affect in Adema & Hall 2013

ns (ed), Artists’ Books, p7.


page as an alternative space’. 5 From this perspective, producing, publishing and
distributing one’s own artist’s book was a sign of autonomy and independence; it was
nothing less than a way of being able to affect society directly. 6 The political potential
associated with the book by artists should therefore not be underestimated..
Accordingly, many artists created their own publishing imprints or worked together
with newly founded artist’s book publishers

affect in Bodo 2014

d extreme variations over time. This short
chapter however cannot go into the intricate details of the incredibly rich history of censorship in the Soviet Union.
Instead, through much simplification we try to demonstrate that censorship did not only affect literary works, but
extended deep into scholarly publishing, including natural science disciplines.


Draft Manuscript, 11/4/2014, DO NOT CITE!
interest. They are to be supplied with extensive introductions and detailed annotations." (quoted in

authors would result in significant royalty payments to western rightsholders proved valid. By 1976, the
yearly USSR trade deficit in publishing reached a million rubles (~5.5 million current USD) (Levin, 1983, p.
157). This imbalance not only affected the number of publications that were imported into the cashpoor country, but also raised the price of translated works to the double that of Russian-authored books
(Levin, 1983, p. 158).

The literary and scientific underground in Soviet times

affect in Bodo 2015

iferation of book black markets may signal that the book industry suffers from similar problems
as the music industry suffered a decade ago, the actions of book publishers, the policies they pursue have
impact beyond the market of books and directly affect the domain of libraries.


Bodó B. (2015): Libraries in the post-scarcity era.
in: Porsdam (ed): Copyrighting Creativity: Creative values, Cultural Heritage Institutions and Systems of Intellectual Property, Ashgate

The fate of libraries is tied

nificantly better services than most of the libraries. Pirate libraries offer far more electronic books,
with much less restrictions and constraints, to far more people, far cheaper than anyone else in the library
domain. Libraries are thus directly affected by pirate libraries, and because of their structural
interdependence with book markets, they also have to adjust to how the commercial intermediaries react
to book piracy. Under such conditions libraries cannot simply count on their survival throug

affect in Constant 2009

re 2.0 NL


Christophe Lazaro


Marc Wathieu


Michel Cleempoel
Destination port
Andrea fiore








Tsila Hassine
Shmoogle and Tracer


Jussi Parikka
Insects, Affects and Imagining New
Sensoriums EN








Pierre Berthet
Concert with various extended objects



Leiff Elgren, CM von Hausswolff
Elgaland-Vargaland EN, NL, FR


CM von Hausswolff, Guy-Marc Hinant
Ghost Machin

. Elgren stated that: “All dead people
are inhabitants of the country Elgaland-Vargaland, unless
they stated that they did not want to be an inhabitant”.

License: Creative Commons Attribution-NonCommercial-ShareAlike

Insects, Affects and Imagining New Sensoriums

figure 24
at V/J10

A Media Archaeological Rewiring
from Geniuses to Animals
An insect media artist or a media archaeologist imagining a potential weird medium might end up with something that sounds quit

rver. Like everybody who has done
gardening knows: there is a world teeming with life outside the human
sphere, with every bush and tree being a whole society in itself.
To put it shortly, still following Colebrook's recent writing on the
concept of affect, what Deleuze found in the baroque worlds of windowless monads was a capacity of perception that does not stem from
a universalising idea of perception in general. Man or any general
condition of perception is not the primary privileged position of p

their intensive potentiality, a becoming-other of the sensorium so to
speak. Hence, imagination becomes not a human characteristic but
an epistemological tool that interfaces analytics of media theory and
history with the world of animals and novel affects.
Imaginary media and variations at the heart of media cultural
modes of seeing and hearing have been discussed in various recent
books. The most obvious one is The Book of Imaginary Media, edited
by Eric Kluitenberg. According to the introduction, a

f ‘insect media'. Whereas
Zielinski and much of the existing media archaeological research still





starts off from the human world of male inventor-geniuses, I propose
a slightly more distributed look at the media archaeology of affects,
capacities, modes of perception and movement, which are primarily
not attached to a specific substance (animal, technology), but since
the 19 th century at least, refer to a certain passage, vector from animals to technology and vice versa. Here, a

ology; or, Elements of the
Natural History of Insects: Comprising an Account of Noxious and
Useful Insects, of Their Metamorphoses, Hybernation, Instinct (1815—
1826) by William Kirby and William Spence.
Since the 19 th century, insects and animal affects are not only
found in biology but also in art, technology and popular culture. In
this sense, the 19 th century interest in insects produces a valuable
perspective on the intertwining of biology (entomology), technology
and art, where the basics of

