oliver lerone schultz
:: current main research topics : 'Heterocene Vision. Visual Lifescapes in the Anthropocene' // geopoesis // 'New Figurations of 'The New' ' // Net | Learning | Cultures
:: current main engagement : Creative Research Associate @ Studio Julian Charrière (https://julian-charriere.net)
⁙ ––– identitecture... –––> ⁙
:: current keywords
#visioncultures #postmedia #spectralcultures #altermodernities #geopoetics #CoVision #heterocene #heterophenomenology #lifescapes #socialsemiotics #cognitivemapping #photomapping #polyreferentialSystems #transvisuality + ... #globalports
:: ambits of expertise + interest
vision-centered structures | vision + knowledge assemblies | art + creative research | mode(s) of projection | postmedia | cultural transformation | transmodeling + trans.design | visual media + visual cultures | after.video | global media culture + new media agencies | multimodal discourse | 'poetics of knowledge' + cultural mediation | creative repositories - displays - formats | transversal strategies + epistemologies | cognitive + other kinds of 'mapping' | augmented embodiments | critical topologies | radical pedagogies | theories of positionality + strategy | group creativity + collective intelligence
⁙ ––– academic track / how I got here ––– ⁙
:: academic education
• M.A. in Philosophy / History (of Science) / Ethnography (Freie Universität Berlin)
• M.A. Thesis: 'Augmented Embodiment – Cognition between Culture and Language' (w/ Sybille Krämer; 1.0)
➞ further relevant studies:
• History of Science (Göttingen) | w/ Loraine Daston, Hans Jörg Rheinberger et.al.
• Philosophy (Humboldt University) : Oswald Schwemmer et. al.
➞ some international studies + research:
UC Berkeley (1994)
⟜ Cognitive Science (George Lakoff)
⟜ Political Economy of Industrialized Societies (Robert Reich)
Stanford (2003)
⟜ Douglas Engelbart Archive (funded research trip)
Brazil (2013)
⟜ different academic + transacademic institutions Sao Paolo + region (funded by German Foreign Affair Ministry)
:: academic institutions I have been working for/with:
Staatliche Museen Berlin (SMB), Kultur & Bildung / Non-European Collections @ Humboldt Forum
⟜ Scientific Associate / Media & Cultural Mediation (2018)
Centre for Digital Cultures (Leuphana University)
⟜ 'Post-Media Lab‘ (2014-15)
⟜ 'Moving Image Lab (2010-13)
⟜ 'Art and Civic Media‘ (2014-15)
⟜ steering commitee member (2013-15)
Academy of Sciences - Berlin-Brandenburg
⟜ ‚Image Cultures‘, Interdisciplinary Research Group (2009-10)
Freie Universität / Prof. Sybille Krämer + German Research Foundation
⟜ Augmented Embodiment (2yr research; funded by DFG / 2001-03)
⟜ 'Media’-Group of ‚Cultures of Performativity‘ research cluster (2005-07)
:: research groups I have co-initiated, facilitated and/or -led
⟜ 'Making Change!' (Leuphana University + HIVOS Knowedge Programme / 2014-15) // Principal Investigator; particular lead for methodologies of vision
⟜ 'Post-Media Lab‘ (2011-14)
⟜ ‚Athens Subsumption‘ (2013)
:: some associations, invited + awarded research
⟜ Creative AI Research Group / Institute of Creative Technologies, De Montford University (Leicester / 2019-2022)
⟜ Parallax Anthropocene Campus, Lisbon (2020)
⟜ Graduate College ‚Loose Couplings. Collectivities in digital + urban space‘ (Hamburg University / 2015-16)
⟜ 'Habits of Living' (Brown University + Centre for Internet and Society, Bangalore 2013 & Leuphana Univ. 2014)
⟜ 2nd Colloquium for Media Science, German Research Foundation (2012)
⟜ DFG Forschungs-Netzwerk 'Bildphilosophie' (2009/10)
⟜ AG „Bilder, Karten, Diagramme” / WG 'Images, Maps, Diagrams' (Helmholtz Centre for Cultural Technologies – Berlin, 2005/06)
⟜ Graduate College ‚Body Enactments‘ (FU Berlin, German Research Foundation / 2002-03)
:: some (trans-)academic events I have been (co-)initiating
⟜ ‚S.o.S. - Society of the Spectacles‘ - Event-satellites for peer-collaborative cultural / post-media research (2014-15)
⟜ ‚Anxious to Act‘, hybrid-event cluster (as invited curator/chair for transmediale/conversationpiece / 2016)
⟜ ‚Glossary of Subsumption‘ - different consecutive events in different institutional settings (2014-16)
⟜ 'Taking Care of Things‘ (Leuphana Univ. + Brown University, Habits of Living Network / 2014)
⟜ + different Post-Media Lab events (on Post-Media Archives, ‚Social Media‘, Criticality + Social Movements etc.)
⟜ Connecting People Apart (Leuphana Univ + Denkerei Berlin / 2012)
⟜ 'Video Vortex #9 - Re:assemblies of Video‘ (Leuphana Univ + Institute for Network Cultures / 2012)
⟜ V. Junges Forum Bildwissenschaften (2010, Berlin Brandenburg Academy of Sciences)
⟜ 'Mapping Anthropotechnical Spaces' (2007, FU Berlin + tesla Media Lab)
⟜ 'Travesties of Cybernetics' (2005; FU Berlin + tesla Media Lab)
⟜ 'Utopian Bodies' (2003; FU Berlin + Volksbühne)
:: series (co-)editor
⟜ after.video (Open Humanities Press; 2016-… )
⟜ PML Books (Post-Media Lab / MUTE / 2013-15)
:: current main engagement : Creative Research Associate @ Studio Julian Charrière (https://julian-charriere.net)
⁙ ––– identitecture... –––> ⁙
:: current keywords
#visioncultures #postmedia #spectralcultures #altermodernities #geopoetics #CoVision #heterocene #heterophenomenology #lifescapes #socialsemiotics #cognitivemapping #photomapping #polyreferentialSystems #transvisuality + ... #globalports
:: ambits of expertise + interest
vision-centered structures | vision + knowledge assemblies | art + creative research | mode(s) of projection | postmedia | cultural transformation | transmodeling + trans.design | visual media + visual cultures | after.video | global media culture + new media agencies | multimodal discourse | 'poetics of knowledge' + cultural mediation | creative repositories - displays - formats | transversal strategies + epistemologies | cognitive + other kinds of 'mapping' | augmented embodiments | critical topologies | radical pedagogies | theories of positionality + strategy | group creativity + collective intelligence
⁙ ––– academic track / how I got here ––– ⁙
:: academic education
• M.A. in Philosophy / History (of Science) / Ethnography (Freie Universität Berlin)
• M.A. Thesis: 'Augmented Embodiment – Cognition between Culture and Language' (w/ Sybille Krämer; 1.0)
➞ further relevant studies:
• History of Science (Göttingen) | w/ Loraine Daston, Hans Jörg Rheinberger et.al.
• Philosophy (Humboldt University) : Oswald Schwemmer et. al.
➞ some international studies + research:
UC Berkeley (1994)
⟜ Cognitive Science (George Lakoff)
⟜ Political Economy of Industrialized Societies (Robert Reich)
Stanford (2003)
⟜ Douglas Engelbart Archive (funded research trip)
Brazil (2013)
⟜ different academic + transacademic institutions Sao Paolo + region (funded by German Foreign Affair Ministry)
:: academic institutions I have been working for/with:
Staatliche Museen Berlin (SMB), Kultur & Bildung / Non-European Collections @ Humboldt Forum
⟜ Scientific Associate / Media & Cultural Mediation (2018)
Centre for Digital Cultures (Leuphana University)
⟜ 'Post-Media Lab‘ (2014-15)
⟜ 'Moving Image Lab (2010-13)
⟜ 'Art and Civic Media‘ (2014-15)
⟜ steering commitee member (2013-15)
Academy of Sciences - Berlin-Brandenburg
⟜ ‚Image Cultures‘, Interdisciplinary Research Group (2009-10)
Freie Universität / Prof. Sybille Krämer + German Research Foundation
⟜ Augmented Embodiment (2yr research; funded by DFG / 2001-03)
⟜ 'Media’-Group of ‚Cultures of Performativity‘ research cluster (2005-07)
:: research groups I have co-initiated, facilitated and/or -led
⟜ 'Making Change!' (Leuphana University + HIVOS Knowedge Programme / 2014-15) // Principal Investigator; particular lead for methodologies of vision
⟜ 'Post-Media Lab‘ (2011-14)
⟜ ‚Athens Subsumption‘ (2013)
:: some associations, invited + awarded research
⟜ Creative AI Research Group / Institute of Creative Technologies, De Montford University (Leicester / 2019-2022)
⟜ Parallax Anthropocene Campus, Lisbon (2020)
⟜ Graduate College ‚Loose Couplings. Collectivities in digital + urban space‘ (Hamburg University / 2015-16)
⟜ 'Habits of Living' (Brown University + Centre for Internet and Society, Bangalore 2013 & Leuphana Univ. 2014)
⟜ 2nd Colloquium for Media Science, German Research Foundation (2012)
⟜ DFG Forschungs-Netzwerk 'Bildphilosophie' (2009/10)
⟜ AG „Bilder, Karten, Diagramme” / WG 'Images, Maps, Diagrams' (Helmholtz Centre for Cultural Technologies – Berlin, 2005/06)
⟜ Graduate College ‚Body Enactments‘ (FU Berlin, German Research Foundation / 2002-03)
:: some (trans-)academic events I have been (co-)initiating
⟜ ‚S.o.S. - Society of the Spectacles‘ - Event-satellites for peer-collaborative cultural / post-media research (2014-15)
⟜ ‚Anxious to Act‘, hybrid-event cluster (as invited curator/chair for transmediale/conversationpiece / 2016)
⟜ ‚Glossary of Subsumption‘ - different consecutive events in different institutional settings (2014-16)
⟜ 'Taking Care of Things‘ (Leuphana Univ. + Brown University, Habits of Living Network / 2014)
⟜ + different Post-Media Lab events (on Post-Media Archives, ‚Social Media‘, Criticality + Social Movements etc.)
⟜ Connecting People Apart (Leuphana Univ + Denkerei Berlin / 2012)
⟜ 'Video Vortex #9 - Re:assemblies of Video‘ (Leuphana Univ + Institute for Network Cultures / 2012)
⟜ V. Junges Forum Bildwissenschaften (2010, Berlin Brandenburg Academy of Sciences)
⟜ 'Mapping Anthropotechnical Spaces' (2007, FU Berlin + tesla Media Lab)
⟜ 'Travesties of Cybernetics' (2005; FU Berlin + tesla Media Lab)
⟜ 'Utopian Bodies' (2003; FU Berlin + Volksbühne)
:: series (co-)editor
⟜ after.video (Open Humanities Press; 2016-… )
⟜ PML Books (Post-Media Lab / MUTE / 2013-15)
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Texts by oliver lerone schultz
[en] TOC
• AlterNative Futures — Shadow Plays of Altermodernity
• CryptoCollectives — Keyholders to the Future?
• Do Tanks and Real World Laboratories. — Getting Real
• Design Everything — Are we on the Way to Design Being?
• Dystopias! — Light in the Darkness?
• Crisis (of) Knowledge — The Muses of Collective Self-Defence
• Leaking & Whistleblowing — A Backdoor for Progress
• Prediction Markets. Fever Charts of the New
• Retrotopias — The Good Old Future.
• Shared Legacies — World. Cultural. Heritage.
• TAZ — Techno Autonomous Zones?
• Our Tipping Points — Novelty as Pitfall and Capsizing
• Delinking – From ‚Going Dark‘ to Electronic Exodus — People on the Margins of Progress
• Between New Work, No Work & 'Bullshit Jobs' — Labouriously Clearing Everyone´s Future
• Worldbuildings — One World is Not Enough
[de] INHALT
• ‚Design Thinking’ etc. Auf dem Weg zum Daseins-Design?
• ‚Do Tanks‘ und ‚Reallabore‘. Getting Real.
• ‚Prediction Markets’. ‚Zukunftsmärkte‘, ‚bookie 4.0‘ und ‚majority report‘.
• Arbeits-Lose in der Zukunft. Kollektive Klärungsarbeiten.
• KrisenWissen. Die Muse kollektiver Notwehr.
