[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: When contemplating modern art and aesthetics through models of in/compatibility, the motifs of noise and silence seem to emerge by default. One way to address the ”in/compatibility” theme, would be, then, to trace the roots of these motifs from both a historical and aesthetic-theoretical perspective.
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.
Abstract: In the field of artistic production made with technology, it seems increasingly difficult to establish valid criteria for analysis of the works than the degree of technological innovation. In contrast, the Flusser’s concepts of technical apparatus and player allow us to understand the artist as a programmer of abstract machines, which operates in the field of aesthetic issues of political, ethical and epistemological processes of technological mediation. Continue reading
Abstract: Anonymous is a model of collectivity that operates within the biopolitics of software and emerges at the intersection of human beings, affects and codes. It materializes the demand for “community without unity“ (Thacker) and inspires to (re)think the constitution of the social/political beyond a logic of antagonistic relation. By concentrating on Anonymous as a phenomenon that strives to escape representational logics and disciplinary borders I use it to question traditional research approaches and ask for a transversal perspective. Continue reading
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.
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.