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Code and Labour

April 16, 2014 Leave a comment

The new issue of Cultural Studies Review follows up from the 2012 Code-conference that was held in Melbourne, at Swinburne University. The event  was marvelous, thanks to the organizers. And now, Esther Milne and Anthony McCosker have edited a lovely special issues Coding Labour. With a line-up including Anna Munster, Ned Rossiter, Mark Cote,Rowan Wilken and many more – as well as for instance Meaghan Morris in the same issue – one can expect much.

My own article is about the slightly heretic crossbreeding of German media theory and cognitive capitalism. It briefly discusses the notion of cultural techniques as a way to elaborate cognitive capitalism in the context of practices and techniques of software, code and labour. Hence it ends up in a curious short example from the 1970s, the management and organisational arrangement of metaprogramming, as a way to discuss how we might approach techniques of “creative” work in software culture.

You can find the text here and below a short abstract.

This article addresses cultural techniques of cognitive capitalism. The author argues that to understand the full implications of the notion of cognitive capitalism we need to address the media and cultural techniques which conditions its range and applications. The article offers an expanded understanding of the labour of code and programming through a case study of ‘metaprogramming’, a software related organisation practice that offered a way to think of software creativity and programming in organisations. The ideas from the 1970s that are discussed offer a different way to approach creativity and collaborative and post-Fordist capitalism. The author brings together different theoretical perspectives, including German media theory and Yann Moulier Boutang’s thesis about cognitive capitalism. The wider argument is that we should pay more attention to the media archaeological conditions of practices of labour and value appropriation of contemporary technological capitalism as well as the cultural techniques which include ‘ontological and aesthetic operations’ that produce cultural, material situations.

 

 

A Day In the Life of A Computer

September 4, 2013 Leave a comment

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.

Save as: Social Memory

vakiflar-sirketler-agi-2010-alinti-burak-arikanAn event in Istanbul – welcome!

Save as: Social Memory

Convened by Burak Arıkan and Jussi Parikka, and in collaboration with  SALT and support of Winchester School of Art.

June 26-27, 2013  19:00

SALT Galata Atelier IV, Istanbul

Participants: Burak Arıkan, Joasia Krysia, Nicolas Malevé, Ali Miharbi, Jussi Parikka

One of the major concerns during the Gezi resistance was how to keep our memories, our pain and grief, our anger, our gains, and our losses alive. We tried to preserve our experiences and present them in numerous media. However, we haven’t had the time and means to critically approach to the rapidly growing archives or to create technologically enhanced curated content.

This symposium brings together three artists, a curator, and an academic who works in the area of software art, archive, and media archaeology. Cultural practices that use the language of technology and digital born content from different perspectives of preservation and memory will be debated. How can we preserve the software itself along with the content it generates? In what way should we consider software itself as the creative archive, arche, of our digital culture? What new archival practices does technology-based art and culture present? How do software, social media, and network practices introduce a sphere of counter-representation which curate alternative narratives of the present? Panelists will discuss the topics of archiving the present as we live, algorithmic curating in crisis, critical collective intelligence, and language of technology as a thinking tool.

Programme schedule:

Wednesday June 26th 

19:00 Introduction

19:15 Jussi Parikka – Media Archaeology: Archives of the Present

20:00 Nicolas Malevé – Sniff and sneak through my archives

20:45 Ali Miharbi – Language of technology as a thinking tool

Thursday June 27th

19:00 Joasia Krysia – Speculations on Algorithmic Curating

19:45 Burak Arıkan – Counter Collective Intelligence

20:30 Round Table

Abstracts and bios of speakers:

Jussi Parikka – Media Archaeology: Archives of the Present

Media Archaeology has emerged the past years as a dynamic theory about media culture. This refers to the impact it has had in giving a vocabulary for the material constitution of contemporary technical media culture. Media archaeology examines media technical conditions of existence of culture, and as such, is in a good position to frame the relevance of software for questions of the archive.

However, media archaeology is also a way to investigate the ontology of the present: it asks what sorts of mechanisms of inclusion and exclusion constitute what we perceive, and what remains unperceived? How is the network conditioning our sense of knowledge and our sense of the everyday? How will the speculative future archivist, looking back at June 2013, see and understand our events and networked condition, conditioned by software as well as its political context.