hat has taken elements
from Spinozian ontology, von Uexküll's ethology, Whitehead's ideas
as well as Simondon's notions on individuation, is able to approach
the world as media in itself: a contracting of forces and analysing
them in terms of their affects, movements, speeds and slownesses.
These affects are primary defining capacities of an entity, instead of
a substance or a class it belongs to, as Deleuze explains in his short
book Spinoza: Practical Philosophy. From this perspective we can
adopt a novel media archaeological rewiring that looks at media history not as one of inventors, geniuses and solid technologies, but as a
field of affects, interactions and modes of sensation and perception.
Examples from the 19 th century popular discourse are illustrative.
In 1897, New York Times addressed spiders as ‘builders, engineers
and weavers', and also as ‘the original inventors of a sys


amphitheatre”, is filled with life that easily escapes the (human) eye.
Like Alice, the protagonist wandering in the meadow is “lulled and
benumbed by dreamy sensations” which however transport him suddenly into new perceptions and bodily affects. What is revealed to
our boy hero in this educational novel fashioned in the style of travel
literature (connecting it thus to the colonialist contexts of its age)
is a world teeming with sounds, movements, sensations and insect
beings (huge spiders, cruel mole-crickets, energetic bees) that are beyond the human form (despite the constant tension of such narratives
as educational and moralising tales that anthropomorphize affective
qualities into human characteristics). True to entomological classification, a big part is reserved for the structural-anatomical differences
of the insect life but also the affect-life of how insects relate to their
surroundings is under scrutiny.
As precursors of ethology, such natural historical quests (whether
archaeological, entomological or imaginative) were expressing an appreciation of phenomenal worlds differing from t

rc as one of the
participators), and Laura Beloff's Spinne (2002), a networked spider installation that works according to the web spider/ant/crawler
Here we are dealing not just with representing the insect, but engaging with the animal affects, indistinguishable from those of the
technological, as in Stelarc's work where the experimentation with
new bodily realities is a form of becoming-insect of the technological
human body. Imagining by doing is a way to engage directly with
affects of

Lewis Carroll, Alice's Adventures in Wonderland and Through the
Looking Glass. Edited with an Introduction and Notes by Roger
Lancelyn Green. (Oxford: Oxford University Press, 1998).
Claire Colebrook, ‘The Sense of Space. On the Specificity of Affect
in Deleuze and Guattari.' In: Postmodern Culture, vol. 15, issue 1,
Steven Connor, fly. (London: Reaktion Books, 2006).
Manuel DeLanda, War in the Age of Intelligent Machines. (New
York: Zone Books, 1991).
Gilles Deleuze, Spinoza: Practical Phi

the cultures
around it, tend to become more and more disembodied and intangible.
This has long been seen as a danger because it tends to reinforce what
have historically, in the Western world at least, been some of the more
oppressive tendencies to affect women and all the other bodies that
haven't quite fitted the philosophical ideal. Both the Platonic and
Christian traditions have tended to dismissing or repress the body,
and with it all the kind of messy, gritty, tangible stuff of culture,
as trans

a few years ago, where I had to really be completely covered up and just show my eyes, gave me an acute sense of this kind
of change: I had to sit, stand, walk and turn to look at things in an
entirely new set of ways. In a less dramatic but equally affective way,
wirelessness obviously introduces a new sense of our bodies, of what
we can do with our bodies, of what we carry with us on our bodies,





and consequently of who we are and how we interact with our environment. And in

rbus bij het label Sub Rosa) en
With other members such as Tom PlisFrédéric Le Junter (cd Berthet Le
chke, Martin Nachbar and Hendrik
Junter bij het label Vandœuvres).
Laevens she created Events for TeleBerthet werkte samen met 13th tribe
vision, Affects and(Re)sort, between
(cd Ping pong anthropology). Hij ver1999 and 2001. In 2001 she presented
zorgde de percussie voor Arnold Dreyher first solo Quotation marks me.
blatts Orchestra of excited strings (cd
In 2003 she collaborated with Vera
Animal ma

affect in Constant 2015

a font editor.
I started playing with fonts when I bought my first Macintosh, back in the
early eighties (actually it was the mid-eighties) and my father studied textual bibliography and looked at the ways the printing technology of the
Renaissance affected the publication of Shakespeare’s works. And what that
meant about the errors in the compositions we see in the copies we have
left from the Renaissance. So my father was very interested in Renaissance
printing (and has written books on this subje

‘market’ it. If that’s
the right word for something that doesn’t get paid for. And certainly the
web has provided a convenient infrastructure to do the documentation in.
But — as for font design itself — that (the web) has certainly not affected
Maybe with this creative commons talk that Jon Phillips was giving, there
may be, at some point, a button that you can press to upload your fonts to
the Open Font Library 12 — but I haven’t gotten there yet, so I don’t want
to promise tha

h. And a connection to FontForge could change the way, not only
how you distribute fonts, but also how you design fonts.