• Unsere ‚Tipping Points‘. Das Neue als Stolperfalle und Verschwinden.
• ‚World-Buildings‘. Eine Welt ist nicht genug.
• Dystopien! Licht im Dunkel?
• Retrotopien. Die gute, alte Zukunft.
• TAZ. Technologisch-Autonome-Zonen.
• ‚Leaking‘ & ‚Whistleblowing’. Fortschritt durch die Hintertür.
• CryptoKollektive. Schlüsselbünde zur Zukunft?
• Entnetzung – von ‚Going Dark’ bis ‚Electronic Exodus’. Menschen am Rande des Fortschritts.
• Shared Legacies. Welt, Kultur, Erben.
• AlterNative Zukünfte. Schattenspiele der Altermoderne.
// This 'deviant' glossary was meant and is to read as a tool for instigation for the international offices programme planning. Thus, it was tailored as a format between glossary, (pre-)digest of current and dense fields of discourse, and thought-provoking (or ‚thought-prompting‘) essay for adoption, elaboration or further use in different (conceptual) contexts. As such it was one of the central inputs for the 3-year central theme of GI International on ‚How does the New come into the world?‘ (2019-21).
// It also is an instance of what I call ‚Media Culture Diagnosis‘, extending the analytical stance through stronger positionings and broadly evaluative, speculative or characterizing stances. As such, while making use of and referencing some academic discourses, it is closer to the kind of multi-positional ‚theory‘ one finds in McLuhans elliptic and diagnostic writing; or the ‚circumstantial philosophy‘ that Günther Anders espoused, following in his philosophy informed meta-commentaries the more critical fault lines of the techno-industrial culture surrounding him – and us as social humans.
// The ‚vignette‘ turned out to be the most interesting textual format and style for this. Representing brief but powerful scene focussed on characterization and dense imagery and sketch, ‚a good vignette leaves you wanting more‘ (Vocabularly.com). ‚Focused on vivid imagery and meaning rather than plot’ or systematization (Wikipedia). As such they display a ‚brief, concise style‘, but deviating from the idea of an ‚authoritative‘ glossary ‚they are rich in imagery to create a vivid, detailed description of a moment in time‘ – and provoke imagination, association, and also some resistance and ‚counteraction‘.
// Some needed annotation:
– The glossary, now privately published with consent of Goethe Institut, was written in the time directly preceding the global Corona-crisis. This has to be kept in mind and factored in – but possibly the now induced asynchronicity also makes for some interesting and contrastful reading…
// Oh; and there is a discussion opened on this paper with a view to future iteration, updating and development. Every voice, mind and soul welcome!
It basically says: ‚democracy will be rearticulated – along with the social and cultural in post-digital times –, or it simply will not *be* at all.‘
Unpublished (as yet) – so to give an idea:
• it talks about how to not confuse ‚digital culture‘ as emergent complex and pattern with digital technologies or their ‚impact‘
• how to think of this ‚digital culture‘ (which I round up for the purpose of the paper / context with 'post-digital culture' and 'post-media culture) in terms of new systems of interaction, valuation + reference and a growth/deepening in transversal relations btw actors, systems + domains
• how not to settle for a model that simply ‚adapts‘ (or shields’) democratic systems – of all kind – against ‚disruption‘, while still keeping (+ shielding) what is worthwhile; how to accept the fact that we have 1000x ‚real world laboratories‘ (Reallabore) exploring the new transversal values, realities + options
• and how to conceptualize this in terms of progressive policy ideas + strategies
INHALT / CONTENT
0 : ’Digitale Transformation' und die (kommende) Reartikulation der
Demokratie. Für neue Perspektive/n. _ S.3
1 : Demokratie im 21. Jahrhundert – Verharren im ‚status quo‘? _ S.7
2 : Medienkulturanalyse – Artikulationslogiken des Kulturellen _ S.10
3 : Makromedialität und Transversalität – zu wesentlichen Charakteristiken
der ‚digitalen Kultur‘ _ S.12
4 : Spuren einer ‚Atmenden Demokratie‘ – ‚Duale Demokratie‘, ‚Real Labore’
etc. _ S.15
- Anlage : subjektive Wahrnehmung der ‘digitalen Transformation’ in der BRD, mit Fokus auf demokratische Dimensionen und politisches System _ S.18
- Literatur und Quellen _ S.19
often rural poor. The result was that some progressive ideas, such as copyleft and open source software, were integrated into government policy as ways to bridge chronic underdevelopment and the need to accelerate the use of computer networks. Although the activists had few illusions regarding the
stakes of ‘digital inclusion’, nevertheless the experience of these delicate social and technical networks’ use as conduits of increased normalisation was sobering. But, shifting their focus from the technical, Fonseca reports that the unexpected outcomes were the lessons media activists learned from poor communities in ‘simple human values like generosity, sharing
[and] dynamic social formations oriented to problem solving.’ This exchange exemplifies the non-linearity of capitalist development and its resistance: pre-techncial networks of co-operation and enunciation come to affect a ‘later’ technical form that can be deployed to both normalising and singularising effect.
In jedem Fall kann in bildwissenschaftlichen Auseinander- setzungen mit der „Bildweltgesellschaft“ davon ausge- gangen werden, dass eine Perspektive des Transitiven und das qualifizierende Präfix „trans-“ um die vor unseren
Augen neu entstehenden Wirklichkeiten eine relativ hohe Diskursbeständigkeit haben wird. Ebenso sicher ist, dass die historisch-kulturelle Evolutionslinie und die Überblendung und Transformation historischer Weltbilder in eine heraufziehende „Bildweltgesellschaft“ gerade erst beginnt.
In einer entsprechend angesetzten Lektüre weisen so scheinbar verschiedene Denker wie MERLEAU-PONTY, MCLUHAN und BENJAMIN eine interessante Familienähnlichkeit auf, deren gemeinsames, sozusagen »virtuelles«, Zentrum ein raffiniertes und komplexes Konzept des Körperlichen darstellt, welches den Körper auch nach einer analytisch Durchdringung nicht als wesentliche Integrationsgröße der Theoriebildung aus dem Blick verliert. MERLEAU-PONTYs Konzeption einer gleichsam individuellen wie anonymen, quasi-ontologischen Leiblichkeit steht hierbei in Resonanz mit Beschreibungen, die sich für die in diesem Zusammenhang wirksame Eigenwertigkeit verschiedener medialer Vermittlungszusammenhänge interessier(t)en.
Inauguriert wird in einer so gearteten Zusammenschau auch eine eigenständige Idee des Medialen, nach der Körper gleichsam natürliche wie kulturelle »Rahmen« für implizit wie explizit wirkender Effektivitäten bilden, welche jeweils zusätzliche Handlungs- und Erfahrungs- und Sinn-Strukturen einführen. Eine solche Sicht, die an nicht-semiotischen Struktur-Effekten und -Schemata im Sinne einer nicht-signifikativen Bedeutungsbildung festhält,verspricht nicht nur einen Theorie-Boden für die notwendige Bestimmung der Unterscheidungen (wie der Zusammenhänge) von Zeichen und Medium, Semiotizität und Medialität, sondern auch für die Auslotung von unterschiedlichen Formen (»Grammatiken«) von Medialität (MCLUHAN) und Signifikation (HAYLES).
In zwei Kontexten kann diese Unterscheidung in ihrer Relevanz exemplifiziert werden: 1) der an Inszenierung und Performativität interessierten Kulturtheorie (GUMBRECHT/FISCHER-LICHTE u.a.); 2) der an virtuellen Realitäten und Telepräsenz-Effekten interessierten Techniktheorie (BIOCCA, HAYLES u.a.).
Books by oliver lerone schultz
This is an edited collection of assembled and annotated video essays living in two instantiations: an online
version – located on the web at http://after.video/assemblages, and an offline version – stored on a server inside a VHS (Video Home System) case. This is both a digital and analog object: manifested, in a scholarly gesture, as a ‘video book’.
We hope that different tribes — from DIY hackercamps and medialabs, to unsatisfied academic visionaries, avantgarde-mesh-videographers and independent media collectives, even iTV and home-cinema addicted sofasurfers — will cherish this contribution to an ever more fragmented, ever more colorful spectrum of video- culture, consumption and appropriation...
With contributions by: Peter Woodbridge + Gary Hall + Clare Birchall, Karin + Shane Denson, Rózsa Zita Farkas, Deborah Ligotrio, Lucia Egaña Rojas, Eric Kiuitenberg, Adnan Hadzi, and Andreas Treske.
Lab (2011-2014). Taking up Fèlix Guattari’s challenge, the Lab aimed to combine social and media practices into collective assemblages of enunciation in order to confront social monoformity. Here we draw together some key essays, images and art projects by the Lab’s participants, as well as a close documentation of its associated events, talks, and exhibitions, to create a vivid portrayal of post-media practice today.
Edited by Clemens Apprich, Josephine Berry Slater, Anthony Iles & Oliver Lerone Schultz
With contributions by: Clemens Apprich, Josephine Berry Slater, Micha Cárdenas, Sean Dockray, Mina Emad, Bogdan Dragos & Inigo Wilkins, Fabien Giraud, Adnan Hadzi & James Stevens, Martin Howse & Jonathan Kemp, irational.org, Anthony Iles, Oliver Lerone Schultz, Gordan Savičić, Moritz Queisner, Rózsa Zita Farkas
– Part of the PML Books series. A collaboration between Mute & the Post-Media Lab
[en] TOC
• AlterNative Futures — Shadow Plays of Altermodernity
• CryptoCollectives — Keyholders to the Future?
• Do Tanks and Real World Laboratories. — Getting Real
• Design Everything — Are we on the Way to Design Being?
• Dystopias! — Light in the Darkness?
• Crisis (of) Knowledge — The Muses of Collective Self-Defence
• Leaking & Whistleblowing — A Backdoor for Progress
• Prediction Markets. Fever Charts of the New
• Retrotopias — The Good Old Future.
• Shared Legacies — World. Cultural. Heritage.
• TAZ — Techno Autonomous Zones?
• Our Tipping Points — Novelty as Pitfall and Capsizing
• Delinking – From ‚Going Dark‘ to Electronic Exodus — People on the Margins of Progress
• Between New Work, No Work & 'Bullshit Jobs' — Labouriously Clearing Everyone´s Future
• Worldbuildings — One World is Not Enough
[de] INHALT
• ‚Design Thinking’ etc. Auf dem Weg zum Daseins-Design?
• ‚Do Tanks‘ und ‚Reallabore‘. Getting Real.
• ‚Prediction Markets’. ‚Zukunftsmärkte‘, ‚bookie 4.0‘ und ‚majority report‘.
• Arbeits-Lose in der Zukunft. Kollektive Klärungsarbeiten.
• KrisenWissen. Die Muse kollektiver Notwehr.
• Unsere ‚Tipping Points‘. Das Neue als Stolperfalle und Verschwinden.
• ‚World-Buildings‘. Eine Welt ist nicht genug.
• Dystopien! Licht im Dunkel?
• Retrotopien. Die gute, alte Zukunft.
• TAZ. Technologisch-Autonome-Zonen.
• ‚Leaking‘ & ‚Whistleblowing’. Fortschritt durch die Hintertür.
• CryptoKollektive. Schlüsselbünde zur Zukunft?
• Entnetzung – von ‚Going Dark’ bis ‚Electronic Exodus’. Menschen am Rande des Fortschritts.
• Shared Legacies. Welt, Kultur, Erben.
• AlterNative Zukünfte. Schattenspiele der Altermoderne.
// This 'deviant' glossary was meant and is to read as a tool for instigation for the international offices programme planning. Thus, it was tailored as a format between glossary, (pre-)digest of current and dense fields of discourse, and thought-provoking (or ‚thought-prompting‘) essay for adoption, elaboration or further use in different (conceptual) contexts. As such it was one of the central inputs for the 3-year central theme of GI International on ‚How does the New come into the world?‘ (2019-21).
// It also is an instance of what I call ‚Media Culture Diagnosis‘, extending the analytical stance through stronger positionings and broadly evaluative, speculative or characterizing stances. As such, while making use of and referencing some academic discourses, it is closer to the kind of multi-positional ‚theory‘ one finds in McLuhans elliptic and diagnostic writing; or the ‚circumstantial philosophy‘ that Günther Anders espoused, following in his philosophy informed meta-commentaries the more critical fault lines of the techno-industrial culture surrounding him – and us as social humans.
