I am participating in a really exciting workshop on Simondon and digital culture. Below the poster and my presentation abstract.


Affective Timing and Non-sensuous Perception in Differential Media

The relation between ethics and aesthetics defines a crucial problematic through which Félix Guattari develops his philosophy and analytic practice. Simondon exposes similar lines in his work with equally strong indications of its political relevance. He conceives of the aesthetic as immanent force in experience pertaining to its preindividual field as unexhausted resource for potential becoming. His overall theory of individuation could be also considered as continuous process of differentiation through such a field of potential.

Simondon defines the aesthetic as temporal relation between the preindividual as partially expressed present experience and its pull towards a future becoming, i.e. differentiation. The aesthetic is the interval through which experience passes as felt intensity in the immediacy of its occurrence. It is Alfred North Whitehead who links this temporal process of experience to perception, not as mere sense perception of given empirical data but through his notion of non-sensuous perception. Non-sensuous perception emphasizes the immediate past shaping the passing of the present and the present, as tendency of the future, shaping the potential function of the past. Through non-sensuous perception an interstice for aesthetic practices opens up allowing for an ‘immanent’ and ‘transcendent’ process of co-becoming between the temporal passing of the event and its metastable bodily expression.

For similar reasons Guattari, thinking at the dawn of the digital media era, envisioned post-media practices as “laboratories of thought and experimentation for future forms of subjectivation.” He underlines that what comes to be termed post-media describes a general transformation away from media as mere technological entities. Guattari interlinks aesthetic and ethical concerns pointing out that a “post-media society “will be invented, created within the perspective of a new aesthetic-political paradigm.“ For both, Guattari and Simondon technology defines an active and vital realm of potential not as a means but as enabling ecology. In their works both emphasize technology’s processual dimension, where aesthetics generates links between perception and its relation to time, ethics pertains to acts developing relations with other acts. How can we conceive of such acts not as a volitional and anthropomorphic activism but as a relaying of temporal entanglements between the immediacy of occasions of experience and their material constraints? Further investigating Simondon’s and Guattari’s take on ethics and aesthetics in a post media era I will look at digital media technologies susceptible to (temporal) differentiation. Such “differential media” (Andrew Murphie) highlight the potential of digital processes of timing as discontinuous yet relational processes of timing. Looking at Icelandic artist Ragnar Kjartansson’s video installation The Visitor’s I will work through the affective and emotive temporalities of digital media art and its relation to non-sensuous perception. How can we conceive of such artworks as instigating collective individuation foregrounding the temporal affective tonality at the heart of their expression in experience?


I am very exited to participate in this conference. Here is my abstract:

Affective Politics of Timing: Ragnar Kjartansson’s The Visitors

In his video-installation The Visitors artist Ragnar Kjartansson constructs an immersive nine-screen video-piece of a collaborative sound performance. Eight musicians dispersed throughout Rockeby Farm Mansion in upstate New York, play instruments and repeatedly chant the lines of a short poem by Ásdís Sif Gunnarsdóttir.

The piece deals with duration, repetition and immediation through its insistence on time as collective and affective force holding the work together. While recent responses to affect in contemporary theory have led to a critique of its emphasis on immediacy, I will attempt to reconsider immediacy as opening a problematic field rather than becoming another object of critique. The power of suspense and duration in The Visitors provides a vital ground for addressing its aesthetics as an affective attunement of heterogeneous elements cued into specific timings. Using Brian Massumi’s differentiation of three kinds of memory (active memory, conscious memory and a memory of the future) I will investigate how The Visitors enables a collective sense of emergent ecologies of timing, an affective politics of timing. Immediacy according to this fine-grained conception of affect is not an instant independent of its milieu, on the contrary, its very power of existence consists of disjunctive times constantly attuning and being attuned. Change, and the potential thereof, emerges through the eventual encounter, its re-activation and unnoticed but active tendencies. The political question then is: how to inflect, activate and enable situations capable of more potential to actively become part of our immediate concerns and how to develop a sense of care for their effects?


Jonas Fritsch and I are going to hit the road to Buffalo for the Media Cities 4 conference, May 3-5, 2013.

