By samotar, 13 July 2021
By samotář, 22 September 2018
By samotar, 20 July 2018
By samotar, 22 November 2017
By miloš vojtěchovský, 24 November 2016
By samotař, 4 October 2016
By , 11 September 2016
By samotař, 31 July 2016
By samotar, 12 March 2016
By Stanislaw, 7 February 2016
By , 25 December 2015
By Michal Kindernay, 21 December 2015
By Samotar, 23 November 2015
By Samotar, 17 October 2015
By John Dee, 11 October 2015
By Samotar 10 October 2015, 10 October 2015
Od kláštera Osek na Selesiovu výšinu, k Lomu, Libkovicům, Hrdlovce a zpět/From The Osek Cloister to Lom and back
By Samotar, 27 September 2015
By ll, 25 September 2015
Jussi Parikka: The Earth
this text is appropriated from Parikka web.
"From some entries (“Anthropocene”, “Medianatures”, “The Earth”) for the forthcoming Posthuman Glossary, edited by Rosi Braidotti and Maria Hlavajova. The project and some of the entries were the topic of seminars during May/June in Utrecht in a row of seminars, and the book I believe is expected to be out later in 2016. Here’s one of the text – although in draft form (and not copy edited); a short text on the Earth. One can say topical for so many reasons: issues of climate change/disaster, as well as the perhaps linked enthusiastic discovery of Earth-like planets outside our solar system – a recurring theme in our current public discourse about space and science." Jussi Parikka
The Earth is a planet, of an age of about 4.54 billion years and defined by its geological formations, density, biosphere, hydrosphere and an atmosphere that sustains life. It’s more than a world for humans but an Earth that is defined by its life-sustaining conditions and its planetary relations (Woodard 2015). On a planetary level, it is one complex dynamic system where biosphere, atmosphere and many of the geological spheres interact; on an extra-planetary level it is as dynamic, part of the gravitational pull, periodic rotation, cosmic rays and the radiation of the sun. Buckminster Fuller coined it “spaceship earth” marking the speculative beginnings of post-planetary design: ‘We are all astronauts’ (Fuller 1969: 14) who spin in space traveling 60 000 miles an hour, in the midst of rich non-human life as well as the intensive relations to other planets and the sun.
The Earth is also a complex ecosystem where one should never mistake humans to be the centre of action but merely one part in a larger loop of processes. One way to refer to it is by way of a ‘holarchy arisen from the self-induced synergy of combination, interfacing, and recombination’ (Margulis and Sagan 1995:18).
Besides the life of the organic and the inorganic spheres, it is also a mediasphere by which we don’t have to think only of the Jesuit fantasies of the immaterial reality of cognition such as Teilhard de Chardin did–or what cyber culture then rehashed with a dose of Silicon Valley excitement–but the different visualisation systems that give us operational representations of the planet. This is the view of the Earth since the Vostok I-space flight in 1961: the first human that is orbiting the planet and able to describe the ground-detached view. It’s the Earth that features in the cover of the first Whole Earth Catalogue in 1968, and in the inside pages hailing the imagery of the satellite era: the necessary coffee table book of 243 NASA images, in full color, from the Gemini flights in 1965—for only $7. The Earth furnishes the home.