// The ‚vignette‘ turned out to be the most interesting textual format and style for this. Representing brief but powerful scene focussed on characterization and dense imagery and sketch, ‚a good vignette leaves you wanting more‘ (Vocabularly.com). ‚Focused on vivid imagery and meaning rather than plot’ or systematization (Wikipedia). As such they display a ‚brief, concise style‘, but deviating from the idea of an ‚authoritative‘ glossary ‚they are rich in imagery to create a vivid, detailed description of a moment in time‘ – and provoke imagination, association, and also some resistance and ‚counteraction‘.
// Some needed annotation:
– The glossary, now privately published with consent of Goethe Institut, was written in the time directly preceding the global Corona-crisis. This has to be kept in mind and factored in – but possibly the now induced asynchronicity also makes for some interesting and contrastful reading…
// Oh; and there is a discussion opened on this paper with a view to future iteration, updating and development. Every voice, mind and soul welcome!
It basically says: ‚democracy will be rearticulated – along with the social and cultural in post-digital times –, or it simply will not *be* at all.‘
Unpublished (as yet) – so to give an idea:
• it talks about how to not confuse ‚digital culture‘ as emergent complex and pattern with digital technologies or their ‚impact‘
• how to think of this ‚digital culture‘ (which I round up for the purpose of the paper / context with 'post-digital culture' and 'post-media culture) in terms of new systems of interaction, valuation + reference and a growth/deepening in transversal relations btw actors, systems + domains
• how not to settle for a model that simply ‚adapts‘ (or shields’) democratic systems – of all kind – against ‚disruption‘, while still keeping (+ shielding) what is worthwhile; how to accept the fact that we have 1000x ‚real world laboratories‘ (Reallabore) exploring the new transversal values, realities + options
• and how to conceptualize this in terms of progressive policy ideas + strategies
INHALT / CONTENT
0 : ’Digitale Transformation' und die (kommende) Reartikulation der
Demokratie. Für neue Perspektive/n. _ S.3
1 : Demokratie im 21. Jahrhundert – Verharren im ‚status quo‘? _ S.7
2 : Medienkulturanalyse – Artikulationslogiken des Kulturellen _ S.10
3 : Makromedialität und Transversalität – zu wesentlichen Charakteristiken
der ‚digitalen Kultur‘ _ S.12
4 : Spuren einer ‚Atmenden Demokratie‘ – ‚Duale Demokratie‘, ‚Real Labore’
etc. _ S.15
- Anlage : subjektive Wahrnehmung der ‘digitalen Transformation’ in der BRD, mit Fokus auf demokratische Dimensionen und politisches System _ S.18
- Literatur und Quellen _ S.19
often rural poor. The result was that some progressive ideas, such as copyleft and open source software, were integrated into government policy as ways to bridge chronic underdevelopment and the need to accelerate the use of computer networks. Although the activists had few illusions regarding the
stakes of ‘digital inclusion’, nevertheless the experience of these delicate social and technical networks’ use as conduits of increased normalisation was sobering. But, shifting their focus from the technical, Fonseca reports that the unexpected outcomes were the lessons media activists learned from poor communities in ‘simple human values like generosity, sharing
[and] dynamic social formations oriented to problem solving.’ This exchange exemplifies the non-linearity of capitalist development and its resistance: pre-techncial networks of co-operation and enunciation come to affect a ‘later’ technical form that can be deployed to both normalising and singularising effect.
In jedem Fall kann in bildwissenschaftlichen Auseinander- setzungen mit der „Bildweltgesellschaft“ davon ausge- gangen werden, dass eine Perspektive des Transitiven und das qualifizierende Präfix „trans-“ um die vor unseren
Augen neu entstehenden Wirklichkeiten eine relativ hohe Diskursbeständigkeit haben wird. Ebenso sicher ist, dass die historisch-kulturelle Evolutionslinie und die Überblendung und Transformation historischer Weltbilder in eine heraufziehende „Bildweltgesellschaft“ gerade erst beginnt.
In einer entsprechend angesetzten Lektüre weisen so scheinbar verschiedene Denker wie MERLEAU-PONTY, MCLUHAN und BENJAMIN eine interessante Familienähnlichkeit auf, deren gemeinsames, sozusagen »virtuelles«, Zentrum ein raffiniertes und komplexes Konzept des Körperlichen darstellt, welches den Körper auch nach einer analytisch Durchdringung nicht als wesentliche Integrationsgröße der Theoriebildung aus dem Blick verliert. MERLEAU-PONTYs Konzeption einer gleichsam individuellen wie anonymen, quasi-ontologischen Leiblichkeit steht hierbei in Resonanz mit Beschreibungen, die sich für die in diesem Zusammenhang wirksame Eigenwertigkeit verschiedener medialer Vermittlungszusammenhänge interessier(t)en.
Inauguriert wird in einer so gearteten Zusammenschau auch eine eigenständige Idee des Medialen, nach der Körper gleichsam natürliche wie kulturelle »Rahmen« für implizit wie explizit wirkender Effektivitäten bilden, welche jeweils zusätzliche Handlungs- und Erfahrungs- und Sinn-Strukturen einführen. Eine solche Sicht, die an nicht-semiotischen Struktur-Effekten und -Schemata im Sinne einer nicht-signifikativen Bedeutungsbildung festhält,verspricht nicht nur einen Theorie-Boden für die notwendige Bestimmung der Unterscheidungen (wie der Zusammenhänge) von Zeichen und Medium, Semiotizität und Medialität, sondern auch für die Auslotung von unterschiedlichen Formen (»Grammatiken«) von Medialität (MCLUHAN) und Signifikation (HAYLES).
In zwei Kontexten kann diese Unterscheidung in ihrer Relevanz exemplifiziert werden: 1) der an Inszenierung und Performativität interessierten Kulturtheorie (GUMBRECHT/FISCHER-LICHTE u.a.); 2) der an virtuellen Realitäten und Telepräsenz-Effekten interessierten Techniktheorie (BIOCCA, HAYLES u.a.).
This is an edited collection of assembled and annotated video essays living in two instantiations: an online
version – located on the web at http://after.video/assemblages, and an offline version – stored on a server inside a VHS (Video Home System) case. This is both a digital and analog object: manifested, in a scholarly gesture, as a ‘video book’.
We hope that different tribes — from DIY hackercamps and medialabs, to unsatisfied academic visionaries, avantgarde-mesh-videographers and independent media collectives, even iTV and home-cinema addicted sofasurfers — will cherish this contribution to an ever more fragmented, ever more colorful spectrum of video- culture, consumption and appropriation...
With contributions by: Peter Woodbridge + Gary Hall + Clare Birchall, Karin + Shane Denson, Rózsa Zita Farkas, Deborah Ligotrio, Lucia Egaña Rojas, Eric Kiuitenberg, Adnan Hadzi, and Andreas Treske.
Lab (2011-2014). Taking up Fèlix Guattari’s challenge, the Lab aimed to combine social and media practices into collective assemblages of enunciation in order to confront social monoformity. Here we draw together some key essays, images and art projects by the Lab’s participants, as well as a close documentation of its associated events, talks, and exhibitions, to create a vivid portrayal of post-media practice today.
Edited by Clemens Apprich, Josephine Berry Slater, Anthony Iles & Oliver Lerone Schultz
With contributions by: Clemens Apprich, Josephine Berry Slater, Micha Cárdenas, Sean Dockray, Mina Emad, Bogdan Dragos & Inigo Wilkins, Fabien Giraud, Adnan Hadzi & James Stevens, Martin Howse & Jonathan Kemp, irational.org, Anthony Iles, Oliver Lerone Schultz, Gordan Savičić, Moritz Queisner, Rózsa Zita Farkas
– Part of the PML Books series. A collaboration between Mute & the Post-Media Lab
Félix Guattari’s visionary term ‘post-media’, coined in 1990, heralded a break with mass media’s production of conformity and the dawn of a new age of media from below. Understanding how digital convergence was remaking television, film, radio, print and telecommunications into new hybrid forms, he advocated the production of ‘enunciative assemblages’ that break with the manufacture of normative subjectivities.
In this anthology, historical texts are brought together with newly commissioned ones to explore the shifting ideas, speculative horizons and practices associated with post-media. In particular, the book seeks to explore what post-media practice might be in light of the commodification and homogenisation of digital networks in the age of Web 2.0, e-shopping and mass surveillance.
“The element of suggestion, even hypnotism, in the present relation to television will vanish. From that moment on, we can hope for a transformation of mass-media power that will overcome contemporary subjectivity, and for the beginning of a post-media era of collective-individual reappropriation and an interactive use of machines of information, communication, intelligence, art and culture.”
Contents
Josephine Berry Slater & Anthony Iles _ Provocative Alloys: An Introduction _ 6
Gary Genosko _ The Promise of Post-Media _ 14
Félix Guattari _ Towards a Post-Media Era _ 26
Howard Slater _ Post-Media Operators Sovereign and Vague _ 28
Michael Goddard _ Félix and Alice in Wonderland: The Encounter. Between Guattari and Berardi and the Post-Media Era _ 44
Adilkno _ Theory of the Sovereign Media _ 62
Cadence Kinsey _ From Post-Media to Post-Medium: Re-thinking Ontology in Art and Technology _ 68
Alejo Duque, Felipe Fonseca & Oliver Lerone Schultz _ South of Post-Media _ 84
Brian Holmes _ Activism and Schizoanalysis: The Articulation of Political Speech _ 106
Clemens Apprich _ Remaking Media Practices: From Tactical Media to Post-Media _ 122
Rasa Smite & Raitis Smits _ Emerging Techno-Ecological Art Practices: Towards Renewable Futures _ 142
Durch diese Bewegung der Bilder entstehen nun in hoher Geschwindigkeit neue Bild-Kulturen. Mit ihnen formen sich transkulturelle Bildensembles, in denen vielfältige ikonische Begegnungen stattfinden.
Die Untersuchung solcher Übertragungen zwischen verschiedenen Bildräumen ermöglicht erstmals einen bildwissenschaftlichen Zugriff auf Intervisualität in globalen Bild-Kulturen. IMAGE MATCH fragt nach der Neubestimmung der Bildwissenschaft unter diesen Bedingungen
_ Inhalt _
Einleitung
Oliver Lerone Schultz, Martina Baleva, Ingeborg Reichle : IMAGE MATCH: neue Indizes einer globalen Bildtheorie
Theorie-Rahmen
Patrizia Faccioli : Globalisierung als visuelles Phäänomen
Nicholas Mirzoeff : Die multiple Sicht Diaspora und visuelle Kultur
Geschichts-Einsaätze
Friederike Weis : Maryam – Maria Bilder aus dem Marienleben aus einer Merʼât al-Qods-Handschrift des Moghulhofes
Martina Baleva : Das Imperium schlägt zurück Bilderschlachten und Bilderfronten im Russisch-Osmanischen Krieg 1877–1878
Priyanka Basu : Die ›Anfaänge‹ der Kunst und die Kunst der Naturvölker: Kunstwissenschaft um 1900
Ingeborg Reichle : Der Ursprung der Bilder
Medien-Transfers
Markus Rautzenberg : Inhabiting Pictures Possessive Bildlichkeit und die ›Pest der Phantasmen‹
Ulf Jensen : ›Haltestellen der Globalisierung‹ Monumente und Medien im Bildtransfer von Joseph Beuys
Michaela Nichole Rass : Mangas: Bildtransfer von West nach Ost und zurück
Nicole E. Stöcklmayr : Move(ns) Zum Bildtransfer in der Architektur
Gegenwarts-Visionen
Il Tschung-Lim : Operative Bilder der Weltgesellschaft Visuelle Schemata als Globalisierungsmedien am Beispiel von Kunst- und Finanzmaärkten
Jörg Probst : Digitale Spiritualität Das Logo der Love-Parade und die Ideengeschichte der Globalisierung
Transfer-Angebote
Anna Valentine Ullrich : Bildtransfers als transkriptive Prozesse: ein Beschreibungsmodell
Jacob Birken : Weltenfresser: Eklektizismus als Bildpolitik
Gabriel S. Moses : The Con-sequential Narrative Comics and the unwritten stories of the modern media platform
Farbtafeln
Gabriel S. Moses : Visual excerpts: a graphic novel portfolio Bildnachweise Autorinnen und Autoren
What seems certain: the social has to be re-sourced in fundamental ways, knotting together very different assemblages in a new general assembly. While there are no ready made answers to be given, we can start figuring out …
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Phenomena of immersion are now mainly discussed in relation to the creation of artificial worlds. But it remains a vexed paradox as to exactly how experience solidifies into these 'magical' realizations that constitute immersive experience. On this beackground the circulating idea immersive practices are subject to the discoursive field of 'realism' becomes an interesting issue. Even more once it is presumed that social relations are always co-embedded and -expressed in these configurations of immersion.
