Programming abstract machines: the place of the artist facing mediation technology

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

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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Irrepresentable Collectivity?

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

(ping) pong. Feedback Machines between Computation and Control

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.

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Productive Parasites: Thinking of Noise as Affect

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.

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Blind Optics

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.

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Incompatible PhD workshop

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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.