Here is our abstract:

Beyond the Network: Urban Media Ecologies and Experiential Fields

The growing proliferation of urban interactive technologies into our everyday lives demands a move from an initial fascination for the technologies in themselves to their actual experiential impact and how they ‘…affect the ways in which we use and understand walls, windows, doors, sidewalks, streets, intersections, parks, markets, and playgrounds.’ (Greenfield and Shepard, 2007). Increasingly, this cannot be done by focusing on singular devices, subjects or places. One way of approaching this heterogeneous plurality of elements has been prominent in the diverse analysis of networks. The problem, however, is the continued conception of entities or nodes as foundational building blocks of such networks and how they are connected or experienced.

In a recent resurgence of William James’ radical empiricism Adrian Mackenzie proposes an approach toward wireless technologies not as merely facilitating networked experiences of a particular kind but as constitutive of relational practices blurring boundaries between confined entities such as architecture, human bodies or technological devices. According to Mackenzie, wirelessness ‘… designates an experience trending toward entanglements with things, objects,  gadgets, infrastructures, and services, and imbued with indistinct sensations and practices of network-associated change” (2010, 5). These entanglements are in particular evident when dealing with e.g. media architecture or mobile technologies in urban or public space.

While building on the conceptual outline of wirelessness foregrounding experience, we propose the concept of experiential fields emphasizing the emergent and affective quality of experience. Experiential fields address experience as an ecological and relational process, focusing on the conditions of emergence of urban interactive environments. We are concerned with ways of facilitating experiential situations pointing at urban media-ecological processes and investigating how to work with them creatively beyond confined spaces, bodies or technologies.

Through an analysis of two urban interactive installations, Frequency and Volume (2003) and Ekkomaten (2012), we bring to the fore a range of challenges and questions concerned with accounting for the workings of media ecologies and experiential fields. Both works deal with sound activating and activated through its urban context. Frequency and Volume by Rafael Lozano-Hemmer is an interactive art installation amplifying radio frequencies through bodily engagement with the exhibition space, foregrounding awareness for electromagnetic fields. Ekkomaten is a gigantic listening machine that lets people explore echoes from the past tied to a particular site in the city through their interaction with it. Either work constitutes a media ecology activating an experiential field which modulates the potential for action in the city through an affectively engaging mobilization of  emergent forces.

Investigating relations between media and the urban along the constitutive lines of experiential fields allows us to reconsider what we usually separate into discrete entities such as the body, the urban or the political. Shifting the focus on media in urban contexts from an infrastructural or informational discourse toward urban media ecologies as processes of immediation opens new potentials for considering mediatic encounters and the situations they facilitate in experiential terms beyond the network.

And the conference schedule.

Below the abstract for my mini-presentation at the 2011 Netaudio Festival and Conference:

How do collectives constitute and endure themselves beyond social or interpersonal strata? In a time of “social” media as potential motors of political change, the attention paid to what constitutes the “social” in social media is often considered as a mere connection between humans by means of technology. Marshall McLuhan’s statement “the medium is the message” aims at undermining the conception of media as bare means to human ends. The medium itself determines how a message is expressed and does not merely transmit its content. The medium becomes active and renders what is expressed. I assume that this assertion is difficult to sustain if one tries to consider the Internet as “a” medium. Instead of considering the Internet as medium I would like to address its technologies as enabling for practices of immediation. Immediation accounts for the embodied experience of any aesthetic expression and sensation and locates the event of immediated experience in everyday life. Through immediation the human and the nonhuman become part of a relational logic where the boundaries between subject and object blur and are negotiated to form transindividual collectives. These collectives are as much social as they are political or ethico-aesthetic.

In light of social media the medium is not the message. Rather processes of immediation entangle embodied experience with immediated collective forces. A collective is not the formation of a group composed of individuals, but an affective relational experience amongst different modes of existence: technologies as much as ideas, perceptions humans and other bodies.

One has to consider the constitution of a collective as the co-emergence of social formations with their environment. Collective means to become enmeshed in a relational logic where each situation is negotiated between its participants. To make these relational becomings palpable, I will use as an example the SenseLab’s (senselab.ca) last event “Society of Molecules” (see: inflexions.org, no. 3 –Tangents). By means of physical and (im)mediated exchange different local nodes (molecules) were able to stage a series of collective events across fifteen countries in 2009. The potential to physically experience local events and at the same time to participate in virtual relations between the different produces the constitution of transindividual collectivity.


