Networked_Performance

Review of “Digital Contagions”

51emrj6za2l__ss500_.jpgDIGITAL CONTAGIONS: A Media Archaeology of Computer Viruses by Jussi Parikka (Peter Lang Books, 2007, 327 pages); Reviewed by Joseph Nechvatal.

{loop:file = get-random-executable-file; if first-line-of-file = 1234567 then goto loop; prepend virus to file;} - Fred Cohen, “Computer Viruses: Theory and Experiments”

We cannot be done with viruses as long as the ontology of network culture is viral-like. - Jussi Parikka, “The Universal Viral Machine”

One could be forgiven for assuming that a book with the title Digital Contagions: A Media Archaeology of Computer Viruses would be of sole interest to those sniggering hornrimmed programmers who harbor an erudite loathing of Bill Gates and an affection for the Viennese witch-doctor. Actually, it is a rather game and enthralling look, via a media-ecological approach, into the acutely frightening, yet hysterically glittering, networked world in which we now reside. A world where the distinct individual is pitted against - and thoroughly processed by - post-human semi-autonomous software programs which often ferment anomalous feelings of being eaten alive by some great indifferent artificiality that apparently functions semi-independently as a natural being.

Though no J. G. Ballard or William S. Burroughs, Jussi Parikka nevertheless sucks us into a fantastic black tour-de-force narrative of virulence and the cultural history of computer viruses (*), followed by innumerable inquisitive innuendoes concerning the ramifications for a creative and aesthetic, if post-human, future. Digital Contagions is impregnated with fear and suspicion, but we almost immediately sense that it also contains an undeniable affirmative nobility of purpose; which is to save the media cultural condition - and the brimful push of technological modernization in general - from catastrophically killing itself off.

This admirable embryonic redemption is achieved by a vaccination-like turning of tables, as Parikka convincingly demonstrates that computer viruses (semi-autonomous machinic / vampiric pieces of code) are not antithetical to contemporary digital culture, but rather essential traits of the techno-cultural logic itself. According to Parikka, digital viruses in effect define the media ecology logic that characterizes our networked computerized culture in recent decades.

We may wish to recall here that for Deleuze and Guattari, media ecologies are machinic operations (the term machinic here refers to the production of consistencies between heterogeneous elements) based in particular technological and humane strings that have attained virtual consistency. Our current inter-network ecology is a comparable combination of top-down host arrangements wedded to bottom-up self-organization where invariable linear configurations and states of entanglement co-evolve in active process. Placing the significant role of the virus in this mix in no uncertain terms, Parikka writes that, the virus truly seems to be a central cultural trope of the digital world . (p. 136) Indeed digital viruses are recognized by Parikka as the crowning culmination of current postmodern cultural trends - as viruses, by definition, are merger machines based on parasitism and acculturation. So it is not only their symbolic / metaphoric power that places them firmly in a wider perspective of cultural infection; it is their formal structure, in that they procure their actuality from the encircling environment to which they are receptively coupled.

Moreover, with the love of an aficionado, Parikka lucidly demonstrates that computer viruses are indeed a variable index of the rudimentary underpinning on which contemporary techno culture rests. He astutely anoints the indexical function of the virus by establishing not only its symbolic melancholy power in relation to the human body and sex, but by folding the viral life/nonlife model (**) into key cultural areas underlying the digital ecology; such as bottom-up self-organization, hidden distributed activity and ethereal meshwork. In that sense Parikka describes network ecology as both actual and virtual, what I have elsewhere identified as the viractual. (Briefly, the viractual is the stratum of activity where distinct actualizations / individuations are materialized out of the flow of virtuality.) But some viruses do not simply yield copies of themselves, they also engage in a process of self-reproducing autopoiesis: they are copying themselves over and over again but they can also mutate and change, and by doing so, Parikka maintains, reveal distinguishing aspects of network culture at large.

I would add that they mimic the manneristic aspects of late post-modernism in general, particularly if one sees modernism as the great petri dish aggregate in which we still are afloat. So computer viruses are recognized here as an indexical symptom also of a bigger cultural tendency that characterizes our post-modern media culture as being inserted within a modern (purist) digital ecology. This aspect provides the book with a discerning, yet heterogeneous, comprehension of the connectionist technologies of contemporaneous techno culture.

