March 7th, Tuesday, we will be launching our new books with Tony Sampson in London. Tony’s wonderful study The Assemblage Brain and my Digital Contagions (2nd, revised edition with a new preface by Sean Cubitt that can also be read for free online) will form the context for our short talks under the broad rubric of “experiencing digital culture”.
A short description below and to book tickets (free) see Eventbrite. Kings College London and their Arts & Humanities Research Institute are hosting the event.
We’ve worked with Tony since our joint edited book The Spam Book: On Viruses, Porn and Other Anomalies from the Dark Side of Digital Culture, which I still feel is a timely book with a pretty impressive cadre of writers such as Matthew Fuller and Andrew Goffey (on evil media!), Steve Goodman, Luciana Parisi, Susanna Paasonen, Greg Elmer, Alex Galloway, Eugene Thacker and many others. Ever since, I’ve always gotten a lot out from following Tony’s work, and same applies to his new book.
I also wrote the blurb for The Assemblage Brain and can warmly recommend it:
‘Tap my head and mike my brain’; Tony Sampson’s new book might silently echo Pynchon’s famous lines, but this is also an original, inspiring, and theoretically savvy take on the culture of the affective brain, from sciences to business, cybernetics to political power. Warmly recommended.
Experiencing Digital Culture
Jussi Parikka and Tony D. Sampson’s work has threaded its way through the digital cultures field by means of a series of radical interventions, drawing on such concepts as anomalies, accidents, assemblages, contagions, events, nonrepresentation, affect and neuroculture, in order to critically rethink how the power of the digital age is experienced and embodied.
In this discussion the two theorists follow some of these fibrous conceptual strands as they intersect and overlap with each other in two recent publications: the new revised edition of Parikka’s landmark Digital Contagions: A Media Archaeology of Computer Viruses (Peter Lang, 2016) and Sampson’s new book, The Assemblage Brain: Sense Making in Neuroculture (University of Minnesota Press, 2016).
The discussion will be followed by a joint book launch and drinks, which will be generously provided by University of Minnesota Press in the Somerset Café.
Peter Lang have kindly offered a 30 % discount flyer for the event for those interested in ordering Digital Contagions.
I was invited to talk at the Serpentine Gallery’s Miracle Marathon this year. My take on the theme was to talk of the underground and the occult worlds of the long legacy of the Cold War. I performed with Emma Charles’ film White Mountain. Here’s the video of the talk.
Emma Charles’ exhibition opens in London. It includes a multiscreen version of the White Mountain to which I wrote the text (and performed live at the Miracle Marathon just recently at the Serpentine in London). Please find more information below. The exhibition runs from 21 October to 12 November, with the PV on 20th of October.
South Kiosk is pleased to present And the Earth Screamed, Alive*, a solo exhibition by Emma Charles, featuring a multi screen expanded installation of her 16mm film White Mountain. This fictional documentary focuses on the Pionen Data Center in Stockholm. In 2008, this former Cold War-era civil defense bunker was redesigned by architect Alber France-Lanord as a data center to house servers for clients, which at one point included Wikileaks and The Pirate Bay. By revealing these unseen spaces and people, Charles work explores an understanding of how contemporary life is structured, managed and secured.
Starting by surveying the rough topography of the surrounding Södermalm landscape, Charles gradually pushes beneath the surface, illuminating the ordinarily concealed network infrastructure. As the camera idles on the florescent-lit server stacks, issues of privacy, surveillance and digital sovereignty inevitably emanate. Located 30 meters under the granite rocks of Vita Bergen Park in Stockholm, the hydrogen bomb proof subterranean hub has been constructed with direct references to science fiction films such as Silent Running, and the classic Ken Adams designed Bond-villain lairs.
Playing on the science fiction aesthetic, White Mountain uncovers the varying forms of temporality brought about through an exploration of data space and geology. After a summer punctuated by a constant stream of high-profile hacks the impenetrable steel door and
fortified walls of Pionen now seem like outmoded, symbolic defenses, ineffective at curbing the allpervading data anxiety brought about by the relentless assault of cybercriminals, spammers and clandestine state-agents.
