I am glad to see that a couple of years after the release of Insect Media, reviews are still coming out. This one was just released in Parallax, and offers a very good insight into the book’s “aesthetics of non-human media where technological as well as biological bodies may be seen as media: relationalities of information transfer, memory, perceptions and affects” (p.108).
Another recent-ish good review that pops to my mind was published in Body & Society, with good critical points about language and anthropocentrism: “Swarms of Technology, Melodies of Life.” Read it too.
Bruce Sterling’s new lovecraftian-digital hype satire short story: “From Beyond the Coming Age of Networked Matter.”
There is no dark side of the moon. In fact, it’s all dark.
““The true reality is mostly darkness,” he intoned. “There is scarcely any light or matter—that’s just the graphic front end for the cosmic code. Most of the cosmic code is Dark Energy and Dark Matter. The stuff we foolishly call ‘reality’ is the cute friendly part with the kid-colored don’t-be-evil Google graphics. The true, actual, cosmic reality is the giant Google network pipes and the huge steel barns full of Google Cloud. It’s vast and alien and terrifying.”
“We have never been human: between animality and techne” is the new special issue of Angelaki. It is released just now and features a range of exciting articles – thanks to Ron Broglio for his work in getting this edited together.
More seriously, it is about visual and non-visual cultures of the eco crisis, and aesthetic epistemologies and ontologies of it all. It also elaborates on the term “medianatures” that I have been using recently. An abstract below.
This text focuses on how to think the visual culture of disappearance – more closely, disappearance of animals. It takes as its starting point the Ernst Jünger novel The Glass Bees from 1957 in order to start an excavation into obsolescence, animals and the ecological crisis. The aesthetic themes of visibility/invisibility are entangled with the ecological questions of disappearance and pollution. This sort of media ecological question is unravelled, furthermore, with examples concerning the mass extinction of bees, also discussed in Lenore Malen’s video installation The Animal That I Am (2009–10). In this way, it argues for a media theoretical understanding of the visual culture of ecocrisis as well as the complex question of epistemology of such a visibility/invisibility.
Wired (UK) ran a story about Insect Media, discussing some of the themes of the book but also more widely the topic of animals and technology. Indeed, I don’t think the relation to animals is only metaphorical (who could claim it is when we are thinking of using spider silk for optical fibre communications and computer chips). There are much more interesting things that can be thought about in terms of the ecology of media, nature and subjectivity.
But I don’t think insects are hackers or that we should say that telegraphy is the Victorian email (like Tom Standage hinted at in his book The Victorian Internet). The connection happens on other levels. There is definitely a historical geneaology of insects, animals, nature and technology, and it ranges from modes of thought concerning technological, scientific culture to the material basis of technology. The fascination with entomology introduced already in the mid 19th century (oh well, and earlier for sure) a mindset which started to see in the microscopic an inspirational realm of movement, communication, sensation, and affect.
Part of that was carried over into Science Fiction and some trails are to be found in 20th century thoughts concerning architecture, media, technological arts from avantgarde cinema to later embodied media arts and robotics. It ranges from the algorithmic thinking inspired by ant trails, pheromones and collectivities to the visual sphere of animation, at least in the 1980s and artificial life type computer graphics objects with ‘relational intelligence’ of sorts, like boids: flocking behaviour, swarming.
Hence, remember the computer animation pioneer Craig Reynolds’ words:
“I would like to thank flocks, herds, and schools for existing: nature is the ultimate source of inspiration for computer graphics and animation.”
Why don’t we in academia use more other forms of expression than the written word?
Here is a video review (alongside with the transcript in the following link) of Insect Media, published in the journal Itineration: Cross-Disciplinary Studies in Rhetoric, Media and Culture.
I am here recapping some ideas from an earlier post, but I wanted to flag this as a separate theme…
I want to pick up on Siegfried Zielinski’s notion of deep time of the media – not straightforwardly media archaeological, but an anarchaeological call for methodology of deep time research into technical means of hearing and seeing. In Zielinski’s vision, which poetically borrows from Stephen Jay Gould’s paleontological epistemology at least in its vision, the superficiality of media cultural temporality is exposed with antecedents, hidden ideas, false but inspiring paths of earlier experimenters from Empedocles to Athanius Kircher, Johann Wilhelm Ritter to Cesare Lombroso.