It — it might. I don’t know ... I don’t have a view of the future.
I guess to some extent, obviously font design has been affected by requiring
it (the font) to be displayed on a small screen with a low resolution display.
And there are all kinds of hacks in modern fonts formats for dealing with
low resolution stuff. PostScript calls them hints and TrueType calls them
instructions. They are different approaches to the same thing. But that,
that certainly has affected font design in the last — well since PostScript
came out.
The web itself? I don’t think that has yet been a significant influence on
font design, but then — I’m no longer a designer. I discovered I was much
better at designing font editors

then is this what you wanted? Whereas with the WYSIWYG
kind of interface the agency is distributed in a different way. The computer is just like ok, I m a canvas; I m just here to hold what
you re putting on and I m not going to change it any way or
affect it in any way that you don t tell me to. I mean it’s
the same way but I ... is it just a matter of the compilation time? In one
you’re sort of running a experiment, in another you’re just sort of painting.
If that’s a real enough distinction

t it all in your head at once. It’s not possible.
No. So it’s okay to have a bit of delay.

I wondered to what extent, if it were updated in real time, all the changes
you’re making in the code, if compilation was instantaneous, how that would
affect the experience. I guess it would still have this ballistic aspect, because
what you are doing is ... and that’s really the side of the metaphor ... or
a metaphorical difference between the two. One is like a translation. The
metaphor of ok this cod

catch phrase. If you know that your
art show is being funded by a certain agency, you’re going to avoid talking
critically about that agency, because obviously that is going to deny you
funding further on. It’s clear that the sources of funding affect the actual
message that is delivered at the end. It’s not possible to have SONY Records
sponsor an art show that then tells you how SONY is evil. It is very unlikely
that it is going to be funded again, maybe you can trick them once, but it’s

ous of how you’re going to pay your rent and how you’re going to pay
your bills. It’s impossible to separate yourself from this context and if the
funding is coming from these directions you’re always going to self-censor
and it’s going to affect what you talk about in your choices that you make.

What to present, what not to present, where to place the emphasis where
not to place the emphasis, it will always be modified by the context you are
producing in. And if what you’re being pai

it’s obscure is because except from the ideological case, they don’t have a
business case they can make for the publishers. Because for publishers they
want a piece of software that works and if it costs 400$ once, who cares.
It doesn’t really affect their business model. You have to make the case for
the publishers that if you form an association of all the publishers and you
together develop some new Free Software to do publishing, that would be
better and cheaper and faster. Then maybe eventua


solved in a way the problem of stability. You can use a quite elaborated,
reliable software like Etherpad and derive something from it without going
to its inner workings. You just pull the content from it, without affecting
the software too much. And you have the part, where it can get quite experimental and unreliable, without affecting all collaborators. Because the
process runs on your own computer and not on the server.
The markup concept comes from the documentation of a video streaming
workshop in Linz. There we wanted to have the possibility to write the
documentation colla

that will trigger some action, for example the inclusion of a graphic or
changing the font or anything. These commands are referenced in a separate
file, so everybody can have different versions of the commands on their own
machine. It would not affect the other people. For example, if you wanted
to have a much more elaborated GRAFIK command, you could write it and
use it within your transformer of the document or you could introduce new
commands, that are written on the main pad, but would be igno

affect in Constant 2016

are shared with other companies – in undisclosed
locations. The sheer size of Google’s data centers is reflected in its server chip consumption.
In all, Google supposedly accounts for 5% of all server chips sold in the world,[21] and it is
even affecting the price of chips as the company is one of biggest chip buyers. Google’s
recent allying with Qualcomm for its new chip has become a threat to Intel – Google has

been the largest customer of the world’s largest chip maker for quite some ti

e Internet giant had bought the old
Stora Enso mill in Hamina for a data centre was great news for a community stunned by job
losses and a slowing economy.”[56] However, the local elites recognized that jobs created by
Google would not drastically affect the city’s unemployment rate or alleviate the economic
plight for many people in the community, so they justified their decision by arguing that
connecting Google’s logo to the city’s image would result in increased investments in the

affect in Constant 2018

relations, resulting in a profusion of apparatuses aspiring to be
seamless while optimizing and monetizing individual and collective flows
of information in line with the interests of a handful of actors. The
diffusion of software services affects the personal, in the form of
intensified identity shaping and self-management. It also affects the
public, as more and more libraries, universities and public
infrastructures as well as the management of public life rely on
\"solutions\" provided by private companies. Centralizing data flows in
the clouds, services blur the last traces of the


