Betrothal and Betrayal: The Soviet Translation of Norbert Weiner's Early Cybernetics
Peters, Benjamin. "Betrothal and Betrayal: The Soviet Translation of Norbert Weiner's Early Cybernetics." International Journal of Communication, vol. 2., 2008.
Ben Peters' Work Blog
Instead of an Abstract
The only thing new about the idea of new media is the term itself, which suggests not only a need for reflection and revision of the terms at hand but, more importantly, a rethinking and re-plumbing of the historical tradition of media writing in light of enduring human interest in novelty. This rereading proposes novelty as a process of socially contingent change fit for historical study and challenges those most inclined to dismiss contemporary new media (i.e. usually digital media) discussion as an opportunity to critically reassess the present vocabulary of media, politics, and policy, as well as reassert the relevance the historian has in the present. Too concerned with claims that new media is now and history is past, media scholars can overlook the counter-intuitive corollary, that the concept of new media is ancient and history writing is now. By claiming that most media historians are already, if still unconsciously, new media historians grappling with media understood as emerging, socially unsure phenomena, this call to a new media history attempts to do just what new media tend to do: make present what was already there but never noticed. Novelty helps the historian re-imagine her own enterprise.
Introductory Comments
Few media historians will be surprised by the assertion that the history of new media is conceptually underdeveloped. Concerns about the problems new media cause history writing are common and well placed: we can and, I think, should interrogate questions of the integrity and sufficiency of the record preserved by digital databases or of the shapes and specters that algorithmic search imposes on other conventions of human discovery and research method. New media matter in many senses. This essay, however, focuses less on how new media bear on history writing structurally than on how historians write and think about new media conceptually. Instead of looking to enumerate the problems new media cause for media history, I intend to ask, What does the problem of new media solve for media history? I suggest that a historically reinvigorated sense of the term new media may help dull the axes historians have to grind with the wash of attention the term is receiving in contemporary scholarship and the press.
It is a running joke among the students in my doctoral program that landing the ideal position—in industry and university alike—will no doubt depend on our working the term new media into the elevator pitch of our scholarly interests. This joke, like most, is an uncomfortable half-truth. Those already working on the subject smile and nod knowingly; while those less inclined to study computer-mediated communication alternate between giggling nervously and outright grumbling. The mistake, I believe, lies not with those interested in new media but in our shared failure of historical imagination. With a little conceptual attuning, the term new mediamedia history as it does for new media contains rich and fertile seeds for rethinking the whole enterprise of media history—in its strong sense, the idea of new media belong primarily to the province of media history. Media historians should be seizing upon, if not celebrating and certainly not begrudging, our recent discovery of new media. Moreover, a historical rethinking of new media not only offers a rich topic for media historians but helps reinvigorate, elongate, and reconceptualize the enterprise of media history itself. The idea of novelty does as much for a new history.
But before any proposal of what the problem solves a clearer discussion of the very conceptual problem of new media may be in order. The term new media is a problem for both the present- and historically-minded. It is a very recent term, historically speaking—and so much the worse for sound historiography. The Oxford English Dictionary attributes the first use of the term new media history to that master wordsmith and showman, Marshall McLuhan in a 1960 issue of the Journal of Economic History. To quote in full, he writes: “The decision maker who must deal with globally gathered information, moved at electronic speeds, is impelled to acquire a more interrelated and overall type of knowledge concerning the operations in which he is involved. The new media, in management that is to say, have been directly responsible for the rise of management training centers.”
McLuhan’s original invocation of the term avails itself to many of the complaints one may be inclined to leverage against new media studies: we might ask, What is McLuhan’s awkward qualifier “in management that is to say” doing in the first recorded use of the term? Does he mean to locate new media incidentally or importantly among the managerial classes that have dominated much of the digital media discussion since? In fact, as the rise of cyber law and cyber business in digital media debates can attest, we may do well to add to Elihu Katz’ famous observation that God gave television to the social sciences and film to the humanities the open puzzle, How did lawyers and economists get new media? (Have the historically-minded, like Esau, been stuck with a bad bargain of conceptual birthrights?)
