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Keyword: ‘geology’

Insect Media, the Polish Translation: Owady i media

With a beautiful yellow cover, Insect Media comes out as a Polish translation: Owady i media! The translation is published by the Krakow based press Księgarnia Akademicka and the “Interpretations” series focusing on cultural studies, performance studies and new historicism. The series has published books such as Hans-Thies Lehmann’s “Postdramatic Theatre”, Erika Fischer-Lichte’s “Transformative Power of Performance”, Judith Butler’s “Antigone’s Claim”, Thierry Bardini’s Junkware and Freddie Rokem’s “Performing History”. A massive thanks to the series editors and the translators professor Małgorzata Sugiera and Dr. Mateusz Borowski for their work on the translation!

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Insect Media: An Archaeology of Animals and Technology (2010, University of Minnesota Press) is part of the trio of books that came out in English between 2007 and 2015, including also Digital Contagions (2007, 2nd. new edition with a preface by Sean Cubitt in 2016, Peter Lang Publishing) and A Geology of Media (2015, University of Minnesota Press). Insect Media won the 2012 Anne Friedberg Award for Innovative Scholarship (Society for Cinema and Media Studies, SCMS). Eugene Thacker kindly wrote about the book: “With Insect Media, Jussi Parikka offers a theory of media that challenges our traditional views of the natural and the artificial. Parikka not only understands insects through the lens of media and mediation, he also unearths an insect logic at the heart of our contemporary fascination with networks, swarming, and intelligent agents. Such a project requires the ability to interweave cultural theory with a deep understanding of the sciences—something for which Parikka is well-suited. Most importantly, Insect Media reminds us of the non-human aspect of media, communication, intelligence. Insect Media is a book that is sure to create a buzz.”

Some earlier reviews of Insect Media:

Theory & Event
Mute Magazine
WSQ: Women’s Studies Quarterly [PDF]




And the Earth Screamed, Alive

October 17, 2016 Leave a comment

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

*“And the Earth Screamed, Alive” Jussi Parikka, A Geology of Media, University of Minnesota Press (2015).

Elements – a new book series

October 13, 2016 1 comment
Here’s some information about a new book series, Elements – edited by Nicole Starosielski and Stacy Alaimo. It is published by Duke University Press, which is starting some great new series (in addition to this, also the Cultural Politics-book series).  Find below the introduction-text to Elements from the editors:

Over the past decade, studies of culture have crystallized around the elements, as scholars have endeavored to think with material substances. The classical elements of earth, water, air, and fire for example, have inspired several recent books, including Jussi Parikka’s A Geology of Media (2015), Jeffrey Jerome Cohen’s Stone (2015), and Thinking with Water, edited by Cecilia Chen, Janine MacLeod, and Astrida Neimanis. Nigel Clark and Kathryn Yusoff drawing together histories of fire, cultural theories of the sun, and pyrotechnics, have proposed that a “generalized study of combustion” is key to understanding human energetic exchanges.[1] More broadly, Jeffrey Jerome Cohen and Lowell Duckert recently published a collection driven by all the classical elements, assembling elemental criticism as an explicitly ecological project: Elemental Ecocriticism: Thinking with Earth, Air, Water, and Fire. Other forms of matter, from ice to plastics, are forming new centers for emerging environmentally-oriented conversations.[2] And we expect that more scholars will undertake projects focusing on the chemical elements of contemporary science, as carbon, rare earth minerals, and polymetallic sulfides—entangled in climate change, ocean acidification, terrestrial mining and deep sea mining—become the focus of scientific, ethical, and political concerns.

Book series tend to be bound by geographic areas, disciplinary focus, a shared set of theoretical questions, and objects of study. The Elements series would include texts with a commitment to examining social and cultural processes in relation to particular forms of matter, regardless of disciplinary approach. We imagine that the series will include historical texts that explicate discourses and knowledge about the elements, ethnographies that track how the elements are socially engaged and culturally constituted, studies of scientific knowledge of the elements, and works that think through the representation and material role of the elements in the production of art, texts and technologies. Regardless of their site, we welcome texts in which the elements, whether as part of the waves of the ocean or the circulations of the atmosphere, are not a neutral background, but lively forces that shape culture, politics, and communication. We are interested in manuscripts that track the elements in their classical sense, that follow particular scientific elements, molecules, and materials, or that offer inventive sites for rethinking what constitutes the elemental.

