The eighteenth century was the century of self-organization, but also that of materialism, inasmuch as it was then that certain thinkers proclaimed themselves to be materialists (rather than just being labelled as such by enemies of various sorts). If one seeks to read these two features – one hesitates to call them ‘facts’ or ‘events’ – together, one arrives rather quickly at an influential metaphor, the beeswarm. But a metaphor of or for what? Irreducible organic unity, most broadly – spelled (...) out in the vocabulary of the period in terms of synergy, sympathy and sensibility, but also of cohesion, consensus and conspiration: individual bees have their characteristics, their intentions, and their own purposes, but they also ‘conspire’, ‘cohere’ and ‘consent’ in the name of a larger living unity, the swarm, although this leaves open further questions such as the exact nature of the order or organization yielded or enacted by the swarm (bottom-up? top-down? emergent? etc.). The fascination with the beeswarm is a fascination with organic unity and in some cases (notably Diderot), with the organic or organismic features of living matter itself. This is the story we wish to tell. (shrink)

Introduction to a special issue of the journal entitled 'Gilbert Simondon: media and technics'.

In developing the concept of assemblages, Gilles Deleuze draws at least some inspiration from Gilbert Simondon’s concept of information. While his acknowledgement of Simondon’s influence is almost entirely positive, Deleuze explicitly distances himself from the concept of information in order to avoid its link to the field of cybernetics. However, a Deleuzian informational ontology could instead be leveraged as an alternative to cybernetics. Drawing on the Spinozan link between the work of Deleuze and Simondon, it is possible to develop a (...) hybrid informational ontology. This system can not only offer a different approach to information, data and technology than the essentialist concept of information embraced by cybernetics, but also aligns well with recent research in the biological sciences that has disrupted a long-held concept of individuals as entirely separate and autonomous. Shifting away from the Platonic Form to a Deleuzian/simondonian in-formation furthers the post-human project aimed at understanding processes of subjectivation at multiple scales, including the micro and macro. (shrink)

Due to the simultaneous linguistic and musical quality of voicing, voiced breath poses theoretical challenges to notions of ‘embodiment’, especially as they are used in theatre practice/studies. In this article, I make two intertwining arguments to address questions of the place of semantic meaning and conscious thought in performance practice/theories as they arose in my anthropological engagement with laboratory theatre. Firstly, theatre and performance practice/theories keen to embrace ‘embodiment’ often leave out things like explicit analysis, reflexivity, referential or semantic meaning (...) and so on because, as my ethnography shows, they are judged as secondary, and thus belonging implicitly more closely to disembodied ‘mind’. I engage in anthropological comparison to show how other ways of being/knowing complicate any sense in which practices labelled ‘embodied’ can be seen as primary in contrast to conscious, linguistic or explicit knowing. Instead I outline an onto/epistemology of emergence that offers an alternative imaginary in which no binaries exist a priori. Rather all is a matter of ongoing mutual constitution. Secondly, while the discourses of embodiment in performance practice/theory that I critique may continue to reproduce dualist assumptions, theatre approaches influenced by Grotowski’s anti-method, focusing on continual revision of practice, offer insights for scholarship concerned with the ontological indistinguishability of social, psychological and physical phenomena. Laboratory theatre practices offer a prospective way of knowing, enabling an exploration of the ontological equality of breath, in this case in song, and the sorts of meaningfulness associated with language and analysis. In 2011, my Nanna (grandmother in Maltese) passed away in circumstances that remain traumatic to me. I turned with to my daily practices to find ways to scream, to grieve: to anthropology and to a particular practice of song in laboratory theatre, where encounter is actively sought. Arising from ethnographic and analytic engagement with such practices, in this article, I offer an anthropologically inflected critique of notions of embodiment in performance studies and performance philosophy. I present the alternative imaginary of emergence onto/epistemologies and the prospective investigative practices of laboratory theatre. I do this by weaving autobiographical, ethnographic and anthropological threads to explore my own practice relating to the work of my collaborator Gey Pin Ang, a Singaporean director, actor and pedagogue. (shrink)