Or we might note McLuhan’s coining associates new media with a technical, not historical, definition, which whose characteristics like “electronic information gathering” and a “global reach”—though novel at the time—seem almost thoroughly mundane now fifty years later. The increase of scale and degree is important but it is not new. New media today resides a more perplexed state now than the awkwardness that was its invocation: we define and use the English term almost singularly to mean electronic mass and peer-to-peer communication technologies. The word “new” has nothing to do with technical constitution. Talking as if it does, I fear, speeds the term and the work that relies on it toward conceptual obsolescence. Whether or not we admit it, most of new media studies as it is presently conducted today will be history in a fortnight. (New media scholars in general may as well start talking as if that were true; and refitting the vocabulary to the problem of temporal passage does not seem a bad starting point.)
It happens even to the best among us: consider Roger Silverstone’s otherwise compelling introductory remarks in the 1999 inaugural issue of the journal New Media & Society. In response to the question “what’s new about new media,” he writes “the new is new. The technologies that have emerged in recent years, principally but not exclusively digital technologies, are new. They do new things. They give us new powers. They create new consequence for us as human beings. They bend minds. They transform institutions. They liberate. They oppress…. Novelty,” Silverstone observes, “is, at this point, our problem.”[1] Of course, Silverstone’s flourish is part and importantly right: digital media do these things, and there is an undeniable urgency to study contemporary digital media. We are awash in them (Gitlin 2003). But five years later in her 2004 introduction to New Media & Society, Leah Leivrouw responds to the prompt “what’s changed about new media,” with the following: “If there is a single difference between the ‘what’s new’ collection in 1999 and the present ‘what’s changed’ collection, it is that the earlier hesitation about the role and significance of new media has given way to much more confidence.” Later she continues “virtually every piece [in this journal] remarks on what might be called the ‘mainstreaming’ of new media.” The internet has become “banal” and “computer-mediated communication is ‘slouching toward the ordinary.’” In other words, what was new is no longer: the (digital) media identified as new in 1999 are already ordinary by 2004. In short, defining new media by a particular set of technologies makes the term obsolete very quickly, which cannot be good for either sustained debate or historical scrutiny. The first five years of the journal New Media & Society have perhaps unintentionally responded to Silverstone’s fine phrase: novelty is at all points of history—not only this one—our problem.
Not only is it a caveat that new media today may be ordinary tomorrow, it is a central insight to understanding a constantly change mediated world. Conceived historically, new media are as rich an object of study as the human interest in novelty is ancient. Moreover, since all media were new before they were old, the history of new media is older than the history of old media. This rather simple paradox attests to the longevity of new media history. For the historian, there may be no better ground on which to rest studies of media change and collision over time than the tectonic plate of novelty. Since what we think about the concept of novelty shifts much more slowly than what we think about the things we define as novel, steady traditions of new media history should be built on the former, not the latter.
That the new is important especially now is always true, and thus not enough. I propose only a shift in emphasis: that the new is important now is especially always true. Change is a rare constant. In other words, the basic instinct of the historian—that because change is constant, all things in the end are the same—is reaffirmed and, I think, vivified by a proper notion of novelty. As a conceptual linkage across media and social interpretations, it is ancient; as a matter of daily practice of history writing, novelty offers an opportunity for the historian to engage the present mediascape by emphasizing their own role in the writing the past in relationship to present interests. Future historians will thank us for our candor.
History is an engagement with, not an escape from, the present; with Benjamin we can note it reanimates the present with today’s version of the past. New media must be understood as (necessarily) historical phenomena especially if we are discussing the present because without history our perspective often lacks the capacity for comparative, self-checking, or sufficiently critical work. I add the reverse that past versions of the novelty can enliven our own sense of history as a kind of a negative check on the future. Taken at its best as a defensive maneuver, a strategy for defusing the powder kegs of prediction, history cannot teach us to avoid past mistakes, despite the aphorisms to the opposite: instead it carries warnings about the impossibility of certain prognostication as well as open treasure chests packed with uncertain insight into the past. Like a good statistician, a historian’s confidence interval—a measure of certain uncertainty, or knowing how little one knows—is her greatest tool. The ideas behind new media in history enable a fuller plumbing of the historical record and more inventive correlation, regression, and factor analysis of the variables of historical change. When set against the open admission of the historian’s positions, interests, and politics, there may be no better historical argument to make than the one that disables itself. Self-critical arguments—one’s that doubt the historian’s own modes and motives of inquiry—need not only come from a sense of historical humility; instead, self-disabling arguments may too result from a belief that our arguments today are in fact powerful and potent in ways we cannot yet imagine. We are all in need of caution that can be metaphorically creative.
