Together with the other programme strands – the exhibition Dark Drives: Uneasy Energies in Technological Times, the performance programme The Ghosts in the Mashine, the video programme Satellite Stories and the symposium in/compatible: systems | publics | aesthetics – the reSource constitutes a substantial part of the transmediale 2012 programme. It presents a constellation of workshops, talks and performances distributed into five different sub-themes: reSource Methods, reSource Activism, reSource Networks, reSource Markets and reSource Sex.

reSource Methods investigates intersections between artistic production and research, reflecting on methodologies of curating (post)media art as well as on experimental and speculative methods of in/compatibility through artistic practices.

With Martin Howse (uk/de), Anthony Iles (uk), Mattin (se/es), Jonathan Kemp (uk), Shu Lea Cheang (tw/fr), Cornelia Sollfrank (de), Geoff Cox (uk/dk), Florian Cramer (de/nl), Christian Ulrik Andersen (dk), Georg Russegger (au), Michal Wlodkowski (au), Luise Reitstätter (au), Joasia Krysa (pl/dk), Sidney Ogidon (au), Eva Fischer (au), Morten Breinbjerg (dk), Matthias Tarasiewicz (au), Rosa Menkman (nl), Morten Riis (dk), Marie Thompson (uk), Carolin Wiedemann (de), Robert Jackson (uk), Andrew Prior (uk), Magda Tyzlik-Carver (pl/uk) and many others.

reSource Activism sheds light on the practices of artists, activists and hackers who are rethinking critical interventions in the field of art and technology.

With Florian Wüst (de), Kathy Rae Huffman (us/de), Eckart Lottman (de), Pit Schultz (de), Roberta Buiani (it/ca), Alessandra Renzi (it/ca), Nicola Angrisano (it), and others.

reSource Networks reflects on viral and distributed strategies of networking, questioning the concept of networking itself and proposing alternative to proprietary systems.

With Dmytri Kleiner (ca/de), Baruch Gottlieb (ca/de) and the Telekommunisten Network, Aymeric Mansoux (fr/nl), Johannes P Osterhoff (de), Salvatrice Settis (it), Anna Adamolo (it), Victoria Estok (us), Nicholas Knouf (us), Wolfgang Spahn (de) and others.

reSource Markets reflects on the meaning of capitalism in a time of crisis, proposing both critical and playful alternatives to the capitalistic logic by intervening directly within the economical systems.

With Steve Lambert (us), Daniel Garcia Andujar (es), Jaromil (it/nl), Kate Rich (uk), Shintaro Miyazaki (jp/de) and Elanor Colleoni (it/dk).

reSource Sex reflects on the interference and overlapping between sex business and ‘alternative’ porn, aiming to explore and discuss the open interzona which exists in between the often male-oriented mainstream porn, and the more narrow scene of queer and alt porn communities.

With Sergio Messina (it), Karla Grundick (cz/de), Julianne Pierce (au/uk), Liad Hussein Kantorowicz (il/de), Kate Erhardt (za/de), Jacob Appelbaum (us), Zach Blas (us), Aliya Rakhmetova (kz/hu), Gaia Novati (it/de), Gabriella Coleman (us), Katrien Jacobs (be/hk), Francesco Macarone Palmieri aka WARBEAR (it/de), Shu Lea Cheang (tw/fr) and Martin Hug (ch/es).

WORKSHOPS IN THE RESOURCE PROGRAMME

The reSource for transmedial culture presents a series of workshop during transmediale, dealing with art and technology, hacktivism and politics.

Registration for all workshops is possible via the online form on our website!

Floppy Films Workshop. Moving Images on 1.44 MB
With Florian Cramer and guest tutor Dagie Brundert

This workshop will teach you how to revitalise floppy disks for moving images. Using extreme means of compression, we can squeeze whole movies on the 1.44 Megabyte provided by a single floppy disk, using run-of-the-mill video and image formats (MPEG and animated GIFs). Floppy films can be used for various inventive means.

Wednesday, February 1, 2012, 11:00–17:00, Upper Foyer
Thursday, February 2, 2012, 11:00–17:00, Upper Foyer
Friday, February 3, 2012, 11:00–17:00, Upper Foyer

in/compatible Material
Artistic intervention with Martin Howse, Anthony Iles, Mattin, Jonathan Kemp, Shu Lea Cheang, Baruch Gottlieb, and others

As an intervention within the flow of transmediale, the in/compatible Material Laboratory inserts itself in the cut between the compatible protocol(s) and an in/compatible/inverse divinatory materiality through the setup of a series of experimental situations.

Wednesday, February 1, 2012, 12:00–18:00, Café Global Stage and around the HKW

Activism Beyond the Interface: The Sandbox Project
Conceived and hosted by Roberta Buiani and Alessandra Renzi
With Nicola Angrisano and others

The Sandbox Project is a series of experimental production labs in different cities bringing together artists, activists and techies to reflect creatively on the in/compatibility and diversity of artivist practices.

Thursday, February 2, closed session: 10:30–14:30 / open session: 14:30–16:30, Café Global Stage

Google – One Week Piece Workshop
with Johannes P Osterhoff

During the workshop Johannes P Osterhoff and the participants will set up their browsers to automatically publish all their Google searches during transmediale on the web. They will interlink their searches so that they get good rankings and become visible for everyone in everybody’s search results. Participants can join the collaborative Google – One Week Piece and follow the example and communication of other public searchers. To participate you need a computer or mobile phone (Firefox or Chrome browsers).

Thursday, February 2, 2012, 11:00–13:00 / 14:00–16:00, K2

Fluid Nexus
with Nicholas Knouf

In this workshop participants will learn about historical and contemporary experiments in analog and digital network construction. Through activities using simple materials such as pen and paper, participants will create novel designs for information networks. Hands-on experience with Fluid Nexus will give participants a base to extend their explorations after the workshop. No programming experience is necessary.

Friday, February 3, 11:00–14:00, K2

R15N & Technologies of Miscommunication
Dmytri Kleiner and Baruch Gottlieb from the Telekommunisten Network will introduce the R15N system, try it out together with the participants, and discuss and explore possible technologies of miscommunication applications.

