Making Mining Networking

MakingMiningNetworking-Poster-small On April 20, 2015, Karin and I will present our collaborative art project Making Mining Networking at the opening of the Network Ecologies exhibition at The Edge at Duke University. Also participating will be Rebecca Norton, whose work will make up the other half of the exhibition, which will be on display from April 20 until August 2015. We are very excited to show our work in this venue! (Stay tuned for the program of events on the 20th.) Above, our exhibit statement (scan the QR code for a brief video “user’s guide” that will give you a taste of what you can expect at the exhibit). Finally, here is the info about the exhibition posted on the Duke Libraries + Digital Scholarship website:

apr 20 Digital Studio KEYNOTE EVENT, Network Ecologies Arts in the Edge, Rebecca Norton & Karin + Shane Denson (The Edge, Bostock Library, Level 1, West Campus, Duke University campus map) The Network Ecologies Arts in the Edge exhibition will bring together two collaborative collections that will be featured in the Network Ecologies digital scalar publication. Combining machinic and human agencies in the form of generative sculpture, painting, and augmented reality (AR), the works by Karin + Shane Denson probe the material and virtual valences of “mining” in today’s networked ecology. Rebecca Norton uses affine geometry to explore actions and intuitions of intermediacy – what she describes as a feeling of being suspended in the middle stages of a process.  For this exhibition, Rebecca will be presenting a range of works, created in collaboration with Eddie Eliot, Erik S Guzman, and Kari Britta Lorenson, that include paintings, digital interactive artworks, and image stills from her current video project. This exhibition is an extension of Amanda Starling Gould’s multipart Ecology of Networks project which has already produced an online scholarly conversation (2012), a successful in-person Network_Ecologies Symposium at Duke University that featured keynotes Mark BN Hansen and Jussi Parikka (2013), a live-blogged digital scholarly publication design sprint and a second round of contribution accompanied by an innovative internal, ‘networked’ peer review process (2014), and plans to culminate in a multiauthored curated digital scalar publication, co-designed with Florian Wiencek, to be completed in winter 2015. The Ecology of Networks project has been sponsored by the Franklin Humanities Institute (FHI) and the Duke PhD Lab in Digital Knowledge, and generously supported by various Duke University departments. The core Network Ecologies Arts in the Edge exhibition will be open from April 20, 2015 – August 2015. On April 20, 2015 we will have an opening event with artist talks, hands-on demonstrations, and one-day exhibitions by our artists that will include a giant AR gnome, an AR treasure hunt, and a screening of a networked video that will be projected onto the walls of the Duke Edge Digital Research Commons. The Network Ecologies Arts in the Edge exhibition and event will be co-sponsored by the FHI, the Duke PhD Lab in Digital Knowledge, and Duke Digital Scholarship Services. Rebecca Norton: rebeccajnorton.com Shane Denson: medieninitiative.wordpress.com  Karin Denson: thenewkrass.wordpress.com For full event details, stay tuned here on our Duke Digital Scholarship Services Events Calendar. #netcologies

Diagramming Media as the Environment for Life

WeHaveNeverBeenHuman

Both aesthetically and conceptually, the diagram above is imperfect in many ways. It is, necessarily, an oversimplification; I hope that it might nevertheless serve a positive purpose by giving visible form to an otherwise somewhat abstract argument. Developed for my talk at the upcoming “Philosophy After Nature” conference in Utrecht (you can find my abstract here), the diagram could also serve as an emblem for the argument I make in Chapter 6 of Postnaturalism. In that chapter, I look at (among other things) Mark Hansen’s concept of “the medium as an environment for life” (as introduced in his paper “Media Theory,” which appeared in Theory, Culture & Society); this concept, developed in conversation with Bernard Stiegler’s philosophy of technics, has been very important for my work, and grappling with it was central for me in the process of arguing that “we have never been natural.”

In the course of developing his concept, Hansen argues that there is an asymmetrical priority of human embodiment in the transductive relation between technics and the human. In Hansen’s engagement with Stiegler, this prerogative of embodiment is seen to be at odds, to a certain extent, with Stiegler’s argument about the synchronization or industrialization of experience through the action of recording technologies. The latter embody “tertiary retentions” of experience, beyond the primary and secondary retentions that Husserl theorized as the operations, respectively, of immediate temporal experience and of recollection or memory. According to Stiegler, in a complex argument that I will not try to summarize here, tertiary retention (technical recording) injects secondary retention (memory) into primary retention (the immediate experience of the “adherent present,” from which flows also the future) — effectively instituting a pre-formatted future on a mass scale (especially in the age of live television and real-time media).

Following an objection raised by Jean-Michel Salanskis, who sees a paradox or split in Husserl’s notion of primary retention — a split between the referential aspect that aligns primary retention with conscious experience, on the one hand, and a non-referential aspect that is wholly unconscious, on the other — Hansen argues that Stiegler’s argument diminishes the robust role of embodiment in the production of temporal experience. The synchronization envisioned by Stiegler is dependent, according to Hansen, on a bracketing of embodied agency; the “mnemotechnical constitution of time” prioritized by Stiegler is thus secondary to the “corporo-technical constitution of time” that Hansen identifies as an infra-empirical condition of experience. Hence the asymmetrical privileging of human embodiment in the medial transduction of human and technical agencies.

The diagram above summarizes my own intervention in the context of these debates. Rather than reinstituting the priority of the human within the anthropotechnical transduction, my suggestion is that we conceive tertiary retention (and media technics more generally) as similarly split between a referential (“mnemotechnical” or broadly representational) and a non-referential (materially embodied) aspect. With memory flanked on both sides by a non-discrete, smooth space of matter, cognitive life is then situated squarely in a realm staked out between robustly material agencies—between the subpersonal operation of the body, on the one hand, and the subphenomenal, infra-empirical material agency of technics on the other. As the diagram tries to indicate, a certain symmetry is restored in the anthropotechnical interface, which on this model describes the joint production of empirical reality — the distributed (human and nonhuman) agency by which the phenomenal realm is demarcated from out of the unmarked environment of material flux.

“Take anything and make it a matter of expression”: media | matter conference

media|matter:
the matter of media | the mediality of matter

Here’s the announcement I just received from Bernd Herzogenrath for an exciting conference coming up soon (May 31 – June 2, 2012) in Frankfurt. Be sure to click the link above for the conference program, list of speakers (including Bill Morrison, Thomas Köner, Lorenz Engell, and Hanjo Berressem), registration, and other info.

The 2012 media|matter conference reflects the increased interest in the material aspects of our culture, triggered by the material turn as postulated by Deleuze & Guattari, Varela & Maturana, Serres, and others. In consequence we will assess the implications of this blossoming field of research which focuses rather on what represents, than on what is represented.
The aim of our conference is to re-focus approaches in culture- and media-sciences and to open up and foster new, interdisciplinary perspectives and concepts towards a revised understanding of media. By highlighting the materiality of the medium and reading this very materiality as medium, questions occur: can content and form still be regarded as separate? Or shouldn’t we rather acknowledge that the matter of the medium affects the message that is conveyed and represented? Shouldn’t we consequently speak of informed matter and of materialized information?
In the same way, social- and cultural-sciences cannot ignore the findings of the life-sciences, especially in the fields of complexity-theory and non-linear systems. Thus this conference also intends to bring together artists and researchers from diverse disciplines with differing understandings of media and materiality, not only to create feedback-loops between natural- and cultural-sciences, but also to re-think the somewhat fuzzy concepts of nature and culture.