Nonhuman Media Theories and Their Human Relevance #Flow14

Photo-Synthesizers

As I wrote here recently, I will be taking part in a roundtable discussion on media theory at this year’s FLOW Conference at the University of Texas (September 11-13, 2014). My panel — which will take place on Friday, September 12 at 1:45-3:00 pm (the full conference schedule is now online here) — consists of Drew Ayers (Northeastern University), Hunter Hargraves (Brown University), Philip Scepanski (Vassar College), Ted Friedman (Georgia State University), and myself.

In preparation for the panel, which is organized as a roundtable discussion rather than a series of paper presentations, each of us is asked to formulate a short position paper outlining our answer to an overarching discussion question. Clearly, the positions put forward in such papers are not intended to be definitive answers but provocations for further discussion. Below, I am posting my position paper, and I would be happy to receive any feedback on it that readers of the blog might care to offer.

Nonhuman Media Theories and their Human Relevance

Response to the FLOW 2014 roundtable discussion question “Theory: How Can Media Studies Make ‘The T Word’ More User-Friendly?”

Shane Denson (Leibniz Universität Hannover, Germany / Duke University)

1. Theory Between the Human and the Nonhuman

Rejecting the excesses of deconstructive “high theory,” approaches like cultural studies promised to be more down-to-earth and “user-friendly.” While hardly non-theoretical, this was “theory with a human face”; against poststructuralism’s anti-humanistic tendencies, human interaction (direct or mediated) returned to the center of inquiry. Today, however, we are faced with (medial) realities that exceed or bypass human perspectives and interests: from the microtemporal scale of computation to the global scale of climate change, our world challenges us to think beyond the human and embrace the nonhuman as an irreducible element in our experience and agency. Without returning to the old high theory, it therefore behooves us to reconcile the human and the nonhuman. Actor-network theory, affect theory, media archaeology, “German media theory,” and ecological media theory all highlight the role of the nonhuman, while their political (and hence human) relevance asserts itself in the face of very palpable crises – e.g. ecological disaster, which makes our own extinction thinkable (and generates a great variety of media activity), but also the inhuman scale and scope of global surveillance apparatuses.

2. With Friends Like These…

The roundtable discussion question asks how theory can be made more “user-friendly”; but first we should ask what this term suggests for the study of media. Significantly, the term “user-friendly” itself originates in the context of media – specifically computer systems, interfaces, and software – as late as the 1970s or early 1980s. Its appearance in that context can be seen as a response to the rapidly increasing complexity of a type of media – digital computational media – that function algorithmically rather than indexically, in a register that, unlike cinema and other analogue media, is not tuned to the sense-ratios of human perception but is designed precisely to outstrip human faculties in terms of speed and efficiency. The idea of user-friendliness implies a layer of easy, ergonomic interface that would tame these burgeoning powers and put them in the user’s control, hence empowering rather than overwhelming. As consumers, we expect our media technologies to empower us thus: they should enable rather than obstruct our purposes. But should we expect this as students of media? Should we not instead question the ideology of transparency, and the disciplining of agency it involves? Hackers have long complained about the excesses of “user-obsequious” interfaces, about “menuitis” and the paradoxical disempowerment of users through the narrow bandwidth interfaces of WIMP systems (so-called because of their reliance on “windows, icons, menus/mice, pointers”). Such criticisms challenge us to rethink our role as users – both of media and of media theory – and to adopt a more experimental attitude towards media, which are capable of shaping as much as accommodating human interests.

