Issue 4.

2 / 2015: 24

No environment, only an unvironment. Jonathan Kemp and Martin Howse (2014, 159)

Mutating Media
Ecologies
Jussi Parikka

How about a machinic ecology that starts with

rust, dysfunction, or with the substrate? A media
ecology that is messy as the soil, and does not
commence from the idea of functional machines
or idealized ones - but a time of a different sort?
A machine that sorts time, but one that is not of
working machines, use-times or future-oriented
progress? The easiest terms for such an ecology
would refer to failure, even metaphorically to
decay, but it can also take minerals as starting
points to a media ecology of rust-coloured
psychogeophysics, earth computing, and things
that are barely working in their obsolescence. It
does not neglect the environmental but bends it
as the unvironmental, a queer history of the
planetary becoming technological. The alternative
tone of the media ecological and media
unvironments points to the faulty theory of media
or media devices as the incorporation of faultlines themselves (See Fuller 2012). These media
devices are dysfunctional, or just plain disgorged,
and however retain a connection to earth, ecology
substrate. While an increasing amount of
attention is paid to resource depletion (Anderson
2012) and supply chains of energy and materials
for advanced technologies, there are also projects
in art that call to think media as/of substrate,
illuminating another angle to the issue.

Jussi Parikka
Mutating Media Ecologies

Indeed, such a media ecology does not stem from

the now commonplace references to media
environments, part of policy and business
discourses (Goddard 2014). It is also less the
humanist take found in some brands of earlier
media ecology (although, having said that, one
must note that early phases of inspiration for
media ecology such as the work of Harold Innis,
are filled with non-humans from water routes to
fur and beavers). Instead, notions of materiality
and affordance (perspectivalism) are more
central for this sort of activist-theory one that is
close to Gilbert Simondon and Felix Guattari.

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It is in this way that we can deterritorialize a

notion of media outside that of the human body,
and look at non-human things as part of an
embodied meshwork of agencies. Such an
approach comes partly from the direction of J.J.
Gibson. Especially in relation to embodied
perception, Gibson develops something not quite
the standard medium theory approach but one
that we can adapt to our purposes. Discussing
such environmental aspects as oxygen, gravity,
This work is licensed under a Creative Commons Attribution 3.0 License.

Media provide access to another or to an outside

by means of the specific perspectivalism or
affordances that they embody. Just as capacities
of thought, of being, are made in lived bodies, in
complex and delicately conjoined tissues and
processes, and just as powers are inherent in all
matter, materialism also requires that the
capacities of activity, thought, sensation and
affect possible to each composition, whether
organic or not, are shaped by what it is, what it
connects to, and the dimensions of relationality
around it. (Fuller 2005: 174)
Besides offering a theory of media focused on
affordance, media ecology is an opening to art
methods too. Such methods includes ones that
incorporate materiality as part of them in rough,
dirty, and decaying ways. Broadly speaking, this
relates to the field of new materialism that has
stemmed from feminist philosophy and science &
technology studies, as well as been developed in
a variety of contexts in the past years. (see
Dolphjin and van der Tuin 2012; Tiainen 2013). As
a way to investigate such an approach concerning
new materialism, my examples come partly from
London based artist/practitioners (Jonathan Kemp
and Ryan Jordan), partly from Berlin (Martin
Howses microresearch-projects). Microresearch is
introduced as a mobile research platform
exploring psychogeophysics and asking the
question of where precisely plague/software
executes (http://www.1010.co.uk/org/). Its
projects have ranged from software to hardware,
and various performances/workshops involving
investigations to the electromagnetic sphere.
Indeed, picking up on Guy Debord and the
Situationist research project into the geographic
environment and the material effects of space
primarily urban on our subjectivity, the projects
by the three artists, including The Crystal World,
address two kinds of spaces: the space which we
inhabit as living organic bodies in the midst of not
only architectural orientation and governance, but
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Indeed, this is one way to expand on the notion of

