Fungi Media by Piotr Bockowski

Announcing a new publication in the Media: Art: Write: Now series edited by Joanna Zylinska.

 

Fungi Media by Piotr Bockowski:

https://www.openhumanitiespress.org/books/titles/fungi-media/

Fungi Media positions performance art of bodily mutations as a form of corporeal philosophy. Examining ecologies of rot and fungal decomposition, it outlines a theory of fungosexuality beyond sexual reproduction and binary gender roles. This theoretical perspective repositions queer sexualities in the context of the original meaning of the term ‘queer’, which is ‘rot’ – and which stands for a fungi-induced process of decomposition. With this, Fungi Media explores the foundational importance of rot for both breaking down and sustaining bodies, relationships and life as such.

The project was developed in a squatted sewage space in London, adopted by the author as a laboratory for mutant performance. The space hosts Chronic Illness events, where Internet-inspired body artists enter an environment populated with fungi. The interventions of human performers are incorporated into the rotten physiology of the space, which itself becomes a live entity. This book involves those events in the analysis of connections between media technologies and primal life processes. It also offers strategies for urban dwelling which transcend normative family life.

Bockowski’s book – like its decompositional protagonist, fungi – performs what it also examines: some intensive ways in which queer, networked and entangled bodies can break down complex and compromised entities to ‘enable new mutant fusions’. Fungi Media is a fecund new contribution to the emerging field – both figural and literal – of ‘libidinal ecology’; and the book’s exploration of ‘fungosexuality’ is as rich, gamey, provocative and risky as foraging hungrily in a toxic urban ecology full of unfamiliar toadstools.
    Dominic Pettman, University Professor of Media and New Humanities, The New School for Social Research

In its distinctive approach of ‘cross-contamination’, Fungi Media is both a relentlessly innovative exploration of theoretical intercrossings between bacteria-infested corporeality and post-Internet technologies - with new insights especially into Antonin Artaud’s pivotal ‘body without organs’ work - and also a documentation of an astonishing decade-long performance art series held at a subterranean fungi-infested squatted space of decomposition and sexual reinvention in north London. This will be a seminal, prescient and provoking book for understanding future proliferating mutations and creative rottings of the body in relation to technologies.
    Stephen Barber, Professor of Art History, Kingston University

Fungi Media explores the idea of the body as a cultural network, focusing on how life is identified and experienced in the digital age. The book is crafted in a post-Internet format, which encompasses the material technology related to human mutations. It navigates the interactions of sexuality, positioning the post-Internet era within the realm of nonhuman media philosophy. This framework facilitates the intersection of various forms of mediation, examining how digital tools and technologies reshape identity, sexuality and human interactions in contemporary society.
    Kenji Siratori, writer, author of Blood Electric

Author Bio

Piotr Bockowski, aka neofung, is a London-based philosopher of posthumanities, body performer and video artist. A curator of the Chronic Illness art events at a squatted sewage space, he has performed and shown his own work in Europe, China and the US. His art criticism and speculative fictions have been published in CLOT, Inertia, Cyclops Journal and Posthuman Magazine.

Dark Botany: The Herbarium Tales, edited by Prudence Gibson, Sigi Jottkandt, Marie Sierra and Anna Westbrook

We're delighted to announce the publication of Dark Botany: The Herbarium Tales, edited by Prudence Gibson, Sigi Jottkandt, Marie Sierra and Anna Westbrook.

Available open access and in print: http://www.openhumanitiespress.org/books/titles/dark-botany/

Dark Botany activates the material and sensorial wonder of plants—their energy, their mysterious allure, their capacities and skills, their independent might. In this Wunderkammer of critical plant studies essays and plant+artworks, the herbarium emerges as a site of multiple materialities and reflexive forms of counter-narrative. Herbaria specimens come alive as assemblages, telling truths about their dark histories and darker contemporary currents, while reflecting on the complexity of texture, movement, memory, compound structure, chemical emissions and rapid evolution of plants and languages. What one discovers is that herbaria are not static: they are as vital, energetic and enigmatic as the plants in their collections—and as diverse.

With contributions by Giovanni Aloi, Matthew Beach, Tamryn Bennett, Edward Colless, Prudence Gibson, Ryan Gordon, Lisa Gorton, Sigi Jöttkandt, Nick Koenig, Verena Kuni, Anna M. Lawrence, Vanessa Lemm, Rebecca Mayo, Aunty Deirdre Martin, Arina Melkozernova, Elaine Miller, Jacob Morris, Anna Perdibon, Anna Madeleine Raupach, Georgina Reid, Heather Rogers, Betty Russ, Erica Seccombe, Marie Sierra, Christina Stadlbauer, Anna-Sophie Springer, Bart Vandeput, Juliann Vitullo, Anna Westbrook and Maya Martin-Westheimer.