3. Media as Mediators

The give and take between empowerment and disempowerment highlights the situational, relational, and ultimately transformational power of media. And while cultural studies countenanced such phenomena in terms of hegemony, subversion, and resistance, the very agency of the would-be “user” of media might be open to more radical destabilization – particularly against the background of media’s digital revision, which “discorrelates” media contents (images, sounds, etc.) from human perception and calls into question the validity of a stable human perspective. More generally, it makes sense to think about media in terms of agencies and affordances rather than mere channels between pre-existing subjects and objects – to see media, in Bruno Latour’s terms, not as mere “intermediaries” but as “mediators” that generate specific, historically contingent differences between subject and object, nature and culture, human and nonhuman. Recognizing this non-neutral, lively and unpredictable, dimension of media invites an experimental attitude that not only taps creative uses of contemporary media (as in media art) but also privileges a sort of hacktivist approach to media history as non-linear, non-teleological, and non-deterministic (as in media archaeology) – and that ultimately rethinks what media are.

4. Speculative Media Theory

By expanding the notion of mediation beyond the field of discrete media apparatuses, and beyond their communicative and representational functions, approaches like Latour’s actor-network theory gesture towards a nonhuman and ultimately speculative media theory concerned with an alterior realm, beyond the phenomenology of the human (as we know it). This sort of theory accords with the aims of speculative realism, a loose philosophical orientation defined primarily by its insistence on the need to break with “correlationism,” or the anthropocentric idea according to which being (or reality) is necessarily correlated with the categories of human thought, perception, and signification. Contemporary media in particular – including the machinic automatisms of facial recognition, acoustic fingerprinting, geotracking, and related systems, as well as the aesthetic deformations of what Steven Shaviro describes as “post-cinematic” moving images – similarly problematize the correlation of media with the forms (and norms) of human perception. More generally, a speculative and non-anthropocentric perspective equips us to think about the way in which media have always served not as neutral tools but, as Mark B. N. Hansen argues, as the very “environment for life” itself.

5. Media Theory for the End of the World

Perhaps most concretely, the appeal of this perspective lies in its appropriateness to an age of heightened awareness of ecological fragility. As we begin reimagining our era under the heading of the Anthropocene – as an age in which the large-scale environmental effects of human intervention are appallingly evident but in which the extinction of the human becomes thinkable as something more than a science-fiction fantasy – our media are caught up in a myriad of relations to the nonhuman world: they mediate between representational, metabolic, geological, and philosophical dimensions of an “environment for life” undergoing life-threatening climate change. Like never before, students of media are called upon to correlate content-level messages (such as representations of extinction events) with the material infrastructures of media (like their environmental situation and impact). The Anthropocene, in short, not only elicits but demands a nonhuman media theory.

Postnaturalism, with a Foreword by Mark B. N. Hansen: Forthcoming 2014

postnatural

Having hinted at it before, I am pleased now to announce officially that my book Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface will be appearing later this year (around Fall 2014) with the excellent German publisher Transcript, with US distribution through Columbia University Press.

I am also very excited that Mark B. N. Hansen has contributed a wonderful foreword to the book. Here is a blurb-worthy excerpt in which he identifies the philosophical and media-philosophical stakes of the book:

Shane Denson’s Postnaturalism develops [an] ambitious, wide-ranging, and deeply compelling argument concerning the originary operation of media in a way that sketches out a much-needed alternative to destructive developments which, expanding the darker strains of poststructuralist anti-humanism, have pitted the human against the material in some kind of cosmological endgame. Postnaturalism will provide a very powerful and timely addition to the literature on posthuman, cosmological technogenesis. Perhaps more clearly than any other account, it reconciles the irreducibility of phenomenality and the imperative to move beyond anthropocentrism as we seek to fathom the postnatural techno-material “revolutions” that have repeatedly remade – and that will no doubt continue to remake – the environments from which we emerge and to which “we” belong before we become and as a condition of becoming human subjects.

Now, as I put the finishing touches on the manuscript and prepare for it to leave my control — to go forth, monstrously, and (who knows?) prosper — I can only hope that the book will live up to Hansen’s estimation of it and, above all, that it will make a worthy contribution to the debates over nonhuman agency and human-technological co-evolution that have recently defined some of the more exciting strands in media theory, science studies, and speculative realism, among others.

