So this is a sort of an announcement: I was happy to receive my first copy of A Geology of Media during my visit to UNSW in Sydney. In other words, the book is now more or less out – a bit ahead of schedule and gradually available in online and offline bookshops, and of course in different e-formats (Kindle, epub, etc) already!
The earlier published little e-booklet The Anthrobscene was a short preview single of this main book that is also now out!
My talk in Sydney was the first “book talk” after the book is actually out, and it will be followed by several more during the Spring. The talks are primarily in Europe, and some launch celebrations are planned for May in Winchester (at WSA), and also London, Vienna, Utrecht and Stockholm. More details of dates and places to follow.
Please find below the official release text with information on how to obtain a review copy! Please spread the word to people who might be interested and consider asking your university library to order a copy.
A sweeping new ecological take on technology
A GEOLOGY OF MEDIA
By Jussi Parikka
University of Minnesota Press l 224 pages l April 2015
ISBN 978-0-8166-9552-2 | paperback | $24.95
ISBN 978-0-8166-9551-5 | hard cover | $87.50
Electronic Mediations, Volume 46
Media history is millions, even billions, of years old. That is the premise of Jussi Parikka’s pioneering and provocative book, A Geology of Media, which argues that to adequately understand contemporary media culture we must set out from material realities that precede media themselves – Earth’s history, geological formations, minerals, and energy.
PRAISE FOR A GEOLOGY OF MEDIA:
“Jussi Parikka’s A Geology of Media really expands what media theory can do. The materiality of media is no longer restricted to questions of economies of technics but extends all the way to its molecular composition. It connects the fast calculations of digital time to the deepest of temporalities, that of the earth itself. An essential contribution to a media theory for the Anthropocene.”—McKenzie Wark, author of Molecular Red
“A Geology of Media does not complete or close down an area of research, but rather opens one up. This book is vital to any continuing consideration of media today.”
— Steven Shaviro, author of The Universe of Things: On Speculative Realism
ABOUT THE AUTHOR:
Jussi Parikka is professor in technological culture and aesthetics at Winchester School of Art, University of Southampton. He is the author of Insect Media (Minnesota, 2010), Digital Contagions, and What is Media Archaeology?
For more information, including the table of contents, visit the book’s webpage:
For review copies or author interview requests, contact:
Heather Skinner, Publicist
University of Minnesota Press
111 3rd Ave S, Ste. 290
Minneapolis, MN 55401-2520
skinn077 — at — umn.edu
v * 612-627-1932
f * 612-627-1980
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.
After just finishing reading the final proofs for A Geology of Media, I wanted to post the cover design online. The image motif is from the Crystal World project by Kemp, Jordan, and Howse; such an inspiring project that features especially in the book’s chapter III on Psychogeophysics.
A Geology of Media is out in April 2015 – meanwhile, you might be interested in reading the short “single release”, The Anthrobscene (ebook)!
The science-fiction film Interstellar, dir. Christopher Nolan, presents a near-future situation where the human kind seems to be presented with the no-alternative choice of attempting to leave the planet because of the climate change disaster. In George Monbiot’s critical reading, the film presents a political defeatism that boils down to the choice of voting with your feet – with the help of escape velocity. “Technological optimism and political defeatism: this is a formula for the deferment of hard choices to an ever receding netherland of life after planetary death.”
But the trick of the film is rather different. On the one hand, even the idea of leaving is problematised with the (admittably rather odd) relativity theory sort of a twist where the time-axis is bent in ways that actually disturb causality of leaving/returning. On a more social level, the film is more of a Spielbergian tale of the crumbling down of the nuclear family system. But then in terms of biopolitics, one is reminded that perhaps the leaving itself is not that radical departure anyway. It’s already in Michel Serres’ observation, in Natural Contract (1990/1995), that one finds the necessary situation to understand although without a helmet on, we are anyway living as astronauts, governed in relation to atmospheres and biospheres and other ecological conditions of life.
“All humanity is flying like spacewalking astronauts: outside their capsule, but tethered to it by every available network, by the sum of our know-how and of everyone’s money, work, and capacities, so that these astronauts represent the current highly developed human condition.” (120)
Of course, we need to acknowledge that such conditions of living, breathing and other networks are rather differentially distributed on the planet, which returns to us to the more pressing question relating to the political economy of the interstellar imaginary of governance – political but also in the techno-scientific sense cybernetic (with its long term relations to κυβερνώ (kyvernó̱).
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.
The text below an abstract, something I promised to present at the forthcoming Istanbul-conference on Cloud And Molecular Aesthetics. It riffs on my earlier post on smog as part of environmental art history, an ecological art history/aesthetic set of terms.
Media Moleculars of Smog Culture: An Alternative Aesthetic
Speaking of molecules, photochemical smog that covers so much of our surroundings especially in dense urban areas consists of Nitrogen Oxide (NO), Nitrogen Dioxide (NO2), Ozone (O3) and Volatile organic compounds (RH). This is the elemental media condition across aesthetics of contemporary landscapes of industrial and post-industrial life. An urban screen, hovering above cinematic places of Los Angeles, etc. The sunlight reacts with the pollutants, resulting in a weird set of visual media: photochemical smog.
A matter of concern for inhabitants and of course biochemists, it however is also an issue we can address in our context of aesthetics, imaging and visual culture. This talk proposes to address smog – and more widely environmental issues from pollution to issues of geophysics – as relevant parts of our visual culture, proposing another sort of an angle to the “molecular”. Indeed, the constituent definition of molecular that one inherits from Deleuze and Guattari sits in relation to the ontology of perception. This molecular becomes more than a chemical description and a way to address the dynamic constitution of the (molar) individual. As Tom Conley explains, this is a sort of a “chemical animism” speaking of the elemental molecular conditions that constitute systems of “complex interactions”.
The molecular is an ontological angle that for Deleuze presents a world of “tiny perceptions” which are not only small in size but qualitatively present a different view to the whole. Hence emerges the whole agenda of micropolitics of perception and what could be called a chemistry of individuation. However, in the context of this talk, I won’t go into a detailed discussion focusing on Deleuze so much as hint towards speculative ideas of a media history of smog, environmental pollution and the technologies of tele-sensing /smog sensors as constituting a different sort of a visual culture of “new media” of mixed temporalities: the ancient rays of sun, the modern fumes of the city, and the emerging technologies of tele-sensing. I argue that such topics bring an additional angle to the already important extension of aesthetics in the realms of biotechnologies, the molecular vision, and the new diffentiating scales at which perception is constituted. Perhaps it’s the smog screens, reacting with sun light, that execute the truly ancient new media environment of post WWII culture as a sort of a non-human staging of the environmental catastrophy as well as an art historical period outside the usual categorisations.