Climate, Capitalism, Control (Video by Ian Alan Paul)

Watch it here.
The work aims to diagram the conjunctive power of planetary-scale computation, commodification, and climate change, and begins with the following voice-over:

“Dispersed across the surface of Earth, computer clusters electronically hum in vast air-conditioned rooms.
One models sea level rises, precipitation rates, temperature increases, and property values in coastal metropolises
over the coming thousand years. Another runs simulations of various military strategies designed to respond to
the ensemble of armed insurgencies and mass migrations that are predicted to accompany expanding droughts
and crop failures. This cluster runs affect recognition algorithms on videos streamed from malls, schools, bridges,
beaches, cafes, prisons, subway cars, and stadiums in order to forecast the spatial distribution of criminal activity
in a bustling financial district. That cluster hosts a seemingly endless grid of lush virtual gardens that users
digitally water by periodically tapping on their phones while commuting to work. These clusters compete with one
another to mine cryptocurrencies while quantitatively speculating in weather derivatives markets. All of this silicone
only senses, analyzes, and simulates the planet in order to grow as a more total power over it.”

Over the duration of the ~30 minute project, a détourned montage of YouTube videos including data visualizations, drone recordings, defense industry promotions, corporate advertisements, news reports, Silicon Valley product demonstrations, protest documentary, and machine learning research is swiped through in order to visually survey the technical, political, and aesthetic dimensions that compose our disastrous present. Voice-over narration is algorithmically performed by the synthetic voices of Google’s WaveNet deep neural network, and a soundtrack is streamed on an Amazon Alexa.
Inspired and informed by diverse revolts, militant research, and contemporary anarchist and communist thought, the project aims to explicate the entangled operations of climate, capitalism, and control as well as to speculatively propose methods of bringing about their eventual undoing. In addition to its formalization as a video essay, “Climate, Capitalism, Control” is also presented as a standalone text which can be read as well as downloaded as a pdf here:

Following its online release, I will also be organizing exhibitions and screenings of the work in the year ahead. Please don’t hesitate to let me know if you are interested in showing “Climate, Capitalism, Control” or if you know of potential events, venues, or curators that you think I should reach out to. Thank you for taking the time to read this far, and I hope that you find the project meaningful and worthwhile.

All of the best,

           ~Ian Alan Paul

Moving Borders

Debating and Defining Borders: Philosophical and Theoretical Perspectives, 1st Edition (Hardback) book cover

This book brings together insights from border scholars and philosophers to ask how we are to define and understand concepts of borders today. Borders have a defining role in contemporary societies. Take, for example, the 2016 US election and the UK Brexit referendum, and subsequent debate, where the rhetoric and symbolism of border controls proved fundamental to the outcomes. However, borders are also becoming ever more multifaceted and complex, representing intersections of political, economical, social, and cultural interests.

For some, borders are tangible, situated in time and place; for others, the nature of borders can be abstracted and discussed in general terms. By discussing borders philosophically and theoretically, this edited collection tackles head on the most defi ning and challenging questions within the fi eld of border studies regarding the defi nition of its very object of study. Part 1 of the book consists of theoretical contributions from border scholars, Part 2 takes a philosophical approach, and Part 3 brings together chapters where philosophy and border studies are directly related.

Borders intersect with the key issues of our time, from migration, climate change vulnerability, terror, globalization, inequality, and nationalism, to intertwining questions of culture, identity, ideology, and religion. This book will be of interest to those studying in these fields, and most especially to researchers of border studies and philosophy.

Buy here.

Read my chapter here.

