Archive

Archive for the ‘academic research’ Category

AMT: An Office Manual

June 5, 2017 1 comment

AMT_twitter header

Together with Ryan Bishop we wrote this short Office Manual as a short introduction to some of the work at AMT.

Ryan Bishop and Jussi Parikka:

AMT: An Office Manual

The abbreviation of Archaeologies of Media and Technology, our research group, is AMT. This is not accidental, but for those picking up the German connotations, it also becomes “office”: das Amt. But why an office? An office for media theory and speculative practice? What follows is a brief manual for the Office at Winchester School of Art, University of Southampton.

Alongside the factory and the laboratory, the office is a place of modern media par excellence. Information travels through the office. Addresses are managed. Memos are written, passed on, transmitted, received, acted upon, archived. Some of this information is produced in the office; some comes from outside of it. Data becomes information in the office. Technologies of writing form the office as a site of media: the typewriter among the most central ones, as an office technology that transforms the inscription of meaning across the 20th century. The typewriter goes “click”, as Vilém Flusser reminded us, articulating it as the sound of mechanical operations. The typewriter, and the world it represents, leads to the centrality of calculation: “We are therefore forced to calculate rather than to write, and if we insist on writing, we have to go ‘click’”.

Besides typewriters, it’s the dictaphones, calculating machines, adding machines, telegraphs, printers, computers, filing cabinets, faxes, teletypes, telephones, photocopiers and other technologies – some more grey than others – that are the backbone of the administrative infrastructure of modern culture. Hence instead of asking “why office?” it is more apt to ask if you did not receive the memo: technical media was always centrally about the office anyway. At the beginnings of the entry of modern technologies of calculation, transmission and control stood the office and the office clerk, something that great documenter of modern bureaucracy Franz Kafka knew all too well.

Offices occupy the university too. The centrality university spaces revolve around the office, the seminar room, the lecture hall, the studio, the library and a couple of other places but in the administrative organisation of what goes where, the office is central. As one of the three institutions in the West that have survived since the Middle Ages (in addition to the Church and the Military), the university generates offices that in turn generate the university. To speak of media technologies through the office rather than the usual media vocabularies of mass media reminds of us of this other, extended definition of media: techniques and technologies of inscription, transmission, analysis and backbones of various imaginaries that situate contemporary culture in a broader historical context. The office is out of joint. Give me an office and I will raise a world.

Our Office, AMT, is a place of connections. It is a platform for that space where the studio meets the library, the archive meets the lab; these disciplinary spaces are in conversation in ways that underscore the ineluctable continuum of theory and practice. Our Office is interested in the practices of theory in technological culture as much as it is working through projects that are practice-led and feed conceptual work too. We are always interested in the inseparable relations between the material and the immaterial, the synchronic and the diachronic. Our Office is large. It contains multitudes.

The Office also operates as a speculative platform. The media-supported backbone of culture is also one of imaginaries and speculative practices that often look like an avant-garde arts version of a writing machine. Office projects engage with technologies of inscription but not merely traditional writing. The work of image sensors, for example, often operates as an important but less investigated element in digital visual culture. Similarly visual planetary remote sensing as an extension of non-human locations of seeing, processing and transmitting images outside the human operator or analyst is an exceptionally powerful, ubiquitous and complex set of technologies of inscription. Besides visual forms of knowledge in technological culture, we have examined what digital data does to cultural institutions; how infrastructures reinscribe forms of public and private; how the internet of things prescribes also the internet of cultural things. In other projects the archival image is investigated through art practices, forms of description that also expand to Situations of Writing, a project led by our colleagues in the Critical Practices group.

It’s all part of post-digital culture – a topic of investigation as well as a reality in which the Office is situated. Our Office also works with other institutions, such as our partner transmediale.