The elemental approach has reached the point where researchers have begun to offer philosophies and paradigms for its analysis, including David Macauley’s Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas (2010), Jeffrey Jerome Cohen and Lowell Duckert’s edited collection, Elemental Ecocritcism: Thinking with Earth, Air, Water, and Fire (2015), and John Durham Peters’ The Marvelous Clouds: Towards a Philosophy of ElementalMedia (2015). These works offer a number of strategic reasons to adopt the elemental as a framework for ecological analysis, rather than concepts such as “environment” or “nature.” Macauley writes, for example, that understanding the elements does not entail “referring back to ‘Nature’ itself as an entirely stable sphere of meaning—a repository of the ontologically pregiven—so much as gesturing forward (sideward and wayward) to the possibility of discovering a more fluid, open and unfolding philosophical framework and ecological field.”[3] Although many of the elemental works mentioned above have been motivated by a need to better understand the ecological crisis, many others do not fit within existing ecocritical and environmental frameworks. And similarly, just as many of these works are informed by work in the new materialism, not all operate under this rubric.

As is true of the elements themselves, the books we witness engaging them, and which we would feature in this series, are not always neatly constrained in a particular field such as geography, history, anthropology, literary criticism or philosophy, nor within areas such as digital media or new materialism, even as their study has profound implications for all of these fields. In assembling diverse inquiries into particular forms of matter, we hope that the series will be a meeting ground for work on earth, water, air, chemicals, minerals, fuels, plastics, and other such substances as they circulate and interact with and as part of environmental, technological, cultural and political formations. Our interest is not in creating a set of definitions for what the elemental might be, but to open a space for such innovative work at Duke University Press. Duke’s strengths in theory, cultural analysis, environmental studies, and science studies, and the fact that the Press has already published many works emerging around this topic, make it an ideal location for these exchanges.

In order to maintain a distinctive focus on the Elemental, we are not soliciting projects that lack sustained attention to substances and materialities. While the books in the series will all be theoretically informed—and some may be primarily theoretical—all of the projects should still engage, in a serious and sustained way, with the elements—broadly conceived.

Submission Process
Each book in the Elements series will go through the standard submission process of Duke University Press and will be approved by the series editors. For consideration in this series, please email proposals, sample, chapters, or completed manuscripts to Nicole Starosielski and Stacy Alaimo: and Proposals may also be sent directly to Courtney Berger at Duke UP:; see also


[1}Nigel Clark and Kathryn Yusoff, “Combustion and Society: A Fire-Centred History of Energy Use,” Theory, Culture & Society 31 no. 5 (September 2014): 203-226; See also: Kerry Ryan Chance, “Where there is Fire, there is Politics”: Ungovernability and Material Life in Urban South Africa,” Cultural Anthropology 30, no. 3 (2015): 394-423; Nigel Clark, “Fiery Arts: Pyrotechnology and the Political Aesthetics of the Anthropocene,” GeoHumanities 1, no. 2 (2015): 266-284.
[2] Jennifer Gabrys, Gay Hawkins, and Mike Michael, eds. Accumulation: The Material Politics of Plastic (New York: Routledge, 2013).
[3] David Macaley, Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas (Albany: SUNY Press, 2010), 4. 

Reviews and More

Some quick updates on new reviews and other news about some recent books, first starting with A Geology of Media. Our university PR-team did a short news item about it being selected on the Choice-magazine list of “Outstanding Academic Title for 2015“.

It was reviewed in a couple of places including Contriver’s Review: “An Archive Beneath“. Kyle Bickoff writes in his review: “Parikka describes his book as part of the material landscape it defines, leaving little room for misinterpretation about the ubiquity and consequent exigence of his topic. This is clearly evident in the text’s construction, from its precisely demarcated, stratified chapters, to the coherence of the argument within each layer; the book, indeed, has a geology of its own.”

Also Leonardo ran a review of it. Gabriela Galati’s text gives an overview of the book, highlighting some key themes and questions too.

