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 news about the (re)discovered Andy Warhol-images, excavated by digital forensics means, has been making rounds in news and social media. In short, a team of experts – including Cory Arcangel – discovered Warhol’s Amiga-paintings from 1985 floppy discs. As described in the news story: ”
“Warhol’s Amiga experiments were the products of a commission by Commodore International to demonstrate the graphic arts capabilities of the Amiga 1000 personal computer. Created by Warhol on prototype Amiga hardware in his unmistakable visual style, the recovered images reveal an early exploration of the visual potential of software imaging tools, and show new ways in which the preeminent American artist of the 20th century was years ahead of his time.” The images are related to the famous Debbie Harry-image Warhol painted on Amiga.
The case is an interesting variation on themes of media art history as well as digital forensics. As Julian Oliver coined it in a tweet:
The media archaeological enters with a realisation of the importance of such methods for the cultural heritage of born-digital content, but there’s more. The non-narrative focus of such methodologies is a different way of accessing what could be thought of as media archaeology of software culture and graphics. The technological tools carry an epistemological, even ontological weight: we see things differently; we are able to access a world previously unseen, also in historical contexts.
But there is a pull towards traditional historical discourses. The project demonstrates a technical understanding of cultural heritage and contemporary software culture but rhetorically frames it as just another part of the art historical/archaeological mythology of rediscovering long lost masterpieces of a Genius. This side still needs some updating so that the technical episteme of the excavation, detailed here [PDF] can become fully realised. Techniques of reverse engineering as well as insights into image formats as ways to understand the technical image need to be matched up with discourse that is able to demonstrate something more than traditional art history by new means. It needs to be able to show what is already at stake in these methods: a historical mapping of the anonymous forces of history, to use words from S. Giedion.
Scholars such as Matt Kirschenbaum have already demonstrated the significant stakes of digital forensics as part of a radical mindset to historical scholarship, heritage and media theory and we need to be able to build on such work that is theoretically rich.
Siegfried Zielinski asked me to write a very short dictionary type of entry on “Archaeology” for an exhibition catalogue. The exhibition will take place at Edith Russ Haus for Media Art in 2014 and they are going to do an exhibition on Zielinski’s AnArchaeologies and Variantologies, including some artistic positions by David Larcher, Herwig Weiser, Anthony Moore and others. Below my contribution.
The 19th century disciplinary invention of “archaeology” has had major impact in and out of academia. Besides the specific methods for investigating the material remains of human cultures, of building on the fragments to create collections, narratives and modes of preservation for a varia of objects and documents, the archaeological imaginary penetrates our audiovisual culture. It persists as an imaginary of itself: the narratives and images of hidden treasures waiting to be ungrounded. And it persists as the conceptual legacy that comes not only from archaeology proper, but also from Immanuel Kant.
Kant’s idea of philosophical archaeology itself ungrounded the idea of conceptual work building on the ruins of earlier philosophers. As Giorgio Agamben argues, this lead to the more fundamental notion of arkhé that refers not to origins, but to command and commencement. In a way that resonates with the media archaeologist Wolfgang Ernst’s understanding of the “arche” in (media) archaeology, this archaic moment is less the historical than the conditioning beginning of any analytical and genealogical investigation. For Agamben “[a]rchaeology is, in this sense, a science of ruins, a ‘ruinology’ whose object, without constituting a transcendental principle properly speaking, cannot really claim to be there as an empirically given totality.”
Such an understanding shifts from archaeology proper to the archaeology of knowledge in Michel Foucault’s sense. It displaces archaeology restricted to material excavations and works it into a method of archival and philosophical conditions of knowledge – its objects, statements and assumptions. With media archaeology as practiced by a variety of scholars from Siegfried Zielinski to Erkki Huhtamo, Thomas Elsaesser to Wolfgang Ernst, and even with Friedrich Kittler’s earlier writings, the material returns at the centre of the archaeological dig. It has many different meanings and ways of adopting to the object of investigation but it insists on irreducibility to the textual.
Indeed, what in archaeology are the methods necessary to approach the time before writing and the document pertains for media archaeologists both to the pre-cinematic as a similar rhetorical field of investigation and to the ontologically important idea of the arche as a command – even a technological command as the starting point for ungrounding media cultural ruins still present.
Amodern–journal has a massive special issue on Network Archaeology out now. I was also interviewed for the collection that followed up on the Miami University last year’s conference of the same theme.
Other new publications include a piece from last year. The first version of this paper on dust (Dust and Exhaustion: The Labor of Media Materialism) was given as a keynote for the Canadian Communication Association annual conference in 2012 at Wilfrid Laurier University. Some smaller variations came out in Depletion Design as well as in Artnodes-magazine. This is however a rather long stand-alone piece which narrates through “dust” themes of non-human materialism, digital culture, work and exhaustion: it picks up on themes of exhaustion and nanoparticles, as much as the metal and mining aspects which contribute to the scale in which we can expand our ideas concerning materiality of media culture. Below the first beats of the text.