Animals populate our artistic and philosophical discourses in critical ways. From Jacques Derrida's or Karen Barad's cat, to Donna Haraway's dog, to the fish in Lucien Castaing-Taylor and Véréna Paravel's Leviathan, these animals feature heavily in discussions regarding limits – the limits of the human and thus its relation with non-humans, but also the limits of knowledge itself. Cute or dangerous, real or fantasised, dead or alive: in this article, I juxtapose the various ways that such animals confront us with (...) what Jacques Derrida describes as “the point of view of the absolute other”. Similarly, recent texts stage encounters with animals – thus distributing agency towards a larger variety of beings, carving out space for a previously excluded non-human other. Yet these encounters are mediated in profoundly different ways. In researching how encounters with the animal are differentially inflected and “defracted” respective to the medium in which they are staged, this article invokes questions of form and style within the critical dialogue that attempts to centre non-human animals. Highlighting how formal decisions are not accidental, but rather integral, to the praxis of the philosophy of animality, this article aims to draw attention to how specific forms and styles allow for a moment of contact with a non-human other. To this end, this article examines three oft-cited encounters: Derrida's encounter with his cat, an intense stare with a fish in Leviathan, and Barad's inflection of Schrödinger's cat. This juxtaposition gives insight into the limits of certain styles of producing thought and critically reflects on these works in their discussion of non-human life and agency. (shrink)

The aim of this article is to demonstrate that data modelling is becoming a crucial, if not dominant, vector for our understanding of animal populations and is consequential for how we study the affective relations between individual bodies and the communities to which they belong. It takes up the relationship between animal, body and data, following the datafication of starling murmurations, to explore the topological relationships between nature, culture and science. The case study thus embodies a data journey, invoking the (...) tactics claimed by social or natural scientists, who generated recent discoveries in starling murmurations, including their topological expansions and contractions. The article concludes with thoughts and suggestions for further research on animal/data entanglement, and threads the concept of databodiment throughout, as a necessary dynamic for the formation and maintenance of communities. (shrink)

The second edition of Jussi Parikka’s Digital Contagions: A Media Archaeology of Computer Viruses is both a welcome reissue of a canonical text in media archaeology and an important intervention into contemporary techno-political crises like cyberwarfare. Parikka’s book shows how viruses are central to the history of networked computing, while articulating their social connections to political, medical, and cultural discourses. For him, the notion of contagion in digital networks is inseparable from the rise of the computing security industry and the (...) spread of what he calls ‘viral capitalism’: a system of value that leverages viral methodologies to colonize new markets and appropriate revolutionary impulses. Against the purity and commercialism of contemporary consumer electronics, Digital Contagions instead looks to the experiments of early viral programming as offering alternative histories of digital media. (shrink)

This contribution examines the media history of swarm research and the significance of swarming techniques to current socio-technological processes. It explores how the procedures of swarm intelligence should be understood in relation to the concept of cultural techniques. This brings the concept into proximity with recent debates in posthuman (media) theory, animal studies and software studies. Swarms are conceptualized as zootechnologies that resist methods of analytical investigation. Synthetic swarms first emerged as operational collective structures by means of the reciprocal computerization (...) of biology and biologization of computer science. In a recursive loop, swarms inspired agent-based modelling, which in turn provided biological researchers with enduring knowledge about dynamic collectives. This conglomerate led to the development of advanced, software-based ‘particle systems’. Swarm intelligence has become a fundamental cultural technique related to dynamic processes and an effective metaphor for the collaborative efforts of society. (shrink)

Established at the annual meeting of the International Society for Biosemiotic Studies on July 3rd 2014, in conjunction with Springer Publishing, publishers of the Society’s official journal, Biosemiotics, the Annual Biosemiotic Achievement Award seeks to recognize those papers published in the journal that present novel and potentially important contributions to the ongoing project of biosemiotic research, its scientific impact, and its future prospects. Here the winner of the Biosemiotics Achievement Award for 2019 is announced: the award goes to Y.H. Hendlin (...) for the article ‘I Am a Fake Loop: the Effects of Advertising-Based Artificial Selection’. (shrink)

