Mutating Media

EcologiesJussi Parikka

No environment, only an unvironment. -Jonathan Kemp and Martin Howse (2014, 159)

How about a machinic ecology that starts withrust, dysfunction, or with the substrate? A mediaecology that is messy as the soil, and does notcommence from the idea of functional machines or idealized ones - but a time of a different sort?A machine that sorts time, but one that is not ofworking machines, use-times or future-orientedprogress? The easiest terms for such an ecologywould refer to failure, even metaphorically todecay, but it can also take minerals as startingpoints to a media ecology of rust-colouredpsychogeophysics, earth computing, and thingsthat are barely working in their obsolescence. Itdoes not neglect the environmental but bends itas the unvironmental, a queer history of theplanetary becoming technological. The alternativetone of the media ecological and mediaunvironments points to the faulty theory of media or media devices as the incorporation of fault-lines themselves (See Fuller 2012). These mediadevices are dysfunctional, or just plain disgorged,and however retain a connection to earth, ecology substrate. While an increasing amount ofattention is paid to resource depletion (Anderson2012) and supply chains of energy and materialsfor advanced technologies, there are also projectsin art that call to think media as/of substrate,illuminating another angle to the issue.

Indeed, such a media ecology does not stem fromthe now commonplace references to mediaenvironments, part of policy and businessdiscourses (Goddard 2014). It is also less thehumanist take found in some brands of earliermedia ecology (although, having said that, onemust note that early phases of inspiration formedia ecology such as the work of Harold Innis,are filled with non-humans from water routes tofur and beavers). Instead, notions of materialityand affordance (perspectivalism) are morecentral for this sort of activist-theory one that isclose to Gilbert Simondon and Felix Guattari.

It is in this way that we can deterritorialize anotion of media outside that of the human body,and look at non-human things as part of anembodied meshwork of agencies. Such anapproach comes partly from the direction of J.J.Gibson. Especially in relation to embodiedperception, Gibson develops something not quitethe standard medium theory approach but onethat we can adapt to our purposes. Discussingsuch environmental aspects as oxygen, gravity,

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water and so forth allows Gibson to define such asaffordances that permit certain movements andperceptions. For him, such are invariant andconstant throughout the whole evolution ofanimal life (Gibson 1986: 19), but for ourhistorical yet material purposes, we canpragmatically mobilize the notion of affordance inmedia ecological ways too (see also Parikka 2010:169-171)

Such an ecological way of pitching the issue alsooffers different way of addressing media:

Media provide access to another or to an outsideby means of the specific perspectivalism oraffordances that they embody. Just as capacitiesof thought, of being, are made in lived bodies, incomplex and delicately conjoined tissues andprocesses, and just as powers are inherent in allmatter, materialism also requires that thecapacities of activity, thought, sensation andaffect possible to each composition, whetherorganic or not, are shaped by what it is, what itconnects to, and the dimensions of relationalityaround it. (Fuller 2005: 174)

Besides offering a theory of media focused onaffordance, media ecology is an opening to artmethods too. Such methods includes ones thatincorporate materiality as part of them in rough,dirty, and decaying ways. Broadly speaking, thisrelates to the field of new materialism that hasstemmed from feminist philosophy and science &technology studies, as well as been developed ina variety of contexts in the past years. (seeDolphjin and van der Tuin 2012; Tiainen 2013). Asa way to investigate such an approach concerningnew materialism, my examples come partly fromLondon based artist/practitioners (Jonathan Kempand Ryan Jordan), partly from Berlin (MartinHowses microresearch-projects). Microresearch isintroduced as a mobile research platformexploring psychogeophysics and asking thequestion of where precisely plague/softwareexecutes (http://www.1010.co.uk/org/). Itsprojects have ranged from software to hardware,and various performances/workshops involvinginvestigations to the electromagnetic sphere.Indeed, picking up on Guy Debord and theSituationist research project into the geographicenvironment and the material effects of spaceprimarily urban on our subjectivity, the projectsby the three artists, including The Crystal World,address two kinds of spaces: the space which weinhabit as living organic bodies in the midst of notonly architectural orientation and governance, but

also the technical layer that is phenomenologicallyinvisible but completely real. The tracking of theelectromagnetic city is one of the key themes ofthe workshops by Kemp, Jordan and Howse. Italso flags themes releant to speculative design (cf.Dunne and Raby 2001) as well as media ecologyin the manner of the mobilization of human andnon-human energies (Fuller 2005).

