By Anna Munster
At the present time nearly each element of existence for which information exists may be rendered as a community. monetary facts, social networks, organic ecologies: all are visualized in hyperlinks and nodes, strains connecting dots. A community visualization of a company infrastructure may glance remarkably just like that of a 17 November. In An Aesthesia of Networks, Anna Munster argues that this uniformity has flattened our adventure of networks as lively and relational procedures and assemblages. She counters the “network anaesthesia” that effects from this pervasive mimesis by means of reinserting the query of expertise, or aesthesia, into networked tradition and aesthetics.
Rather than asking how people event pcs and networks, Munster asks how networks experience—what operations they practice and endure to alter and convey new kinds of adventure. Drawing on William James’s radical empiricism, she asserts that networked adventure is assembled at first via relatives, which make up its so much instantly sensed and perceived point. Munster seriously considers various modern creative and cultural practices that interact with community applied sciences and methods, together with databases and knowledge mining, the domination of seek in on-line task, and the proliferation of viral media via YouTube. those practices—from artists who “undermine” facts to musicians and VJs who use intranetworked audio and video software program environments—are excited by the relationality on the center of today’s community adventure.
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Extra resources for An Aesthesia of Networks: Conjunctive Experience in Art and Technology
The grid and network, then, are figures through which the arraying diagram, or more precisely the mechanogram, moves, transitions, and transforms itself. The arraying mechanogram intersects with abstract machines of biopower and bioeconomics, the limitlessness of life, economy, growth, and with the concrete assemblages of urbanism, the flows of financial capital across and through a city’s industrial infrastructure. Arraying, as Whitelaw maintains, is a space-making device rather than a device that figures in spatialization.
Although what needs to be secured is the ongoing life of the population, giving security a biopolitical vector, it is risk—calculated as the series of events that will incur potential economic loss—that must be managed bioeconomically and minimized. What must be secured, then, is not life itself and not the risk to life but rather any potential damage to ongoing growth of the market. The network model and image play a key role in simulating risk events and predicting outcomes, hence their use in both organizational analysis and antiterrorist detection: “The network intervenes in this calculation as a productive machine and as a predictive/ preemptive mode of simulation.
It is these relations that give rise to a multidimensional quantity of arrays. Even though Baran supplies us with a “fact” external to the array—the fact of an almost three-quarters takedown of the network—even so, he does not prescribe the movement of the networking itself. Diagrammatic movement is not yet fact. Or, as Deleuze says of that preconfigured space in which a painting’s initial marks onto a canvas stake out only the barest diagram of its lines and zones, “They mark out possibilities of fact, but do not yet constitute a fact” (2003: 101).
An Aesthesia of Networks: Conjunctive Experience in Art and Technology by Anna Munster