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# The Stack On Software and Sovereignty

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Groys had developed the relationship between this tautological automatism and digital media. He writes, “ The modern age has not been the age in which the sacred has been abolished but rather the age of its dissemination in profane space, its democratization, its globalization. Ritual, repetition, and reproduction were hitherto matters of religion; they were practiced in isolated, sacred places. In the modern age, ritual, repetition, and reproduction have become the fate of the entire world, of the entire culture. ” Our question then is whether this constitutes something like a ubiquity or dissolution of the utopian along with a ubiquity and dissolution of the religious culture within global network. Groys ’ s position is affirmative, but for a particular version of what the utopian means that is in some ways the opposite of Adorno and Jameson ’ s uses. “ The significance of the Enlightenment was not so much that it resulted in the complete disappearance of religion, but that religion became a matter of private choice, which then resulted in the withdrawal of religion into the private sphere. In the contemporary world, religion has become a matter of private taste, functioning in much the same way as do art and design. ” And in this, we would argue, political theology is linked more directly to the politicization of affect as the basis of its legitimacy. For Groys, this is linked intrinsically to the solipsism of the Internet unwinding the reason of deliberate authority, as “ the Internet favors private, unconditional, sovereign freedom over scientific, conditional, institutional freedom. ” In other words, “ The slogan of the previous age was, “ The private is political, whereas the true slogan of the Internet is, the political is private. ” See Groys, “ Religion in the Age of Digital Reproduction. ”

47. The effect is drawn not only from the solipsism of information and opinion but from an automatism necessarily at work in the algorithmic recombinancy of the digital. Groys sees in this a dense synthesis of the ritual logic of religion: “ I would argue, however, that religion — any religion — is not a set of opinions but primarily a set of rituals, and that the religious ritual refers to a state in which there is a lack of opinions, a state of opinionlessness — a doxa— for it refers to the will of the gods or of God ultimately concealed from the opinions of mortals. ” The ritual and its repetition are not executed as the spontaneous expression of numinous insight but, “ as such, is neither true, nor false. In this sense it marks the zero point of freedom of opinion, that is, freedom from any kind of opinion, from the obligation to have an opinion. ” And isn ’ t it this opposition between what two experiences of the religious — the repetition of the spirit and the meaningful core of a religious concept on the one hand, and the mechanical carrying out of formal recitation on the other, “ between living spirit and dead letter ” — that structures our discourses on religion? What is the political form of this recitation? “ This is precisely what fundamentalism is, namely, the insistence on the letter as opposed to the spirit. ” Whereas for Adorno and Jameson, the utopian is that which properly precedes and exceeds any possibility of positive inscription, Groys demands instead that “ it is for this reason that religious fundamentalism has always possessed a revolutionary dimension: while breaking with the politics of spirit, that is, with the politics of reform, flexibility, and adaptation to the zeitgeist, it goes on to substitute for this politics of spirit the violent politics of the letter. ”

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With the reality of planetary computation and the governmental challenges it poses, what do we make of the idea that “ religious ritual is the prototype of the mechanical reproduction that dominated Western culture during the modern period, and which, to a certain degree, continues to dominate the contemporary world. What this suggests is that mechanical reproduction might, in its turn, be understood as a religious ritual. It is for this reason that fundamentalist religious movements have become so successful in our time, for they combine religious ritual with mechanical reproduction ” ? Is this to contradict Baudrillard ’ s insistence that there can be no utopian function with the realization that there cannot not be actualized utopian space, but that the utopian is pure function and that pure function is utopian? For Groys, any affect of the projective utopian image is not the solemn duty of religio, the sacrality of the return within religious mediation, but in this digital nihilism a response drawn only from the desubjectifying solipsism of the instant sensation of repetition, the diagram of roteness, and the calming abdication that comes with machinic iteration. See Groys, “ Religion in the Age of Digital Reproduction. ”

48. For example, Can Dialectics Break Bricks? (directed by Ren é Vi é net, 1973), though it is Atom Egoyan and Ian Balfour who have provided the most applicable analysis of the subtitle and the production and mitigation of the experience of a “ foreign ” image, in Atom Egoyan and Ian Balfour, Subtitles: On the Foreignness of Film (Cambridge, MA: MIT Press, 2004).