Friday February 3, 15:00–18:00, K2

Bio-Game
with Shu Lea Cheang and Martin Hug

The workshop focuses on the study and experiments in: human body as BioNet and blood cells as computing units; human (E)motion sensing using GSR sensor; body sensor data as algorithm to define rules of the game; hack and sabotage - devising collective game with multiple players.

Saturday, February 4, 11:00–14:00, K2
Must be 18 years old to attend!

Words of advice for young pornographers
with Sergio Messina

Sergio Messina, aging porn enthusiast and Realcore expert, will take you on a little tour about the joys of good porn, the pains of bad one, the reasons to make it and the ways to become stars - also trying to establish a few golden rules to make enticing smut.

Saturday, February 4, 15:00–18:00, K2
Must be 18 years old to attend!

Paperduino-Uno – a PaperPCB Workshop
with Wolfgang Spahn

In the workshop Wolfgang Spahn will teach how to create and modify PaperPCBs (Printed Circuit Boards). As an outcome of the workshop every participant will have designed and build his or her own Paperduino-Uno.

Sunday, February 5, 12:00–16:00, K2

ARTWORKS IN THE RESOURCE PROGRAMME

R15N
by Dmytri Kleiner, Baruch Gottlieb and the Telekommunisten Network

Telekommunisten present R15N as a working telephone-based interactive installation which is available as a mobilization and engagement platform for the transmediale community.

R15N is an artwork in the form of an experimental mobile phone service which attempts to generate local community engagement and communication. After registering with the service participants will be joined together in the R15N community, able to initiate and share information about what is going on at transmediale and beyond. Every member thus eventually becomes engaged in a real conversation with another, and this engenders cohesion and complicity.

R15N is the Official Miscommunication Platform of transmediale 2012.

Please register yourself at www.r15n.net

Presentation of R15N at the opening of transmediale, Tuesday January 31, 17:00–18:30

Google – One Week Performance Piece
by Johannes P Osterhoff

From January 1 to December 31, 2011, the Interface Artist Johannes P Osterhoff has been publishing all of his search queries with the search engine Google in a One-year Performance piece called Google. Since for each search a website has been generated automatically, Osterhoff’s searches surface surprisingly well-ranked in Google’s search results. During the week of transmediale Osterhoff opens this hacking of Google’s business model to collaboration. Follow the searches of JODI, Olia Lialina, mspr0, Rene Walter and others or useGooglepublicly yourself.

Presentation as part of the panel Isolation and Empowerment after Web 2.0, Friday, February 3, 11:00–14:00, K1

PERFORMANCES IN THE RESOURCE PROGRAMME

Steam Machine Music
by Morten Riis

Steam Machine Music is a homebuilt mechanical instrument made mostly from vintage Meccano parts. The instrument is driven by a steam engine and the sound material is generated from various strings, dynamos and music boxes. But the most important sound generating part is the sound of the machine itself, the rhythmic patterns and pulsating drones of the steam engine, the squeaking of the gear trains. The instability of the entire mechanism is extremely noticeable, and displays and reflects the physicality of the machine to an extreme degree. Steam Machine Music questions the whole practice and conceptualizing of machine music in a historical perspective that points to the fact that machines always have been malfunctioning. The artist can be watched building up the Steam Machine at the opening night, followed by the performance Steam Machine Music later on. The perfomance will be repeated in a shorter version on Wednesday, February 1, in the framework of the in/compatible research practices event at K1.

Tuesday, January 31, live construction: 17:00–18:30 / performance: 20:30–21:00, K1

Watch Me Work
by Liad Hussein Kantorowicz and Kate Erhardt

Liad works as an erotic performer at an Israeli sex chat site. The usage of cameras, computers and projectors enables the viewers to peer into the live exchange of cyber sex work between sex worker and client, and compare between the sex worker’s actual experience and what is projected to the client. The performance seeks to de-exotify sex work, opting for a realistic perspective, and investigates the discrepancy between the hyped discussion about sex work as compared to the actual sex work experience.

The performance will be held in the context of the panel Commercialising Eros simultaneosly with a discussion with Jacob Appelbaum, Zach Blas, Liad Hussein Kantorowicz and Aliya Rakhmetova, moderated by Gaia Novati.

Saturday, February 4, 13:30 – 15:30, K1
Minimum age for admission 18 years!

RESOURCE LAUNCH AT TRANSMEDIALE 2012

Within the aegis of facilitating collaboration and the sharing of resources and knowledge between the transmediale festival in Berlin and the local and translocal scene engaged with art and digital culture, the reSource acts as a link between the cultural production of art festivals and collaborative networks in the field of art and technology, hacktivism and politics.

After four days of talks, workshops and performances, the reSource programme at transmediale ends with a special game: Zombie Play in the Ludic Salon, reSourcing an Exquisite Media Corpse. The Ludic Interface Research Group (L.I.R.G.) cordially invites all visitors of transmediale 2012 to partake in a contemporary version of the surrealist game Le Cadavre Exquis. In the course of this event, different projects from the reSource for transmedial culture initiative will be brought into a playful dialogue with each other through aleatoric, agonal and just plain ludicrous methods.

With Mark Butler (us/de) (host), Natascha Adamowsky (de), Georg Russegger (au), Daphne Dragona (gr), Mathias Fuchs (de), Gregor Sedlag (de) and other special guests.

This initiative will include the presentation of the OutResourcing project: a collaboration project between transmediale and CEMA – Center for Experimental Media Arts at Sristhi School of Art, Design and Technology, Bangalore.

With Prayas Abhinav (in), Linda Hilfling (dk/de) and an introduction by Kristoffer Gansing (se/de).

After transmediale 2012, reSource for transmedial culture will extend its activity into a series of events that will be held in the course of 2012 and beyond, as a way to gather and present the results as well as to continue the dialogue further, leading to the next transmediale festival in 2013. The methodology of the reSource as a peer production laboratory of knowledge, research and artistic projects, will be presented in the Auditorium of the HKW on the last day of the festival together with current reSource partners.