` {.quaverbatim}
wget -qO- | curl -F "file=@-;type=text/plain"

[WARNING]{.warning .empty .descriptor}

The encounter with quines may deeply affect you. You may want to write
one and get lost in trying to make an ever shorter and more elegant one.
You may also take quines as point of departure or limit-ideas for
exploring software dualisms.

\"A quine is without why. It prints because it prints.

tried to root it. but i didn\'t succeed.

Q: How much time do you wish to spend on such activities like hacking,
rooting your device?\
A: hours. you should take your time

Q: Did you ever sign licence agreement you were not agree with? How does
that affect you?\
A: This is the first thing your when you have a phone. it\'s obey or

Q: What is the software feature you care for the most?\
A: malleability. different ways to approach a problem, a challenge, an

Q: Do you use any free software?\

affect in Dean, Dockray, Ludovico, Broekman, Thoburn & Vilensky 2013

of publishing with a question about writing and text might lead us in the wrong
direction, but as is clear from Jodi’s and Dmitry’s comments, writing is of
course a material practice with its own technological and publishing forms,
cognitive and affective patterns, temporal structures, and subjectifying powers.
With regard to the materialities of digital publishing, your description, Jodi,
of a ‘media storm’ emerging from the Occupy movement is very suggestive
of the way media flows can aggrega

esentations of
communication flow.14 The more we communicate, it seems, the more what is
communicated tends toward abstraction, and the evacuation of consequence
save for the perpetuation of communication. Can you describe the technical
features and affective qualities of this process, how the field of ‘whatever
blogging’ is constituted? And how might we oppose these tendencies? Can
we reaffirm writing as deliberation and meaning? Are there any ways to make
progressive use of the ‘whatever’ fie

affect in Dockray, Pasquinelli, Smith & Waldorf 2010

elf might bring us back to school, to the
Greek etymology of school, skhole, “a holding back”, a “keeping clear” of
space for reflective distance. On the one hand, perhaps this reflective space
simply allows theoretical knowledge to shape or affect performative action;
but on the other hand, the production of this “clearing” is not given,
certainly not now and certainly not by the institutions that claim to give it.
Reflective space is not the precondition for performative action. On the

affect in USDC 2015

computer" without authorization,

18 U.S. C. § 1030(a)(2)(C),


obtaining anything of value by accessing any protected computer
with intent to defraud.


§ (a) (4).

The definition of

"protected computer" includes one "which is used in or affecting
interstate or foreign commerce or communication,

including a

computer located outside the United States that

is used in a

manner that affects interstate or foreign commerce or
communication of the United States."

I .

§ (e) (2) (B);


Wires S. A.




166 F.

App'x 559, 562 n. 5

(2d Cir.

Elsevier's ScienceDirect database is located on multiple

servers throu

affect in Ludovico 2013

er, emphasizes the intrinsic fragility of the digital - its
complete dependence on electricity and networks, on the integrity of storage
media and on updated hard and software. Among the few artists to have
conceptually explored this fragility as it affects books is David Guez, whose
work _Humanpédia_7 can be defined as an extravagant type of "time-based art".
The work is clearly inspired by Ray Bradbury's _Fahrenheit 451_ , in which a
small secret community conspires against a total ban on books by m

affect in Marczewska, Adema, McDonald & Trettien 2018

at in turn push against the given limits of our
inherited architectures of knowledge. To begin here is to
relinquish the fantasy that a text or texts may ever be fully,
finally known, and reconceive of our work as a series of partial
engagements and affective encounters that participate in
texts’ constant remaking.


