Isabel Löfgren 118 Within media and communication studies, Jussi Parikka (2016) situates these practices in the field of media archaeology, which, in his view, employs a set of “traveling con- cepts” and methodologies that traverse media studies, film, art history, the history of technology and sciences, surpassing the repetitively exhausted repertoire of semiotics and content and discourse analysis. The assemblages resulting from these constellations form a complex aesthetic field, which also organizes itself politically. For this purpose, I propose a decolonizing car- tography that retraces the map of these shifting territories. A productive approach involves exploring cartographic practic- es, visualizations, and “operative images” (Parikka, 2023) that investigate other ways of viewing and mapping technological territorie W s. hat types of art or creative practices are making a dif- ference? Here, I draw from the field of contemporary art, as it is through the synthesis of ideas in direct public engagement that I find examples of clearer “terrestrial” mediatization. I highlight two examples of distinct sensibilities that express this political imagination in practice, aligning with strategies of resistance that are both investigative and creative. Example 1: Forensic Architecture Figure 8 – Forensic Architecture, Cloud Studies, 2022, Video (detail). Source: https://forensic-architecture.org/investigation/cloudstudies.
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