In addition, also our other recent new book that we launched in a couple of places (including Kiasma (Helsinki), Montreal and London) Writing and Unwriting (Media) Art History: Erkki Kurenniemi in 2048 was recently reviewed. The short review in Neural summarises the book as follows: “The book challenges the reader to interpret Kurenniemi and his symbolic involvement in different disciplines, including his feverish daily archiving activities and the (re)invention of audio visual machines. The impact of this work is amplified, implicitly reinforcing both present complexity and future uncertainty.”

The Earth (for the Posthuman Glossary)

November 12, 2015 Leave a comment

I am writing some entries (“Anthropocene”, “Medianatures”, “The Earth”) for the forthcoming Posthuman Glossary, edited by Rosi Braidotti and Maria Hlavajova. The project and some of the entries were the topic of seminars during May/June in Utrecht in a row of seminars, and the book I believe is expected to be out later in 2016.

Here’s one of the text – although in draft form (and not copy edited); a short text on the Earth. One can say topical for so many reasons: issues of climate change/disaster, as well as the perhaps linked enthusiastic discovery of Earth-like planets outside our solar system – a recurring theme in our current public discourse about space and science.

 The Earth

The Earth is a planet, of an age of about 4.54 billion years and defined by its geological formations, density, biosphere, hydrosphere and an atmosphere that sustains life. It’s more than a world for humans but an Earth that is defined by its life-sustaining conditions and its planetary relations (Woodard 2015). On a planetary level, it is one complex dynamic system where biosphere, atmosphere and many of the geological spheres interact; on an extra-planetary level it is as dynamic, part of the gravitational pull, periodic rotation, cosmic rays and the radiation of the sun. Buckminster Fuller coined it “spaceship earth” marking the speculative beginnings of post-planetary design: ‘We are all astronauts’ (Fuller 1969: 14) who spin in space traveling 60 000 miles an hour, in the midst of rich non-human life as well as the intensive relations to other planets and the sun.

The Earth is also a complex ecosystem where one should never mistake humans to be the centre of action but merely one part in a larger loop of processes. One way to refer to it is by way of a ‘holarchy arisen from the self-induced synergy of combination, interfacing, and recombination’ (Margulis and Sagan 1995:18).

Besides the life of the organic and the inorganic spheres, it is also a mediasphere by which we don’t have to think only of the Jesuit fantasies of the immaterial reality of cognition such as Teilhard de Chardin did–or what cyber culture then rehashed with a dose of Silicon Valley excitement–but the different visualisation systems that give us operational representations of the planet. This is the view of the Earth since the Vostok I-space flight in 1961: the first human that is orbiting the planet and able to describe the ground-detached view. It’s the Earth that features in the cover of the first Whole Earth Catalogue in 1968, and in the inside pages hailing the imagery of the satellite era: the necessary coffee table book of 243 NASA images, in full color, from the Gemini flights in 1965—for only $7. The Earth furnishes the home.

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Our understanding of the Earth is mediated by a variety of representational techniques and is itself a product of the technological era. ‘They alone shall possess the earth who live from the powers of the cosmos, quoted Walter Benjamin (2008: 58) in his short text ‘To the Planetarium’ from 1928, analysing technological ways of organising the physis – both the gaze upwards, and from up there, back downwards. The satellite based images of the Earth since 1960s and leading to the famous Blue Marble of 1972 (Apollo 17-flight) mark subsequent examples in the series of images that define the Earth from the space. The escape velocity (Virilio 1997) that allows accelerating objects from airplanes to space ships to leave the Earth’s gravity bound surface is also what then allows us to see the Earth from above. The old etymology of the Earth as eorþe referring to something different from the heavens and the underground gives way to a dynamic of vectors where the Earth becomes defined from the heavens. The energetic powers of acceleration transform into the visual survey from above. As Fuller puts it, writing in late 1960s, ‘However, you have viewed more than did pre-twentieth-century man, for in his entire lifetime he saw only one-millionth of the Earth’s surface.’ This media-enhanced understanding of the Earth seeps into the biological work of Margulis and Sagan even, when they narrate the new metamorphosis of visual epistemology that this technological thrusting and imaging brings about. It brings forth an imaginary of the orbital that is shared by satellites and astronauts: ‘As if floating dreamily away from your own body, you watch the planet to which you are now tied by only the invisible umbilicus of gravity and telecommunication.’ (Margulis and Sagan 1995: 18). They use such images and narratives to contribute to the idea of holarchic view where the human is part of the micro- and macrocosms. For them, the event is a sort of a planetary level mirror image that carries Jacques Lacan concept from babies to space: to perceive ‘the global environment’ as the ‘mirror stage of our entire species’ (Ibid.)

