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Lost Islands

Lost Islands, a performance project by Samir Bhowmik (and co-choreography by Esete Sutinen) is on now at the Helsinki Biennial. Book your place if in Helsinki, but have a look at the trailer video for a glimpse of the themes: anthropocene, infrastructure, architecture, etc.

Lost Islands is a series of expeditions tracing the route of an imaginary subterranean and underwater cable through the island of Vallisaari, with the artist serving as tour guide and narrator. The expeditions venture into the island’s topography, forested pathways, waterways, historical buildings, ruins and bunkers. Along the way, visitors are engaged and immersed in installations, film, theatre, contemporary dance, song, and experimental music. The expeditions will take place as a series of events staged on the island from June to August.”

For more info on the work and credits, see also https://helsinkibiennaali.fi/en/artist/samir-bhowmik/ .

An ecoaesthetic of vegetal surfaces

An ecoaesthetic of vegetal surfaces: on Seed, Image, Ground as soft montage” is the title of the new article we just published in the Journal of Visual Art Practice with Abelardo Gil-Fournier. It draws on the video essay published last year and engages especially with the practice-led methodology. The video was just recently installed in the Vibrating Clouds exhibition in Shenzen and will be part of at least two exhibitions in later 2021/2022 (in Europe). With Abelardo, we are currently writing a book on vegetal images and the question of multi-scalar planetary surfaces.

Below a short excerpt of the article’s Introduction section

This essay builds on our recent Seed, Image, Ground video project (2020) and how it entangles with our larger research project on surfaces. Both address the surface of plants, agriculture and the biosphere in relation to the surfaces of media, such as screens and images. The video essay was commissioned by the Fotomuseum Winterthur in 2020 and it is openly available at the institution’s YouTube channel. While the video is a central reference point for this visual essay, our aim is not so much to theorise our own moving images and their juxtapositions and rhythms. Instead, in this article, we present a series of surfaces and scales that appear in and through the images. Images build upon images and this constitutes the practice-led approach to the temporal unfolding in the video. The video works as a temporal articulation of image surfaces across and upon living surfaces. In other words, we articulate the moving images as practices of surfaces, plants, and images: hence the central motif of the video essay and this accompanying text is to ask ‘what do images of growth look like?’ How do such images operate in two channel video practice that builds on Harun Farocki’s work? Here, we do not refer only to operational images (Farocki 2004), but also to the idea of a ‘soft montage’ (Farocki 2009) which becomes a methodological reference point as one aspect of practice of images about and across images that can also be conceptualised as we do in this essay. The video and its relation to text are ecoaesthetic (Cubitt 2017) in the sense of dealing with the entanglement of media and environmental materials where the double articulation of images and green plant surfaces are the engine of our argument.

In this way, the video is a methodological exercise that helps to articulate a problem space (Lury 2021) – a space where problems, methods, and concepts are dynamically rearticulated, and where the space of their composition is not a stable container where a thing is addressed but part of their making: ‘a problem is not given but emerges with-in and out-with a myriad sequence of actions or methods that (trans)forms the problem space’ (Lury 2021, 6). This composition and this montage points to the ways methods are enacted only in the material practices that constitute the problem space as it unfolds as a living issue and tissue. Can this sequence Lury refers to be also a sequence of images? Could the actions be those of images? As the following visualisation of the evolution of the timeline of our video essay show, the video’s timeline as a problem space presents its fabrication as a surface. The cuts, the movements of the sequences, and other editing operations manifested in the figure, call for a dynamic understanding of surface as surfacing, built on multiple genealogies of instrumentation, technology, and cultivation.

Vibrating Clouds

Our Seed, Image, Ground video (2020, with Abelardo Gil-Fournier) is currently installed and on show in Shenzen at the Vibrating Clouds exhibition curated by Yixuan Cai and her team for the Design Society. The video was also part of the Reprogramming Earth exhibition curated by Daphne Dragona at NEME in Cyprus and it will feature in a couple of other exhibitions in the coming 12 months too.

For a short overview of the exhibition in Chinese, see here. Other artists and architects in the exhibition include Tomas Saraceno, Karolina Sobecka, Philippe Rahm architectes, Janine Randerson and others.

For Abelardo and me, it’s a special pleasure to know that it is finally installed in actual physical space alongside good audio that allows the sound design by María Andueza Olmedo to stand out.

Image Enthusiast

The Google badge is somewhere between an algorithmic hiccup and a passive aggressive stab.