Moving Borders

This chapter introduces a new process or movement-oriented “kinopo- litical” methodology for studying borders. In this I would like to argue against two common assumptions about how borders work: Borders are static, and borders keep people out. My argument takes the form of three interlocking theses about borders: (1) borders are in motion, (2) the main function of borders is not to stop movement, but to circulate it; (3) borders are tools of primitive accumulation. These three theses are then followed by a brief concrete example to illustrate them. These theses have major implications re-theorizing borders today, as I have shown elsewhere at length (Nail, 2016).
It is more important to study borders today than ever before. At the turn of the twenty-first century, there were more migrants than ever before in recorded history (10M, 2010; WHO, 2015) .2 Today, there are over one bil- lion migrants (UNDP, 2009, 21).3 Migration has risen by nearly 50 percent since the turn of the twenty-first century, and more than 56,000 migrants have died or gone missing worldwide over the last four years (Hinnant and Janssen, 2018). More than ever, it is becoming necessary for people to migrate due to environmental, economic, and political instability. In par- ticular, climate change may even double international migration over the next 40 years (IOM, 2009).4 What is more, the percentage of total migrants who are nonstatus or undocumented is also increasing, thus posing a seri- ous challenge to liberal democracies premised on universal equality (see Cole, 2000).5

In order to manage and control this rising global mobility, the world is becoming more bordered than ever before. In just the past 20 years, but particularly since the terrorist attacks of 11 September 2001 on the United States, and more recently the war in Syria, hundreds of new borders have emerged around the world: miles of new razor-wire fences and concrete security walls, numerous offshore detention centers, biometric passport databases, and security checkpoints in schools, at airports, and along vari- ous roadways across the world. All make manifest what has always been the true strategy of global capitalism and colonialism: to steal the world’s wealth and lock out the poor. “Europe has invaded all peoples; all peoples are com- ing to Europe in their turn” (Latour, 2018).

The recent rise in right-wing nationalism and xenophobia in the West is precisely a reaction to the so-called “migration invasion.” Borders are the new weapons being used to continue a war against the rest of the world. This is the context and importance of rethinking borders today…

Read the rest here.




Migrant Climate in the Kinocene

Image result for climate change migration

Andrew Baldwin, Christiane Fröhlich & Delf Rothe have just edited a wonderful  special issue of Mobilities on “Anthropocene Mobilities” Here.

You can read my contribution here [free] or at MOBILITIES 2019, VOL. 14, NO. 3, 375–380.

In this intervention, I put forward five short theses on the topic of ‘Anthropocene mobilities.’ My aim is not to unpack every concept con- tained herein but rather to provide a provocative introductory synthesis of five big ideas about Anthropocene mobility for further discussion. 1) We are living in the Kinocene, 2) The ontology of our time is an ontology of motion, 3) We need a new movement-oriented political theory to grapple better with the mobile events of our time. We need a kinopolitics, 4) Climate change is a weapon of primitive accumulation. 5) The Kinocene presents us with the danger of new forms of domination (a new coloni- alism, a new climate capitalism, new states, and new borders) but also with the opportunity for a new revolutionary sequence.


We are living in the Kinocene
We live in an age of movement. I mean this in the directly materialist sense, in which huge amounts of materials are now in wide circulation around the globe. There are more humans, circulating and consuming more large, cultivated animals and calorie-yielding plants than ever before. Life is one of the most efficient maximizers of entropy on Earth, and humans have increased their entropic impact by further burning fossil fuels, overproducing nitrogen fertilizers, removing forests, and increasing net carbon dioxide levels in the atmosphere. Portions of the planet are literally moving more quickly and more unevenly – around axes of gender, race, and class.
The widespread use of global transportation technology also means that more people and things are on the move on the surface of the Earth than ever before. The Earth is becoming so mobile that even its glaciers are on the move. Karl Marx was not thinking of receding glaciers, but I think it is safe to say that ‘all that was solid is today literally melting into air’ – as carbon dioxide. Mobility is not something happening to just humans: more than half the world’s plant and animal species are also on the move.
This movement as a whole, and not merely the geological impact of humans alone on a layer of strata, is why I think the Anthropocene and the Capitalocene are only subcategories of a much larger kinetic transformation of the Earth currently underway. Humans might have initiated this increase in movement (and capitalism certainly hastened it), but now the whole planet is produ- cing positive feedback cycles (carbon cycles, nitrogen cycles, etc.) that have lives of their own, whose mobility needs to be acknowledged.

Although the term ‘Anthropocene’ will likely stay with us as a productive term of contestation, it has a rather paradoxical meaning. The Anthropocene means not only that humans are parts of larger entangled geological and planetary processes but also that the use of the term ‘anthropos’ suggests that humans are somehow distinct enough from those processes to have their own special epoch. This is why Donna Haraway prefers the unwieldy term ‘Chthulucene,’ to describe the tentacular entanglement of all Earth’s processes with one another – thus partially undermining the very idea that there can be a sole independent cause of an epoch (Haraway 2016).