With Tatiana Bazzichelli (reSource for transmedial culture), Stéphane Bauer (Kunstraum Kreuzberg /Bethanien, Berlin), Oliver Baurhenn (CTM, Berlin), Clemens Apprich and Oliver Lerone Schultz (Post-Media Lab, Leuphana University Lüneburg).

A final note in the spirit of networking: participate in discussions around the reSource for transmedial culture on twitter via the hashtag #tmresource!

transmediale is a project of Kulturprojekte Berlin GmbH in cooperation with Haus der Kulturen der Welt funded by the German Federal Cultural Foundation

Robert Lue, biologist and director of life sciences education at Harvard, will discuss the vital and transformative role that visualizations play in both science research and education. Lue is the founder of BioVisions, a collaborative initiative led by Harvard scientists to improve the beauty and precision of science visualization. Biovisions is responsible for animations such as The Inner Life of the Cell (2006) and Powering the Cell: Mitochondria (2010).

Robert A. Lue is a professor in the Department of Molecular and Cellular Biology and the director of life sciences education at Harvard University. Lue received his PhD in biology from Harvard and has taught undergraduate courses there since 1988. He has a longstanding commitment to interdisciplinary teaching and research, and chaired the faculty committee that developed the first integrated science foundation in the country to serve multiple science majors, as well as the needs of pre-medical students. He has also developed award-winning multimedia on several topics including Understanding HIV and AIDS (1999), Biochemistry: Interactive Learning (2000), The Inner Life of the Cell (2006), and Powering the Cell: Mitochondria (2010). His media publications have been praised for their scientific accuracy, educational utility, and vibrant 3-D reconstructions of the world within the cell. He has co-authored undergraduate biology textbooks, and has chaired educator conferences on college biology for the National Science Foundation, and on supporting diversity in science for the Howard Hughes Medical Institute and the National Institutes of Health. Lue also has a long history in pre-college education, and consequently founded and directs a Harvard life sciences outreach program that now serves over 50 high schools across Massachusetts, New Hampshire, and Rhode Island. As the faculty director of the Harvard-Allston Education Portal, he also oversees the integration of undergraduate education with community outreach on Harvard’s new Allston campus.

Curator: Emily Berçir Zimmerman

Studia UBB. Philosophia proposes an international debate on performative aspects in scientific practices and methodology. Whilst there exists a discourse on performativity within social sciences and the humanities for quite some time it is rather new to discuss performative aspects within the „hard“ sciences like physics, too, with Andy Pickering’s Mangle of Practice being a seminal work in this context. In the latter work it has been argued that the concept of performativity can fruitfully be applied to action theoretical considerations in the experimental process. Using the notions of “context of discovery” and “context of justification” introduced by Hans Reichenbach, Pickering’s result might be accepted as an aspect within the context of discovery but incompatible with the context of justification.

We wish to stimulate a critical discourse on whether the meaning of performativity in science goes beyond sociological considerations or, more precisely, whether it can also become part of the context of justification. Of course, a strict separation of the context of justification from the subjective context of discovery has been doubted ever since. There is a broad consent that heuristics, intuition and tacit knowledge play important roles in gaining insight. Nevertheless, the “final product” of a research process is a text-based publication, which, in the ideal case, should have one and only one interpretation, i.e. should not the least be subject to hermeneutics. This “final product” passed through accepted procedures of falsification and proofs. It is thus regarded as objective knowledge.

To the contrast, in the arts, particularly in the performing arts, an a-logical or at least non-propositional logical mode of understanding as an essential component of performativity is of equal or even higher rank as text-based semioticity (e.g., the libretto or score). A not exactly repeatable and ephemeral character is at the core of a substantial performance. The range of applications of the concept of performativity has in the recent decades gradually been extended from theatre, concerts, enactments, and performing arts, to fields like speech act theory, sociology, interactive media and so forth.

In the succession ofAustin’s speech act theory and the thereby triggered performative turn the mode of „doing“ gained center stage. No need to stress that art is subject of performativity, particularly, performing and dramatic art, as mentioned. Recently, however, typical conceptions from the arts like enactment, embodiment, to name but a view, find applications in different scientific areas – even in the „hard sciences“.

Simultaneously, the label „art&science“ has recently penetrated cultural production and theories much above the historically long-term waxing and waning of the art-science relationship or divide, respectively. This movement found an enormous amplification within the IT-based interactive media arts with its extensive usage of complex feedback loops based on all sorts of sensors and scientific methodology. Systems theory and cybernetics, above all, fostered the art&science convergence substantially. Famous cyberneticists like Gordon Pask have also been amongst the pioneers of cybernetic art and media art.

Yet, it remains questionable whether the art&science movement is more than a dilution of both art and science. Using the label as a marketing slogan seems to be the least evil. The majority of works that emerge under the label of „art&science“ originate from an artistic milieu and just attempt to dress-up their work as a scientific one. And from the scientific point of view some four decades after Feyerabend’s slogan „anything goes“ from his notorious work „against method“ we may be inclined to react with thumbs down: „Not this again“!

However, the situation changed although it has one aspect in common with the situation Feyerabend has been confronted – the struggle against positivism. The sheer complexity and the lack of analytical solutions of systems under investigation require new epistemic methods. Non-repeatable or contingent phenomena need performative practices to be understood. A historical investigation shows that this has been the core idea of systems theory which originated from philosophy of life. A research into complex systems is unthinkable without computer simulations, visualisations beyond simple statistical diagrams and interactive media. With increasing frequency, sincereness provided, researchers have to admit that the essence of such performative approaches can no longer be reduced to formulas or texts but are nonetheless indispensable within the epistemic procedure. Comparable to the arts, the result of a research process is, so to say, an “installation” that has to be experienced in a performative way.