[1] Silverstone, Roger. “What’s New about New Media.” New Media & Society 1:1, 1999.
[2] I also take some comfort that the substance of this thought can be read as a return, not a revolution of new media studies. After all, whatever the subsequent insecurities, McLuhan coined the term in a journal of economic history.
The genre of dissertation proposal is as tricky as it is essential. How one is possibly supposed to write about a topic unburdened by the actual research or analysis to sustain it befuddles me everyday—and still I have got to do it. The worse part of it all is that despite the pain it brings I have to admit that I find proposal writing horribly useful. Simple sentences bear forth their ideas better than complicated ones. Ignorance and intelligence, both, stick out when put simply. And a proposal is something like a simple sentence, a first utterance, a monosyllabic squawk. (Good writing and clear thinking return to a state of simplicity too, only with less squawk.)
With squawking in mind, consider the following five points on why Eastern Europe may bear interesting and useful overlap with the twentieth-century history of the idea of information.
1. The Soviets may have had their own Internet project as early as the American had ARPANET. How and who envisioned the earliest "unified information network," and under what guiding principles and politics could make a fascinating contribution to not only international Internet history but the cross-cultural origins of collectivist online culture.
2. The textbook story of the ARPANET, a distributed computer network, as essentially a defense strategy against single-strike Soviet missile attacks may be importantly wrong. Instead, as Ronda Hauben writes here, what-a-name James Killian, former MIT President and founder of ARPA, may have had a much more open research environment in mind, one with "centers of excellence" where failure was expected, positions were longterm and stable, and exploration of basic questions were encouraged. Here a fuller comparison of the ARPANET and its an open environment at the head of a closed military world could both harmony and dissonance in comparison with the research culture of Soviet society. The freedom to tinker trickled down from the top in both cases.
3. Soviet society, rich in censorship, lets us test the teeth of free speech (counterfactually, I suppose) while considering non-liberal models for the circulation of ideas and information. How people read the official newspaper Pravda, for instance, exemplifies tensions of interpretation latent but nonetheless in play in less censored societies. We all can make meaning out of formulas: when and where and how do formulas say more than their content? As the Russian phrase goes "v Pravda net pravdi, v Isbestii net investii," or "In Pravda [Truth] there is no truth, in Izbestii [News] there is no news." How transmission models fail--whether the propaganda mass media machine at the height of Stalin's terror or the free market economics of Internet libertarianism--fascinates me.
4. The LDS (Mormon) project to gather genealogical and Church records in a granite vault in the Rockies in the cold war 1960s bears the stamps of both timely and timeless conceptions of information preservation--literally, of how we attempt to save ourselves with information. Manned 14-ton, nuclear-blast resistant doors to this day guard the way to the belly of the earth as well as the way to correlate record-keeping with the heavens.
Not only did queueing theory—or the mathematical study of waiting in
lines that inspired packet-switching, the heart of Internet-style
distributed digital networks—resemble a Soviet way of life, it built
on the work of the early 20th century Russian mathematician Andrey
Markov (his last name means Carrot by the way). “Markov chains”
deal with stochastic, or probabilistic, processes for organizing event
sequences: they make thinkable instantaneous change across fixed
states in probabilistic systems and they precede Shannon's line "At
any given time either X = 0 or X = 1." Shannon, in turn, cites and
builds directly on Markov chains in his thesis work on electrical
modeling of information processes.
Even if it turns out the US military had the idea for a distributed computer
network first, the intellectual inheritance from and social resonance across
a spectrum of scientific fronts in Eastern Europe (Markov chains in
information theory, queueing theory, packet-switching, Kolmogorov’s
biology in Wiener’s cybernetics) already seems worth a story.