By Patrick Jagoda
every one bankruptcy considers how well known media and creative varieties make feel of decentralized community metaphors and infrastructures. Patrick Jagoda first examines narratives from the Nineteen Nineties and 2000s, together with the radical Underworld, the movie Syriana, and the tv sequence The Wire, all of which play with community kinds to advertise mirrored image on household quandary and imperial decline in modern the USA. Jagoda then appears to be like at electronic media which are interactive, nonlinear, and depending on attached audiences to teach how fresh ways, resembling these within the videogame Journey, open up area for participatory and improvisational thought.
Contributing to fields as diversified as literary feedback, electronic stories, media thought, and American stories, Network Aesthetics brilliantly demonstrates that, in today’s global, networks are whatever that could not just be recognized, but in addition felt, inhabited, and, crucially, transformed.
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Additional resources for Network Aesthetics
Moreover, communication systems represent a key infrastructure for the experience, management, and production of affects: “The network distributes. Interlinks. Relates. The network is the relationality of that which it distributes. It is the being of collective becoming. 95 Through the analyses that follow, I consider affects as they unfold not only in social media but also across a broader range of media that seek to channel, make sensible, resonate with, problematize, or simply intensify our experience of and with networks— which is to say, the thick contemporaneity of our technologically driven culture.
The key node in this chapter is The Project (2013), an ARG that I codesigned. ” Though the nonsovereignty of networks is a concern throughout this book, this concept appears most centrally in these final two chapters. A short coda then turns from the book’s core task of making sense of network form and reflects instead on the question of whether it is possible to Network Aesthetics 37 envision an outside to our contemporary network imaginary. Instead of a strategy of avant-garde newness or negational opting out, this final section sketches out a pedagogy of ambivalence that is intensely present to the potentials and mutations of our network imaginary.
The second chapter approaches films that explore the emergent qualities of networks and takes up Stephen Gaghan’s Syriana (2005). This film’s cinematic montage and multiprotagonist narrative structure mark parallels and divergences between privileged US subjects and precarious migrant workers in the Middle East. These techniques also foreground networks as systemic processes that unfold in highly politicized terrorist collectives across time. This chapter explores network films in order to demonstrate how cinema generates a different understanding of the concept of the “accident” in our era of interconnection— including the narrative of terrorist “blowback” that still remains a key frame for understanding the war on terror.
Network Aesthetics by Patrick Jagoda