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 firstname.lastname@example.org
*“And the Earth Screamed, Alive” Jussi Parikka, A Geology of Media, University of Minnesota Press (2015).
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.
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!
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.
I just submitted to the publisher the new, 2nd and revised edition of Digital Contagions: A Media Archaeology of Computer Viruses, a book that came out for the first time with Peter Lang in 2007. Around the time of submission, the new Archive.org online museum of computer viruses was launched and made rounds in the popular press too.
Already in 2002, Museum for Applied Art in Frankfurt am Main, Germany engaged in exhibiting viral art its I Love You-Exhibition. Curator Franziska Nori expressed the importance of this topic: museums and cultural centres need to engage with this new form of cultural activity that tells the story of hackers and programming skills. The museum was to become also a laboratory where new cultural phenomena of digital culture are given a voice.
I wrote a general audience piece about the new Malware museum for The Conversation. For those of you who read German, Die Süddeutsche Zeitung wrote a piece “Unterhaltsame Viren“. The new edition of Digital Contagions should be out by late 2016, or early 2017, just suitably to celebrate its 10th year!
Here’s an interview with me by Camille Paloque-Bergès published in French in Tracés (N° 21, 2011/2). It’s on the archaeology of (digital) viruses in contexts of security, biopolitics and media theory. It’s not exactly recent but I don’t think I have posted or even seen it online before.
In the midst of the past (less than) 24 hours of Turkey’s Twitter-blockade, we have seen a flood of tweets, comments, analysis and information – a lot of them, paradoxically, from Turkey. Some operators might not have yet been quick enough to shut down access, and at the same time people have found access via alternative means. The situation has again meant an increase in people’s understanding of the internet and looking into how DNS works as well as VPN’s. Indeed, tips were spread online to assist Turkish people – such as the three simple methods. And information was passed offline too – demonstration of a yet another connection of the streets and the online.
That people are able to bypass the DNS-based censorship is one thing to ponder about – especially because the new internet law in Turkey would allow other measures too. But what Geraldine Juárez pointed out on Twitter was of course this: 188.8.131.52. points to Google Public DNS. Corporate freedom services, the rhetorics of net freedom, etc. play as part of this wider scenario where alternatives to authoritarian nationalist politics seem to be the Corporate system. And that it’s pretty odd/scary/eerie that this gets rather automatically picked up as the political alternative, even to the extent of Google becoming infrastructurally used as the politically “open alternative” – or just more bluntly, as “Freedom”:
In such situations, one does need quick and dirty solutions – infrastructural affordances, whether corporate or not, need to be taken into use for short-term goals; but in terms of the wider political situation of networks – networkpolitics on the level where infrastructure meets the political imaginary – this leads into rather an odd choice between “closed” and “open” that does not imply as clear of a choice as one would assume based on the older political vocabularies. This is indeed not to downplay the significance of this sort of activism – distributing DNS information on streets, as in the image below. It is just to ask the fundamental questions regarding political choice, alternatives and how much the lack of alternatives is increasingly attempted to be hardwired into a material actualisation of the lack of political imaginary: “no choice but”.
Update [March 22, 2014]: Turkish government has now blocked access to Google Public DNS too.
– related reading includes (of course)
Evgeni Morozov’s analysis of network politics and its relation to Silicon Valley but also Benjamin Bratton’s work on “the stack” and the changing political nomos in the age of planetary computation.