By Jussi Parikka

Media background is hundreds of thousands, even billions, of years outdated. that's the premise of this pioneering and provocative booklet, which argues that to competently comprehend modern media tradition we needs to set out from fabric realities that precede media themselves—Earth’s background, geological formations, minerals, and effort. And to take action, writes Jussi Parikka, is to confront the profound environmental and social implications of this ubiquitous, yet rarely ephemeral, realm of modern day life.
Exploring the source depletion and fabric resourcing required for us to take advantage of our units to stay networked lives, Parikka grounds his research in Siegfried Zielinski’s broadly mentioned concept of deep time—but takes it again millennia. not just are infrequent earth minerals and plenty of different fabrics had to make our electronic media machines paintings, he observes, yet used and out of date media applied sciences go back to the earth as residue of electronic tradition, contributing to transforming into layers of poisonous waste for destiny archaeologists to reflect on. He exhibits that those fabrics needs to be thought of along the usually risky and exploitative exertions techniques that refine them into the units underlying our probably digital or immaterial practices.
A Geology of Media demonstrates that the surroundings doesn't simply encompass our media cultural world—it runs via it, allows it, and hosts it in an period of remarkable weather swap. whereas having a look backward to Earth’s far away earlier, it additionally appears ahead to a extra expansive media theory—and, implicitly, media activism—to come.

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17 Perhaps Professor Challenger’s current versions are not found only in fiction either. Besides mining operations, such scientific missions as the Kola superdeep borehole in the ex–­Soviet Union was such a hyperbolically sounding attempt that stayed true to the Challenger spirit. It held the depth record for a long while, at 12,262 meters. 18 Inside the earth one finds an odd chemical, rocky, and metallic reality, which feeds into metal metaphysics and digital devices. Besides the speculative stance, one can revert back to empirical material too.

It seemed suddenly as if undeniable that even nonorganic matter is alive: “The throbs were not direct, but gave the impression of a gentle ripple or rhythm, which ran across the surface,”8 Mr. Jones describes the deep surface they found. ”9 The whole layers, the core and the strata, throbbed, pulsated, and animated. It should not even be necessary to go to similar lengths as Professor Challenger does, in one of the most bizarre rapelike scenes in literature, when he penetrates that jellyesque layer just to make the earth scream.

First is the research and design, fabrication and standardization, of new materials that allow for mediatic and high-­technology processes to emerge. This relates to history of chemistry as well as product development, aluminum and other synthetic materials that characterize modernity, alongside the work on material sciences that enabled so much of computer culture. Silicon and germanium are obvious examples of discoveries in chemistry that proved to be essential for computer culture. More recently, to take an illustrative example, the minuscule twenty-­two-­ nanometer transistors that function without silicon are made of indium, gallium, and arsenid and demonstrate that a lot of science happens way before discursive wizardry of creative technology discourse.

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