49. Christian Metz, The Imaginary Signifier: Psychoanalysis and the Cinema (Bloomington: Indiana University Press, 1982).

50. This is the basis for seeing the diagrammatics of information visualization operating as a utopian-projective discourse for the image-interface yet to come, as the deepest worldly recombinancy shifts from the linear temporal unfolding of metahistory to the nonlinear spatial unfolding of meta-interfaciality.

51. It ’ s impossible then to avoid the comparison with Ž i ž ek ’ s well-worn reading of John Carpenter ’ s science-fiction film They Live (1988) in which certain characters can, by wearing special ideology-filtering Ray-Bans, perceive that Earth (or Los Angeles, at least) is controlled by skinless reptile aliens and that humans live in a state of somnambulant delirium. See, for one example, Slavoj Ž i ž ek, “ Through the Glasses Darkly, ” In These Times, October 29, 2008, http://inthesetimes. com/article/3976/through\_the\_glasses\_darkly. Regarding AR then, the wearing of glasses instead of allowing us to wake from “ false consciousness ” allows users to choose which subscription hallucination they prefer. After Ž i ž ek, we might say, “ Yes, AR looks as if people are strapping ideological reductions onto their face, but don ’ t be fooled; they really are. ”

52. It is said that at the end of the rainbow, there is a pot of gold. Where that end is, however, poses a problem, since it is different for every observer. The rainbow is actually a distorted virtual image of the sun. Nevertheless, it looks like a real object. Could it be that similar distortions apply to other “ real ” objects? Otto E. Rossler and Peter Weibel, “ Our Rainbow World, ” in The World from Within — Endo and Nano: Ars Electronica 92, ed. Karl Gerbel and Katharina Gs ö llpointner (Vienna: PVS Verleger, 1992). Also republished in Peter Weibel, ed., Olafur Eliasson: Surroundings Surrounded — Essays on Space and Science (Cambridge, MA: MIT Press, 2001), 504.

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53. See Kietchi Matsuda ’ s cinematic visualizations of AR ’ s cinematic visualization of everyday habits/habitats, Augmented Kitchen and Augmented City: “ Augmented (hyper)Reality: Augmented City, ” http://www.keiichimatsuda.com/augmentedcity.php.

54. Ingress, https://www.ingress.com/.

55. Terrorism ’ s symbolic economy not only seeks out targets with some meaningful and representative value, but in doing so, it also imbues certain sites with symbolic currency through the act of design violence itself. Game scenarios like Ingress validate the insight that indeed “ everywhere is a target, and everywhere is symbolic. ” See also Sam Jacob ’ s essay in Domus, http:// www.domusweb.it/en/op-ed/everywhere-is-a-target-everywhere-is-symbolic/.

56. The age of television, the Apollo program, and baby boomers brought us Scientology, Esalen, and televangelism. What bizarre new theological regimes will AR bring?

57. See my “ On Geoscapes and Google Caliphate: Except #Mumbai, ” Theory, Culture and Society   
26 (2009): 329 – 342.

58. The other “ smart mob ” of nonstate actors in the Mumbai attacks were those trapped by the chaos and carnage in hotel rooms, closets, caf é s, and whatever other refuge they could find. The only lifeline available to many was their mobile handset, and in the crisis, they put these to use to coordinate their defense and flight. As events unfolded, I sat in my office in California watching the #Mumbai Twitter feed chronicling real-time first-person reports of what was happening: “ hospital update: shots still being fired, ” “ also Metro cinema next door, ” “ blood needed at JJ hospital. ” “ We ’ re in Ruggate Cafe, where should we go? ” Mainstream media outlets were left flat-footed, their anchors just repeating both fact and rumor from these feeds on air and in print. Interestingly the US military almost predicted this. The army issued a report the month before warning that “ al-Qaeda-like ” terrorists might use Twitter to coordinate an attack. Instead Twitter became a way to mobilize a response to terrorist violence (reconnaissance, situational awareness, logistics) by civilians. This telematic stigmergy was most definitely not included in use cases that Twitter concocted in advance of their launch, but is as instructive a political, urban, geographic “ accidental ” technology as Lashkar-e-Taiba ’ s appropriation of Google Earth, satellite phones, and GPS.