Photography Off the Scale is out

January 31, 2021 1 comment

Our book Photography Off the Scale is out and available! Edited by myself and my FAMU colleague Tomáš Dvořák it offers an interdisciplinary perspective on the scale and quantity of images in contemporary visual culture. From the mass-image to post-photography, AI to online visual culture, planetary diagrams to LIDAR, the breadth of topics is wide. The book emerges from our Operational Images and Visual Culture project (FAMU, Prague – and funded by the Czech Science Foundation, 2019-2023).

Here are the really nice blurbs from Lev Manovich, Lisa Parks, and Peter Szendy:

“Among the many fundamental changes taking place in contemporary photography and media culture, probably the most important are changes in scale. The new magnitude of image production, the instant global dissemination of billions of new images, and the adoption of AI that turns these images into big data are only some examples of how the visual has been “scaled up” in the 21st century. Now we finally have a first book that rethinks the history and theory of photography through the lens of scale – and connects this concept to a range of others including measure, politics, gender, subjectivity, and aesthetics.”
– Lev Manovich, Presidential Professor, The Graduate Center, City University of New York

“Someone takes a picture somewhere in the world. Such a trivial action is multiplied by a trillion. Or much more, since the majority of pictures today are produced by machines for machines. This collection of essays brilliantly explores the unheard-of effects of scale on the ontology of photography and it touches upon the sublime of the infinity of digital images.”
– Peter Szendy, Brown University

“This book’s refreshing and much needed take on photography cuts through the infoglut and explores the apparatus, infrastructure, and operations of contemporary pictures. Addressing everything from snapshots to machine vision, Photography Off the Scale unfurls a vital field of technology, politics and aesthetics reshaping the world.”
– Lisa Parks, Distinguished Professor of Film & Media Studies, University of California-Santa Barbara

With Tomáš, we wrote a substantial introduction outlining the stakes of the approach – how it relates to scholarship in photography and links it to key questions of digital culture – and we are really pleased with the whole lineup of the book:

Introduction: On the Scale, Quantity and Measure of Images
Jussi Parikka & Tomáš Dvořák

Part I: Scale, Measure, Experience

1. The Mass Image, the Anthropocene Image, the Image Commons
Sean Cubitt
2. Beyond Human Measure: Eccentric Metrics in Visual Culture
Tomáš Dvořák
3. Living with the Excessive Scale of Contemporary Photography
Andrew Fisher
4. Feeling Photos: Photography, Picture Language and Mood Capture
Michelle Henning
5. Online Weak and Poor Images: On Contemporary Feminist Visual Politics
Tereza Stejskalová

Part II: Metapictures and Remediations

6. Photography’s Mise en Abyme: Metapictures of Scale in Repurposed Slide Libraries
Annebella Pollen
7. The Failed Photographs of Photography: On the Analogue and Slow Photography Movement
Michal Šimůnek
8. Strangely Unique: Pictorial Aesthetics in the Age of Image Abundance
Josef Ledvina

Part III: Models, Scans and AI

9. On Seeing Where There’s Nothing to See: Practices of Light Beyond Photography
Jussi Parikka
10. Planetary Diagrams: Towards an Autographic Theory of Climate Emergency
Lukáš Likavčan & Paul Heinicker
11. Undigital Photography: Image-Making Beyond Computation and AI
Joanna Zylinska
12. Coda: Photography in the Age of Massification
Joan Fontcuberta & Geoffrey Batchen

The book is published by Edinburgh University Press and is part of their Technicities book series. A special thanks to Elise Hunchuck for her outstanding expertise in helping us to fine-tune the writing and to Abelardo Gil-Fournier for the cover image that comes from his project Bildung.

For any inquiries about the book, review copy requests, etc, please contact me or Tomáš.

Touch, Click, and Motion: Archaeologies of Fashion Film After Digital Culture

September 19, 2020 Leave a comment

Submitted! The final version of our introduction article with Caroline Evans for the special issue “Archaeologies of Fashion Film” is now in with the journal. Forthcoming in Journal of Visual Culture, the text – and the issue – emerge from the AHRC project that I posted about earlier (the project ran 2017-2019) – here’s the original (not updated anymore) project website. Below the abstract of our article.

