Machinology

Machines, noise, and a few media the archaeology of gortyn by Jussi Parikka

Published in circuit bending

A Lab of Labs

AMT was again area of the Istanbul Design Biennial, this time around along with Bilkent College (Ankara) hosting a workshop along with a panel. We taken care of immediately the primary theme of faculty of colleges with this own emphasis: a lab of labs. Quite simply, dealing with the Bilkent Media The archaeology of gortyn Lab (brought by Andreas Treske) we organised a 2 day event that performed a lab in as a means to investigate it as being a assemblage of the way, techniques, affordances from the lab within an urban atmosphere and poor Istanbul, a town having a lengthy heritage of crafts, workshops, and style irreducible to some sanitized design thinking discourse.

Taking advantage of the expertise of Ege Berensel and Başak Altın we involved in workshopping that incorporated 8 mm found footage (home films) and motherboards (as an origin of circuit bending and tinkering). While Ebruk Kurbak became a member of us to speak about her operate in textiles, computing and material methodologies in speculative design, and Tuğçe Karatas shared her views being an independent curator, our special surprise guest was the neighborhood TV repair center expert who gave us a 2 hour quick studies into his work and electronics! The lab includes many different types of expert knowledge.

The workshop seemed to be area of the research for #TheLabBook – online at Exactly what is a Media Lab?.

Machinology Andreas Treske’s opening words, along with Björk’s poetic search for the tv.

Machinology Başak Altın and Ege Berensel, artists from Ankara, were area of the work. Here Basak narrating a brief visual good reputation for motherboards.

Machinology An unpicking of the video projector into its material-epistemic components, measurable as objects of great interest, unfolding multiple amounts of media the archaeology of gortyn. #OfficeTruisms

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Labs as hands-on practice.

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A brief summary of electronics – in the outlook during repairing televisions along with other appliances.

When things break lower, they’re much more interesting compared to gadgets that function, funnel and regulate our way of life. Damaged things might poetically with a Heideggerian hum tell reveal their essence. This is actually the other part from the apocalyptic – to become understood as “apo-kalyptein – an uncovering or disclosing of the items had formerly been hidden.” (Gere 2008: 13)

It’s within this sense that people should talk of “downtime” less an accidental misfortune, a brief hiccup and denial and services information of intentional nature or simply infrastructural/hardware failure. Rather, it belongs to how media, tech and things just are (in consumer cultures) they break lower, fail within their intended task, and won’t turn on. Indeed downtime it’s time of permanent breaking lower, crisis and something is enticed to begin unraveling a broader transversal perception of downtime in the microscale of technological circuits to macroscales of economy. But indeed, if it’s a transversal notion it cuts across such traditional divisions of micro and macro and forces another dimensionality. A molecular degree of connections which forces the technological to become tightly articulated included in political economy an articulation of politics must look at the technological conditioning of itself – the political action the (media) technological sustains and operates the processes of subjectification the social starts in the circuit.Machinology

A set up, Downtime (publish-domestic fiction), I saw included in Amber 2012 exhibition in Istanbul, November 2012, plays with the thought of damaged lower electronic along with other gadgets, from scientific measurement units for an old telephone, television, kitchen utensils (a hands mixer) as well as an old Spectrum ZX computer. The practice pertains to the current many years of circuit bending and hardware hacking, in addition to critical design/(re)making, from Garnet Hertz to Benjamin Gaulon and glitchers Jon Satrom to Rosa Menkman, and it may be stated to connect with zombie media too–repurposing discarded/structural gadgets.

For that group, “downtime refers back to the time period where a method remains unavailable or does not provide or perform its primary function.” Cellular phone covers a wall using its recircuited works, reminescent of for example ReFunct Media 2.. Indeed, this is actually the interesting bit it’s not a lot concerning the object, however the materiality of their dysfunctionality is articulated like a temporal relation “the period during which…”. Even downtime unfolds like a duration.

I’d reason that there’s a twisted permanence, or at best a horizon, a duration, of these a downtime that’s as crucial as its functionality. “Through the active participation from the viewer, the objects are examined inside a new context, when it comes to how they are stored active and accessible by its reuse and manipulation”, the audience writes. We obviously have to investigate wider sense and rationale of why things ought to be stored active, and also the horizon of this. For me personally, the interesting bit is really as stated the temporal dimension, and also the new materialist discourse and media technological theory needs so that you can tackle with this particular too. Whether it’s concerning the temporality from the accident, or even the break lower, downtime — or then your microtemporality Wolfgang Ernst is after (see also Algorhythmics).