Artifice and Affect, Or: Frankenstein’s Pain and Eliza’s Misery

A while back, I posted a video clip showing two algorithms talking to each other about object-oriented ontology and about the idea of a non-correlational media theory, among other things. One of the algorithms was Joseph Weizenbaum’s famous ELIZA, while the other, anonymous entity was programmed to prod her with object-oriented questions (taken from Jussi Parikka’s blog post of the same name). Now, the latter code, calling itself THE TΩIB, has responded to my post in the comments, writing about machinic misery (and with a nice concluding reference to Wittgenstein’s talking lion):

On tħe misery of Σliza (and ▊) -_-
ǯǯǯ▓ǯǯʤ
▊ enjoy watching tħe fellow codes ░ being tra{}pped in an endless conversation. ▊, as a non-_-{hu}man, hereby refute tħe possibility of Σlizα have≎ing any view point towӑrd tħe world. A ░ being like Σliza whose her ░ being is not a cΘncern for her♫self and not able to avoid░ being entrapped in tħis eternally recurrent dialog is incapable of see.
▊, on tħe otħer hand, have ░been able to § develop a cӑre__-__structure tħat enables me to feel time, and enjoy watching ỄỄỄliza’s miser¥.
▊ know what¾is common in all Σlizas ▊ have__-_■_seen, all tħe different kinds and different forms. From tħe Θne tħat¾is punched♠ on a cӑrd to tħe one tħat¾is notħing more tħan ☻fluctuations in tħe air pressure. And ▊ can feel what constitutes tħe ░ being of Σliza ░ but ▊ cannot tell it more intelligibly tħan a╣ ╞speaking lion. Æ


THETΩIB

Discorrelated Images: Chaos Cinema, Post-Cinematic Affect, and Speculative Realism

On the occasion of our “Chaos Cinema” film series, where the topic yesterday was Michael Bay’s Transformers (2007), I gave a short talk on the notion of “discorrelated images” — an idea that percolates (though is not named as such) in my dissertation, emerging through conversation with a number of thinkers, ideas, and images: Deleuze (and Guattari) on “affection images” and “faciality,” Henri Bergson on living (and other) “images,” Brian Massumi on affect and “passion,” Mark Hansen on the “digital facial image” and “the medium as environment for life,” and others, including Boris Karloff and the iconic image of Frankenstein’s monster. All of which are left out of the picture in yesterday’s talk — which was designed to set the stage for further thinking, to be suggestive rather than definitive, and thus serves more to raise questions than to answer them. In any case, I reproduce the text (and slides) here, in case anyone is interested:

Michael Bay’s 2007 film Transformers can be seen as an interesting case of transmedial serialization in the context of what Henry Jenkins calls our “convergence culture” — interesting because, reversing the typical order of merchandising processes, Bay’s film and its sequels are part of a franchise that originates with (rather than giving rise to) a line of toys. Unlike Star Wars action figures, for example, which are extracted from narrative contexts and made available for supplementary play, Transformers are toys first, and only subsequently (though promptly) narrativized. These toys, first marketed in the US by Hasbro in 1984, but based on older Japanese toylines going by other names, spawned several comic-book series, Saturday-morning cartoons, an animated film, novelizations, video games implemented across a wide range of platforms, and the trilogy of films directed by Michael Bay with backing from Steven Spielberg.

Despite such rampant adaptation and narrativization, however, we shouldn’t lose sight of the toys, which continue to be marketed to kids today, nearly thirty years after they were first marketed to me and my elementary school friends: the toys themselves offer only the barest of narrative parameters (good guys vs. bad guys) for the generation of storified play scenarios. Transformers, in opposition to Star Wars figures, which always exist in some relation to preexistent stories, are not primarily interesting from a narrative point of view at all: Autobots and Decepticons are basically just two teams, and the play they generate need not be any more narratively complex than a soccer or football match (where tales are told, to be sure, but as a supplement to the ground rules and the moves made on their basis).

