I am very glad to announce that Writing and Unwriting (Media) Art History: Erkki Kurenniemi in 2048 is out from the printers, hot off the (MIT) Press! Edited with curator, writer Joasia Krysa, the book focuses on the Finnish media art pioneer Kurenniemi, and is the key international collection on the curious thinker, sound and media artist-tinkerer, who became known for his remarkable synthetizers and archival futurism. Kurenniemi has gathered attention in the electronic music circles for a longer period of time, and with Documenta 13 he become known in the international art world too. His thoughts and work resonate with the work of other early pioneers; Simon Reynolds once called him a mix of Karlheinz Stockhausen, Buckminster Fuller, and Steve Jobs. In 2002, Mika Taanila directed the film The Future is Not What It Used to Be about Kurenniemi.
The book includes foreword by the eminent media archaeologist Erkki Huhtamo and a range of critical essays on digital culture, archival mania and media arts. Key academic and art writers address Kurenniemi’s work but also more: the condition of the archive and sound arts, sonic fiction and speculative futures of singularity are some of the key themes that run through the book with contributions by many established names in media studies, art and sound technologies. In addition, we included many of Kurenniemi’ own writings over the decades, including some interviews that elaborate his wider computational views of the world, including his thought: by 2040s, the human brain can be completely simulated. His archive plays a key role, like an actor in itself: the archive also featured as a key “object” as part of the earlier Kiasma exhibition and we included some snippets, as well as an extensive visual section.
Writing and Unwriting (Media) Art History sits as part of the Leonardo-book series, edited by Sean Cubitt. The book was started by Krysa through her curatorial work at the 2012 Documenta 13 exhibition. It is thanks to Joasia that I am part of the project and she deserves major praise for her amazing eye for detail, enthusiasm and energy in driving this project, from a major exhibition to a book, and more.
Here’s a preview of the book’s table of contents and Huhtamo’s Foreword.
For review copy requests, or other questions, inquiries about the book, please get in touch! We are hosting some book events in Montreal, Helsinki, Berlin and London over the coming months but more info on those separately.
Writing and Unwriting (Media) Art History: Erkki Kurenniemi in 2048, eds Krysa and Parikka
Over the past forty years, Finnish artist and technology pioneer Erkki Kurenniemi (b. 1941) has been a composer of electronic music, experimental filmmaker, computer animator, roboticist, inventor, and futurologist. Kurenniemi is a hybrid—a scientist-humanist-artist. Relatively unknown outside Nordic countries until his 2012 Documenta 13 exhibition, ”In 2048,” Kurenniemi may at last be achieving international recognition. This book offers an excavation, a critical mapping, and an elaboration of Kurenniemi’s multiplicities.
The contributors describe Kurenniemi’s enthusiastic, and rather obsessive, recording of everyday life and how this archiving was part of his process; his exploratory artistic practice, with productive failure an inherent part of his method; his relationship to scientific and technological developments in media culture; and his work in electronic and digital music, including his development of automated composition systems and his “video-organ,” DIMI-O. A “Visual Archive,” a section of interviews with the artist, and a selection of his original writings (translated and published for the first time) further document Kurenniemi’s achievements. But the book is not just about one artist in his time; it is about emerging media arts, interfaces, and archival fever in creative practices, read through the lens of Kurenniemi.
“Sex, annotation, and verité totale: Kurenniemi is a missing mixing desk between so many interesting aspects of late-twentieth-century culture. No wonder he ends up offering us a new archival futurism!”
—Matthew Fuller, Professor, Director of the Centre for Cultural Studies, Goldsmiths, University of London
“Providing a long-overdue critical and historical introduction to the amazingly multifaceted work of media pioneer, visionary thinker, and self-archivist Erkki Kurenniemi, this book becomes both a media-archaeological excavation and engaging reflection on the challenges of writing media art history. The range of Kurenniemi’s fascinating practice—including electronic music composition, experimental filmmaking, robotics, and curation—defies traditional classifications, and calls for new historical narratives of media art. Started as a compilation of the long-term research that went into the exhibition of Kurenniemi’s work at Documenta 13 in Kassel, Germany, the volume combines highlights of his own writings and interviews with excellent contributions by scholars, contextualizing his archives, art, music, and vision.”
—Christiane Paul, Associate Professor, School of Media Studies, The New School; Adjunct Curator of New Media Arts, Whitney Museum
“This book is a major contribution not only to the unprecedented scientific and artistic imagination of Erkki Kurenniemi, but also to the whole research on media and ‘real time.’ The text unveils and critically presents the reader with a series of complex technological and artistic systems exploring the man-machine relationship under the assumption both do have consciousness. Kurenniemi’s work provides us with one of the most solid grounds to examine perception, the brain, the will to speculate and travel back and forth between several realms of knowledge. Kurenniemi is bold; this text is bold and a great contribution to new forms of studying risk taking in art and science.”