I have been experimenting with the newly installed exhibition apparatus (dispositive) Palaver developed by artist Eran Schaerf and Professor Florian Dombois and installed by the Y-Institute at Berne University of the Arts. The occasion for the experiment was enabled through HKB’s open house (Oct. 2010)  and the desire to develop strategies for the use of alternative exhibition models with a wider public.


In a nutshell: Palaver is an assemblage of a wall, two screens and two cameras. A space can be divided by a mobile wall, one screen is attached to each side of this wall and each side is equipped with a mobile camera. The idea is to exhibit an artwork or a performance or anything on one side and project it to the other side where the audience is. Through such an arrangement the audience as well as the object/performance are put into a mediated relationship. With the help of the camera, the screens and the separation a process of negotiation and estranged, mediated contact is facilitated. A palaver in its original meaning is the week-long political negotiations in a public space in African native cultures. The idea for such an exhibition apparatus is the change in roles and time that might accompany the experience of art. In other words, the role of the spectator, the work its reception and the way to think and talk about it discursively might be transformed through such a renewed assemblage. The palaver centers the art object but at the same time mutually positions spectators, art critics, art historians artists and curators on a plane of negotiation. Instead of unfolding each ofthese participants into his/her discipline and mode of reflexion, Palaver aims at an intense engagement with the object, modes of representation, ways of speaking and sensing, the refomualtion of space and the role of speaking in formal and informal ways.


What I have been trying in this particular occasion of experimentation was to undermine the conception of the object or the subject by becoming a non-subject and a non-object. The creature that lives at the interstice of non-subject and non-object is McGhille (see post below). McGhillie is neither a thing nor a person. McGhillie rather melts with its environment to liberate the one inhabiting the suit to become pure (in)difference and therefore not being accountable by vision or speech. McGhillie is perceivable but one cannot know it nor can one interact with it. I aimed at rendering McGhillie’s movements the least possible anthropomorphic. McGhillie was supposed to become a pure presence therefore demonstrating its disappearance. The visitors on the other side were estranged and curious. I aimed at a long duration not allowing for any interaction but forcing the audience to turn onto itself and initiate any kind of intercourse. The situation was at times uncomfortable due to its indeterminacy and at times charged with excitement when something happened. At one point I was compelled to end the performative situation but didn’t preclude how to go about it. The people in the room were already at the margins of the wall separating the spaces. The screens mediating the situation became fairly obsolete, live experience seemed to be more attractive. Hence, McGhillie was bemoaning the annihilation of the mediation by a screen and longed for its re-installation. Finally approaching the door to leave the room in a crouching way, a participant had blocked it to not allow for any escape. This provocation to leave the state of non-subject-object forced me to imagine what it means to be kept in a cell, to be considered outside of the general discourse and therefore being regarded as free to be subjugated. The liberating and almost powerful feeling of a Becoming-McGhillie shifted towards a Becoming-Animal with all its negative attributes in relation to the human master and the animal-slave. Finally forcing the door open, still being follwed by the crowd I managed to leave the situation and to allow McGhillie to become free for a future becoming.


In sum, I can say that the attempt to undermine the dispositive of Palaver only partly worked. One of the main concerns that remain after the experience is the question of how a situation can be generated where one can feel the potential forces towards negotiation. In other words, is the apparatus as it is right now providing the right port of entry into a self-generative process of negotiation. In other words, are the enabling constraints given to allow the object/subject to speak in its own right or is Palaver just another discursive tool that hovers on the surface of representation and language.

nouveau terrain d'apparition panoscope sphere

On January 7, 2010 we launched the first general meeting after phase one of the “nouveau terrain d’apparition” (NTA) project has been accomplished. The first phase focused on establishing a solid and properly working system to run the panoscope in a networked state, allowing telepresence between two characters in a shared and immersive virtual space. The general meeting targeted at a presentation of the technical system (mostly developed by Mike Woznieski), a demo of the system and theoretical reflections on the potentials of the system from my side. Guest at the event were students from Université Laval in the the Museology Department and members of the Institut Technologies de l’information et Sociétés, Bob White from the Anthropology Department at Université de Montréal, Erin Manning, Brian Massumi and of course head researcher Luc Courchesne.