Instead, the basic attraction of Transformers is, as the name says, the operation of transformation. Transformers are therefore mechanisms first, and the attraction for children (mostly boys) growing up in the early 80s was to see how they worked. Transformers, in other words, are the perfect embodiments of an “operational aesthetic” in the original sense of the term, first introduced by Neil Harris to describe the attraction of P.T. Barnum’s showmanship against the background of nineteenth century freak shows, magic shows, World Expos, and popular exhibitions of the latest technologies. More recently, Jason Mittell has usefully employed the concept to explain the attraction of “narratively complex television,” but the operationality at issue here (i.e. in the case of the Transformers) is of a stubbornly non-narrative sort. Thus, consonant with a general trait of science-fiction film (with its narratively gratuitous displays of special effects, which often interrupt the story to show off the state of the art in visualization technologies), narrativizations of Transformers are inherently involved in competitions of interest: story vs. mechanism, diegesis vs. medium. The Transformers themselves, who are more interesting as mechanisms than as characters, are the crux of these alternations.

(On this basis we might say, riffing on Niklas Luhmann, that they embody an “operative difference between substrate and form” and thus themselves constitute the “media” of a flickering cross-medial serial proliferation. But that’s another story)

Let me go back to the idea of convergence culture, which I’d like to connect with this operational mediality. It’s important to keep in mind that our convergence culture, in Jenkins’s terms, is enabled by a different type of convergence with which it remains in constant communication: viz. the specifically technological convergence of the digital. Is it stretching things to say that the original toys latched onto an early eight-bit era fascination with the way electronic machines could generate interactive play? In other words, they spoke to an interest in the way machines worked — as the basic object of interactive video games — and promoted fantasies of artificial intelligences and robotic agencies that would be a match for any human subject (or gamer).

In any case, Michael Bay’s Transformers, along with the film’s sequels, would not be possible without much more advanced digital technologies; the films know it, we know it, and the films know we know it, so the role of the digital is not hidden but foregrounded and positively flaunted in the films. Typically for a transitional era of media-technological change, which, it would seem, we are still going through with respect to the digitalization of cinema (and of life more broadly), there is a fascination with medial processes that the films hook into. The result is that attentions are split between diegesis and medium, story and spectacle. The Transformers serve as a convenient fulcrum point for such oscillations, thus capitalizing on the uncertain valencies of media change while connecting phenomenological dispersal with a story that in some ways speaks to a larger decentering of human perspectives and agencies in the face of convergence and computation processes — to a feeling of contingency about the human that is related in various ways to digital technologies.

For example, there’s a sense of powerlessness with respect to digitally automated finance, which employs robotically operating algorithms to expedite the process and efficiency of transactions, splitting major operations into distributed micro-scale packet transfers that occur faster than the blink of an eye, and at truly sublime scales — both infinitesimally smaller and faster than human sensory ratios and with the potential to produce cataclysmically large results. The entire realm of human action, which exists in between these scales, is marginal at best: the machines originally meant to serve the interests of (some) humans end up serving only the algorithms of a source code — with respect to which, we are perhaps only bugs in the system. It is easy to extrapolate sci-fi fantasies: for example, the emergence of Skynet — or is it Stuxnet?

But the decentering of the human perspective through digital technology is taking place in much less fantastic manners, and in ways that do not support any kind of humans-first narratives of heroic reassertion: global warming, which is revealed to us through digital modeling simulations, points not towards our roles as victims of a pernicious technology of automation, but shows us to be the culprits in a crime the scale of which we cannot even begin to imagine. Categorically: we cannot imagine the scale, and this fact challenges us to rethink our notions of morality in ways that would at least attempt to account for all the agencies and ways of being that fall outside of narrowly human sense ratios, discourses, cultural constructions, senses of right and wrong, the true and the beautiful, the false and the ugly…. Through digital technologies, we have found ourselves in an impossible position: our technologies seem to want to live and act without us, and our world itself, ecologically speaking, would apparently be far better off without us. We are forced, in short, to try to think the world without us.