—Chus Martínez, Head of the Institute of Art, FHNW Academy of Art and Design
Part two of the Leuphana University and Brown University collaboration “Terms of Media” is taking place in October in Providence, US. I am extremely glad to be part of it, talking in the section “Remain”. If all goes as planned, the talk will move from the “remains” or “remainder” in the sense of the archival and the epistemological to emphasize issues of remains of media technologies in actioned situations. Remains are not merely of the archival, but part of a design brief with a hands-on relation to epistemology; labs, studios that address the remain as in the context of media archaeology but also design, sometimes implicitly, sometimes explicitly. The remainder becomes further detached from a nostalgic object to an issue that relates to contemporary ecologies of architecture, extended urbanism, supply chains and the “alternative worlds, alien landscapes, industrial ecologies and precarious wilderness” (Unknown Fields). I also will try to conclude with a mention of the methodological and thematic dilemma of infrastructural remains with a hat tips to Shannon Mattern and Unknown Fields (Liam Young & Kate Davies).
Below more info about the conference!
TERMS OF MEDIA 2: Actions
October 8-10, 2015
with Marcell Mars, Rick Prelinger, Lisa Parks, Claus Pias, Timon Beyes, Reinhold Martin, Jussi Parikka, Rebecca Schneider, Goetz Bachmann, Lisa Nakamura, Gertrud Koch, Bernard Stiegler, Finn Brunton, Mercedes Bunz, Wolfgang Hagen, Eyal Weizman, Kara Keeling, Luciana Parisi
Please forward any questions to email@example.com
RSVP HERE: https://goo.gl/csrNhR
An international conference to analyze and reshape the terms—limits, conditions, periods, relations, phrases—of media.
“Media determine our situation,” Friedrich Kittler infamously wrote in his introduction to Gramophone, Film, Typewriter. Although this dictum is certainly extreme – and media archaeology has been critiqued for being overly dramatic and focused on technological developments – it propels us to keep thinking about media as setting the terms for which we live, socialize, communicate, organize, do scholarship etc. After all, as Kittler continued in his opening statement almost 30 years ago, our situation, “in spite or because” of media, “deserves a description.” What, then, are the terms of media? And, what is the relationship between these terms and determination?
This conference will serve as the concluding half of a two-part project, following an earlier conference at Leuphana University in Lüneburg, Germany, and will be followed by a series of publications based on each which will seek to repose and update these fundamental questions of media theory: Does our situation indicate a new term, understood as temporal shifts of mediatic conditioning, which deserves a re-description? How and on what terms are media changing, reflecting changes in media itself? What are the terms of conditions that we negotiate as subjects of media? How do the terms of media theory relate to such conditions? What are the terms of conditions of media theory itself?
Thursday Keynotes to be held in the Martinos Auditorium, Granoff Center:
154 Angell Street
Providence, Rhode Island 02906 USA
Remaining talks to be held at Pembroke Hall:
172 Meeting Street
Providence, Rhode Island 02906 USA
Schedule is as follows:
Thursday, October 8, 2015
Conference Introduction, 7 p.m.
• Wendy Hui Kyong Chun, Professor and Chair, Department of Modern Culture and Media, Brown University
Keynote Address, 7:15 p.m.
• Marcell Mars, Public Library Project
• Rick Prelinger, Professor of Film and Digital Media and Board Member of the Internet Archive, University of California, Santa Cruz
Opening Reception, 9 p.m.
Friday, October 9, 2015
Session 1: Structure, 10 a.m. – 11:30 a.m.
• Lisa Parks, Professor of Film and Media, University of California, Santa Barbara
• Claus Pias, Professor for Media Theory and Media History, Institute of Culture and
Aesthetics of Digital Media, Leuphana
Session 2: Organize, 11:45 a.m. -1:15 p.m.
• Timon Beyes, Professor of Design, Innovation and Aesthetics, Copenhagen Business
• Reinhold Martin, Professor of Architecture, Planning and Preservation, Columbia
University in the City of New York
Lunch, 1:15 p.m. -2:30 p.m.
• Presenters and invited guests
Session 3: Remain, 2:30 p.m.-4:00 p.m.
• Jussi Parikka, Professor in Media & Design, University of Southampton
• Rebecca Schneider, Professor, Theatre Arts and Performance Studies, Brown University
Session 4: Work, 4:15 p.m.-5:45 p.m.
• Goetz Bachmann, Professor for Digital Cultures, Institute of Culture and Aesthetics of
Digital Media, Leuphana
• Lisa Nakamura, Professor, Departments of American Cultures and Screen Arts and
Cultures, University of Michigan
Conference Dinner, 7 p.m.