The proposed discourse is motivated through a bewilderment due to conflicting opinions. It has been the basic intention behind systems theory to include lifeworld into science with reference to Heidegger’s fundamental ontology and the concept of being-in-the-world. However, it was Heidegger, above all, who warned from the supra-theoretical hubris of systems theory and cybernetics. In “The end of philosophy” in 1969 he anticipated: “No prophecy is necessary to recognize that the sciences now establishing themselves will soon be determined and steered by the new fundamental science which is called cybernetics. […] The arts become regulated-regulating instruments of information.“ To reverse once more, Heidegger’s philosophy has reasonably been certified (e.g. by Rüdiger Rimpler) to contain itself processuality and performativity. Others regard it as mysticism. Is mysticism the fate of performative science, too? Last but not least, the more recent phenomenological streams strongly influenced by French thinkers like Maurice Merleau-Ponty or Michel Henry should be mentioned for they particularly add corporeality as an important aspect of performativity and understanding, i.e. the bodily involvement in doing, which is also considered to play the major role of performative science.

Prospective authors are encouraged to take into account the following open questions:

• Is a methodological link or an alliance between performative practices as met in the arts and scientific methods feasible or desirable? (performativity in science including “Geisteswissenschaften”)
• Is such a link necessary to oppose an over-scientification of society?
• Is Heidegger’s statement “Science does not think” (i.e. is perhaps ontic but never ontological) an irrevocable dictum?
• Is performative science just a wishful thinking doomed to fail to give science a normative component and make it more human and closer to lifeworld?
• Is performative science necessary to account for an increasing complexity and for a lack of proper methods in traditional science to treat processes, ephemeral and contingent phenomena?
• Is it better to keep art and science complementary but strictly disjunct because otherwise science would tend to mysticism and art would become meaningless?
• Is performative science ill-conditioned because in order to remain scientific it has to operationalise hermeneutics or to make implicit knowledge explicit, both of which are impossible?
• Is a productive hermeneutics or hermeneutics of facticity within a scientific approach an oxymoron?

By trying to answer these or related questions, we intend to identify the relevance of performative science, i.e. the relevance of performative, processual, hermeneutic and artistic methods within the scope of scientific methodology and practices. Our goal in this special issue is to bring together papers that explore the different ways in which philosophy, artistic research, performativity, cognitive science, computer sciences and interactive media can be combined to offer a novel perspective on scientific research and methodology. Also, a critical debate is encouraged.

Prospective authors are encouraged to take into account the following areas connected to performative science:

• hermeneutics in science
• ontological and phenomenological considerations of art and science, particularly the relevance of philosophers like M. Heidegger, H. Bergson, M. Merleau-Ponty, M. Henry
• role of corporeality in scientific research (e.g. M. Merleau-Ponty)
• art-science divide
• art-science relationship
• scientification of the arts
• sensuality (sonification, visualisation, haptics, …) computer and interface technologies (simulation, programming, interactive media, biofeedback, augmented reality, …) as performative tools/practices in science
• tacit knowledge in science
• process philosophy and its relation to science
• difference between explanation and understanding (Dilthey’s conception of (natural) sciences and “Geisteswissenschaften” (humanities))
• non-propositional or a-logical aspects of understanding in science
• mysticism in science / alchemy and its relevance for contemporary science
• philosophy of life / vitalism and its relevance for contemporary science
• science and contingency
• history of performativity in science and philosophy
• artistic research and its relevance for science

The papers and reviews will be selected from the submitted proposals on the basis of double blind peer reviews. Authors should address the papers before January 15, 2012 and will be notified on the results via email by March 01, 2012.

IMPORTANT DATES:

• Deadline for submissions: January 15, 2012.
• Notification of acceptance: March 01, 2012.
• Publication: April 2012

Papers should be written in English, French or German should not exceed 75.000 characters and should be accompanied by a short abstract written in English (maximum 700 characters).

Submitted papers should be sent by e-mail to the Editorial Staff: copoeru(at)hotmail.com in “.doc” or “.rtf” format as attachments only.

INDICATIONS FOR THE AUTHORS

For the submission of the papers, please follows the guidelines specified on the journal’s blog: http://studiaphilosophia.wordpress.com/indication/

JOURNAL PRESENTATION

The series Philosophia of Studia Universitatis Babeş – Bolyai (ISSN 1221-8138) is a peer reviewed journal devoted to promote a high level of academic research in the field of philosophy and related fields; it strives to foster a strong collaboration among senior and junior researchers from Babes-Bolyai University Cluj-Napoca and from abroad.

Since 1955, academic journal Studia UBB. Philosophia, issued by the Department of Philosophy in the Faculty of History and Philosophy, has been representing an open arena for promoting research endeavours. Senior, as well as junior academics, have found in Studia UBB. Philosophia a way of expressing their preoccupations by publishing academic articles that have focused mainly on the European experience and perspectives in various fields of philosophical research.

For more information please contact:

Editor-in-chief: Associated Professor Ion COPOERU : copoeru(at)hotmail.com

Issue coordinator: Hans H. DIEBNER : diebner(at)inm.de

For me the Internet has always been a physical space. Working as a sculptor, the first moment I started experimenting with HTML code and viewed the results in the browser, I witnessed a physical installation. - Jan Robert Leegte talking to cont3xt.net

Notes on a New Nature is a physical manifestation of an ongoing research project conducted by artist, writer, and curator Nicholas O’Brien. The research critically examines and compares the relationships that contemporary artists working with digital media have to practices started in Modernist Painting – specifically the pursuit of capturing the virtual qualities of what constitutes a landscape. How does an artist depict a space faithfully enough to show its affect on a subject? Can art capture the space between the viewer and the horizon, and where does that horizon reside now that we can digitally circumnavigate the globe? Can the digital reconcile the physical?

One way that we know how to understand the natural is through the domestic spaces of our daily lives. The interior shelter allows for reflection on what is “outside,” and as a result positions civilization away from the natural. However, as various digital and virtual landscape permeate the domestic space, our notion of what constitutes the natural has become more complicated than a simple inside/outside dichotomy. We use all forms of digital and analog technologies to simulate the natural world daily, and artists in this show point to how these tools affect the ways in which the “realness” of the natural is no longer as simple as locating it outside your window.

This newfound complication highlights the central argument of Notes on a New Nature: our varied notion of what constitutes the natural is shaped by technology, which is a narrative that can be traced all the way back to the advent of agriculture and the dawn of civilization. Through employment of various digital approaches, artists in this exhibition reference this long-standing problem we face when attempting to represent landscape and acknowledge the ways in which digital technology has forever changed our understanding of nature.