But beyond the techno-cultural relevance, the significance of the viral issues in Parikka s book to ALL cultural production is evident to anyone who has already recognized that digitalization has become the universal technical platform for networked capitalism. As Parikka himself points out, digitalization has secured its place as the master formal archive for sounds, images and texts. (p. 5) Digitalization is the double, the gangrel, that accompanies each of us in what we do - and which accounts for our cultural feelings of vacillating between anxiety and enthusiasm over being invaded by something invisible - and the sneaky suspicion that we have been taken control of from within.

To begin this caliginous expedition, Digital Contagions plunges us into a haunting, shifting and dislocating array of source material that thrills. Parikka launches his degenerate seduction by drawing from, and intertwining in a non-linear fashion, the theories of Gilles Deleuze and Felix Guattari (for whom my unending love is verging on obsession), Friedrich Kittler, Eugene Thacker, Tiziana Terranova, N. Katherine Hayles, Lynn Margulis, Manuel DeLanda, Brian Massumi, Bruno Latour, Charlie Gere, Sherry Turkle, Humberto Maturana and Francisco Varela, Deborah Lupton, and Paul Virilio. These thinkers are then linked with ripe examples from prankster net art, stealth biopolitics, immunological incubations, the disassembly significance of noise, ribald sexual allegories, antibody a-life projects, various infected prosthesis, polymorphic encryptions, ticklish security issues, numerous medical plagues, the coupling of nature and biology via code, incisive sabotage attempts, anti-debugging trickery, genome sequencing, parasitic spyware, killer T cell epidemics, rebellious database deletions, trojan horse latency, viral marketing, inflammatory political resistance, biological weaponry, pornographic clones, depraved destructive turpitudes, rotten jokes, human-machine symbiosis as interface, and a history of cracker catastrophes. All are conjoined with excellent taste. The shock effect is one of discovering a poignant nervous virality that has been secretly penetrating us everywhere.

Digital Contagions s genealogical account is proportionately impressive, as it devotes satisfactory space to the discussion of historical precedent; including Turing machines, Fred Cohen’s pioneering work with computer viruses, John von Neumann’s cellular automata theory (i.e. any system that processes information as part of a self-regulating mechanism), avant-garde cybernetics, human immunodeficiency virus (HIV), the Creeper virus in the Arpanet network, the coupling machines of John Conway, the nastily waggish Morris worm, Richard Dawkins s meme (contagious idea) theory; and even the under known artistic hacks of Tommaso Tozzi. Furthermore, the viral spectral as fantasized in science fiction is adequately fleshed out, paying deserved attention to the obscure but much loved (by me, anyway) 1975 book The Shockwave Rider by John Brunner and the celebrated cyberpunk novel by Neal Stephenson, Snow Crash; among other speculative books and hallucinatory films.

But the pinnacle of interest, for me, of this engaging and educative read is its conclusion where Parikka sketches out an alternative radical media-ecological perspective hinged on the viral characteristics of self-reproduction and a coupling of the outside with the inside typical of artificial life (a-life). He correctly maintains that viral autopoiesis undertakings, like Thomas S. Ray’s Tierra virtual ecology art project, provides quintessential clues to interpreting the software logic that has produced, and will continue to produce, the ontological basis for much of the economic, political and cultural transactions of our current globalizing world.

Here he has rendered problematic the safe vision of virus as malicious software (virus as infection machine) and replaced it with a far more curious, aesthetic and even benevolent one; as whimsical artificial life (a-life). Using viral a-life s tenants of semi-automation, self-reproduction, and host quest; Parikka proposes a living machinic autopoiesis that might provide a moebius strip like ontological process for culture.

Though suppositional, he bases his procedure in formal viral attributes - not unlike those of primitive artificial life with its capability to self-reproduce and spread semi-autonomously (as viruses do) while keeping in mind that Maturana/Varela s autopoiesis contends that living systems are an integral component of their surroundings and work towards supporting that ecology. Parikka here picks up that thread by pointing out that recent polymorphic viruses are now able to evolve in response to anti-virus behaviors. Various viruses, known as retroviruses, (***) explicitly target anti-virus programs. Viruses with adaptive behavior, self-reproductive and evolutionary programs can be seen, at least in part, as something alive, even if not artificial life in the strongest sense of the word. Here we might recall John Von Neumann s conviction that the ideal design of a computer should be based on the design of certain human organs - or other live organisms.

