I was one of the Nordic artists (even if as a theorist) commissioned for the 2017 Works for Radio for the radio station The Lake. Based in Copenhagen, and transmitting via the Internet, the station asked the four commissioned artists to produce a piece between one and eight minutes in length and to relay the invite to four other Nordic artists.
The works are launched on Saturday 14th of January in Copenhagen and can be then listened as part of the programme flow at http://www.thelakeradio.com/.
The original call for artists described the idea behind the commission:
“Radio art as a genre has a long tradition in the European public service institutions. Especially in the 1960s, the different national broadcasters commissioned new works from artists, writers, and composers made specifically for radio. This practice has declined over the years, and in Denmark it is almost lost. As a radio station The Lake wants to revive this tradition! Furthermore we want to bring more sounds into the aether, that are not necessarily music. How can art for radio sound? Through the project Works for Radio, The Lake is commissioning eight new sound pieces from Nordic artists.”
A short context for my piece is described below.
The piece is a speculative theory performance for radio. Jussi Parikka’s text and reading together with artist, researcher Dr Jane Birkin (Southampton) starts with a reference to the German media theorist Walter Benjamin’s (1892-1940) radio play Lichtenberg (1933). On Lunacy is less a commentary on Benjamin’s play than an attempt to bring some of the themes into a discussion with contemporary issues of politics, technology and ecology. It starts with the roar of approval at the Tory conference in October 2016, after the prime minister Theresa May dismisses the work of human rights lawyers and activists. This roar is chilling and it resonates across many countries as a wave of populist, destructive contempt that takes different, varying forms in Europe, the USA, Russia, Turkey, etc.
On Lunacy discusses the media technological conditions of politics of voice and lack of voice, of what is heard and what is too painful to listen to. It enters into a discussion with a range of current debates about media technological transmission and interception, as well as nods to many relevant contexts in the history of radio too – from Orson Welles’ War of the Worlds (1938) to the satellite broadcasts since the 1960s. I also had in mind the various sonic and artistic voices of past decades; from Gil Scott-Heron’s Whitey on the Moon (1970) to the various sounds of Afrofuturism since the 1970s to name some even if they do not feature as explicit references in this work.
Radio is approached not merely as a medium of entertainment but one of military communication as well as the tactics of misinformation, confusion and mind control. Radio persists and is constantly reinvented, and the signal worlds persist in and out of the planet. The narrative trope of the moon and the interplanetary play a key role in this theoretical voice piece, but also offers a way to resurface back to the contemporary politics that features the return of the mainstream acceptance xenophobia, racism and politics of violence against particular ethnicities as well as the ecocide that haunts the contemporary moment.
On Lunacy ends with the recurring, burning question of politics (that also for example the French philosophers Gilles Deleuze and Felix Guattari posed): why do people desire their own enslavement?
Stephen Cornford offered assistance in editing and post-production of the sound. Thank you also to Ryan Bishop, the co-director of AMT research centre, who offered key thoughts on the cold war contexts of satellites and sound transmission.
The work stems from the new research and practice platform Archaeologies of Media and Technology (AMT) at Winchester School of Art.
Cue in Gil Scott-Heron, Whitey on the Moon.
J.R.Carpenter’s new hybrid print and web-based work The Gathering Cloud unfolds as fittingly dreamy, beautiful piece with hypertextual hendecasyllabic verses that attach solidly to the undergrounds of contemporary data clouds.
Like her earlier work, it engages in a contemporary that is entangled between the past and the now. The topic of the cloud becomes the vehicle that drives the work, from Luke Howard’s “Essay on the Modifications of Clouds” (1803) to querying the environmental significance of any word, any seemingly fleeting moment captured as image, uploaded, and stored on the cloud as part of the transactions of data that are the humming backbone of our digital poetics.
Nora Khan has written a lovely review of the Anthrobscene. She picks up on the implications for a material theory of media, and elaborates how “In a stunning essay-book titled The Anthrobscene, Jussi Parikka argues that our media era is fundamentally geophysical, that geology itself is a media resource […]”.