Indeed, this is one way to expand on the notion ofecology towards speculative artistic methods.Perhaps this too could be accounted as part ofthe idea of speculative methodologies (see alsoBogost 2012: 28-32); the work of opening upsoftware, hardware and building DIY devices asspeculative metaphysics through engineering (seealso the Critical Engineering manifesto, 2011), andhow the devices themselves are part of thearchitectures of governance, and the new cityof power and control in which living bodies areintertwining. Or to think such in relation to PeterSloterdijks call for hyperbolic theory that triesto grab hold of the otherwise fleeting, weird,novel realities of contemporary culture? (Thrift2012, ix) The challenge is thus: To think ofhyperbolic theory converted into design andartistic methods.This means design that is able tospeak to the materiality of specific software andhardware realities, also infrastructure into newterritories of governmentality (Easterling 2014).And it means artistic methods that are are awareof the long cascade of material relations in whichartistic practice enacts itself.

One recent example of mobilizing a range ofmaterialities as part of their work have been theworkshops on decrystallization andrecrystallization by Kemp and Jordan togetherwith microresearch (Howse). Decrystallization wasthe 1st of the series initiated and organised byKemp with Jordan in London and expanded withHowse as Recrystallization in Berlin. The CrystalWorld was a distinct, third part of the series with aversion in Berlin in February 2012 and in Summer2012 a version in London.

Besides the Crystal World Open Laboratory amix of experiments aiming to reconfigure thevarious mineral components used in computers innovel arrays by deforming their processors andmemory combined with ancestral rock ores inpowders and in solutions, treated with acidsolutions, high heat, high voltage, electrolyticprocess, photochemistry, and finally saturated incrystallizing baths the August 2012 exhibitionacted as another node in their events. The latter is

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introduced consisting of IT junk and minerals, butwhere the emphasis is on an aspect of living. It ispitched as a living experiment, a cyberneticparody to escalate and draw attention to entropy(the movement from order to chaos) in thecrystalline pathologies of raw mineral andconstructed computer". (The Crystal World:Space: Opening). Languages of junk, pathology,of geology and chemical reactions fusethemselves in the descriptions of methods byKemp, Jordan and Howse.

One could contextualize their work in DIY andsoftware art methodologies, at times borrowingfor instance from psychogeographics as well butsuch labels are not entirely covering theexperimental take. One could also speak of thepsychogeophysical variation that their work offers(see Parikka 2015, 59-82). Partly hacktivism, partlyspeculative materialism with a mediaarchaeological twist, their works tackle withvarious hardware, noise and software themes.Mitchell Whitelaw (2013) has aptly addressedHowses work - together with Ralf BaeckersIrrational Computing - in terms of sheerhardware and expanding material media theorythrough novel computational art practices. But thetrios workshops on de- and re-crysallizationengaged in the themes of waste, electronic waste,and obsolescence; by gathering old and obsoletetechnologies and exposing them to variouschemical and exploratory hacking techniques withthe aim to investigate the machine as a crystal aproduct of condensation, that could be also de-crystallised into its constituent parts of gold,silver, other minerals and chemical parts thatare the crysallisation of various earth- intocontemporary machine culture. This pointstowards the quite rough materiality and labourprocesses of which media technology is made ofand could also be said to flag the connection tothe global political economy of resources. Oftendiscussed in terms of coltan in media studies(coltan is the important mineral mined in Congoand a key part of various electronic devices,including mobile phones), but the list of resourcesfacing being exhausted include for instancelithium and cobalt both important, for instance,for batteries (Anderson 2012). Besides the specificminerals, even more interesting is the question asto how the materiality of such elements entangleswith the highly developed logistical routing of theplanetary - and hence involves questions of labourat its core. (See the Logistical Worlds-project:http://logisticalworlds.org/).With an increasingpolitical economic interest in the extended