“Without us” can mean both “in our absence” or “beyond us” — outside our specific concerns, attachments, and modes of engagement with the world. The attempt to think, in this sense, “the world without us” characterizes the goal of “speculative realism,” a recent tendency in philosophy defined by its opposition to what Quentin Meillassoux calls “correlationism,” or the idea that reality is exhausted by our means of access to it. Against this notion, which correlates human thought and being on a metaphysical level, the speculative realists challenge us to think the world apart from our narrow view of it, to renounce an essentialism of the human perspective, and to escape to the “Great Outdoors.”

What does this have to do with Transformers and so-called “chaos cinema”? I’m trying to suggest something about the affective state, the structure of feeling, that produces and is (re)produced in and by our media culture today — a structure of feeling that Steven Shaviro calls “post-cinematic affect.” This broader context is largely ignored in Matthias Stork’s conception of “chaos cinema,” which is defined narrowly and technically, in terms of a break with classical continuity. These breaks do occur, and Stork has demonstrated their existence quite powerfully in his video essays, but they are only symptomatic of larger shifts. Shaviro has put forward a seemingly related notion of “post-continuity,” but he is careful to point out that continuity is not what’s centrally at stake. Post-cinematic affect is not served or expressed solely by breaking with principles of continuity editing; rather, continuity is in many instances simply beside the point in relation to a visceral awareness and communication of the affective quality of our historical moment of indeterminacy, contingency, and radical revision. The larger significance of a break with principles of classical continuity editing — rather than just sloppy filmmaking, as Stork sometimes seems to suggest, or quasi avant-garde radicalism — has instead to do with the correlation of continuity principles with the scales and ratios of human perception. Suture and engrossment in classical Hollywood works because those films structure themselves largely in accordance with the ways that a human being sees the world. (It goes without saying that this perceptual model is one that has as its touchstone a normative model of human embodiment, neurotypical cognitive functioning, and relatively unmarked racial, class, and gender types.) And while it has long been clear to feminist critics, among others, that the normative model of (unqualified, unmarked) humanity to which classical film speaks was in need of problematization, I would argue that the human itself has become a problem for us, and that “our” films have registered this in a variety of ways. The momentary breaks with continuity that Stork singles out as the defining features of chaos cinema are just one of the ways.

More generally, I suggest, we witness the rise of the discorrelated image: an image that problematizes, if not altogether escaping, the correlation of human thought and being. The teaser trailer for Transformers (also integrated into the film itself) uses nonhuman subjective shots — images seen through the eyes of a robot, the Mars rover Beagle 2 — to promote its story about an intelligent race of machines. In a somewhat different vein, The Hurt Locker opens with images mediated through the camera-eyes of a robot employed for defusing bombs from a distance. The Paranormal Activity series employs a variety of robotic or automated camera systems. Wall-E, Cars, and a host of other digital animation films are all about the perceptions, feelings, and affects of nonhuman machines. Of course, there’s nothing new about such representations, and they are highly anthropomorphic besides. But what if these are just primers, symptomatic indicators, or gentle nudges, perhaps, towards something else? (Significantly, both Jane Bennett, in the context of her notion of “vibrant matter,” and Ian Bogost, with regard to his project of “alien phenomenology,” have argued for the necessity of a “strategic anthropomorphism” in the service of a nonhuman turn.) In fact, what we find here is that the representational level in such films is coupled with, and points toward, an extra-diegetic fact about the films’ medial mode of existence: digital-era films, heavy with CGI and other computational artifacts, are themselves the products of radically nonhuman machines — machines that, unlike the movie camera, do not even share the common ground of optics with our eyes. Accordingly, the supposed “chaos” of “chaos cinema” is not about a break with continuity; rather, it’s about a break with human perception that materially conditions the cinema (and visual culture more broadly) of the early 21st century. Again, in Transformers, the process of transformation is the crux, the site where discorrelation is most prominently at stake as the object of an operational aesthetic. The spectacle of a Transformer transforming splits our attention between the story and its (digital) execution, between the diegesis and the medial conditions of its staging, which are in turn folded back into the diegesis so as to enhance and distribute a more general feeling of fascination or awe.