Frances McDonald & Whitney Trettien

Adema, Janneke. 2015. “Cutting Scholarship Together/Apart: Rethinking the Political
Economy of Scholarly Book Publishing.” In The R

affect in Mars & Medak 2019

ocial housing, arts and
education have made libraries, with their resources open to broad communities,
into a stand-in for failing welfare institutions (Mattern, 2014). But with the onset
of 2008 crisis, libraries have been subjected to brutal cuts, affecting their ability
to stay open, service their communities and in particular the marginalized
groups and children (Kean, 2017). Just as universities, libraries have thus seen
their capacity to address structural exclusions of marginalized groups and
provide support to those affected by precarity compromised.
Libraries thus find themselves struggling to provide legitimation for the support
they receive. So they re-invent and re-brand themselves as ‘third places’ of
socialization for the elderly and the youth (Engel-Johnson,

affect in Mattern 2014

e regard the library
as the territory of the civic _mind_ and ask other social services to attend
to the civic _body_? The assignment of social responsibility isn’t so black
and white — nor are the boundaries between mind and body, cognition and affect
— but libraries do need to collaborate with other institutions to determine
how they leverage the resources of the infrastructural ecology to serve their
publics, with each institution and organization contributing what it’s best
equipped to cont

affect in Mars & Medak 2017

s had been sold out to few business people who
were able to monetize their platforms, users and usees (mostly via advertisement)
or crowd them out (mostly via exponential growth of Facebook and its ‘magic’
network effect). In the end, almost all affected start-ups and services got shut down
(especially those bought by Yahoo). Nevertheless, the ‘golden’ corporate start-up
period brought about a huge enthusiasm and the belief that entrepreneurial spirit,
fostered either by an individual genius or

affect in Medak, Mars & WHW 2015

at work in Guy Debord’s texts and
films. They do not quote from past works, as to do
so acknowledges their value and their ownership.
The elements of détournement are nothing special.
They are raw materials for constructing theories,
narratives, affects of a subjectivity no longer bound
by the property form.
Such a project was recuperated soon enough
back into the art world as “appropriation.” Richard
Prince is the dialectical negation of Guy Debord,

Metadata Punk


in that appropriation

affect in Sollfrank 2018

unrestricted access to cultural goods,
his approach with UbuWeb is to build a curated archive with copies of artworks
that he considers to be relevant for his very context.34 The selection is
based on personal assessment and preference and cared for affectionately.
Despite its comprehensiveness, it still can be considered a “personal website”
on which the artist shares things relevant to him. As such, he is in good
company with similar “artist-run shadow libraries”, which all provide a

affect in Sollfrank & Dockray 2013

and body are distinct entities – but that the structure that something takes
influences the shape that content takes, and also the ways that people might
approach that context, or use it in this kind of things. And likewise, the
content begins to affect the structure as well. [37:47] Why I’m interested in
structures is because they aren’t deterministic, they don’t determine what’s
going to happen. And all the projects that you mention are things that I think
of, let’s say, as platforms or

affect in Stalder 2018

adapt. For the
concerns of this book, the most important concept put forward is that of
"technological sovereignty": to bring the technological infrastructure,
and its developmental potential, back under the control of those who are
using it and are affected by it; that is, the citizens of the

Over the last 18 months, the imbalances between the two trajectories
have become even more extreme because authoritarian tendencies and
surveillance capitalism have been strengthened more quickly than the
commons-oriented practices could establish themselves. But it does not
change the fact that there are fundamental alternatives embedded in the
digital condition. Despite structural transformations that affect how we
do things, there is no inevitability about what we want to do
individually and, even more importantly, collectively.

::: {.poem}
::: {.lineGroup}
Zurich/Vienna, July 2017[]{#Page_ix type="pagebreak" title="ix"}


all sorts of
tricks involving lighting, mirrors, and mannequins -- in the window
displays of the store. The sensuality of the staged goods is so
overwhelming that both of them are not only struck dumb, but Jean even

It was the economy of affects that brought blood to Jean\'s cheeks. At
that time, strategies for attracting the attention of customers did not
yet have a scientific and systematic basis. Just as the first inventions
in the age of industrialization were made by amateurs, so too was the
economy of affects developed intuitively and gradually rather than as a
planned or conscious paradigm shift. That it was possible to induce and
direct affects by means of targeted communication was the pioneering
discovery of the Austrian-American Edward Bernays. During the 1920s, he
combined the ideas of his uncle Sigmund Freud about unconscious
motivations with the sociological research methods of opini

simply characterized by unalterable necessities, but rather
contain or generate competing options and thus require conscious