networks of media production and discardedmedia, we have a better spatial understanding ofthe grim labour, electronic waste and other neo-colonialist emphases of digital economy (Rossiter2011, Cubitt 2011, Parikka 2011, Gabrys 2011.Maxwell and Miller 2012. See also Parikka 2015).

The workshops in Berlin and London offered ageographical planetary mirror; to resituate theotherwise often spatially dislocated practices ofdisuse and to dismantle old cpus, wires and such.The situated practices questioned how to open upcomputers to this geological and conceptual levelof materiality and labour. Whereas circuit bendingand hardware hacking are innovativemethodologies for engaging with the materialaspects of electronic culture, they have still beenpartly captured as part of the maker-culturesboom. Empowering users, such practices areeducating and modifying a DIY approach tomedia tech in an age where closed andsealed inviolability is both a wider legal (DRM)strategy and a design solution (on themicropolitics of closed design, see Hertz andParikka 2012). Indeed, with a clear relation, theseworkshops push towards even more speculativedimensions, which are not content to modify butmore radically dismantle technology to suchconstituent bits where the materiality is notprimarily seen only as high tech media.

In terms of media art histories, dead media andother theoretical and methodological approaches,the work of de- and recrystallization does notexactly involve traditional art methodologies orfollow the canon of aesthetic theory. It opens upto another sort of an alternative art history and toa different way of understanding cultural heritageof abandoned, old technological culture. It dealswith such techniques as earth computing,mineral precipitation, high heat synthetic geologyand inductive crystallography, DIY semi-conductorfabrication, water crystal cryptography,anthropocenic fossilizations, kirlian photography,hi-voltage fulgurite construction .(http://archive.ctm-festival.de/ctm-festival/exhibition/the-crystal-world.html) Havingsaid that, there are however some interestingresonances with some other current artistic andcritical practices. We can flag the proximity, evenif in different institutional contexts and withvarying objectives, of computer forensics, digitalarchaeology, and other modes of disgorgingmachines as part of the epistemology in suchconjunctions, art practices meet up with DIY andcritical engineering.

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Speculative conceptual archaeologies take intoaccount crude methods hacking open,disgorging, melting, chemically processing themotherboard and other components of thecomputational machines; a process of literal de-composing of information technology. TheCrystallisation workshops, including the extendedweeklong Crystal World at the Transmedialefestival 2012, tapped into this field directly, usingmethods that mimic human labour practices in theextraction of valuable components and materialfrom abandoned technology. Hence, the notionof crystal became a way to investigate both thematerial constitution of the informationtechnology and the labour processes necessaryfor their construction. The seeming frozenness ofthe deliberately sealed, constructed computer ishere the literal understanding of the crystal, whichhowever, is not merely to be understood as therhetorics of open vs. closed that has been such acrucial hinge for hacktivist politics. Obviously,promoting openness both in terms of legal,hardware and software matters is what still hasimportance across a wider tech policy spectrumfor instance, but resting on the automatic bliss ofopen technology is not enough to tackle with themore complex routes capitalist processes oflabour and management of productiontake. Indeed, this is why the Crystallisationprojects need to be recognized for what they are:the investigation of the mineral and substratematerialities as well as the materialities ofproduction, management of global labourprocesses, and various other materialities that arealways entangled.

