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This contribution examines the media history of swarm research and the significance of swarming techniques to current socio-technological processes. It explores how the procedures of swarm intelligence should be understood in relation to the concept of cultural techniques. This brings the concept into proximity with recent debates in posthuman (media) theory, animal studies and software studies. Swarms are conceptualized as zootechnologies that resist methods of analytical investigation. Synthetic swarms first emerged as operational collective structures by means of the reciprocal computerization of biology and biologization of computer science. In a recursive loop, swarms inspired agent-based modelling, which in turn provided biological researchers with enduring knowledge about dynamic collectives. This conglomerate led to the development of advanced, software-based ‘particle systems’. Swarm intelligence has become a fundamental cultural technique related to dynamic processes and an effective metaphor for the collaborative efforts of society.

This article examines the connecting lines between the Chilean Project Cybersyn’s interface design, the German Hochschule für Gestaltung Ulm and its cybernetically inspired approaches towards information design, and later developments in interaction design and the emerging field of Human–Computer Interaction in the USA. In particular, it first examines how early works of designers Tomàs Maldonado and Gui Bonsiepe on operative communication, that is, language-independent (and thus internationalizable) pictogram systems and visual grammars for computational systems, were intertwined with attempts to ground industrial design in a scientific methodology, to address an era of computing machines, and to develop the concept of the interface as a heuristic for a renovated design thinking. It thereby also reconstructs further historical vanishing lines—e.g. the pictorial grammar of Otto Neurath’s ISOTYPE—of the development of the ‘ulm model’ of design. Second, the article explores how an apprehension of first-order cybernetics in West Germany—e.g. represented by hfg ulm staff like Max Bense or Abraham Moles, merged with Cybersyn’s second-order cybernetics ideas, as represented by Stafford Beer’s Viable System Model. And third, it asks about a further conceptual turn regarding an understanding of design which resulted in a focus on communicative interaction, e.g. in the later works of Fernando Flores and Terry Winograd on HCI, or in Beer’s Team Syntegrity approach. As an effect, the text will explore a specific and international network of cybernetic thinking between Latin America, Europe, and North America which emerged around Project Cybersyn, and which was occupied with questions of HCI, a democratization of design, and intelligence amplification.

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The Squaring of the Bermuda Triangle. In the course of the great success of theory programs and the funding of young researchers within media studies and the history of science over the past 15 years, a generation of scholars has emerged (including the authors of this article) who have been genuinely trained in approaching interdisciplinary problems and objects. However, in view of a recently increasing renaissance of scientific ‘disciplines’, this raises the question of how to deal with such an innate lack of discipline in the future. We respond here with two personal scenes that are by no means intended as a self‐adulation of our own research approaches, but as pleas for a continued multi‐voicedness between the history of science, media studies, the history of technology, and other interdisciplinary (non‐)disciplines.

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