pg. 5
Smithson poses 'abstract geology' a notion referring to how tectonics and geophysics pertain not only to the earth but also to the mind. Abstract machines/ Deleuze. Smithson mobilized this notion within the land art movement; to a conceptualization of technology that we can say was nothing less than anti-mchluhanian: instead of seeing technology as extension of man, it is aggregated and 'made of the raw materials of the earth'
Mcluhhanns notion of media; ?
From our current twenty-first-century perspective approximately fifty years later, it starts an imaginary alternative media theoretical lineage that does not include necessarily McLuhan, Kittler, and the likes in its story but materials, metals, waste, and chemistry.
What to do?
Track the importance of nonorganic in constructing media before they become media.
When does the nonorganic become media?
Look a psychogeophysics; **a speculative asthetics for the connection of technology and society with a special view to the geophysical.**
pg. 6
This idea of media (art) histories as one of nonlinear strata pushes even the media archaeological agenda of media history to its extreme. Human history is infused in geological time.
pg. 7
Media archaeology is strictly connected to temporality
pg. 12 - 13
Heidegger: seeing earth as a resource for exploitation, and viewed as resource, ordered to present itself. Parikka: This is where dynamics of vibrant life meet with the corporate realities of technologized capitalism that is both a mode of exploitation and an epistemological framework.
Medianatures is a concept derived from Haraways Naturecultures, a variation. For Haraway the term understands the inherently interconnected nature of the two terms that are often ontologically seperated Nature and culture, mind versus matter... More engtangled practices impossible to decipher. It voices the need to take into account the co-constituted relationships in which none of the partners pre-exist the relating. A sensitivity towards historical specificity remains.
pg. 14 - 15
The Underground important site for the topographical geology of media arts. In western Mythology it is defined by it's smell of sulphur and poisons of carbon dioxide. The underground is 'at the crux of technological imaginary of modernity'; a place of technological futures. 'Going Underground'.
Lewis Mumford sees mining and the underground as a turn toward nonorganic technological nature as *Paleotechnics*. Paleotechnics refers specifically to the age of coal mining and its social and aesthetic consequences preceding the neotechnic age of electricity. This might persist in 21st century where different kinds of energy transfer. This is grounded in the wider mobilization of the materiality of the earth as apart of industrialization, technology , and also media technological structure.
Rosalind Williams says: 'A new infrastructural world was born, one that recircuits as part of the contemporary planetary moment, which heaves together labour and the earth.
pg. 17
The visible
reality is sustained by complex and absurd arrangements of work and
infrastructure that is itself an arrangement of human and technological
components. However, the underground of industrialization and capital
ism
rests as part of the geology of the earth.
pg. 21
See 'the posthuman' braidotti
Matthew Fuller, Media Ecologies: Materialist Energies in Art and Technoculture
geophilosophy
Deleuze and
Guattari’s philosophy maps the geology of thought, which moves from
the geophilosophical territories in which thinking happens in relation to
the grounds, undergrounds, and territories where the immaterial events
of thinking and affect are always tied to stratified assemblages
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