Fuller, M.: Media ecologies : materialist energies in art and technoculture (2005)
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- Footnote
- Exploring John Hilliard's 1971 series of photographs, A Camera Recording it Own Condition (7 apertures, 10 speeds, 2 mirrors), Fuller argues that the camera's media ecology consists of the interplay between mathematical, material, and social powers, while demonstrating a medial will to power. Fuller shows how every apparatus is an ensemble of other apparatuses. Thresholds of visibility and disappearance are built into the camera's structure, of its material capacity. When the camera focuses on itself, it is engaged in a cybernetic circuit that brings together forces of form, programs, material structures: in short, a media ecology. Fuller marks out two sets of interconnected and antagonistic relations of force that "make" the camera in this act of recording itself. One, the problematic of the camera working on the condition of being a camera (a machine reflexivity). Second, it mobilizes the constraints and freedoms generated by the correlation of the intensive and extensive qualities embedded within the camera. Fuller expands his exploration of media ecologies by working with multiple "objects": the introduction of an on/off switch in a residential street, BITRadio, "phreaking" of radio broadcasts and others. Perhaps the most argumentative chapter of the book-certainly one of the most lucid ones!-this demonstrates how technology and the dynamics of media systems are appropriated for other, nonofficial purposes. Fuller shows how the "standard object"-a serial element such as an ISO standard shipping container whose "potential" has been stabilized, circumscribes knowledge itself, limiting all other forms of understanding. Standard objects, even as they work with other "forms" define the technicity and organizational frames of systems.
