By Jussi Parikka
Because the early 19th century, whilst entomologists first popularized the original organic and behavioral features of bugs, technological innovators and theorists have proposed bugs as templates for quite a lot of applied sciences. In Insect Media, Jussi Parikka analyzes how insect varieties of social organization-swarms, hives, webs, and disbursed intelligence-have been used to constitution smooth media applied sciences and the community society, offering a thorough new point of view at the interconnection of biology and expertise. via shut engagement with the pioneering paintings of insect ethologists, together with Jakob von Uexk?ll and Karl von Frisch, posthumanist philosophers, media theorists, and modern filmmakers and artists, Parikka develops an insect thought of media, person who conceptualizes sleek media as greater than the goods of person human actors, social pursuits, or technological determinants. they're, relatively, profoundly nonhuman phenomena that either draw on and mimic the alien lifeworlds of bugs. Deftly relocating from the lifestyles sciences to electronic know-how, from pop culture to avant-garde paintings and structure, and from philosophy to cybernetics and online game thought, Parikka presents cutting edge conceptual instruments for exploring the phenomena of community society and tradition. tough anthropocentric techniques to modern technology and tradition, Insect Media finds the chances that bugs and different nonhuman animals provide for rethinking media, the conflation of biology and know-how, and our figuring out of, and interplay with, modern electronic tradition.
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Extra resources for Insect Media: An Archaeology of Animals and Technology (Posthumanities)
The topics are chosen to represent a transversal link between various levels of knowledge production and culture. In other words, the chapters move from science (entomology and biology) to technical media, from popular culture to avant-garde arts, and touch various media from cinema to music, software, and literature. They act as condensation points for transversal networks of scientific discourses, popular cultural clues, and media theoretical notions. ” Think of the first half of the book as a media archaeological parallel to the 1996 film Microcosmos.
37 The practical dilemma was how to record the movement that was beyond capability of the human eye to perceive. On the one hand, Marey saw the acoustic traces left by movement as indexes of its frequency, but on the other hand, more accurate research equipment was needed. Proceeding from observation to potential causes, the so-called graphic method, and especially Hermann von Helmholz’s invention the myograph (early 1850s) for registering movement in graphical form, provided invaluable assistance in turning continuous movement into distinctive, analyzable units.
The aim of this part is to articulate how insects and animal affects were directly addressed in technological contexts from research into the xxxii Introduction cybernetic loops between machines and animals, the perception qualities of machines and animals, the simulations of swarm behavior and semiintelligent systems, and, in recent years, media art from the feminist film Teknolust by Lynn Hershman-Leeson to some other key examples. The second half of the book tracks the technological synthesis of the affective qualities of animal and insect life, a contracting of the intensive ecological potential of animals as they were understood in the cybernetic and digital discourses of recent decades.