Sensing Media: Aesthetics, Philosophy, and Cultures of Media – serie

In a world inundated by an endless proliferation of texts, images, and data, the tension between the human desire to preserve and the economic incentive to retain collides with the finite nature of storage and its attendant costs. The impulse to keep everything inevitably confronts material constraints, compelling a reckoning with erasure as a necessity that enables ongoing creation. As this book reveals, such considerations are far from unique to the digital age. Spanning early analog sound recordings to contemporary debates about digital cloud solutions, Negative Media proposes that acts of removal, cutting, deletion, and effacement shape the invention and use of popular storage technologies from the 19th century to the present. Ella Klik invites readers to reconsider how recording mechanisms operate, arguing that negation is not a design flaw but a process intentionally woven into the very fabric of these systems. Through engaging stories, including the accidental deletion of the Apollo 11 moon landing tapes, the book traces a genealogy of undoing that reframes our understanding of media's lifecycle, from production to managing scarcity and abundance. Rather than privileging long-term retention as the primary framework for analysis, Klik navigates through media histories and theories to foreground reuse at a moment where prevailing narratives insist—perhaps too boldly—that nothing can ever truly disappear from the internet.

From Munchausen by Tiktok to wellness apps to online communities to AI, the DISCO Network explores the possibilities that technoskepticism can create.This is a book about possibility and refusal in relation to new technologies. Though refusal is an especially powerful mode—particularly for those who have historically not been given the option to say no—people of color and disabled people have long navigated the space between saying yes and saying no to the newest technologies. Technoskepticism relates some of these stories to reveal the possibilities skepticism can create.The case for technoskepticism unfolds across three sections: the first focused on disability, the creative use of wellness apps, and the desire for diagnosis; the second on digital nostalgia and home for Black and Asian users who produced communities online before home pages gave way to profiles; and the third focused on the violence inherent in A.I.-generated Black bodies and the possibilities for Black style in the age of A.I. Acknowledging how the urge to refuse new technologies emerges from specific racialized histories, the authors also emphasize how care can look like an exuberant embrace of the new.

A series of intellectual provocations that investigate the creative process across the human-nonhuman spectrum.Is it possible that creative artists have more in common with machines than we might think?Employing an improvisational call-and-response writing performance coauthored with an AI text generator, remix artist and scholar Mark Amerika, interrogates how his own "psychic automatism" is itself a nonhuman function strategically designed to reveal the poetic attributes of programmable worlds still unimagined. Through a series of intellectual provocations that investigate the creative process across the human-nonhuman spectrum, Amerika critically reflects on whether creativity itself is, at root, a nonhuman information behavior that emerges from an onto-operational presence experiencing an otherworldly aesthetic sensibility. Amerika engages with his cyberpunk imagination to simultaneously embrace and problematize human-machine collaborations. He draws from jazz performance, beatnik poetry, Buddhist thought, and surrealism to suggest that his own artificial creative intelligence operates as a finely tuned remix engine continuously training itself to build on the history of avant-garde art and writing.Playful and provocative, My Life as an Artificial Creative Intelligence flips the script on contemporary AI research that attempts to build systems that perform more like humans, instead self-reflexively making a very nontraditional argument about AI's impact on society and its relationship to the cosmos.

A series of intellectual provocations that investigate the creative process across the human-nonhuman spectrum.Is it possible that creative artists have more in common with machines than we might think?Employing an improvisational call-and-response writing performance coauthored with an AI text generator, remix artist and scholar Mark Amerika, interrogates how his own "psychic automatism" is itself a nonhuman function strategically designed to reveal the poetic attributes of programmable worlds still unimagined. Through a series of intellectual provocations that investigate the creative process across the human-nonhuman spectrum, Amerika critically reflects on whether creativity itself is, at root, a nonhuman information behavior that emerges from an onto-operational presence experiencing an otherworldly aesthetic sensibility. Amerika engages with his cyberpunk imagination to simultaneously embrace and problematize human-machine collaborations. He draws from jazz performance, beatnik poetry, Buddhist thought, and surrealism to suggest that his own artificial creative intelligence operates as a finely tuned remix engine continuously training itself to build on the history of avant-garde art and writing.Playful and provocative, My Life as an Artificial Creative Intelligence flips the script on contemporary AI research that attempts to build systems that perform more like humans, instead self-reflexively making a very nontraditional argument about AI's impact on society and its relationship to the cosmos.