59. In his short story “ Maneki Neko, ” Bruce Sterling describes the everyday world of a Japanese “ entity ” that might be described as the mixture of a cell-phone-based AR game, an omniscient artificial intelligence, a karmic futures market, and a disruptive new cult theology: navigation, software, religion. Bruce Sterling, “ Maneki Neko, ” Lightspeed Magazine, no. 11 (April 2011), http:// www.lightspeedmagazine.com/fiction/maneki-neko/. The flabbergasted Japanese-American cop trying to break up the ring chastises her captive: “ We computer cops have names for you kinds of people. Digital panarchies. Segmented, polycephalous, integrated influence networks. What about all these free goods and services you’re getting all this time? ” No reply. “ Do you pay taxes? ” No reply. She barks: “ Well, your network gift economy is undermining the lawful, governmentapproved, regulated economy! ” “ I ’ m just living my life, ” he sheepishly replies just as whatever it is steers a superswarm of mayhem down on the cops, strangers instructed to mob their escape routes, automatic doors closing, phones and elevators inexplicably going dead. The whole digital world it seems is accessible to this unnamed sentient agency to decide and keep benevolent order, instructing strangers to deliver precise gifts to each other at just the right moment or foil dumbfounded IT security police.

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In a blog entry about iTACITUS Reality Filtering, a European Union – commissioned, intelligent tourism project that provides a smart-phone-based AR narrative to many of Europe ’ s key heritage sites, Sterling posts, “ Fantastic to see history made so atemporally flexible, eh? Since it ’ s necessary to get cynical ( ‘ Always Look at the Underside First ’ ) let ’ s get cynical about this technology and it ’ s trajectory. This ‘ true glimpse ’ of history won ’ t sell well, compared to Disneyfied ‘ untrue glimpses. ’ Wherever there is ‘ Intelligent Tourism, ’ brutal, vulgar and stupid tourism follows fast on its heels! Soon we ’ ll have some theme park Creationist Augmented Reality, where you can visit the Grand Canyon and see pre-Noachian people pan-frying trilobites and riding dinosaurs. ” See Sterling ’ s post, “ Augmented Reality and Atemporality, ” Wired, August 15, 2009, http://www.wired.com/2009/08/augmented-reality-and-atemporality/.

60. The App has received considerable mainstream press. See Amy O ’ Leary, “ In the Beginning Was the Word; Now the Word Is on an App, ” New York Times, http://www.nytimes.com/2013/ 07/27/technology/the-faithful-embrace-youversion-a-bible-app.html?hp, and Nir Eyal, “ This Mobile App Is Already on 100 Million Devices But Its Goal Isn ’ t to Make Money, ” Quartz, July 25, 2013, http://qz.com/107969/this-mobile-app-is-already-on-100-million-devices-but-its-goal-isnt -to-make-money/.

61. Regardless of the computational architecture of The Stack, geoscapes do not in principle require anything like modern interfaces to organize geographical antagonisms. Surely maps are already precomputational interfaces that conceived a world image and world space striated by longitude and latitude possible for their sacred and secular imperium, and which by their notation indexed what spaces were full and which were empty, and how to get there from here. In the latent theological imperative of AR, are nothing so much as late medieval afterimages now ported to the optical technologies of artificial interfacial vision?

62. This public, huddled around their transistor radios, is not so unlike the bourgeois family huddled around the radio in May Fools, Louis Malle ’ s 1990 film about May ’ 68, or the thousands of soixante-huitards in the streets of Paris listening to broadcasts from Radio Luxembourg at the beginning of May, and then to de Gaulle, once more, on television at the beginning of June. May Fools (directed by Louis Malle, Pyramide Distribution, 1990).