In this article, I claim that film matters to political theory not because of the stories films recount, but because the medium of film offers political theorists an image of political thinking that emphasizes the stochastic serialization of actions. I thus argue that the stochastic serialization of moving images that films project makes available for democratic theory an experience of resistance and change as a felt discontinuity of succession, rather than as an inversion of hierarchical power. In my treatment of (...) these issues, I rely on Hume's ontology of ‘broken appearances’ and ‘interrupted perceptions’, as well as Stanley Cavell's ontology of film as treated in The World Viewed. I elaborate the following four aspects of the relation between film and political theory: the action-image; discontinuity and the fact of series; actors, artificial persons and human somethings; and political resistance and an aesthetics of politics. The manner in which I proceed is to show the aspectual overlay between film and political thinking. Such a method of exposition suggests a further, methodological site where film matters to political theory: the stochastic serialization of moving images in film provides political theory with a genre for elaborating ideas that is not reducible to the analytics of causal argument. (shrink)

This text reflects cultural techniques in relation to other concepts in cultural and media studies by addressing their relation to selected Anglo-American and French discussions. It also investigates the relation of cultural techniques to more recent material and speculative turns. Suggesting that the cultural techniques approaches introduce their own important material dimension to media-specific analysis of culture, the article argues that cultural techniques should be read in relation to recent post-Fordist political theory and explorations of the post-human in order to (...) develop conceptual hybrids that are able to inject politics into media theoretical accounts, as well as excavate histories of cultural techniques of cognitive capitalism. (shrink)

This is the first of two special issues and the articles are grouped according to two themes: This first issue will feature articles that share a theme we call Technologies and the Political, while the second issue will feature the theme Subjectivities. However, we could equally consider them exercises in provincialization in the (counter)factual register in the first issue, and by affective historiography as conceptual-empirical labor(atory) in the second issue. What we have generally asked of all authors is to consider (...) that the relation between science and society is often heavily influenced by and identified in the intermediary figurations portrayed in the genre of science fiction. (shrink)

Insects and ‘the swarm’ as metaphors and objects of research have inspired works in the genres of science fiction and horror; social and political theorists; and the development of war-fighting technologies such as ‘drone swarms’, which function as robot/insect hybrids. Contemporary developments suggest that the future of warfare will not be ‘robots’ as technological, individualised substitutions for idealised (masculine) warfighters, but warfighters understood as swarms: insect metaphors for non-centrally organised problem-solvers that will become technologies of racialisation. As such, contemporary feminist (...) analysis requires an analysis of the politics of life and death in the insect and the swarm, which, following Braidotti (2002), cannot be assumed to be a mere metaphor or representation of political life, but an animating materialist logic. The swarm is not only a metaphor but also a central mode of biopolitical and necropolitical war, with the ‘terrorist’ enemy represented as swarmlike as well. In analysing the relations of assemblage and antagonism in the war ontologies of the drone swarm, I seek inspiration from what Hayles (1999, p. 47) describes as a double vision that ‘looks simultaneously at the power of simulation and at the materialities that produce it’. I discuss various representations and manifestations of swarms and insect life in science/speculative fiction, from various presentations of the ‘Borg’ in Star Trek (1987–1994, 1995–2001, 1996), Alien (1979) and The Fly (1958, 1986) to more positive representations of the ‘becoming-insect’ as possible feminist Utopia in Gilman's Herland (2015 [1915]) and Tiptree's Houston, Houston, Do You Read? (1989 [1976]). Posthuman warfare also contains the possibilities of both appropriating and rewriting antagonisms of masculine and feminine in the embodiment of the subject of war in the swarm. This piece seeks to analyse new ways of feminist theorising of the relations of power and violence in the embodiment of war as the swarm. (shrink)

Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject (human) and object (machine). This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related (...) to the player/game relationship can be read through the lens of Adorno’s aesthetic theory. Developing Adorno’s concept of mimesis, I argue that the interface is often treated as a dialectical question of how the space between subject and object should be traversed. I reflect on the possible advantages of focusing on this contested space through a discussion of game controllers and the Aristotelian concept of techne. (shrink)