Theory, Culture & Society asked me and Paul Feigelfeld to edit an e-special issue on the work of the German media theorist Friedrich Kittler. We are happy to announce that the issue has now been published and it is the first in a series of e-specials the journal is commissioning. Our issue includes a selection of Kittler’s own articles and texts by other scholars about his work. The articles are open access for a selected period. The issue includes also a new Kittler-translation “Authorship and Love” which is introduced by professor Geoffrey Winthrop-Young.
We also wrote the introduction to the issue: Kittler’s Media Exorcism (PDF).
Recently also this book Media After Kittler got published, and there is a French translation of Kittler’s software writings forthcoming later this year.
France has not really been known for any particular warm academic embrace of media studies despite the otherwise interesting legacies of theories of technology. However, Sorbonne at Paris 3 is running now a seminar on media archaeology, more specifically called “Archéologie des médias et histoire de l’art” convened by Larisa Dryansky together with Antonio Somaini and Riccardo Venturi.
Their list of speakers is very exciting and for its own part demonstrates that there is a body of really interesting work on new technologies and media archaeology in France. A lot of scholars all around the country are working actively on philosophical and historical themes that pertain to media histories and contemporary culture. The Sorbonne series is part of the National Institute of Art History (INHA) and you can download the full programme (as PDF) here.
Besides individual researchers’ work and the recent MCD special issue, also future translations of work such as Friedrich Kittler’s is bound to have an impact on the conversations happening in French. Two Kittler translations are expected to come out in 2015.
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.
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.
Friedrich Kittler’s words seem prophetic, telling the story of metadata and its politically sustained unreachability: “Maybe Jagger was wrong. We can always get what we want, from CDs to cable TV. Just not what we need: information on information. The fact that currents of media desires flow camouflages a situation in which information technology is strategy.
Paul Feigelfeld has done a great thing and translated Friedrich Kittler’s text “No Such Agency” from 1986 into English. What seems a rather visionary move – to talk of the NSA technological surveillance activities in the 1980s already – is just a proof of the German media theorists ability to perceive the intimate link modern forms of intelligence and technology have. Below our short intro to the translation, written together with Paul:
Introduction to Kittler’s “No Such Agency”
by Paul Feigelfeld and Jussi Parikka
German media theorist Friedrich Kittler’s short text on the NSA (National Security Agency) titled “No Such Agency” was originally published in 1986. The German newspaper and online publication TAZ decided to publish the piece from its archives in January 2014, after months of heated discussion about the NSA after the Snowden leaks. What the piece reveals is less the idea that Kittler should be branded a visionary, but that the NSA has a long technological history.
The text is a sort of a review of, or at least inspired by, James Bamford’s book The Puzzle Palace: Inside the National Security Agency, America’s Most Secret Intelligence Organization (1983) and its German translation, NSA. Amerikas geheimster Nachrichtendienst, which came out in German in 1986.
At the time, Kittler had just fought through Aufschreibesysteme: 1800-1900 as his habilitation, and Gramophone, Film, Typewriter was looming. More significantly, however, he had just bought his first computer and taken up programming. Like Kittler, the Arpanet was slowly switching to UNIX and C as a technical standard, before the internet of the 1990s. In Germany during the 1970s, BKA chief Horst Herold had implemented “Rasterfahndung” or dragnet policing as a countermeasure to the RAF (Red Army Faction) threat. And as Kittler demonstrates in his text, the NSA’s role of power in information infrastructures was not a reaction to the internet, but an act of design within those systems.
The piece shows Kittler’s interest in secrecy and the military basis of media technologies – but significantly, it reminds us that the media theorist was always as interested in institutions as their technical networks of knowledge.
Photographer Trevor Paglen, famous for his photographic mapping of networks and sites of power in the post 9/11 US, and recently his NSA photography, argues how “secrecy ‘nourishes the worst excesses of power’” . But for Kittler, one could say that secrecy is power: the technically mediated possibilities of circulation, restriction and gathering of information way before the Internet and much before Edward Snowden was able to give us a further insight into the extensive contemporary forms of surveillance excessively interested in us humans. For Kittler, however, this already marks the possibility that the information gathering and processing machines are at some point not anymore even interested in human targets: “With the chance of forgetting us in the process.”
