The reconfigured terrain of network culture frustrates many traditional modes of social engagement. Political power has both spread and concentrated – spreading as global corporations, international bodies, and private interests bypass the forces of traditional political institutions, and concentrating as information systems employed in government and industry enable the surveillance, registration, and control of populations.[i]
The common form of dissent in digital culture is rather the tactical use of media to signify “the intervention and disruption of a dominant semiotic regime, the temporary creation of a situation in which signs, messages, and narratives are set into play and critical thinking becomes possible.”[ii] Tactical media’s emphasis on symbolic disruption leads to a focus on artistic practices, from persuasive video games made to criticize immigration policy to chat-based interventions in the US Military’s controversial recruiting game America’s Army.[iii] The prevalence of cultural and artistic critique as the preferred style of political engagement should be expected, as it echoes a wider transformation in contemporary power whereby “the dissolution of an autonomous sphere of culture is rather to be imagined in terms of an explosion: a prodigious expansion of culture throughout the social realm, to the point at which everything in our social life – from economic value and state power to practices and to the very structure of the psyche itself – can be said to have become ‘cultural.’”[iv] The literary import of tactical media threatens to obscure potentials singular to media, however, as it focuses on the expression of and not the struggle within the “computational layer” or information itself – a slippage that threatens to ruin tactical media by “confusing tactics and strategy.”[v]
There is a way to cut through this confusion: if the urban space of the Metropolis is theorized as a media object, whereby “the ‘content’ of any medium is always another medium,” then culture and materiality intersect, which allows analysis to go from signs to signals and from semiotics to physics and back again.[vi] This principle is elegantly demonstrated by Austrian design studio mischer-traxler’s project “The Idea of a Tree,” an autonomous solar-powered production project that transduces the intensity of inconstant natural inputs to mechanically produce one object a day from sunrise to sunset. The product of process is a bench-like object that incorporates the sun conditions of the day by varying thread and glue color and thickness as it is wrapped around a mold to make a three-dimension representation of the day and place of production.[vii] The simultaneous transduction and transcoding of environmental energy into a material object exemplifies that multidimensional objects can be both technically diagrammed and studied according to their cultural expression. Generalizing from “The Idea of a Tree,” then every media object similarly contains both a diagram and an expression that make up its emergent environment.[viii] Media and literary studies have outlined theories for such a multi-dimensional analysis, demonstrating the different operations of speech, writing, and code.[ix] The Metropolis should then be described in similar terms to network culture not only by information, but the vectors of change that result from an abundance of information and an acceleration of informational character.[x] In particular, the Metropolis can be said to utilize information in three distinct ways: as “the relation of signal to noise,” “a measure of the uncertainty or entropy of a system,” and “a nonlinear and nondeterministic relationship between the microscopic and the macroscopic levels of a physical system” – all of which find corollaries in culture.[xi] Bringing together digital telecommunication flows and physical corporeal flows, urban geographers have conceptualized the contemporary process of urbanization through Internet eXchange points and MIDT airline traffic data[xii] It is through a similar combination of digital culture and informatization more generally that strategies common to struggles in the culture, technology, and environment of the Metropolis can be identified, analyzed, and enhanced.
Abstractly, the Metropolis connects through inclusive disjunction, a process that puts otherwise foreign elements into communication with one another and does not require its pieces to operate through a shared logic but unfolds their interiors through exposure.[xiii] Continue reading “The Metropolis as a Media Object and The Polarized Politics of Asymmetry”