|Courbet, Gustave-The Painter's Studio; A Real Allegory (1855)|
|Museu de Arte de São Paulo (MASP), 1968.|
Designed by Lina Bo Bardi
Thus, the historical distinction between the digital and the non-digital becomes increasingly blurred, to the extent that to talk about the digital presupposes a disjuncture in our experience that makes less and less sense. Thus computation becomes spatial in its implementation, embedded within the environment and part of the texture of life itself which can be walked around, touched, manipulated and interacted with in a number of ways and means – life becomes mediated in and through the computal (Berry 2014b). Indeed, in a similar way in which the distinction between "being online" or "being offline" has become anachronistic, with our always-on smart phones and tablets and widespread wireless networking technologies, so too, perhaps, the term "digital" describes a world of the past.
Which is not to say that time is not an important aspect to computation in this post-digital world. The compressive effects of computation and the flattening metaphors and visual language of computation tend towards an encounter, maximised perhaps by its tendency toward spatiality, to transform time from a diachronic to a synchronic experience. Indeed, history itself may be re-presented through the screen through a number of computation functions and methods that make it seem geometric, flat and simultaneous. A sense of history is then a sense of real-time flows, not so much distant and elusive, whether as cultural or individual memory, but here and now, spectacular and vividly represented and re-presented. Time in this sense is the time of technical time, and the history attendant to it is technical history, presented through databases, code and algorithms.
Thus within a time of computational abundance we might think in relation to the question of the "post-digital", in as much as we are rapidly entering a moment when the difficulty will be found in encountering culture outside of digital media. Or perhaps the non-digital will largely be the preserve of the elite (by choice, education and wealth) or the very poor (by necessity). The detritus of society will be cast into the non-digital and the fading and ephemeral will be preserved within computational databanks only, if it is preserved at all. Indeed, even the non-digital becomes bound up in the preservation possibilities offered by the digital,
Non-digital media technologies... become post-digital when they are not simply nostalgically revived, but functionally repurposed in (often critical) relation to digital media technologies: zines that become anti- or non-blogs, vinyl as anti-CD, cassette tapes as anti-mp3, analog film as anti-video (Cramer 2013).
|Computal Surfaces: main stage for the|
Republican convention in Tampa, Fla (2012)
|Muffwiggler, Modular Synth Meetup,|
University of Sussex (2013).
|"Cuddlebot": low-tech touch/haptic sensing hardware (2013)|
 This post was inspired by attending "Muffwiggler" at the University of Sussex, Saturday 16 November 2013, organised by Andrew Duff, and funded by the Centre for Digital Material Culture. The event was notionally a homage to analogue synths, but in reality was colonised by digital/analogue hybrid synthesisers and controllers which were properly post-digital in both form and function. More information http://www.muffwiggler.com and http://www.flickr.com/photos/du_ff/sets/72157632801557258/
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