Jussi Parikka Bio

Dr Jussi Parikka is a media theorist who writes on media archaeology, digital culture and obscure topics from insects to viruses. He is Reader in Media & Design at Winchester School of Art, University of Southampton and author of various books, essays and other writings. His monographs include the award-winning Insect Media: An Archaeology of Insects and Technology, as well as the recent What is Media Archaeology? He blogs at http://jussiparikka.net

Nicolas Malevé  – Sniff and sneak through my archives

‘(6/24/1996 9:44pm, Personal)”

Will she (either of them) share the love of pornography? Or at least, art? I shall present myself to both of them as a geniality self-flagellat%n machine. Just one bottle tonight, ok?  I shall invite them on to my journey of change, showing the way ahead. Immortality. I will let them to sniff and sneak through my archives. (Erkki Kurenniemi, Newton diary, 1996).

The presentation will take as a point of departure the rich set of documents collected and created by Erkki Kurenniemi, Finnish pioneering electro acoustic musician and inventor of early synthesizers, who obsessively recorded his life. The talk will introduce to the different tools and methods we, Michael Murtaugh and Nicolas Malevé, members of the Belgian collective Constant, used to enter in dialog with the vast amount of unclassified documents that constitute the humus for an archive of Kurenniemi’s work.

These tools are our intermediaries, our extra senses to “read” the images, to “listen” to the sounds, to “watch” the videos. The algorithms we borrow, design or customize become our interlocutors. They report back from what they detect, correlate and connect in the different layers of data. They are different voices, each telling a its own story. Having presented these different voices, we will see what happens when other human agents (lawyers, archive institutions) join the dialogue between  these intermediaries and ourselves.

Nicolas Malevé Bio

Since 1998 Nicolas Malevé, multimedia artist, has been an active member of the association Constant. As such, he has taken part in organizing various activities to do with alternatives to copyrights, such as Copy.cult & The Original Si(g)n, held in 2000. He has been developing multimedia projects and web applications for cultural organisations. His research work is currently focused on information structures, metadata and the semantic web and the means to visually represent them.

Ali Miharbi – Language of  technology as a thinking tool 

In this presentation I will sketch the potential of the language of technology as a tool to open up, enrich or simply illustrate our current discussions on social/political issues. Using examples of my work as points of departure I will touch on a variety of concepts like performativity, humor and the problem of representation.

Ali Miharbi Bio

Ali Miharbi (b. 1976) lives and works in Istanbul. He acquired a dual degree in Electrical & Computer Engineering (BS, 2000) and Art Theory & Practice – Painting (BA, 2000) at Northwestern University. In 2010 he completed his MFA from Virginia Commonwealth University. He opened his first solo exhibition at Interstate Projects, Brooklyn, NY. His recent group exhibitions include “Commons Tense”, Electriciteitsfabriek, The Hague (2012), “Turkish Art New and Superb”, TANAS, Berlin (2012), “Consequences are no coincidence”, Pilot Galeri, Istanbul (2012), “video_dumbo: Quasi Cinema”, Dumbo Arts Center, Brooklyn, New York (2011), “FILE 2011″, FIESP Cultural Center, São Paulo (2010), “When Ideas Become Crime”, Depo, Istanbul (2010). His work can take many forms from photographic, graphic or sculptural pieces to dynamic systems driven by live or stored data where he investigates mechanisms that underlie or are constituted by the flows of daily life.

Joasia Krysia – Speculations on Algorithmic Curating

Between the 1960s and 2005, Erkki Kurenniemi, the Finnish artist, scientist, futurologist and technology pioneer set out to  document his everyday life with the intention to create a template for all human life that could be reenacted by algorithms to be written in a future quantum world (with the date 2048 in mind). In a wider sense Kurenniemi acted not only as an archivist of his life but also a kind of curator – working with materials not simply to collect and store but to shape using computational power once it is sufficient for purpose. In 2012 Constant Association for Art and Media began to develop some experiments, making programs to begin to understand Kurenniemi’s materials in ways that go beyond the traditional archiving procedures of ordering and classifying. I would like to argue that their approach is not simply archival either but curatorial in as much as they uncover aspects of what is not directly apparent in the material and produce meaning out of the work. This talk speculates further on this algorithmic approach and extend it to possibilities of thinking about the curatorial process in this way.  I want to speculate on the use of algorithms in producing small curatorial experiments that begin to suggest new ways of understanding materials that are not directly apparent to human curators. Can we begin to think of curatorial processes and the production of curatorial knowledge that extends human agency and uncovers dynamic qualities of materials?