The Office, of course, does practice media archaeology: investigations into the historical conditions of existing technologies and their practices, uses, misuses, abuses, missed opportunities and potential speculation about art, science, technology, hyphenated together. The Office Manual consists of techniques of tactical misunderstanding and misuse, of wrong paths that produce much more interesting meeting agendas than the assumed routes. The linear narratives of many technological emergences, just as those for scientific discovery, often discount the accidents, blocked pathways and fortuitous combinations that often result in teleological triumphalism. The Office urges those complications to the heroic narrative to be accounted for and considered. Because, as we have to acknowledge, only what can be typed, tabulated and filed exists: before any narrative, there is a technology and a clerk performing the work of inscription.

AMT Logo // thank you to Dr Jane Birkin

The Residual Media Depot summer school

I had the pleasure of being one of the participants in the Media Archaeology summer school in Montreal at the Residual Media Depot (Concordia). Invited by Darren Wershler, and teaching alongside also Lori Emerson, we had a wonderful group of participants from Canada, Finland, USA, UK and Spain whose own projects and their work at the Depot during the week demonstrated a fantastically broad spectrum of what media archaeology can perform.

DAtyqGfXsAAvUuQ

I could not emphasise the word perform enough: while we engaged with the theoretical limits and limitations of theoretical work in and around media archaeology, including how it interfaces with for example infrastructure studies, the various probes the students presented and the hands-on work in the Depot investigated the idea of collections as part of the methodology. The performative aspect of media archaeology – and theory broadly speaking – allows to both see it as a situated practice that benefits from its access to institutions and collections as well as creates the space for such to exist: to imagine a media archaeology lab or a collection becomes also a projective way of engaging with the current themes of reshifting humanities infrastructure and institutional changes. As Wershler and Lori Emerson, the director of the Media Archaeology Lab at Boulder, Colorado, also underlined, it is through the particular materiality and access to collections that one can think differently in relation to what are often deemed objects of (media) cultural heritage.

Screen Shot 2017-05-27 at 14.48.42.png

Relating the course’s themes to also his own research, Wershler explained how his interest in the cultural life of signals builds on work in the Depot too. To engage in the work of assembly through old but still functioning systems one is led to understand the various ways the life of signals is constantly constructed and re-constructed across multiple fields of agency from hobbyists to the mini-industry building the various technological tools for an afterlife of for example consoles.

Media archaeology embodies multiple temporalities. The different theoretical frameworks from Erkki Huhtamo to Siegfried Zielinski to Wolfgang Ernst are different solutions to the problem of time – how to approach time differently in methodological ways and in ways that understand technical temporality. For example, Ernst’s ways of approaching time criticality and temporal operationality are something that both offer a different ontological take on technology and also can act as interesting guides in how we work with collections such as the Depot.

In my view, the Residual Media Depot was a perfect platform for the workshop. Wershler had designed the week as a mix of theoretical investigations, student probes and practice-based work that functioned somewhere between maker methodologies, art practices and an archival interest in collections that are important for media theory too. The collection is focused on cultures and technologies of gaming with a special focus on consoles, but as Wershler emphasises, it is not a game archaeology depot. The consoles and the material around them is an entry point to media history and signal culture.

DAtyHIdW0AAwr-O

In several ways, the Depot’s work aligns nicely with the Media Archaeology Lab but also with our AMT group: to establish a framework and an enabling situation for a research-teaching continuum that is interested as much in practice-based work as it is in explicating what practices of theory are. All of this feeds also as part of the Lab Book we are writing together.

You can find more information about the Depot on their website and on the same site you can find all the student probes from our week of Media Archaeology.

The Residual Media Depot (RMD) is a project of the Media History Research Centre in the Milieux Institute at Concordia University.

DAnMWlNXcAcTbui.jpg

What is AMT? A video and an interview

December 10, 2016 Leave a comment

In this video, myself and Ryan Bishop talk a bit more about what the new research group (or office) Archaeologies of Media and Technology does and how it sits as part of the research and practice at Winchester School of Art.