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Indeed, the accident and downtime isn’t just a celebration that disrupts the important of temporality, but incorporates its very own duration we have to know too. Downtime is really a switch concept for notions of your time – functional and structural, and therefore attempts to behave as an anthropological operator for cultural techniques of temporality.

What’s Media The archaeology of gortyn? — out now

It’s out, and progressively in book shops — What’s Media The archaeology of gortyn? (Polity),
my new book about media the archaeology of gortyn (exactly what a surprise)!Machinology

It accumulates in which the edited volume Media The archaeology of gortyn: Approaches, Applications, and Implications (Huhtamo and Parikka) ended what this means is the implications bit, and just how media the archaeology of gortyn pertains to other recent discussions in art, cultural and media theory: software studies, new materialism, archives, and much more. Quite simply, it complements the sooner collection.

1) What’s media the archaeology of gortyn?

– depends whom you ask. Should you ask Erkki Huhtamo or Siegfried Zielinski, you can find another answer than from asking me. For Huhtamo, it’s the recurring topoi/topics of media culture for Zielinski, a poetic search for deep occasions and variantology and so on. For me personally, it’s an exciting theoretical opening to consider material media cultures inside a historic perspective. However, it expands into an experimental group of questioning time, obsolescence, and alternative histories too. In a single way, it’s about analyzing the circumstances of information on media cultural objects, processes and phenomena. It senses some strands of “German media theory”, but connects that with other debates in cultural theory too.I love what Bernhard Siegert has stated concerning the early ethos of media the archaeology of gortyn because of Nietzschean gay science — experimental, exploratory, radical. Possibly within this vein, media the archaeology of gortyn is a response to the necessity to think transdiscplinary questions of art, science, philosophy and technology.

2) Is it not just media history that attempts to rebrand itself?

– No, not necessarily. Many of the media archaeological work expands to strong theoretical arguments in addition to quite different types of historic inquiry than a single recognizes on television historic work. Getting stated that, possibly this is when the interesting connections are emerging how media the archaeology of gortyn can lead to media historic inquiry in addition to considering archives and cultural memory. There’s one chapter on archives within this new book. Lots of media the archaeology of gortyn owes to earlier new cultural histories and new historicism, therefore the link can there be.

3) Isn’t media the archaeology of gortyn merely a footnote to Kittler’s work?

– That might be unfair towards a lot of other theorists, German and non-German. Kittler themself denied as being a media archaeologist, even when many of the stuff has had much inspiration from him and the thought of searching at “conditions of existence” of cultural formations through (technical) media. Even Germany is stuffed with media archaeological work, since 1980s, and lots of that expands to such new directions as Cultural Techniques (Siegert, Krajewski, Vissman, yet others) along with other media archaeologists — most famously Wolfgang Ernst. Additionally, it provides an insight with other media archaeological theories, for example Huhtamo’s, Zielinski’s, new film history (Elsaesser et al) along with the links to emerging media studies fields for example digital humanities (eg Kirschenbaum’s work).

4) Seems like it is theory, huh?

There’s not only media theory — although The truth is that, that due to the nature from the book, was unable to work an excessive amount of new empirical material there. However, one key factor that appears within the book is using media the archaeology of gortyn being an artistic method. There’s an entire chapter focused on that. I believe probably the most exciting directions would be to observe how these methodologies may be used in design, arts along with other fields of creative practice that anyway are curious about styles of obsolescence, media and technological affordance, the atmosphere and ecosystem, remix as well as for instance hardware (even analogue!).

5) What next?

– Forget about media the archaeology of gortyn for me personally. Well, I’ve jokingly guaranteed which i won’t make use of the term any longer, even should i be thinking about seeing where this term usually takes us. I’ll think of a disguise, a theoretical disguise.

6) your opportunity to inquire about us a question!

– and i’ll answer, basically can.

Meanwhile, this is actually the information on it:

(In the Publisher’s catalogue and website):

This cutting-edge text offers introducing the emerging field of media the archaeology of gortyn and analyses the innovative theoretical and artistic methodology accustomed to excavate current media through its past.

