This is the print version of an essay of mine to appear in an upcoming book I am co-writing with a few colleagues, titled 100 Atmospheres: Studies in Scale and Wonder. The book is coming out in July 2019 from Open Humanities Press, and it will be available in 4 different versions: as a standard paperback through Amazon, as free download through the Open Humanities Press site, through Scalar as an interactive space, and through Big Fag Press as a limited edition hardcover. Exciting!
Tag: object oriented ontology
This is an essay of mine to appear in an upcoming book I am co-writing with a few colleagues, titled 100 Atmospheres: Studies in Scale and Wonder. The book is coming out in August 2018 from Open Humanities Press, and it will be available in 4 different versions: as a standard paperback through Amazon, as free download through the Open Humanities Press site, through Scalar as an interactive space, and through Big Fag Press as a limited edition hardcover. Exciting!
This is an extended chapter abstract I wrote for an edited collection titled Atmospheres of Scale and Wonder: Creative Practice and Material Ecologies in the Anthropocene, due by the end of this year. I am first laying the groundwork in actor network theory, then developing the concept of hierophany borrowed from Eliade, and finally [where the fun begins], discussing the Amazon Echo, the icon of the Black Madonna of Częstochowa, and the asteroid 2010 TK7 residing in Earth Lagrangian point 4. An object from the internet of things, a holy icon, and an asteroid. To my best knowledge none of these objects have been discussed in this way before, either individually or together, and I am very excited to write this chapter.
Comparative hierophany at three object scales
What if we imagined atmosphere as a framing device for stabilizing material settings and sensibilities? What you call a fetishized idol, is in my atmosphere a holy icon. What your atmosphere sees as an untapped oil field, I see as the land where my ancestral spirits freely roam. Your timber resource is someone else’s sacred forest. This grotesque, and tragic, misalignment of agencies is born out of an erasure, a silencing, which then proceeds to repeat this act of forced purification across all possible atmospheres. This chapter unfolds within the conceptual space defined by this erasure of humility towards the material world. Mirroring its objects of discussion, the chapter is constructed as a hybrid.
First, it is grounded in three fundamental concepts from actor network theory known as the irreduction, relationality, and resistance-relation axioms. They construct an atmosphere where things respectively: can never be completely translated and therefore substituted by a stand-in; don’t need human speakers to act in their stead, but settings in which their speech can be recognized; resist relations while also being available for them. When combined, these axioms allow humans to develop a sensibility for the resistant availability of objects. Here, objects speak incessantly, relentlessly if allowed to, if their past is flaunted rather than concealed.
Building on that frame, the chapter adopts, with modifications, the notion of a hierophany, as developed by Mircea Eliade, as a conceptual frame for encountering the resistant availability of material artefacts. In its original meaning a hierophany stands for the material manifestation of a wholly other, sacred, order of being. Hierophanies are discontinuities, self-enclosed spheres of meaning. Arguably though, hierophanies emerging from the appearance of a sacred order in an otherwise profane material setting can be viewed as stabilizing techniques. They stabilise an atmospheric time, where for example sacred time is cyclical, while profane time is linear; and they stabilise an atmospheric space, where sacred space is imbued with presence by ritual and a plenist sensibility, while profane space is Euclidean, oriented around Cartesian coordinates and purified from sacred ritual.
Finally, building on these arguments, the chapter explores the variations of intensity of encounters with hierophanic presences at three scales, anchored by three objects. Three objects, three scales, three intensities of encounter. The first encounter is with the Amazon Echo, a mundane technical object gendered by its makers as Alexa. An artefact of the internet of things, Alexa is a speaker for a transcendental plane of big data and artificial intelligence algorithms, and therefore her knowledge and skills are ever expanding. The second encounter is with the icon of the Black Madonna of Częstochowa in Poland, a holy relic and a religious object. The icon is a speaker for a transcendental plane of a whole different order than Alexa, but crucially, I argue the difference to be not ontological but that of hierophanic intensities. The third encounter is with TK7, an asteroid resident in Earth Lagrangian Point 4, and discovered only in 2010. TK7 speaks for a transcendental plane of a wholly non-human order, because it is quite literally not of this world. All three objects have resistant availability at various intensities, all three have a hierophanic pull on their surroundings, also at various intensities. Alexa listens, and relentlessly answers with a lag less than 1 second. The Black Madonna icon listens, and may answer to the prayers of pilgrims. TK7 is literally not of this world, a migratory alien object residing, for now, as a stable neighbor of ours.
Prezi from my Tangling with sociable objects: the internet of things as anticipatory materiality seminar in AUSCCER today. I packed a lot of content into what was supposed to be a 45 minute presentation, and inevitably overshot, but my hosts were gracious, and there was still time for questions. Good experience.