In addition, a new interview with me (conducted by Thais Aragão) is now online and available in English and in Portuguese. The interview is focused on AMT as a platform for practice and theory and how it connects to themes in media archaeology and digital culture research.

You can find AMT online at: http://www.southampton.ac.uk/amt/

and on Twitter at @amt_office

Elements – a new book series

October 13, 2016 1 comment
Here’s some information about a new book series, Elements – edited by Nicole Starosielski and Stacy Alaimo. It is published by Duke University Press, which is starting some great new series (in addition to this, also the Cultural Politics-book series).  Find below the introduction-text to Elements from the editors:

Over the past decade, studies of culture have crystallized around the elements, as scholars have endeavored to think with material substances. The classical elements of earth, water, air, and fire for example, have inspired several recent books, including Jussi Parikka’s A Geology of Media (2015), Jeffrey Jerome Cohen’s Stone (2015), and Thinking with Water, edited by Cecilia Chen, Janine MacLeod, and Astrida Neimanis. Nigel Clark and Kathryn Yusoff drawing together histories of fire, cultural theories of the sun, and pyrotechnics, have proposed that a “generalized study of combustion” is key to understanding human energetic exchanges.[1] More broadly, Jeffrey Jerome Cohen and Lowell Duckert recently published a collection driven by all the classical elements, assembling elemental criticism as an explicitly ecological project: Elemental Ecocriticism: Thinking with Earth, Air, Water, and Fire. Other forms of matter, from ice to plastics, are forming new centers for emerging environmentally-oriented conversations.[2] And we expect that more scholars will undertake projects focusing on the chemical elements of contemporary science, as carbon, rare earth minerals, and polymetallic sulfides—entangled in climate change, ocean acidification, terrestrial mining and deep sea mining—become the focus of scientific, ethical, and political concerns.

Book series tend to be bound by geographic areas, disciplinary focus, a shared set of theoretical questions, and objects of study. The Elements series would include texts with a commitment to examining social and cultural processes in relation to particular forms of matter, regardless of disciplinary approach. We imagine that the series will include historical texts that explicate discourses and knowledge about the elements, ethnographies that track how the elements are socially engaged and culturally constituted, studies of scientific knowledge of the elements, and works that think through the representation and material role of the elements in the production of art, texts and technologies. Regardless of their site, we welcome texts in which the elements, whether as part of the waves of the ocean or the circulations of the atmosphere, are not a neutral background, but lively forces that shape culture, politics, and communication. We are interested in manuscripts that track the elements in their classical sense, that follow particular scientific elements, molecules, and materials, or that offer inventive sites for rethinking what constitutes the elemental.

The elemental approach has reached the point where researchers have begun to offer philosophies and paradigms for its analysis, including David Macauley’s Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas (2010), Jeffrey Jerome Cohen and Lowell Duckert’s edited collection, Elemental Ecocritcism: Thinking with Earth, Air, Water, and Fire (2015), and John Durham Peters’ The Marvelous Clouds: Towards a Philosophy of ElementalMedia (2015). These works offer a number of strategic reasons to adopt the elemental as a framework for ecological analysis, rather than concepts such as “environment” or “nature.” Macauley writes, for example, that understanding the elements does not entail “referring back to ‘Nature’ itself as an entirely stable sphere of meaning—a repository of the ontologically pregiven—so much as gesturing forward (sideward and wayward) to the possibility of discovering a more fluid, open and unfolding philosophical framework and ecological field.”[3] Although many of the elemental works mentioned above have been motivated by a need to better understand the ecological crisis, many others do not fit within existing ecocritical and environmental frameworks. And similarly, just as many of these works are informed by work in the new materialism, not all operate under this rubric.