Participating artists include: Duncan Alexander, Mark Beasley, Chris Collins, Petra Cortright, Theo Darst, Marjolijn Dijkman, Paul Flannery, Joe Hamilton (aka Hypergeography), Jan Robert Leegte, Sara Ludy, Garrett Lynch, Michael Ray-Vaughn, Sherwin Rivera Tibayan, Nicolas Sassoon, Rick Silva, Pascual Sisto, Krist Wood, Kate Steciw, and Wes W Wilson.

This November, the action and research group Public Movement will present Positions, a choreographed demonstration that invites people to take a stand on any number of urgent issues. Presented in Warsaw, Holon, Bat-Yam, Eindhoven, Heidelberg, Stockholm, and now New York, the Movement invites the public to embody their preferences, aspirations, and beliefs — manifesting political and philosophical ideas as physical positions in Washington Square Park and Union Square South. This will be Public Movement’s first presentation in the United States.

In February 2011, Public Movement leader Dana Yahalomi began her research toward a project for New York, meeting with artists, historians, urban planners, memorial designers, politicians, government officials, and NYPD officers. The residency continues from January–April 2012, during which time she will initiate bi-weekly salons as part of the 2012 New Museum Triennial, “The Generational,” and will culminate in a newly commissioned action for New York City in April 2012, details to follow.

Public Movement is a performative research body that investigates and stages political actions in public spaces. The Movement explores the political and aesthetic possibilities that reside in a group of people acting together. It studies and creates public choreographies, forms of social order, and overt and covert rituals. Public Movement was founded in November 2006 and was led by Omer Krieger and Dana Yahalomi until August 2011, when Yahalomi became the sole group leader.

Presented by the New Museum and Artis Contemporary Israeli Art Fund

About Artis Contemporary Israeli Art Fund

Artis supports and promotes contemporary visual artists from Israel internationally. Advancing opportunities for cultural understanding, Artis helps to generate dialogue through artist commissions, talks, and events; offers professional development and research initiatives for artists and arts professionals; and provides project-specific grants as well as an online resource, www.artiscontemporary.org. Founded in 2004, Artis is an independent nonprofit based in New York with activities in Tel Aviv and Los Angeles.

Public Movement’s project is made possible with support from The Ostrovsky Family Fund. Public Movement’s travel is made possible through the Office of Cultural Affairs, Consulate General of Israel in NY.

About the New Museum

The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, the New Museum was conceived as a center for exhibitions, information, and documentation about living artists from around the world. >From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding, dedicated building on the Bowery designed by SANAA in 2007, the New Museum continues to be a place of ongoing experimentation and a hub of new art and new ideas.

Public Movement’s participation in the 2012 Generational is co-presented by the New Museum and Artis Contemporary Israeli Art Fund.

“The Generational” is made possible by a generous grant from The Andy Warhol Foundation for the Visual Arts.

Additional support provided by the Horace W. Goldsmith Foundation and The Jacques and Natasha Gelman Trust.

Major support is provided by the Friends of the Generational, co-chaired by Shelley Fox Aarons, Toby Devan Lewis, and Lonti Ebers.

Steering Committee Members: Mitzi and Warren Eisenberg, Susan and Leonard Feinstein, María José Garcés, Sunny and Brad Goldberg, Dakis Joannou, Tina Kim and Jaewoong Chung, Sueyun Locks, Shaun Caley Regen, Lyndley and Samuel Schwab, and Eve Steele and Peter Gelles. Friends of the Generational: Kathleen O’Grady.

Support for the accompanying publications is made possible by the J. McSweeney and G. Mills Publications Fund at the New Museum, and a grant from the Elizabeth Firestone Graham Foundation. Curatorial travel and research for “The Generational” has been underwritten by The Andy Warhol Foundation for the Visual Arts and the Asian Cultural Council.

The Museum as Hub Residency Program is made possible through the lead support of the Rockefeller Foundation.

Additional funding is provided by Laurie Wolfert. Artist travel is supported, in part, by a grant from the Ford Foundation.

Museum as Hub and public programs are made possible, in part, through the support of the New York City Department of Cultural Affairs and the New York State Council on the Arts. Endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.

Education and public programs are made possible by a generous grant from Goldman Sachs Gives at the recommendation of David and Hermine Heller.

Transmediation as Betrayal: The Case of the Leonardo Electronic Almanac Editorial by Lanfranco Aceti: When inheriting the history of a publication like the Leonardo Electronic Almanac (LEA) it is difficult to stay faithful to historical traditions and at the same time catch up with the evolution of contemporary online media and social networks.

Academic Vanitas: Michael Aurbach and Critical Theory by Dorothy Joiner: In a satiric series of sculptures, Michael Aurbach uses laughter to lampoon the excesses of the contemporary scholarship known as critical theory. Spun from psychology, linguistic hermeneutics, and philosophy, critical theory, in Aurbach’s view, tends to deemphasize art objects, substituting fatuous speculations for straightforward analysis. The Critical Theorist (2003) is a fantastical contraption on a metal table, each element of which is a visual joke. Reliquary for a Critical Theorist (2005) parodies the tradition of containers for relics. Two Plexiglas “books,” C’est Nothing and Deux Nothing (2009), continue the notion of vacuity. And Critical Theory’s Secret (2010) imitates a safe. It’s empty, however, mocking the notion of an underlying meaning.

Some Thoughts Connecting Deterministic Chaos, Neuronal Dynamics and Aesthetic Experience by Andrea Ackerman: The apparent randomness of deterministic chaos is differentiated from stochastic randomness and linked to natural processes, time’s irreversibility and the creation of meaning. Current neuroscience research strongly suggests that chaotic dynamics govern the physiological functioning of the brain/mind. The brain/mind is conceived as a multi-attractor system functioning at a far from equilibrium state poised for instantaneous state changes and transitions. Chaotic itinerancy has been suggested as a process by which chaotic transitions among attractors may be made and dynamically integrated in a multi-attractor chaotic system such as the brain. The article outlines a theory suggesting that the general characteristics of aesthetic experience are determined by the chaotic dynamics of the brain/mind and by the dynamics of chaotic itinerancy. Two examples, a novel by W.G. Sebald and the installation art of Jenny Holzer are described in terms of this new aesthetic theory.

