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About Natasha Lushetich
Natasha Lushetich is Professor of Contemporary Art & Theory at the University of Dundee, Scotland, and AHRC Leadership Fellow. Her research is interdisciplinary and focuses on intermedia and critical mediality; global art and the status of sensory experience in cultural knowledge; biopolitics; performativity and hegemony.
Her books include Fluxus: The Practice of Non-Duality (Rodopi 2014); Interdisciplinary Performance (Palgrave 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). Natasha’s recent writing has appeared in Artnodes; Contemporary Aesthetics; Environment, Place, Space; Media Theory; Performance Research; Philosophical Salon; TDR; The Journal of Somaesthetics and Total Art Journal as well as in a number of edited collections.
Titles By Natasha Lushetich
Drawing on a range of methods from across science and technology studies, digital humanities and digital arts, this book presents a comprehensive view of the big data phenomenon.
Big data architectures are increasingly transforming political questions into technical management by determining classificatory systems in the social, educational, and healthcare realms. Data, and their multiple arborisations, have become new epistemic landscapes. They have also become new existential terrains. The fundamental question is: can big data be seen as a new medium in the way photography or film were when they first appeared? No new medium is ever truly new. It’s always remediation of older media. What is new is the medium’s re-articulation of the difference between here and there, before and after, yours and mine, knowable and unknowable, possible and impossible.
This transdisciplinary volume, incorporating cultural and media theory, art, philosophy, history, and political philosophy is a key resource for readers interested in digital humanities, cultural, and media studies.
Drawing on different yet complementary methodologies (visual, performance, affect, and network analysis; historiography and ethnography), the contributors analyse cultural fetishes, taboos, sensorial and relational processes anchored in everyday practices, or cued by specific artworks. By mapping the necropolitics’ affective cartography, they expand the concept beyond its teleological, anthropocentric, and reductive horizon of ‘making and letting die’ to include posthuman and posthumous actants, effectively arguing for the necropolitics’ transformatory, political potential.
Special Focus editor: Natasha Lushetich
Series editors: Rüdiger Ahrens, Florian Kläger, Klaus Stierstorfer
Symbolism is cohesive. It gathers heterogeneity over time, across fields of human endeavor and systems of communication. Non-sequiturs, paradox and tautology, appear dissipative. Yet they are highly productive in reticular and fractal ways. Suffice it to look at the philosophical tautology of Parmenides’s kind, which suggests that being "is"; at the practice of the koan, which collapses dualistic thinking by way of incompatible propositions, such as "the Eastern hill keeps running on the water"; at logical paradoxes in which the operative logic is sabotaged by its own means, as in Hempel’s paradox; at absurdist dramatic texts in which protagonists record empty time in order to mark the emptiness of the time they are recording, as in Beckett’s Krapp’s Last Tape; or at paradoxical games like Maciunas’s Prepared Table Tennis played with paddles that have huge holes in them. In all of these examples, the existence-apprehending processes occur via unexpected itineraries, in vacant but nevertheless enunciative codes, in seemingly futile, yet calibrating performances, and in a temporality that is the cumulative time’s "other." They catapult the mind into the realm of the extra-linguistic, the para-logical and the meta-experiential, or they transfigure it through a series of reticular iterations.
Forty years after Varela et al’s groundbreaking work on the embodied, emotional and environmentally embedded mind – that marked a definitive departure from its former strictly rational conception – there is a need to re-examine the territory that lies beyond mind for a different reason: the proliferation of algorithmic logics that rely on the idea of a rational agent (human or algorithmic) making logical, self-serving decisions. This special issue explores neither-rational-nor-irrational forms of thinking and making. It sketches a cartography of a-rational processes of meaning- and knowledge-production that operate across numerous sites, practices, and disciplines: visual and media art; literature; art history; music; dance; film; intermedia and photography. Part I "Ahistoricity, Assemblages and Interpretative Reversals" focuses on the legacy of the (neo) avant-garde and amodernism. Part II "Destinerrance, Labyrinths and Folds" investigates the ways in which the Derridian delays/detours and the Deleuzian folding function as concrete ways of embodied knowledge-production. Part III, "Immanent Transcendence", offers a glimpse into the reticular and iterative structuring of transcendence that does not pre-exist immanence but is its residue.