As is true of the elements themselves, the books we witness engaging them, and which we would feature in this series, are not always neatly constrained in a particular field such as geography, history, anthropology, literary criticism or philosophy, nor within areas such as digital media or new materialism, even as their study has profound implications for all of these fields. In assembling diverse inquiries into particular forms of matter, we hope that the series will be a meeting ground for work on earth, water, air, chemicals, minerals, fuels, plastics, and other such substances as they circulate and interact with and as part of environmental, technological, cultural and political formations. Our interest is not in creating a set of definitions for what the elemental might be, but to open a space for such innovative work at Duke University Press. Duke’s strengths in theory, cultural analysis, environmental studies, and science studies, and the fact that the Press has already published many works emerging around this topic, make it an ideal location for these exchanges.

In order to maintain a distinctive focus on the Elemental, we are not soliciting projects that lack sustained attention to substances and materialities. While the books in the series will all be theoretically informed—and some may be primarily theoretical—all of the projects should still engage, in a serious and sustained way, with the elements—broadly conceived.

Submission Process
Each book in the Elements series will go through the standard submission process of Duke University Press and will be approved by the series editors. For consideration in this series, please email proposals, sample, chapters, or completed manuscripts to Nicole Starosielski and Stacy Alaimo: ns119@nyu.edu and alaimo@uta.edu. Proposals may also be sent directly to Courtney Berger at Duke UP: cberger@dukeupress.edu; see also https://www.dukeupress.edu/Authors/

 


[1}Nigel Clark and Kathryn Yusoff, “Combustion and Society: A Fire-Centred History of Energy Use,” Theory, Culture & Society 31 no. 5 (September 2014): 203-226; See also: Kerry Ryan Chance, “Where there is Fire, there is Politics”: Ungovernability and Material Life in Urban South Africa,” Cultural Anthropology 30, no. 3 (2015): 394-423; Nigel Clark, “Fiery Arts: Pyrotechnology and the Political Aesthetics of the Anthropocene,” GeoHumanities 1, no. 2 (2015): 266-284.
[2] Jennifer Gabrys, Gay Hawkins, and Mike Michael, eds. Accumulation: The Material Politics of Plastic (New York: Routledge, 2013).
[3] David Macaley, Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas (Albany: SUNY Press, 2010), 4. 

Digital Contagions,v.2

October 7, 2016 Leave a comment

Last year I was contacted by the publisher of Digital Contagions, which was my first book in English: the commissioning editor proposed to edit a new, upgraded version of the book. Yesterday, the final product arrived and I am happy to tell that with a new cover, with some new text and in general edited, pruned and much more smoothly flowing, it is out – again! And I very excited that it has Sean Cubitt’s new preface too.

Screen Shot 2016-09-29 at 11.44.10.png

The new cover is from Eva and Franco Mattes’ installation Perpetual Self Dis/Infecting Machine (2001-04): a Custom made computer infected with the virus Biennale.py.

Here’s the back cover with a summary and some nice endorsements from Tiziana Terranova, Charlie Gere, Alex Galloway and Sean Cubitt!

screen-shot-2016-10-07-at-10-23-32

You can find the book on Peter Lang website and on Amazon and hopefully other online bookshops. Please contact me if you require a review copy.

And as a blast from the past, here’s an interview Matthew Fuller did with me around the publication of the first edition.

AMT – Archaeologies of Media and Technology

June 13, 2016 1 comment

AMT3.jpg_SIA_JPG_fit_to_width_INLINEThe site for our new research group, AMT (Archaeologies of Media and Technology) is now live: http://www.southampton.ac.uk/amt/.

Directed by myself and Ryan Bishop, AMT is located at the Winchester School of Art and is an “office for media theory and speculative practice in art & design”.

We are on Twitter as @amt_office and here’s the short description of what AMT stands for:

Amt – (German) an administrative unit, office
Also: Airy Mean Time, a time standard used for timekeeping on Mars

Archaeologies of Media and Technology (AMT) is a research group that approaches technology and media writ large through their links to science, art, visual culture and critical theory with a strong emphasis on artistic practices. We investigate the conditions of existence of contemporary media technologies through design and art, in relation to both contemporary culture and cultural heritage with an eye toward the future.

