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The Elastic System launches online

September 10, 2018 Leave a comment

Richard Wright’s art project the Elastic System has launched now online too. Originally commissioned as part of our AHRC funded project Internet of Cultural Things, the piece was first a temporary installation at the British Library (and subsequently touring to Hartley Library, University of Southampton where it was presented with support from Dr Jane Birkin and AMT).  Please find below the Press Release for the online launch. I myself am currently writing a text on art practices, library infrastructures and contemporary cultures of data in cultural institutions.

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Press Release

www.elasticSystem.net

Follow: https://twitter.com/ElasticSystem

You are invited to visit the new high resolution version of the ELASTIC SYSTEM, an artwork by Richard Wright in collaboration with the British Library.

The ELASTIC SYSTEM was produced during a year-long artist-in-residency at the British Library and is the first artwork to be given access to their core electronic networks and databases.

The work takes the form of an interactive portrait of the C19th librarian Thomas Watts, an obscure but important figure in the early history of information technology. In 1840 Thomas Watts invented his “elastic system” of storage for the British Library to cope with the enormous growth in their collections that was threatening to overwhelm them. This photomosaic has been generated from 4,300 books as they are currently stored in the Library basements at St Pancras, an area not normally accessible to the public. The “Elastic System” functions like a catalogue, allowing people to visually browse part of the British Library’s collections, something which has not been possible since Watts’ time. Furthermore, each book is connected live to the Library’s electronic requesting system. By clicking on a book you can find out more about the item and how to request it from the Library. If you do request a book, it is removed from the mosaic to reveal a second image underneath. This image is a portrait of the staff who work in the underground storage basements, the hidden part of the Library’s modern requesting system.

In order to create the second image, the artist spent two days working with the basement staff at the St. Pancras site, taking hundreds of photographs. With a collection as large and as diverse as the British Library’s, its successful functioning depends on a well tuned human element, which although it is as essential as the electronic networks, is less visible and less appreciated.

After being exhibited as an installation at the British Library, the Hartley Library and the Digital Catapult centre, the “Elastic System” has now been optimised and rebuilt at double the resolution. It is being released as a public web site on September 9th to mark the anniversary of the death of Thomas Watts in 1869.

This work is part of an AHRC funded research project called “The Internet of Cultural Things”, a partnership between the artist Richard Wright, Dr Mark Cote (KCL) and Professor Jussi Parikka (Winchester School of Art) with wide representation from the British Library including Jamie Andrews, Head of Culture and Learning, Dr Aquiles Alencar Brayner and Dr David Waldock. The aim is to use digital data and the creative arts to transform the way people and public institutions interact. The “Elastic System” uses Watts early C19th insights into database access to create a new catalogue out of visual metadata (digital photographs), making it a portrait that is also an extension of his work.

Richard Wright is an artist working in animation, moving image and interactive media. An archive of his work can be found here: www.futurenatural.net

Email: contact@elasticsystem.net

The artist has written three blog posts about their research behind this project:

https://internetofculturalthings.com/2016/06/08/where-is-the-library/

https://internetofculturalthings.com/2016/06/18/what-can-you-do-with-a-library/

https://internetofculturalthings.com/2016/09/01/elastic-system-how-to-judge-a-book-by-its-cover/

Google Photos: https://tinyurl.com/ElasticSystem-images

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1:1 and Cartographic Operations

March 11, 2017 2 comments

Cartographic Operations-exhibition is on at the Level 4 gallery in Southampton (Hartley Library). Supported by AMT, it features work from Winchester School of Art practitioners addressing maps. Jane Birkin, Abelardo Gil-Fournier, Sunil Manghani and Ian Dawson’s pieces address the main theme: “In Bernhard Siegert’s ‘The map is the territory’, he refers to the idea of ‘cartographic operations’. The suggestion is that our way of seeing the world is not simply represented in maps, but that map-making is itself a play of competing signs and discourses producing our subjecthood. These are the coordinates we come to live by, which in turn influence the marks and signs at our disposal when we seek to make and share representations of the world.”

One of the pieces is Jane Birkin’s 1:1 which is described and show below. It opens up the exhibition space to the depth of the surface by making visible the electric current and metal inside the wall. While it can be read in relation to some earlier pieces of contemporary art it also speaks to the current work in critical practices of infrastructure.

Birkin 1 to 1_med

From the catalogue text:

Jane Birkin’s 1:1 is a direct mapping of infrastructure behind the white space of display. It is ­a piece produced by performative procedure: a regulated operation where authorial control is established at the outset and rules are strictly followed. Electric current and metal are plotted using a DIY store metal/voltage detector and the information transferred simply to print.