The artistic compositional benefit of his autopoiesic virality theory, for me, is in allowing thought and vision to rupture habit and bypass object-subject dichotomies. I wish to point out here that although biological viruses were originally discovered and characterized on the basis of the diseases they caused, most viruses that infect bacteria, plants and animals (including humans) do not cause disease. In fact, viruses may be helpful to life in that they rapidly transfer genetic information from one bacterium to another, and viruses of plants and animals may convey genetic information among similar species, helping their hosts survive in hostile environments.

Already various theories of complexity have established an influence within philosophy and cultural theory by emphasizing open systems and adaptability, but Parikka here supplies a further step in thinking about ongoing feedback loops between an organism and its environment; what I am tempted to call viralosophy. Viralosophy would be the study of viral philosophical and theoretical points of reference concerning malignant transformations useful in understanding the viral paradigm essential to digital culture and media theory that focuses on environmental complexity and inter-connectionism in relationship to the particular artist. Within viralosophy, viral comprehension might become the eventual - yet chimerical - reference point for culture at large in terms of a modification of parameters, as it promotes parasite-host dynamic interfacings of the technologically inert with the biologically animate, probabilistically.

So the decisive, if dormant, payload that is triggered by reading this book, for me, is an enhanced understands of pagan and animist sentiment which recognizes non-malicious looping-mutating energy feedback and self-recreational dynamism that informs new aesthetic becomings which may alter artistic output. Possibly heuristic becomings (****) that transgress the established boundaries of nature / technology / culture and extend the time-bomb cognitive nihilism of Henry Flynt. This affirmative viral payload forces open-ended multiplicities onto art that favor new-sprung conceptualizations and rebooted realizations. Here the artist comes back to life as spurred a-life, and not as a sole articulation of the pirated environment of currency. So the so-called art virus is not to be judged in terms of its occasional monetary payload, but by the metabolistic characteristics that make art reasonable to discuss as a form of extravagant artificial life: triggered emergence, resilience and back door evolution.

(*) A computer virus is a self-replicating computer program that spreads by inserting copies of itself into other executable code or documents. A computer virus behaves in a way similar to a biological virus, which spreads by inserting itself into living cells. Extending the analogy, the insertion of a virus into the program is termed as an “infection”, and the infected file, or executable code that is not part of a file, is called a “host”.

(**) Scientists have argued about whether viruses are living organisms or just a package of colossal molecules. A virus has to hijack another organism’s biological machinery to replicate, which it does by inserting its DNA into a host.

(***) Retroviruses are sometimes known as anti-anti-viruses. The basic principle is that the virus must somehow hinder the operation of an anti-virus program in such a way that the virus itself benefits from it. Anti-anti-viruses should not be confused with anti-virus-viruses, which are viruses that will disable or disinfect other viruses.

(****) A heuristic virus cleaner works by loading an infected file up to memory and emulating the program code. It uses a combination of disassembly, emulation and sometimes execution to trace the flow of the virus and to emulate what the virus is normally doing. The risk in heuristic cleaning is that if the cleaner tries to emulate everything, the virus might get control inside the emulated environment and escape, after which it can propagate further or trigger a destructive retaliation reflex.

Joseph Nechvatal
Mid-September 2007, Marrakech
http://www.nechvatal.net


Sep 28, 12:13
Trackback URL

2 Responses

  1. University Update - Bill Gates - Review of “Digital Contagions”:

    [...] Review of “Digital Contagions” » This Summary is from an article posted at networked_performance on Friday, September 28, 2007 [...]


  2. Networked_Performance — Interview: Jussi Parikka:

    [...] Parikka is author of the book Digital Contagions, a media archaeology of computer viruses, published by Peter Lang earlier this year. The book is a speculative meditation on the nature of [...]


