[[../writing/Bibliography|Bibliography]] Jussi Parikka, *A Geology of Media*, University of Minnesota Press, 2015 "Media structure how things are in the world and how things are known in the world." – Jussi Parikka, *A Geology of Media*, 1 ^eef618 > What if media materialism is not something that hones in on the machines only? Where do machines come from, what composes technology in its materiality and media after it becomes disused, dysfunctional dead media that refuse to die? …there is such a thing as *geology of media*: a different sort of temporal and spatial materialism of media culture than the one that focuses solely on machines or even networks of technologies as nonhuman agencies… the axis of time and space… is not restricted to traditional ideas about media as devices but can refer back to cosmology and geology: that the geological sciences and astronomy have already opened up the idea of the earth, light, air, and time as media. > - p.3, Jussi Parikka, *A Geology of Media* media materialism outside the usual definition of media: instead of radio, I prefer to think what components and materials enable such technologies; instead of networking, we need to remember the importance of copper or optical fiber for such forms of communication; instead of a blunt discussion of 'the digital,' we need to pick it apart and remember that also mineral durations are essential to it – p.4, Jussi Parikka, *A Geology of Media* ^35084b media archaeology …maps the real imaginary of how fantasies of media become part of the real technological projects and how media aesthetics contributes to new forms of political design of culture. – p.7, Jussi Parikka, *A Geology of Media* ^bba932 > In Wolfgang Ernst's media archaeology and media archaeography, the focus is on microtemporalities and time-critical aspects of especially computational media… the specific *Eigenzeit* of the machine: how technological culture and its specific instance in machines are not just *in* time but also fabricate time. The revolution speeds of hard drives, clock times in computers, network pings, and so forth are examples of the temporalities in which machines themselves are embedded and which they impose on the human social world. Machines don't just write narratives: they calculate. > - p.7, Jussi Parikka, *A Geology of Media* > What if we should think more along the lines of Manuel Delanda's proposition of thousands of years of nonlinear history and expand to a geology of media art history: thousands, millions of years of 'history' of rocks, minerals, geophysics, atmospheric durations, earth times, which are the focus of past decades of intensive epistemological inquiry and practical exploitation as resources – things we dig from the (under)ground, the harnessing of the atmosphere and the sky for signal transmissions, the outer space for satellites and even space junk, as a new extended geological 'layer' that circles our planet, like Trevor Paglen reminds us in his photographic performance/installation *the Last Pictures*, which takes place in the orbit around the Earth… our contemporary technological arts… often also engaging directly with the material world of geophysics in their practice… with the technologies of time-axis manipulation, also the long duration slowness of geophysics – often too slow, or otherwise working in frequencies inaudible and invisible for human perception – becomes part of our aesthetic experience > - p.8-9, Jussi Parikka, *A Geology of Media* ^af88e9 "There is a double bind between the relations of media technologies and the earth conceived as a dynamic sphere of life that cuts across the organic and the nonorganic. It is also increasingly framed as standing reserve in the Heideggerian vocabulary: a resource for exploitation, and viewed as resource, *ordered* to present itself. 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. Our relations with the earth are mediated through technologies and techniques of visualization, sonification, calculation, mapping, prediction, simulation, and so forth: it is through and in media that we grasp earth as an object for cognitive, practical, and affective relations. Geological resources used to be mapped through surveys and field observation, now through advanced remote sensing technologies." - p.12, Jussi Parikka, *A Geology of Media* ^8dc71e > A tape recorder tracks the slow roar of the earthquake – like already in the 1950s practices of measurement… making them a media object: "Through the tape recorder, earthquakes and explosions became portable and repeatable" (Kahn, *Earth Sound Earth Signal*, 157) … Conversely, it is the earth that provides for media and enables it: the minerals, materials of(f) the ground, the affordances of its geophysical reality that make technical media happen… This double bind – which I call the sphere of medianatures… is a variation on Donna Haraway's famous and influential concept of naturecultures. > - p. 13, Jussi Parikka, *A Geology of Media* "Medianatures… is a concept that crystallizes the "double bind" of media and nature as co-consitituing spheres, where the ties are intensively connected in material nonhuman realities as much as in relations of power, economy, and work. Indeed, it is a regime constituted as much by the work of micro-organisms, chemical components, minerals, and metals a by the work of underpaid laborers in mines or in high-tech entertainment device component production factories." – p.14, Jussi Parikka, *A Geology of Media* ^4c3851 > The concept of the Anthropocene features technology from the start… what's more is the link of escalating proportions that one can follow up with technology and energy as some of the driving forces of geological proportions. This actually quickly cascades into realization of the economic and social ties but also toward the interlinks between energy, technology, and chemistry. > - p.18, Jussi Parikka, *A Geology of Media* > Data demand their ecology, one that is not merely a metaphorical technoecology but demonstrates dependence on the climate, the ground, and the energies circulating in the environment. Data feeds of the environment both through geology and the energy-demand. What's more, it is housed in carefully managed ecologies… Data mining is not only about the metaphorical big data repositories of social media. …[Andrew] Blum: 'The cloud is a building. It works like a factory. Bits come in, they get massaged and put together in the right way and sent out.' > - p.24, Jussi Parikka, *A Geology of Media*