Zielinski’s excavations are not content to stay within the regime of media archaeology, but want to uncover a non-linear layering of variations. Indeed, in a manner that seems to be borrowing from a Deleuze-Guattarian ontology of nomadism and the primacy of variation (I don’t however think that Z makes the link to DG explicit), Zielinski’s methodology is in this sense a refusal of any master plans of media development and a plea against both the drive towards psychopathia medialis (the standardization and uniformity as well as illusions of teleology). Instead, the paleontological conceptualisation of a media history of variations finds surprising case studies of aberrants paths for hearing and seeing, of optics and acoustics, of technical means of guiding, misguiding, educating and mocking the senses.
And yet, as an alternative deep time, I suggest that instead of male heroes, we approach a more geologically tuned deep time – deep in various senses, down to mineral excavation, and picking up some themes of media ecological sort. I want to speculate with a more geologically oriented notion of depth of media that is interested in truly deep times – of thousands, millions, billions of years and in depth of the earth; A media excavation into the mineral and raw material basis of technological development, through which to present some media historical arguments as to how one might adopt a material perspective in terms of ecological temporality.
For instance for the European Union, the future of information technology has to be planned starting from a material level up: The EU does not hold much in terms of critical raw material resources when it comes to advanced technology that are identified crucial for a longer term socio-economic change. Obviously, such issues are always voiced with a concern for the geopolitical-economic consequences. In short, this refers to the crucial status of China, Russia, Brazil, Congo and for instance South-Africa as producers of raw materials, and an alternative material future of technological culture. This connects to a realisation: the materiality of information technology starts from the soil, and underground – 500 meters, and preferably (for the mining companies) lower as the earth’s crust is dozens of kilometres deep.
Cobalt —- Lithium-ion batteries, synthetic fuels
Gallium —- Thin layer photovoltaics, IC, WLED
Indium —– Displays, thin layer photovoltaics
Tantalum —- Micro capacitors, medical technology
Antimony —– ATO, micro capacitors
Germanium —– Fibre optic cable, IR optical technologies
Niobium —– Micro capacitors, ferroalloys
Neodymium —- Permanent magnets, laser technology
From animals to nature as a resource, a material ecology for media is an increasingly important topic. This is the double bind that relates media technologies to ecological issues; on the one hand, acting as raw material for the actual hardware, from cables to cell phones; on the other hand, as an important epistemological framework whether in relation to mapping of climate change or in terms of further resources for exploitation, as in the recent proposal not just for Internet of Things – but Internet of Underwater Things.
Perhaps an alternative sort of a deep time of the media is needed – one that does not excavate deep times of human inventions, successful or just imagined, but deep times of animal and geological sort, and the cultural techniques that are affiliated with such non-human regimes? This could be a further advance to consolidate the work of media ecology and zootechnics (cf. Sebastian Vehlken’s recent work in this area, as well as Insect Media).
Under the term of “a New Media Archaeology”, the inaugural issue of NECsus – European Journal of Media Studies has a review of Insect Media, Media Archaeology as well as Pasi Väliaho’s Mapping the Moving Image. Picking up on these three books out of four is not out of selfishness or wanting to dismiss the fourth book (Cinema beyond film: Media epistemology in the modern era ) touched upon in the review/report but to point to a funny detail or a coincidence. In the same review, all of us from me to Erkki Huhtamo (co-editor of Media Archaeology) to Väliaho studied at the University of Turku, even if Huhtamo already in the 1980s, and by the time me and Pasi came to the university, Huhtamo was on his gradual way to media archaeological fame.
Hence, the title of this posting, “The Turku School of Media Theory”, is very much tongue in cheek and not to be taken completely seriously, although one has to say there was a minor buzz back then. I briefly asked Huhtamo about his 1980s Turku-times and influences; for him, early 1980s literature studies lectures by Hannu Riikonen were the ones to introduce Ernst Robert Curtius. This also meant picking up the notion of “topos”, so important for Huhtamo, and gradually by late 1980s, starting to think media culture too through it. Indeed, like mine also Huhtamo’s roots are in cultural history. Huhtamo was for instance in the 1980s using the idea of recurring topoi to investigate late 16th century Italian travel narratives.