The term "culturalization of the economy" refers to the central position
of knowledge-based, meaning-based, and affect-oriented processes in the
creation of value. With the emergence of consumption as the driving
force behind the production of goods and the concomitant necessity of
having not only to satisfy existing demands but also to create new ones,
the cultural and affective dimensions of the economy began to gain
significance. I have already discussed the beginnings of product
staging, advertising, and public relations. In addition to all of the
continuities that remain with us from that time, it is also possible to

hed a similar conclusion on
different grounds. In 1964, McLuhan aroused a great deal of attention
with his slogan "the medium is the message." He maintained that every
medium of communication, by means of its media-specific characteristics,
directly affected the consciousness, self-perception, and worldview of
every individual.[^70^](#c1-note-0070){#c1-note-0070a} This, he
believed, happens independently of and in addition to whatever specific
message a medium might be conveying. From this perspective,

Media --
both television and the internet -- were understood as environments in
which one could act without directly representing a reality outside of
the media. Television was analyzed down to its own legalities, which
could then be manipulated to affect things beyond the media.
Increasingly, culture jamming and the campaigns of so-called
communication guerrillas were blurring the difference between media and
political activity.[^77[]{#Page_47 type="pagebreak"

nt sphere. It
can therefore break away from social connections to be organized simply
by limited formal or legal obligations between actors who, beyond these
obligations, have nothing else to do with one another. Costs or benefits
that inadvertently affect people who are uninvolved in a given market
transaction are referred to by economists as "externalities," and market
participants do not need to care about these because they are strictly
pursuing their own private interests. One of the consequences

information and brings it into a meaningful context, whereby it
validates the selection itself and orients the activity of each of its

The new communal formations consist of self-referential worlds whose
constructive common practice affects the foundations of social activity
itself -- the constitution of space and time. How? The spatio-temporal
horizon of digital communication is a global (that is, placeless) and
ongoing present. The technical vision of digital communication is always


[85](#c2-note-0085a){#c2-note-0085}  Miriam Meckel, *Next: Erinnerungen
an eine Zukunft ohne uns* (Reinbeck bei Hamburg: Rowohlt, 2011). One
could also say that this anxiety has been caused by the fact that the
automation of labor has begun to affect middle-class jobs as well.

[86](#c2-note-0086a){#c2-note-0086}  Steven Levy, "Can an Algorithm
Write a Better News Story than a Human Reporter?" *Wired* (April 24,
2012), online.

[87](#c2-note-0087a){#c2-note-0087}  Alexander Pschera, *Animal

n that
they offer. This results in a paradoxical experience on the part of
users: the very environments that open up new opportunities for them in
their personal lives prove to be entirely beyond influence when it comes
to fundamental decisions that affect everyone. And, as the majority of
people gradually lose the ability to co-determine how the "big
questions" are answered, a very []{#Page_142 type="pagebreak"
title="142"}small number of actors is becoming stronger than ever. This
paradox of new oppo

spond to
even fundamental political issues by considering only what might be
useful or pleasant for themselves in the short term. Apparently, many
people consider it normal to []{#Page_146 type="pagebreak"
title="146"}be excluded from decisions that affect broad and significant
areas of their life. The post-democracy of social mass media, which has
deeply permeated the constitution of everyday life and the constitution
of subjects, is underpinned by the ever advancing post-democracy of
politics. It cha

the data and structural conditions pertaining to the
activity itself. In this system, both the virtual and the physical world
are altered to achieve particular goals -- goals determined by just a
few powerful actors -- without the inclusion of those affected by these
changes and often without them being able to notice the changes at all.
Whoever refuses to share his or her data freely comes to look suspicious
and, regardless of the motivations behind this anonymity, might even be
regarded as a potentia

affect in Thylstrup 2019

itical and sociotechnical
phenomena that introduce new forms of cultural memory politics.

## Framing, Mapping, and Diagnosing Mass Digitization

Interrogating the phenomenon of mass digitization, this book asks the question
of how mass digitization affects the politics of cultural memory institutions.
As a matter of practice, something is clearly changing in the conversion of
bounded—and scarce—historical material into ubiquitous ephemeral data. In
addition to the technical aspects of digitization

adth and particularities of the
infrapolitics of mass digitization in other parts of the world. Much more
research is needed in this area.

The final part of the book, “diagnosing,” zooms in on the pathologies of mass
digitization in relation to affective questions of desire and uncertainty.
This part argues that instead of approaching mass digitization projects as
rationalized and instrumental projects, we should rather acknowledge them as
ambivalent spatio-temporal projects of desire and uncertai

ne or produce values of
serendipity, as well as overarching narratives of how mass digitization
produces uncomplicated forms of individualized empowerment and freedom.
Instead, the chapter draws attention to the new cultural logics of platforms
that affect the cultural politics of mass digitization projects.