63. In one key scene, a little boy commandeers the French army ’ s public address system to rally his beleaguered countrymen, assuming the mantle of the Voice of Fighting Algeria, as the VFA commandeered the narrative of democratic self-determination.

64. Frantz Fanon, A Dying Colonialism (New York: Grove Press, 1967), 84 – 88.

65. The modeling of “ persuasive interfaces ” has been a particularly successful form of interaction design consulting (in financial terms) promising to train Users and consumers away from undesirable actions (eating too much) and toward desirable ones (buying stuff). Far too many evangelize this research area with a startling lack of self-awareness and appropriate scope. In many cases (surely not all), the conclusions on offer may resemble, to the untrained eye, plain-old behavioralist microeconomics with all its shallow psychologisms intact, now dressed up in the millennial business jargon 2.0 of digital self-actualization.

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66. “ In mid-2014, the group released a video entitled ‘ The End of Sykes-Picot ’ featuring an English-speaking Chilean national named Abu Safiyya. The video announced the group ’ s intention to eliminate all modern borders between Islamic Middle Eastern countries; this was a reference to the borders set by the Sykes-Picot Agreement during World War I. ” See Global Islamic Media Front (GIMF), Wikipedia, October 4, 2014, http://en.wikipedia.org/wiki/Global\_Islamic\_Media \_Front\_(GIMF).

67. This is so even if those narratives are actually based on the postnarrative aesthetics of databases, as developed, for example, in Hiroki Azuma, Otaku: Japan ’ s Database Animals (Minneapolis: University of Minnesota Press, 2009).

68. These examples chosen should in no way be taken to imply a unique association between Islam and the sort of politico-theologic violence described. Certainly any variant of Abrahamic monotheism could offer up case studies for us. There are other research projects that examine the relationship between Islam and the GUIs that are much more rigorous than my scans of convenience. For example, Laura Marks ’ s work on Islam and interfaces is instructive of the specific relationship between Islamic modes of art and inscription and the nested swirls of intra-signification in GUIs. See her Enfoldment and Infinity: An Islamic Genealogy of New Media Art (Cambridge, MA: MIT Press, 2010). Construed in the context of this essay, it would suggest that the Islamist activation of the interfacial image as a geo-graphic medium is less a modern appropriation than a historical continuity of formal visual syntax “ in which image, information, and the infinite interact: image is an interface to information, and information (such as computer code or the words of the Qur ’ an) is an interface to the infinite. ” She writes, “ An aniconic turn is stirring the contemporary visual and media arts. Less and less is present to perception; more and more is latent, in quiet surfaces that seem to be ‘ hiding something in the image. ’ The latent image waits to be ‘ unfolded, ’ either subjectively, by the viewer, or by the force of its interior logic. Figural images are increasingly being subordinated to information, performativity, communication, and other relatively nonvisual contents. This contemporary aniconic tendency, a general movement in the arts of information societies, occurs particularly with computer-based art. One of the origins of this aniconic tendency in contemporary art is the influence of Islamic art and thought on Western modernism. Fascinating subject though it is, the Islamic genealogy of Western modernism is not my focus in the present essay. It does, however, inform my claim here that the parallels between tendencies in contemporary computer art and tendencies in classical Islamic art are not happenstance but the manifestation of historical connections. In turn, this Islamic genealogy of Western modernism should make it possible to examine contemporary computer-based art in light of the impressive variety of philosophical questions and aesthetic solutions found in the varied works of Islamic art of past centuries. ”

69. Consider by analogy the strange story of three schizophrenic patients who all believed themselves to be Jesus Christ and were placed in the same room to proclaim their divinity to one another. Milton Rokeach, The Three Christs of Ypsilanti: A Psychological Study (New York: Knopf, 1964).