A series of intellectual provocations that investigate the creative process across the human-nonhuman spectrum.Is it possible that creative artists have more in common with machines than we might think?Employing an improvisational call-and-response writing performance coauthored with an AI text generator, remix artist and scholar Mark Amerika, interrogates how his own "psychic automatism" is itself a nonhuman function strategically designed to reveal the poetic attributes of programmable worlds still unimagined. Through a series of intellectual provocations that investigate the creative process across the human-nonhuman spectrum, Amerika critically reflects on whether creativity itself is, at root, a nonhuman information behavior that emerges from an onto-operational presence experiencing an otherworldly aesthetic sensibility. Amerika engages with his cyberpunk imagination to simultaneously embrace and problematize human-machine collaborations. He draws from jazz performance, beatnik poetry, Buddhist thought, and surrealism to suggest that his own artificial creative intelligence operates as a finely tuned remix engine continuously training itself to build on the history of avant-garde art and writing.Playful and provocative, My Life as an Artificial Creative Intelligence flips the script on contemporary AI research that attempts to build systems that perform more like humans, instead self-reflexively making a very nontraditional argument about AI's impact on society and its relationship to the cosmos.

How does tropicality – a concept historically rooted in colonial thought – shape colonial media and society? Thinking cinematically through a framework of tropicality – a constellation of ideas including forest, heat, humidity, miasma, microbes, logistics, labor, infrastructure, extraction, and animism – Nadine Chan demonstrates how colonial cinema created ambient spaces that enabled colonial power to take root and endure – as well as to wear away and break down. Beginning in the 1920s and continuing beyond British Malaya's independence in 1957, colonial filmmakers sought to transform Malaya's tropical landscape – long deemed unruly, excessive, and dangerous – into arenas of modernity and capital. In equatorial rainforests, rubber plantations, tin mines, villages, and more, colonial governments deployed open-air cinemas as ambient infrastructures of power – environ-mental surrounds that were at once elemental, atmospheric, cognitive, and affective. Weaving these cinematic environments within non-technological media landscapes that include architecture and urban design, supply-chain logistics, and more-than-human spirit networks in local animist cosmologies, Chan demonstrates how the colonial tropics calls for expanded understandings of media worlds. Meanwhile, phenomena such as floods and fungi, mountain spirits and mechanical failure, bacterial infections and militant insurgencies emerge as possibilities for counter-colonial attrition. Drawing on multi-modal methodologies including original archival research, film analysis, oral histories, on-site film screenings, and forest hikes as topographic memory-making, Chan develops an innovative theoretical and historiographical framework for thinking about media environments across multiple fields in media studies.

Communicology is Vilém Flusser's first thesis on his concepts of technical images and technical imagination. In this foundational text he lays the groundwork for later work, offering a philosophical approach to communication as a phenomenon that permeates every aspect of human existence. Clearly organized around questions such as "What is Communication?," "What are Codes?," and "What is Technical Imagination?," the work touches on theater, photography, film, television, and more. Originally written in 1978, but only posthumously published in German, the book is one of the clearest statements of Flusser's theory of communication as involving a variably mediated relation between humans and the world. Although Flusser was writing in the 1970s, his work demonstrates a prescience that makes it of significant contemporary interest to scholars in visual culture, art history, media studies, and philosophy.

