By Jussi Parikka
Because the early 19th century, while entomologists first popularized the original organic and behavioral features of bugs, technological innovators and theorists have proposed bugs as templates for quite a lot of applied sciences. In Insect Media, Jussi Parikka analyzes how insect kinds of social organization-swarms, hives, webs, and allotted intelligence-have been used to constitution smooth media applied sciences and the community society, supplying a thorough new viewpoint at the interconnection of biology and know-how. via shut engagement with the pioneering paintings of insect ethologists, together with Jakob von Uexk?ll and Karl von Frisch, posthumanist philosophers, media theorists, and modern filmmakers and artists, Parikka develops an insect idea of media, one who conceptualizes sleek media as greater than the goods of person human actors, social pursuits, or technological determinants. they're, relatively, profoundly nonhuman phenomena that either draw on and mimic the alien lifeworlds of bugs. Deftly relocating from the existence sciences to electronic know-how, from pop culture to avant-garde paintings and structure, and from philosophy to cybernetics and video game concept, Parikka presents cutting edge conceptual instruments for exploring the phenomena of community society and tradition. hard anthropocentric ways to modern technological know-how and tradition, Insect Media finds the chances that bugs and different nonhuman animals supply for rethinking media, the conflation of biology and know-how, and our figuring out of, and interplay with, modern electronic tradition.
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Extra info for Insect Media: An Archaeology of Animals and Technology (Posthumanities)
Points of the continuous movement. 39 The result was a graphical representation of various kinds of movements resembling beautiful abstract lithographic art. Thus it is no wonder, as Marta Braun argues in her study Picturing Time, that Marey´s way of capturing temporal intensities in a media technological form found resonance later in modernist art, for example, in Marcel Duchamp’s work, where Marey’s positivism was turned into a fascination for temporal perception detached from the everyday habitual human way of seeing the world.
Insects intertwine with human lives (via “direct and Nineteenth-Century Insect Technics 6 indirect injuries caused by insects, injuries to our living vegetable property but also direct and indirect benefits derived from insects”) but also engage in ingenious building projects, stratagems, sexual behavior, and other expressive forms of motion, perception, and sensation. Instead of adhering to a strict taxonomic account of the interrelations between insect species by documenting the insects’ forms, growth, or structural anatomy, the ethnography of insects in An Introduction to Entomology is traversed by the fantastical spirit of the curiosity cabinet.
Why insects? Not only have animals been of media historical importance in general; insects can be seen as “the privileged case study,”64 as Eugene Thacker notes: they are paradigmatic examples of the many, the emerging swarm order that questions notions of sovereignty, life, and organization that are so crucial for current articulations of politics, networks, and technology. If the human has been the starting point in most accounts of Western political philosophy (and also the philosophy of organization), insects provide a crucial difference within that mode of thought.