Dark Botany: The Herbarium Tales is an OHP Labs Seedbook:

http://www.openhumanitiespress.org/labs/seedbooks/

It is also part of The Herbarium Tales.

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The Herbarium Tales

http://theherbariumtales.org/

This is a plant studies Australian Research Council Linkage project 2020-23. It is a collaboration between University of NSW, Bundanon Trust and the Sydney Botanic Gardens Herbarium. The interdisciplinary team includes Prudence Gibson UNSW, Sigi Jottkandt UNSW and Open Humanities Press, Sophie O’Brien Bundanon Trust, Marie Sierra Melbourne University and Brett Summerell Royal Botanic Gardens, Sydney.

The project outputs will include three films, two major outdoor artworks, a living book, a city forest, a monograph called The Herbarium and Me and this network of people and plants. Our team is dedicated to redefining the ways plants are understood and valued, and also to deepening recognition and understanding of the ways plants are important actors in political, economic and social relations.

We hope to celebrate and interrogate the agency, in/inter-dependence, and performing subjectivities of plants; we also hope to develop critical understandings of plants as performing actors in bio/phyto-political relations. Lead CI of this project, Prudence Gibson, has written a book entitled The Plant Contract (Brill 2018), which charts a new deal for the vegetal world that centres on an aesthetic of care, via a promise between one person and one plant to take care. This project aims to enact such a philosophy.

Oxford and the Observer Do Social Mobility

What’s wrong with this picture?

An Oxford university student, Oscar Jelley, has won the Observer/Anthony Burgess prize for arts journalism – a competition for ‘fresh voices’, no less.

The prize has been awarded for a review of Isabel Waidner’s Corey Fah Does Social Mobility, a novel that critiques the awarding of literary prizes by exclusive institutions and argues powerfully against ‘bourgeois cultural gatekeeping’ and the ‘unwritten rules that govern the often suffocatingly bourgeois world of prestige culture’.

The review claims ‘literature should not be the preserve of a moneyed elite.’ It's a statement with which The Fall would no doubt agree, their lyric, ‘Life should be full of strangeness,’ being used to top and tail the prize-winning piece.

Speaking of the prize-winning elite railing against ‘the elites’ while displaying little sense of irony … what’s the betting the reviewer supports Manchester City, too!

No 1 Introduction to the Robot Review of Books

No 1 Introduction to the Robot Review of Books from RRB on Vimeo.

Introducing the Robot Review of Books.

Like the London Review of Books ... but with even more robots!

The Robot Review of Books is an AI ‘magazine’ consisting of short computational media essays that are typically structured as book reviews.

🆓 Free: No subscriptions, no paywalls.

🚫 Non-Surveillance Capitalist: Viewer privacy is respected with no collection, storage or sale of personal data.

🤫 Quiet: No hype, no appeals for likes, shares or follows.

The RRB is not a business: there are no adverts, no podcasts, no RRB tote bags.

It's not run by would-be influencers, either human or machine. So, no urging you to get in touch if you have any questions. And new content does not appear online according to a regular schedule - certainly not one set by the algorithms of social media. Contributions are just added to the Robot Review of Books when they are ready to be published.

RRB #1 might be the only one. Or it might be the first of many.

On 'Critiquing the Vocabularies of the Marketized University' by Natalie Fenton et al

'Critiquing the Vocabularies of the Marketized University', by Natalie Fenton, Des Freedman, Gholam Khiabany and Milly Williamson, which has been published in a special issue of the journal Media Theory on Critique, Postcritque and the Present Conjuncture, is well worth a read.

https://journalcontent.mediatheoryjournal.org/index.php/mt/article/view/887/575

For all its concern with the hollowing out of critique in the marketized university, though, could this essay itself have been more critical?

1) Critical University Studies is cited approvingly by Fenton et al. Yet CUS has been heavily criticised by those in favour of an Abolitionist University Studies, for being ‘haunted’ by nostalgia for an expansionist postwar public university system that ignores how that system was ‘underwritten by militarized funding priorities, nationalist agendas, and an incorporative project of counterinsurgency’.

2)  The conclusion of Fention et al. is we that need to remain in the university (rather than plan to leave it as many are now doing) and fight for education as a public good. But if we stay, what are we actually going to do differently by way of resisting the marketized university and freeing ourselves from it (which for them is the purpose of critique)? Fenton et al. recommend continuing to value ‘solidarity forms’ - building ‘friendships and alliances’ etc. – where we can keep the flame of critique alive. But we’ve been doing that for years and its not stopped us getting into this mess. So how is it going to get us out of it?