Communicology is Vilém Flusser's first thesis on his concepts of technical images and technical imagination. In this foundational text he lays the groundwork for later work, offering a philosophical approach to communication as a phenomenon that permeates every aspect of human existence. Clearly organized around questions such as "What is Communication?," "What are Codes?," and "What is Technical Imagination?," the work touches on theater, photography, film, television, and more. Originally written in 1978, but only posthumously published in German, the book is one of the clearest statements of Flusser's theory of communication as involving a variably mediated relation between humans and the world. Although Flusser was writing in the 1970s, his work demonstrates a prescience that makes it of significant contemporary interest to scholars in visual culture, art history, media studies, and philosophy.

Communicology is Vilém Flusser's first thesis on his concepts of technical images and technical imagination. In this foundational text he lays the groundwork for later work, offering a philosophical approach to communication as a phenomenon that permeates every aspect of human existence. Clearly organized around questions such as "What is Communication?," "What are Codes?," and "What is Technical Imagination?," the work touches on theater, photography, film, television, and more. Originally written in 1978, but only posthumously published in German, the book is one of the clearest statements of Flusser's theory of communication as involving a variably mediated relation between humans and the world. Although Flusser was writing in the 1970s, his work demonstrates a prescience that makes it of significant contemporary interest to scholars in visual culture, art history, media studies, and philosophy.

In Malicious Deceivers, Ioana B. Jucan traces a genealogy of post-truth intimately tied to globalizing modernity and connects the production of repeatable fakeness with capitalism and Cartesian metaphysics. Through case studies that cross times and geographies, the book unpacks the notion of fakeness through the related logics of dissimulation (deception) and simulation (performativity) as seen with software/AI, television, plastics, and the internet. Specifically, Jucan shows how these (dis)simulation machines and performative objects construct impoverished pictures of the world, ensuring a repeatable sameness through processes of hollowing out embodied histories and lived experience. Through both its methodology and its subjects-objects of study, the book further seeks ways to counter the abstracting mode of thinking and the processes of voiding performed by the twinning of Cartesian metaphysics and global capitalism. Enacting a model of creative scholarship rooted in the tradition of writing as performance, Jucan, a multimedia performance-maker and theater director, uses the embodied "I" as a framing and situating device for the book and its sites of investigation. In this way, she aims to counter the Cartesian voiding of the thinking "I" and to enact a different kind of relationship between self and world from the one posited by Descartes and replayed in much Western philosophical and — more broadly — academic writing: a relationship of separation that situates the "I" on a pedestal of abstraction that voids it of its embodied histories and fails to account for its positionality within a socio-historical context and the operations of power that define it.

In Malicious Deceivers, Ioana B. Jucan traces a genealogy of post-truth intimately tied to globalizing modernity and connects the production of repeatable fakeness with capitalism and Cartesian metaphysics. Through case studies that cross times and geographies, the book unpacks the notion of fakeness through the related logics of dissimulation (deception) and simulation (performativity) as seen with software/AI, television, plastics, and the internet. Specifically, Jucan shows how these (dis)simulation machines and performative objects construct impoverished pictures of the world, ensuring a repeatable sameness through processes of hollowing out embodied histories and lived experience. Through both its methodology and its subjects-objects of study, the book further seeks ways to counter the abstracting mode of thinking and the processes of voiding performed by the twinning of Cartesian metaphysics and global capitalism. Enacting a model of creative scholarship rooted in the tradition of writing as performance, Jucan, a multimedia performance-maker and theater director, uses the embodied "I" as a framing and situating device for the book and its sites of investigation. In this way, she aims to counter the Cartesian voiding of the thinking "I" and to enact a different kind of relationship between self and world from the one posited by Descartes and replayed in much Western philosophical and — more broadly — academic writing: a relationship of separation that situates the "I" on a pedestal of abstraction that voids it of its embodied histories and fails to account for its positionality within a socio-historical context and the operations of power that define it.