Leave a comment

Live Stage

Tags


calls + opps performance livestage exhibition installation mobile networked writings participatory locative media augmented/mixed reality event new media video interactive public net art conference virtual intervention distributed second life sound political technology narrative festival tactical lecture conversation art + science social networks social games history dance surveillance music workshop urban collaboration mapping live upgrade! reblog activist wearable immersive public/private architecture data platform body collective aesthetics environment city film identity systems telematic culture wireless visualization web 2.0 site-specific place open source ecology webcast tool software text research intermedia community space audio radio nature 3-D hybrid avatar audio/visual responsive e-literature pyschogeography presence interdisciplinary media interview object physical ubiquitous global/ization theory theater biotechnology relational play archive code bioart news generative DIY light robotic place-specific hacktivism synthetic p2p cinema education remix agency interface im/material live cinema language labor copyright algorithmic mashup simulation animation perception image free/libre software multimedia artificial motion tracking convergence voice reenactment machinima gift economy streaming emergence cyberreality glitch webcam tv DJ/VJ censorship ARG nonlinear transdisciplinary touch recycle asynchronous fabbing tag semantic web hypermedia chance synesthesia biopolitics social choreography tangible app forking unconference gesture 1
1 3-D ARG DIY DJ/VJ activist aesthetics agency algorithmic animation app architecture archive art + science artificial asynchronous audio audio/visual augmented/mixed reality avatar bioart biopolitics biotechnology body calls + opps censorship chance cinema city code collaboration collective community conference convergence conversation copyright culture cyberreality dance data distributed e-literature ecology education emergence environment event exhibition fabbing festival film forking free/libre software games generative gesture gift economy glitch global/ization hacktivism history hybrid hypermedia identity im/material image immersive installation interactive interdisciplinary interface intermedia intervention interview labor language lecture light live live cinema livestage locative media machinima mapping mashup media mobile motion tracking multimedia music narrative nature net art networked new media news nonlinear object open source p2p participatory perception performance physical place place-specific platform play political presence public public/private pyschogeography radio reblog recycle reenactment relational remix research responsive robotic second life semantic web simulation site-specific social social choreography social networks software sound space streaming surveillance synesthesia synthetic systems tactical tag tangible technology telematic text theater theory tool touch transdisciplinary tv ubiquitous unconference upgrade! urban video virtual visualization voice wearable web 2.0 webcam webcast wireless workshop writings

Archives

2014

Jul
Jun | May | Apr | Mar | Feb | Jan

2013

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2012

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2011

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2010

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2009

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2008

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2007

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2006

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2005

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2004

Dec | Nov | Oct | Sep | Aug | Jul

What is this?

Networked Performance (N_P) is a research blog that focuses on emerging network-enabled practice.
Read more...

RSS feeds

N_P offers several RSS feeds, either for specific tags or for all the posts. Click the top left RSS icon that appears on each page for its respective feed. What is an RSS feed?

Bloggers

F.Y.I.

Feed2Mobile
Networked
New Radio and Performing Arts, Inc.
New American Radio
Turbulence.org
Networked_Music_Review
Upgrade! Boston
Massachusetts Cultural Council
New York State Council on the Arts, a State agency
Thinking Blogger Award

Turbulence Works

These are some of the latest works commissioned by Turbulence.org's net art commission program.
A More Subtle Perplex A Temporary Memorial Project for Jobbers' Canyon Built with ConAgra Products ABSML Ars Virtua Artist-in-Residence (AVAIR) (2007) Awkward_NYC Bonding Energy Bronx Rhymes Cell Tagging (2006) Channel TWo: NY Constellation Over Playas Data Diaries Domain of Mount Greylock—Video Portal Eclipse Empire State Endgame: A Cold War Love Story by Tal Halpern From the Valley of the Deer FUJI spaces and other places by Nurit Bar-Shai Google Variations by Leonardo Solaas Gothamberg (2007) Grafik Dynamo (2005) Grow Old Handheld Histories as Hyper-Monuments (2007) html_butoh (2007) I am unable to tell you I'm Not Stalking You; I'm Socializing by Liz Filardi iLib Shakespeare (the perturbed sonnet project) INTERP Invisible Influenced by Will Pappenheimer and Chipp Jansen iPak - 10,000 songs, 10,000 images, 10,000 abuses by Ajaykumar iSkyTV Journal of Journal Performance Studies L-Carrier Les Belles Infidèles look art Lumens My Beating Blog (2006) MYPOCKET by Burak Arikan No Time Machine by Daniel C. Howe and Aya Karpinska Nothing Happens: a performance in three acts (2006) Nothing You Have Done Deserves Such Praise Oil Standard (2006) Panemoticon Peripheral n°2: KEYBOARD (2006) Playing Duchamp by Scott Kildall Plazaville Psychographics: Consumer Survey Recollecting Adams School of Perpetual Training Searching for Michelle/SFM Self-Portrait (2006) Shadow Play: Tales of Urbanization of China ShiftSpace Social Relay Mail Space Video Spectral Quartet Superfund365, A Site-A-Day (2007) This and that thought. Touching Gravity 2/Tilt Tumbarumba Tweet 4 Action Urban Attractors and Private Distractors (2007) We Ping Good Things To Life Wikireuse Without A Trace WoodEar Word Market Yeas and Nays You Don't Know Me [ openspace ] wilderness [meme.garden] (2006)
More commissions