ecology towards speculative artistic methods.
Perhaps this too could be accounted as part of
the idea of speculative methodologies (see also
Bogost 2012: 28-32); the work of opening up
software, hardware and building DIY devices as
speculative metaphysics through engineering (see
also the Critical Engineering manifesto, 2011), and
how the devices themselves are part of the
architectures of governance, and the new city
of power and control in which living bodies are
intertwining. Or to think such in relation to Peter
Sloterdijks call for hyperbolic theory that tries
to grab hold of the otherwise fleeting, weird,
novel realities of contemporary culture? (Thrift
2012, ix) The challenge is thus: To think of
hyperbolic theory converted into design and
artistic methods.This means design that is able to
speak to the materiality of specific software and
hardware realities, also infrastructure into new
territories of governmentality (Easterling 2014).
And it means artistic methods that are are aware
of the long cascade of material relations in which
artistic practice enacts itself.
One recent example of mobilizing a range of
materialities as part of their work have been the
workshops on decrystallization and
recrystallization by Kemp and Jordan together
with microresearch (Howse). Decrystallization was
the 1st of the series initiated and organised by
Kemp with Jordan in London and expanded with
Howse as Recrystallization in Berlin. The Crystal
World was a distinct, third part of the series with a
version in Berlin in February 2012 and in Summer
2012 a version in London.

Jussi Parikka
Mutating Media Ecologies

Such an ecological way of pitching the issue also

offers different way of addressing media:

also the technical layer that is phenomenologically

invisible but completely real. The tracking of the
electromagnetic city is one of the key themes of
the workshops by Kemp, Jordan and Howse. It
also flags themes releant to speculative design (cf.
Dunne and Raby 2001) as well as media ecology
in the manner of the mobilization of human and
non-human energies (Fuller 2005).

Issue 4.2 / 2015: 25

water and so forth allows Gibson to define such as

affordances that permit certain movements and
perceptions. For him, such are invariant and
constant throughout the whole evolution of
animal life (Gibson 1986: 19), but for our
historical yet material purposes, we can
pragmatically mobilize the notion of affordance in
media ecological ways too (see also Parikka 2010:
169-171)

Besides the Crystal World Open Laboratory a

mix of experiments aiming to reconfigure the
various mineral components used in computers in
novel arrays by deforming their processors and
memory combined with ancestral rock ores in
powders and in solutions, treated with acid
solutions, high heat, high voltage, electrolytic
process, photochemistry, and finally saturated in
crystallizing baths the August 2012 exhibition
acted as another node in their events. The latter is

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Issue 4.2 / 2015: 26

One could contextualize their work in DIY and

software art methodologies, at times borrowing
for instance from psychogeographics as well but
such labels are not entirely covering the
experimental take. One could also speak of the
psychogeophysical variation that their work offers
(see Parikka 2015, 59-82). Partly hacktivism, partly
speculative materialism with a media
archaeological twist, their works tackle with
various hardware, noise and software themes.
Mitchell Whitelaw (2013) has aptly addressed
Howses work - together with Ralf Baeckers
Irrational Computing - in terms of sheer
hardware and expanding material media theory
through novel computational art practices. But the
trios workshops on de- and re-crysallization
engaged in the themes of waste, electronic waste,
and obsolescence; by gathering old and obsolete
technologies and exposing them to various
chemical and exploratory hacking techniques with
the aim to investigate the machine as a crystal a
product of condensation, that could be also decrystallised into its constituent parts of gold,
silver, other minerals and chemical parts that
are the crysallisation of various earth- into
contemporary machine culture. This points
towards the quite rough materiality and labour
processes of which media technology is made of
and could also be said to flag the connection to
the global political economy of resources. Often
discussed in terms of coltan in media studies
(coltan is the important mineral mined in Congo
and a key part of various electronic devices,
including mobile phones), but the list of resources
facing being exhausted include for instance
lithium and cobalt both important, for instance,
for batteries (Anderson 2012). Besides the specific
minerals, even more interesting is the question as
to how the materiality of such elements entangles
with the highly developed logistical routing of the
planetary - and hence involves questions of labour
at its core. (See the Logistical Worlds-project:
http://logisticalworlds.org/).With an increasing
political economic interest in the extended

networks of media production and discarded

media, we have a better spatial understanding of
the grim labour, electronic waste and other neocolonialist emphases of digital economy (Rossiter
2011, Cubitt 2011, Parikka 2011, Gabrys 2011.
Maxwell and Miller 2012. See also Parikka 2015).

