Abstract
Manuel De Landa begins War in the Age of Intelligent Machines (WAIM) with the useful construct of a “robot historian,” an entity “committed to tracing the various technological lineages that gave rise to their species” (3). Such a historian was not just interested in how a certain machine or robot came to be, but rather how that entity “affected human evolution” by giving logical and/or metaphoric systems by which humans came to understand both themselves and the world in general (3). As an example, De Landa discusses clockwork:
While a human historian might try to understand the way people assembled clockworks, motors, and other physical contraptions … a robot [historian] would stress the fact that when clockwork once represented the dominant technology on the planet, people imagined their world around them as a similar system of cogs and wheels. The solar system, for instance, was pictured right up until the nineteenth century as a clockwork mechanism. (3)
The robot historian of WAIM stops with the book’s publication in 1991 and, as such, just begins to touch on one the most important technologies to emerge from the twentieth century: the Internet. When writing this text, I pictured myself as one robot historian picking up where De Landa’s left off, instead focusing intensely on how the Internet, as a virtual and connective technology, has come to be the pervasive intellectual system of the twenty-first century.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
Manuel Castells’s Internet Galaxy and Lev Manovich’s The Language of New Media both provide very useful historical outlines of the Internet up to the point of their publications. Castells relies on Janet Abbate’s Inventing the Internet (MIT Press, 2000)
John Naughton’s A Brief History of the Future (Overlook, 2001).
I also use Johnny Ryan’s A History of the Internet and the Digital Future (New York: ReaktionBook, 2010) as well as
J. P. Moschovitis et al.’s History of the Internet: Chronology, 1843 to the Present (Denver: ABC-CLIO, 1999).
While I use the key McLuhan texts, The Medium Is the Massage (Random House, 1967) and Understanding Media (Sphere Books, 1967), my clearest comprehension of the concepts comes from an interview he did with Playboy in 1969, found in Understanding Me: Lectures and Interviews. (Toronto: McClelland & Stewart, 2003).
De Landa rightly notes that Deleuze uses “assemblage” in a number of different ways depending on whether he is writing by himself or with Guattari. Like De Landa, I use the Deleuze’s more “open” definition “while trying to capture the content of the second one through the distinction between the material and expressive components of an assemblage. Different assemblages have ‘control knobs’ of more or less homogeneity/heterogeneity: quantifying the degree of homo or hetero of the components, or the degree to which the assemblage’s identity is rigid or flexibly determined” in Manuel De Landa, Deleuze: History and Science (New York: Atropos Press, 2010), 72–73. This allows an assemblage to be more “full” (or “cancerous” or “empty”) than others, therefore expressing more or less unified or intense organism(s)-BwOs relationships.
Copyright information
© 2014 Aaron Tucker
About this chapter
Cite this chapter
Tucker, A. (2014). Introduction: The Robot Historian and the Internet. In: Interfacing with the Internet in Popular Cinema. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137386694_1
Download citation
DOI: https://doi.org/10.1057/9781137386694_1
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-48172-9
Online ISBN: 978-1-137-38669-4
eBook Packages: Palgrave Media & Culture CollectionLiterature, Cultural and Media Studies (R0)