In Malicious Deceivers, Ioana B. Jucan traces a genealogy of post-truth intimately tied to globalizing modernity and connects the production of repeatable fakeness with capitalism and Cartesian metaphysics. Through case studies that cross times and geographies, the book unpacks the notion of fakeness through the related logics of dissimulation (deception) and simulation (performativity) as seen with software/AI, television, plastics, and the internet. Specifically, Jucan shows how these (dis)simulation machines and performative objects construct impoverished pictures of the world, ensuring a repeatable sameness through processes of hollowing out embodied histories and lived experience. Through both its methodology and its subjects-objects of study, the book further seeks ways to counter the abstracting mode of thinking and the processes of voiding performed by the twinning of Cartesian metaphysics and global capitalism. Enacting a model of creative scholarship rooted in the tradition of writing as performance, Jucan, a multimedia performance-maker and theater director, uses the embodied "I" as a framing and situating device for the book and its sites of investigation. In this way, she aims to counter the Cartesian voiding of the thinking "I" and to enact a different kind of relationship between self and world from the one posited by Descartes and replayed in much Western philosophical and — more broadly — academic writing: a relationship of separation that situates the "I" on a pedestal of abstraction that voids it of its embodied histories and fails to account for its positionality within a socio-historical context and the operations of power that define it.

In a narrative that extends from fin de siècle Paris to the 1960s, Edmund Mendelssohn examines modernist thinkers and composers who engaged with non-European and pre-modern cultures as they developed new conceptions of "pure sound." Pairing Erik Satie with Bergson, Edgard Varèse with Bataille, Pierre Boulez with Artaud, and John Cage with Derrida, White Musical Mythologies offers an ambitious critical history of the ontology of sound, suggesting that the avant-garde ideal of "pure sound" was always an expression of western ethnocentrism. Each of the musicians studied in this book re-created or appropriated non-European forms of expression as they conceived music ontologically, often thinking music as something immediate and immersive: from Satie's dabblings with mysticism and exoticism in bohemian Montmartre of the 1890s to Varèse's experience of ethnographic exhibitions and surrealist poetry in 1930s Paris, and from Boulez's endeavor to theorize a kind of musical writing that would "absorb" the sounds of non-European musical traditions to Cage, who took inspiration from Eastern thought as he wrote about sound, silence, and chance. These modernist artists believed that the presence effects of sound in their moment were more real and powerful than the outmoded norms of the European musical past. By examining musicians who strove to produce sonic presence, specifically by re-thinking the concept of musical writing (écriture), the book demonstrates that we cannot fully understand French theory in its novelty and complexity without music and sound.Supported by the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

In a narrative that extends from fin de siècle Paris to the 1960s, Edmund Mendelssohn examines modernist thinkers and composers who engaged with non-European and pre-modern cultures as they developed new conceptions of "pure sound." Pairing Erik Satie with Bergson, Edgard Varèse with Bataille, Pierre Boulez with Artaud, and John Cage with Derrida, White Musical Mythologies offers an ambitious critical history of the ontology of sound, suggesting that the avant-garde ideal of "pure sound" was always an expression of western ethnocentrism. Each of the musicians studied in this book re-created or appropriated non-European forms of expression as they conceived music ontologically, often thinking music as something immediate and immersive: from Satie's dabblings with mysticism and exoticism in bohemian Montmartre of the 1890s to Varèse's experience of ethnographic exhibitions and surrealist poetry in 1930s Paris, and from Boulez's endeavor to theorize a kind of musical writing that would "absorb" the sounds of non-European musical traditions to Cage, who took inspiration from Eastern thought as he wrote about sound, silence, and chance. These modernist artists believed that the presence effects of sound in their moment were more real and powerful than the outmoded norms of the European musical past. By examining musicians who strove to produce sonic presence, specifically by re-thinking the concept of musical writing (écriture), the book demonstrates that we cannot fully understand French theory in its novelty and complexity without music and sound.Supported by the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

