I. ANT
Actor-network theory (ANT) is based on the idea that everything in the social and natural world exists in a constantly changing network of relationships, outside of which nothing can be said to exist independently (not even external forces). Because this network unfolds upon a flat ontological field, all objects, ideas, processes etc., are equally important in any given situation or relationship.
Problematically, for those who cling to the belief in human exceptionalism, ANT anticipates OOO (object-oriented ontology) in that it considers nonhuman actants on a par with human subjects within a network and should therefore be described in the same terms; this is called the principle of generalised symmetry. There are differences, for example, between people and inanimate objects, but the differences are generated within the system of relations and are nothing fundamental.
Whether this makes ANT a posthuman or an inhuman theory depends, I suppose, on one's perspective. But the key thing is that agency is located neither in human subjects nor in nonhuman objects, but, rather, in heterogeneous associations between them (and doesn't imply intentionality). Again, some critics find this objectionable on moral and/or political grounds.
ANT is sometimes described as a material-semiotic method, in that it maps relations that are both material (i.e., constructed between things) and semiotic (i.e., constructed between concepts). Anti-essentialist, ANT is more concerned with how things work, rather than with what things are, or why they exist (some might argue that ANT is so concerned merely to describe rather than explain, that it hardly even qualifies as a theory).
It was first developed in the early 1980s by French thinkers Michel Callon and Bruno Latour and drew on a wide range of intellectual resources from within philosophy, sociology, and science and technology studies. If it reflected many of the concerns found within poststructuralism, it was, at the same time, committed to a certain English model of empiricism.
As is often the way with fashionable new theories, ANT soon became popular as an analytic tool with scholars across a wide range of disciplines - cultural studies and literary criticism included - who developed it in their own manner to best suit their needs. This range of alternative approaches - some of which are incompatible - means that ANT is now difficult to define and often confused with other forms of situational analysis and process philosophy.
Indeed, I'm not sure it's very helpful (or even meaningful) to still talk about ANT and some early proponents are now critical of the term itself: network, for example, is perhaps almost as problematic as the term theory and has a number of undesirable connotations. Latour has jokingly suggested that it might have been more accurate to call ANT actant-rhizome ontology, though, as he points out, this isn't a name that trips off the tongue and lacks the sexy acronym.
Actor-network theory (ANT) is based on the idea that everything in the social and natural world exists in a constantly changing network of relationships, outside of which nothing can be said to exist independently (not even external forces). Because this network unfolds upon a flat ontological field, all objects, ideas, processes etc., are equally important in any given situation or relationship.
Problematically, for those who cling to the belief in human exceptionalism, ANT anticipates OOO (object-oriented ontology) in that it considers nonhuman actants on a par with human subjects within a network and should therefore be described in the same terms; this is called the principle of generalised symmetry. There are differences, for example, between people and inanimate objects, but the differences are generated within the system of relations and are nothing fundamental.
Whether this makes ANT a posthuman or an inhuman theory depends, I suppose, on one's perspective. But the key thing is that agency is located neither in human subjects nor in nonhuman objects, but, rather, in heterogeneous associations between them (and doesn't imply intentionality). Again, some critics find this objectionable on moral and/or political grounds.
ANT is sometimes described as a material-semiotic method, in that it maps relations that are both material (i.e., constructed between things) and semiotic (i.e., constructed between concepts). Anti-essentialist, ANT is more concerned with how things work, rather than with what things are, or why they exist (some might argue that ANT is so concerned merely to describe rather than explain, that it hardly even qualifies as a theory).
It was first developed in the early 1980s by French thinkers Michel Callon and Bruno Latour and drew on a wide range of intellectual resources from within philosophy, sociology, and science and technology studies. If it reflected many of the concerns found within poststructuralism, it was, at the same time, committed to a certain English model of empiricism.
As is often the way with fashionable new theories, ANT soon became popular as an analytic tool with scholars across a wide range of disciplines - cultural studies and literary criticism included - who developed it in their own manner to best suit their needs. This range of alternative approaches - some of which are incompatible - means that ANT is now difficult to define and often confused with other forms of situational analysis and process philosophy.
Indeed, I'm not sure it's very helpful (or even meaningful) to still talk about ANT and some early proponents are now critical of the term itself: network, for example, is perhaps almost as problematic as the term theory and has a number of undesirable connotations. Latour has jokingly suggested that it might have been more accurate to call ANT actant-rhizome ontology, though, as he points out, this isn't a name that trips off the tongue and lacks the sexy acronym.
II. Music
I have to admit, that whenever I hear the word ant, I think of Adam and Antmusic, rather than of Bruno Latour and actor-network theory: indeed, that's why I find the acronym ANT sexy, not because I'm a formicophile.
'Antmusic' was the third single released by Adam and the Ants from the LP Kings of the Wild Frontier (1980); an album that brilliantly captured the post-punk spirit of the times and which, as one critic says, uniquely walked a line "between campiness and art-house chutzpah" with bravado, swagger, and "gleeful self-aggrandizement".*
Although not as strong as the previous two singles - 'Kings of the Wild Frontier' and 'Dog Eat Dog' - 'Antmusic' should have been number one at the beginning of 1981 and the fact that it was held off the top spot by a re-release of John Lennon's 'Imagine' (after his murder in NYC) tells us something about the maudlin and mournful sentimentality of the record buying British public, that always prefers to look back, nostalgically, rather than try another flavour.
I have to admit, that whenever I hear the word ant, I think of Adam and Antmusic, rather than of Bruno Latour and actor-network theory: indeed, that's why I find the acronym ANT sexy, not because I'm a formicophile.
'Antmusic' was the third single released by Adam and the Ants from the LP Kings of the Wild Frontier (1980); an album that brilliantly captured the post-punk spirit of the times and which, as one critic says, uniquely walked a line "between campiness and art-house chutzpah" with bravado, swagger, and "gleeful self-aggrandizement".*
Although not as strong as the previous two singles - 'Kings of the Wild Frontier' and 'Dog Eat Dog' - 'Antmusic' should have been number one at the beginning of 1981 and the fact that it was held off the top spot by a re-release of John Lennon's 'Imagine' (after his murder in NYC) tells us something about the maudlin and mournful sentimentality of the record buying British public, that always prefers to look back, nostalgically, rather than try another flavour.
Notes
* Stephen Thomas Erlewine, Kings of the Wild Frontier, review on the music database Allmusic: click here.
Play: Adam and the Ants, Antmusic (Ant/Pirroni) single release from the album Kings of the Wild Frontier (CBS Records, 1980): click here. The music video was directed by Steve Barron.
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