Crucially, then, this book seeks neither to condemn nor celebrate mass
digitization, but rather to unpack the phenomenon and anchor it in its
contemporary political reality. It offers a story of t

word”76 often used to signify any vital and widely shared human-constructed

What makes infrastructures central for understanding the politics of mass
digitization? Primarily, they are crucial to understanding how industrialism
has affected the ways in which we organize and engage with knowledge, but the
politics of infrastructures are also becoming increasingly significant in the
late-sovereign, late-capitalist landscape.

The infrastructures of mass digitization mediate, combine, co

relations of
sociability,” from which “aggregate outcomes emerge not from an act of
collective decision-making, but through the accumulation of decentralized,
individual decisions that, taken together, nonetheless conduce to a
circumstance that affects the entire group.”113 For example, despite the
flexibility Google Books allows us in terms of search and correlation, we have
very little sway over its construction, even though we arguably influence its
dynamics. The limitations of our influence

ideas about
the democratizing potential of bringing knowledge that was once locked up in
dusty tomes at places like Harvard and Stanford, and to a utopian
mythologizing of the transcendent potential of mass digitization. Moreover,
Google Books also affected legal and professional transformations of the
infrastructural set-up of the book, creating new precedents and a new
professional ethos. The cultural, legal, and political significance of Google
Books, whether positive or negative, not only emphasiz

s of knowledge” in the process.

As previously mentioned, the concerns expressed by publishers and authors in
regards to remuneration was accompanied by a more abstract sense of a loss of
control over their works and how this loss of control would affect the
copyrights. These concerns did not arise out of thin air, but were part of a
more general discourse on digital information as something that _cannot_ be
secured and controlled in the same way as analog commodities can. Indeed, it
seemed that auth

ing data and
works, public and private, local and global, in increasingly complex ways. For
Google Books, these contractual relations appear as the connective tissues
that make these assemblages possible, and which are therefore fundamental to
their affective dimensions.

## The Infrapolitics of Contract

In common parlance a contract is a legal tool that formalizes a “mutual
agreement between two or more parties that something shall be done or forborne
by one or both,” often enforceable by law.39

that could destroy the sentimental bonds of
personal dependence.40 As the classic liberal social scientist William Graham
Sumner argued, “[c]ontract … is rational … realistic, cold, and matter-of-
fact.” The rational nature of contracts also affected their temporality, since
a contract endures only “so long as the reason for it endures,” and their
spatiality, relegating any form of sentiment from the public sphere to “the
sphere of private and personal relations.”41

Sentiments prevailed, however, as the contracts tying together Google and
cultural memory institutions emerged. Indeed, public and professional
evaluations of the agreements often took an affective, even sexualized, form.
The economist Paul Courant situated libraries “in bed with Google”42; library
consultant and media experts Jeff Ubois and Peter B. Kaufman recounted _how_
they got in bed with Google—“[w]e were approached singly, ch

ies of the American state.
While Google Books operates as a networked glocal project with universal
aspirations, then, it also remains fenced in by its legal and cultural

In sum, just as a country’s regulatory and political apparatus affects the
politics of its cultural memory institutions in the analog world, so is the
politics of Google Books co-determined by the operations of Google. Thus,
curatorial choices are made not only on the basis of content, but also of the
location of serve

about New York in the context
of globalization; see Spivak 2000. 68. In this respect Google mirrors the
glocalization strategies of media companies in general; see Thussu 2007, 19.
69. Although the decisions of foreign legislation of course also affect the
workings of Google, as is clear from the growing body of European regulatory
casework on Google such as the right to be forgotten, competition law, tax,

# 3
Sovereign Soul Searching: The Politics of Europeana

## Introduction

In 2008, th

, and throughout sovereign territories consisting both
of capital interests (in the form of transnational lobby organizations working
to protect, promote, and advance the interests of multinational companies or
nongovernmental organizations) and the affective relations of users.

## Harmonizing Europe: From Canon to Copyright

Even if the EU is less concerned with upholding the regulatory boundaries of
the nation-state in mass digitization, bordering effects are still found in
mass digitized collection

gle is the biggest source of traffic to the Europeana
portal, accounting for more than 50 percent of visits. Any changes in Google’s
algorithm and ranking index therefore significantly impact traffic patterns on
the Europeana portal, which in turn affects the number of Europeana pages
indexed by Google, which then directly impacts on the number of overall visits
to the Europeana portal.86 The same holds true for Facebook, Pinterest,
Google+, etc.

