Keynote for "From Traditional to Digital" International Media Studies Research Symposium Ege University, Izmir/Turkey May 2018

1. Media & Visual Arts
Symposium “From Traditional to Digital”
Ege University Izmir May 2018
Andreas Treske
İ.D. Bilkent University

2. Refik Anadol, Immersive Infinity Chanber

3. Ali Mahmut Demirel

5. New Media 2001
• modular,
• numeric,
• automatic,
• variable,
• and transcoded (Manovich).

6. “EVERY TIME
A NEW
CONSUMER
JOINS THIS
MEDIA
LANDSCAPE
A NEW
PRODUCER
JOINS AS
WELL,
BECAUSE
THE SAME
EQUIPMENT -
PHONES,
COMPUTERS
- LET YOU
CONSUME
AND
PRODUCE.
IT'S AS IF,
WHEN YOU
Clay Shirky, How
Social Media Can
Make History
=> ‘post-digital’

7. post-digital

8. Benjamin Bratton: “Something has shifted, it seems. We are
making new worlds faster than we can keep track of them,
and the pace is unlikely to slow. If our technologies have
advanced beyond our ability to conceptualise their
implications, such gaps can be perilous”.

10. Heaven on Earth

11. Schlaraffenland

12. Gerhard Richter - Cologne Cathedral Window

13. 19th century Panorama

16. no media

18. Nam June Paik

19. BLUE MARBLE
▸ “We can “recognize” the Earth from Blue
Marble, but only the three-man crew of Apollo
17 has ever actually seen this view, with the
Earth fully illuminated, and no one has seen it
since 1972. The 2012 Blue Marble is made to
seem as if it was taken from one place in
space but it was not. It is accurate in each
detail, but it is false in that it gives the illusion
of having being taken from a specific place at
one moment in time. Such “tiled rendering” is
a standard means of constructing digital
imagery. It is a good metaphor for how the
world is visualized today. We assemble a
world from pieces, assuming that what we
see is both coherent and equivalent to reality.
Until we dis- cover it is not.” Nicholas Mirzoeff
TRESKE

22. FORMS AND PRACTICES OF MEDIA ART

24. Orchestra - House of Natural Faber (Indonesia), Transmediale Aw

25. “We have to develop
from being a subject to
being a project, from a
state of being subjected
to being something that
one creates, what one
introduces to others,
what lies ahead of one
as the beginning of a
new work.”
Vilem Flusser

26. Video-Glass

29. The photographic image can be anything.
This is what makes images so weak, prone to
violation and misuse, fragile construction of a
possible death frozen, always in need of an
explanatory layer to point to something.

30. Video is a part of an always
evolving system.
Video has no beginning and no
end.
Video is by definition in constant
flow.

31. Machine seeing is superior !

32. – Paul Scheerbart
“Colored glass destroys all hatred at last.”

35. Within the diversity of technological possibilities and creative approaches to
technology, artistic processes must continually be distinguished from the
functional, the popular and the ordinary. Art has a function in society. In this
sense, the task of media artists and media art practice is to break through
the ordinariness, to force it open, and to resist mediocrity. Media art
should subvert the everyday uses of technology precisely in order to
reflect them, or to pay attention to them and call our conscious
attention to them.

36. Media art should be arresting and afflicting, it should catch and
besiege the eye and ear. Media art should bolster, discover and
generate new ways of seeing. It should break free from the “given”. It
should determine and propagate an “outside”, a “beyond”.
Media art needs a public and should create a public. It should
preserve the fleeting occurrence, the temporal object that exists in a
state of flux; it should, in this sense, conserve a past or passing “it”.

37. Just as media art is about
temporal objects, it is also a
temporal object in and of itself.
As such, it eludes any hard and
fast definition. It is its dynamic
nature that makes it so
interesting and appealing. It is
its mutability, its adaptability,
that makes it so different. And
yet it is part and parcel of our
techno-cultural transformation,
and an elucidation thereof. It is
its obsession with movement
and its lightness, its
dexterity, that blurs the
boundaries between
categories in art, science and
society.

38. A 4000
years old
smartphone
Nippur (Niffar) Sümerce. Yeni
Sümer (III. Ur Dönemi) MÖ.
2037-2029
http://arkeofili.com/istanbul-arkeoloji-
muzelerinde-sergilenen-22-tabletin-tercumesi

39. THANK YO
TRESKE