Jussi Parikka
Mutating Media Ecologies

introduced consisting of IT junk and minerals, but

where the emphasis is on an aspect of living. It is
pitched as a living experiment, a cybernetic
parody to escalate and draw attention to entropy
(the movement from order to chaos) in the
crystalline pathologies of raw mineral and
constructed computer". (The Crystal World:
Space: Opening). Languages of junk, pathology,
of geology and chemical reactions fuse
themselves in the descriptions of methods by
Kemp, Jordan and Howse.

The workshops in Berlin and London offered a

geographical planetary mirror; to resituate the
otherwise often spatially dislocated practices of
disuse and to dismantle old cpus, wires and such.
The situated practices questioned how to open up
computers to this geological and conceptual level
of materiality and labour. Whereas circuit bending
and hardware hacking are innovative
methodologies for engaging with the material
aspects of electronic culture, they have still been
partly captured as part of the maker-cultures
boom. Empowering users, such practices are
educating and modifying a DIY approach to
media tech in an age where closed and
sealed inviolability is both a wider legal (DRM)
strategy and a design solution (on the
micropolitics of closed design, see Hertz and
Parikka 2012). Indeed, with a clear relation, these
workshops push towards even more speculative
dimensions, which are not content to modify but
more radically dismantle technology to such
constituent bits where the materiality is not
primarily seen only as high tech media.
In terms of media art histories, dead media and
other theoretical and methodological approaches,
the work of de- and recrystallization does not
exactly involve traditional art methodologies or
follow the canon of aesthetic theory. It opens up
to another sort of an alternative art history and to
a different way of understanding cultural heritage
of abandoned, old technological culture. It deals
with such techniques as earth computing,
mineral precipitation, high heat synthetic geology
and inductive crystallography, DIY semi-conductor
fabrication, water crystal cryptography,
anthropocenic fossilizations, kirlian photography,
hi-voltage fulgurite construction .
(http://archive.ctm-festival.de/ctmfestival/exhibition/the-crystal-world.html) Having
said that, there are however some interesting
resonances with some other current artistic and
critical practices. We can flag the proximity, even
if in different institutional contexts and with
varying objectives, of computer forensics, digital
archaeology, and other modes of disgorging
machines as part of the epistemology in such
conjunctions, art practices meet up with DIY and
critical engineering.

What I want to propose is that such projects are

emblematic of speculative media archaeologies
and artistic practices that combine poetic and
technological takes on deep times (Zielinski 2006),
but ones that are deeply material, too not just
written histories or performances or artworks, but
archaeologies of soil and the history of the earth.
In another context, I have connected this to the
theme of the Anthropocene and even twisted it
into the neologism: Anthrobscene. (Parikka 2014).
The artistic projects of speculative crypto histories
of the earth refer to the concrete sedimentations
of minerals and substrate that provides its
affordance for the contemporary high tech
culture. This backtracking leads to a different
genealogy and deep time of what conditions our
media technological culture: a media history of
rocks and soil.
For Siegfried Zielinski (2006), the research into the
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Issue 4.2 / 2015: 27

deep time of the media is described as his media

historical version of paleontology. Referring to
Stephen Jay Gould, Zielinskis excavations are not
staying within the regime of media archaeology,
but want to uncover a non-linear layering
of variations. Indeed, in a manner that seems to
be borrowing from a Deleuze-Guattarian ontology
of nomadism and the primacy of variation (without
however explicitly making this link), Zielinskis
methodology is in this sense a refusal of any
master plans of media development and a plea
against both the drive towards psychopathia
medialis (the standardization and uniformity as
well as illusions of teleology). Instead, the
geological conceptualisation of a media history of
variations finds surprising case studies: from
Empedocles and della Porta to electricity through
Galvani and Ritter to optics and acoustics
discovered and investigated in Jesuit circles not
least by Athanius Kircher.
Even if Zielinski uses the geological and even nonhuman metaphor, and does include various
exemplary ideas of a media history of cultural
techniques concerning differing organic elements
water, soil, modifications of the means for
seeing and hearing I would suggest pushing
further towards an even more geological and at
the same time technical deep time of the media.

