Existing in Discrete States: On the Techno-Aesthetics of Algorithmic Being-in-Time

Against a remarkable hardware oblivion in discussions of algorithmic intelligence, this article insists that algorithmic thought, or abstract computation, cannot be separated from its technological implementation. It requires a material medium for an abstract mechanism to become a procedural event. Temporality is both the condition and the limiting (and irritating) factor in the computational function. ‘Radical’ media archaeology is proposed as a method for such an analysis, and the neologism of techno lógos to describe some aspects of algorithmic reason which only unfold in the moment of its techno-processual coming-into-being. Some core operations, such as the time-discrete rhythm of actual computing algorithms, are discussed, where the ‘tempoReal’ flashes up in computing. In a wider sense, the time-discreteness of digital computing is related to an aesthetics of existence which acknowledges the machine element within human reasoning itself, while at the same time re-actualizing previous cultural techniques of non-narrative chronology. Turing the ‘man’ himself, in the sense of the Turing machine, can be addressed ‘itself’, in its archival sense as a sequence of expressions by symbols.

“This Is Radio Clash”: First-Generation Punk as Radical Media Ecology and Communicational Noise

This chapter argues that in relation to dominant communication media such as newspapers, radio, and television, punk rock operated as a form of noise—less in the literal sense, since noisy forms of rock music were already well established, but in the sense of communicational noise, as an excess of the standard requirements for rock music communication. More than just “ineptness” in relation to professional recordings and instrumental prowess, punk was a short-circuiting of mainstream media channels operating both by an alternative production of media and the production of events unassimilable by the mass media, especially radio and television. The author argues that the first-generation punk band the Clash was as much a form of alternative world service radio, informing listeners about both local and global struggles for freedom and survival, as it was a musical band.

The Media of Washatiyah Dakwah in Quranic Exegesis Study

the fact explains that the Islamic media in the late 70s-90s tended to be provocative, brave, straightforward and resolute in raising issues and themes that were sensitive and offensive to ethnicity, religion, race and interfaith (SARA) and dared to carry ideology, exclusivist and fanaticism that strong against Islam, even though at that time media freedom was very limited. After the 90s the media became free in handling and publishing. Unfortunately this condition is not exploited by Wasatiyah Islamic Media. This media tends to sink due to competition in the media business. The decline of wasatiyah Islamic Media was due to imperfect management. The obstacles in presenting news that are fast, easy and inexpensive require good management. Another challenge is how to provide intelligent reading that follows the development of increasingly intelligent humans and provides a binding and enlightening impression. As a result of the deterioration of management, other Islamic media have the opportunity to spread the news of hate speech and hoaxes. To this problem we use the Thematic Interpretation Method of the Qur'an to provide concepts and descriptions of the Qur'an based Wasatiyah media. The results of this study stated that Wasatiyah Islamic Media must understand the Counter-Radical Narrative Narratives spread by other media. So in providing comments and information must be based on Islam Rahmatan lil alamin. Wasatiyah Islamic Media Must understand the weaknesses of the radical media editors. Wasatiyah Islamic media must play a role and provide moderation for religious and Islamic thought in line with the Unitary State of the Republic of Indonesia. Editor of the Wasatiyah Islamic Media must depict editors who are more humane, polite, not hard, without coercion, full of tenderness and voluntarily. The results of this study have an impact on the unity and sovereignty of the Republic of Indonesia.

Radical Media Archaeology (its epistemology, aesthetics and case studies)

Media Archaeology is both a method and an aesthetics of approaching technical objects. Within a broad range of such academic and artistic practices, radical media archaeology will be presented against the soft archaeological metaphor, with an emphasis on Foucault’s approach and the non-human meaning of media-active archaeology. One characteristic of Media Archaeology is its focus on media materialism, analytically or creatively bound to practices like circuit bending. Seductive events like the excavation of once buried computer game cartridges (the E. T. case) request a more code-oriented, critical resistance to the archaeological metaphor, just like media archaeology as artistic research, such as the "Dead Media" project, requires a media-epistemological counter-reading. Diagrammatic Media Archaeography will be proposed as an alternative to culturally familiar narratives of media historiography. A special focus will be placed on video art and preservation where algorithms themselves become the archaeologists of archaic video recordings. The media-archaeological method is about signal "re-presencing" (Sobchack) rather than historicising (as in the cases of early television recording and the Voyager space mission "picture disc"). Media Archaeology as a method of techno-logical research stays close to the signal (be it analog waveforms or digital pulses). Media Archaeography as a mode of representation has been written about already (e.g. Ina Blom’s Autobiography of Video). For the challenge of media time heritage, video art preservation is applied media archaeology.