All this should not come as a surprise to critical theory as the global complex now is inherently defined by multi-modal production, heterological operational stacks, and – not least – an ever increasing 'cognitive load' of the everyday as complex global systems are effective across scales and domains. The rationale of design is cutting through the departmental logics of humanities, arts and 'applied sciences' (and other extra-academic praxeologies) thus being in line with an ever denser transversality of human realities. In this situation design presenting a distinct mode of 'theory' has become one of the new contenders for doing operational, interventionist and – sometimes – critical reflexive engagement.
On this background we ask: can social change be 'designed' within an(y) emanicpatory approach of the social? And: should it? And: what does this even mean if seen from the perspective of a critical transversal politics and theory refusing 'designed politics' as much as the 'designed' mechanisms of current-day subsumption – whether by capitalist or statist machines, technoid enviro-systems, the harvesting-protocols of 'social' media, expanded imagineering industries... or otherwise?
For a moment we are stopping short of a full-blown repudiation of the new 'ideology of design' which seems to be sweeping global discourse. Instead we will be asking about the meaning or implication of a broader, more fundamental notion of 'design' referencing any 'strategic approach for someone (or some collectivity) to achieve a specific expectation' – ...which really is the point of any collective subjective endeavour of social change into some new and non-arbitratry state. Likewise we will face the inherent and growing need to refer to methodological and discoursive registers of 'design' as a recourse in the face of new sprawling complexities, and an explosion of structures, systems, scales and world-interfaces within the altermodern situation (adressed by the discourses of 'post-media', 'post-humanisn', 'hypermodernism', 'anthropo-/cthullu-/capitalocene' etc.).
The question thus is: can – and: should – 'design' be part of the articulation of a current-day progressive politics? Is there a way to include any understanding or notion of 'design' – as intentful, preconceived, planned, coordinated, and reflexive shaping – in relation to our shared social structures and longed-for (trans-)collective futures? If so, can such a re-fracted notion of design be seen as a contribution in the project of reassessing terms of critical contemporary theory (or 'critical humanities')? And can any incorporation of thinking in re-modelled design terms be reconciled with a social reality always comprised of “dirty” entanglements, messy social dynamics, and the realities of 'real-world politics'?
Thus, this reading group is looking at the possible referential settings for a transformed and transformational understanding of design as ‚trans.design‘. 'trans.design' is pointing to a socially and materially aware formation of design rendered as collective configuration and complex mediation of 'worlds', conscious handling of so-called 'hyperobjects', and as visionary re-assemblage and 're-sourcing' according to heterological, non-aligned and non-alignable social and cultural models. As such it would also be inherently resistant to logics of systemic control, prediction, manipulation and the delusions of instrumental und idealist 'solutionism'.
We are listening to and interrogating voices from theoretical discourse that propose ‚projectorial politics‘ and ‚metamodeling’ and enquiring whether these broader programmatic concepts situated in critical theory are indeed able rerender, recapture or refracture ‚design‘, and to make it a usable reference point and re-source within the current day global complex and for its political transformation.
Materials were loaded onto a research-black-box (Pirate-Box) that could & can accumulate and 'commonize' critical material, travel and be presented at any place in any time.
in particular we would like to discuss our ideas on new modes of collective and spectral research.
... and possibly give an outlook of the upcoming 'after.video' project that evolved partly out of this – basing theory exposition on video as carrying format.
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in my part I show some attempts to develop formats of credible 'theory'-production beyond the text-form – and show some collective and media-saturated examples, also arguing for blurry lines between 'academic' theory building and other forms when it comes to contemporary cultural and social phenomena – or media culture itself.
I also touch upon the impact a social semiotics approach has to formats of theory (theoretical referencing) itself, and touch upon questions of 'cultural referencing' – and its inherent difficulties in times of new global copyright regimes that particularly enclose the 'moving image'.
while complex systems of para-textual reference, exposition and theory-building are getting more and more abundant (making it possible to turn events like a conference into a hyper-text), the options to extend cultural references to the most central cultural 'para-texts' and semiotic resources is getting more and more problematic.
... thus the current phenomena in research, theory building and other forms of systematic 'cultural referencing' are showing us, how every new medial formation – and indeed: every new research formation – implies new forms of 'piracy' in its entourage.
‚Enclosures of New Athens' will attempt to relate the findings and articulations to a critical theory of ‚subsumption', which stands for a more abstract conceptualizations of ‚enclosures', relating it to the critical terminology of Marx' analysis of the power-stricken genealogies and reproductive logics of capitalism as well as to broader concepts of subsumption, like used in the post-cynernetic idea of 'subsumption-architectures', i.e. non-central but integrative forms of control. Spaces and urban sites remain at the core of confronting these new realities (as ‚Occupy' in all its variants – including Syntagma) has shown.
– Enclosure + subsumption of space :
The land ‚enclosures' of 19th century formed an important basis of ‚real subsumption' – thus enabling early industrial capitalism. Enclosure here marks the aggressive or cunning inclusion of non-capitalist-spheres into the circle of value-extraction. The early formation – and later its re-production – of exploitative capitalism was thus always linked to the control/s and 'in-formations' of social space. Via space social relations could likewise be subsumed and inserted in new figurations of power, control and exploitative valorization. These spaces in their very structure expressed or were linked to other, lateral forms and systems of power and exploitation. All in all this makes space also indexical of forms of subsumption, so that space/s can be 'read' as registrars of subsumptive proceses and systems.
– Developing 'subsumption' as critical term :
Subsumption thus is a promising critical term for contemporary critical thinking attempting to re-describe the co-development of social technologies, digital environments and class relations – within the current new formation of ‚corporate' and/or ‚finance capital' and 'control state' as they are themselves re-territorializing under the battlecries of 'smart cities', ‚re-development', ‚crisis', ‚containment', ‚re-zoning', ‚public-private-partnership', ‚digital shift' etc..Within all these, our ways of relating, caring and of expression, of communicating and collaborating, are enclosed, templated and optimized in new ways. ICTs are at the core of the new logistical, communicative and administrative logi(sti)cs accelerates capitalist subsumption – also changing the nature of struggle against its domination, with more intricate, complex and arguably intimate confrontations.
While we are interested in the geopolitical aesthetic of a (to be) pirated reality of the ‘non-territories’ which resist the address of the ‚national (interest)‘ and subsumption to the current globalized society of control and spectacle, we present some results from the ‘Spectrals of the Spectacular’ workshop, reviewing in an exemplary fashion the particular resistancies to the FIFA World Cup 2014, how they travel around and haunt the global imaginary and feed from and back to the non-aligned social intellect.
In this presentation/talk we aim at introducing some conceptual entry points into this longer term project, which in future engagements also wants to engage with the topic of pirating and (broken) projections around the New Global Spectacle and their relevance to a contemporary theory of the ‘moving image’.
Part of the reflection will be a discussion around reasons to organize this theoretical engagement by building a trans-local repository around ‚Spectrals of the Spectacle‘. We hold that a theoretical reflection of these spectralities is itself to take on the form of a decentral project, engaging with fleeting images and spectralities. (Oliver Lerone Schultz & Adnan Hadzi)
part of session: The Spectacular & The Power of Images with Oliver Lerone Schultz, Adnan Hadzi, Ersan Ocak, Paola Barreto, Facilitator: Ebru Yetiskin
While following up an earlier PML-workshop on (non-)archives ('Don´t Forget: the Archive', march 2013) this event is an extension of the topic, incorporating not only a broader understanding of (non-)archives in a post-media-setting and around the specifications of acteur-interests around these new (non-)archives.
it also is the central event on the PML-topic 'Life vs. Object?' scrutinizing new material constellations, ontologies and environments, especially looking into 'things' as the pertain to post-media projects of very different sorts.
not least, it also marks the conclusion of the first life-cycle of the Post-Media Lab itself, giving a chance to recuperate and reflect alongside the networks it has build or intergrated with; but also releasing its aggregated potentials into an open future... filled with new projects to come. Taking Care of Things at an end that marks new beginnings.
The term “digital cultures” is all-encompassing and at the same time vague. The purpose of the interview-series QUESTIONS of the DCRL (Digital Cultures Research Lab) is to start specifying the broadness of the term by asking researchers as well as practitioners in various fields to further define the notion and its implications. In a five-minute time slot, the interviewees answer four standard questions:
What are digital cultures?
What are the potentials of digital cultures?
What are the dangers of digital cultures?
What lies beyond digital cultures?
At the end of the interview, one specific question is asked according to which section of the CDC the interviewee is participating in.
Reflecting on a post-digital approach as a condition in which the utopian promise of the global technological progress is put under crisis, this panel investigates practices and projects of de-colonisation of corporate culture, as well as of the “digital” paradigm per se. By specifically focusing on hybrid and syncretic Brazilian contemporary political, cultural and economical scenarios, the post-digital condition highlighted in such context brings together a variety of practices that deal with transitional processes between online and offline existence, ecology of technical and non-technical resources, techno-shamanism from the junction between technology and practices of ancestral knowledge, insurgent political movements and the formation of a sustainable networked society. The panel proposes a multiple angle of analysis where technology becomes an open tool to imagine unpredictable connections in the everyday life from civil engagement to artistic and political activism, and to social change."
– This contribution will revision some of the discussions of Video Vortex #9 – Re:assemblies of Video, pointing to some of new characteristics of projected politics.
If the public always has been co-configured by the overall medial ecologies then unsurprisingly the setting-in of the »post-media condition« – with it´s fractalization of media channels, it´s myriad (new) ways of affordable social re-grouping and an ever expanding culture of play –, brings about a reconfiguration of both »the public« and the very meaning of what is understood as »public« quality.
»Making things public« is easier than ever, even if this does in no way mean the intricacies of power and »(the) public« are thereby made redundant – rather quite the opposite: We see a pleathora of challenges to a monolithic, exclusive, power-ridden formation that figurates itself along the lines of a (neo-capitalist) »control society«. And while »Gamification« may be regarded as a feature of the society of spectacle/control/infantilization, »playing the public« in a more general sense opens horizons beyond the now of cybernetic or contained citizenship, and it´s systems of exclusion and control.
»RePlaying the RePublic« wants to start thinking about the (proactive) fracturing of »the public« from new premises – tying it to a vision of »A Family of Public Spheres« (Michael Schudson) and to an idea of neccessary and neccessitating (counter-)play and (methodological) experimentation. If – following different discourses – we have entered a complex, trans-/non-national social reality defined by pluri-figural civil (and un-civil) collectivities and take into account the plasticity of a social fabric in the light of macro-medial constellations, then we might want to look at (and facilitate) an assemblage of publics, constituting themselves in methodological experiments. These »methodological publics« can be playful experiments of autopoietic and self-defined »publics« (playfully defining their own standards); they can also be found in projects »playing« – i.e.: rendering visible, questioning and challenging – existing structures of »the public« embedded in our everyday lives.
On these lines very different projects – like: Hedonist International, different Clown Armies, Blast Theory, ... –, different strategies: – like: »Playcemaking«, »Speed Gardening« »Urban Hacking«,...– or broader phenomena – like: Anonymous, hacker-/maker-spaces, »Reclaim the City«, or even grafitti-/streetart culture... – come into meaningful, (un-)civil play."
The Introduction will frame this talk/apporach in the context of Media Theory, the Rhetorics of Display, Interface Studies and the research of Post-Medial Culture.""
Though English is the most common language of international communication, in the Russian Internet, behind the Chinese firewall and in African countries active social (video) networks are constructed with completely unique subcultures. Through YouTube channels, blogs and other social media, personal and often erratic insight is possible. But what is negotiated on the micro level, how is video use in the web changing and what new phenomena stand out?
Before Video Vortex #9: Re:assemblies of Video takes place in Lüneburg, international correspondents began in autumn 2012 to comment on and post videos in Athens, Beijing, Istanbul, Seoul, Lagos and Berlin, among other places. In the conference context, these contributions resurface as reference material to create a closer connection between (theoretical) discourse and digital practice—as known formats and media intermix into new hybrids.
