Media Ecologies: Materialist Energies in Art and Technoculture
Media Ecologies: Materialist Energies in Art and Technoculture
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媒体生态学：艺术和技术文化中的唯物主义能量
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发表时间：
2005
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通讯作者：
Matthew Fuller
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作者：
Matthew Fuller
在《媒体生态》一书中，马修·富勒问到，当媒体系统相互作用时会发生什么。像媒体系统这样的复杂对象--在这里被理解为过程，或组成中的元素--已经变得既是物理的，也是信息的，但并没有失去任何基本的实质性。富勒着眼于这种多种多样的物质性--它如何被感知、利用，以及它如何使其他可能性变为现实。他研究了媒体系统中的不同特征可以说是如何混合和相互联系的，正如他所写的那样，“产生了模式、危险和潜力”。
Fuller借鉴了Felix Guattari和Gilles Deleuze的著作，以及Friedrich Nietzsche、Matt McLuhan、Donna Haraway、Friedrich Kittler和其他人的著作，来定义和扩展“媒体生态”的概念。富勒认为，了解媒体系统互动时发生的事情的唯一方法是进行这种互动，他追踪了一系列媒体生态--正如他描述的一个章节所说的那样，“同时走迷宫中的每一条路”。他研究了总部设在伦敦的当代海盗电台及其交织的高科技和低技术媒体系统；通过对新媒体作品的一系列令人信服的解读，他看到了“权力的中间意志”；媒体对象与其他对象处于“不正常”关系时，媒体对象的能力和行为是如何受到影响的；以及一系列网页中的每一步，CCTV-全球观察，鼓励观众举报通过网络摄像头看到的犯罪行为。
《媒体生态》推动了关于标准化、文化进化、控制论文化和监控的争论，并创造了一种具有政治挑战性的美学，将它们联系在一起。媒体生态的叙述速度、规模、参考框架和声音各不相同，并没有提供学术上传统的统一框架；相反，富勒说，它提议捕捉“一种活动和想法的爆炸式增长，希望能对其产生共鸣”。
In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or elements in a composition as much as "things"—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multiplicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investigates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, "to produce patterns, dangers, and potentials."
Fuller draws on texts by Felix Guattari and Gilles Deleuze as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of "media ecology." Arguing that the only way to find out about what happens when media systems interact is to carry out such interactions, Fuller traces a series of media ecologies—"taking every path in a labyrinth simultaneously," as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech media systems; the "medial will to power" illustrated by "the camera that ate itself"; how, as seen in a range of compelling interpretations of new media works, the capacities and behaviors of media objects are affected when they are in "abnormal" relationships with other objects; and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen via webcams.
Contributing to debates around standardization, cultural evolution, cybernetic culture, and surveillance, and inventing a politically challenging aesthetic that links them, Media Ecologies, with its various narrative speeds, scales, frames of references, and voices, does not offer the academically traditional unifying framework; rather, Fuller says, it proposes to capture "an explosion of activity and ideas to which it hopes to add an echo."