Hacking the Codes of Self-representation: An Interview with Lynn Hershman Leeson by Tatiana Bazzichelli: This interview with Lynn Hershman Leeson reflects on the meaning and impact of her artistic activity since the Seventies, an important resource for understanding the socio-cultural transformation in the fields of art, technology and body-politics of our present. Today more then ever, we are experiencing the mixing and crossing of virtual and real worlds; dynamics of social networking and net-based participation are influencing not only a small group of experts, but everyone with access to technology. Through the art of Lynn Hershman Leeson, it becomes possible to access a critical space-in-between, a liminal state of performativity, in which to redefine powers and hierarchies, to question the meaning of identity, and to hack the codes of self-representation. As a “cultural infiltrator”, Lynn Hershman Leeson opens up a critical interstice in the everyday life to a constant redefinition of ourselves.

Electronic Literature as a Sword of Lightning by Davin Heckman: This essay analyzes the humanistic potential of digital poetry in the age of new media. By way of Percy Bysshe Shelley’s “Defence of Poetry,” theories of the posthuman, and the tradition of Marxist critique, this essay aims to identify an occasion for hope within the new media arts. Reading electronic literature through Shelley’s metaphor of poetry as a “sword of lightning, ever unsheathed, which consumes the scabbard that would contain it,” Heckman analyzes the ethical dimensions of literature against the backdrop of technocapitalism and instrumental theories of the human. The essay concludes with a discussion of intersubjectivity, politics, and love.

Profile: Darko Fritz - An Interview with Darko Fritz by Lanfranco Aceti: Darko Fritz’s work through its personal and social aesthetics obliges us to analyze both the technological determinism of contemporary times as well as the contradictions of contemporary aesthetics trapped in the conflict of real versus virtual.

Profile: Darko Fritz - Reflections on Archives in Progress by Darko Fritz by Sasa Vojkovic: Without really dovetailing to Jacques Derrida’s Archive Fever, in his Archives in Progress, Darko Fritz examines the technical mechanisms for archivization and for reproduction. Taking into account the multiplicity of regions in the psychic apparatus, this model also integrates the necessity, inside the psyche itself, of a certain outside, of certain borders between insides and outsides. This outside can also…

Profile: Darko Fritz - Error to Mistake > Notes on the Aesthetics of Failure by Vesna Madzoski: Two dominant scenarios of the future of humanity have marked the (post)modern century behind us. According to the first, optimistic one, we will reach unimaginable evolutionary peaks due to technological perfection; this disciplined and orderly functioning of machines will bring humans to the final state of evolution where the body never leaves the coziness of the pre-natal state of fullness and happiness. The other scenario gives a more concerned view on the technological advancement and supremacy, haunted with the images of Earth’s exhausted natural resources that will put humans a few evolutionary steps back – to their animal, ‘pre-civilized’ state.

Nexus of Art and Science: The Centre for Computational Neuroscience and Robotics at University of Sussex by Christina Aicardi: The author explores the relationships between science and art that have developed at the Centre for Computational Neuroscience and Robotics (CCNR) of the University of Sussex, which harbours an internationally renowned, leading research group in Artificial Life, Cognitive Science and Evolutionary Robotics. The aim is to establish whether and how interdisciplinary art-science practices at CCNR may lead to novel forms of knowledge production. Using fieldwork material as well as bibliographic and web resources, it showcases a number of initiatives and realizations. It also examines how individual researchers may understand, conceptualize, and justify, their experience and practice at the art-science junction in Artificial Life. This paper derives from the author’s PhD research project, of which a main focus has been to investigate interdisciplinary practices in the field of Artificial Life, which cross over the ‘two cultures’ divide. Artificial Life art is a predominant case of such interdisciplinarity crossover in the field of Artificial Life in general, and in the Sussex research group in particular.

Mish/Mash by Paul Catanese: There is a gulf between the implications of chaos and a haphazard undertaking; one implies cosmology, the other: untidiness. The complexity of mixing things together can be grand in scale, mesmerizing, protean – but also painful, rife with dead-ends, and uneven: wildly swinging between the startlingly rapid and agonizingly slow, a syncopated staccato so jarring, forwards and backwards are often indistinguishable without further examination or inquiry. Of mishmash, one can ascribe seemingly paradoxical traits: a mode of forming questions, a lens for meta-cognition, a gambler’s dilemma, a rehash of monkeys and typewriters, a ludic blossoming of multimodality, or perhaps the most devastating: an arbitrary wheel-spinning.

Sipping Espresso with Salmon by Carey Bagdassarian: Complex systems require, for their full description, a language commensurate in complexity. The application of mathematical language to systems such as ecosystems or ritual systems demands a psychological distancing in order to apply the math in the first place. The resulting sensorial disembodiment precipitates yet another flavor of the mind-body separation.

The Making of Empty Stages by Tim Etchells and Hugo Glendinning by Gabriella Giannachi: In this interview to acclaimed theatre photographer Hugo Glendinning, Gabriella Giannachi discusses with him the making of his latest work, Empty Stages (2003–11), a documentation about empty stages, touching on his collaboration with UK theatre company Forced Entertainment and Tim Etchells, who co-authored some of the images,as well as photographic methodologies and relfections about emptiness, absence, presence and performance.

Cognitive Labor, Crowdsourcing, and Cultural History of Human/Machine Assemblages by Ayhan Aytes: In November 2005, Amazon Web Services started a web-based labor market where workers from across the world can choose and complete human intelligence tasks (HITS) designed by corporate developers. Labor required for fulfilling HITS varies: finding and matching information and images, translating text, transcribing audio, tagging images, answering surveys or visiting a blog. The amount of pay for each HIT ranges from one cent to several US dollars.

Inverse Embodiment: An Interview with Stelarc by Lanfranco Aceti: What is left of cyborgology today when we are actually looking at an artworld that is in total flux with bio-art, nano-art, data art and an infinite recombinatory matrix of disciplines in which art is the definition of human creativity?