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70. Is it curious that Google Earth and Maps, perhaps the most aggressively secular, pluralistic, universalizing cosmopolitan mapping technology realized to date, would serve at the center of this antisecular, antidemocratic politico-theological paroxysm? The attacks in Mumbai were, in the parlance of counterinsurgency, both irregular and asymmetrical. They were irregular in that the combatants were apparently armed civilian tourists rampaging through civilian spaces until the siege of uniformed men turned up, and asymmetrical in that the city (its buildings, its tourists, its state institutions) was assigned characterization by these armed tourists in a fight to which they did not know themselves enrolled. (Perhaps this is one social definition of terrorism: war fought against enemy-people who do not consider themselves enemy-combatants, and then as well largely against their architectural habitat as much as their persons.) Within this, the Mumbai event was an unwelcome innovation on more than one level. It was a highly coordinated but direct personal attack on the soft, leisurely substance of civil society more than on hard military or politically symbolic targets, looking more like what the Malay and Javanese call amuk (amok), than any Clausewitzian opposition of equals. Second, we see the strategic employment of locative social media and personal mapping technologies for the C3 (commandcontrol-communicate) project of mayhem. It is less Netwar (Samuel Weber ’ s term; such as the pulsing of logistics of a denial-of-service attacks on Estonia ’ s systems by Russian nationalists) than of a social/locative media-enabled swarming maneuver, both of and on the city engaged as itself a network of real and symbolic interfaces and here overrun by the capacities of real-time, collaborative situational awareness.

It precedes the Arab Spring and the Google doctrine by a few years, but it may represent a more essential lesson regarding the conjunction of mobile computing and urban spatial politics. A major source of unease (if not shock) for many in the liberal West was the souring of the Thomas Friedman-esque supposition that the cosmopolitan cognitive apparatus that is Google Earth must surely provide a world picture that is so open, objective, materialist, dialogic — and perhaps because so absent of visible human bodies that might invite contentious biopolitics — that it could not possibly be compatible, interoperable, instrumental with the closed, naturalist, idealist imagined collective geography of jihadist Islam. Isn ’ t Google Earth exemplary of all that makes the secular, technological pluralism of the West intolerable to fundamentalist institutions? It is a blank, purified vision of a planet somehow constructed as an objective integrated context onto and into which history might work, and simultaneously agnostic as to how anything arrives in its place or why. The jolt invited confused speculation about how “ a new reality ” in the spatial warfare of globalization had revealed itself: “ they ” are not immune to “ our ” most central terms and things because our modernity is also “ theirs. ” “ We do not control even what we control, ” goes the lament.

71. Many of the most impressive interfaces are seen in science-fiction movies where they play a starring role to draw out the contours of fictional worlds. The Los Angeles – based studio oooii has developed many of the best. See http://www.oooii.com. Earlier historical examples of “ future interfaces ” can be found at the blog Paleofuture. The shift seen here in pop futurist media from pulp stories and architectural drawings to corporate-funded users from tomorrow is telling in and of itself. In the early 1990s, I wrote about a particularly cringe-worthy video, Connections: AT & T ’ s Vision of the Future, a story about how videoconferencing, fashion avatars, reversed-translation software, and holographic visualization will provide for so many good things: finding a good spouse, resolving intergenerational conflicts, not to mention architectural preservation. More recent examples focus on future health care, placing more attention on the soft pastel palettes and extra-light typefaces to suggest a world in which better UI is part of a safe, affluent lifestyle, and a central focus for domestic interior design. Health care is remade as a project of constant real-time self-regard and expert information management. Here the principal promise and achievement of the interfacial regime is to seal the biological habitat, policing risk and disorder with graceful gestures and visualizations. For a useful index, see Nelson Shedroff and Christopher Noessel, Make It So: Interaction Design Lessons from Science Fiction (Brooklyn, NY: Rosenfeld Media, 2012).

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72. For a particularly beautiful example of a projective augmented reality dreamworld-interfacegeography, see Factory Fifteen, “ GOLDEN AGE — SOMEWHERE, ” http://www.factoryfifteen .com/7936/152396/home/golden-age-somewhere.