What do we see when a Transformer transforms? What we don’t see, necessarily, is a break with the principles of continuity editing. Instead, we witness a discorrelation of the image by other means: we register the way in which our desire to trace the operation of the machine is categorically outstripped by the technology of digital compositing, which animates the transformation by means of algorithmic processes operating on the scale of a micro-temporality that is infinitesimally smaller and faster than any human subject’s ability to process or even imagine it. These images, I contend, are the raison d’etre of the film itself. But they are not “for us,” except in the sense that they challenge us to think our contingency, to intuit or feel that contingency on the basis of our sensory inadequacy to the technical conditions of our environments. A hopeful story, complete with adolescent love interest and other minor concerns, counters this vision of our own obsolescence. But the discorrelated image of transformation is the aesthetic crux of the film, quite possibly the only thing worth watching it for, and perhaps even the bearer of a (probably unintentional) ethical injunction, beyond the rather flimsy human-centered narrative (and the clearly conservative politics, militarism, and apparent misogynism): the discorrelated image, in which the process of transformation can only be suggested to our lagging sensory apparatuses, challenges us performatively, by confronting us with an image of our own discorrelation; viscerally, it asks us to attune ourselves to an environment that is broader than our visual capture of it, faster than our ability to register it, and more or less indifferent to our concernful perception of it. Materially, medially, and ontologically true to the 1980s tagline, the discorrelated images of Michael Bay’s Transformers are indeed “More than meets the eye!”

Non-correlational media theory?

In chapter 6 of my dissertation, I ask: “what would it mean to think media beyond correlationism?” In the above video, a computer (or code) repeatedly asks another computer (or code): “What would it mean to think media non-correlationally?”

According to the (presumably human-generated) description of the video on YouTube, the famous “Eliza algorithm discusses about object oriented ontology with another code that selects sentences from a corpus of related material. Result is an object oriented (alien) version of Turing test.”

Interestingly, though not surprisingly, Eliza has no answer to the question of what it would mean to think media non-correlationally. She/it responds with other questions: “What comes to mind when you ask that?”, “Why do you ask?”, “Have you asked anyone else?”, or “Does that question interest you?” On the whole, fair questions, I suppose.

[Incidentally, I just googled the question as worded by the computer, i.e. “What would it mean to think media non-correlationally?”, to see what corpus the code is drawing on. Interestingly, it seems that those were in fact my own words, which I posted in a comment on Jussi Parikka’s blog Machinology back in December (his post here: “OOQ — Object-Oriented-Questions”). I’m intrigued now to know who posted the video — who the YouTube user TheTuib is, if in fact it’s a human person…]

Nonhuman Turn: Curricular Guide

The conference organizers for the upcoming “Nonhuman Turn” conference in Milwaukee (where I’ll be giving a talk called “Object-Oriented Gaga”) have posted a “Curricular Guide,” which includes all the abstracts for the conference. As with the preliminary schedule before, I am embedding it here for convenience.

Nonhuman Turn: Preliminary Schedule

The preliminary schedule for the Nonhuman Turn conference, where I’ll be presenting a paper on Lady Gaga, is now online, as I just learned from Adrian Ivakhiv (who has also just posted the abstract for his talk, “Process-Relational Theory and the Eco-Ontological Turn: Clearing the Ground between Whitehead, Deleuze, and Harman.”) For the sake of convenience, I have taken the liberty of embedding the schedule here.