Our understanding of the Earth is mediated by a variety of representational techniques and is itself a product of the technological era. ‘They alone shall possess the earth who live from the powers of the cosmos’, quoted Walter Benjamin (2008: 58) in his short text ‘To the Planetarium’ from 1928, analysing technological ways of organising the physis – both the gaze upwards, and from up there, back downwards. The satellite based images of the Earth since 1960s and leading to the famous Blue Marble of 1972 (Apollo 17-flight) mark subsequent examples in the series of images that define the Earth from the space. The escape velocity (Virilio 1997) that allows accelerating objects from airplanes to space ships to leave the Earth’s gravity bound surface is also what then allows us to see the Earth from above. The old etymology of the Earth as eorþe referring to something different from the heavens and the underground gives way to a dynamic of vectors where the Earth becomes defined from the heavens. The energetic powers of acceleration transform into the visual survey from above. As Fuller puts it, writing in late 1960s, ‘However, you have viewed more than did pre-twentieth-century man, for in his entire lifetime he saw only one-millionth of the Earth’s surface.’ This media-enhanced understanding of the Earth seeps into the biological work of Margulis and Sagan even, when they narrate the new metamorphosis of visual epistemology that this technological thrusting and imaging brings about. It brings forth an imaginary of the orbital that is shared by satellites and astronauts: ‘As if floating dreamily away from your own body, you watch the planet to which you are now tied by only the invisible umbilicus of gravity and telecommunication.’ (Margulis and Sagan 1995: 18). They use such images and narratives to contribute to the idea of holarchic view where the human is part of the micro- and macrocosms. For them, the event is a sort of a planetary level mirror image that carries Jacques Lacan concept from babies to space: to perceive ‘the global environment’ as the ‘mirror stage of our entire species’ (Ibid.)
Much more than an echo of psychoanalytic stage for the planetary design, the mediated vision turned back on the earth itself was instrumental to a range of political, scientific and military considerations. Seeing the Earth from space was one such thing that had an effect on climate research (also impacted by the nuclear testing, see Edwards 2010). It had an effect on military planning and geopolitical evaluation. It opened up again a holistic view of the planet as one although at the same time as a complex system of non-linear kind. It contributed to a variety of cultural moods and movements. Even the gaze to the otherworldly away from the Earth was a way to sharpen the focus on the planet; But the technological gaze toward deep space with telescopes such as Hubble was never just about space and the interplanetary worlds. Geographical surveys benefited from the developed lenses and image processing of satellite-enabled remote sensing. (Cubitt 1998: 45-49) The perspective back to the Earth has enabled the fine-tuning accuracy of corporate digital maps such as Google Earth and a massive military surveillance system too.
The Earth is constantly targeted by satellites and remote sensing systems such as the Planetary Skin institute. The institute is one among many systems that offer polyscalar view of multiciplity of processes for analysis. It boasts with the ideal of reading these as “scalable big data” that benefits communities and can “increase, food, water, and energy security and protect key ecosystems and biodiversity” (quoted in Bishop 2016). Alongside systems as the Hewlett Packard’s Central Nervous System for the Earth (CeNSE) it creates real-time surveillance systems that intend more than mere observation. As Ryan Bishop (ibid.) argues, these are massive level systems for constant data-based interpretation of the various scales of the Earth that indeed define a specific corporate-security angle on a planetary scale.
Our relations with the Earth are mediated through technologies and techniques of visualization, sonification, calculation, mapping, prediction, simulation, and so forth: it is primarily through operationalized media that we grasp the Earth as an object of analysis. Even the surface of the earth and geological resources used to be mapped through surveys and field observation. But now this advances through remote sensing technologies (see also Parikka 2015). One can argue that they are in a way extensions of Leibniz’s universal calculus, which offered one way to account for the order of the earth, including its accidents like earthquakes (such as the infamous 1755 in Lisbon). But as the architect-theorist Eyal Weizman argues, this calculation of the Earth is now less organized according to the divine order of Christian Deity and more about the “increasingly complex bureaucracy of calculations that include sensors in the subsoil, terrain, air, and sea, all processed by algorithms and their attendant models.” (Weizman, Davis, Turpin 2013: 64) Also practices of meteorology are to be understood as such cultural techniques and media operations that order the dynamics of the sky as analyzable data. The terrestrial opens up through what circulates above it, the atmosphere becomes a way to understand the ground and the orbit is where the understanding of the Earth begins by way of massive data-driven remote sensing systems. The nomos of the Earth that defines its geopolitics is one that reaches out to the heavenly spheres as much as to the multi-scalar data-intensive operations (see Bratton 2015).