Caroline Evans and Jussi Parikka
Touch, Click, and Motion: Archaeologies of Fashion Film After Digital Culture

This article functions as the introduction to the theme issue on Archaeologies of Fashion Film. The text introduces fashion film as a genre and as a historically dynamic form of audiovisual expression that we approach through fashion history, media archaeology, and new film history. While introducing key concepts and approaches, we propose a form of ‘parallax historiography’, a term emerging from Thomas Elsaesser’s work, that links different time periods from early cinema to recent digital platforms, even ‘post-cinema’. The introduction makes references to the contributions in this issue that address historical conditions of emergence, marginal voices in the historical record, and unexcavated archival materials; and the issue shows how they all contain feedback loops or recursive traits that resonate in contemporary practice where infrastructures of platforms and data frame the moving image. Fashion film is thus seen as both a historical and a constantly practiced audiovisual form of expression that is not contained in its own industry genre, although that industry should not be ignored either. This article then helps to set the stage for acknowledging the current accelerated change in contemporary fashion communications, and offers visual cultural insights in order to rethink new modalities of fashion, film and bodies in motion.

The issue also contains articles by Marketa Uhlirova, Nick Rees-Roberts, Marie-Aude Lous Baronian, Lucy Moyse-Ferreira, and Wanda Strauven.

Oberhausen interview

Here’s a new video interview, done for the Oberhausen film festival. Click below the image to get to the video  where we discuss viruses, digital culture, masks, and more. The book Digital Contagions is one starting point but we end up in many other areas too.

Screenshot 2020-05-24 at 22.34.51

 

Masks

We wrote with Yiğit Soncul a text on facial masks and masking. While masks are especially now such a hot topic, Yiğit’s PhD research on visual politics of masks from 2019 has become even more timely. Funnily enough, only recently, in mid March, Conversation publication platform responded to us that they found the topic of cultural politics of masks “a little bit niche for the broad general audience.”

You can find our text on Paletten art magazine’s site.

In Conversation with Geocinema

The Digital Earth fellowship program enabled me to work with Solveig Suess and Asia Bazdyrieva from Geocinema over a half a year period, and here’s a podcast conversation we recorded (with a big hat tip to Jessika Khazrik) recently. We discuss Geocinema project and their work in China relating to the Digital Belt and Road, and their methodologies of (feminist) filmmaking, audiovisual aesthetics of infrastructure, geopolitics and more. Their work resonates strongly with what is the core of the Digital Earth program’s theme:

“Digital Earth’ refers to the materiality and immateriality of the digital reality we live in – from data centers to software interfaces, and rare minerals to financial derivatives. Earth is dug, excavated, and ripped apart to extract the fundamental materials that keep the computational machine running – oil, coltan, sand, rubber, lithium form the material basis on which digital reality is built. At the same time, digital technologies enable new modes of circulation and extraction, of information and data.”

For me, the fellowship scheme linked also nicely to the Operational Images project that has recently started. I also recently discussed their work in relation to questions of Farocki’s operational images/Sekula’s instrumental images, and what sort of resonances and dissonances there exists in these conceptualisations and methods of moving and still images that concern automation, remote sensing, infrastructure, and large-scale systems. My next plan is to write some of these thoughts up into an article.

Have a listen and share with others who might be interested!

Link to the podcast.

View at Medium.com

In Search of Media: Remain

April 26, 2019 Leave a comment

I am excited to announce that our co-authored booklet Remain is now out and available via University of Minnesota Press and Meson Press (Open Access PDF). Together with Rebecca Schneider, and Ioana Jucan who wrote the introduction, we were offered the term “remain” to respond to as part of the series of investigations as to “terms of media” in contemporary context. From the book’s description and with two blurbs from Joanna Zylinska and Steven Shaviro:

In a world undergoing constant media-driven change, the infrastructures, materialities, and temporalities of remains have become urgent. This book engages with the remains and remainders of media cultures through the lens both of theater and performance studies and of media archaeology. By taking “remain” as a verb, noun, state, and process of becoming, the authors explore the epistemological, social, and political implications.

Screen Shot 2019-04-23 at 13.28.37

 

“What emerges in this short book is a theory of media as that which remains. Mediating deep time with temporarily fossilized moments in our cultural history, the book’s multivoice narrative raises important questions about human responsibility for matter and other matters.”

— Joanna Zylinska, Goldsmiths, University of London

“This book spells out the ways in which past media and past practices continue to haunt and inflect our present social and technical arrangements.”

— Steven Shaviro, Wayne State University

 

For paperback, see University of Minnesota Press page.

For Open Access, see Meson Press page.