There are literary precedents for mapping at this scale. In Jorge Luis Borges’ short story On Exactitude in Science cartography became exactingly precise, producing a map that has the same scale as its territory. And, in Lewis Carroll’s Sylvie and Bruno Concluded, a German professor tells how map-makers experimented with the use of ever larger maps, until they finally produced a map of the scale of 1:1. ‘It has never been spread out, yet’, said the professor. ‘The farmers objected: they said it would cover the whole country, and shut out the sunlight!’ In this case, the gallery wall is covered, shut off from light and eyes. Although 1:1 is an impassive engagement with the rule-based activity of cartography, it simultaneously performs an affective act of display.Birkin 1 to 1 detail_med.jpeg

 

 

 

 

UNSW Distinguished Scholar Visit

February 19, 2015 Leave a comment

I am pretty chuffed about this visit: I received one of the University of New South Wales (Sydney) Distinguished Visiting Scholar awards and will be giving some talks and a workshop, as well as meeting loads of people during  my time in the Southern hemisphere.

It’s not a big surprise that my talks and workshop will focus on media theory, materiality and history. In the workshop, or “master class”, we will be reading key texts of German media theory, especially focusing on the concept of cultural techniques.

One of the talks (on March 17) will be on the geophysical materialities of media in art and technology, “a story less about extensions of Man than extensions of the planetary.” It’s a preview of the forthcoming book A Geology of Media.

Screen Shot 2015-02-19 at 11.00.17 AM

In addition, another talk (March 16) is an early attempt on what might become a research/book project together with Lori Emerson and Darren Wershler on humanities labs/media archaeology labs. Below is the abstract for that. Thanks to Tom Apperley at UNSW for coordinating and facilitating the visit. For any queries related to the talks, contact Tom.

A Laboratory Practice? Media Archaeology Labs and Humanities Knowledge as Creation and Hacking

This talk will address media archaeology but from the angle that considers it as a spatialised, institutionalized practice. By addressing existing and emerging media archaeology labs such as in Berlin, Boulder (Colorado) and other places, it aims to offer ideas how to contextualize the idea of “labs” in contemporary humanities. Media archaeology labs are often pitched as a way to think cultural heritage and contemporary technology outside the more established institutional practices of archives and museums. Instead, the labs seem to have become sites of “hacking”, opening up technologies and pedagogical ways of appropriating past technologies as epistemological ways of understanding modern technological culture. Besides offering examples and introduction to some key ideas and practices, the talk aims to expand to artistic practices and other cross-disciplinary ways of humanities knowledge-creation.

“More things in Theory…”: An Interview with GWY

December 22, 2014 Leave a comment

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.

The Anthropocene to the Anthrobscene

October 31, 2014 4 comments

The Anthrobscene is now out and available as a short e-book in the new University of Minnesota Press series Forerunners. The short book (77 pp) extends on the notion of the deep time of the media (Zielinski) to talk of the geological and electronic waste layers that characterise media technological materiality. It consists of four short sections

1. And the Earth Screamed, Alive
2. An Ecology of Deep Time
3. A Media History of Matter: From Scrap Metal to Zombie Media
4. Conclusion: Cultural Techniques of Material Media

The sections outline  the idea of materialities of media in the context of the Anthropocene – the suggested and widely discussed term for the geological period where the human being has had such a significant effect on the planet to merit a new periodization. But the idea is to extend this to emphasise the obscenities of the environmental damage that works across natural, social and media ecology.

The Anthrobscene is a preview or if you prefer, a single, of the forthcoming longer book A Geology of Media (out next Spring).

anthrobscene cover
The book is one of three that kickstarts the new Forerunners series, “a thought-in-process series of breakthrough digital works written between fresh ideas and finished books” and characterized as “gray literature publishing: where intense thinking, change, and speculation happens in scholarship.” The series is edited at the University of Minnesota Press by Danielle Kasprzak.

The Anthrobscene is available for download directly on the UMP website as well as in your “local” Amazon (Kindle and the slightly more expensive print on demand paperback) and gradually in other e-book stores too, including now already on Barnes & Noble & Kobo. The Amazon-page has a preview of the content.

Recursions: a new book series in media & cultural theory

April 30, 2014 5 comments

recursions logoWe 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.

Forthcoming 2015

  • Sybille Krämer – Medium, Messenger, Transmission: An Approach to Media Philosophy.
  • Claus Pias – Computer Game Worlds.

Editorial Board

Advisory Board:

  • 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)

aup logo

Authors’ information

Proposals welcomed

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.

Further information

If you are interested in publishing a book with us please contact Jeroen Sondervan, Senior Commissioning Editor for Film & Media Studies at j.sondervan@aup.nl or one of the series editors.

More information about Amsterdam University Press.

 

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.