Khan elaborates on this aspect of the material off-screen digitality through great references: “as Marvin Jordan and Mike Pepi recently wrote, ‘the most interesting things are happening off screen: in cables and wire, in climate-controlled data centers, in mySQL and at DLD, in Hadoop and MapReduce'”.
The text below an abstract, something I promised to present at the forthcoming Istanbul-conference on Cloud And Molecular Aesthetics. It riffs on my earlier post on smog as part of environmental art history, an ecological art history/aesthetic set of terms.
Media Moleculars of Smog Culture: An Alternative Aesthetic
Speaking of molecules, photochemical smog that covers so much of our surroundings especially in dense urban areas consists of Nitrogen Oxide (NO), Nitrogen Dioxide (NO2), Ozone (O3) and Volatile organic compounds (RH). This is the elemental media condition across aesthetics of contemporary landscapes of industrial and post-industrial life. An urban screen, hovering above cinematic places of Los Angeles, etc. The sunlight reacts with the pollutants, resulting in a weird set of visual media: photochemical smog.
A matter of concern for inhabitants and of course biochemists, it however is also an issue we can address in our context of aesthetics, imaging and visual culture. This talk proposes to address smog – and more widely environmental issues from pollution to issues of geophysics – as relevant parts of our visual culture, proposing another sort of an angle to the “molecular”. Indeed, the constituent definition of molecular that one inherits from Deleuze and Guattari sits in relation to the ontology of perception. This molecular becomes more than a chemical description and a way to address the dynamic constitution of the (molar) individual. As Tom Conley explains, this is a sort of a “chemical animism” speaking of the elemental molecular conditions that constitute systems of “complex interactions”.
The molecular is an ontological angle that for Deleuze presents a world of “tiny perceptions” which are not only small in size but qualitatively present a different view to the whole. Hence emerges the whole agenda of micropolitics of perception and what could be called a chemistry of individuation. However, in the context of this talk, I won’t go into a detailed discussion focusing on Deleuze so much as hint towards speculative ideas of a media history of smog, environmental pollution and the technologies of tele-sensing /smog sensors as constituting a different sort of a visual culture of “new media” of mixed temporalities: the ancient rays of sun, the modern fumes of the city, and the emerging technologies of tele-sensing. I argue that such topics bring an additional angle to the already important extension of aesthetics in the realms of biotechnologies, the molecular vision, and the new diffentiating scales at which perception is constituted. Perhaps it’s the smog screens, reacting with sun light, that execute the truly ancient new media environment of post WWII culture as a sort of a non-human staging of the environmental catastrophy as well as an art historical period outside the usual categorisations.
“Medya Jeolojisi“, a Turkish translation of my “Geology of Media”-piece is now available on Birikim online. A big thanks to translators Ezgi Akdağ & Aycan Katıtaş! The short text offers an alternative account of media materiality, and it was originally published in The Atlantic. (Also a Swedish translation is expected).
The short piece is a good teaser trailer to the forthcoming book(s): The Anthrobscene (forthcoming 2014) and Geology of Media (expected Spring 2015).
Perhaps photochemical smog is the only true new visual media of post World War II technological culture. It represents the high achievements in science and technology, combined with (synthetic) chemistry and sunlight. It modulates the light like advanced visual media should and embeds us in its augmented reality as we suck it into our lungs.
It encapsulates the mediatic cities of Los Angeles and Beijing, as encompassing surely as Hollywood’s machinery. Just like the material basis of technical media of more conventional kind – such as photography and film – it is chemical based. It is media the same as any photochemical process is about how light gets absorbed on our planet’s atoms and molecules.
But it’s new media, particular to the modern industrial age and the chemical reactions of more recent history. It feeds of industrial pollution and modern transport. It is about the screen as well – how the sunlight is offered this massive living chemical molecular screen on which to project its energetic images. A molecular aesthetics of an ecology of a dying planet.