Jussi Parikka
Mutating Media Ecologies

Speculative conceptual archaeologies take into

account crude methods hacking open,
disgorging, melting, chemically processing the
motherboard and other components of the
computational machines; a process of literal decomposing of information technology. The
Crystallisation workshops, including the extended
weeklong Crystal World at the Transmediale
festival 2012, tapped into this field directly, using
methods that mimic human labour practices in the
extraction of valuable components and material
from abandoned technology. Hence, the notion
of crystal became a way to investigate both the
material constitution of the information
technology and the labour processes necessary
for their construction. The seeming frozenness of
the deliberately sealed, constructed computer is
here the literal understanding of the crystal, which
however, is not merely to be understood as the
rhetorics of open vs. closed that has been such a
crucial hinge for hacktivist politics. Obviously,
promoting openness both in terms of legal,
hardware and software matters is what still has
importance across a wider tech policy spectrum
for instance, but resting on the automatic bliss of
open technology is not enough to tackle with the
more complex routes capitalist processes of
labour and management of production
take. Indeed, this is why the Crystallisation
projects need to be recognized for what they are:
the investigation of the mineral and substrate
materialities as well as the materialities of
production, management of global labour
processes, and various other materialities that are
always entangled.

In other words, this practice-based proposal for

an alternative deep time of the media is what
expands to geological deep times. It investigates
media materiality through a different, quite
concrete and long-term investment in geological
times of media as crucial for processes of
subjectivation. From a Geology of Morals
(Deleuze and Guattari 2004; Delanda n.d.) we can
move to a Geology of Media (Parikka 2015) when
understood through various stratifications and
deep times. Unlike Zielinskis media historical,
anarchaeological, call, this alternative deep time
reaches towards the planetary as a determination
of multiple layers of chemico-organic as well as
inorganic processes that work in energetic and
material assemblages. Concretely, deep time
becomes a way to understand how chemicals,
minerals and materials as well as labour
contribute the essential elements to persistence
of hardware (to borrow a term from the critical
game I-Mines (http://i-mine.org/) in the current
information technology culture. This persistence
of hardware can itself be read as persistence of
media as hardware (See Cubitt, Palmer & Walkling
2012, 48).

vocabularies and understanding of non-human

temporal scales. Besides being a way to mobilize
the materiality of information technology again in
experimental practices and situations, the focus
on substrate also flags its mutability as becomes
evident in the longer quote below:

Issue 4.2 / 2015: 28

Such artistic practices engage with that other level

of non-human social memory of technical culture.
This sort of a social memory is not only about
human technics but also the various levels of
duration and of memory in the chemicals. So
these are procedures of repurposing computer
tech and components and minerals, but also
techniques to investigate materiality of
technology as well as the materiality of
temporality of which our technical media culture
consists. As a way to think through the chemicalmineral base of the crystallised media machines,
and working that into a methodology of decrystallizing information technology, this means
looking at the stratification of various mineral and
chemical layers in the machine itself. The
project(s) suggest the machine itself becomes an
archaeological excavation site this deep time
becomes concretely tied to earth times.
Contemporaneous with the various crystal-related
projects with Kemp and Jordan, Martin Howse has
been continuing the theme of geological times in
the the earthcodes project: substrate/shifting the
site of execution
(http://www.1010.co.uk/org/earthcode.html).
Whereas in the crystallisation projects the
machines became the sites of the excavation of
deep times, of strata of material layers and the
fantastic power of the commodity-form to
abstract itself from the experience of labour and
life (Rossiter 2011), in this more recent project
the theme of deep times is carried over to the
external milieus that are made bootable. So, how
do you boot from the Earth?

Substrate in this sense is what characterizes the

material take on deep times ofearth times that
are both found in the materiality of the machines
as well as a supporting stratum. If recent non- or
post-human philosophies have tried to articulate a
world irreducible to the human-world
correlationist epistemology, I am suggesting the
same in terms of temporalities: the necessity of
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Jussi Parikka
Mutating Media Ecologies

The project outlines the relation of technology to

geology as the material substrate. In the project
description, this relation to the regime of software
as the emphasized and yet invisible part of
contemporary digital economy becomes
articulated in a manner resonating with the
persistence of the hardware thesis: Substrate
equally presents a set of economic, political and
economic consequences which contrast with
software's lack of coded visibility, its inevitable
"encryption". (Ibid.)