What I want to propose is that such projects areemblematic of speculative media archaeologiesand artistic practices that combine poetic andtechnological takes on deep times (Zielinski 2006),but ones that are deeply material, too not justwritten histories or performances or artworks, butarchaeologies of soil and the history of the earth.In another context, I have connected this to thetheme of the Anthropocene and even twisted itinto the neologism: Anthrobscene. (Parikka 2014).The artistic projects of speculative crypto historiesof the earth refer to the concrete sedimentationsof minerals and substrate that provides itsaffordance for the contemporary high techculture. This backtracking leads to a differentgenealogy and deep time of what conditions ourmedia technological culture: a media history ofrocks and soil.

For Siegfried Zielinski (2006), the research into the

deep time of the media is described as his mediahistorical version of paleontology. Referring toStephen Jay Gould, Zielinskis excavations are notstaying within the regime of media archaeology,but want to uncover a non-linear layeringof variations. Indeed, in a manner that seems tobe borrowing from a Deleuze-Guattarian ontologyof nomadism and the primacy of variation (withouthowever explicitly making this link), Zielinskismethodology is in this sense a refusal of anymaster plans of media development and a pleaagainst both the drive towards psychopathiamedialis (the standardization and uniformity aswell as illusions of teleology). Instead, thegeological conceptualisation of a media history ofvariations finds surprising case studies: fromEmpedocles and della Porta to electricity throughGalvani and Ritter to optics and acousticsdiscovered and investigated in Jesuit circles notleast by Athanius Kircher.

Even if Zielinski uses the geological and even non-human metaphor, and does include variousexemplary ideas of a media history of culturaltechniques concerning differing organic elements water, soil, modifications of the means forseeing and hearing I would suggest pushingfurther towards an even more geological and atthe same time technical deep time of the media.

In other words, this practice-based proposal foran alternative deep time of the media is whatexpands to geological deep times. It investigatesmedia materiality through a different, quiteconcrete and long-term investment in geologicaltimes of media as crucial for processes ofsubjectivation. From a Geology of Morals(Deleuze and Guattari 2004; Delanda n.d.) we canmove to a Geology of Media (Parikka 2015) whenunderstood through various stratifications anddeep times. Unlike Zielinskis media historical,anarchaeological, call, this alternative deep timereaches towards the planetary as a determinationof multiple layers of chemico-organic as well asinorganic processes that work in energetic andmaterial assemblages. Concretely, deep timebecomes a way to understand how chemicals,minerals and materials as well as labour contribute the essential elements to persistenceof hardware (to borrow a term from the criticalgame I-Mines (http://i-mine.org/) in the currentinformation technology culture. This persistenceof hardware can itself be read as persistence ofmedia as hardware (See Cubitt, Palmer & Walkling2012, 48).

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Such artistic practices engage with that other levelof non-human social memory of technical culture.This sort of a social memory is not only abouthuman technics but also the various levels ofduration and of memory in the chemicals. Sothese are procedures of repurposing computertech and components and minerals, but alsotechniques to investigate materiality oftechnology as well as the materiality oftemporality of which our technical media cultureconsists. As a way to think through the chemical-mineral base of the crystallised media machines,and working that into a methodology of de-crystallizing information technology, this meanslooking at the stratification of various mineral andchemical layers in the machine itself. Theproject(s) suggest the machine itself becomes anarchaeological excavation site this deep timebecomes concretely tied to earth times.

Contemporaneous with the various crystal-relatedprojects with Kemp and Jordan, Martin Howse hasbeen continuing the theme of geological times inthe the earthcodes project: substrate/shifting thesite of execution(http://www.1010.co.uk/org/earthcode.html).Whereas in the crystallisation projects themachines became the sites of the excavation ofdeep times, of strata of material layers and thefantastic power of the commodity-form toabstract itself from the experience of labour andlife (Rossiter 2011), in this more recent projectthe theme of deep times is carried over to theexternal milieus that are made bootable. So, howdo you boot from the Earth?

