This critical response to Dominic Smith’s ‘Taking Exception: Philosophy of Technology as a Multidimensional Problem Space’ begins by outlining the key contributions of his essay, namely his insightful approach to the transcendental, on the one hand, and his introduction of the topological problem space as an image for thought, on the other. The response then suggests ways of furthering this approach by addressing potential reservations about determinism. The response concludes by suggesting a way out of these questions of determinism by (...) thinking the transcendental in concert with the agonistic. (shrink)

Throughout his philosophical project Michel Serres uses the etymological connections between words to reveal much larger experiential and philosophical links. One such connection is between the words ‘media’ and ‘milieu’. In this paper I show how Serres’ philosophy of communication can be used to think critically about the relationship between media and the environment. The paper provides an introduction to Serres’ mode of thought, focusing on his treatment of communication systems. It explores his articulation of noise, information, and thermodynamics and (...) what this contributes to critical discussions of media ecology. (shrink)

This article explores the topic of technology in Michel Serres’ work. Although a great deal has been said about Serres’ treatment of parasitic relations, noise, interdisciplinarity and communication, little has been written about his approach to questions of technology. The author first outlines general trends in the philosophy of technology and indicates how Serres fits within the field. He then suggests a way to read Serres by identifying ‘landmarks’ in his texts, which are used for explicating his position on technology. (...) Three of these landmarks are explored. The first is Serres’ philosophy of world-objects, which moves him to think through the relationship between humans, technology and natural evolution. The second is Serres’ notion of technologies ‘setting sail’ from the body, which allows him to build on Leroi-Gourhan’s work, and the third is Serres’ description of information technologies and the world of millennials, which leads to his position on pedagogy and technology. From an examination of these three landmarks, a picture emerges of a thinker for whom technology acts as a disturbance around which collectives form, establishing relations and deviations between ourselves and others. (shrink)

Against Transmission introduces the technical history and phenomenology of media, a field of study that explains the characteristics of contemporary life by looking to the technical properties of machines. By studying the engineering of signal processing, the book interrogates how the understanding of media-as-machine exposes us to a particular phenomenological relationship to the world, asking: what can the hardware of machines that segment information into very small elements tell us about experiences of time, memory and history? This book offers both (...) a detailed and radical investigation of the technical architecture of media such as television, computers, cameras, and cinematography. It achieves this through in-depth archive research into the history of the development of media technology, combined with innovative readings of key concepts from philosophers of media such as Harold A. Innis, Marshall McLuhan, Friedrich Kittler, Siegfried Zielinski and Wolfgang Ernst. Teaming philosophical inquiry with thorough technical and historical analysis, in a broad range of international case studies, from early experimental cinema and television to contemporary media art and innovative hardware developments, Barker shows how the technical discoveries made in these contexts have engineered the experiences of time in contemporary media culture. (shrink)

Digital media seem to be marked by process. The digital image itself is produced by software processes and the constant flux of code. Further this, interaction with digital systems involves a constant process by which a so-called 'user' comes into contact with various machinic occasions. It seems that in light of these processes it is impossible to maintain an aesthetic or media theory that pictures a self-contained and psychologised subject interacting with a static and inert object. How then can we (...) begin to think about digital aesthetics through a process philosophy rather than the traditional and reductive subject/object distinction found in so much aesthetic theory? This paper seeks to address this problem by enacting Alfred Whitehead's process philosophy, informed by Gilles Deleuze, Isabelle Stengers and Steve Shaviro and work it through several examples of recent manifestations of interactive media art, including work by Martin Wattenberg, Dennis Del Favero, Jeffrey Shaw and Peter Weibel. I work Whitehead's process philosophy through these artworks to illustrate the performative nature of software processes and the manner in which these processes affect the aesthetics of interaction. I also use these works to illustrate a concept of interaction that privileges process and events rather than a concept that focuses upon an individual human user. In this paper I propose to view the 'user' as a set of occasions – as a particular condition that is produced by various user-initiated actions – rather than an enduring subject that is able to distance herself from the object of aesthetic contemplation. By doing this I move toward a theory in which user-occasions, machine-occasions and their interpenetration actualise the aesthetics of media art. Whitehead allows me to think outside of the binary oppositions that divide the world into knower/known or subject/object relationships. Throughout the argument I unpack Whiteheadian concepts such as actual entities, the unison of immediate becoming and, in general, the primacy of the event, bringing these concepts to bear on individual case studies of interactive media art. Whitehead's general thesis is that materiality and permanence are created by a continual process. Viewing the digital encounter through this theoretical framework I position the aesthetic experience of interaction as that which emerges from the fluctuations of process. The event of interaction is a necessarily hybrid process in which human occasions become supplemented by technology and the aesthetic event becomes innately coupled to the processes of the machine. In this paper I am not interested in any notion of consciousness or a psychologised human 'user', rather I am interested in a particular condition that takes place as user-initiated processes work with machine-initiated processes. This is because, for Whitehead, process comes before consciousness; it is the process of actual entities that prompt the consciousness into being. In this paper I thus propose interaction with digital systems as the commingling of contemporary actual occasions, shifting emphasis from a conscious human user and instead focusing on the process of the encounter that precedes this conscious experience. (shrink)

Interactive narratives are inextricable from the way that we understand our encounters with digital technology. This is based upon the way that these encounters are processually formed into a narrative of episodic events, arranged and re-arranged by various levels of agency. After describing past research conducted at the iCinema Research Centre at the University of New South Wales, this paper sets out a framework within which to build a relational theory of interactive narrative formation, outlining future research in the area.