By Anna Munster
At the present time nearly each point of lifestyles for which info exists might 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 might glance remarkably just like that of a Revolutionary Organization 17 November. In An Aesthesia of Networks, Anna Munster argues that this uniformity has flattened our adventure of networks as energetic and relational tactics 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 adventure pcs and networks, Munster asks how networks experience—what operations they practice and endure to alter and bring new types of event. Drawing on William James’s radical empiricism, she asserts that networked adventure is assembled firstly via family, which make up its such a lot instantly sensed and perceived point. Munster significantly considers various modern inventive and cultural practices that interact with community applied sciences and strategies, together with databases and information mining, the domination of seek in on-line job, and the proliferation of viral media via YouTube. those practices—from artists who “undermine” information to musicians and VJs who use intranetworked audio and video software program environments—are desirous about the relationality on the middle of today’s community event.
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Extra resources for An Aesthesia of Networks: Conjunctive Experience in Art and Technology
Of the way things move in a factory, and how people lose their individuality in service to this abstraction’” (Bookchin quoted in Willis, 2009). But to discern the mosaic at the level of visual pattern alone would fail to get at the way Mass Ornament unfolds networked diagrammatics. The display of hundreds of YouTube downloads, edited together across the 63 minutes of video installation, creates a twofold rhythm of difference and repetition. The installation carefully sets in place a space-time of sameness as it opens—with eight YouTube videos popping up in line across the screen in no particular order—revealing both a similarity of mid-shot webcam angle onto the ordinariness of contemporary domestic architecture.
They are intertwined in temporal relations that Massumi calls “recursive causality” (2009: 40). The event in which managing life as an ever-expanding network that can be ultimately costed out, or borne, by individualized subjects also invents new diagrams of networked collectivity. Mass Ornament invents (rather than finds) the potential of dispersed choreographies of the self-node as a collective “dancing of the network,” just as it also accumulates a mass of similar bodies interacting in similar ways in similar interiors and engaging similar technologies.
I reflect on this point throughout this book in analyzing how some of these projects singularize a dimension of collective networked enunciation. But, for the most part, Baran’s distributed communications image has lost any vibrant diagrammatism with which it once might have shimmered. This is especially the case as it has filtered through the forces of networked modeling via both computer engineering and network organizational theory. What has come to saturate images of networks is a peculiarly engineered visuality—a mode of both perceiving and making the world as if it were at once elastic and predictable.