The Anthrobscene in Portuguese

November 14, 2017 Leave a comment

The short booklet the Anthrobscene has been translated into Portuguese in Brazil. The essay that  was a sort of a single release of the later A Geology of Media now features as part of the Open Access collection Configurações do pós-digital: arte e cultura tecnológicas, edited by​ Pablo Gobira & Tadeus Mucelli. The book’s foreword is written by Lucia Santaella.

With the new translation, I was also again left thinking  the title, the neologism it carries. Besides the obvious Baudrillard-connotation that was not supposed to be the main thrust of the term, an alternative link that I was reminded about today comes through Ian Sinclair’s discussion of the fringes of London as obscenery instead of scenery. In Esther Leslie’s description, Sinclair’s obscenery is somewhat rather apt concerning also the Anthrobscene picking up on the wastelandscape imageries: “..contained in that word [obscenery] is the sense of being off-scene, off the stage, out of sight and out of mind. Sinclair describes places of no memory, forgotten places, places where memory is expunged in waves of rebuilding, re-destroying, places of transit, places, such as the London Orbital motorway, the M25, designed to pass through and keep moving.” (Leslie, in Synthetic Worlds.)

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You can download the book here.

Recently another Brazilian collection included some of my writing (as well as other translations and texts by Brazilian colleagues) on media archaeology. You can find more information about A(na)rqueologias das Mídias online.

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November 11, 2017 Leave a comment

Visual culture nowadays.

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What is Media Archaeology? in Turkish

October 2, 2017 Leave a comment

The Turkish translation of What is Media Archaeology? is out this week! Koc University Press are publishing the translation Medya Arkeolojisi Nedir? by Ebru Kılıç and you can  order the book and find more information in Turkish online.

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I am extremely happy about the translation as well as the fact that it coincides with my Bilkent University visit in Ankara where I am part of the Play/Pause, FF/Rewind-week of events on “Shared Practices & Archaeologies of Media.” The event is part of the launch of the new media archaeological space that colleagues at Bilkent have been working on. The lab will be the first of its kind in Turkey. The week of talks and activities will finish on Friday with a launch of Medya Arkeolojisi Nedir? in Ankara at the Erimtan Arkeoloji ve Sanat Müzesi at 6 pm.

An Istanbul launch of the book is in planning for a later date in the Autumn.

For review copy and other requests regarding the Turkish translation, please get in touch with me or directly with the Press (Berkan Simsek).

The publisher’s page for Medya Arkeolojisi Nedir?

Eski ven Yeninin Kartografileri – a sample from the translation online.

The Office Manual is out

September 19, 2017 Leave a comment

Our summer project, the AMT Office Manual is out. Consisting of short texts and practice-based expositions, the contributors consist of colleagues in Fine Art, Design, Media and Visual Culture as well as some of AMT research group‘s affiliated scholars such as Shannon Mattern and Darren Wershler. The manual opens up with our short intro: “The Office Manual.”

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Designed by Dr. Jane Birkin, the publication is a mix between a zine and a manual, but with a media archaeological, practice-based and indeed, grey bent.

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The texts address the imaginaries, technologies, techniques, pencils and furniture of the office – the key site of technological work and art.

Indeed, only what can be typed, tabulated, filed and stamped exists: before any narrative, there is a technology and a clerk performing the work of inscription.

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The Manual cannot be purchased and is available only through AMT field officers.

 

Urban Technologies and Air Pollution

August 1, 2017 1 comment

I have a new article out in Fibreculture-journal’s new special issue Computing the City. My text “The Sensed Smog: Smart Ubiquitous Cities and the Sensorial Body” addresses questions of environmentality and media, and mediated environments through the perspective of smog and air pollution. Data about air pollution functions in various ways in the construction of the subject in infrastructures of the technological city, but the broader context of air and technology is approached also in  speculative ways. To quote a short passage:

“For a sketch of an alternative ecological art history (on art and the Anthropocene, see Davis and Turpin, 2015), one could claim that ozone depletion relates to radical molecular art since the 1970s. The 1970s mark a visual art historical period caused by photodissociation of key chemical agents such as CFCs, freons, halons as well as solvents, propellants, etc. It is a weird period when one starts to consider it from this perspective: problems of refrigeration and the invention of products such as freon have their residual aftereffects in the upper atmosphere which, as historian John McNeill notes, have not really until now featured as an important role in human history. Usually things that concern us have happened in the lower spheres of the planet (McNeill, 2000: 52). History has been atmospherically biased towards things much closer to human headspace. But the modern historical period rather concretely consists of carbon dioxide, ozone and sulphur dioxide (McNeill, 2000: 52), too, and this is not a feature restricted to that one particular narrative-atmospheric space. The massive increase in CFC (chlorofluorocarbon) amounts has resulted in what could be called the ‘ultraviolet century’ (McNeill, 2000: 114). The effect of the ozone depletion as we have grown to know it, is the increase in penetration of UV-light/radiation through the stratosphere, resulting in a different light balance from the 1970s to approximately to the year 2070 (as the restoration of the ozone protection layer is a slow process). This form of art historical period is registered on the skin and the organisms of humans as increased cancer rates; in animals such as whales as similar epidermal reactions (Thomas, 2010); in plants and crops, etc. Smog itself is also visible in the increase in cardiovascular diseases, asthma and lung inflammations, asthma for example.”

You can find the article and the whole issue here. Computing the City-special issue is edited by Armin Beverungen, Florian Sprenger and Susan Ballard.

Insect Media, the Polish Translation: Owady i media

With a beautiful yellow cover, Insect Media comes out as a Polish translation: Owady i media! The translation is published by the Krakow based press Księgarnia Akademicka and the “Interpretations” series focusing on cultural studies, performance studies and new historicism. The series has published books such as Hans-Thies Lehmann’s “Postdramatic Theatre”, Erika Fischer-Lichte’s “Transformative Power of Performance”, Judith Butler’s “Antigone’s Claim”, Thierry Bardini’s Junkware and Freddie Rokem’s “Performing History”. A massive thanks to the series editors and the translators professor Małgorzata Sugiera and Dr. Mateusz Borowski for their work on the translation!

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Insect Media: An Archaeology of Animals and Technology (2010, University of Minnesota Press) is part of the trio of books that came out in English between 2007 and 2015, including also Digital Contagions (2007, 2nd. new edition with a preface by Sean Cubitt in 2016, Peter Lang Publishing) and A Geology of Media (2015, University of Minnesota Press). Insect Media won the 2012 Anne Friedberg Award for Innovative Scholarship (Society for Cinema and Media Studies, SCMS). Eugene Thacker kindly wrote about the book: “With Insect Media, Jussi Parikka offers a theory of media that challenges our traditional views of the natural and the artificial. Parikka not only understands insects through the lens of media and mediation, he also unearths an insect logic at the heart of our contemporary fascination with networks, swarming, and intelligent agents. Such a project requires the ability to interweave cultural theory with a deep understanding of the sciences—something for which Parikka is well-suited. Most importantly, Insect Media reminds us of the non-human aspect of media, communication, intelligence. Insect Media is a book that is sure to create a buzz.”

Some earlier reviews of Insect Media:

Theory & Event
Mute Magazine
Rhizome
WSQ: Women’s Studies Quarterly [PDF]

 

 

 

Conversations in Time: A Dialogue with Haroon Mirza

I was asked to be in dialogue with the visual and sound artist Haroon Mirza for the just released series of conversations that forms part of the Aarhus 2017 Capital of Culture-year programme. They are launched online now and feature many interesting dialogues and recordings.

Conversations in Time is a series of new dialogues inspired by Suzi Gablik’s important book, Conversations Before the End of Time (1995).

Taking off from the prescient dialogues transcribed in Gablik’s book, contemporary artists, writers and cultural thinkers ruminate on the question:

What is the purpose or role of art in an age of accelerating social change and environmental uncertainty?

New conversations will be added throughout the duration of the Aarhus European Capital of Culture 2017 Public Programme.

You can listen to our dialogue with Haroon here. Besides an engaging conversation partner, I was reminded that he is also a Winchester School of Art graduate (BA in Fine Art)!

And we are in excellent company: the other dialogues feature people like Marina Warner, Adrian Searle, Lara Pawson and several other influential writers, scholars, artists, etc.