[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
Abstract: This paper discusses the role of disconnection in network culture. I argue that disconnection is a principle according to which our network culture is formed. Drawing from the writings of Kittler, Massumi and Galloway I analyze the emergence and transformation of our network culture in the context of nuclear war and DDoS attacks.
Abstract: Digital landscapes become strangely uninhabitable for the viewer, highlighting a disturbing disconnect in the experience of a pixellated nature. Continue reading
Abstract: From Norbert Wiener‘s anti-aircraft predictor to Valie Export‘s ping pong and the game Pong the genesis of our contemporary use of „interactive“ computers is reconstructed as a development in which two traditions converge: Cybernetic feedback and digital computation yielding Feedback Machines. Therewith the problem of agency in interaction and the problem of symbolic representation converge as well. These problems may likewise support a critque of interfaces as instruments of control or an interpretation of interfaces as results of distributed agency.
Abstract: In order to move beyond the incompatibilities of noise’s empirical and abstract definitions, noise becomes affect. Its force can be felt across trans-disciplinary networks, consisting of both human and non-human components: noise, thought of this way, no longer belongs to the ear. Noise-as-affect is productive, and this productive potential has been readily explored in the arts.
Abstract: In order to expose the material aspects of audiovisual media, practitioners have attempted to avoid or disrupt the camera eye. This sort of blind optics entails images that are not produced by clear lenses, but rather result from celluloid film, electronic circuits and digital codification. Thus, it may bring to the surface the very processes of storage and transmission of vision.
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.