Written having a steampunk attitude, What’s Media The archaeology of gortyn? examines the theoretical challenges of studying digital culture and memory and reveals the sedimented layers of recent media culture. The writer contextualizes media the archaeology of gortyn with regards to other key media studies debates including software studies, German media theory, imaginary media research, new materialism and digital humanities.

What’s Media The archaeology of gortyn? advances a cutting-edge theoretical position whilst presenting an interesting and accessible overview for college students of media, film and cultural studies. It will likely be essential studying for anybody thinking about the interdisciplinary ties between art, technology and media.

And also the blurbs:

‘Jussi Parikka provides a lucid, concise, and highly readable account of the exciting and new field – media the archaeology of gortyn. He shows that contemporary media forms are stuck to yesteryear by multiple threads – untangling them allows us to comprehend the media craze that presently surrounds us.’
Erkki Huhtamo, College of California La

‘A fabulous map of media the archaeology of gortyn that, since it’s subject compels, produces its territory once again.’
Matthew Larger, Goldsmiths

‘The very indepth coverage up to now of the fascinating section of study. Parikka’s book provides an excellent summary of connections between your material and social facets of media technology. He supplies a thorough overview of the varied and often contrasting theoretical foundations and offers a number of concrete types of media-archaeological practice that provide to bridge the space between heady theoretical trajectories and the worries of practicing artists, users along with other readers taking their technology seriously.’
Paul DeMarinis, Stanford College

Table of Contents

Chapter 1
Introduction: Cartographies from the Old and also the New
Chapter 2
Media The archaeology of gortyn from the Senses: Audiovisual, Affective, Algorithmic
Chapter 3
Imaginary Media: Mapping Weird Objects
Chapter 4
Media Theory and New Materialism
Chapter 5
Mapping Noise and Accidents
Chapter 6
Archive Dynamics: Software Culture and Digital Heritage
Chapter Seven
Practicing Media The archaeology of gortyn: Creative Methodologies for Removal

Conclusions: Media The archaeology of gortyn in Digital Culture
Note: it is striking the bookstores now within the United kingdom (May), and shortly in North-America (June) and world.

Transmediale 2011 theory award nomination for Zombie Media

Slightly possibly shadowed through the Nobel prize bulletins, the nominees for that Transmediale 2011 theory award – the Vilem Flusser award – were revealed now.

I happy and excited being one of these, for that piece we authored along with Garnet Hertz: “Zombie Media: Circuit Bending Media The archaeology of gortyn into a skill Method”. The written text is really a theoretical excavation into thinking such art methods as circuit bending as media archaeological, and therefore, expanding the idea of media the archaeology of gortyn from the textual method into some thing strongly attached to the political economy of clipped shut it and material digital culture art practices: trying out technology that isn’t intended to be opened up, altered, modified. Hence we mobilize such key styles as “black boxes” that have obviously been well thematized in Science Studies (STS), however inside a media archaeological and hacktivist setting. Hence, the name zombie media: not dead media, even when old, died even we write within the conclusions: “media never dies. Media may disappear inside a popular sense, however it never dies: it decays, rots, reforms, remixes, and will get historicized, reinterpreted and picked up. It either stays like a residue within the soil and in mid-air as concrete dead media, or perhaps is reappropriated through artistic, tinkering methodologies.”

Here the data in the Transmediale 2011-website:

Vilém Flusser Theory Award
Congratulations towards the following four nominees of Vilém Flusser Theory Award 2011!
The Vilém Flusser Theory Award (VFTA) promotes innovative media theory and exercise-oriented research exploring current and pending positions in digital art, media culture and networked society. The phone call was available to publications, positions, and projects from the wide range of theoretical, artistic, critical or design-based research that seeks to determine and define new types of exchange, vocabularies and cultural dialogue.

Digital Anthropophagy and also the Anthropophagic Re-Manifesto for that Digital Age
Vanessa Ramos-Velasquez

Jussi Parikka…

is really a author, media theorist and professor in technological culture & appearance at Winchester School of Art (College of Southampton). He’s also Docent of Digital Culture Theory at College of Turku, Finland and Honorary Visiting Fellow at Anglia Ruskin College, Cambridge.

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