The process by which software comes to configure User cognition is familiar to anyone who has taken the time to learn a particularly difficult application, but the principle holds for everyday tools as well. An architecture student who is struggling to learn Maya will be frustrated by the disconnect between her idea and her ability to realize that idea with the application ’ s powerful but confusing GUI. Over time, however, she begins to internalize the logics of geometry, force, distortion, and iteration that underlie the software. Rotation and manipulation of virtual forms become increasingly habitual. Instead of slowly translating between idea, hand movement, and on-screen outcome, the feedback cycle becomes faster and more intuitive. She is internalizing the cognitive schema of the program, which is now not only expressing her ideas more fluidly; it has begun to inform that ideation process in the first place. As she becomes a more expert User, she will learn to “ think ” in Maya and use the application not just to output her original inspirations but as a collaborator in the design of forms that are possible only once the different abilities of her creative and interpretive intelligence and its machinic intelligence are correlated. That correlation entails a process of forgetting — of forgetting the translation, the hand movements, the arbitrary qualities of how a GUI categorizes possible combinations of gestures made and scripts executed. The software is habituated, and the acumen that allows that software to generate capital for the User is itself a function of that habituation. As those habitations become more intense and widely shared — in this case, among a community of designers — the terms, vernaculars, limits, and liabilities of a software application also inform how the User-designer comes to see what the software is meant to simulate and describe — in this case, buildings and cities. One comes to look at cities as variations on what can and can ’ t be done with the tools one has habituated for the design of cities.

This is not meant as a criticism of creative ingenuity, rather a simple observation that there is no thinking that is not also topological and, for this, also technological. Software is not unique in this or excluded from it. In relation to Heidegger ’ s notion of “ equipment, ” we also observe that we, the Users, “ unforget ” that habituation when the technology breaks. Busted hardware or glitchy software draws our attention out of focused concentration and back to the strange mechanics of the apparatus, seeing it again a bit more as we did as a beginner. For any interfacial regime, the ambient field of interfaces made available to a User is a different kind of “ distribution of the sensible, ” one in which visual and tactical interfaces, both graphical and objective, constitute a habitat of possible applications with which one makes the world in the best way available.

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In this, intelligence is objectified in the permutations of action, interaction, calculation, visualization, interpretation, and power that arrange this arrangement. As we see, the Interface layer is not only the prism through which the User sees and accesses the other layers of The Stack; it is also the membrane throughout which the other layers, the Cloud layer in particular, observe and access the User.

User Layer

1. Michel Foucault and Michel Senellart, The Birth of Biopolitics: Lectures at the Colle ge de France,̀   
1978 – 79 (Basingstoke: Palgrave Macmillan, 2008).

2. Peter Watts, “ The Things, ” Clarkesworld Magazine, no. 40 (January 2010), http://clarkesworldmagazine.com/watts\_01\_10/.

3. “ The high road to thinking no longer passes through a deepening of human cognition, but rather through a becoming inhuman of cognition, a migration of cognition out into the emerging planetary technosentience reservoir, into dehumanized landscapes, emptied spaces where human culture will be dissolved. Just as the capitalist urbanization of labour abstracted it in a parallel escalation with technical machines, so will intelligence be transplanted into the purring data zones of new software worlds in order to be abstracted from an increasingly obsolescent anthropoid particularity. ” Nick Land, “ Circuitries, ” Pli: Warwick Journal of Philosophy, no. 4 (October 1992): 217 – 235.

4. Benedict Singleton, “ On Craft and Being Crafty ” (Ph.D. dissertation, Northumbria University,   
2014).   
5. David A. Mindell, Digital Apollo Human and Machine in Spaceflight (Cambridge, MA: MIT Press,   
2008).

6. In this regard, Alphonso Cuaron ’ s film Gravity (2013) can be read as a very liberal adaptation of Sloterdijk ’ s Spheres trilogy.

