World of the News

Featured

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

Incompatible PhD workshop

Featured

In the context of transmediale 2012, Digital Aesthetics Research Centre / Centre for Digital Urban Living (Aarhus University) offer a Ph.D. workshop in partnership with
transmediale reSource for transmedial culture and Vilém Flusser Archive.

Time/place: Nov. 16-18, 2012, Aula (1st floor), University of the Arts Berlin / Universität der Künste Berlin, Grunewaldstr. 2-5, 10823 Berlin.

The workshop addresses the theme of the transmediale festival (in/compatible) in a number of ways, primarily addressing incompatible interfaces, incompatible methods, and incompatible markets.

Prior to the workshop, selected participants will upload and comment papers openly on this blog. The outcome of the process will be published in a transmediale thematic publication and presented as part of the programme of the festival in 2012.

The actual workshop is restricted to PhD students. However an evening program at the Vilèm Flusser Archive is open to the public.

Financial Markets, Public Goods Institutions and Social Interfaces

Financial markets are today visible in stripped down forms. Beside (nevertheless) complex market interactions, efforts to restore confidence in the system are giving way to its fundamental restructuring. As the public mood grows more questioning, fault lines appear in relations between individuals and institutions. Public goods organizations seek to reflect and understand the questioning ethos. Corresponding to this, artists, hackers and activists use new processes to understand structures of contemporary global society, through social dimensions, for future public good. Continue reading

The Glitch Art Genre (From Artifact to Filter)

[This text is a paragraph from my upcoming notebook: "The Glitch Moment(um)" to be released by the Institute of Network Cultures on the 11th of November 2011.]

Abstract: As the popularization and cultivation of glitch artifacts is now spreading more widely, it is interesting to track the development of these processes and their consequences. One of these consequences is that we can consider glitch as an artistic genre. But what does saying ‘glitch is a genre’ actually say? Continue reading

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

Performing Measure: Endurance at the Interface Between Technology and Nature

This essay reflects on a possible relation between technology and nature today in light of a notion of endurance understood as a distinct form of sustainability. It employs the category of performance to theorize measure (the right measure) as aesthetic procedure and form of knowledge that has the potential to make the assumed technology-nature incompatibility productive. Such a concept of measure is grounded in a rethinking of rationality/reason along the lines drawn by Jacques Derrida. Continue reading

The Good, the Bad and the Ugly: the epic tale of copyright in network culture

With the rise of free culture and the reinforcement of intellectual property in the last decade, it is becoming a common practice for artists building upon or sampling existing sources, to check the legal validity of appropriating and merging external material. Using Sergio Leone’s ‘The Good, the Bad and the Ugly, I am speculating on the risks of underlying copyright laws that solely reward diligent and respectful legal artistic practices.
Continue reading

Speculative Archiving && Experimental Preservation of Media Art

Abstract:
A spectre is haunting Media Art – the spectre of digital decay. All the powers of old school archiving have entered into a holy alliance to exorcise this spectre: Academics and industry, Microsoft and Free Software, pirates and copyright law enforcers.
This research explores experimental and speculative approaches to archiving and preserving Media Art. As such I define artistic and academic theory-practices that dare to think beyond the confines of traditional strategies to see if and how they can contribute new aspects of dealing with failure, decay and obsolescence – in other words the everyday challenges of archiving and preservation.

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.

Continue reading