Infragraphy is a compilation of critical student artworks and short essays dealing with the materialities of media technologies and their environmental implications. The volume presents artworks and texts from the course ‘Media and the Environment’ in the Fall of 2020 at the Department of Media, Aalto University. The course is a series of scholarly readings about and around the themes of media including media’s relations and impacts on the so-called Anthropocene, thermocultures of media, ecologies of fabrication, media and plastics, Internet of Things, Planned Obsolescence, e-waste, and media’s energetic landscapes. A key approach of the course is to introduce artistic methods and practices that could address emerging media materialities. The student artistic outputs are presented in a final exhibition.
This fourth volume of Infragraphy compiles a series of artworks and companion essays as a response to the contemporary discourse of political economy of media and related environmental implications. The volume begins with Lassi Häkkinen’s Screen of Death that plunges us through the computer interface and web browser to a distant cobalt mine in the Democratic Republic of Congo. His accompanying essay meditates on the disjunction between the digital, mining and labor, as a way to reflect on extractive practices. Phuong Nguyen’s De-Terraforming Impacts of Humans on Earth takes us on a virtual tour of damaged landscapes as a result of the digital starting from the environs of Silicon Valley, Bayan Obo mining district in China, to the Great Pacific Garbage Patch. Cloud Materialities by Qianyu (Sienna) Fang sets up a game-like low-tech alternative computer interface to examine critical themes related to the various materialities of digital media. Oskar Koli’s provocative kinetic sculpture installation makes us ponder on deep time, automation, and fossil fuels. The installation sets up the recursive stroke of a programmed and automated feather that brushes off grains from a piece of coal. Koli insists on calling it ‘Untitled’ since the viewer could very well have a multitude of interpretations.
Addressing environmental damage, Anze Bratus uses pollution datasets along with urban images from around the world to create generative soundscapes. His installation Acoustics of Pollution highlights how pollution levels as a result of a legacy of industrial activities and fossil fuels exponentially increase and damage the environment. Studies on Invisibilityby Tuula Vehanen examines urban radiation, especially with regard to 5G networks in Helsinki. Vehanen’s photography attempts to render radio frequency visible and provokes us to consider the impacts of exposure to humans and ecosystems. By poetry and painting, Dominik Fleischmann’s Restless Bodies reflects on technology and purity. His work makes us think of where technological necessity of perfection and extraction might eventually lead us. Finally, Mirya Nezvitskaya presents a performance installation Collecting Your Waste that combines her research in materiality, posthumanist philosophy, performance and artistic practice. Her work challenges us on many levels by threading together colonization, extraction, plastic waste and performance.
9 December 2020