the many real and reimagined tendencies andnostalgias regularities an - PDF document

1 the many real and re-imagined tendencies
the many real and re-imagined tendencies andnostalgias, regularities and inconsistencies that lie inthe wake of a dampened digital euphoria. The result, inour current moment, seems to favour a very tightcybernetic loop, as we re-visit, re-wire, re-create, re-source, re-new, and re-surface the dreams a

2 nd digital, sub-digital), outlines a sup
nd digital, sub-digital), outlines a superorganism. It is animage of the technical that intends to take account ofspecific contexts and micro-relations of both creationand use. A post-digital minerality, or elementally showsthe desire, the need, to bring the digital euphoria that blocks,Ó (Hertz and P

3 arikka 427) and condensationpoints for t
arikka 427) and condensationpoints for the misty haze of technology as it ascendsinto Òthe cloud.Ó We can no longer study or use a thingcalled technology: ÒThink of technology as a verb, not anoun.Ó (Red Burns) Likewise, we can never claim to stepoutside of the technological: ÒI donÕt see an outside,

4 butsee technology everywhere, even where
butsee technology everywhere, even where it purportedly isnotÉ Is it never not on?Ó (Ronnel,The Fable of MediaTechnology) Using HeideggerÕs terminology to discussthe experience of use, and the design of informationalsystems, Star writes: ÒWithin a given cultural context,the cook considers the water sy

5 stem a piece of workinginfrastructure in
stem a piece of workinginfrastructure integral to making dinner; for the cityplanner, it becomes a variable in a complex equation.Thus we [should] ask, whenÑnot whatÑis an where the pipes are going, and what is going throughthem. When confronted with highly complextechnological systems, Òindividuals [

6 are] simplyincapable of bearing full res
are] simplyincapable of bearing full responsibility for their effects,Óas Jane Bennett discusses in attempting to trace causallogic (blame) to the North American power blackout of2003. (Bennett 24)Globally, the scaffolding of institutional andgovernmental power through technological artefacts,often ta

7 king the form of territorialisation thro
king the form of territorialisation throughinstrumental measurement, has long been part of theinfrastructural bargain. Techniques include, Òdependenceon imported equipment rather than self-sustaining surprisingly potent mix of simple statistical techniques, population of the UK at this time was 58.7 m

8 illion.(Wikipedia United Kingdom Census
illion.(Wikipedia United Kingdom Census 2001). TelevisionPickup is a correlation between media, behaviour andelectrical supplyÑand it is this correlation, revealingunexpected infrastructural causalities, that allows for anawareness of subsystems, and how they interrelate.(British Broadcasting Corporat

9 ion, Britain From Above)Through unexpect
ion, Britain From Above)Through unexpected correlation and causalrelationships, technologies are drawn out from theirtransparent fog, their immanent and pervasive haziness.The performance of infrastructures, as the renderingpresent of unwitting, unwanted or unthought ofsystems, has its place and prelu

10 de in artist practice.The methods develo
de in artist practice.The methods developed by artists and activistassociated with forms of ÒInstitutional Critique,Ó treatinstitutional infrastructures of art as fodder for artworksthat expose and elaborate them. Institutional Critique,serves as perforative and performative interrogationinto the valu

11 e and support structures of the museum,g
e and support structures of the museum,gallery, catalogue and official welcome. Amongst artistAndrea FraserÕs well-known works is ÒMuseumHighlights: A Gallery TalkÓ (1989). The scripted dialoguein these interventions includes not only an exposition ofart historical and aesthetic concerns, but alsodisc

12 ussions of material infrastructure (wate
ussions of material infrastructure (water, electricallighting), museum sponsorship, and cultural-economicand political agendas more widely: ÒJane walks into theCoat Room, gesturing toward the drinking fountain atthe far end. Addressing the drinking fountain: Hmm, Ôawork of astonishing economy and monu

13 mentality É itboldly contrasts with the
mentality É itboldly contrasts with the severe and highly stylisedproductions of this form.Ó (Fraser 120)One thing that makes the work interesting is that it maynot matter if what Fraser is saying is wholly accurate offactual. A narrated dataset of factoids and excerpts, thework presents an appropriat

14 ely incoherent andunlocatable constellat
ely incoherent andunlocatable constellation of information and messaging Southwest. Chicago: Chicago University Press, 1998.Flusser, VilŽm. ÒOur ImagesÓ (translated fromPortuguese by Rodrigo Maltez Novaes). In Zielinski,Siegfried (ed). VilŽm Flusser: Post-History, FlusserArchive Collection. Minneapoli

15 s: Univocal Publishing,2013, 91-98. Webh
s: Univocal Publishing,2013, 91-98. Webhttp://www.univocalpublishing.com/books/102-post-history-by-vilem-flusser&#x Tj ;T Q;&#x 0.1;摰Y 0;&#x.396;ބ&#x 0.6;&#x sc ;&#xq 0.;耈ͨ ;� 0 ;&#x-0.8;ƒh 1; 11;؄.; c;&#xm BT;&#x 0.0;ޘ ;&#xTc 1;
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5;&#x.881;• 1;䆕&#x Tm ;&#x/TT1;&#x 1 T; [ ;Fraser, Andrea. ÒMuseum Highlights: a Gallery Talk.ÓOctober 57 (1991): 104. Webhttp://www.jstor.org/stable/778874&#x Tj ;T Q;&#x 0.1;摰Y 0;&#x.396;ބ&#x 0.6;&#x sc ;&#xq 0.;耈ͨ ;� 0 ;&#x-0.8;ƒh 1; 11;؄.; c;

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65;&#x.881;• 1;䉲&#x.5 T;&#xm /T;&#xT1 1;&#x Tf ;&#x[ 00;Fuller, Mathew and Goffrey, Andrew. Evil Media. Boston:MIT Press, 2012. Print.Fuller, Mathew. Software Studies: A Lexicon Oxford: Oxford University Press, USA, 1987. Print.McLuhan, Marsha