• Presenters and invited guests
Saturday, October 10, 2015
Session 1: Animate, 10 a.m. – 11:30 a.m.
• Gertrud Koch, Visiting Professor, Department of Modern Culture and Media, Brown University
• Bernard Stiegler, Head, Institut de recherche et d’innovation, Centre Georges Pompidou
Session 2: Communicate, 11:45 a.m. -1:15 p.m.
• Finn Brunton, Assistant Professor, Department of Media, Culture and Communication,
New York University
• Mercedes Bunz, Senior Lecturer, Communication and Media Research
Institute, University of Westminster
Lunch, 1:15 p.m. -2:30 p.m.
• Presenters and invited guests
Session 3: Forecast, 2:30 p.m.-4:00 p.m.
• Wolfgang Hagen, Professor, Institute of the Culture and Aesthetics of Digital Media,
• Eyal Weizman, Professor of Spatial & Visual Cultures, Goldsmiths, University London
Session 4: Mediate, 4:15 p.m.-5:45 p.m.
• Kara Keeling, Associate Professor of Critical Studies and American Studies and Ethnicity, University of Southern California
• Luciana Parisi, Reader, Centre for Cultural Studies, Goldsmiths, University of London
On Thursday, I am one of the participants in a symposium on labs in the humanities and media archaeology. In Linköping (Sweden), the event organised by Jesper Olsson addresses the question of institutional forms of media and humanities work.
It is an exciting event for many reasons, andit is a good platform for some of the ideas me and Lori Emerson together with Darren Wershler have been thinking about relating to the genealogies and current institutional forms of the lab in digital humanities but also in those practices (such as Media Archaeology) that border digital humanities and might help to extend its reach to address the material cultural reality.
Indeed, in a recent interview I conducted with Wolfgang Ernst, he underlined that we also need to address the “humanities of the digital” that could then offer also a longer historical trajectory to the question of technology in humanities theory and pedagogy. This would also include a reflection on the specific institutional sites for such scholarly activity. It also continues my interest in “techniques and practices of theory”.
A follow-up to the Linköping discussions is organised as part of the Media Art Histories 2015 event in Montreal in November where we have a panel on this topic of labs across digital humanities, media archaeology and more.
Theory, Culture & Society asked me and Paul Feigelfeld to edit an e-special issue on the work of the German media theorist Friedrich Kittler. We are happy to announce that the issue has now been published and it is the first in a series of e-specials the journal is commissioning. Our issue includes a selection of Kittler’s own articles and texts by other scholars about his work. The articles are open access for a selected period. The issue includes also a new Kittler-translation “Authorship and Love” which is introduced by professor Geoffrey Winthrop-Young.
We also wrote the introduction to the issue: Kittler’s Media Exorcism (PDF).
Recently also this book Media After Kittler got published, and there is a French translation of Kittler’s software writings forthcoming later this year.
France has not really been known for any particular warm academic embrace of media studies despite the otherwise interesting legacies of theories of technology. However, Sorbonne at Paris 3 is running now a seminar on media archaeology, more specifically called “Archéologie des médias et histoire de l’art” convened by Larisa Dryansky together with Antonio Somaini and Riccardo Venturi.
Their list of speakers is very exciting and for its own part demonstrates that there is a body of really interesting work on new technologies and media archaeology in France. A lot of scholars all around the country are working actively on philosophical and historical themes that pertain to media histories and contemporary culture. The Sorbonne series is part of the National Institute of Art History (INHA) and you can download the full programme (as PDF) here.
Besides individual researchers’ work and the recent MCD special issue, also future translations of work such as Friedrich Kittler’s is bound to have an impact on the conversations happening in French. Two Kittler translations are expected to come out in 2015.
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 that “does 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.
A lovely new interview with Geoffrey Winthrop-Young has been posted online: “More things in theory than heaven and earth are dreaming of.” Conducted by Melle Kromhout and Peter McMurray, it brings out great points. Winthrop-Young is always a pleasure to read, both because of the tone and the insights. Of course, in this case I remain biased, with the focus of the interview being about the so-called German media theory (which is not, as we are reminded, not so German, not pretending to present a big theory nor is it really merely German), Bernhard Siegert, cultural techniques and by the end, also about “media biology”. What’s not to like.
GWY has a fantastic sense of explication when it comes to media theory. When he responds about the subject topic of the interview that “cultural techniques are further installation of modern theory’s crusade against the as such” it both gives a subtle sense of how it maps as part of the contemporary theory landscape (and the persisting enthusiasm for the ontological as suchs) and also reminds me why I feel attracted to cultural techniques and related media analytical directions; I am, after all, a slowly recovering (cultural) historian who does not mind that the notions we operate by, the cultural layers, “all the levels all the way down are made up of historically locatable practices” even if with various twists of complex feedback loops.