In a narrative that extends from fin de siècle Paris to the 1960s, Edmund Mendelssohn examines modernist thinkers and composers who engaged with non-European and pre-modern cultures as they developed new conceptions of "pure sound." Pairing Erik Satie with Bergson, Edgard Varèse with Bataille, Pierre Boulez with Artaud, and John Cage with Derrida, White Musical Mythologies offers an ambitious critical history of the ontology of sound, suggesting that the avant-garde ideal of "pure sound" was always an expression of western ethnocentrism. Each of the musicians studied in this book re-created or appropriated non-European forms of expression as they conceived music ontologically, often thinking music as something immediate and immersive: from Satie's dabblings with mysticism and exoticism in bohemian Montmartre of the 1890s to Varèse's experience of ethnographic exhibitions and surrealist poetry in 1930s Paris, and from Boulez's endeavor to theorize a kind of musical writing that would "absorb" the sounds of non-European musical traditions to Cage, who took inspiration from Eastern thought as he wrote about sound, silence, and chance. These modernist artists believed that the presence effects of sound in their moment were more real and powerful than the outmoded norms of the European musical past. By examining musicians who strove to produce sonic presence, specifically by re-thinking the concept of musical writing (écriture), the book demonstrates that we cannot fully understand French theory in its novelty and complexity without music and sound.Supported by the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Facial recognition technology is one of the defining surveillance technologies of our time, and as the technology continues to develop it is urgently important to consider the ways in which it amplifies and reconfigures power relations.While much of the critical work on facial recognition technology has focused on bias and accuracy, this book considers the social, cultural, and political implications of a surveillance technology poised to dramatically transform our experience of anonymity in shared and public space. Drawing on a series of case studies to explore how existing logics of digital surveillance are transformed when physical space is equipped with automated recognition, the book develops several defining concepts for understanding what this level of surveillance means for strategies of governance and control. Long the object of physiognomic calculations, the face, as subjected to automated forms of data collection, is now already being used to predict everything from people's future career success to their potential for criminality. Further, as the authors show, as "smart" cameras proliferate, society moves into a post-panoptic realm in which people are actually being watched all the time. This shift from surveillance scarcity to glut allows "pattern-of-life" analysis on a mass scale, aiding in the customization of both physical and informational environments at the level of the individual and enabling the ongoing replacement of human-to-human interactions with automated human-to-machine ones – a process the authors describe as a "social recession."

We live in a world that is saturated with color, but how should we make sense of color's force and capacities? This book develops a theory of color as fundamental medium of the social. Constructed as a montage of scenes from the past two hundred years, Organizing Color demonstrates how the interests of capital, management, governance, science, and the arts have wrestled with color's allure and flux. Beyes takes readers from Goethe's chocolate experiments in search of chromatic transformation to nineteenth-century Scottish cotton mills designed to modulate workers' moods and productivity, from the colonial production of indigo in India to globalized categories of skin colorism and their disavowal. Tracing the consumption, control and excess of industrial and digital color, other chapters stage encounters with the literary chromatics of Pynchon's Gravity's Rainbow processing the machinery of the chemical industries, the red of political revolt in Godard's films, and the blur of education and critique in Steyerl's Adorno's Grey.Contributing to a more general reconsideration of aesthetic capitalism and the role of sensory media, this book seeks to pioneer a theory of social organization—a "chromatics of organizing"—that is attuned to the protean and world-making capacity of color.

We live in a world that is saturated with color, but how should we make sense of color's force and capacities? This book develops a theory of color as fundamental medium of the social. Constructed as a montage of scenes from the past two hundred years, Organizing Color demonstrates how the interests of capital, management, governance, science, and the arts have wrestled with color's allure and flux. Beyes takes readers from Goethe's chocolate experiments in search of chromatic transformation to nineteenth-century Scottish cotton mills designed to modulate workers' moods and productivity, from the colonial production of indigo in India to globalized categories of skin colorism and their disavowal. Tracing the consumption, control and excess of industrial and digital color, other chapters stage encounters with the literary chromatics of Pynchon's Gravity's Rainbow processing the machinery of the chemical industries, the red of political revolt in Godard's films, and the blur of education and critique in Steyerl's Adorno's Grey.Contributing to a more general reconsideration of aesthetic capitalism and the role of sensory media, this book seeks to pioneer a theory of social organization—a "chromatics of organizing"—that is attuned to the protean and world-making capacity of color.

