Here’s an interview with me by Camille Paloque-Bergès published in French in Tracés (N° 21, 2011/2). It’s on the archaeology of (digital) viruses in contexts of security, biopolitics and media theory. It’s not exactly recent but I don’t think I have posted or even seen it online before.
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.
I will be speaking in Hong Kong in June and addressing Deleuze and digital culture. However, my argument is that instead of the usual suspect of starting with the Control Societies-text, Deleuze affords an understanding of the materialities of technological and scientific culture in many other ways too. As part of the geophysical materiality, we can talk about desire’s investment as an infrastructural issue of power – not ideology, just desire but that is infrastructurally effective.
I am pretty happy about spending some time in Germany over the summer– and not just any trip, but as Senior Fellow at the Leuphana University Media Cultures of Computer Simulation-centre (MECS). MECS is one of the exciting developments at Leuphana (in Lüneburg) and in Germany, collecting some of the most interesting media theorists, analysts and historians. Led by Claus Pias and Martin Warnke, MECS’s project description tells the story of mutually informing investigations of media culture and science. Indeed, MECS presents itself as part of analysis of changes in scientific methods but also rather fundamental questions as to the nature of scientific knowledge itself. Furthermore, digital media becomes an agent in this transformation. “Digital media develops a medial obstinacy; it generates and at the same time processes problems which in the past were often inaccessible, either by analysis or experimentation.”
MECS’s annual themes for the coming years are found here – for this year, the focus is on Wissen referring to knowledge and the media epistemology of computer simulations, followed next year by Rechnen: to calculate/calculation.
In this context my own project focuses on the double bind of the media epistemological (e.g. sensors) and the environmental questions (such as smog) in a theoretical context of media materialism. I have been interested in how to expand media materialism to a wider set of material questions that include media ecology and the environmental too, partly in the context of Geology of Media. I also need to write a couple of commissioned articles on Friedrich Kittler during the summer. In addition, with Paul Feigelfeld we will edit a short e-issue focusing on Kittler for Theory, Culture & Society.
We at the Winchester School of Art (#WSA) are hosting this lovely little event – with quite the trio: Benjamin Bratton, Jordan Crandall and Ed Keller are coming to Winchester for meetings and agreed to give a joint panel on Design, Biopolitics and Contemporary Technological Realities – and imaginaries we might want to add.
More info here, and below their titles for the short interventions in the panel:
Benjamin H. Bratton: “On Platform-Based on Robotics”
Jordan Crandall: “The Materiality of Drones”
Ed Keller: “Shadow Ecologies, An Alternate Biopolitical History”
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 email@example.com or one of the series editors.
More information about Amsterdam University Press.
I’ve uploaded the Introduction-chapter of Insect Media online on Academia.edu! More info on the book, as before, on University of Minnesota Press website. If you want a quick glimpse into the arguments of the book, some reviews online include Jacob Gaboury’s in Rhizome and Jennifer Gabrys’ in Mute.