During an earlier transmediale I was interviewed by Daniel Fetzner in Berlin. This short interview is now downloadable here as a PDF [insects-and-media-interview] and briefly discusses Insect Media with also a nod to Digital Contagions and “viral capitalism”.
Reference to the interview:
Fetzner, D./Dornberg. M. (2015) BUZZ – Parasitäre Ökologien. Freiburg
In this video, myself and Ryan Bishop talk a bit more about what the new research group (or office) Archaeologies of Media and Technology does and how it sits as part of the research and practice at Winchester School of Art.
In addition, a new interview with me (conducted by Thais Aragão) is now online and available in English and in Portuguese. The interview is focused on AMT as a platform for practice and theory and how it connects to themes in media archaeology and digital culture research.
You can find AMT online at: http://www.southampton.ac.uk/amt/
and on Twitter at @amt_office
For some years now, Winchester School of Art has been a (university) partner of the transmediale art/digital culture-festival. We took part this year again, with several panels and other events as part of the Conversation Piece-theme.
One of them was the two day-workshop with artist, designer Burak Arikan (tr/new york) who ran a Graph Commons-workshop.
We also had a longer conversation about his work, critical & collaborative mapping and more. You can listen to it as a podcast now.
I was asked to participate in this short online Q&A on “Three Questions on Media Criticality”. It is presented at transmediale 2015 on this Sunday (1/2/15).
The responses were to be very short and focused. As I cannot make it to the panel myself, here are my very short responses to questions posed by Jamie Allen and his team.
Submission Date 2015-01-05 10:28:47/Jussi Parikka
What are promising modes of critique today?
I am interested in critique that produces something. In other words, a critique that sets itself not merely as oppositional but alternative; it produces alternative worlds alongside the ones it wants to depart from. Critique is creative – critique creates; this is not meant as a fluffy “everything goes”-sort of an embracement of the world but as acknowledgement of the various modalities in which critique can work, across different media practices.
What is critical about media technologies?
Media technologies offer the critical situation in which issues of power and knowledge are constantly operationalized. In other words, while we have to learn to be critical of media in the sense of media literacy, we also have to see how media IS critical; it divides and differentiates; it grounds and processes distinctions that are fundamental to cultural formations even if not always anymore even perceptible to us. After phenomenology, media ontology.
What comes after critique?
While there are good reasons to move on from critique as automatically assumed primary method and rhetorical form of theory, we have to recognize that also “critique” is a historical, changing form of a cultural technique. It has to become mediatic, executed in different materials and modalities. Critique that distances in order to keep the world (humans or non-humans) at arms length does not interest me as much as critique entangled with the world
Winchester School of Art are one of the partners of the transmediale-festival, which takes place again in January/February 2014 in Berlin. This short text below is a sort of a trailer to our bit for the event: the text is co-written by myself and Ryan Bishop and the the contribution to tm14 is likewise co-curated by us. The text gives an indication of some of the themes we will discuss during the festival and conference week, and it draws on some of our work on these topics: Ryan’s writing on the four elements and contemporary aesthetics, and my work-in-progress book project on “geology of media” and what I pitch as the anthropobscene – a new geological era catalysed by the corporate capitalist measures of depletion and exploitation.
Ryan Bishop and Jussi Parikka:
The Elemental Media Condition
Ever since such early geologists as James Hutton and Charles Lyell voiced a distance from biblical time, the Earth has had a proper history. The natural historical durations of the Earth have, despite academic disciplinary divisions, always intertwined with human history. In the current moment, the complex interactions of the two seem more prescient than ever. To follow in the footsteps of Dipash Chakrabarty, the horizon of the anthropocene forces historians to think of durations of nature as entangled with social history, and the historiographical functions of temporality need to be considered alongside such vectors that acknowledge the work of capitalism as a specific epoch. In this sense, we would like to refer not only to the anthropocene as the debated new geological era in scientific classification, but also what can be called the anthropobscene. This portmanteau word combines anthropocene with obscene, thus highlighting the vicious exploitative actions of corporations, governments and other agencies operating on different levels: from human individuals to multigovernmental organisations and transnational corporations. In much the same manner that Jean Baudrillard reconfigured the subject-object relationship placed within a scene as a network-screen relationship in the obscene, the anthropobscene reconstitutes the relationship between human scales of intervention into those of the geological. Thus, amongst other things, it refers to the obscenity of heavy pollution of the earth and the air, bringing back discussions of the four elements as found in the Pre-Socratic thinker Empedocles, whose writings strike both ancient and contemporary chords. Cultural theorists, such as Gary Genosko, have voiced an urgency for a renewed consideration of the elements.