Held together, the feedback mechanisms, the statistic

c of the interrupter, the “excluded third” or
“uninvited guest” who intercepts and confuses relations in a process of theft
that has a value both of destruction and a value of construction. The parasite
is thus a generative force, inventing, affecting, and transforming relations.
Hence, parasitism refers not only to an act of interference but also to an
interruption that “invents something new.”3

Michel Serres’s then-radical philosophy of the parasite is today echoed by a
broader recogni

. Yet this section argues that
digitized collections are more than just rational projects; they strike deep
affective cords of desire, domination, and anxiety. As Couze Venn reminds us,
collections harbor an intimate connection between cognition and affective
economy. In this connection, the rationalized drive to collect is often
accompanied by a slippage, from a rationalized urge to a pathological drive
ultimately associated with desire, power, domination, anxiety, nostalgia,
excess, and—sometimes e

limits of thinking about the user
of the Internet in flaneurian terms. Thus, Mike Featherstone drew parallels
between the nineteenth-century flaneur and the virtual flaneur, exploring the
similarities and differences between navigational strategies, affects, and
agencies in the early urban metropolis and the emergent digital realm of the

Although the discourse on the digital flaneur was most prevalent in the 1990s,
it still lingers on in contemporary writings about digitized cultural heritage

rinthine wanderings as we pursue a
greater understanding of the infrapolitics of mass digitization? Certainly, as
this section shows, the politics of mass digitization is entangled in
spatialized imaginaries that have a long and complex cultural and affective
trajectory interlinked with ontological and epistemological questions about
the very nature of knowledge. Cladding the walls of these trajectories are, of
course, the ever-present political questions of authority and territory, but
also deeper cultural and affective questions about the nature and meaning of
knowledge as it bandies about in our cultural imaginaries, between discoveries
and dead-ends, between freedom and control.

As the next section will show, one concept has in particular come to

material on leisurely tidbit platforms such as Pinterest and Twitter.90 If
serendipity is increasingly thought of as a platform problem, the final
question we might pose is what kind of infrapolitics this platform economy
generates and how it affects mass digitization projects.

## The Infrapolitics of Platform Power

As the previous sections show, mass digitization projects rely upon spatial
metaphors to convey ideas about, and ideals of, cultural memory
infrastructures, their knowledge product

st, mass digitized cultural memory also gives rise to new methods of
prediction and preemption, for instance in the form of personalization. In
this anticipatory regime, cultural memory becomes subject to perpetual
calculatory activities, processing affects, and activities in terms of
likelihoods and probabilistic outcomes.

Thus, cultural memory has today become embedded in new glocalized
infrastructures. On the one hand, these infrastructures present novel
opportunities. Cultural optimists have sugge

affect in Weinmayr 2019

eber, Peter Hallward, and Mark Fisher among others — were mostly concerned
with, as Hall remembers,

political transformations elsewhere: in the past, the future, Egypt, [….] but
there was very little discussion of anything that would actually affect the
work, business, role, and practices of the speakers themselves: radical ideas
of publishing with transformed modes of production, say. As a result, the
event in the end risked appearing mainly to be about a few publishers,
including Verso, Pluto,

affect in WHW 2016

ffective defeats gave rise to the alarming
ascent of radical right-wing populism, against which the left has failed to
provide any real vision or driving force.
Both the practice of political articulation and the political practices of
art have been affected by the hollowing and disabling of democracy related
to the ascendant hegemony of the neoliberal rationale that shapes every
domain of our lives in accordance with a specific image of economics,1
as well as the problematic “embrace of localism and

nto being as
an active and collective construction based on the emancipatory aspects of
historical experiences as future possibilities.
Although defined as an action, the project is not exultantly enthusiastic
about collectivity or the immediacy and affective affinities of its participants, but rather it transcends its local and transient character by taking
up the broader counter-hegemonic struggle for the mutual management
of joint resources. Its endeavour is not limited to the realm of the political

hands of the surveillance
state this data becomes not only a means of steering our tastes, modes of
consumption, and behaviours for the sake of making profit but also, and
more crucially, an effective method and weapon of political control that
can affect political organizing in often still-unforeseeable ways that offer
few reasons for optimism. Visually, Autonomy Cube references minimalist
sculpture (fig. 5) (specifically, Hans Haacke’s seminal piece Condensation
Cube, 1963–1965), but its main cr

but by its creation of the fiction of a shared present, which, for Osborne,
is what makes art truly contemporary. And if projects like these become a
kind of political trophy for art institutions, the side the institutions choose
nevertheless affects the common sense of our future.


Osborne, Anywhere or Not at All, p. 33.


What, How & for Whom / WHW

“There is something political in the city air”



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