Much more than an echo of psychoanalytic stage for the planetary design, the mediated vision turned back on the earth itself was instrumental to a range of political, scientific and military considerations. Seeing the Earth from space was one such thing that had an effect on climate research (also impacted by the nuclear testing, see Edwards 2010). It had an effect on military planning and geopolitical evaluation. It opened up again a holistic view of the planet as one although at the same time as a complex system of non-linear kind. It contributed to a variety of cultural moods and movements. Even the gaze to the otherworldly away from the Earth was a way to sharpen the focus on the planet; But the technological gaze toward deep space with telescopes such as Hubble was never just about space and the interplanetary worlds. Geographical surveys benefited from the developed lenses and image processing of satellite-enabled remote sensing. (Cubitt 1998: 45-49) The perspective back to the Earth has enabled the fine-tuning accuracy of corporate digital maps such as Google Earth and a massive military surveillance system too.

The Earth is constantly targeted by satellites and remote sensing systems such as the Planetary Skin institute. The institute is one among many systems that offer polyscalar view of multiciplity of processes for analysis. It boasts with the ideal of reading these as “scalable big data” that benefits communities and can “increase, food, water, and energy security and protect key ecosystems and biodiversity” (quoted in Bishop 2016). Alongside systems as the Hewlett Packard’s Central Nervous System for the Earth (CeNSE) it creates real-time surveillance systems that intend more than mere observation. As Ryan Bishop (ibid.) argues, these are massive level systems for constant data-based interpretation of the various scales of the Earth that indeed define a specific corporate-security angle on a planetary scale.

Our relations with the Earth are mediated through technologies and techniques of visualization, sonification, calculation, mapping, prediction, simulation, and so forth: it is primarily through operationalized media that we grasp the Earth as an object of analysis. Even the surface of the earth and geological resources used to be mapped through surveys and field observation. But now this advances through remote sensing technologies (see also Parikka 2015). One can argue that they are in a way extensions of Leibniz’s universal calculus, which offered one way to account for the order of the earth, including its accidents like earthquakes (such as the infamous 1755 in Lisbon). But as the architect-theorist Eyal Weizman argues, this calculation of the Earth is now less organized according to the divine order of Christian Deity and more about the “increasingly complex bureaucracy of calculations that include sensors in the subsoil, terrain, air, and sea, all processed by algorithms and their attendant models.” (Weizman, Davis, Turpin 2013: 64) Also practices of meteorology are to be understood as such cultural techniques and media operations that order the dynamics of the sky as analyzable data. The terrestrial opens up through what circulates above it, the atmosphere becomes a way to understand the ground and the orbit is where the understanding of the Earth begins by way of massive data-driven remote sensing systems. The nomos of the Earth that defines its geopolitics is one that reaches out to the heavenly spheres as much as to the multi-scalar data-intensive operations (see Bratton 2015).


Benjamin, W. (2008) ‘To the Planetarium.’ In Walter Benjamin, The Work of Art in the Age of its Technological Reproducibility and Other Writings on Media. Cambridge, MA: Harvard University Press, 58-59.

Bishop, R. (2016) ‘Felo de se: The Munus of Remote Sensing’. Boundary2, forthcoming (estimated 2016).

Bratton, B. (2015) The Stack. On Software and Sovereignty. Cambridge, MA: The MIT Press.

Cubitt, S. (1998) Digital Aesthetics. London: Sage.

Edwards, P. (2010) The Vast Machine. Computer Models, Climate Data, and the Politics of Global Warming. Cambridge, MA: The MIT Press.

Fuller, B. (1969) ‘Operating Manual for Spaceship Earth’ Online at (originally published in 1968).

Margulis, L. and Sagan, D. (1995) What is Life? New York: Simon & Schuster.