I will here focus on some potential alleys and first insights from the conversations. My presentation was targeted at opening the NTA-system’s black box (à la Bruno Latour) and to outline its actants and interdependencies. The importance for the first phase lies in the system or rather assemblage that has been developed. As Luc pointed out the other day, the system is at its limits in terms of computation and therefore we will have to take its state as “enabling constraint.” The first important move which occurred consists in going beyond the conceptualization of such a system as dispositif and to use the notion of the assemblage instead. This shift in terminology brings us close to think different registers of realities (those realities of matter included) together and to annihilate any kind of other-worldly conception of virtual reality. To unfold this move I was drawing on Andrew Murphie’s article “Putting the Virtual back into VR.” Here Murphie claims with a Deleuzian approach through “The Fold” that Virtual Reality as a concept can help us to understand and play with what Deleuze defines as the virtual, the continuous immanence of potential in each actualization.  Since assemblages of virtual reality provide the potential to narrow the usually very crowded (with percepts and affects) experiences in our general “Umwelt” (von Uexküll), we can more precisely tap into the field of the potential. What we encounter as assemblage exists on the one hand as a complex intertwining of different realities - material, human, social, spatial and computational -  and on the other hand as a narrowing of our sensory focus to experiment with the virtual relay in our experiences.

In resonance with the system’s actual state these considerations take specific configurations:

  • Space-time: In an immersed experiential space such as the panoscope the narrowing aspect of VR allows us to experiment with new experiences of space-time. Important for a successful design of such different experiences seems to me an appropriation of affective interaction design (as developed by Jonas Fritsch). As Fritsch outlines: the account of affect will have to ”…directly address forms of experience, forms of life, on a qualitative register” (Fritsch 2009). “Affect as a whole then is the virtual co-presence of potentials” (ibid.)
  • Affect & Interaction + Memory: To feel these co-presences of affective potentials the system might not only offer shared spaces for experience but also allow the potential for interaction. This point has been uttered by Massumi and Manning, as well as in my presentation and by Mike Wozinieski. The potential to actively contribute to the system seems crucial for an enhanced interactive immersive experience. This circumstance has two important values: On the one hand the experience of space-time is always related to the way memory occurs in Bergson and slightly different in Whitehead. Memory here functions as the potential side of an actualization in a new experience. Obviously, the human participant always carries potentialities into the system through memories. Such a form of memory adds a singular (yet potentially always collective) aspect to each experience with the system. Hence, an important consideration would be the generation of memory with the system. Not only through giving machine perception the potential for interaction but also to generate an affective moreness of computing other than traditional approaches of “affective computing” as emotional aspects of programming. For the future I will follow up this thought under the concept of “affective and perceptive traces.”
  • Time and Duration: Another form of space-time configuration that might be enhanced through interactive modes of contributing actively to the system would be jumps, leaps and the sensation of duration through the system. At the moment the space inside the panoscope consists of spheres (360° images), time-lines with images that relate to certain biographies, spatial city environments (e.g. Toronto), and animated spheres with moving sound and image. Since experience here is spatialized and therefore according to Bergson misses in its euclidian appearance a thorough attribute of duration (durée), the durational aspect need to be generated by particular strategies. One of these strategies has been mentioned by Erin Manning as boredom. For her, a new user of the system has to arrive at a point of boredom to become creative with the system. To allow this creativity, we need the experience a certain durational quality inside the panoscope and the potential of active participation and contribution.
  • Collective Experience: The final point touches upon the collective experiences the system might allow. On the one hand collective experience occurs through the potential telepresence with other users. On the other hand experience surfaces through the contribution to the system and the creation of traces that can be encountered by others. What seems important here is the experience of a fully embodied state in the immersive environment of the panoscope. The embodied quality of experience allows us to embrace multiple (crossmodal) perceptive modes. On the one hand one can share experience through telepresence. On the other hand (which has been suggested by Erin Manning) one can also have the same collective experience with more than one person inside one panoscope. There is a difference in the shared expereince either through telepresence or through the physical sharing of the space in a panoscope. Interesting in that regard world be a blending of collective experience that not only includes human participants in actual physical or tele- presence but also the contribution to this experience by the flow of memories and contributions to the experience by an active and interactive (responsive) system. In that sense, to provide an initial idea, the collective individuations that might be facilitated through the system, could be generated through an internal resonance of the system with its users. To conclude with Simondon: “Internal resonance is the most primitive form of communication between realitities of different orders. It is composed of a double process of amplification and condensation.” Amplification here defines the process of an individuation (of a system for instance) as a resolution of anterior tensed states. Its condensation is the very presence as event that ties together all its anterior disparate realities and tendencies. A nexus with social character in Whitehead. The internal resonance of the user-panoscope individuation expresses its amplification and condensation through the emergent relation between different realities (of users, memories and the systems active contribution) and its condensation in an actual occasion (an event in all its complexity and singularity).

