen: to calculate/calculation.
In this context my own project focuses on the double bind of the media epistemological (e.g. sensors) and the environmental questions (such as smog) in a theoretical context of media materialism. I have been interested in how to expand media materialism to a wider set of material questions that include media ecology and the environmental too, partly in the context of Geology of Media. I also need to write a couple of commissioned articles on Friedrich Kittler during the summer. In addition, with Paul Feigelfeld we will edit a short e-issue focusing on Kittler for Theory, Culture & Society.
We are proud to announce the launch of a new book series titled Recursions: Theories of Media, Materiality and Cultural Techniques. Placed with Amsterdam University Press, a publisher known for its strong track-record in film and media studies, the series will publish fresh, exciting and important books in media theory. This includes both translations and other volumes that address the core themes outlined below. I am very excited about this project and working with my co-editors Anna Tuschling and Geoffrey Winthrop-Young. We have already some significant projects lined up for 2015 and more forthcoming that we will announce in the coming weeks and months. We are supported by a very strong international advisory board. Get in touch if you want to learn more but first read below for more information!
New Series Announcement
The new book series Recursions: Theories of Media, Materiality, and Cultural Techniques provides a platform for cutting- edge research in the field of media culture studies with a particular focus on the cultural impact of media technology and the materialities of communication. The series aims to be an internationally significant and exciting opening into emerging ideas in media theory ranging from media materialism and hardware-oriented studies to ecology, the post-human, the study of cultural techniques, and recent contributions to media archaeology.
The series revolves around key themes:
- The material underpinning of media theory
- New advances in media archaeology and media philosophy
- Studies in cultural techniques
These themes resonate with some of the most interesting debates in international media studies, where non-representational thought, the technicity of knowledge formations and new materialities expressed through biological and technological developments are changing the vocabularies of cultural theory. The series is also interested in the mediatic conditions of such theoretical ideas and developing them as media theory.
- Sybille Krämer – Medium, Messenger, Transmission: An Approach to Media Philosophy.
- Claus Pias – Computer Game Worlds.
- Jussi Parikka (University of Southampton)
- Anna Tuschling (Ruhr-Universität Bochum)
- Geoffrey Winthrop-Young (University of British Columbia)
- Wendy Hui Kyong Chun (Brown University, US)
- Geert Lovink (Hogeschool van Amsterdam, The Netherlands)
- John Durham Peters (University of Iowa, US)
- Thomas Y. Levin (Princeton University, US)
- Marie-Luise Angerer (University of Arts Cologne, Germany)
- Eva Horn (University of Vienna, Austria)
- Markus Krajewski (University of Basel, Switzerland)
- Erick Felinto (State University of Rio de Janeiro, Brazil)
- Adalberto Müller (Federal University of Niterói, UFF, Rio de Janeiro)
- Eivind Røssaak (National Library of Norway)
- Steven Connor (Cambridge University, UK)
- Peter Krapp (UC Irvine, US)
- Antje Pfannkuchen (Dickinson College, PA, US)
- John Armitage (Winchester School of Art, UK)
- Till Heilmann (University of Siegen, Germany)
- Isabell Otto (University of Konstanz, Germany)
- Astrid Deuber-Mankowsky (University of Bochum, Germany)
- Sean Cubitt (Goldsmiths College, London, UK)
- Claus Pias (Leuphana University, Germany)
- Stefan Rieger (University of Bochum, Germany)
- Andrew Murphie (University of New South Wales, Sydney, Australia)
- Axel Fliethmann (Monash University, Melbourne, Australia)
- Yuji Nawata (Chuo University, Tokyo, Japan)
Proposals for monographs or edited volumes should kindly follow the standard AUP Proposal Form (http://en.aup.nl/en/service/authors) and should also include the envisaged table of contents, an overview of the volume and abstracts of the proposed chapters or articles.
If you are interested in publishing a book with us please contact Jeroen Sondervan, Senior Commissioning Editor for Film & Media Studies at firstname.lastname@example.org or one of the series editors.
More information about Amsterdam University Press.
The new issue of Cultural Studies Review follows up from the 2012 Code-conference that was held in Melbourne, at Swinburne University. The event was marvelous, thanks to the organizers. And now, Esther Milne and Anthony McCosker have edited a lovely special issues Coding Labour. With a line-up including Anna Munster, Ned Rossiter, Mark Cote,Rowan Wilken and many more – as well as for instance Meaghan Morris in the same issue – one can expect much.
My own article is about the slightly heretic crossbreeding of German media theory and cognitive capitalism. It briefly discusses the notion of cultural techniques as a way to elaborate cognitive capitalism in the context of practices and techniques of software, code and labour. Hence it ends up in a curious short example from the 1970s, the management and organisational arrangement of metaprogramming, as a way to discuss how we might approach techniques of “creative” work in software culture.
You can find the text here and below a short abstract.
This article addresses cultural techniques of cognitive capitalism. The author argues that to understand the full implications of the notion of cognitive capitalism we need to address the media and cultural techniques which conditions its range and applications. The article offers an expanded understanding of the labour of code and programming through a case study of ‘metaprogramming’, a software related organisation practice that offered a way to think of software creativity and programming in organisations. The ideas from the 1970s that are discussed offer a different way to approach creativity and collaborative and post-Fordist capitalism. The author brings together different theoretical perspectives, including German media theory and Yann Moulier Boutang’s thesis about cognitive capitalism. The wider argument is that we should pay more attention to the media archaeological conditions of practices of labour and value appropriation of contemporary technological capitalism as well as the cultural techniques which include ‘ontological and aesthetic operations’ that produce cultural, material situations.
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
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