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MUU/Other

May 28, 2018 2 comments

I am very excited to announce that I have been awarded Honorary membership of the MUU media artists’ association (Finland). Celebrating its 30th anniversary, MUU (Finnish for “other”) has become renowned for its pioneering work in supporting media and experimental arts in Finland. Needless to say, it is a big honour for me to be included in their roster of honorary members. Here’s the picture of my head receiving the award today.

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Categories: Finland, Helsinki, media art

The Library’s Other Intelligences

May 26, 2018 1 comment

We are happy to publicly announce our art and curatorial project The Library’s Other Intelligences! Together with Shannon Mattern we are curating a show in Helsinki that includes three inspiring artists Jenna Sutela, Tuomas Laitinen and Samir Bhowmik who all engage in their work with the ecologies intelligence – artificial, artistic, ambient, architectural – that define the library as a cultural institution of knowledge. A key aspect of the project is that it is set as part of the new Helsinki Central Library Oodi – opening its doors in December.

The show opens in January and you can read more information here and if in Helsinki next week, please attend our event Alternative AI’s!

The project is realized through the Mobius Fellowship program of the Finnish Cultural Institute New York (and with the collaboration of Ilari Laamanen).

Qu’est-ce que l’archéologie des média?

January 22, 2018 3 comments

The French translation of What is Media Archaeology? is now out. Titled Qu’est-ce que l’archéologie des média? it is translated by Christophe Degoutin and also includes a new preface by Emmanuel Guez from the PAMAL (media archaeology lab) in Avignon.

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cover image from Haroon Mirza’s installation.

In his introduction to this book in the context of contemporary media theory, Guez nicely picks up on how my interest is not in building systems nor in ontological definition that nails down media archaeology for good. Instead, the book is a cartography of theoretical and methodological potentials, of paths taken and potentials for development, of necessary cross-fertilization and being aware of the blindspots. Hence this cartography (picking on Deleuze’s writing on Foucault and Rosi Braidotti’s apt ideas) is interested in positions, effects, operations and how media archaeology is exercised – a topic that I have been wanting to engage more recently through the current collaborative work on media (archaeology) labs as places of situated and institutional practice. And in the French context, it surely will resonate with a different set of theoretical heritage, current practices and media discourses than in some other contexts.

Apt timing, the French translation of Friedrich Kittler’s Gramophone, Film and Typewriter is the same month of January 2018 as well.

For more information and to order the book, see the publisher’s website.

For a recent interview in French, see “Zombies, virus et pollution : comment l’archéologie des médias imagine notre futur.”

For an earlier French translation of the conversation between me and Garnet Hertz on media archaeology, see “Archéologie des media et arts médiaux.

Inventing Pasts and Futures: Speculative Design and Media Archaeology

January 16, 2018 2 comments

I wrote a paper some years ago on media archaeology (esp. imaginary media research) and speculative design, to put the two parallel fields in closer dialogue. The text will be featured in a book that is still in preparation and because the first version was written some three-four years ago, I thought at least to add a couple of the first lines online. This is still the version that is not copy edited, but hopefully out one day too! Here’s the start. For the full draft version, please get in touch.

Inventing Pasts and Futures: Speculative Design and Media Archaeology

  1. Introduction: Imaginary Media as Impossible Yet Necessary Techniques

To be able to start with the non-existent, sometimes even the absurd, is a skill in itself. It can be a methodological way of approaching reality not as ready and finished but produced and open to further variations, potential and a temporality that includes the possibility of something else. Like with all methods, the skill of thinking the non-existent needs practicing. It also needs institutional contexts that are able to support such an odd task that seems devoid of actual truth value and easily dismissed as not incorporating the epistemological seriousness required of the academic subjects. Despite the difficulty of giving a good one-liner definition that could cover all aspects of different traditions of media archaeology, it is safe to say that it has been able to create an identity as a field interested in the speculative. This has meant many things from mobilisation of media history executed by way of surprising connections across art, design, technology and architecture to acknowledging the unacknowledged, a sort of a search and rescue-operation for devices, stories, narratives, uses and misuses left out of the earlier registry. Archaeology has been sometimes used as a general term for the way in which we investigate the conditions of existence of media culture, and the media technical conditions of existence of cultural practices – two things that are closely connected, with the two aspects in co-determining relations: media technology and cultural practices. And it also bends our notions of history and time itself. As Thomas Elsaesser (2016, p. 201) puts it, it is a symptom of a very different sort of a relation to the past: ‘on the one hand, it suggests a freeing up of historical inevitability in favour of a database logic, and on the other hand, it turns the past into a self-service counter for all manner of appropriations.’

