This article will take up Deleuze and Guattari’s allusive yet insightful writings on ‘the secret’ by considering the secret across three intermingling registers or modulations: as content (secret), as form (secrecy), and as expression (secretion). Setting the secret in relation to evolving modes of technological mediation and sociality as respectively pocket, pooling, and plasma, the article works through a trio of examples in order to understand the contemporary movements of secrets: the memories of secrets evoked in an intimately interactive music (...) video by the band Arcade Fire (as an example of ‘pocket’); the movements of secrecy turned fabulative in the scopic-doublings of airport full-body scanners (as ‘pooling’); and, finally, the collective secretions that come to saturate and stretch around the globe as expressed by liquidity-seeking financial innovations (providing an angle onto ‘plasma’). These three instantiations of contemporary secrecy are framed by a discussion of Julian Assange of WikiLeaks and Mark Zuckerberg of Facebook – truly a couple for our age: each intent, in their own way, upon bringing an end to secrets. Throughout, we try to maintain close attention to the emerging rhythms and dissonances that engage secrecy in a dance between the half-voluntary and the half-enforced. (shrink)

Media archaeological methods for extending the lifetime of new media into ‘old media’ have experienced a revival during the past years. In recent media theory, a new context for a debate surrounding media archaeology is emerging. So far media archaeology has been articulated together with such a heterogeneous bunch of theorists as Erkki Huhtamo, Siegfried Zielinski, Thomas Elsaesser and to a certain extent Friedrich Kittler. However, debates surrounding media archaeology as a method seem to be taking it forward not only (...) as a subdiscipline of (media) history, but increasingly into what will be introduced as materialist media diagrammatics. This article maps some recent media archaeological waves in German media theory. The text addresses Wolfgang Ernst’s mode of media archaeology and his provocative accounts on how to rethink media archaeology as a fresh way of looking into the use and remediation of media history as a material monument instead of a historical narrative and as a recent media theoretical wave from Germany that seems to not only replicate Kittler’s huge impact in the field of materialist media studies but develop that in novel directions. However, as will be argued towards the end, Ernst’s provocative take that hopes to distinguish itself as a Berlin brand of media theory in its hardware materiality and time-critical focus resonates strongly with some of the recent new directions coming from US media studies, namely in software and platform studies. (shrink)

Contemporary financial markets have recently witnessed a sea change with the ‘algorithmic revolution’, as trading automats are used to ease the execution sequences and reduce market impact. Being constantly monitored, they take an active part in the shaping of markets, and sometimes generate crises when ‘they mess up’ or when they entail situations where traders cannot go backwards. Algorithms are software codes coding practices in an IT significant ‘textual’ device, designed to replicate trading patterns. To be accepted, however, they need (...) to comply with regulatory texts, which are nothing else but codes of conduct coding accepted practices in the markets. In this article, I draw on ethnographic fieldwork in order to open these black boxes, while trying to describe their existence as devices encapsulating several points of views. I address the question of a possible misalignment between those visions, and more specifically try to draw the consequences raised by such discrepancies as regards the future of financial regulation. (shrink)

In this interview, Paul Virilio talks at length about his life and numerous published works ranging from Speed & Politics: An Essay on Dromology to the recently translated Polar Inertia. Considering important theoretical themes and questions relating to post- and 'hyper'- modernism, poststructuralism, modernity and postmodernity, Virilio discusses his often controversial views on the cultural writings of Foucault, Deleuze, Derrida and Baudrillard. In so doing, Virilio not only clarifies many of his architectural, political and cultural concepts such as 'military space', (...) 'dromology' and the 'integral accident' but also provides much food for thought for all those presently concerned with the social implications of the 'disappearance' of aesthetics, technoculture, information warfare, cloning and 'cyberfeminism'. (shrink)