Substrate can refer to a (mined) semiconductor

base which is later doped, etched, imprinted on
with other minerals and materials within a
complex industrial process to form an electrical
logic gate, a processing unit, the core of the
networked machinery which surrounds us.
Substrate interfaces with code, yet this set of
symbolic, linguistic and logical operations denies
the being-substrate, just as the carrier of any
signal is erased by the receiver. The mineral
necessity of this substrate is equally effaced; logic
gates, and thus full computers can be constructed
from water jets, from slime moulds, with the
former proving particularly useful within paranoid
military scenarios as being resilient to high energy
electromagnetic attack [EMP].
(http://www.1010.co.uk/org/earthcode.html)
Of course, it is not only the microresearch projects
that are going back to the deep times of media as
geology or substrate. Indeed, besides a range of
projects that might tap into biomedia and related
biological contexts for mediatic and technological
process, we might examine the
recent bermorgen oil painting gulf work as
perhaps one way to tie into experimental projects
media, visual arts and geology. The groups
artwork emerged 13 days after the BP explosion
and crude oil leak had started in the Gulf of
Mexico, leading the artist group to announce,
with satire, how oil painting is finally back,
adopting an art historical discourse for the event
of massive proportions that is now both live AND
part of bio-art as well: Finally oil painting has
evolved into generative bio-art, a dynamic
process the world audience can watch live via
mass media. Never before has this art form been
as relevant and visible as today - only 9-11 was
nearly as perfect, but in the genre of performance
art. An oil painting on a 80.000 square miles
ocean canvas with 32 million liters of oil - a unique
piece of
art. (
http://rhizome.org/editorial/2010/may/5/deephori
zon-2010-ubermorgencom/)
When oil painting becomes imagined on the
massive scale of a geo-ecological disaster seen
from space, we need to be able to imagine the

Issue 4.2 / 2015: 29

other times of disaster too. This is where the

notion of speculation becomes tied to a specific
non-human temporality as well. This is a topic that
entangles to the way in which Tim Morton (2010)
has mobilized the concept of hyperobjects to
deal with objects that are non-reducible to one
particular locality and massively distributed in time
and space, such as global warming and
radioactive materials. We can and perhaps even
have to to pose such questions concerning the
fabric of time constructed of and by non-humans.
It is also why some questions concerning
epistemology of such times of deep times of the
earth and its frequency, that might rock below 1
hz are tackled in media artistic practices, such as
sonification of earthquakes. Florian Dombois
projects remind of this particular mode of
knowledge production for the sake of how it uses
the affordances of the ear, and their connection
with the earth: the eye is good for recognizing
structure, surface and steadiness, whereas the ear
is good for recognizing time, continuum,
remembrance and expectation. (Dombois 2011).

To proceed towards some conclusions, and as one

way to illuminate the link between speculative
ontologies and the alternative deep times of
media, lets work through some of Reza
Negarestanis writings concerning deep times.
Indeed, in a similar manner as Negarestani
investigates in his Cyclonopedia a work of
theory-fiction speculating about the
petropolitical deep layer as the living soil of
Middle East, we can point towards the work of the
London and Berlin partners, Kemp, Jordan and
Howse, and other workshops as chemical and
material deep layers that go two ways: not just
the route of media archaeology interested in
obsolescence, abandoned technology and
antiquated objects, but the other sort of descent,
to adopt Michel Foucaults idea, perhaps implicitly
part of some methodologies of media art histories
and media archaeology: to descend inside the
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Jussi Parikka
Mutating Media Ecologies

We encounter a media materialism not only

concerning the material specificity of the
engineered science perspectives, that so often is
emphasized in German media theory, but the
mineral durations that sound more like Manuel
Delanda if the theorist would do computerchemistry: A thousand years of non-linear history,
although now millions of years of non-linear
computing history starts with the minerals,
geology, substrates and more that go into
building computers (for a longer elaboration of
this idea, see Parikka 2015).