We live in a world that is saturated with color, but how should we make sense of color's force and capacities? This book develops a theory of color as fundamental medium of the social. Constructed as a montage of scenes from the past two hundred years, Organizing Color demonstrates how the interests of capital, management, governance, science, and the arts have wrestled with color's allure and flux. Beyes takes readers from Goethe's chocolate experiments in search of chromatic transformation to nineteenth-century Scottish cotton mills designed to modulate workers' moods and productivity, from the colonial production of indigo in India to globalized categories of skin colorism and their disavowal. Tracing the consumption, control and excess of industrial and digital color, other chapters stage encounters with the literary chromatics of Pynchon's Gravity's Rainbow processing the machinery of the chemical industries, the red of political revolt in Godard's films, and the blur of education and critique in Steyerl's Adorno's Grey.Contributing to a more general reconsideration of aesthetic capitalism and the role of sensory media, this book seeks to pioneer a theory of social organization—a "chromatics of organizing"—that is attuned to the protean and world-making capacity of color.

In a world inundated by an endless proliferation of texts, images, and data, the tension between the human desire to preserve and the economic incentive to retain collides with the finite nature of storage and its attendant costs. The impulse to keep everything inevitably confronts material constraints, compelling a reckoning with erasure as a necessity that enables ongoing creation. As this book reveals, such considerations are far from unique to the digital age. Spanning early analog sound recordings to contemporary debates about digital cloud solutions, Negative Media proposes that acts of removal, cutting, deletion, and effacement shape the invention and use of popular storage technologies from the 19th century to the present. Ella Klik invites readers to reconsider how recording mechanisms operate, arguing that negation is not a design flaw but a process intentionally woven into the very fabric of these systems. Through engaging stories, including the accidental deletion of the Apollo 11 moon landing tapes, the book traces a genealogy of undoing that reframes our understanding of media's lifecycle, from production to managing scarcity and abundance. Rather than privileging long-term retention as the primary framework for analysis, Klik navigates through media histories and theories to foreground reuse at a moment where prevailing narratives insist—perhaps too boldly—that nothing can ever truly disappear from the internet.

From Munchausen by Tiktok to wellness apps to online communities to AI, the DISCO Network explores the possibilities that technoskepticism can create.This is a book about possibility and refusal in relation to new technologies. Though refusal is an especially powerful mode—particularly for those who have historically not been given the option to say no—people of color and disabled people have long navigated the space between saying yes and saying no to the newest technologies. Technoskepticism relates some of these stories to reveal the possibilities skepticism can create.The case for technoskepticism unfolds across three sections: the first focused on disability, the creative use of wellness apps, and the desire for diagnosis; the second on digital nostalgia and home for Black and Asian users who produced communities online before home pages gave way to profiles; and the third focused on the violence inherent in A.I.-generated Black bodies and the possibilities for Black style in the age of A.I. Acknowledging how the urge to refuse new technologies emerges from specific racialized histories, the authors also emphasize how care can look like an exuberant embrace of the new.

We encounter digital data processing on a range of platforms and in a multitude of contexts today: in the predictive algorithms of the financial sector, in drones, insurance, and risk management, in smart cities, biometrics, medicine, and more. This fascinating book explores the historical context of the current data-driven paradigm and explains how elusive yet crucial statistical concepts such as outliers, aggregates, and patterns form how we sense and make sense of data. From the sixteenth century's embodied measurements of the foot, through the blurred facial features of L'Homme Moyen, to the image aggregates of today's security systems, the examples collected in this book illustrate the central role of aesthetics throughout the history of statistical knowledge production. Taking its point of departure in analyses and discussions of contemporary artistic experiments by Rossella Biscotti, Stéphanie Solinas, and Adam Broomberg and Oliver Chanarin, the book broadens our understanding of the structures of knowledge and methods in statistical computation beyond optimistic narratives of calculative power. Venturing out into the tails of the distributions—to the systemically overlooked and excluded—this book challenges us to embrace an alternative view of modern data processing.

