I recently enjoyed (finally) reading Anna Munster's "Materializing
New Media." For me, it was one of those texts that I wish everyone
was required to read so we could all pick up with it and avoid
re-hashing the same old embodied/disembodied dichotomous fictions
that serve as so many distracting bogeys when discussing topics like
analog/digital.
I would call Munster's approach largely Deleuzean (although she
revisits Leibniz a lot). New media is always a complex entanglement
of physical, proprioceptive bodies and "ephemeral" media. In even the
most "virtual" spaces, human bodies are inflecting and coloring the
experience; in even the most physical installations of projected
media, aspects of "digital" media are inflecting and coloring the
experience.
At the last mile, humans experience all media "analogically." analog
light waves enter a physical eye, analog sound waves enter a physical
ear, physical skin and muscles feel analog signals (heat,
resistance). Whether I'm listening to a digital CD or analog vinyl,
both ultimately enter my ear analogically. This is obvious, but I
don't think that makes it unimportant.
Of all the characteristics Manovich points out about "new media," the
most significant might be that computers allow all media to be
synesthetically massaged (the max/msp patch effect). So the final
state of the "outputted object" ("digital" CD or "analog" vinyl, for
example) is less important than the process through which the media
have been massaged on their way to finally encountering a human
receiver. Because ultimately, the very last mile of this encounter is
always technically analog. (How could it be otherwise with human
bodies?) So then the interesting questions have to do with process
and translation, signals hopping back and forth between (throughout,
over/under/within) digital and analog divides. What are the
qualitative ways that such translations affect the behavior of the
signal? These are questions of deterritorialization and
reterritorialization. These are questions of residual affective
artifacts. These are questions regarding embodiment, immanence, and
particular performative instances. Frequently (and here Virilio
becomes increasingly relevant), these are questions of speed -- the
qualitative difference(s) of speed as it crosses various
thresholds/changes-of-state.
Here is Kevin Shields' (My Bloody Valentine) guitar foot pedal configuration:
http://www.guitargeek.com/rigs/img/m/mbv_kevin_1991.gif
The same exact hardware could be configured in a different sequence
resulting in a radically different tone. (Not to mention the settings
on his guitar, the way its pickups are wired, the gauge of strings he
uses, whether he is playing with his fingers or a pick, the humidity
in the room, etc.) These orders and contexts and details matter
because signals are flowing through these configurations in
historical (albeit rapid) time, in physical (albeit electronic)
space. Matter always matters (light waves and sound waves are matter,
language is matter). As software/hardware allow more rapid/extreme
flavors of material modulation, matter matters more than ever.
Best,
Curt
--
Curt Cloninger
Assistant Professor of New Media
University of North Carolina Asheville
+++++
Home: http://lab404.com
Garden: http://playdamage.org
Archive: http://deepyoung.org
Portfolio: http://lab404.com/art/
School: http://mmas.unca.edu
|