Huhtamo had in the late 1980s picked up on various media theoretical strands for instance through the cultural semiotics of Eco as well as Barthes. Siegfried Zielinski visited Turku back then (probably early 1990s?) and Zielinski’s Audiovisionen was one of the books that was read in Turku by Huhtamo and for instance Jukka Sihvonen – currently professor of Media Studies. Sihvonen was the one who acted as the catalyzer for my and Väliaho’s (among other folks’) inaugural interest in such media theoretical oddities as Kittler and German media theory in general. In addition, Sihvonen’s seminar on Deleuze in the late 1990s was really one of the key elements which kick-started a lot of the interest in material media theory. (I will leave it to someone else to provide fullfledged and accurate histories of Finnish and Turku academia of the 1990s). One needs such minor exits, escape routes, and suddenly academic classes can shift into exciting eye-openers and turning points.
Similarly one could say that a lot of the stuff happening in Turku in media theory – not only in Film and TV studies (later Media Studies) but also Cultural History – was despite the seemingly internationally peripheral location great quality (lots of other things were happening then and still, including Women’s Studies, which for instance has produced lots of very interesting feminist art theory). Oh and it has not disappeared anywhere – Media Studies is doing excellent, Art Studies has taken a new materialist turn in Turku, and in addition, for years the University has had its own folks in Digital Culture (where I am affiliated Faculty member as an Adjunct Professor, Docent) too!
Imagine the title as a film title, a sort of an academic-action genre. In this case, it includes no high velocity chases, or submachine guns, but hopefully great students and good conversations. In other words, next weekend I am visiting Krems in Austria and teaching two half a day seminars. The first one is on Insect Media-related topics, the second day is more on Medianatures, ie. electronic waste and materiality.
More on the very cool MA in MediaArtHistories programme here. And soon to follow, another MA related notice but on our WSA new MA in Global Media Management!
Insect Media has won the Society for Cinema and Media Studies Anne Friedberg book award 2012 — awarded annually for Innovative Scholarship! Winning a book prize feels fantastic, but of the possible prizes, exactly the one that carries her name; remembering the inspiration her Window Shopping gave during my studies in the 1990s, and then later, The Virtual Window — all of her work pointing to the way we should be expanding media studies into new fields and investigations!
This sounds like an invented story but it is true: when I received the email about the happy news, I was indexing my forthcoming What is Media Archaeology?-book and only a couple of hours earlier had added the entry “Friedberg, Anne”…
The panel said this of my Insect Media:
“Combining philosophy, theory, history and archival research, Parikka presents, ‘forms of swarm culture in terms of new architectures to offer insights into networked media and the media environments we live in.’The book’s style and writing is energetic, cohesive and enlightening. Moving between early underwater films to cyber theory (biodigitality), the book is full of erudite reflections on Spinoza, algorithms, ticks, Umwelt, and contemporary culture.”
A huge thanks to all!
more about the Anne Friedberg Innovative Scholarship Award:
“The Anne Friedberg Innovative Scholarship Award recognizes the best new scholarly work that exemplifies rigorous, interdisciplinary and theoretical inquiry into issues of vision and visuality. Funded by a generous gift from her estate, the Anne Friedberg Award recognizes innovative work that expands the discipline of film and media studies, emphasizing its relationship to other visual fields, including architecture, art history, and digital media. Believing that “how the world is framed may be as important as what is contained within that frame,” Friedberg was known for her intellectually agile examination of the increasingly visual nature of contemporary culture and its representation on a gamut of screens: at movie theaters, on televisions and computers, on iPhones, BlackBerrys and other hand-held devices. The author of two books on these subjects, Window Shopping: Cinema and the Postmodern (1994) and The Virtual Window: From Alberti to Microsoft (2006), Anne Friedberg was President-Elect of the Society for Cinema and Media Studies before her untimely death in 2009.”