We encounter digital data processing on a range of platforms and in a multitude of contexts today: in the predictive algorithms of the financial sector, in drones, insurance, and risk management, in smart cities, biometrics, medicine, and more. This fascinating book explores the historical context of the current data-driven paradigm and explains how elusive yet crucial statistical concepts such as outliers, aggregates, and patterns form how we sense and make sense of data. From the sixteenth century's embodied measurements of the foot, through the blurred facial features of L'Homme Moyen, to the image aggregates of today's security systems, the examples collected in this book illustrate the central role of aesthetics throughout the history of statistical knowledge production. Taking its point of departure in analyses and discussions of contemporary artistic experiments by Rossella Biscotti, Stéphanie Solinas, and Adam Broomberg and Oliver Chanarin, the book broadens our understanding of the structures of knowledge and methods in statistical computation beyond optimistic narratives of calculative power. Venturing out into the tails of the distributions—to the systemically overlooked and excluded—this book challenges us to embrace an alternative view of modern data processing.

Madoff rethinks modernism—from Wagner to Duchamp, Dada to the Bauhaus—for our present era of network cultureFor more than a century, European modernist art has been written about as a profound expression of fragmentation—of an alienated world in pieces. In this book, critic and curator Steven Henry Madoff proposes that there was always another artistic intention present among the modernists that offered visions of wholeness in the face of anomie brought on by wars and new technologies. From the mid-nineteenth century, when Richard Wagner championed his idea of the Gesamtkunstwerk (the total work of art), to the rise of the Bauhaus out of the ruins of World War I as the most influential art school of the twentieth century, the urge to connect different art forms into single, unified works points toward our own omnipresent culture of networks and has given rise, over the last sixty years, to such artistic practices as installation and performance art that also combine many kinds of art into one—dreams of interconnectivity binding disparate elements together. Using the contemporary lens of network aesthetics to rethink the artworks of some of the towering figures of European modernism, including Paul Cézanne, Marcel Duchamp, Hugo Ball, and Walter Gropius, this book revises standard readings of this historical art, providing not only a way to more deeply understand the art of the present, but also as a way to look at and reimagine our own society in a time of increasingly divisive turmoil.

We encounter digital data processing on a range of platforms and in a multitude of contexts today: in the predictive algorithms of the financial sector, in drones, insurance, and risk management, in smart cities, biometrics, medicine, and more. This fascinating book explores the historical context of the current data-driven paradigm and explains how elusive yet crucial statistical concepts such as outliers, aggregates, and patterns form how we sense and make sense of data. From the sixteenth century's embodied measurements of the foot, through the blurred facial features of L'Homme Moyen, to the image aggregates of today's security systems, the examples collected in this book illustrate the central role of aesthetics throughout the history of statistical knowledge production. Taking its point of departure in analyses and discussions of contemporary artistic experiments by Rossella Biscotti, Stéphanie Solinas, and Adam Broomberg and Oliver Chanarin, the book broadens our understanding of the structures of knowledge and methods in statistical computation beyond optimistic narratives of calculative power. Venturing out into the tails of the distributions—to the systemically overlooked and excluded—this book challenges us to embrace an alternative view of modern data processing.

In this ambitious new work, eco-philosopher and cultural theorist Adrian Ivakhiv presents an incisive new way of thinking about images and imagination. Drawing upon an immense range of materials, Ivakhiv reassesses the place of imagination in cultural life, analyzing how people have interacted with images in the past and the ways that digital media are profoundly altering these relationships today. The book contributes powerfully to the study of visual culture and digital media, and provides provocative interpretations of a range of important artists and media movements: from the work of photographer Edward Burtynsky, the ambitious multi-screen installations of John Akomfrah, the abstract art of Swedish spiritualist Hilma af Klint, and the Afrofuturism of jazz musicians like Sun Ra and poet Alexis Pauline Gumbs, to the ever-expanding universe of animal videos on YouTube. Along the way, the book delves into animacy and religious imagery, iconophilia and iconoclasm, divination and prophecy, "truthiness" and "enchantment networks," online communities and artificial intelligence, the political and affective economies of digital media, and the role of utopian futurism in the present "climate-colonial Anthropocene" predicament. The result is a vital contribution toward a more empowering conception of the creative imagination and its possibilities in today's emerging digital ecology.