“Each particle of dust carries with it a unique vision of matter, movement, collectivity, interaction, affect, differentiation, composition and infinite darkness” — Reza Negarestani, Cyclonopedia
I. Dust — The Non-Thing
There is something poetic about dust. It is the stuff of fairy tales, stories of deserted places; of attics and dunes, of places from so long ago they seem to have never existed. Dusty books — the time of the archive that layers slowly on shelves and manuscripts. Marcel Duchamp’s 1920s Large Glass was a compilation of dust. In a way, he allowed dust to do the work: a temporal, slow compiling by the non-human particles as a work of art installed at the museum, “a purposeful inactivity.”  Dust can transform, even if it can itself easily escape any grip. It is amorphous, even metamorphic, in the manner Steven Connor describes.  There is also a lot of it. It can be done and dusted, removed from sight and forgotten — in need of no further attention. Nanoparticles are everywhere and form societies unseen and unheard of, yet they conglomerate on a scale unimaginable to human beings. We are a minority. They have their say on human things, and cover what we leave behind intentionally or by accident — obsolescent technologies, wrecks, monuments — which remind us not only of these things themselves but of the gradual sedimentation of dust. Dust marks the temporality of matter, a processual materiality of piling up, sedimenting, and — through its own million-year process — transformations of solids to ephemeral and back. It swarms and overwhelms, exhausts and clouds. “Breathe as deeply as you will, dust will never be depleted.” 
There is something poetic and sometimes even romantic about lack of breath. Lung diseases are after all a sign of the delicate soul, and have a long cultural history. Tuberculosis features in a vast range of examples from a Puccini opera to Thomas Mann’s The Magic Mountain (1924). The pale tuberculotic body feeds towards the mythical airiness of lungs, blocked by the disease. It is as if tuberculosis releases the body from matter: “TB is disintegration, febrilization, dematerialization; it is a disease of liquids — the body turning to phlegm and mucus and sputum and, finally, blood — and of air, of the need for better air.”  But the lung-diseased body is easily exhausted, lacking in air, gasping for it. It is a tired body, and tiredness is one key trajectory we should be following as well: a laboring body.
This is a text about dust as well as exhaustion: about non-human particles as well as labor. It takes small things like dust as one vector for its argument, and as a vehicle in the manner of which we sometimes think through objects. Dust is, however, not quite an object, not in the intuitive sense that objects are supposed to be easily graspable. It does not fit the hand, even if it covers vast terrains. It is more environmental and better characterized as a milieu. Well, almost a milieu: we rarely count it among things that matter, but what if we did? What if we followed dust as a trajectory for theory — theory that is concerned with materiality and media? What if dust is one way to do “dirt research”: a mode of inquiry that crosses institutions and disciplines, and forces us to think of questions of design as enveloped in a complex ecology of economy, environment, work, and skill. Dirt brings noise, as Ned Rossiter reminds us, and dirt research can be understood “as a transversal mode of knowledge production [that] necessarily encounters conflict of various kinds: geocultural, social, political and epistemological.”
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.
If you are serious about speculative realism, or object-oriented, perhaps you should consider this instead.
Martin Howse, Diff in June, Link Editions, Brescia 2013. Soft cover, 740 pp., ISBN 9781291503593
Martin Howse’s weird data archaeology delivers its own set of speculations concerning a more media-specific non-human perspective that opens up the object in alternative ways. If the computer speaks it definitely sounds a bit different than narratives of philosophical discourse. This is data archaeology becoming media epistemology becoming a speculative artistic practice into onto-epistemologies. If this is forensics, it is a twisted sort where the computer self-records and narrates its own little day in the life.
“Diff in June” tells a day in the life of a personal computer, written by itself in its own language, as a sort of private log or intimate diary focused on every single change to the data on its hard disk. Using a small custom script, for the entire month of June 2011 Martin Howse registered each chunk of data which had changed within the file system from the previous day’s image. Excluding binary data, one day’s sedimentation has been published in this book, a novel of data archaeology in progress tracking the overt and the covert, merging the legal and illegal, personal and administrative, source code and frozen systematics.”
For those those interested in Howse’s earlier projects and collaborations, check out the interview we did in Berlin some years ago.
There is a new book on digital art, archives, preservation and memory out now. Edited by Annet Dekker, Speculative Scenarios, or what will happen to digital art in the (near) future? is an interesting and again timely take on some of the issues that connect media studies with archival specialists, cultural heritage with contemporary digital art practices. There are several great writers in the collection. You can find it online here and a printed version is out soonish too.
On the publisher website, the book is described as follows:
“There is a growing understanding of the use of technological tools for dissemination or mediation in the museum, but artistic experiences that are facilitated by new technologies are less familiar. Whereas the artworks’ presentation equipment becomes obsolete and software updates change settings and data feeds that are used in artworks, the language and theory relating to these works is still being formulated. To better produce, present and preserve digital works, an understanding of their history and the material is required to undertake any in-depth inquiry into the subject. In an attempt to fill some gaps the authors in this publication discuss digital aesthetics, the notion of the archive and the function of social memory. These essays and interviews are punctuated by three future scenarios in which the authors speculate on the role and function of digital arts, artists and art organisations.”
I was interviewed for the book and I talked about topics from zombie media to media archaeology & time, from the media archaeological fundus in Berlin to issues of the social. “In a way, practices – or one could say cultural techniques – of memory are actually what create the social. Perhaps the social doesn’t even exist without the various ways in which memory is sustained, articulated, archived, controlled, passed on, distributed, received, and remixed.”