The project outlines the relation of technology togeology as the material substrate. In the projectdescription, this relation to the regime of softwareas the emphasized and yet invisible part ofcontemporary digital economy becomesarticulated in a manner resonating with thepersistence of the hardware thesis: Substrateequally presents a set of economic, political andeconomic consequences which contrast withsoftware's lack of coded visibility, its inevitable"encryption". (Ibid.)

Substrate in this sense is what characterizes thematerial take on deep times ofearth times thatare both found in the materiality of the machinesas well as a supporting stratum. If recent non- orpost-human philosophies have tried to articulate aworld irreducible to the human-worldcorrelationist epistemology, I am suggesting thesame in terms of temporalities: the necessity of

vocabularies and understanding of non-humantemporal scales. Besides being a way to mobilizethe materiality of information technology again inexperimental practices and situations, the focuson substrate also flags its mutability as becomesevident in the longer quote below:

Substrate can refer to a (mined) semiconductorbase which is later doped, etched, imprinted onwith other minerals and materials within acomplex industrial process to form an electricallogic gate, a processing unit, the core of thenetworked machinery which surrounds us.Substrate interfaces with code, yet this set ofsymbolic, linguistic and logical operations deniesthe being-substrate, just as the carrier of anysignal is erased by the receiver. The mineralnecessity of this substrate is equally effaced; logicgates, and thus full computers can be constructedfrom water jets, from slime moulds, with theformer proving particularly useful within paranoidmilitary scenarios as being resilient to high energyelectromagnetic attack [EMP].(http://www.1010.co.uk/org/earthcode.html)

Of course, it is not only the microresearch projectsthat are going back to the deep times of media asgeology or substrate. Indeed, besides a range ofprojects that might tap into biomedia and relatedbiological contexts for mediatic and technologicalprocess, we might examine therecent bermorgen oil painting gulf work asperhaps one way to tie into experimental projectsmedia, visual arts and geology. The groupsartwork emerged 13 days after the BP explosionand crude oil leak had started in the Gulf ofMexico, leading the artist group to announce,with satire, how oil painting is finally back,adopting an art historical discourse for the eventof massive proportions that is now both live ANDpart of bio-art as well: Finally oil painting hasevolved into generative bio-art, a dynamicprocess the world audience can watch live viamass media. Never before has this art form beenas relevant and visible as today - only 9-11 wasnearly as perfect, but in the genre of performanceart. An oil painting on a 80.000 square milesocean canvas with 32 million liters of oil - a uniquepiece ofart. (http://rhizome.org/editorial/2010/may/5/deephorizon-2010-ubermorgencom/)

When oil painting becomes imagined on themassive scale of a geo-ecological disaster seenfrom space, we need to be able to imagine the

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other times of disaster too. This is where thenotion of speculation becomes tied to a specificnon-human temporality as well. This is a topic thatentangles to the way in which Tim Morton (2010)has mobilized the concept of hyperobjects todeal with objects that are non-reducible to oneparticular locality and massively distributed in timeand space, such as global warming andradioactive materials. We can and perhaps evenhave to to pose such questions concerning thefabric of time constructed of and by non-humans.It is also why some questions concerningepistemology of such times of deep times of theearth and its frequency, that might rock below 1hz are tackled in media artistic practices, such assonification of earthquakes. Florian Domboisprojects remind of this particular mode ofknowledge production for the sake of how it usesthe affordances of the ear, and their connectionwith the earth: the eye is good for recognizingstructure, surface and steadiness, whereas the earis good for recognizing time, continuum,remembrance and expectation. (Dombois 2011).

We encounter a media materialism not onlyconcerning the material specificity of theengineered science perspectives, that so often isemphasized in German media theory, but themineral durations that sound more like ManuelDelanda if the theorist would do computer-chemistry: A thousand years of non-linear history,although now millions of years of non-linearcomputing history starts with the minerals,geology, substrates and more that go intobuilding computers (for a longer elaboration ofthis idea, see Parikka 2015).