Joasia Krysia Bio

Joasia Krysa is Artistic Director of Kunsthal Aarhus (Denmark), and prior to this she was Associate Professor (Reader) in Art and Technology at Plymouth University, UK (2000 – 2012). She is co-founder of KURATOR, an association of curators and researchers interested in algorithmic culture, and was part of curatorial team for dOCUMENTA (13). She has a background in political sciences and cultural theory, and has PhD in the the field of curating. Her academic and curatorial work is located across contemporary art, digital culture, and critical theory.

She is series co-editor of the DATA browser books (New York), author of Ada Lovelace, notebook no 055 in the dOCUMENTA (13) series 100 Thoughts – 100 Notes (Hatje Cantz 2012) and the edited anthology Curating Immateriality (Autonomedia, 2006). She has contributed chapters to, amongst others, Software Studies: A Lexicon (MIT Press, 2008), and New Media in the White Cube and Beyond (University of California Press, 2008). Her current curatorial work include Systemic Series, a two year programme developed for Kunsthal Aarhus (2013-2014).

Burak Arıkan – Counter Collective Intelligence

Arıkan will pursue a traversal in his works, starting from MyPocket (2008) and raising questions on the preservation of immateriality; discussing Network Map of Foundations and Corporations in Turkey (2010) in relation to power and governence during the Gezi protests; narrating the collective network diagrams generated on the Graph Commons platform (2011-); and finally calling for action for a recent data research and mapping project, code named “Network of Dispossessions”, mapping of government-corporate partnerships in urban transformation.

Burak Arıkan Bio 

Burak Arıkan is an artist working with complex networks. He takes the obvious social, economical, and political issues as input and runs through an abstract machinery, which generates network maps and algorithmic interfaces, results in performances, and procreates predictions to render inherent power relationships visible, thus discussable. Recent exhibitions include: Home Works 6 (2013), 11th Sharjah Biennial (2013), 7th Berlin Biennale (2012), and Nam June Paik Award Exhibition (2012). Arıkan is the founder of Graph Commons platform, dedicated to provide “network intelligence” for everyone.

Image: Network Map of Foundations and Corporations in Turkey-project by Burak Arikan.

vakiflar-sirketler-agi-2010-alinti-burak-arikan

OOPhotography

April 4, 2013 1 comment

Congratulations to Paul Caplan who yesterday passed his viva very succesfully! These are the important moments of academic incorporeal transformation where one metamorphoses from Mr Caplan to Dr Caplan!

Besides OOO/OOP as its theoretical approach, it is a creative practice PhD, representing a very exciting addition to practice as research that relates to visual culture as well as software studies! See here for a video sample of his work and thinking (Originally in O-Zone: A Journal of Object Oriented Studies):

Beyonce and I (or Spam in the Can)

March 28, 2013 Leave a comment

The Independent wrote a piece on spam, and I was interviewed as well. The main driver for the story is Finn Brunton’s forthcoming book on the same topic (and I can reveal that it is a great study). I also consider it a highpoint of my academic career that I am in the same story with Beyonce. Sort of.

A Hefty Companion

March 17, 2013 1 comment

1444332244A Companion to New Media Dynamics is out now. And admittedly, it is quite expensive. But try to get your library to order a copy, as it does contain some really handy chapters on media culture, networks, politics of platforms, mobility, and more! I just finished reading a nice Sean Cubitt-piece (on media studies and new media studies), and will continue with some of the other great looking texts.

I co-wrote with Tony Sampson a piece on spam, network virality and contemporary capitalism and marketing: “Learning from Network Dysfunctionality: Accidents, Enterprise and Small Worlds of Infection”. It continues our joint interests into networks as well as viral capitalism, but with a specific Tardean twist.

#code2k12

November 27, 2012 1 comment

I am not the most qualified person to analyse the political economy and at times slightly exaggerated role of conferences; I do not really too often go to the big ones where the whole system of recruitment and other sort of social/affective work of academia happens. I am sure there are loads of management books on such topics and their importance. Not that I have anything against being social – just being a Finn you have to limit it a bit, not to get exhausted with the overwhelming number of people that would amount to the total number of a small Finnish village easily. However, at times events really strike a chord – like Code at the Swinburne University of Technology, Melbourne: a fantastic combination of academic quality and lovely people.