smaller panoscope for torso immersion


levels of nothingness - rafael lozano-hemmer

This is a short review on Lozano-Hemmer’s and Brian Massumi’s (in collaboration with Isabella Rossellini) work in progress “Levels of Nothingness” shown at the Guggenheim New York:

The Guggenheim’s Works in Progress series issuing its 25th anniversary this year, invited Lozano-Hemmer to present one of his works in progress. Levels of Nothingness is a synaesthetic performance of written, oral and visual dimensions. In collaboration with the actress Isabella Rossellini and the philosopher Brian Massumi Lozano-Hemmer and his team developed a voice-tracking system that responds to words in the form of lighting events. Attempting to create a relational model between the dimensions of thought in motion and audio-visual experiences the performance consisted of a 30 minute reading of philosophical quotes revolving around colour and perception clustered in conceptual blocks such as “emergence,” “singularity,” “body” or “transition.” Massumi’s philosophical influence in his work on colour and perception has been complemented by Rossellini’s beautiful voice and the “light dance” of more than 50 rock-and-roll concert lights.

The sensation that such an event generates is difficult to circumscribe in a classical manner such as light performance or interactive performance. What actually happened was a relational field of perception throughout the entire room. The perception of the visitor became amodal in its mode. In other words, one was immersed in light, a screen to read the quote that was aurally transmitted by Rossellini’s voice and enclosed in a slightly hazy room with the background noise of the lights moving and other bodies trying to capture the light at the ceiling. The human perception became amodal while the machine perception had its full attention focused on the voice and flow of words in their sonorities. The performance system for interaction became the perceiving entity as we (traditionally) expect the human sensory-motor system to work whereas the human perception was forced to reveal the amodality that perception is based on - synaesthesia as the point of entry for any perception to become noticeable and not as a strange abnormality of some particular individuals. Those who know the work of Massumi will realize that “Levels of Nothingness” might be one of the first attempts to make the synaesthetic amodality of perception apparent in a conscious and not only a pure experience. The collective modes of the event taking form cross many fields of expertise and experience that might be best described by the notion of mutual intensity for “a perception to come” - an intensive field of percepts offering themselves for experience to merge into presence without ever becoming immobile. On might regard the experiences generated in the event as an extensive continuum of collective intensive practices that has been extended for the first time to allow a wider audience to become part of the event. Thanks!

Hopefully, a longer interview with Rafael Lozano-Hemmer and Brian Massumi will be published in one of the following issues of Inflexions - A Journal for Research-Creation.

ICMC 2009 Christoph Brunner - A Cultural Approach Toward the Interface

Attending the ICMC (International Computer Music Conference) I have seen various presentations so far of which I liked the two by Robert Gluck form Albany University most. The conference in total is very well organized and the crowd as usual appears attentive and precise. Tomorrow at 9.20 a.m. I will give my paper “A Cultural Approach Toward the Notion of the Instrument” in the Paper Session entitled Aesthetics. I regard the allocation of my paper as very suitable and will hopefully be able to give an insight on an ehtico-aesthetic approach towards creative music production and instrument/interface design. Here is the abstract:

“In the field of computer music research the development of new input devices for musical performance and sound interaction plays an important role. This paper explores the cultural implications embedded in the use and concept of the notion of the instrument in such fields. Cultural implications in this particular context are the meaning structures that evolve from knowledge expressed through language and developed through practices. The main focus of this inquiry is based on the potential to detect the impact of new computer music research on its socio-cultural environment. Concepts such as assemblage and ecology will propose alternative ways to address the hybrid relational (interdisciplinary) networks that create such input devices. This approach proposes alternative models to conceptualize interaction as performative relations between humans and nonhumans, as outlined in the domain of Science and Technology Studies. Computer research interweaves the cultural dimensions with a social context and foregrounds the political implications signified by its practices and technologies.”

The full paper can be downloaded here