By Anna Munster
This day virtually each point of existence for which information exists may be rendered as a community. monetary information, social networks, organic ecologies: all are visualized in hyperlinks and nodes, traces connecting dots. A community visualization of a company infrastructure may perhaps glance remarkably just like that of a 17 november. In An Aesthesia of Networks, Anna Munster argues that this uniformity has flattened our adventure of networks as lively and relational procedures and assemblages. She counters the “network anaesthesia” that effects from this pervasive mimesis by way of reinserting the query of expertise, or aesthesia, into networked tradition and aesthetics.
Rather than asking how people event desktops and networks, Munster asks how networks experience—what operations they practice and suffer to alter and convey new sorts of event. Drawing on William James’s radical empiricism, she asserts that networked adventure is assembled at the beginning via family members, which make up its so much instantly sensed and perceived point. Munster seriously considers various modern creative and cultural practices that have interaction with community applied sciences and methods, together with databases and information mining, the domination of seek in on-line job, and the proliferation of viral media via YouTube. those practices—from artists who “undermine” facts to musicians and VJs who use intranetworked audio and video software program environments—are inquisitive about the relationality on the center of today’s community event.
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Extra resources for An Aesthesia of Networks: Conjunctive Experience in Art and Technology
The event in which managing life as an ever-expanding network that can be ultimately costed out, or borne, by individualized subjects also invents new diagrams of networked collectivity. Mass Ornament invents (rather than finds) the potential of dispersed choreographies of the self-node as a collective “dancing of the network,” just as it also accumulates a mass of similar bodies interacting in similar ways in similar interiors and engaging similar technologies. Knowledge as mosaic: James and radically distributed experience So far I have suggested that knowing network experience—the experience of networking as a collective conjoining, bifurcating, routing, rerouting of movement—lies some- Networked Diagrammatism 39 where with its diagramming.
It is the reverberation that gives the sound its peculiar timbre—a vibrating chorus in which neither unity nor disparity prevails. As if we were listening, not to the same experience, but instead from the inside of (a) collective multiplicity. Diagram and dispositif To engage diagrammatically with works such as Mass Ornament and Laid Off is not to deny the spectacular uniformity of globally connected bodies or voices that unknowingly perform similar movements or say the same things. To return, then, to the mechanosphere, Mass Ornament, for example, does not escape the overcoding of the network by spectacular aesthetic machines (links and nodes, grids, mechanical dancing).
And there is no diagram that does not also include, besides the points which it connects up, certain relatively free and unbound points, points of creativity, change and resistance” (Deleuze, 1988: 44). Aesthetic forms such as representational images of networks or “mosaic plots” or arrayed formations of crowds comprise part of our contemporary network dispositif, our “network condition” (Munster, 2009: 4). Tiziana Terranova sees the emergence of network science, responsible for the proliferation of, especially, the ubiquitous maps of networks, as a powerful element of this dispositif’s discourses and sets of scientific statements (2007).