In this ambitious new work, eco-philosopher and cultural theorist Adrian Ivakhiv presents an incisive new way of thinking about images and imagination. Drawing upon an immense range of materials, Ivakhiv reassesses the place of imagination in cultural life, analyzing how people have interacted with images in the past and the ways that digital media are profoundly altering these relationships today. The book contributes powerfully to the study of visual culture and digital media, and provides provocative interpretations of a range of important artists and media movements: from the work of photographer Edward Burtynsky, the ambitious multi-screen installations of John Akomfrah, the abstract art of Swedish spiritualist Hilma af Klint, and the Afrofuturism of jazz musicians like Sun Ra and poet Alexis Pauline Gumbs, to the ever-expanding universe of animal videos on YouTube. Along the way, the book delves into animacy and religious imagery, iconophilia and iconoclasm, divination and prophecy, "truthiness" and "enchantment networks," online communities and artificial intelligence, the political and affective economies of digital media, and the role of utopian futurism in the present "climate-colonial Anthropocene" predicament. The result is a vital contribution toward a more empowering conception of the creative imagination and its possibilities in today's emerging digital ecology.

Madoff rethinks modernism—from Wagner to Duchamp, Dada to the Bauhaus—for our present era of network cultureFor more than a century, European modernist art has been written about as a profound expression of fragmentation—of an alienated world in pieces. In this book, critic and curator Steven Henry Madoff proposes that there was always another artistic intention present among the modernists that offered visions of wholeness in the face of anomie brought on by wars and new technologies. From the mid-nineteenth century, when Richard Wagner championed his idea of the Gesamtkunstwerk (the total work of art), to the rise of the Bauhaus out of the ruins of World War I as the most influential art school of the twentieth century, the urge to connect different art forms into single, unified works points toward our own omnipresent culture of networks and has given rise, over the last sixty years, to such artistic practices as installation and performance art that also combine many kinds of art into one—dreams of interconnectivity binding disparate elements together. Using the contemporary lens of network aesthetics to rethink the artworks of some of the towering figures of European modernism, including Paul Cézanne, Marcel Duchamp, Hugo Ball, and Walter Gropius, this book revises standard readings of this historical art, providing not only a way to more deeply understand the art of the present, but also as a way to look at and reimagine our own society in a time of increasingly divisive turmoil.

Xuenan Cao offers an unexpected angle on China's technological rise, spotlighting the role of deficit-driven improvisation. As Cao demonstrates, where printing paper, computers, and microchips have been in shortage, media improvisations and AI gadgetry have filled the gap and become the unlikeliest accelerants of tech imaginaries. Equal parts media-historical and literary analysis, the book connects several moments in Chinese history: Mao's Great Leap Forward that demanded the country produce mountains of books, notwithstanding the shortage of papers and printers; the compressed development that pushed key industries – such as China Railway – to informatize amidst hazards; the information-theoretical explosion in which scientists impersonated computing devices when there was none for them to access; and the ironic present, when municipals have scrambled to update their smart-cities with low-budget AI gadget theatrics, such as facial recognition toilet paper dispensers. These are scenarios in which media practitioners – from print to information technologies and to AI – have had to improvise in response to political pressure and thrive on a deficiency of funding and materials. Drawing on Chinese communist party archival records, China Railway local archives, newspapers, ersatz college reference books, science journals, and AI-related technical documents, each book section combines archival research and literary readings, narrated through personal history with media-theoretical extrapolation. Ultimately, Cao persuades that the critique and deconstruction of the canonicity of Western media theory requires an understanding of media improvisations in China.