South Kiosk has invited Emma Charles for And the Earth Screamed, Alive to
transform its space and take the viewer on a journey through the concealed and protected architecture of the data center, through an immersive projection of White Mountain and the display of a further collection of her artwork, this solo presentation focuses on the handling of digital information, the aesthetic that arises from its protection and the engagement and critique that art can perpetuate of these architectures.
For images and further information please contact Toby Bilton email@example.com
*“And the Earth Screamed, Alive” Jussi Parikka, A Geology of Media, University of Minnesota Press (2015).
One of the milestones in our Internet of Cultural Things-project (AHRC: AH/M010015/1) was the launch of artist Richard Wright’s Elastic System. With an interesting media archaeological angle, the art project creates an alternative visual browsing/search/request system on top of the existing British Library one. As an experimental pilot, this interface (an installation and soon an online version) returns the library to an age of browsable, visual access to books.
While still in the middle of the 19th century the library space could be seen more as a public space with visual access to the collections, the modern storage and delivery systems at the BL created a different sort of a spatial setting. The sheer increase in the number of items in its holdings necessitated this change that could be easily seen as a precursor to the issues the more recent information culture has had to face: lots of stuff that needs to be stored, equipped with an address, and locatable. The short animation Knowledge Migration by Richard Wright is one way to visualize the growth in acquisitions on a geographically mapped timeline. The video is a short animation made by Richard Wright, showing “each item’s place and date of publication (or date of acquisition where available) since the library’s foundation in 1753.” Knowledge Migration used a random sample of 220,000 records from the print catalogue.
The current reality of the British Library as a data institution can be approached through its infrastructure, also the many datasets and systems, including the ABRS (Automated Book Requesting System); this infrastructure includes both the data based systems and digital catalogues, online interface and searchable collections, their automated robotic systems in Boston Spa storage/archive space and also the important human labour that is part of this automated system.
The Elastic System project introduction by Wright states:
“ELASTIC SYSTEM is a database portrait of the librarian Thomas Watts. In 1838 Watts invented his innovative “elastic system” of storage in order to deal with the enormous growth of the British Library’s collections.
The mosaic image of Watts 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. Each one is connected live to the library’s electronic requesting system.
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. When a book is requested it is removed from the “shelf” to reveal a second image underneath, an image that represents the work that goes on in the library’s underground storage basements, the hidden part of the modern requesting system.”
You can view and use the installation system at the British Library in London until September 23, 2016 – it is located at the front of the Humanities Reading room (during library opening hours).
The online version will be launched in the near future.
Here’s Richard Wright’s blog post about his artistic residency at the British Library as part of our project: Elastic System: How to Judge a Book By Its Cover.
We are discussing these themes in Liverpool on September 14, 2 pm, at FACT – this panel on cultural data is part of the Liverpool Biennial public programme.
A thank you to Aquiles Alencar-Brayner (BL, Digital Curator) for the snapshots of the texts above.
We are happy to announce that the AHRC has granted funding for our Internet of Cultural Things (IoCT) project, a one year research partnership between Kings College London, Winchester School of Art (University of Southampton), and the British Library.
The project examines the cultural dimensions of data via the born-digital material generated by the British Library, ranging from items ingested to reading room occupancy to catalogue searches. Through practice-informed research we engage this otherwise hidden cultural data, and hold a series of pop-up installations to make it visible and interfaced with the public to think through our data interconnectedness. By focusing on cultural institutions, we can move beyond the integrated operating system of the ‘Internet of Things’ and its purported productivity gains, efficiencies. Instead, we will use critical creative practice to rethink cultural institutions as living organism of data that is both dynamic and recursive. We propose the IoCT as a concept to discuss this new situation of digital data and cultural institutions.
The project starts in September 2015, and is led by Dr Mark Cote (KCL) as the PI and Prof Jussi Parikka (WSA/Southampton) as the CO-I with partners from the British Library (Jamie Andrews) and collaborating with the artist Dr Richard Wright (London).
The Finnish Institute in London has an interview series “Made By”. Alongside earlier interviews with designers, artists, etc., they did a little chat with me which you can find here.
Around the same time as this came out, early February, we had a conversation event at the Institute on historical knowledge, technology and the digital humanities. Notice the Finnish design and wooden materials that characterize the space – a sea of Aalto waiting for the audience.