Benjamin, W. (2008) ‘To the Planetarium.’ In Walter Benjamin, The Work of Art in the Age of its Technological Reproducibility and Other Writings on Media. Cambridge, MA: Harvard University Press, 58-59.
Bishop, R. (2016) ‘Felo de se: The Munus of Remote Sensing’. Boundary2, forthcoming (estimated 2016).
Bratton, B. (2015) The Stack. On Software and Sovereignty. Cambridge, MA: The MIT Press.
Cubitt, S. (1998) Digital Aesthetics. London: Sage.
Edwards, P. (2010) The Vast Machine. Computer Models, Climate Data, and the Politics of Global Warming. Cambridge, MA: The MIT Press.
Fuller, B. (1969) ‘Operating Manual for Spaceship Earth’ Online at http://designsciencelab.com/resources/OperatingManual_BF.pdf (originally published in 1968).
Margulis, L. and Sagan, D. (1995) What is Life? New York: Simon & Schuster.
Parikka, J. (2015) A Geology of Media. Minneapolis: University of Minnesota Press.
Virilio, P. (1997) Open Sky. Trans. Julie Rose. London: Verso.
Weizman, E.; Davis, H. and Turpin, E. (2013), “Matters of Calculation: Eyal Weizman in Conversation with Heather Davis and Etienne Turpin,” in Architecture in the Anthropocene: Encounters among Design, Deep Time, Science, and Philosophy, ed. Etienne Turpin. Ann Arbor, Mich.: Open Humanities Press, 63-82.
Woodard, B. (2015) ‘Less World to be Ourselves. A Note on Postapocalyptic Simplification’ E-Flux Supercommunity, August 6, http://supercommunity.e-flux.com/texts/less-world-to-be-ourselves-a-note-on-post-apocalyptic-simplification/.
entries (“Anthropocene”, “Medianatures”, “The Earth”) for the forthcoming Posthuman Glossary, edited by Rosi Braidotti and Maria Hlavajova
Frontiers of Solitude Symposium
The international symposium Frontiers of Solitude, organized as part of the eponymous art project site will offer a comparison of the opinions, experiences, and points of view of artists, curators, and invited guests on the theme of transitions in the landscape in which we currrently live and of which we are a part. The symposium will search for relationships between the cultural, political, and economic aspects of contemporary concepts and our understandings of what is meant by such words as Earth, countryside, landscape, and land, including the topography of transitional zones, with an eye on both establishing and crossing over boundaries and limitations. The term landscape can be understood as a mindset to orient us in the world and to reflect our relationship with the land. It is everywhere around us, under our feet; it is our shared starting point; it is that which at once unites and separates us. With this in mind, we can begin to raise questions about what is happening to the land? How are we connected to it, how do we relate to it, what separates us from it? How and to what extent can we understand the land, and what do we all know and not know about it? To whom does it belong, and how do we change it, for better or worse? The artist, architect, businessman, technician, scientist, farmer, pilgrim and other kind of specialist each perceive the landscape in their own terms. How can we express and capture in human, rather than statistical, terms, both the visible and invisible transformations that the land undergoes, both locally and globally, with regard to the entire biosphere and climate? Industrialization brings about mobility of people and goods, hyper-connectivity, overproduction and urbanization, which have transformed a large part of the 21st-century landscape into an industrial concourse, test laboratory, and a field of conflict among people, and between people and other living creatures. From this, there comes about a blurring of existing, seemingly well-defined borders, zones both separate and interconnected, with regions of safety and danger, rich and poor, managed and wild. Have we already entered an ideosphere of beyond imaginary boundaries? Does contemporary art make it possible to orient ourselves within this unstable and ever-changing territory? Do