During transmediale, we switch to three “studios” and with the help of video samples, jump over the “language bubble” with our correspondents. Ma Ran introduces video parodies in the Chinese Internet, Matthew Andeiza from Nigeria questions stereotypical representations of Africa, the Korean Sungyoun Kim looks at videos that become part of a global culture and thus lose significance, and Boaz Levin investigates the movement of media toward immediacy.
Five years after the tumultuous political events of 2011, which triggered a series of dispersed yet medially choreographed acts of resistance, the larger patterns and nature of global activism and individual action are in need of assessment and reinvention. From Tahrir to Taksim, from Occupy to Indignados, from the Twitter and Facebook Revolutions to the Blackberry Riots, the Anxious to Act stream confronts the events behind us as well as the fundamentally paradoxical challenges of action and activism in the muddy now.
Having seen the systematic recuperation of acts of resistance by a combination of media-savvy counter-choreographies and brute-force attacks, media-based action has been cast into uncertainty and ambivalence. A creeping unease as to what can be achieved by popular media expression has set in during the Post-Snowden Era. What was once conceived as the "noosphere" or "World Brain" has emerged as a fragmented global sensorium—one in which micropolitical and geopolitical movements seem out of sync, aside from the all-too important idea of "the commons."
Dealing with the complexity of notions of intervention and resistance within gigantic networked systems of subsumption, the discussions that make up this stream zoom in on the contradictions inherent in “media activism” as a still-evolving, uncertain concept. The stream reflects on the need for renewed convergences beyond the technological in a time that offers ever greater scopes for interaction—and reasons to intervene.
Making Change was a collaborative research project between the Centre for Digital Cultures and the Hivos Knowledge Programme (October 2013–September 2015) that questioned traditional understandings of social change in the Global South and aimed to build more adequate frameworks to address the idea of change in the context of common knowledge, networked media and information societies.
Making Change was hosting production-oriented workshops called “Production Sprints” to facilitate the convergence of actors and ideas. These sprints did not have a traditional conference structure where knowledge is imparted, but had been spaces of knowledge exchange between change-makers around processes, narratives and experiences of change. Making use of multi-modal forms and formats of knowledge production (text, image, audio, etc), participants were asked to group around four topics: crises, ecologies, infrastructures, and networks of change. In June 2014 the first Production Sprint with participants from Southeast Asia took place in Bangalore; and in February 2015 the second Production Sprint with participants from Latin America took place in Bogotá.
In order to address the question of social change in emerging network societies, this project relied on traditional as well as experimental forms of collaborative, participatory and engaged knowledge generation to build a ‘Knowledge Commons’. The Knowledge Commons is a hybrid (online-offline) repository that intelligently aggregates and translates knowledge around related areas into different forms, formats and products, through human and technological, individual and collective interventions. Building on the conceptual frameworks developed during the Production Sprints, the Knowledge Commons are constructed through inclusive network participation, innovative curatorial practices, and prototypes of knowledge production geared towards learning, capacity building and training for the different actors involved in the change ecologies.
Technically this project is using a Pirate Box set-up and a curatorial approach based on peer exchange around affiliation events.
This collective contraption of the politicized spheres of media circulation takes a constructive approach –by enabling and rendering sensible potential 'digestions' of the refractory spectacles inscribed into the imagineering industries.
It is likewise built around a theoretical diagnosis:
Regularly we are subsumed under the projections that are attached to and bundled with the new "megaspectacles" (D. Kellner) of mediatized and transmodern capitalism. They constitute a paradox milieu for resampling prevalent images of globalism and circulations of societies of the spectacle as well as societies of control (or fear). As the Post-Media Age also follows up on the cinematic modes of projection (and production) it is also generalizing visual projection as a form of subsumption (i.e. non-coercive power), naturally relying more and more on 'moving images' – ... in all possible senses of the term. For sure new spectacles are socially disseminated in medial channels and fragments of all sorts, with video – in a wider sense – taking a central role as carrier.
S.o.S. wants to provide an outlet, traveling alongside the culture of critical event-horizons, setting up a cultural triage mechanisms as soothing overlay to our own conventions. Here we dispose, digest, difract the projections of recent spectacles, for collective and individual cleansing.
To do this we collect medial fragments (videos, links, snapshots, media sets...) that pertain to recent spectacles, and populate the S.o.S. Box. This will become a traveling black box on the outskirts of the Spectrals of the Spectacle project trajectory – frivolously accompanying alternate events of all kinds and pirating them with the spirits of profanizing and secularizing the new imagescapes. This piratebox-turned-into-an-SoS-Box will be housing boulders of the spectacle alongside fragments commenting and reflecting on them, ... but also keeping track of visions that are – or seem to be – peripheral to these events, projecting alternative visions in the monolithic face of the new society of the spectacle.
The term ‘post-media’ was coined by Felix Guattari's and subsequently taken up by other critical theorists to describe social and medial assemblages, which unleash new forms of collective expression and experience. The Lab aims to build a place where the aesthetic and utopian moments of ubiquitous media can be recaptured, and the multilayered forces and textures of media space become newly legible. We take up 'post-media' as an inherently critical notion adequate to the media strategies of scenes, movements and collectives – rather than the individualities and normativities produced by commercial media – which construct and intensify social agencies, help develop new forms of relation and generate counter-meanings.
Guiding principles of the Lab will be to maintain a wide historical perspective and to scrutinise established programmatic and strategic positions; the concepts, experiments and radical promise of past engagements with telecommunications, digital media and aesthetics will be kept in mind, as much to reprise their energies and enthusiasms as to create a gauge for where we find ourselves today.
Between 2012 and 2013 the work of the Post-Media Lab was structured around four topics: Connecting People Apart (January to June 2012), The Subsumption of Sociality (July to December 2012), The Question of Organization After Networks (January to June 2013), Life versus Object. Comrade Things and Alien Life (July to December 2013).
Post-Media Lab operates on different levels, working with different simultaneous tectonics::
* Building a peer community interested in post-media (inter alia through a system of 'Visiting fellows')
* Translocal publics (extending collaboration between Lüneburg region and other localities on the planet)
* Transnational networks (assembling and short-circuiting different spheres like civil society, media activism, media art, hacktivism, media based research)
* Free, experimental and clandestine forms of publication (PML Books and other hybrid publications like 'Beyond the Timeline')
_ Series Editors : Clemens Apprich, Josephine Berry Slater, Anthony Iles, Oliver Lerone Schultz
_ The books in this short series are:
• Claire Fontaine, Human Strike Has Already Begun & Other Writings, (Winter, 2013. Print ISBN 978-1-906496-88-3; eBook ISBN 978-1-906496-89-0)
• Clemens Apprich, Josephine Berry Slater, Anthony Iles and Oliver Lerone Schultz (Eds.), Provocative Alloys: A Post-Media Anthology, (Winter 2013. Print ISBN 978-1-906496-94-4; eBook ISBN 978-1-906496-95-1)
• Felix Stalder, Digital Solidarity, (Winter, 2013. ISBN 978-1-906496-92-0; eBook ISBN 978-1-906496-93-7
• Rodrigo Nunes, The Organisation of the Organisationless: The Question of Organisation After Networks, (Winter/Spring 2014. Print ISBN 978-1-906496-75-3; eBook ISBN 978-1-906496-82-1)
... to come:
• Irational, Anarchaeology of an Artserver, (Spring 2014. Print 978-1-906496-98-2; eBook ISBN 978-1-906496-78-4)
• Clemens Apprich, Josephine Berry Slater, Anthony Iles and Oliver Lerone Schultz (Eds.), The Post-Media Lab Scrapbook, (Spring 2014. Print ISBN 978-1-906496-96-8; eBook ISBN 978-1-906496-97-5)"
An assemblage always has been a cultural form, itself consisting of other assemblages, or what can be viewed as such. Online video vortices such as Youtube, in this perspective, are assemblages of assemblages: Databases, softwares, hardwares, screens, interfaces, protocols, server farms and infrastructures; Videos, titles, different forms of comments, tags, User IDs, hyperlinks, lists and channels; cameras, video producers, filmed objects, frames, uploaders, users and audiences; capital, money flows, corporations, employees, advertisers, property rights, eyeballs and statistics... Youtube as one such agglutination is changing along with cultural formations of video as it is itself, possibly still more than many other acteur, partaking in its reconfigurations. But powerful alternatives, such as Tudou and Youku in China, or Nico Nico Douga in Japan, have developed significantly different properties. More alternatives are constantly added, even more can be envisioned – within, alongside or beyond Youtube – by corporations and entrepreneurs, just as much as by artists and (h)activists, and indeed by the users and audiences around the world.
VideoVortex 13 proposes that now is a time to re-engage with a ‘structural’ analysis of online-video culture. By calling for this re-engagement with structural questions and an analysis of ‘assemblages’, we point to the often loose forms of influence between elements, and processes of change at all levels, each not fully determined by the other. However, using this lens we neither aim to confine the analysis to particular theory brands (such as STS/ANT, Post-Marxist or Deleuzian approaches), nor exclude alternative frames of description, cause and effect. Object-oriented approaches are as welcome as relational ones, micro- as welcome as macro-analyses, cultural and aesthetic programs as much as socio-political criticism, critics as well as networkers theorists and practitioners. The notion of assemblage is merely used to open up structural questions, not tied to (over-) structuralist analysis, rather a filter to summon up a certain slicing and engage in common dialogue.
So: How can we analyze and compare assemblages of online video? What new constellations are to be found around the video frame, be it on a social, aesthetical or technical level? How can we describe and understand recent shifts, such as commissioned channels on Youtube or the advent of amateur video in the news sphere? Do specific interfaces, for example, privilege specific forms of content and practices? How can we understand assemblages from different perspectives? Users, for example, still encounter video hosting services in an assemblage with conventional television, bit torrent, websites, and so on – what does this mean? What role do protocols or cultures of use play here? What happens, if we extend the focus of the analysis, for example to the integration into Google or Facebook, or narrow it down, to particular assemblages of one video and its comments, for example?
To ask such questions means to look and think beyond YouTube, as we know it. YouTube itself overhauls its interface and syntax of use, with deeper integration into the Google-Verse, and a shift from user-generated to channel-commissioned content. New software, such as easy to use HTML5-based frameworks, open up new possibilites. At the same time ’TV has overflowed its boundaries’ (FlowTV). The building block of the network-TV-era morphs further into lists, channels, apps and what-have-you, driven by recommendation
engines and personalized profiles. Big players, such as Apple, Google, NetFlix, Hulu, Amazon and Samsung, aim to define the future of a medium once known as television, still unsure whether it knocks at the window from inside the computer, the old living-room-screen, or from within any other gadget nesting in our hands and attention spaces, exploring its way between multimodal split screens and something still worth being called a channel.
The global video-scape, part of a re-assembled media-scape, is negotiated and reconfigured within the spaces opened up by ‘Online-Video ́, ’Web 2.0’, DIY-culture and ‚Post-Network-TV‘. Situated in this dynamic field are: TV-Networks still struggling with their online-strategies but rolling out their content, trying to keep control of TV-tradition; internet-giants trying to translate ‚2.0‘-culture into immediate domination of the field of online-video; some initiatives – carried on by civil-society, open-source culture or endowments – which want to keep the ‚vision‘ in tele-vision; all the rest of society which now – in a similar manner as with the advent of the internet itself – now realize in different ways, that there is no future socializing without a video-component of sorts; micro-social counter- or DIY-cultures producing ‚alternative content‘ – either within their own infrastructures or within pre-existing frames of distribution, sometimes re- floating to the surface of the global media-scape, most notably in large event-driven eruptions such as the Arab Spring or the Occupy-movement, forming assemblies in their own right. These global event-streams also remind us of the ‘real virtuality’ video can have, the close assembly of networked media content with the social spaces of what was once regarded as ‘the public’.