The Earth and all its processes (including humans) always have been in motion and entangled, so, historically, we are dealing with a matter of degree. However, I do think we can say that today more minerals (including those inside human bodies) are in circulation on the surface of the Earth than ever before. We thus are witnessing one of the most mobile geological strata of Earth’s history: the Kinocene…

Read the rest here.

The Migrant Image


How can we think of art history as a discipline that moves process-based, performative, and cultural migratory movement to the center of its theoretical and methodical analyses?

With contributions from internationally renowned experts, this manual, for the first time, provides answers as to what consequences the interaction of migration and globalization has on research in the field of the science of art, on curatory practice, and on artistic production and theory. The objective of this multi-vocal anthology is to open up an interdisciplinary discourse surrounding the increased focus on the phenomenon of migration in art history.

Buy here and here.

Here is an extract from my contribution to the collection.

You can read the full chapter here: “The Migrant Image.” in Handbook of Art and Global Migration, ed. Burcu Dogramaci and Birgit Mersmann (De Gruyter Press, 2019); 54-69.

Migrant aesthetics
The mobile image and the centrality of the migrant mark a new period in aesthetics. The digital image is not only mobile by virtue of its form but by the mobility of its content and author. Some of the most shared and viewed images of the past few years have been digital images of migrants, refugees, and the conditions of their travels, and even their death. The image of Alan Kurdi, the dead Syrian 3-year-old is now one of the most influential images of all time. The popular media has been saturated with migrant images and has thus been confronted in a new and dramatic way with the visible lives and deaths of migrants.

Furthermore, the widespread access to cell phones with digital cameras has also made it possible for migrants and refugees themselves to generate more images of their own movement and experience than ever before. The itinerant, grainy, handheld, and “poor” images of migrant cell phone cameras have become their own film genera: the “wretched of the screen” (Steyerl 2013). In these videos migrants are not silent victims but creators of new aesthetic forms, “an imperfect cinema” (Espinosa 1979) as demonstrated in Elke Sasse’s 2016 film #MyEscape.

Cell phones have also become literal lifelines for migrants to obtain travel information in isolated areas, to share videos, sounds and images with friends, family, and authorities. The digital visua l and sonic images produced by migrants have become the material basis of the aesthetic threads that hold together numerous committees across borders, not just refugees. Although it is most obvious in the case of refugees, these are the same aesthetic lifel ines that make possible sustained social and informational communities around the world. The migrancy of the digital image is what allows for community in a world of global migration, continuous mobility, and displacement. What would global migration look like without without the migrancy of the image and the images of the migrant,

The migrant image thus marks the limits of the previous century and the outline of a new one defined by the mobility and migration of the image. This requires a new approach both to the politics of migration and the aesthetics of the image. However, the advent of the present is never limited to the present alone. Now that our present has emerged, it has become possible in a way it was not before to inquire into the conditions of its emergence and discover something new about the nature and history of art. in other words, the present reveals something new about the nature of sensation and what it must at least be like so as to be capable of being defined by the primacy of motion and mobility as it is. At no point in history has the image ever been anywhere near as mobile as it is today in the digital image.

So, what does this say about the nature of the image such that it is capable of this mobility? lf the image is defined by the primacy of mobility today yet existing theories of it are not, then we need a new conceptual framework. We need to produce such a new conceptual framework based on the primacy of motion to better understand contemporary sensation and aesthetics, as well as the historical events from which it emerges. in short, the rise of the mobile digital image draws our attention not so much to its radical novelty, but to a previously hidden dimension of all previous images throughout art history that can only now be seen (Hansen 2004; Hansen 2006; Manning 2012; Massumi 2007; Naukkarinen 2005; O’Sullivan 2001; Gregg/Seigworth 201 0).

The research program proposed by this chapter is therefore neither a theory of the migrant image that applies strictly to the novelty of the digital image nor an ahistorical theory of the image that applies forever and all time to all images and media. It offers a different approach…

The Migrant Image