To proceed towards some conclusions, and as oneway to illuminate the link between speculativeontologies and the alternative deep times ofmedia, lets work through some of RezaNegarestanis writings concerning deep times.Indeed, in a similar manner as Negarestaniinvestigates in his Cyclonopedia a work oftheory-fiction speculating about thepetropolitical deep layer as the living soil ofMiddle East, we can point towards the work of theLondon and Berlin partners, Kemp, Jordan andHowse, and other workshops as chemical andmaterial deep layers that go two ways: not justthe route of media archaeology interested inobsolescence, abandoned technology andantiquated objects, but the other sort of descent,to adopt Michel Foucaults idea, perhaps implicitlypart of some methodologies of media art historiesand media archaeology: to descend inside the

machine, into the technical, but at such a levelthat exposes a material, abstract level ofconnections, affordances and capacities (cf.Parikka 2012, 80-82). In such a methodology, thedepth of time extends across materialities fromthe fictional narrativization to the hardwaremateriality and the long duration of mineralelements that entangle with that of human energyexploited for various excavations. In Earthcodes-project, the mobilisation of substrate entangleswith Bram Stokers Dracula-novel of 1897 with thetransported Transylvanian soil as the transmissionvector for the virality of the vampire count.

Kemp, Jordan together with Howsesmicroresearch adapt an element of speculativefiction as part of their material methodologies in amanner that is reminiscent of Friedrich Kittlersway of mobilizing similar references in this lattermicroresearch case especially Bram Stokers noveland often Pynchons work. In addition, we canalso refer to Negarestanis work: a speculativemedia archaeological materialism of substrate, butinvestigated not only by the humanepistemologist but by and across a spectrum ofagencies of more and less than two legs. As atopological conceptualisation, and interested inthis poetic and speculative materialism, allow meto end through a longer referencetoCyclonopedia. What if such speculative mediaarchaeologies and artistic methodologies aresomething that share methods with archaeologistsbut also with cultists, worms and crawlingentities, agencies of the substrate, working withcorpses that I would add are not perhaps onlydead media but also zombie media of materialitythat refuses to be dead. The environment isturned over and has become an unvironment, anungrounding.

If archeologists, cultists, worms and crawlingentities almost always undertake an act ofexhumation (surfaces, tombs, cosmic comers,dreams, etc.), it is because exhumation is equal toungrounding, incapacitating surfaces ability tooperate according to topologies of the whole, oron a mereotopological level. In exhumation, thedistribution of surfaces is thoroughly underminedand the movements associated with them arederailed; the edge no longer belongs to theperiphery, anterior surfaces come after all othersurfaces, layers of strata are displaced andperforated, peripheries and the last protecting surfaces become the very conductors of invasion.Exhumation is defined as a collapse and traumaintroduced to the solid part by vermiculate

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activities; it is the body of solidity replaced by thefull body of trauma. As in disinterment scarringthe hot and cold surfaces of a grave exhumation proliferates surfaces through eachother. Exhumation transmutes architectures intoexcessive scarring processes, fibroses of tissues,membranes and surfaces of the solid body.

This transmutation, and distribution of newsurfaces is where such familiar notions of art andculture theory vocabulary such as trauma andmemory are transported into materialmethodologies. The novel crystal earthgeologies extend the work of material recoveryand reuse into psychophysical distortions andcontingencies in a gesture which might share anenthusiasm with multiple ecologies (dark andotherwise). This ungrounding of figures can beextended besides an archival impulse toproliferate surfaces but also a methodologicaltransmutation that sees the psychogeographic inthe machine, and extends the machine to itsmaterial, ecological, mineral and chemicalconstituents. Any rupture, dysfunctionality andfailure of the machine might open up to a crackthat transports one across the global through thelogistics channels; and deep down to the earthinto the substrate, and deeper.

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