When we look for new methodologies and epistemologies for the unfolding video-grammars, one thing seems to be sure: The online-videosphere in the global videodrome is extensive, socially pervasive and diverse. While we still need to engage in overall mapping of moving-image culture, we also need scenarios for floating-islands of the online-video archipelago of formats, structures, platforms, practices. On the other hand, we have to deepen our understanding of how the grammar of video is shaped by other social, cultural and technological dynamics, formats and protocols, not the least because online video is immersed deeply into techno-capitalism which some qualify as ruled by a ‘cinematic mode of production’. Online-video may ask of us more than ever to look under or beyond the hood of the video-display. Also video assemblages across media-spheres and in time – video-biographies – need our attention: Egyptian or Syrian protestors are seen on CNN or Al Jazeera, set-top boxes stream Democracy Now along Fox-News, and videos get re- embedded and re-annotated in teaching platforms such as Sophie, Scalar and MediaThread, or in sub-curated diaries such as Facebook Timelines.
geht von der These aus, dass sich utopisches Denken nach dem Ende der gesellschafts-politischen Utopieentwürfe auf den Körper verlagert hat. Zukunftsvisionen, die durch die rasante Entwicklung innerhalb der Life-Sciences und der Computer- technologie angestoßen wurden, machen den Körper zur Projektionsfläche alter Menschheitsträume, indem sie das Ende von Krankheit, Schmerz, Alter und Tod versprechen. "Post-humanistische" Spekulationen über neue Verbindungen von Mensch und Maschine im Cyborg, über gentechnische Modifikationen oder die vermeintliche Überwindung des Körpers durch seine Virtualisierung beschreiben diese Zukunftsentwürfe - durchaus widersprüchlich - in den Termini von Utopie und Dystopie. Aber nicht nur technologische Zukunftsvisionen, auch gegenwärtige Gesellschaftspraxen zeugen vom Einwandern der Utopie in den Körper.
assemblies of all kind.
creative, engaged but spectrally shimmering in all those assorted domains.with capital letters.
"The Glossary of Subsumption – Collective Edition"-project will kick off with a presentation under the heading Glossary of Subsumption: Enclosed Athens Disclosed. It will be given by a group of researchers, artists and architects that by now have formed an open-ended working-group. This first assembled in Athens last November during a workshop initiated by Oliver Lerone Schultz as part of New Babylon Revisited, a project by Goethe-Institut Athen. The aim was to trace old and new subsumptions of urban space. The initial concept, their goals and follow-up projects will unfold while outlining the fate of an avatar named Andrea/s, a semi-fictitious figure whose lifetime is related to fundamental elements of our general metropolitan ‚story‘ of subsumption such as energy, time, sleep, sounds, landscapes, the extended mind, or the ‚public/private bi-polar‘.
Taking into consideration the findings of the first workshop ('Enclosed Athens Disclosed'), a new workgroup will cluster those with other existing ideas and keywords. There will also be some fleeting 'methodological devices' (like the Hybrid Letterbox) that will capture conceptual noise and enlist circulating issues and terms throughout the festival.
The goal would ultimately be to collectively build a Glossary of Subsumption and reflect on the possibilities, stakes and potential (social) formats of such an endeavor. This is also to ask: what is a social way of constructing theory and the ‘knowledge commons’ – one that mediates different experiences and concepts of enclosure.
– with Adnan Hadzi (reSync) & Oliver Lerone Schultz (Common Media Lab)
Enclosures of New Athens is a research workshop and a mesh net walk especially designed for Athens in collaboration with the reSync team [>].
Aiming to create a glossary of concepts, terminologies and terms related to the contemporary use of the commons, their enclosure and subsumption[>] that can be experienced within the city, the workshop will attempt to collect, sort and conceptualize some material on 'new enclosures' and layered power formations as they crystallize in and around urban spaces. It will therefore inquire exemplary spaces of Athens, in a series of guided site-seeings in which local acteurs introduce the 'outsiders view' to the concrete as well as more abstract power grids and localized logics of valorization and governance structuring those urban sites.
This material, pre-collected in the days running up to the workshop, will form the core of what is worked upon collectivly to identify, index and characterize pluriform forms of power and valorization. This process will take the shape of some conceptual discussions around the idea of 'subsumption', and go on to annotate and inter-link the material.
The outcomes of the research will be hosted and interlinked with work-and-research structures of the the reSync Athens workshop and they will also load a research-black-box (Pirate-Box) that can accumulate and 'commonize' critical material, travel and be presented at any place in any time.
Reflecting on a post-digital approach as a condition in which the utopian promise of the global technological progress is put under crisis, this panel investigates practices and projects of de-colonisation of corporate culture, as well as of the “digital” paradigm per se. By specifically focusing on hybrid and syncretic Brazilian contemporary political, cultural and economical scenarios, the post-digital condition highlighted in such context brings together a variety of practices that deal with transitional processes between online and offline existence, ecology of technical and non-technical resources, techno-shamanism from the junction between technology and practices of ancestral knowledge, insurgent political movements and the formation of a sustainable networked society. The panel proposes a multiple angle of analysis where technology becomes an open tool to imagine unpredictable connections in the everyday life from civil engagement to artistic and political activism, and to social change."
To address these questions, 'Taking Care of Things!' focuses on the transformation of things – analog and digital – into life-cycles and specific practices of care. This will be done in different thematic groups dealing with topics, like Mesh Media!, Civil Archaeology, Measure Drones, Unearthing the Archive, Translating Ontologies and Extinction in Context.
This workshop will address such fundamental changes in archiving and objects by generating practices and chances to take care of things. That is, we will seek to extend (or sometimes end) the life-cycle of objects not by simply preserving them (this usually guarantees they will be forgotten), but rather through acts that respond, react, and/or reuse.
'Taking Care of Things!' will be based at and operating from the Stadtarchiv Lüneburg, the city's rich and still to-be-further-explored archive, headed by Danny Kolbe.
'Taking Care of Things!' will start Wednesday evening (Jan 15) with a public talk by Kelly Dobson (Brown University) and followed by short introductions by Oliver Lerone Schutz, Nishant Shah and Wendy Chun to set the scene for the following days. Clemens Apprich together with Marcell Mars will then turn the evening into a Public Library offering the first charge of Post-Media Lab publications.
Thursday and Friday (Jan 16-17) will be reserved for intensive exchanges and workshops among the invited participants, all of whom deal very differently and critically with post-medial (non-)archives. There will be the opportunity to interface with the Lüneburg public, assembling archival objects of different kinds. On Saturday (Jan 18) all these activities will culminate in a public presentation and fair under the umbrella of 'Parliament of Things' held at the Stadtarchiv.
'Taking Care of Things!' will create multiple interweavings not only with the rich repository of the Stadtarchiv, but also with the multiple potentials of existing and new collaborations around the Center for Digital Cultures.
This event will mark the conclusion of the first life-cycle of the Post-Media Lab by bringing together former fellows and new participants.
Among the participants are: Adnan Hadzi and James Steven (DeckspaceTV), Femke Snelting and Michael Murtaugh (Constant/Active Archives), Eric Kuitenberg and David Garcia (Tactical Media Files), Boaz Levin and Daniel Herleth and Adam Kaplan (The Rise of Data), Fabian Giraud and Inigo Wilkins (Glass Bead), Jonathan Kemp and James Howse („Stack, Frame, Heap –SFH)", as well as Memory of the World (Marcell Mars), Mathias Fuchs (Gamification Lab), Cornelia Sollfrank (Giving What You Don´t Have), Hauke Winkler (Freifunk Lüneburg), Robert Ochshorn (InterLace), Tapio Makela (M.A.R.I.N.), Fabrizio Augusto Poltronieri (MaisZero), Owen Mundy (Living under Drones), Kristian Lukic (NAPON),Vahida Ramujkic (irational), Volker Grasmuck (CDC/Grundversorgung 2.0), Vincent Normand, Jeremy Lecomte, Ida Soulard, Erich Berger, Connie Mendoza and more.
Coordination & Care
Christina Kral: christina.kral@inkubator.leuphana.de
Oliver Lerone Schultz: oschultz@leuphana.de
January 15-18
Taking Care of Things!
organized by Post-Media Lab/CDC, Habits of Living in cooperation with Stadtarchiv Lüneburg
PROGRAM
Wednesday, Jan 15
18:00 Stadtarchiv
Introduction to Taking Care of Things
a lecture by Kelly Dobson (Brown University): 'How To Break Things' and a temporarily installed Public Library offering the first charge of Post-Media Lab publications. Bring your own devices to download them live!
Friday, Jan 17
21:00 (location to be announced)
Screening Things
a curated public screening including footage from the Stadtarchiv and works by 'Taking Care of Things!' participants
Saturday, Jan 18
13:00 - 17:00 Stadtarchiv
Parliament of Things
a public fair and exhibition displaying the results of the two-day workshop intermixed with city archive material—an opportunity for the public to engage with 'Taking Care of Things!' and the Stadtarchiv in a variety of activities igniting & deepening conversations around archives, life-cycles and care."
Die eigenartige Medialität von Kongressen konstituierte sich traditionell aus standardisierten Präsentations- und Kommunikationsformaten, die eine klare Hierarchie zwischen Vortragenden (von der Keynote zum Nachwuchspanel) sowie zwischen Zuhörenden und Vortragenden installieren. Sie sind eingelassen in eine Inszenierung, Choreografie und Dramaturgie des Kongressablaufes mit den zentralen Elementen Präsentation, Panel und Diskussion. Wesentlicher Bestandteil sind zudem informeller Art, etwa Pausen, gemeinsames Essen und Gespräche. So konstituiert sich die Konferenz als 'mediale Assemblage', bestehend aus: Mobilisierung von Ressourcen (wie etwa das Budget), Verteiler/Einladung, dem Call for Papers (auch als eigenes Medienformat– s. etwas die Explosion der CfPs), den Maßgaben bestimmter Spielorte (Kino, Konferenzzentrum), der Inszenierung (Raumaufteilung,Empfang, Platzierung von Verlagen, Sponsoren, Auslagen etc.), einer Choreographie (parallele Sessions vs. Single-Stream, etc), der Setzung einer eigenen Medienkultur/-athmosphäre der jeweiligen Konferenz (Stereotyp: Dias – Kunsthistoriker; Powerpoints – BWL, Video – Filmwissenschaftler), medialen Politiken von Konferenzdokumentation und Konferenzkommunikation. Es geht mithin um die mediale und soziale Formierung und Rhetorik von präsentiertem Wissen und identitäterer »Normal-Wissenschaft«; oder: 'Social Media' avant la lettre. Im Panel soll dem Format Konferenz als gleichzeitige Prozessierung von Wissen, symbolischem Kapital und aktualer Ereignis-/Medienkultur nachgegangen werden. In den Blick genommen werden auch neue Formen und Typen des 'Conferencings' wie: Barcamps, Open Space, Unconferences; letztere insbeondere als Indizes einer grundsätzlich veränderten Verfassung der Versammlungs-Episteme unter dem Einfluss vernetzter Medien und der Netzwerk-Kultur. "
Anna Echterhölter : Stammbücher als Medien der methodischen Orientierung
Wolfgang Hagen : Ethos, Pathos, Logos - Über Digitales Präsentieren
Sibylle Peters : Das Wissen der Versammlung. Vorschlag zur Einrichtung eines experimentellen Lecture Theatres
Kristoffer Gansing : Do’s and Don’ts and How to Break Them: Conferences and the Mediated Performance of Knowledge [nicht gehalten]
The workshop is conceptualized to create some theoretical reference points between the work of the Post-Media Lab and the general attempt for theory construction at the Centre for Digital Cultures – acknowledging a gap between critical media theory and the accellerating reception of Bruno Latours (trans-)sociology.
– Workshop featuring perspectives and interventions by Prof. Marc Rölli, Dr. Yuk Hui and Moritz Queisner.
The Net, with all its grey and dark parts, may seem like the ultimate archive, yet it doesn’t adhere to any of the rules which structure – some would say enable – archivist practice in the first instance. And this is not to mention the archival hinterland existing on media devices and systems existing ‘beyond’ the Internet, which extend this landscape further into the realms of unpredictability, ungovernability, illegibility, chaos…
Networked media have dramatically expanded the resources available for the development of shared reference systems. Yet, when it comes to our ability to turn these systems into reliable ‘archives’, we find that these same media escalate infrastructural challenges to the point where they become impossible to meet.
Given the over-abundance of archiving possibilities in the present, we would argue that the primary forces troubling ‘the archive’ are volatility, real-time mediation and/or fictionalisation.
Inherited from idealist philosophy (Kant, Schelling, Hegel) and used by Karl Marx to theorise the development of the capitalist mode of production, subsumption has emerged as an important term for contemporary theorists attempting to describe and periodise the development of technologies, knowledges and class relations under capital. These categories of human activity and society can be described as ‘under capital’ since ‘subsumption’, which can be translated as submission, domination or subordination, describes a process by which the particular (concrete labour) is subsumed by a universal (value or capital’s process of valorisation).