Read Kittler’s “No Such Agency” here.
I am pleased to announce that I have signed a contract with University of Minnesota Press for a new book tentatively called A Geology of Media.
Planned for 2015, A Geology of Media forms the third, final part of the media ecology-trilogy. It started with Digital Contagions: A Media Archaeology of Computer Viruses (2007) and continued with Insect Media (2010). This book on the geophysics and the non-organic ground of media complements the earlier takes by offering a media materialism from the point of view of geological resources, electronic waste and media arts. Through engaging with several contemporary art and technology projects it provides a media theoretical argument: to think of materiality of media beyond the focus on machines and technologies by focusing on what they consist of: the chemistry and geological materials of media, from metals to dust.
In short, I am interested to see if what pejoratively sometimes is called “hardware fetishism” is not hard enough, and even media and cultural theorists need to focus on the rocks and crust that make technical media possible. Earth history of deep times mixes with media history, which becomes a matter of not only thousands, but millions of years of non-linear history (to modify Manuel Delanda’s original idea). This way media materialism becomes a way to entangle media technologies, environmental issues and themes of global labour. Perhaps instead of the Anthropocene, we should just refer to the Anthropobscene.
I’ve been in recent talks and short posts been addressing the geological in media, and my piece in The Atlantic offered a short preview of what’s to come. In addition, below a very tentative table of contents. This project (and the Erkki Kurenniemi book I am working on with Joasia Krysa) will keep me busy for a while.
A Geology of Media
1) Introduction: Grounds of Media/Culture
2) An Alternative Deep Time of the Media
3) Psychogeophysics of Technology
4) Dust and the Exhausted Planet
5) Media Fossils
“Zombie Media”, by Garnet Hertz and Jussi Parikka
Siegfried Zielinski asked me to write a very short dictionary type of entry on “Archaeology” for an exhibition catalogue. The exhibition will take place at Edith Russ Haus for Media Art in 2014 and they are going to do an exhibition on Zielinski’s AnArchaeologies and Variantologies, including some artistic positions by David Larcher, Herwig Weiser, Anthony Moore and others. Below my contribution.
The 19th century disciplinary invention of “archaeology” has had major impact in and out of academia. Besides the specific methods for investigating the material remains of human cultures, of building on the fragments to create collections, narratives and modes of preservation for a varia of objects and documents, the archaeological imaginary penetrates our audiovisual culture. It persists as an imaginary of itself: the narratives and images of hidden treasures waiting to be ungrounded. And it persists as the conceptual legacy that comes not only from archaeology proper, but also from Immanuel Kant.
Kant’s idea of philosophical archaeology itself ungrounded the idea of conceptual work building on the ruins of earlier philosophers. As Giorgio Agamben argues, this lead to the more fundamental notion of arkhé that refers not to origins, but to command and commencement. In a way that resonates with the media archaeologist Wolfgang Ernst’s understanding of the “arche” in (media) archaeology, this archaic moment is less the historical than the conditioning beginning of any analytical and genealogical investigation. For Agamben “[a]rchaeology is, in this sense, a science of ruins, a ‘ruinology’ whose object, without constituting a transcendental principle properly speaking, cannot really claim to be there as an empirically given totality.”
Such an understanding shifts from archaeology proper to the archaeology of knowledge in Michel Foucault’s sense. It displaces archaeology restricted to material excavations and works it into a method of archival and philosophical conditions of knowledge – its objects, statements and assumptions. With media archaeology as practiced by a variety of scholars from Siegfried Zielinski to Erkki Huhtamo, Thomas Elsaesser to Wolfgang Ernst, and even with Friedrich Kittler’s earlier writings, the material returns at the centre of the archaeological dig. It has many different meanings and ways of adopting to the object of investigation but it insists on irreducibility to the textual.
Indeed, what in archaeology are the methods necessary to approach the time before writing and the document pertains for media archaeologists both to the pre-cinematic as a similar rhetorical field of investigation and to the ontologically important idea of the arche as a command – even a technological command as the starting point for ungrounding media cultural ruins still present.