Order in Complexity by Frieder Nake: Order in complexity. Yes, of course, when confronted with a complex situation, we usually search for order. Otherwise we have no chance to make sense out of the situation. We make sense, and it seems we always want to make it. Sense is not there to discover. It requires our activity. It is a construction.

Teaching Video Production in Virtual Reality by Joseph Farbrook: Teaching video production using video game technology and a method of live manipulation of digital puppets and props offers new possibilities for narrative, without shifting focus away from storyline and dramatic content, due to technical hurdles. This production technique known as Machinima has been steadily gaining in popularity and prominence due to the relative ease and speed in which small production teams can learn to use video game software in this new way and quickly create professional quality animated movies.

Atomism: Residual Images within Silver by Paul Thomas: In this short article I want to present the thinking, processes and references that I am currently researching in my practice. This research connects to my early work that stems from an interest in residual spaces, subconscious meanings and the objectification of the world via perspectival space.

Collaborating with the Enemy by Shane Mecklenburger: Cost of Opportunity is a project that creates a series of diamonds as artworks. The Gunpowder Diamond will be produced entirely from carbon found in .223 Caliber assault rile ammunition.The gunpowder is safely neutralized in a laboratory and the carbon it contains is isolated. Future proposed art-diamonds include the Road-kill Diamond from Nine-Banded Armadillos killed on Texas thoroughfares and the Superman Diamond from a 1983 cellulose acetate film print of Superman III (wherein Superman crushes a lump of coal into a diamond). A monetary value for each diamond is to be determined at a live auction, generating funds for future diamonds in an ongoing series of stones made from various culturally charged materials. The project explores personal and cultural valuation, materiality, and the way market pressures have altered the definition and function of art. Multiple attempts to secure research funding reveal the limits of interdisciplinarity and institutional aesthetics, inspiring the artist, Shane Mecklenburger, to steal the diamond once exhibited, a plan he has yet to reveal to his collaborator.

Notes on Demonstration Exhibition: The Ammonite Order, or, Objectiles for an (Un)Natural History by Vince Dziekan: The demonstration exhibition, The Ammonite Order, Or, Objectiles for an (Un) Natural History (2008–09) explores a non-deterministic relation between digital mediation and spatial practice that supplants the primacy of real objects present in gallery space. The outcome of a research residency in London, the theme for this work evolved out of imaginatively projecting a ictive ‘correspondence’ between two local personages: the architect George Dance (the Younger) and naturalist Charles Darwin. Drawing implicitly upon a creative curatorial impulse in order to pursue this narrative fabula, the exhibition space unfolds as a multidimensional installation that combines physical elements with an accompanying set of media content. The exhibition promotes a model for a different type of aesthetic experience through defamiliarising how the art object is modulated at the intersection of the exhibition.

The Contemporary Becomes Digital by Bruce Wands: In 2003, I wrote an essay that was published in the SIGGRAPH Art Gallery catalog titled “The Digital Becomes Contemporary.” A lot has happened in the digital art Field in the past eight years, and this essay will examine some of those changes as they relate to the relationship between digital and contemporary art.

Leonardo Electronic Almanac: Historical Perspective by Craig Harris: As Leonardo Electronic Almanac “rekindles” I can’t help but be both nostalgic about the past and hopeful about the future. In looking back to when Leonardo Electronic Almanac (LEA) was founded I think of the challenges that the ield faced in terms of communication, networking, and collaboration. So much was happening at the intersection of art, science and technology in the early 1990s, yet much of it was taking place in isolation, disconnected from other relevant and related activities. There was a clear need to raise the profile of work on a global scale, and to identify ways to improve interdisciplinary communication and collaboration. The leadership at Leonardo/the International Society for the Arts, Sciences and Technology (ISAST) set on a path to play an important role in addressing these issues for its community.

Ars Electronica 2010: Sidetrack or Crossroads? by Erkki Huhtamo: After the Ars Electronica 2010 festival was over, the press office triumphantly touted in its communiqué: “90,227 visitors at the greatest Ars Electronica Festival since 1979.” For someone who has visited the festival every year since 1989 (with only two exceptions), it is easy to simply reverse the statement, and claim that this was the poorest – or to put it more nicely: the most mediocre – Ars Electronica of the past twenty years.

The Sarai Programme at Contemporary Art and Cultural Practice (CSDS), Delhi is an interdisciplinary platform for the investigation and interpretation of contemporary urban life. Sarai produces events and processes, publishes offline and online content and generates contexts for research and creative practice.

The Sarai Programme, in keeping with its history of support to independent thinking and creativity, invites applications from artists and practitioners in diverse media for the second edition of the City as Studio project, which seeks to bring contemporary artistic and cultural practice into the contentious, active space of today’s urbanity.

By studio we mean both a space, and a cluster of activities and interactions. The Sarai-CSDS City as Studio initiative will create contexts for high intensity inter-disciplinary processes in locations in Delhi and at the Sarai exhibition space at CSDS. The studio process proposes to bring together artists, urbanists, educationists, cultural workers, neighborhood initiatives and diverse audiences to create art works, participatory performances, media works, salons, transmissions of different kinds of signals and imaginative festive events. The process may be rendered as an exhibition, as also a gathering, as a library, as a temporary archive, a salon. It will also take the form of a workshop, a temporary atelier, a media studio and a reading group.

We invite the applicants to imagine that the city itself is their studio, and that urban realities are their materials.

The City as Studio (Edition 1) book is available for free download as a PDF here.

The applicants are invited to write a short note (no more than two pages) sketching an idea that they would like to see realized, participate in, or circulated if they were selected to participate in the “City as Studio”.

The artists and practitioners who are selected will work in dialogue with Sarai to develop artistic projects and interventions in a range of forms that could be anything from free standing art works to proposals for mini-exhibitions, installations, performances and happenings, publications, sound works, video, internet and mobile phone based works, graphic novels, public art works, graffiti and signage and speculative architectural proposals.

The applicants who are selected will receive a fellowship amount of Rs. 85,000, and a modest material and logistical support for the realization of project ideas that are developed during the duration of the City as Studio process.