7. Singleton, “ On Craft and Being Crafty. ”

8. See the discussion of Wilfrid Sellars in Ray Brassier, “ Nominalism, Naturalism, and Materialism, ” and Jon Cogburn, “ Ray Brassier on Sellars (hat Tip Leon Niemoczynski), ” New APPS: Art, Politics, Philosophy, Science (blog), June 13, 2013, http://www.newappsblog.com/2013/06/ ray-brassier-on-sellars-hat-tip-leon-niemoczynsk.html.

9. Use case scenarios are translated into functional requirements for software and hardware systems according to the demands of informal user-centered design methods, often according to formal systems like UML (Unified Modeling Language) or IBM ’ s Rational.

10. Alan Cooper helped pioneer the use of use case personas for Internet-era GUI design in his The Inmates Are Running the Asylum: Why High Tech Products Drive Us Crazy and How to Restore the Sanity (Carmel, Indiana: SAMS Publishing, 1998).

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27. Scott F. Gilbert, Jan Sapp, and Alfred I. Tauber, “ A Symbiotic View of Life: We Have Never Been Individuals, ” Quarterly Review of Biology 87 (2012): 325 – 341, doi:10.1086/668166.

28. On the use of artificial intelligence to analyze large quantities of health data, see, for example, “ Lee Hood Group, ” Institute for Systems Biology, https://www.systemsbiology.org/hood-group.

29. Not so unlike the Earth-figure-cursor rotating its way around the panoramic territory of its own location, leaving a trail of data visualizations along its path in Exit visualizations for the Native Land exhibition, discussed below.

30. Gayatri Chakravorty Spivak, An Aesthetic Education in the Era of Globalization (Cambridge, MA: Harvard University Press, 2012).

31. A tweet from Xeni Jardin @xeni: “ Wondering if (when) a future Son of Sam will blame his evil deeds on a Fitbit he believed to be flashing murderous command prompts. ”

32. Two thoughts: “ I understand why Freud constructed his first psychology on the model of the electrostatisticians. I am not explaining Jules Verne by Freud; I am explaining Freud by the electricity of Verne. It’s so much more amusing, and what’s more, truer. Verne says the same thing. Verne says that it is the same thing to describe a condenser and to liberate its discharge as to translate a coded message into clear terms. Freud stated it, Verne had already recounted it. ” Serres, “ Jules Verne ” (1975); and “ We are taught that corporations have a soul, which is the most terrifying news in the world, ” Deleuze, “ Postscript on Societies of Control ” (1990).

33. Eduardo Mendieta, “ A Letter on Ü berhumanismus: Beyond Posthumanism and Transhumanism. ” in S loterdijk Now, ed. Stuart Elden (Cambridge: Polity Press, 2012).

34. Agamben, What Is an Apparatus?, 14.

35. Ibid, 15.

36. Ibid, 17.

37. Giorgio Agamben, The Open: Man and Animal (Stanford, CA: Stanford University Press, 2003).

38. The currency of mediated prosthesis in the 1960s was by no means limited to McLuhan. John McHale proposed an image of architecture as an assembly of prostheses for plural bodies and compound subjectivities that would, on local and global scales, extend their embodiments into the world into and against its expanded ecologies: “ It is not that social life deploys various technologies to sustain itself or that social life can be found within technological space. Rather, social life can only reside in prosthetic accessories. As McHale puts it, man is a social animal only through his extensions. ” John McHale, The Future of the Future (New York: Braziller, 1969). For McHale, modernity is itself a complex of prostheticizations, a global field in which the subjective agency of the human body is extended into a global “ house ” of communications media, transportation, architecture, medicine, ingestive imagery and instrumentality, and so on. It is both an amplification and a diversification of the organism and the species, “ a fundamental transformation of the morphological and social condition of humanity. ” “ The distinction between body and space soon collapses. In ecological terms, human flesh is but a transitional event in the the Next Wave of Networking, ” Wired.com, April 15, 2012, http://www.wired.com/2012/04/ going-with-the-flow-google/all/.

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