This transdisciplinary volume uses notions of resonance and axiology to analyse distributed perception in the form of geological, animal, bacterial, machinic and human co-perceptibilities. In so doing they show that distributed perception is an important for addressing the emergence, persistence, and development of human-animal-machine relations.
Who, what, and where perceives, and how? What are the sedimentations, inscriptions, and axiologies of animal, human, and machinic perception/s? What are their perceptibilities? Deleuze uses the word ‘visibilities’ to indicate that visual perception isn’t just a physiological given but cues operations productive of new assemblages. Perceptibilities are, by analogy, spatio-temporal, geolocative, kinaesthetic, audio-visual, and haptic operations that are always already memory. In the case of strong inscriptions, they are also epigenetic events.
In physics, resonance is the tendency of a system to vibrate with increasing amplitudes at certain frequencies of excitation. In cybernetics and in theories of technology, it refers to systems’ feedback. In Native science, resonance denotes the axiology of positions and events. It’s a form of multi-species perception that emphasises emergent directionality and protean mnemonics.
This transdisciplinary volume brings together key theorists and practitioners from media theory, Native science, bio-media and sound art, philosophy, art his- tory, and design informatics to examine: a) the becoming-technique of animal– human–machinic perceptibilities; and b) micro-perceptions that lie beneath the threshold of known perceptions yet create energetic vibrations. The volume shows distributed perception to be a key notion in addressing the emergence and peristence of plant, animal, human, and machine relations.
Introduction Part I: Entanglement
1. Relational Philosophy: The Stars
are Our Relatives
2. Turning Around and Upside Down: The Nomadic Rhythms of
Rain Ants in Sarayaku
3. Do Media Have a Sense of Time? Chrono-technical
Interoception
4. Oscilloscopes, Slide Rules and Nematodes: Towards
Heterogenetic Perception in/of AI
5. Composing with Resonance, Sounding the
Inaudible and Listening for More-than-One
6. The Discrete Charm of Systems
Theories: Cybernetic Intelligence and Posthuman Art Environments Part II:
Plasticity
7. Unstable Brains and Ordered Societies: On the Conceptual
Origins of Plasticity, ca 1900
8. The Human and Nonhuman in the Capitalist
production of Subjectivity
9. Resonance Between Sense, Plasticity and
Biosemiosis
10. How We Never Became Posthuman: Homeostasis as Conflict from
Claude Bernard to Norbert Wiener
11. Intra-Action in Data-Driven Systems: A
Case Study in Creative Praxis Part III: Organology
12. Becoming-Distributed
Matter: Dreaming and Extended Relationality Among Indigenous Australians
13.
Two Painted Flies: Improvised Arts of Perception in Uexkülls Picture Book of
Invisible Worlds
14. From Physiological Aesthetics to Anthropological
Poetics: Activating the Pictographs of Cerro Azul
15. The Relativity of Life:
Cinema as Time Microscope
16. Battlebots, Machine Surrogates and the
Organology of Violence Televisual Entertainment
17. Autobiographing our
Computing Organs: Rereading Pastw Uses of Intel CPUs as Xenotransplantation
Concluding Thoughts
Natasha Lushetich is Professor of Contemporary Art and Theory at the University of Dundee and AHRC Fellow (2020 2021). Her research is interdisciplinary and focuses on intermedia; biopolitics and performativity; the status of sensory experience in cultural knowledge; hegemony and complexity. Her books include Fluxus: The Practice of Non-Duality (Rodopi 2014), Interdisciplinary Performance (Pagrave 2016), The Aesthetics of Necropolitics (Rowman and Littlefield 2018), Beyond Mind, a special issue of Symbolism (De Gruyter 2019) and Big Data A New Medium? (Routledge 2020).
Iain Campbell is an interdisciplinary researcher based in Edinburgh. He is Postdoctoral Rsearch Associate on the AHRC project The Future of Indeterminacy: Datification, Memory, Bio-Politics at the University of Dundee. He has written on topics across philosophy, music, sound studies, and art theory for publications including parallax, Deleuze and Guattari Studies, Sound Studies, and Contemporary Music Review. He is an associate member of the Scottish Centre for Continental Philosophy, and is part of the editorial board of Evental Aesthetics.
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