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On Disobedient Electronics

Here’s a short manual to what design can – and perhaps often, should – be about: “how to punch Nazis in the face, minus the punching”.

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Garnet Hertz’ new critical design zine Disobedient Electronics is a quick and rough, inspiring and useful manual for the Trump, Brexit, post-truth era that needs to address forms of actually working resistance that don’t however merely function only in the realm of already designated possibilities. Hence, throw in a good chunk of speculative design imaginary.

The protest zine is a collection of feminist and other social justice driven projects that carry forward a particular legacy of speculative design that is, in Hertz’s words, slightly less RCA/Dunne & Raby-style than it is confrontational and imaginary in the manner of the Critical Art Ensemble and the Yes Men. The selected projects cut through issues that tell a particular story about North America but also other geographic regions and political realities: issues of gun control and campus carry, gender pay gap, street protest kits, right to abortion, digital privacy and encryption feature centrally. Many of the projects appropriate a seemingly militant form: the Transparency Grenade, the sound cannon in the Device for The Emancipation of the Landscape and the I.E.D. (Improvised Empathetic Device) carry references to forms of violence that are however overturned into devices of creating alternative worlds. Sometimes the devices cross borders such as the Abortion Drone (Women on Waves & Co.) as a particularly inspiring way of diving into the issues of women’s rights across what is far from a unified political space of Europe.

The style of design proposed through the zine and the projects leads the reader to think of Brian Massumi’s ontopower: “a power that makes things come to be: that moves a futurity felt in the present, into a presence in the future.” This sort of a stance to design is useful as well as speaks to the sort of experiments Disobedient Electronics employs. And the projects that are featured are in many cases experiments in their own right – not only in terms of a device that is pitched and presented but as experiments in collective forms, imaginaries and situations. In many ways, you can observe how this fits in with the wider context of Hertz’ own work and The Studio for Critical Making at Emily Carr University of Art and Design, which he describes as a lab of sorts that combines research, humanities and building in ways that results in “technology that is more culturally relevant, socially engaged, and personalized.” Disobedient Electronics is a good example of such work that the project supports both in the space of the studio and in the context of wider discussions about the role of speculative critical practice.

 

AMT: An Office Manual

June 5, 2017 1 comment

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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

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.

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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.

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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.

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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.

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Tap My Head, Mike My Brain: Experiencing Digital Culture

February 27, 2017 1 comment

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.

Description

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.

 

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.

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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!

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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.

Cultural Politics – a new MA course at WSA

September 6, 2016 Leave a comment

A new MA course at the Winchester School of Art, University of Southampton is now validated and online. The course, jointly run with Politics department, will run starting in 2017. You can find more information about the course here. The journal Cultural Politics (Duke University Press) is already now partly run from WSA (with John Armitage and Ryan Bishop as editors) and this MA course can nicely consolidate some of our research interests in media, art/design and politics in the form of a new exciting cross-discplinary MA course. If you want more information about the MA, please do get in touch with us.

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