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AMT: An Office Manual

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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

1:1 and Cartographic Operations

March 11, 2017 2 comments

Cartographic Operations-exhibition is on at the Level 4 gallery in Southampton (Hartley Library). Supported by AMT, it features work from Winchester School of Art practitioners addressing maps. Jane Birkin, Abelardo Gil-Fournier, Sunil Manghani and Ian Dawson’s pieces address the main theme: “In Bernhard Siegert’s ‘The map is the territory’, he refers to the idea of ‘cartographic operations’. The suggestion is that our way of seeing the world is not simply represented in maps, but that map-making is itself a play of competing signs and discourses producing our subjecthood. These are the coordinates we come to live by, which in turn influence the marks and signs at our disposal when we seek to make and share representations of the world.”

One of the pieces is Jane Birkin’s 1:1 which is described and show below. It opens up the exhibition space to the depth of the surface by making visible the electric current and metal inside the wall. While it can be read in relation to some earlier pieces of contemporary art it also speaks to the current work in critical practices of infrastructure.

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From the catalogue text:

Jane Birkin’s 1:1 is a direct mapping of infrastructure behind the white space of display. It is ­a piece produced by performative procedure: a regulated operation where authorial control is established at the outset and rules are strictly followed. Electric current and metal are plotted using a DIY store metal/voltage detector and the information transferred simply to print.

There are literary precedents for mapping at this scale. In Jorge Luis Borges’ short story On Exactitude in Science cartography became exactingly precise, producing a map that has the same scale as its territory. And, in Lewis Carroll’s Sylvie and Bruno Concluded, a German professor tells how map-makers experimented with the use of ever larger maps, until they finally produced a map of the scale of 1:1. ‘It has never been spread out, yet’, said the professor. ‘The farmers objected: they said it would cover the whole country, and shut out the sunlight!’ In this case, the gallery wall is covered, shut off from light and eyes. Although 1:1 is an impassive engagement with the rule-based activity of cartography, it simultaneously performs an affective act of display.Birkin 1 to 1 detail_med.jpeg

 

 

 

 

After Arikan: Data Asymmetry

December 20, 2016 Leave a comment

After our succesful exhibition of Burak Arikan’s work, Data Asymmetry, I am posting some of the interviews and material that came out of the exhibition.

Here’s a video interview we did with Arikan setting up the exhibition in the Winchester gallery in November 2016:


And then there’s the interview(s) in Furtherfield: Carleigh Morgan interviewed Burak in the part 1 of the interview about Data Asymmetry and myself in part 2 of the interview. The interview(s) address mapping as a collective experiment,  networks as events, (art) methodologies of working with data and a lot of other topics related to internet culture.

 

 

What is AMT? A video and an interview

December 10, 2016 Leave a comment

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

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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AMT – Archaeologies of Media and Technology

June 13, 2016 1 comment

AMT3.jpg_SIA_JPG_fit_to_width_INLINEThe site for our new research group, AMT (Archaeologies of Media and Technology) is now live: http://www.southampton.ac.uk/amt/.

Directed by myself and Ryan Bishop, AMT is located at the Winchester School of Art and is an “office for media theory and speculative practice in art & design”.

We are on Twitter as @amt_office and here’s the short description of what AMT stands for:

Amt – (German) an administrative unit, office
Also: Airy Mean Time, a time standard used for timekeeping on Mars

Archaeologies of Media and Technology (AMT) is a research group that approaches technology and media writ large through their links to science, art, visual culture and critical theory with a strong emphasis on artistic practices. We investigate the conditions of existence of contemporary media technologies through design and art, in relation to both contemporary culture and cultural heritage with an eye toward the future.

The group will kick off with a range of activities after the summer including a small launch event planned tentatively for October even if we are already now involved in many things happening. The group builds on earlier work we have done with the transmediale-festival as well as many other links both in the School, in the UK and internationally. We have hosted various talks in these fields in the past years, including by Shannon Mattern, Alex Galloway, Lawrence Grossberg, Laurence Rickels, Olga Goriunova, Tony Sampson, Joanna Zylinska, Shintaro Miyazaki, Victor Burgin, Esther Milne, Pasi Valiaho and many others. We have hosted events such as Media Theory in Transit and The Image of the Network.

This week Linda Hilfling is giving an artist talk “Adding to the Paradox.”

We will post more info during and after summer with events at WSA and through projects with our international friends and partners!

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Shannon Mattern at WSA

April 17, 2016 Leave a comment

We are happy to host Shannon Mattern at the Winchester School of Art. She is giving a talk on Infrastructural Tourism on May 3rd, at 12 – details below! The talk is organised by our Centre for Global Futures and the emerging new research group AMT – Archaeologies of Media & Technology, about which more information later.

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Here’s the information about the talk:

Abstract: Infrastructural Tourism

We seem to have come to a sudden recognition that the Internet is a place made of countless material things – cables and data centers and rare earth minerals. We’ve witnessed a dawning realization that our Amazonian consumptive appetites are dependent on similarly heavy logistical systems and exploitative labor practices. We’ve surrendered to the reality of the Anthropocene and its precarious infrastructural, environmental, political, and ethical futures. This emergent infrastructural intelligence has spawned an explosion of infrastructural “literacy” and engagement projects that seek to “make visible the invisible,” to call out the unrecognized, to bore into the “black-boxed.” Grand Tours of nuclear infrastructures and key sites in telecom history have inspired many a recent Bildungsroman, in myriad mediated forms. Apps and data visualizations, sound walks and speculative design workshops, DIY manuals and field guides, urban dashboards and participatory mappings, hackathons and infrastructural tourism – strategies employed by artists and activists and even some city governments and federal agencies – all seek to “raise awareness” among a broader public about infrastructure’s existence and its politics. They aim, further, to motivate non-specialist communities to contribute to infrastructure’s maintenance and improvement, to inspire citizen-consumers to advocate for more accessible and justly distributed resources, and perhaps even to “engineer” their own DIY networks. In this talk I’ll explore various pedagogical strategies, representational techniques, and modeling methods that have been employed to promote “infrastructural intelligence” — and consider what epistemologies, ontologies, ethics, affects, and politics are embedded in those approaches.

Bio

Shannon Mattern is an Associate Professor of Media Studies at The New School. Her writing and teaching focus on archives, libraries, and other media spaces; media infrastructures; spatial epistemologies; and mediated sensation and exhibition. She is author of _The New Downtown Library: Designing with Communities_ and _Deep Mapping the Media City_ (both published by University of Minnesota Press), and she writes a regular column about urban data and mediated infrastructures for _Places_, a journal focusing on architecture, urbanism, and landscape. She has also contributed to various public design and interactive projects and exhibitions. This spring she is a senior fellow at the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie at the Bauhaus-Universität Weimar. You can find her at wordsinspace.net.