Parikka, J. (2015) A Geology of Media. Minneapolis: University of Minnesota Press.

Virilio, P. (1997) Open Sky. Trans. Julie Rose. London: Verso.

Weizman, E.; Davis, H. and Turpin, E. (2013), “Matters of Calculation: Eyal Weizman in Conversation with Heather Davis and Etienne Turpin,” in Architecture in the Anthropocene: Encounters among Design, Deep Time, Science, and Philosophy, ed. Etienne Turpin. Ann Arbor, Mich.: Open Humanities Press, 63-82.

Woodard, B. (2015) ‘Less World to be Ourselves. A Note on Postapocalyptic Simplification’ E-Flux Supercommunity, August 6,

The Not-So Immaterial Digital Image

October 8, 2015 Leave a comment

Film scholar Angelos Koutsourakis reviews A Geology of Media in the New Review of Film and Television Studies.

Koutsourakis ties the book to some discussions in screen studies and film theory, and addresses among other topics, materiality of cinema:

“Questions of materiality, the primacy of technological mediation (or the apparatus in the German employment
of the word, and not in its Lacanian misuse in the late 1960s and early 1970s) become once again germane as well as questions of illusionism (in the Benjaminian sense of the concealment of social labour).”

A link to the webpage for the review (or email me for a PDF).

” The Anthropocene: Looking for the Emergency Exit”

September 17, 2015 Leave a comment

I will be in Bristol on October 1st to talk about Geology of Media. The presentation part of a very nice looking talk series organised by colleagues at UWE, “The Anthropocene: Looking for the Emergency Exit“. I am also pleased that the talk is chaired by Michelle Henning!

On a related note, on the fantasy of planetary exists, Benedict Singleton’s “Maximum Jailbreak” is a good read!

A Secret Life of Media Ecologies

July 29, 2015 3 comments

Next week, in Brazil it’s all about media ecologies. A Secret Life of Objects, A Vida Secreta dos Objetos, is the 2nd in the series of major conferences that address theory, media and materiality of cultural interactions. The first of the two events takes place in Sao Paulo, the second in Rio de Janeiro. I am also happy to tell that Winchester School of Art is one of the official partners! There is even a video trailer to set the mood for the events: I will be giving a talk at both events on topics that relate to geology of media and the issues of urban pollution and smart cities.

Deep Mining, Deep Time by Nora Khan

March 4, 2015 2 comments

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'”.

UNSW Distinguished Scholar Visit

February 19, 2015 Leave a comment

I am pretty chuffed about this visit: I received one of the University of New South Wales (Sydney) Distinguished Visiting Scholar awards and will be giving some talks and a workshop, as well as meeting loads of people during  my time in the Southern hemisphere.

It’s not a big surprise that my talks and workshop will focus on media theory, materiality and history. In the workshop, or “master class”, we will be reading key texts of German media theory, especially focusing on the concept of cultural techniques.

One of the talks (on March 17) will be on the geophysical materialities of media in art and technology, “a story less about extensions of Man than extensions of the planetary.” It’s a preview of the forthcoming book A Geology of Media.

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In addition, another talk (March 16) is an early attempt on what might become a research/book project together with Lori Emerson and Darren Wershler on humanities labs/media archaeology labs. Below is the abstract for that. Thanks to Tom Apperley at UNSW for coordinating and facilitating the visit. For any queries related to the talks, contact Tom.

A Laboratory Practice? Media Archaeology Labs and Humanities Knowledge as Creation and Hacking

This talk will address media archaeology but from the angle that considers it as a spatialised, institutionalized practice. By addressing existing and emerging media archaeology labs such as in Berlin, Boulder (Colorado) and other places, it aims to offer ideas how to contextualize the idea of “labs” in contemporary humanities. Media archaeology labs are often pitched as a way to think cultural heritage and contemporary technology outside the more established institutional practices of archives and museums. Instead, the labs seem to have become sites of “hacking”, opening up technologies and pedagogical ways of appropriating past technologies as epistemological ways of understanding modern technological culture. Besides offering examples and introduction to some key ideas and practices, the talk aims to expand to artistic practices and other cross-disciplinary ways of humanities knowledge-creation.