machine, into the technical, but at such a level

that exposes a material, abstract level of
connections, affordances and capacities (cf.
Parikka 2012, 80-82). In such a methodology, the
depth of time extends across materialities from
the fictional narrativization to the hardware
materiality and the long duration of mineral
elements that entangle with that of human energy
exploited for various excavations. In Earthcodesproject, the mobilisation of substrate entangles
with Bram Stokers Dracula-novel of 1897 with the
transported Transylvanian soil as the transmission
vector for the virality of the vampire count.
Kemp, Jordan together with Howses
microresearch adapt an element of speculative
fiction as part of their material methodologies in a
manner that is reminiscent of Friedrich Kittlers
way of mobilizing similar references in this latter
microresearch case especially Bram Stokers novel
and often Pynchons work. In addition, we can
also refer to Negarestanis work: a speculative
media archaeological materialism of substrate, but
investigated not only by the human
epistemologist but by and across a spectrum of
agencies of more and less than two legs. As a
topological conceptualisation, and interested in
this poetic and speculative materialism, allow me
to end through a longer reference
toCyclonopedia. What if such speculative media
archaeologies and artistic methodologies are
something that share methods with archaeologists
but also with cultists, worms and crawling
entities, agencies of the substrate, working with
corpses that I would add are not perhaps only
dead media but also zombie media of materiality
that refuses to be dead. The environment is
turned over and has become an unvironment, an
ungrounding.
If archeologists, cultists, worms and crawling
entities almost always undertake an act of
exhumation (surfaces, tombs, cosmic comers,
dreams, etc.), it is because exhumation is equal to
ungrounding, incapacitating surfaces ability to
operate according to topologies of the whole, or
on a mereotopological level. In exhumation, the
distribution of surfaces is thoroughly undermined
and the movements associated with them are
derailed; the edge no longer belongs to the
periphery, anterior surfaces come after all other
surfaces, layers of strata are displaced and
perforated, peripheries and the last protecting
surfaces become the very conductors of invasion.
Exhumation is defined as a collapse and trauma
introduced to the solid part by vermiculate

activities; it is the body of solidity replaced by the

full body of trauma. As in disinterment scarring
the hot and cold surfaces of a grave
exhumation proliferates surfaces through each
other. Exhumation transmutes architectures into
excessive scarring processes, fibroses of tissues,
membranes and surfaces of the solid body.

[6] Deleuze, Gilles & Guattari, Felix. A Thousand

Plateaus. Trans. Brian Massumi London:
Continuum 2004.
[7] Dolphjin, Rick and van der Tuin, Iris. New
Materialism. Interviews & Cartographies. Ann
Arbor: Open Humanities Press, 2012.
Issue 4.2 / 2015: 30

This transmutation, and distribution of new

surfaces is where such familiar notions of art and
culture theory vocabulary such as trauma and
memory are transported into material
methodologies. The novel crystal earth
geologies extend the work of material recovery
and reuse into psychophysical distortions and
contingencies in a gesture which might share an
enthusiasm with multiple ecologies (dark and
otherwise). This ungrounding of figures can be
extended besides an archival impulse to
proliferate surfaces but also a methodological
transmutation that sees the psychogeographic in
the machine, and extends the machine to its
material, ecological, mineral and chemical
constituents. Any rupture, dysfunctionality and
failure of the machine might open up to a crack
that transports one across the global through the
logistics channels; and deep down to the earth
into the substrate, and deeper.

athttp://www.t0.or.at/delanda/geology.htm
(accessed July 19, 2012), n.d.

[8] Dombois, Florian (2011) Auditory Seismology

website, http://www.auditoryseismology.org/version2004/, accessed August
10, 2012.
[9] Dunne, Anthony and Raby, Fiona (2001) Design
Noir: The Secret Life of Electronic Objects. Basel,
Boston, Berlin: Birkhauser.
[10] Fuller, Matthew. Media Ecologies. Materialist
Energies in Art and Technoculture. Cambridge,
MA: The MIT Press, 2005.
[11] Easterling, Keller. Extrastatecraft. The Power
of Infrastructure Space. London & New York:
Verso, 2014.
[12] Fuller, Matthew. Faulty Theory Fibreculture
issue 17, 2011, http://seventeen.fibreculturejourn
al.org/fcj-118-faulty-theory/.

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Mutating Media Ecologies

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