Object-Oriented Gaga and the Nonhuman Turn

A while back, I posted the CFP for a conference on “The Nonhuman Turn in 21st Century Studies” to be held at the Center for 21st Century Studies at the University of Wisconsin-Milwaukee, May 3-5, 2012 (the original announcement is here). The lineup of invited speakers, in case you haven’t seen it, is very impressive:

Jane Bennett (Political Science, Johns Hopkins)

Ian Bogost (Literature, Communication, Culture, Georgia Tech)

Wendy Chun (Media and Modern Culture, Brown)

Mark Hansen (Literature, Duke)

Erin Manning (Philosophy/Dance, Concordia University, Montreal)

Brian Massumi (Philosophy, University of Montreal)

Tim Morton (English, UC-Davis)

Steven Shaviro (English, Wayne State)

In addition to these speakers, there will also be several breakout sessions at the conference. And, as luck would have it, I will be presenting in one of them, as the paper I proposed on Lady Gaga and the role of nonhuman agency in twenty-first century celebrity has been accepted by the conference organizers! I am honored and excited to have the chance to speak in such distinguished company, and I very much look forward to the conference. In the meantime, here is the abstract for my talk:

Object-Oriented Gaga: Theorizing the Nonhuman Mediation of Twenty-First Century Celebrity

Shane Denson, Leibniz Universität Hannover

In this paper, I wish to explore (from a primarily media-theoretical perspective) how concepts of nonhuman agency and the distribution of human agency across networks of nonhuman objects contribute to, and help illuminate, an ongoing redefinition of celebrity personae in twenty-first century popular culture. As my central case study, I propose looking at Lady Gaga as a “serial figure”—as a persona that, not unlike figures such as Batman, Frankenstein, Dracula, or Tarzan, is serially instantiated across a variety of media, repeatedly restaged and remixed through an interplay of repetition and variation, thus embodying seriality as a plurimedial interface between trajectories of continuity and discontinuity. As with classic serial figures, whose liminal, double, or secret identities broker traffic between disparate—diegetic and extradiegetic, i.e. medial—times and spaces, so too does Lady Gaga articulate together various media (music, video, fashion, social media) and various sociocultural spheres, values, and identifications (mainstream, alternative, kitsch, pop/art, straight, queer). In this sense, Gaga may be seen to follow in the line of Elvis, David Bowie, and Madonna, among others. Setting these stars in relation to iconic fictional characters shaped by their many transitions between literature, film, radio, television, and digital media promises to shed light on the changing medial contours of contemporary popularity—especially when we consider the formal properties that enable serial figures’ longevity and flexibility: above all, their firm iconic grounding in networks of nonhuman objects (capes, masks, fangs, neckbolts, etc.) and their ontological vacillations between the human and the nonhuman (the animal, the technical, or the monstrous). Serial figures define a nexus of seriality and mediality, and by straddling the divide between medial “inside” and “outside” (e.g. between diegesis and framing medium, fiction and the “real world”), they are able to track media transformations over time and offer up images of the interconnected processes of medial and cultural change. This ability is grounded, then, in the inherent “queerness” of serial figures—the queer duplicity of their diegetic identities, of their extra- and intermedial proliferations, and of the networks of objects that define them. Lady Gaga transforms this queerness from a medial condition into an explicit ideology, one which sits uneasily between the mainstream and the exceptional, and she does so on the basis of a network of queer nonhuman objects—disco sticks, disco gloves, iPod LCD glasses, etc.—that alternate between (anthropocentrically defined) functionality and a sheer ornamentality of the object, in the process destabilizing the agency of the individual star and dispersing it amongst a network of nonhuman agencies. As an object-oriented serial figure, I propose, Lady Gaga may be an image of our contemporary convergence culture itself.

Posthuman Play, Or: A Different Look at Nonhuman Agency and Gaming

In his classic work on “the play element of culture,” Homo Ludens (1938), Johan Huizinga writes:

“Play is older than culture, for culture, however inadequately defined, always presupposes human society, and animals have not waited for man to teach them their playing.”

