World of the News

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World of the News - The world’s greatest peer-reviewed newspaper of in/compatible research – Press Release

LAUNCH: 01 Feb 2012. 17-18:00.
transmediale festival/Haus der Kulturen der Welt, Berlin.

World of the News – The world’s greatest peer-reviewed newspaper of in/compatible research presents cutting edge in/compatible research in an accessible FREE tabloid format. The newspaper partly addresses academia’s increasing demand for publication of academic peer-reviewed journal articles. Perhaps researchers need new visions of how to produce and consume research?

The content of the newspaper derives from a Ph.D. workshop and conference held in November 2011, at University of the Arts, Berlin (organised by Aarhus University in collaboration with transmediale/reSource for transmedial culture and the Vilém Flusser Archive). This provided an insight into current research from academics, practitioners, and Ph.D. researchers from an open call. Leading up to that event, and subsequent to it, a blog (this blog) has been gathering draft articles and discussions, reflecting on the key issues. This collaborative ‘peer-review’ process is further developed during the festival itself, on 01 February, 2012. So, although this may seem like old news in many ways, in terms of research practices, it breaks with some of the current academic conventions of peer-review, academic reputation, and what constitutes proper scholarly activity.

DOWNLOAD: http://darc.imv.au.dk/worldofthenewspaper.pdf
PUBLISHERS: transmediale/Digital Aesthetics Research Centre, Aarhus University
DESIGNERS: Manuel Bürger, Timm Häneke, Till Wiedeck
EDITORS: Geoff Cox & Christian Ulrik Andersen
CONTRIBUTORS: Christian Ulrik Andersen, Cesar Baio, Tatiana Bazzichelli, Zach Blas, Morten Breinbjerg, Geoff Cox, Lina Dokuzović, Jacob Gaboury, Kristoffer Gansing, Baruch Gottlieb, Jakob Jakobsen, Ioana Jucan, Dmytri Kleiner, Thomas Bjoernsten Kristensen, Magnus Lawrie, Giannina Lisitano, Aymeric Mansoux, Alex McLean, Rosa Menkman, Gabriel Menotti, Andrew Murphie, Jussi Parikka, Søren Pold, Morten Riis, Lasse Scherffig, Cornelia Sollfrank, Mathias Tarasiewicz, Tiziana Terranova, Marie Thompson, Nina Wenhart, Carolin Wiedemann, Siegfried Zielinski.

Further info:
http://darc.imv.au.dk/?p=2700
http://www.transmediale.de/content/launch-thematic-publication-world-news

Mal du Materiel: High Technology and its Shadow

ABSTRACT
The shadow of Human Nature is cast by its materiality, a materiality which now, as in antiquity, must be won by mechanical processes. These processes have been shrunk and disappeared into the hardware, but they still cast a shadow, which follows us around, calling us to seek out and explore their human industrial legacy. Here we may see the merciless Bataille-ian economy of excess of which we are an infinitesimal part, and address, with Flusser and Crichton, the justification for techno-ethics. Continue reading

Queer Viralities: On Technologies and Weapons of Queerness

Abstract
I will articulate what a queer viral politics could be by examining the overlappings,
differences, and irreducibilities of the virus (biological entity) and the viral (characteristics of the virus applied to other things). I will consider the virus/viral relation along two axes: 1) the dominant axis, from virus to viral based on replication and cryptography, 2) the imperceptible axis, based on thinking the virus as a diagram for an unrecognizable never-being-the-sameness. I will explore these axises in relation to the the art collective I founded, Queer Technologies. Continue reading

Artistic Technology Research

New Media Arts as “artistic research and development” between artistic, medial and techno-scientific discourses is research-based and practice-led. It does not produce “final products” but “process artefacts”. Through “empowering cultural artefacts” and through “enabling technologies” it becomes possible to integrate technological ideas into artistic practice without having to think about feasibility in the first place. “Artistic Technology Research” attempts to separate New Media Arts and Creative Industries to force a new profile of an artistic practice formerly known as New Media Arts.

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Computer Graphics and Object Orientation

Abstract: Beginning in the 1960s, the virtualization of the physical world marks an ontological shift in our relation to objects. This paper argues for the history of computer graphics as the reclamation or subjugation of material objects for the production of new object forms, suggesting that the visualization of data through computer graphics has transformed our engagement with information, producing object-oriented systems of networked interaction and object-driven interfaces.

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