A possibly ill-advised idea for a presentation on computer music and posthumanism entitled “Computer Music and Posthumanism”.
I will introduce two flavors of posthumanism: critical posthumanism (CP) and speculative posthumanism (SP) and provide an overview of some of the ways in which they might be explored by thinking through philosophical issues raised by computer music practice.
CP questions the dualist modes of thinking that have traditionally assigned human subjects a privileged place within philosophical thought: for example, the distinction between the formative power of minds and subjects and the inertia of matter.
The use of computers to supplement human performance raises questions about where agency is ascribed. Is it always on the side of the human musician or can it also be ascribed also to the devices or software used to generate sound events? If so, what kind of status can be granted to such artificial agents? Does their agency locally supervene on human agency, for example? I will also argue that the intractability and complexity of some computer generated sound confronts us with the nonhuman, mind-independent reality of sonic events. It thus provides an aesthetic grounding for a posthumanist realism.
SP (by contrast) is a metaphysical possibility claim about technological successors to humans. It can be summed up in the SP Schema: “Descendants of current humans could cease to be human by virtue of a history of technical alteration” CP and SP are conceptually distinct but, I argue, the most radical form of SP converges with the anti-anthropocentrism of CP (Roden 2014). In particular, non-anthropologically bounded SP implies that the only way in which we can acquire substantive knowledge of posthumans is through making posthumans or becoming posthuman. I will argue that computer music development may have a role in this project of engineering a posthuman succession.
Roden, D. 2010b. “Sonic Art and the Nature of Sonic Events.” Review of Philosophy and Psychology 1 (1): 141–156.
Roden, D. 2012. “The Disconnection Thesis.” The Singularity Hypothesis: A Scientific and Philosophical Assessment, A. Eden, J. Søraker, J. Moor & E. Steinhart (eds), 281-298. London: Springer.
Roden, David. 2014. Posthuman Life: Philosophy at the Edge of the Human. Routledge.
Haven’t done this in a long while. I fired up my antique version of MAX MSP and Reaper and used my java based probabilistic sequencer jDelta (code here) to belt out this short improvisation. The sound is a marimba-like tuned percussion designed on the Native Instruments FM8 synthesizer. jDelta allows you to take a short seed sequence (here a repeated cluster chord) and graphically determine the probability of individual notes playing in the sequence, transpositions, velocity or tempo changes in real time using multislider objects. I then improvised a few ornaments over algorithmic variations induced on the seed phrase.
Relevance to posthuman performance practice: JDelta is just a sequencer that allows a certain global control over event probabilities. It assigns played note values to some arrays, then determines the probability of some output related to those values by imposing conditions on a random number output. A smarter program might (for example) use Bayesian statistics or neural networks rather than random numbers to fix the probabilities of an event relative to a given musical context (a little beyond my programming ability at the moment). While the program is not remotely smart, it mediates performance by allowing one to conceive the distribution of events in a graphical way, delegating how the events fall to the machine.
There’s a very interesting and instructive conversation between Daniel Rourke and new media artist Hito Steyerl at Rhizome. Reading Steyerl’s remarks on Renais’ and Marker’s migration from Celluloid to Web I imagined them evoking perplexity and amusement in cold degenerate matter storage long after the death of our sun.
There’s a very interesting discussion of the merits of Marxism and an Anarchist-Green politics set out in John Zerzan’s book Twilight of the Machines (which I’ll admit to downloading, not reading!) over at the (Dis)loyal Opposition to Modernity. As I understand from the gloss in the DOM post, Zerzan views technology as inherently alienating and destructive and proposes its relinquishment in the interest of human autonomy and the planet (this gloss may need nuancing, obviously!).
Unlike some technophilic left-liberals, I treat relinquishment as a serious moral response to the incompatibility of technical modernity and political transparency. This is because modern technological systems are post-geographic and post-cultural – that is, any invention or device can be replicated in multiple contexts with inherently unpredictable results on the rest of the system (think, for example, of the global impact of Tim Berners Lee’s invention of hypertext for cabal of physicists at CERN). If modern technological systems are inherently unpredictable, then they are inherently uncontrollable. So even if we replace capitalist forms of ownership with a more rational way of allocating resources we’ll still be “living on this thing like fleas on a cat” (to quote Dr Gaius Baltar,)
The only options to verminous status I can conceive are relinquishment or a kind of anti-technological theocracy that artificially restricts the dynamism of self-augmenting technological systems (SATS). Both solutions are arguably based on a self-defeating ideal of sovereignty or autonomy. As Martin Hägglund argues via Derrida, there is no decision without the spacing between now and then – meaning that we can’t live without chancing the worst. The Anarcho-Green is thus a wrong-headed, philosophically naïve death-obsessive but, as fantasies of self-immolation go, his a relatively intelligible one.