There’s an interview with me in the new issue of Modern Weekly (Shanghai) thanks to Paul Feigelfeld’s apt questions and incisive comments. The chat focuses on insect media, animals and technological culture. We are working on an edited and extended English version too.
I’ve uploaded the Introduction-chapter of Insect Media online on Academia.edu! More info on the book, as before, on University of Minnesota Press website. If you want a quick glimpse into the arguments of the book, some reviews online include Jacob Gaboury’s in Rhizome and Jennifer Gabrys’ in Mute.
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.”