Last Spring we at #WSA started a consortium partnership with two other universities: University of California (San Diego) and Parsons School of Design (New School, NYC). Together with Jordan Crandall and Benjamin Bratton from USCD and Ed Keller from Parsons we are addressing themes such as machine perception, remote sensing, synthetic intelligence, etc. We are also organising a panel for transmediale 2015 – and Jordan Crandall will be in performing his drone performance Unmanned.
But already before transmediale at the end of this month, we are organising a group meeting and a public panel this week in San Diego under the rubric of “Autonomous: Sensing“.
Last Spring, we organised a panel in Winchester on Design and Contemporary Technological Realities and we aim to continue these meetings alongside some publications and curating exhibitions with the consortium partners.
— update —
Below some pictures from the San Diego-event and our panel.
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.
Istanbul is most often commented for its stunning beauty in a manner that approaches a modern touristic version of orientalism. For sure it is stunning, but the other side of Istanbul, as real but less visible, is the barbed wire protecting upper middle class & luxury housing areas, security cameras, traffic queues, and TOKIs. Indeed, urban planning and Istanbul is such a rich case study not merely if one is interested in Turkey but global capitalism and megacities in general.
To quote a recent MoMA-exhibition Uneven Growth:
“TOKI development parallels the emergence of a new middle class in Istanbul for whom a TOKI flat is part of a dream of car and house ownership, even if this brings social isolation, long hours in traffic, and long-term debt.”
(Image from Moma/Uneven Growth.)
I was Senior Fellow last year at MECS at Leuphana University in Germany – here’s one of the things I did there, an interview now online:
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).
In the Press Release, the editor of the series Danielle Kasprzak outlines:
“Forerunners gives authors space to explore idea-driven works that often aren’t taken up by university presses. These pieces are shorter and more speculative than traditional monographs, and we see them reaching a wider, interdisciplinary (even general) audience. Our goal with Forerunners is to combine the value of an academic publisher—peer review, editorial guidance, copyediting, and production—with the timeliness of agile publishing tools. These pieces are out in twelve weeks instead of twelve months, and they’re affordable and accessible.”