frequent art projects and festivals, or interdisciplinary symposia on the theme of the Anthropocene offer fresh approaches and visions, or rather exploit the fascination and anxiety as result of the expected and unexpectied changes and transformations? Guests and participants: Vít Bohal, Dustin Breitling, Peter Cusack, Petr Gibas,Stanislav Komárek, Alena Kotzmannová, Ivar Smedstad, Julia Martin, Pavel Mrkus, Ivo Přikryl, Martin Říha, Matěj Spurný, Tereza Stöckelová, The Laboratory of Insurrectionary Imagination, Andras Heszky (Translocal Institute), Guy van Belle, Martin Škabraha. Information: email@example.com. Organizers and concept: Miloš Vojtěchovský, Dagmar Šubrtová, Dustin Breitling. This event takes place and is organized in collaboration of the French Institute in Prague and the support of the Agosto Foundation. program of the symposium Program Location: French Institut Prague, Štěpánská 35 Praha 1 Friday 5 February 10:00 Registration The first block of presentations consists of the outcomes from the expeditions to Iceland, north Bohemia and FInnmark during late summer of last year as part of the project. Participants will talk about their experiences and thoughts about the journeys. Alena Kotzmanová and Ivar Smedstad will present the Finnmark expedition, Julia Martin and Pavel Mrkus wlll talk about the landscape and industry in Iceland, and Peter Cusack, workshop lecturer for Into the Abyss of Lignite Clouds at the Most coal fields, will speak about his ongoing research into the sonic aspects of environmentaly damaged places and landcapes. 10:30 Miloš Vojtěchovský and Dagmar Šubrtová (CZ) - Welcome and introduction 1.Reports Beyond the Frontiers 10:45 Alena Kotzmannová (CZ) -North 11:00 Ivar Smedstad (NO) - Finnmark 11:30 Julia Martin (IS/D) - The Iceland expedition:Tracing hyperextended objects and their ecological agency 12:00 Pavel Mrkus (CZ) - About "The Fall" 12:15 Peter Cusack (UK) - Sonic Journalism and Places in Transition 12:45 Discussion 13:00 - 14:00 Lunch 2. Landscapes, Gardens, Mines, Dwellings, Voids The afternoon block covers different aspects of current environmental issues, and in particular, there will be presented a case study of the industrial landscape around the Most basin in north Bohemia. 14:00 Stanislav Komárek (CZ) – Having a Land, Having a Garden 14:30 Martin Říha (CZ) - The Limits of Adaptation -The Men and The Ore Mountains Landscape 15:00 Ivo Přikryl (CZ) - Hydrological System of Landscape after Mining - Ideal and Reality 15:30 Matěj Spurný (CZ) - “We didn’t have the Numbers” The Dawn of Criticism of Socialist Productivism in North Bohemia in the 1960s as a Case Study 16:00 Petr Gibas (CZ) - Voids: The Landscape between presence and absence 16:30 Discussion Break - 17:00 - 19:00 19:15 Introduction to the film 19:30 Screening of Dreamland Saturday 6 February 3. Anthropo-Scenes -- The morning block focuses on the broader contexts of the industrial and post-industrial landscape, related to the current discourse on the Anthropocene. 11:00 Martin Škabraha (CZ) - Reclaiming the Landscape 11:30 Dustin Breitling (CZ/USA) - Cognitive Mapping 12:00 Tereza Stöckelová (CZ) - Ontological Uncertainty in the Planetary Lab 12:30 Vít Bohal (CZ) - The Anthropocene: The Good, the Bad, and the Ugly Lunch break - 13:00 to 14:00 4. Places in Between: in the last block, presentations will offer three examples of how contemporary art and artists reflect the environmental crisis, and the questions of their vision of the future with the closing discussion panel. 14:30 Guy van Belle (B/CZ) - An Ecological Awareness, Crossing Borders between the Real and Imagined? 15:00 András Heszky (HUN) (Translocal institute, Budapest) - The River School and the Ecology of Danube 15.30 Isabelle Frémeaux & John Jordan (FRA/UK) (The Laboratory of Insurrectionary Imagination) - Places in Between 16:00 Panel discussion 17:00 - 19:00 Break 19:00 Screening of The Forgotten Space. (Allan Sekula and Noel Burch) …