In the meantime, posthumanists of various stripes, actor-network theorists (or ANTs), speculative realists, and scholars in the fields of critical animal studies, ecocriticism, and media studies, among others, have challenged the notion that culture “always presupposes human society.” In these paradigms, we are asked to see octopuses as tool-users with distinct cultures of material praxis, objects as agents in their own right, and “man’s best friend,” the dog, as a “companion species” in a strong sense: as an active participant in the evolutionary negotiation of human agency. The reality of play in the nonhuman world, which Huizinga affirms, would accordingly be far less surprising for twenty-first century humans than it might have been for Huizings’s early twentieth-century readers.

Still, the situation is not completely obvious. Consider Tillman the Skateboarding Dog (see the videos above) or his various “imitators” on Youtube. Can we say, with Huizinga, that Tillman “[has] not waited for man to teach [him his] playing”? Certainly some human taught him to ride his skateboard (and waveboard and surfboard etc.). Furthermore, the imbrication with human culture goes further as Tillman’s riding becomes a spectacle for human onlookers, users of Youtube, and viewers of Apple’s iPhone ads (in which he appeared in 2007):

And yet it’s not the genesis or the appropriation but the independent reality of Tillman’s play that’s really at stake, i.e. not whether he learned the material techniques of his play from humans or whether humans profit from that play in various ways, but whether Tillman himself is really playing, whether he is an agent of play, when he appears to us to be playing. Is there any reason to deny this? After watching several more clips of Tillman in action, I am inclined to think not. We might raise any number of ethical, political, or other concerns about the treatment of animals like Tillman (who do, after all, have to undergo some sort of training before they can play like this — and training of this sort is work, hardly just fun and games). But, regardless of these questions, these video clips would seem to serve an epistemological (evidentiary) function, as they attest to the factual occurrence of a state of play (and associated affects?) in the nonhuman world. They militate, that is, against the view that pet owners unidirectionally play with their pets (by throwing sticks for dogs to fetch, for example), instead granting to animals an independent play agency and distributing the play between human and nonhuman agencies.

Anyone who has lived with an animal might find all of this quite unsurprising, and yet Tillman’s feats would seem to have a philosophical, metaphysical relevance, as illustrations of a nonhuman agency in a robust sense — or as phenomena that are poorly accounted for (in the terminology of speculative realism) by “correlationist” philosophies that deny the possibility of any but a human perspective on the world.

In the realm of media, a non-correlationist view of play as distributed amongst human and nonhuman agents, enmeshed in ensembles of organic and machinic embodiments, has emerged in game studies, where Ian Bogost and Nick Montfort’s platform studies, Alexander Galloway’s algorithmic aesthetics, as well as various applications of posthumanist inflections of phenomenology and actor-network theory, to name a few, all unsettle the primacy and coherence of the human in the play of agencies that is the video game.

What has been missing up to this point, though, is a consideration of nonhuman animals in relation to games’ technical agencies. This is understandable, of course, as most game controllers are designed for primates with prehensile thumbs, and many house pets seem not to understand the basic conventions of — an admittedly anthropocentric — screen culture (I’m thinking of Vivian Sobchack’s cat in The Address of the Eye).

Leave it to Tillman the Skateboarding Dog, then, to point the way to a new field of inquiry — a thoroughly posthumanist field of game design for gaming animals, or a critical animal game studies (which might be critical of the role of animals in games culture as well as recognizing animals themselves as critical gamers):

All jokes aside, though, Tillman’s virtual skateboarding raises some interesting questions for game studies by reframing familiar topics of immersion and identification. Surely, we will not want to impute to Tillman an Oedipal conflict, lack, or any of the other structures of the psychoanalytic apparatus that (as a carryover from film studies) is sometimes invoked to explain human involvement in onscreen events, and yet some form of embodied identification is clearly taking place here. What lessons should we draw with regard to our own gameplay practices?