Marx theorises subsumption as a two-stage process by which capital takes hold of a existing process (formal subsumption) and begins to shape and transform it to its own ends (real subsumption). The shift from ‘formal subsumption’ to that of ‘real subsumption’ in our present moment is characterised by the profound separation of human needs from capitalist production, self-reproduction and expansion. Labour remains central to capital’s self-augmentation and socialisation, but under such naturalised domination it appears only increasingly marginal. Capital is no longer content to merely encompass existing forms of production in its pursuit of value, but must convert and transform all of life (production and reproduction) into capitalist forms. Through this ceaseless deterritorialisation, it finds ways to extract value across all forms of social, material and biological activity, radically altering them in its wake. Within this, our ways of relating, caring and of expression, of communicating and collaborating, are enclosed, templated and optimised. As ICT is folded into this process the creation of new forms of sociality, new edges, speeds and channels of communicating, and an endless wake of data are produced by and for subjects. ICT accelerates capitalist subsumption but also changes the nature of struggle against its domination, forcing it, and us, into more bound and arguably intimate confrontations.
People presenting or participating
This list is being updated as more people confirm
Anthony Iles on A brief history of Subsumption >> Autonomisation
Gordan Savicic (TBC) on Information and Computation >> discussion of the term "seamlessness" through various hands-on applications on smartphones and within standard web-browsers.
Inigo Wilkins on Information and Computation >> heterodox economics, HFT, the robot-phase transition in finance and social media, computational modeling and soft control
and on Health >> transparency and surveillance
Sean Dockray on Information and Computation >> data centers, cloud
Oliver Lerone Schultz on dispossession, land grabbing and annexations in the context of international AgroIndustries, and on the re-structuring of social space grid/logics in aligning with digital network infrastructures (Zoning, logistical city, Network-Geographies)
Matteo Pasquinelli - "The number of the collective beast: The substance of value in the age of the institutions of ranking and rating"
The human experiencing of pervasively technicized worlds and changing environments is increasingly co-organized by way of medial systems and synthesizing artifacts – like GIS, GPS, informational data-bases, multimedia documentations, bookmark lists etc.. These and other new artifacts functioning like maps enable concrete as well as abstract movements in the manifold flow spaces linked to new „post-industrial“ infrastructures.
In reaction to this new situation the aim of the conference is to move the focus beyond traditional forms of (geographical) maps. As a starting point and acknowledging the new realities of the „second media age“ a widened concept of „map“ is proposed, describing them as topologically structured ensembles of representations and information used in different forms of - ultimately human - orientation and navigation.
At the same time maps - as they occupy an ever more central role in a technically restructured life-world - question any naive view of human actors. Maps here provide access via representation, thereby enabling participation („ or control). The lack of a specific map or the lack of access to them in contrast often means handicap or exclusion. Different and alternative mappings are linked to different actor positions within techno-social universes. Taken their increasing importance and use it seems timely and fruitful to examine how maps generate cultural coherence, articulate and shape local ontologies and articulate changing - possibly conflicting - images of man.
Taken the Background of pervasive technological shifts this cannot be done without examining the resonant interaction between new technologies and the technologies of mapping and their new signatures of symbolization, indexicality and positionality.
We want to explore:
• How are the new spaces (i.e. RFID object-spaces of Ambient Intelligence or Smart Archi- tecture/Fluid Architecture) structured? What kind of changes do we see in logics of interaction when confronted with informatised, highly interactive objects?
• How do we orientate in informatised and dynamically changing spaces? What kind of navigational strategies and metaphors can be summoned as blueprints for these kinds of orientation (nautical navigation, human computer interaction, cognitive mapping)?
• How do issues of access change in the wake of ever more complex anthropotechnical spacing and the encompassing modifications of the lifeworld? What competencies of reading and producing maps become dominant? What kind of „mapping communities“ and mapping practices appear in this context? What new technologies appear?
• What role do maps play for orientation and navigation in these spaces? How do they constitute and represent informatised space? What new forms or signatures of maps arise in relation to anthropotechnical space?
• How do new technologies translate into new practices of mapping and orientation? What kind of new personal, cultural or social universes are brought up by the flexibilities and individualization of mapped space? How does it affect the lifeworld, and what kind of new ontologies evolve?
– Convened together with Gabriele Grammelsberger
zum Film „Das Netz“ von Lutz Dammbeck und „The Macy-Conferences“ herausgegeben von Claus Pias
Freitag, den 24. Juni 2005: Film und Diskussion mit Lutz Dammbeck und Claus Pias
Ort: Tesla Salon, im Podewils'schen Palais, Klosterstr. 68-70, 10179 Berlin-Mitte
Videoprogramm 16.00 – 24.00
Unveröffentlichtes Interviewmaterial zum Film „Das Netz“ von Lutz Dammbeck (Foyer) - John Brockmann, Stewart Brand, Heinz von Foerster, David Gelernter, Lawrence Roberts, Robert W. Taylor, Jack Burnham, Paul Garrin, Hans Haacke
18.00 – 20.00 Das Netz (Filmvorführung im Salon)
Offene Diskussion
20.00 – 20.30 The Macy-Conferences (Textmontage und Lesung im Salon)
20.30 – 22.00 Offene Diskussion mit Lutz Dammbeck und Claus Pias (Salon)
*Das Interviewmaterial von Lutz Dammbeck ist vom 21. bis 25. Juni 2005 von 16.00 bis 24.00 im Foyer zu sehen
-> 240 minutes talking about art, technology & cybernetics
Samstag, den 25. Juni 2005: Workshop mit Lutz Dammbeck und Claus Pias
Ort: Institut f. Philosophie der FU, Habelschwerdter Allee 30, 14195 Berlin-Dahlem
10.00 – 14.00 Workshop
zum Thema: Travestien der Kybernetik: Die Macy-Konferenzen und ihr Einfluß.
Einführung von Sybille Krämer.
Material- und Textstudien unter Anleitung von Lutz Dammbeck und Claus Pias mit Beiträgen verschiedener Workshopteilnehmer
Raimar Zons, Durchlässigkeit und Paranoia. Der fragwürdige Mensch und seine Religion
Oliver Krüger, Gnosis im Cyberspace? Die Körperutopien im Posthumanismus
Christoph Kappes, Allegorische Körper. Dichtung und Naturwissenschaft bei E.T.A. Hoffmann.
Jutta Weber, Verkörperte Robotik und Posthumanismus - Verspätet sich die Kritik im Verhältnis zur Technik?
Sektionsleitung: Oliver Lerone Schultz
_ Vera Knolle, It´s time to become part of all things. Butoh als posthumane Körperpraxis
_ Oliver Lerone Schultz, Dunkle Körper. Alienation und die Utopie der Dystopie
_ Serjoscha Wiemer, Maschine, Soma, Interface – Paradigmen und Fluchtlinien von Körperbildern im Science Fiction Film der 1980er und 1990er Jahre
_ Dunja Mohr, Hybride Kunstkörper: Utopisches und dystopisches Potential posthumaner Körperbilder
Sektionsleitung: Oliver Lerone Schultz
'5 years after – collective display' is an assembly of curatorial enunciations prefiguring the exchange ensuing during the transmediale/conversationpiece. The boards will not attempt to be of glossy exhibition quality but rather gesture at the language of annotation, montage, zine-culture and display their conversational and use/exchange oriented character. the boards would feature some aspects of ‚5 years after‘, taken from the spheres of the participant projects. the chosen contribution format would be „1 sheet – 1 position"
The board topics are: 1 : life-cycles (ups and downs) // 2 : sensorium (perceptions, representations, self-perceptions of the movement etc.) // 3 : global resonances // 4 : ‚images from the future‘
With active participation by Heba Amin (Berlin/Kairo), Lara Baladi (Boston/Kairo), bak.ma (Istanbul/Ankara), Serhat Köksal / 2/5 bz (Istanbul), Esra´a al Shafei (Bahrain) – and others to come.
Today, we are entering into a new constellation, a new galaxy and the reformulation of solidarity in a myriad of ways [...] There are new institutional and cultural forms emerging to support such complex webs of interaction and production, often based on the notion of a shared resource, a commons, and focused on the particular requirements necessary to develop and protect that one resource. They offer a chance to remake society in a particular way, through reinventing social solidarity and democracy, be it in the digital networks of informational cooperation or in the common appropriation of physical spaces.
– Felix Stalder, Digital Solidarity"
Spring 2014. Print 978-1-906496-75-3; eBook 978-1-906496-82-1
Series editors: Clemens Apprich, Josephine Berry Slater, Anthony Iles & Oliver Lerone Schultz
How are decision making and strategic action possible in networks? Can networks act as political subjects, or are they condemned to the endless repetition of cycles of concentration and dispersion? Could it be that the answers to questions of organisation already exist as immanent potentials in current movements, and are ‘hidden in plain sight’ by the inadequacy of our descriptions of them?
The movements of recent years, writes Rodrigo Nunes, are neither leaderless nor horizontal, nor event strictly speaking movements. They are best understood as distributed, internally differentiated network-systems governed by distributed leadership. Escaping the oscillation between the one and the many that still traps much contemporary political thought allows us to open the door to an intermediary scale of hubs, clusters, collective identities, vanguard functions and catalysts in which problems of organisation can be posed anew.
The choice between dispersion or unification is not inscribed in advance in the notion of a network-movement; on the contrary, the latter allows for the possibility that the two can be combined in several ways – swarming, distributed action, diversity of tactics, institutionalisation, forking, even (why not?) parties – according to whatever the occasion requires.
Rodrigo Nunes is a lecturer in modern and contemporary philosophy at the Catholic University of Rio de Janeiro (PUC-Rio), Brazil. He coordinates the research group Materialismos (http://materialismos.tk), which investigates the resurgence of metaphysical speculation in contemporary philosophy and its interfaces with other fields such as politics, science and anthropology. He has been involved in several political initiatives over the years, such as the first editions of the World Social Forum and the Justice for Cleaners campaign in London. He is a member of the editorial collective of Turbulence (http://turbulence.org.uk).
Rodrigo Nunes is a co-editor of What Would it Mean to Win?, Turbulence Collective (Eds.), PM Press, 2010
‘Powerful vision of the possible and the seldom-seen present.’
—Rebecca Solnit, author, Hope in the Dark and A Paradise Built in Hell
‘This kind of innovative thinking, which emerges from the context of the movements, opens new paths for rebellion and the creation of real social alternatives.’
—Michael Hardt, co-author, Commonwealth, Multitude and Empire"
Beyond the Timeline
– built with InterLace by Robert M Ochshorn.
"This is a hybrid video reader documenting the 9th edition of VideoVortex, a travelling conference series dealing with implications and contextualizations of online video culture. Available for the first time is an annotated timeline of the conference, which students, scholars and writers can skim through and quote from. The interface attempts to supply the user with as much cultural context and scholarly resources as possible, using embedded footnotes as well as online and offline references, thus creating an amalgam of both digital and analog reading cultures. We hope that in this way the digital presence of the conference will transcend the limits of a mere re-presentation, offering, rather, an augmented time-image of the event.
The hybrid reader grew out of the conference while it happened. InterLace, the platform upon which our reader is based, is an experimental user-interface for navigating, organizing and annotating large quantities of video on the web. Robert Ochshorn, the author of InterLace, presented at Video Vortex9, inspiring the conference team to take up on his ongoing project and organize the video documentation of the event in one chronological timeline with annotations. We appropriated and further developed this interface together with Robert – creating an augmented 'time-image' of the conference. This is not only trying to give a more coherent 'image' of the conference as a dynamic, multi-part totality but also makes the conference 'quotable', mixing the traditional (analog) text format with the (digital) 'language of new media', especially networked video.
The conference itself attempted to re-engage with a structural and contextual analysis of online video culture. Different panels and contributions dealt with a variety of topics relating to the benefits and pitfalls of networked video; from codecs and infrastructure to aesthetics and interfaces; from the diffusion of the social to new forms of subjectivity. With the InterLace we wish to propose an alternative way to consider the publication."
alongside Sina Hurnik (Design)
and 2Spot (Video)
– in cooperation with iRights
Jury: Clemens Apprich, Gordan Savicic, Cornelia Sollfrank, Ulf Wuggenig, Josie Berry Slater
An exhibition Project inviting regional cultural producers to produce contributions and positions on the ambivalencies of new copyright and IP regimes – all from the point of view of their own practices of cultural production. These positions were augmented by commentaries of Philipp Otto (iroghts.info), who as legal expert advises cultural producers on the pitfalls and opportunities of legality and legitimacy in digital culture contexts.