For Empedocles, humans, nature and the universe contain the same elements. Flesh and blood are composed of approximately equal parts of earth, fire, water, and aether: the four elements that constitute the universe. The entire material world for Empedocles comes from the mixture and amounts of these four elements, the mixing of which he likens to paints on an artist’s palette with their different effects due to combinatory portions. This insight of multiple and diverse substances generated through combinations and proportionality becomes a cornerstone of modern science and chemistry. The harmony of Love and the discord of Strife result from the proportionality of the elements with each constantly changing and warring with the others. The Empedoclean elements of this cosmogony and in nature constitute both media and content. They make, transform and destroy at the same time.
Empedocles’ writings use physics to derive an understanding of ethico-political, even moral, laws. In the teaching of Empedocles the problem of substances as they present themselves to us takes a specific form: how do the Many come from One and One from Many? The primary and ultimately determinate forces behind the various manipulations, combinations and transformations of the elements in Empedocles are in the standard translations Love and Strife, which move in cycles of harmony and disharmony that reign over all of nature, including humans, fish, beasts and birds. But the elements are not simply passive recipients of the forces of Love and Strife. They can and do themselves act as causal agents, influencing the waxing or waning of Love or Strife.
Contemporary media culture can be opened up through such a consideration of elements. Indeed, as the philosopher Erich Hörl has argued, the technological is one crucial condition for the discourse – and practical existence – of this hypothetical anthroposcene – and anthropobscene, we might add. For artists such as Robert Smithson in truly Empedoclean fashion, the tectonic realms of the Earth and the mind are interconnected. Smithson’s account amounts to a critique of the McLuhan-focussed idea of technology as extensions of Man. Instead, for Smithson, writing in 1968 in Artforum, it is elemental. One is here tempted to think it is elemental in the sense of the Pre-Socratic four elements, as well as elemental in the sense that those elements are more crucial than ever for a consideration of the biopolitical condition. Such aspects range from the materiality of data mining to environmental exploitation.
Transmediale has released its theme for 2014: afterglow. It refers to the feeling of “after”, “post” the digital enthusiasm that branded the past decades, and now somebody needs to pick up the trash. The theme summons connotations of trash, waste and other aftereffects of the digital, both material and immaterial.
Winchester School of Art is happy again to be official partner of the transmediale-festival and participate in curation of some of the academic content. Below more info on transmediale-theme – and a link to the call for works.
The digital revolution is over again and this time “YOU” lost.
In the wastelands of its aftermath, what is still burning?
With the theme afterglow, transmediale 2014 suggests that in a world where resources (human, bodily, material, environmental, economic …) are more and more used up, the digital does not any longer stand up to its promise of antiseptic high-tech worlds and opportunities for all. On the contrary, digital culture is more and more becoming a post-apocalyptic wasteland ruled by a few powerful clan leaders. Still, digital culture is full of things that shine and glow, both promising and uncanny: from social media to big data. On the one hand, this afterglow can be seen as an extreme expression of the wasteful state of digital culture (excess, overload, endless repetition, pre-emption of meaning, exploitation), but on the other hand, as “one man’s trash is another man’s treasure”, this afterglow is also providing the transition to new forms of being. If we are living in a post-digital culture, then afterglow is what characterises its aesthetics and politics during the transition to new cultural forms that are still unknown to us.
In the 2014 edition of the transmediale festival, the idea of an afterglow of digital culture is taken as an opportunity to speculate on positions that lead beyond the digital: not beyond the digital in a literal sense as in doing away with digital technology, but beyond the digital as a metaphysical character that overcodes all forms of existence. Even a supposedly critical term like “post-digital” is in this sense only promoting an idea of the contemporary and of the future as predetermined by the digital. Instead of revelling in the hypes of the post-digital, we invite the contributors of transmediale 2014 to reflect on this afterglow: to exploit our nostalgia for the pre-digital through the use of trashed technologies, ideas and narratives and/or to imagine new modes of existence and new modalities of critical intervention, by junking the afterglow of digital culture.
Transmediale starts today with its puzzling, great theme Back When Pluto Was a Planet (BWPWAP). Except conceptual, temporal and spatial shifts and displacings of various sorts. This is the first year our Winchester School of Art also is collaborating with transmediale, and as part of that we are hosting a panel on military technologies, space and Cold War.
In addition, I am sharing a book launch with Wolfgang Ernst: It is the book I edited of his writings alongside my own What is Media Archaeology? Join us for that on Friday, 1st of February.
And as a Kittlerian cherry on top, on Saturday evening I am participating in the performance Sources, Synths, Circuits that focuses on the reconstruction of the late Prof Kittler’s synthetizer. We discuss that from the perspective of not only Kittler, music, technology but also archives.