The fellowship period will be for the duration of nine months, during which time the fellows will be expected to pursue their practice in consonance with their stated intentions while applying for the City as Studio Fellowship. The fellows will have access to a group of mentors who will act as sounding boards for their ideas. The Raqs Media Collective will be available as interlocutors, and the fellows will interact with each other and with their mentors through this period, and will be expected to send regular updates of their work, visual materials, notes, etc. on to a designated discussion group. They will also be expected to submit a final report of their work at the end of the nine month period, in fulfillment of the terms of the fellowship.

The City as Studio Fellows will be required to spend six weeks (January-February 2012) ‘in residence’ as guests of Sarai in Delhi. Costs for travel to Delhi and accommodation will be borne by Sarai CSDS for candidates from outside Delhi. During this period, they will be expected to work intensively in dialogue with mentors from the Sarai network of artists and scholars.

Who Can Apply:

Anyone above the age of 21 with a bank account and a PAN number in India can apply for this fellowship. The residency period will be located in Delhi and is a compulsory part of the City as Studio process.

What Should Applicant’s Send:

1. A two page sketch of an idea that the applicant would like to pursue within the framework of the city studio initiative.
2. A one page note about their practice.
2. CV listing recent works and projects.
3. Samples of recent work - preferably in digital versions.
4. Contact details

Last Date for Sending Applications: 30th August, 2011

Where to Send Applications:

Send the application by post to City as Studio, Sarai-CSDS, 29, Rajpur Road, Delhi 110054, India.

When can you expect to hear from us:

The selected candidates will be informed by email and the list will be posted on the Sarai website by 15th September, 2011.

The aim of the competition is to promote discussion and research through which to generate insights and visions, ideas and proposals that help us envisage what the city and the habitat of the 21st century will be like.

The competition is open to architects, engineers, planners, designers and artists who want to contribute to progress in making the world more habitable by developing a proposal capable of responding to emerging challenges in areas such as ecology, information technology, architecture, and urban planning, with the purpose of balancing the impact real-time data collection might have on sensor-driven cities.

The competition jury, which is composed of architects, professionals in a wide range of fields and directors of some of the world’s foremost architecture schools, is looking for outstanding proposals at any scale, for any city in the world. Competition entries should be submitted via the Internet on Smart Cities, Eco neighborhoods, Self-sufficient buildings, Intelligent homes or any other proposal that analyzes the phenomena of sensor-driven cities and intelligent behavioural systems.

The proposal should include whatever texts, videos, drawings and other images may be needed to make it fully understandable.

The competition prizes will consist of: Three scholarships for the IaaC Masters in Advanced Architecture program for academic year 2012-13, cash prizes, and an HP latest-generation printer. The selected projects will go on show in a major exhibition, opening in Barcelona in May 2012, which will travel to key cities around the world. The best projects will also be featured in a book to be published by Actar-Birkhauser, like in the three previous editions: SELF-SUFFICIENT HOUSING, SELF-FAB HOUSE and SELF-SUFFICIENT CITY.

The aim of this proposal is to establish a research network of artists, designers, scholars, activists and programmers who work on ‘alternatives in social media’. Through workshops, conferences, online dialogues and publications, Unlike Us intends to both analyze the economic and cultural aspects of dominant social media platforms and to propagate the further development and proliferation of alternative, decentralized social media software.

If you want to join the Unlike Us network, start your own initiatives in this field or hook up what you have already been doing for ages, subscribe to the email list. Traffic will be modest. Soon there will be a special page/blog for the initiative on the INC website. Also an independent social network will be installed shortly, using alternative software.

RAM travels back and forth in time finding artistic, technical, theoretical, psychological, sociological, philosophical, political, retrospective and futuristic approaches. RAM applies them to the growing collection and overlays of materialized data.

RAM creates an environment using reconfiguration, memory testing, visualization, research, transforming, transmitting and linking stored data information. RAM creates and recreates new data and experimental ways of accessing. RAM is aware of the outside and the context. RAM claims freedom for coincidental associations and encounters. RAM is an art research project with an open end. Perceiving RAM is real time.

We will explore ways of dynamic access to stored data and view and discuss these resources as an active ingredient, which will be linked to current issues and will be embedded in specific contextual fields.

RAM SEGMENT I frames practices of archiving. During the three days of the event the archive of over 150 artists, collected by berlinerpool, will be on display and continuously in active use by visitors as well as by members. Focus is on researching the vitality of stored data by creating an open exchange of the file content. Data can be added, substracted and edited by berlinerpool members and is accessible to the public.

Further investigations through performance, video/film screenings, lectures, presentations, sound scapes have a focus on memory collecting/ tracking/ tracing/ mapping and data – reconfiguration/ visualisation/ decoding.

RAM is a project by Tatjana Fell & Andrzej Raszyk

RAM PRESENTATIONS:

ELEONORA FARINA (I) JONATHAN GRAY (UK) NANAKO NAKAJIMA & KOSIL-JA (JAP) FILIPPO BERTA (I) MARGARET HOLZ (D) SEÇIl YAYLALI & EDEN ÜNLÜATA (TR) MARISA BENJAMIM (PT) YOURIE IDO (JAP) OZAN ADAM (TR) VIVIANA ALCALDE (E) NANCY ATAKAN (TR) BRYN CHAINEY (AUS) TATJANA FELL (D) NUNO VICENTE (PT) ÖZLEM SULAK (TR) OLIVER MÖST (D) BRUNO DI LECCE (I) EWA SUROWIEC (PL) - GEORGE DRIVAS (GR) ROBERT CURGENVEN (AUS) ANDREA COYOTZI BORJA (MEX) REBECCA AGNES (IT) BRENDAN GOH (SG) ALIAS TT HORACZ BLUMINTH, JULIETA FIGUEROA, CLAUS EIGENFELDT, DIEGO,TT - GEIGEN, FELIX HOFFMANN, HEIKO RÖDER, NORBERT SCHWEFEL and GUESTS (DE) BERLINERPOOL ARCHIVE

RAM is a production of arttransponder & berlinerpool.

RAM is a cooperation with culturia & MicaMocaProjects.