The project resulted in an exhibition that was mirrored as virtual exhibition, short circuiting local and global ambits.""
Video remains a part of our future—so much can be seen in the current previews of parallax screen cultures. Videodrome and Terminal Identity already projected surreal futures of video long ago. Trying to find glimpses of video’s current future, we look into the present and its announcements and projections. Nowadays, these new pre-mediations of the future can be read as videos themselves, as visual advertisements for visionary things to come. They come manifold, as competing and complementary declarations of something that can by no means be known or foreseen. They will always look like the presentations of a media future that has been around for a long time or imminent, inevitably mocking past futures, looking familiarly unfamiliar. Every single one might stage a global view or magnify traces that could come to track us. So we collected technological touchscreen infantilities, clickporn celebrations, advertisements of the unrewindable.... in short, we traced the travesties of video politics by trapping some of its video."
Das Verhältnis von Theorie und Praxis der Kybernetik spiegelt sich in der zentralen These der Filmdokumentation „Das Netz“ von Lutz Dammbeck wider, der im Stile einer modernen Wissenschaftsarchäologie den Kontrolltraum technokratischer Wissenschaftseliten in den U.S.A ausleuchtet. Indem Dammbeck die Protagonisten der Information Society - Expanded Cinema-Festival, Whole-Earth-Community, Macy-Conferences, ARPA, MIT u.v.a. – mit dem „Antitechnologischen Manifest“ des Una-Bombers konfrontiert, rekonstruiert er bis heute wirksame Motive und Fluchtlinien der Macy-Konferenzen. Sichtbar werden in den zahlreichen Interviews die verschiedenen Zuflussquellen für die gesteuerte Entwicklung einer Wissenschaft, die – während sie daran ging Computer und Kommunikationstechnologien erst mit Blick auf militärische Abwehrsysteme, dann im Sinne neuer Kommunikationsnetze miteinander zu vernetzen – schließlich auch die „Vorhersage und Kontrolle menschlichen Verhaltens möglich macht“. Denn: „In diesen weltweiten funktionierenden Maschinensystemen sind alle Aussagen richtig.... Weil sich alle von anderen Aussagen ableiten lassen.“, konstatiert Heinz von Foerster, Sekretär der Macy Konferenzen und Begründer des Biological Computer Lab (BCL).
Was ursprünglich mit einfachen Diagrammen geschlossener Schaltkreise begann, mutierte in mehr als sechs Jahrzehnten zu einer multiplen und verschachtelten Mensch-Maschine-Landschaft, die biologische und technische Systeme zur Augmented Reality koppelt, Systemdynamiken in Simulationen berechnet oder Expertensysteme und Roboter in Arbeitsabläufe eingegliedert. "Tatsächlich sind - wie die schönen neuen Welten des Cyberspace - die heutigen Life Sciences der vielleicht deutlichste Beweis dafür, wie anonym oder versteckt das kybernetische Wissen inzwischen reagiert, gerade weil es durchgängig regiert." (Bernhard Dotzler)
Von militärischen Abwehrsystemen zu Kommunikationsnetzen, von geschlossenen zu offenen Systemen, von der Homeostase zur Emergenz, vom einfachen Servomechanismus zu komplexen Multi-Agenten-Systemen – entlang dieser Vektoren, die bis in die Gegenwart (und darüber hinaus) reichen, spannt sich der Bogen der Travestien der Kybernetik auf. Das kybernetische Programm spiegelt dabei nicht zuletzt einen bis heute vorherrschenden Versuch wider, die Rolle menschlicher Akteure in einer zunehmend techno-kulturellen Umwelt zu verorten.
Ist also die Frage nach den »Travestien der Kybernetik« heute aktueller denn je oder als rein nostalgisch zu verbuchen? Welche Rolle spielen die menschlichen Akteure in den mittlerweile globalen und offenen Systemen? Wer ist Steuermann, wer User? Sind komplexe Systeme grundsätzlich „Out of Control“ oder Elemente einer „erweiterten Kontrolle“? Welche Bedeutung hat heute noch ein kybernetisches System-Konzept? Welche Formen kann das kybernetische Denken annehmen – und welche Alternativen schließt das kybernetische Denken aus?
2-Tägiges Event mit
– Film-Event zu Lutz´Dammbeck "Das Netz" (mit Claus Pias)
– Ausstellung mit umfangreichen Video- und Recherche-Material von Lutz Dammbeck
– Workshop an der FU Berlin (Diskussion zahlreicher Input-Papiere; u.a. von Ulrike Bergermann, Peter Bexte Rainer Fischbach, Gabriele Gramelsberger/Oliver Lerone Schultz, Helmut Höge Sybille Krämer, Markus Rautzenberg
VISIONÄRE PROJEKTIONEN - Kommentierte Filmnacht:
20:00 Georg Seeßlen: Utopische Körper - eine einführende (und etwas trashige) Film-Reise durchs Thema
21:00 ">Arier< von Geburt" - Daniel Wildmann spricht zu Olympia von Leni Riefenstahl (1936)
21:45 Anette Brauerhoch spricht zu "Film/Körper/Utopie"
22:30 Anschließend wird der Film "Beau Travail" von Claire Denis gezeigt (F 1999,
dt. Untertitel)
Außerdem:
22:15 Sternfoyer:
Ghost in the Shell (1995)
- ein japanisches Manga, Regie: Mamoru Oshii, 80 Minuten
INSTALLATIONEN
"This is what Utopia looks like" - - der Schimmer des Utopischen in den Bildern eines politischen Alltags, Video Loop von kanalB
"Gezüchtete Körper" - Körper im Sport, Video Loop
"Kudan" - Butoh-Tanz Aufführung von Yuko Kaseki
Leistungen des Körpers - Ruscha Kouril (Fitness Weltmeisterin)
Rhythmische Sportgymnastinnen (Halle), Aerobic Weltmeisterschaftsteilnehmerinnen (Halle)
"Visitors Only" von Meg Stuart/ Damaged Goods
- ein 2-teiliger Audio-Podcast [produziert von Cashmere Radio] als Material und Nachlese zum gleichnamigen Glossar bzw. Weiterbildungsseminar des Goethe-Instituts (Mai/Juni 2020)
1.Teil - Trailer | Das Glossar (05:45 min)
Ein kurzer Audio-Trailer wirft atmosphärisch verdichtete Schlaglichter auf die von Oliver Lerone Schultz verfassten 15 Begriffe des Glossars.
2.Teil - Themeneinstieg | Oliver Lerone Schultz im Gespräch (34:42 min)
Vor dem Hintergrund des Glossars bzw. des ersten Seminartermins stellt das Gespräch eine Art 'Nachlese' dar, in der sowohl fruchtbare Perspektivierungen der Begriffe als auch diskursiv-konstruktive Anschlusspunkte erörtert werden.
Ergänzende Termini - wie 'Forking', 'Hyperstition' und 'Regnose' - die im Gespräch diskutiert werden, dienen der zusätzlichen Einordnung des Glossarthemas in die Frage: „Wie kommt das Neue in die Welt?“.
Inhaltsverzeichnis mit Zeitangaben:
02:14 'Tipping Points' und Corona: SystemWissen – vom Objekt & Opfer zum Subjekt?
04:03 'Speed Dating der Neologismen': Forking, Hyperstition, Regnose und […?]
06:23 Das 'Glossar': Voraussetzungen, Funktionen und kulturpolitische Anschlüsse
09:33 'Forking': Digitale Reproduktion und Variation in Zeiten des 'general intellect'
12:18 'Open Source' etc.: Wenn Begriffe des Neuen für Figurationen und Ökologien stehen
15:15 'Hyperstition': Wenn die Zukunft mit Macht zurück kommt…
18:55 'Regnose': Neupostitionierungen im Angesicht kritischer Zukunftsprognosen
21:15 […?] und Shmoogle: Das Neue als Suchbewegung – Erwartungshorizonte und Kulturtechnologien des Findens
23:36 'Akzelerationismus' vs. 'Entschleunigung': Wenn der Fortschritt in die Zwickmühle gerät
28:06 Eine neue Spaltung der Gesellschaft? Fraktaler Fortschritt in der Gegenwart
31:00 Glossar oder Wiki? Das kollektive Wissen neu versammeln
2. Das symptomatische Lachen des Guy Fawkes: 'flashover'
3. 'Post-Cinema' und neue Imaginationsprojekte: Kino als Mobilisierung gesellschaftlicher Erfahrungs-Register
4. Spektralität: Visionen in Streuung, schimmernde Netze und wilde Aneignung
5. 'Neue Visionen': Post-Cinema und Sonderwege der Mediatisierung
6. Neue Radien der Medien-Soziologie: Soziale Semiotik, hybride Imagination und post-cinematische Sinnprojektionen
7. Horizont (und zentraler 'Einsatz'): Mediensoziologie als 'spektrale' und 'projektive' Hetero-Soziologie
8. Ausblick: Anlage, Struktur und Methodologie der Arbeit
9. Zur möglichen Anlagerung experimenteller/mediografischer Formate
Motif-Boards :
I. 'V for Vendetta' + ‚Guy Fawkes Maske‘ – post-anonyme Aufstände der Zeichen
II. 'Mockingjay-Revolutions‘ – Große Gesten: Thailand + Ferguson 2013
III. Motif-Board III : ‚Tahrir Cinema‘ – Spuren eines minoritären Post-Cinema
IV. Motif-Board IV : ‚The Interview‘ + the ‚Sony-Hack‘ – A more complex case of spectral post-cinematics
PROSPECTUS provides an eclectic mix of textual and visual materials relating to academies and factories, institutions on the move, perfect structures, sites of artistic practice, and pedagogical systems.
The publication has developed from activities and processes surrounding ARTSCHOOL/UK, an event and publishing platform, which began its expanded studies and counter-studies in 2010. Contributors include Roy Ascott, AA Bronson, Michael Craig-Martin, Alice and Rita Evans, Antonio Faundez & Paulo Freire, Verina Gfader, Fritz Haeg, Ivan Illich, Oliver Klimpel, Adam Knight, Hans Ulrich Obrist, Cedric Price, John Reardon, Matthew Stadler, Richard Wentworth, Ruth Höflich, and Neil Cummings.
This issue is dedicated to the 3 following questions:
- What are the future materials?
- How do we speculate, if, at all?
- What is at stake in speculation?
Die »Zukunft der Vergangenheit«, wie sie uns bis vor kurzem noch die Bild- und Vorstellungswelt von Science-Fiction und »Cyberpunk« vorführte – Enklaven verrohter Arbeit, insulare Zwangsgemeinschaften verschiedener Art inmitten von High-Tech-Infrastrukturen, soziales Elend mitten im pyramidalen Reichtum – ist mittlerweile in unserer Gegenwart angekommen: als möglicher Gegenstand verschiedener filmischer, dokumentarischer und politischer Explorationen.
(SK) Sme ovplyvnení a poznačení dynamickým technologickým vývojom. Medzinárodná konferencia New Europe / Nová Európa priniesla kritický pohľad na využívanie nových technológií určených pre progresívny rozvoj komunít s dôrazom na zodpovednosť za spoločnú budúcnosť. Termín „my“ si dnes uzurpovali populisti, ktorí hovoria o národoch, regiónoch a kultúrach. Výraz „my“ zároveň používajú skupiny a hnutia, ktoré sa snažia o zviditeľnenie a domáhajú sa svojich práv. Je to v rámci súčasných nadnárodných a multikultúrnych úrovní vôbec možné a dosiahnuteľné? Prezentácie a diskusie v rámci konferencie New Europe / Nová Európa boli venované témam ako identita, kultúrna diverzifikácia a jej teritóriá. Program: Stretnutie umenia, politiky a nových technológií / O spolitizovaní mediálnych platforiem / O nových formách koalícií / K novej Európe a ďalšie. Účastníci: Vuk Ćosić, Valie Djordjevic, Tomáš Kriššák, Matthew Feldman, Richard Kitta, Maik Fieltiz, Oliver Lerone Schultz, Tina Penxová, Dušan Barok, Kei Kreutler a ďalší.
24. – 25. november 2018
Tabačka Kulturfabrik, Košice (SK)