The group will kick off with a range of activities after the summer including a small launch event planned tentatively for October even if we are already now involved in many things happening. The group builds on earlier work we have done with the transmediale-festival as well as many other links both in the School, in the UK and internationally. We have hosted various talks in these fields in the past years, including by Shannon Mattern, Alex Galloway, Lawrence Grossberg, Laurence Rickels, Olga Goriunova, Tony Sampson, Joanna Zylinska, Shintaro Miyazaki, Victor Burgin, Esther Milne, Pasi Valiaho and many others. We have hosted events such as Media Theory in Transit and The Image of the Network.

This week Linda Hilfling is giving an artist talk “Adding to the Paradox.”

We will post more info during and after summer with events at WSA and through projects with our international friends and partners!

amt_card_banner2

The lab as a symptom

I am giving a talk on Laboratory Fever in Amsterdam later in May and I am currently drafting some notes for that. This talk is part of the larger research and book project with my colleagues Lori Emerson and Darren Wershler, and most of our research process is documented on the What is a Media Lab-website. Below however a short excerpt from the forthcoming Amsterdam talk, and relating to a passage about (culture/humanities) labs as places of making, and the lab as  a symptom.

___

In her historical contextualisation of the laboratory (“The Laboratory Challenge”), Ursula Klein puts it in rather clear terms: the laboratory was not merely a place of pure science and before the institutionalisation of the site since the 19th century as part of the scientific set up, it had many artisanal connotations as well. The lab was anyway part and parcel of a set-up of making and things, where knowledge was produced in material settings. Indeed, her interest is articulated relating to this “laboratory tradition that meshed studies of nature with technological innovation.” Now, I wonder, how much could we gain and how far could we venture with the poached idea if we did a sort of a minor tweak and see how it sounds when considering the rhetorical promise as well as conditions how we think of labs in the humanities interested in culture and making?

“the laboratory tradition that meshes studies of culture with technological innovation”.A simple and elegant hack, and an update of the scientific lab to a more humanities one? Acknowledging both the relation to “critical making” and also the nexus of culture and technology? Would this solve some of our problems and establish a seeming relation to the scientific labs as labor and elaboration of nature?

But too easy quips aside, there is something in the ways in which the lab as a site of technological making and artefactuality, in some ways, can be seen relating to the arguments by historians of science. Indeed, have we arrived at a situation where we return to the pre-scientific contexts of experimentation and wonder, where also romantic poetry is pitched as such a mode of experimentation, as Novalis once had it, and cultural realities can also found their sites of tests and experiments? Is the lab the neo-romantic but also the pre-scientific lab – a place of making and apparatuses, a place happy to borrow from the scientific aura of the science lab but not merely as an imitation of that model, but a sort of a institutional move that fits in with the issues of basic funding for departments too? Some might critique it as exactly a nostalgic move: at a time when most technocultural processes seem to be escaping the horizon of phenomenological perception and the tool-making Man’s hand, we establish sites of such nostalgic proximity to individual technologies that are merely at most interfaces to the massive planetary level technological infrastructures. And yet, establishing concrete sites might be one way of interfacing not only with technologies but educational possibilities of intervention with that technological reality.

Because of the magnitude of questions “the lab” triggers, the number of separate and distinct labs there exists, and that  every lab could produce  their own particular answer, I would suggest that it is more fruitful to consider the lab not so much as a solution but as a symptom itself; just like Thomas Elsaesser (2016) recently asked about the discipline of media archaeology the question: instead of what is, we should ask why now? And we can extend the same logic of questioning to labs: not just what is a lab but why now? What is it about the lab not merely as an internal place of new methods or new forms of creative or academic activity but as a fold between such techniques and external political and economic conditions of current institutions that makes it a symptom? What are the sort things that temporalise this spatial setting as a question of the now – a question that defines it as a contemporary setting for particular experiments in not only academia or creative industries, but in “political anthropology of new institutional forms” to use Brett Neilson and Ned Rossiter’s ideas.