Already, early on, imaginary media was one part of the media archaeological body of research. It had the clear aim of reminding scholars and artists that media technological reality was not to be restricted to what actually is. It was not to be contained by the histories of technological achievement but meant to relate to the broader cultural and artistic history, which technology can be imagined, and where it returns as imaginary attachments to values, affects, aspirations and dreams. Eric Kluitenberg (2011) articulates that such shifts are sometimes almost as if seamless, something rather prescient in the marketing discourses of digital culture. We feel constantly even emotionally attached to dream devices of corporations, carefully framed by their sales pitches as part of a wider infrastructure of desire. While such an attachment is odd enough, broadly speaking the discourses of imaginary connections constitute also our cultural topoi (Huhtamo 2011a), which then become the environment for recursive dreaming that characterizes consumer culture and production of reality.

But how boring it would be to restrict oneself to what is actual. A variantology of imaginary media, as Kluitenberg puts it (2011, p. 57) can reach out to theological discourses, aliens and the dead, to things untrue and yet so impactful for any account of cultural history. Such imaginations are ways to rethink the usual coordinates of time and space – the time of not merely a past-that-was, but a past-that-could-have been; a future imagined as one recurring fantasy of rejigging the time we are in now. These are the places that are not only distant but sometimes impossible. How liberating this feels instead of buying into the ready-made dreams. No wonder such strategies can be connected to a wider political imaginary that includes geographical, racialized and gendered others. Artists such as Zoe Beloff have set scenes for alternative media histories through the silent mediums themselves – female protagonists, written into the stories. Kluitenberg points to afrofuturism as one particularly interesting political imaginary. Indeed, as the director John Akomfrah puts it in an interview with Kluitenberg, afrofuturism and other imaginary media practices are not mere mental refuge. They produce and sustain new cultural practices and spaces in which black science fiction carves its own collective existence but also facilitates relations with, for example, gay and women’s movement including in the science fiction of Octavia Butler and Samuel Delaney. What is being approached is a black techno-cultural imagination where also music plays a key role in how pasts, presents, and futures co-determine each other in new ways: ‘Black science-fiction culture, especially music, figures the past in the present by matching the quest for ‘outer’ space with new journals into the inner “technological tape” space of black sound itself via the digital utopias of jungle and techno.’ (Kluitenberg and Akomfrah 2006, p. 293). Even if also imaginary media is at times defined as ‘untimely’ (Zielinski 2006, p. 30; Kluitenberg 2011, p. 56-57), it remains actually an interesting situated practice that is aware of geographies and can challenge the Eurocentric focus of some of the speculative design discourse and practice. Hence, the more interesting of such fabulations actually become ways to imagined situated critiques by way of imaginary. In some recent work, afrofuturism has also been connected to issues of cultural heritage as a project between speculative futures and records of the past (see Nowviskie 2016).

So what does it mean to think of media archaeological and imaginary media projects in the context of speculative design? The question itself acts as a conceptual probe that searches for specific practices in both media and design. Furthermore, it is also a probe that scans the disciplinary relations of two sets of discourses about the past and the future. As two parallel fields with not much contact in the past, speculative design and imaginary media research are interested in how alternative worlds might be created and how temporal, social, and technological fabulations situate coordinates of past-future in alternative ways. I will discuss different art and design projects, cross-fertilising the two traditions of media and design theory and practice, and aim to elaborate ways how media archaeology could contribute to speculative design and to some contemporary issues in critical design. There are some earlier ideas that have suggested how this might work. For example Bruce Sterling’s idea of ‘paleo-futures’ as ‘the reserve of historical ideas, visions and projections of the future—a historical futurity of that prospective’ (Hales 2013, p. 7) is one example of the shared suitably complex time-scales of overlapping design and media archaeological imaginations, but this chapter teases out further contexts for such reserves of historical ideas.

 

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November 11, 2017 Leave a comment

Visual culture nowadays.

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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.

AMT: An Office Manual

June 5, 2017 2 comments

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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