Opening this Thursday! (12th November 2015, 18:00, Dortmunder U, Cinema, free admission) Welcome addresses, opening lecture (de) by Hans Ulrich Reck (Academy of Media Arts Cologne), film programme, part I: “Living Data” with works by Walter Koch, Ridley Scott, Norman Cowie, Emma Charles, Steffen Köhn, Jen Liu, introduction: Florian Wüst.
And this is just day one. Programme booklet (Programmheft): www.medienwerk-nrw.de/news/everystepyoutake
I’m on a panel with someone from the fantastic Peng!Collective on Sunday Nov 15, from 17.30-18.30, talking about my Hop 3 project currently on show here in Cologne, and how art & activism can go together.
On Saturday Nov 14, Holly Herndron will perform together with Mat Dryhurst in the context of the medienwerk.nrw conference “Every Step You Take” – Art and Society in the Data Age” , at Dortmunder U – Centre for Art and Creativity. Admission is free! Please RSVP here: email@example.com
Video: Holly Herndon/Metahaven (already a classic)
Und dann waren da die Medienkünstler, ihrerseits verblüffend unerschütterlich in ihrem Glauben, dass es menschenfreundlichere Algorithmen schon richten werden, ein bisschen Open-Source-Software, etwas Netz-Dezentralisierung und ein paar ganz clevere technologische Subversiongesten. Sie nennen es “Gaming the System”. Warum nicht mal das Smartphone mit all den fiesen Tracking- und Fitness-Apps ein paar Tage lang auf eine Spielzeug-Drohne kleben oder an der Hauskatze festschnallen und so die Daten verzerren? Und warum nicht mal, wie die Künstlerin Jennifer Lynn Morone, sich selbst als Firma eintragen und so zum Gründer, CEO und Produkt seiner eigenen Daten machen, um sich aus der Ohnmacht gegenüber den Datensammlern zu befreien? Smarte Gesten waren das, und in ihrer kritischen Zuversichtlichkeit doch so erschreckend wie symptomatisch hilflos.
Und das ist noch eine wohlmeinende Kritik.
Delimination of Life – Affective Bodies and Biomedia (Keynote Conversation, Track 3)
2011-02-06 17:30 h – 18:30 h
Delimination of Life – Affective Bodies and Biomedia
Keynote-Conversation (Track 3)
Participants: Marie-Luise Angerer (at/de), Mark Hansen (us)
Moderation: Jens Hauser (fr/de)
Today we are experiencing a shifting moment in the concept of the human. Affect as a crucial modality of the human organism, of human existence, has moved to the centre of media theory, philosophy and aesthetics. The new quality of live media and networks, that is, the hybridisation and increasing biologisation of communication technologies, create a biomedial environment in which the body no longer seems to be the basis of perception. Rather, we are experiencing the deterritorialisation of our entire sphere of affective and emotional relationships. What concept and understanding of the body is required in todays immediated digital culture?
In this keynote conversation Marie-Luise Angerer and Mark Hansen will focus on these virtual qualities of the body discussing the affective dimension our bodies experience and adapt to digital environments.
At the beginning of the 21st Century those changes which were ushered in by cybernetics half a century ago have started significantly to affect man’s sense of his place on the planet. Space and the distances between entities and our human counterparts have shrunken, without however allowing things and people to become better acquainted nor interrelate through heightened closeness of contact.
Media, data programming, progress in understanding, communicating the here and now and the very place of human presence have undergone major transformations giving direction to the future of society. Today therefore it is relevant to query the “figures” cross-linking and alienating human groups, these historic “figures” in social bonding which are today distorted by development in technologies and in digital technology.
European school of visual arts (ÉESI) fulfills its role as overseer and as a higher education academic institution, in analysis, research, educational method and in that artistic creativity best able to lead the way forward on the path to addressing these basic issues.
Together with the University of Poitiers and the Université du Québec à Montréal, the ÉESI and the Espace Mendès-France have devised the launch of a two yearly international multidisciplinary series of meetings from the Fall of 2008, in the form of a think-tank focusing on the “Figures of Interactivity”.
The title of this second Biennial is Memory(Memories). What happens to memory when, after the book, its place seems to be taken by the computer? Is this really so important, after all, and does not the computer free the memory of its obligations to learn “by heart” and to restore the function it had in Antiquity and the Middle ages, that of being a “matrix of cogitation in which memories are moved and gathered in a scheme with random access, a memorial architecture, a library where man spends his time building with the express intention of using it inventively” (Mary Carruthers, Machina memorialis, Gallimard, 2002).
SHU (Blue Hour Lullaby), 2002/07
A remote high security prison in the desert during the blue hour. The compound prepares for the night, the lights are gradually switched on. Simultaneously to the illuminating on the ground approaching aircraft lights appear in the evening sky, one after the other, slowly accumulating, hovering, floating.
SHU ( SHU – Security Housing Units) was partly inspired by the famous Walt Disney movie logo of Sleeping Beauty Castle.
16mm & high definition video HDV, color, sound, 12’30” (loop)
SHU (Blue Hour Lullaby) is officially selected for the 35th Seattle International Film Festival SIFF (May 21–June 11), as part of the Alternate Cinema program, screening May 22-30, 2009.
The MobileLab is a wagon moved by hand; it contains various tools and devices as well as an electrical supply. Recording & playback devices will be used to initiate a dialog
between the Linz cityscape and what’s transpiring at the festival. Current measurements taken in Linz as well as documentation and results of previously-conducted
investigations will flow into the Bureau’s ever-growing pool of data, which will be accessible via a Web-based archive displayed as a wiki. This structure enables users
not only to access the Bureau’s data but also to revise it any way they want, use it for other purposes, or develop it further.
Please join the wiki