I am a firm believer in that the more interesting academic benefit of such events is not hearing someone speak, but that you are able to meet and talk outside the sessions; whether casual chattering or on the topic of the presentation. This is hardly a surprise. But it is not only the meet & greet networking silly management culture that we are persuaded to pursue, but actually having some affective pleasure from finding out that academics are not completely subsumed into corporate climb-the-ladder assholism.

Of course, talks can be really good in triggering ideas. What I mean by that is at least my own prespective that I have often trouble in immediately summarizing someone’s talk in its entirety, and instead I get nuggets, something that triggers an idea. In this sense as well, Code was a success.

The event was not focused down solely on software culture or critical code studies despite the frequent references to Chun, Galloway and Kittler – and some other usual suspects. I perceived something of an expanded notion of code in the sense that through the theme, a lot of presentations pointed to a broader context of materialities in which code takes place; logistics, management, intermedial relations, aesthetic, and non-computer placed coding of social actions/events like with the Human Fax Machine-experiment. Talks ranged from reddit to Ring(u), cars to Erica T. Carter, commandline to Google, and signal to Simondon. Code had already introduced its own approach to the idea even with a conference reading list!

Besides having the pleasure of listening to the fantastic keynotes by Anna Munster and Christian McCrea, for instance the plenary panel of Melissa Gregg, Ned Rossiter, Soenke Zehle and Mark Coté was the best one can hope for. Brilliant speakers all of whose I work admire a lot, and the topics were nicely resonating. For instance Gregg’s take on the Getting Things Done (GTD) software was something that illuminates what I tried to just briefly address in my own keynote on Cultural Techniques of Cognitive Capitalism (more on that later in a separate blog post): the entanglement of media, management, affect and modes of production in contemporary digital culture. Such practices, techniques and technologies frame the will for more time and freedom, as well as creativity, which ground notions such as cognitive capitalism, and in Gregg’s case she was able to show the deep layers of such ideas of “work smarter, not harder”. Exhaustion, tiredness and fatigue have not disappeared from the gendered worlds of management of office and post-office work. Such affect management and self control are excellent ways of articulating the curious emphasis on the cognitive and affective in relation to modes of production: they hover somewhere between of the tiring and energizing, of repetitive and creative. In this context, see also the Zooming Secretary game that Gregg started with — filing cabinets, telephones and coffee boosts; affective attunement.

It was also pleasure to hear Coté talk of his book project on Data Motility which is one of those great moments when we get someone with a fantastic knowledge of Italian political theory and current media theory talking about a topic of Digital Humanities. DH at times “forgets” the existence of media theory, as well as the longer history of humanities-technology partnering, but at the same time of course we need to be ready to update our theoretical perspectives in relation to new modes of quantities, qualities, and abstractions.

Coté ‘s book promises to be really exciting, offering an insight to data having a self-generated sense of movement as well as being the object of value creation: big social data is the sociality of the data for instance collected on social media, which highlights its polyvalence and social and economic valorisation. According to Coté big social data can be seen constituting a certain mode of humanness that humanities should tackle with. This sort of conditioning is the sort you get from the directions of Leroi-Gourhan and others. But it also points to the direction of debt, an interesting idea Coté suggests: what if we understand our relation with the data collected as one of debt, as analysed by for instance Lazzarato. Big social data in social media contexts is one of endless payments and demands of creating the social through actions, in order to justify our existence.

Both Rossiter and Zehle talked of logistics; Rossiter towards the worlds of media and management, transposition of labour to code & algorithms (which probably would resonate with some insights from Fuller & Goffey’s recent Evil Media) and Zehle in relation to gestures. Indeed, listening the two talks in the same panel made the audience aware of the multiscalar worlds of logistics – from human social affect and gestures, to the abstracted worlds of simulations and games in which management and logistics can be rehearsed.

Even if I mention only some of the papers here, throughout the conference I felt more inspired than in most of the events I visit. As said, this extends to the time outside the actual talks; people are engaged in several interesting projects, which made me actually, and without irony, feel rather ok about being an academic. And in that context, it was less painful to visit the other side of the world, Melbourne, and do two long haul flights within 10 days. I myself talked about some new things I am engaged in – a sort of a project pitch for something that might turn out to be a bigger project event – and gave a “master class” on Media Archaeology & Cultural Techniques.

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