1. Workshop „Digitalization“
Understanding Digitality
International Winterschool „Spectra of Transformation“
Akademie für Schultheater und performative Bildung
Nuremberg, Feb 21, 2017
Prof. Dr. Benjamin Jörissen
Lehrstuhl für Pädagogik mit dem Schwerpunkt
Kultur, ästhetische Bildung und Erziehung
http://joerissen.name
benjamin@joerissen.name

2. „The Digital“ as
Software, Data,
Networks, & Interfaces
with regard to arts & aesthetics

3. https://www.ableton.com/de/live/

5. https://www.ableton.com/en/blog/searching-for-sound-simon-mejia/

6. Software & Code/Algorithms
Data & Data Structures
Networks & Protocols
Interfaces & Materialities

7. Software/Code/Algorithms
Data
Networks
Interface

8. Digital entities as „material“ in artistic processes

9. „Live coding“: coding as musicking

10. http://sonic-pi.net/

11. New Virtual Instruments not based
upon sample technology, but on
simulation models
of the physical models of the complex,
dynamically interacting materiality of
musical instruments by means of
complex, dynamically interacting
algorithms.
These platonic instruments are not
„false real“ things, but „true virtual“
things, coming along with many or
even more of the expressive
possibilities than their material
counterparts.

12. Software/Code/Algorithms
Data
Networks
Interface

13. 2007
Software, as a hyperversatile logic/
symbolic actor, requires the most
versatile materialities.
19641950
1970ies
2007

14. Today, we are surrounded by
super versatile materialities:
silicone (logical/temporal resolution)
Displays (visual resolution)
Speakers (auditive resolution)
Nanomaterials, 3d Printing Materials
(spatial & mechanical resolution)

15. Hardware as
an extension
of software,
buiding a new
type of
instrument/
music
production
hybrid.

17. Eigenharp
Roli Seaboard Rise
Roli Blocks

18. Pressure sensitive touchscreens
+ multiple sensors as universal
musical interfaces
Roli Seaboard 5D
Roli Noise
Geoshred

19. Software/Code/Algorithms
Data
Networks
Interface

20. Data
= digital cultural objects
defined by
Protocols
performed by
Software/Code/Algorithms

21. Look, it’s the Mona Lisa!
0xFF 0xD8 0xFF 0xE0
0x00 0x10 0x4A 0x46
0x49 0x46 0x00 0x01
…

22. Protocols and formats „lock in“
the relation of cultural objects and
perception
mp3 – psychoacoustics
jpg – psychovisualistics
.h264 – ps.vis. in time

23. MIDI
(Music Instrument Digital Interface)
byte 1: note on/off
byte 2: coded note value (diachronic)
byte 3: velocity (0-128)

24. MIDI
(Music Instrument Digital Interface)
not only defining basic understandings of notes, but
being an industry standard of music production
globally (synchronizing studio production and
postproduction tools).

25. Software/Code/Algorithms
Data
Networks
Interface

26. 1) A structuralist view upon networks

27. Heidler, R. (2010). Positionale Verfahren (Blockmodelle). In C. Stegbauer & R. Häußling
(Eds.), Handbuch Netzwerkforschung (pp. 407–420). Wiesbaden: VS Verlag, S. 410.

28. Networks as resources
Granovetter, M. S. (1973). The strength of weak ties.
American Journal of Sociology, 1360–1380; S. 1363/1365.

29. „The fewer indirect contacts one has the more
encapsulated he will be in terms of of knowledge of the
world beyond his own friendship circle […].“
Granovetter, M. S. (1973). The strength of weak ties. American Journal of
Sociology, 1360–1380, S. 1370 f.

31. Scheidegger, N. (2010). Strukturelle Löcher. In C. Stegbauer & R. Häußling (Eds.),
Handbuch Netzwerkforschung (pp. 145–155). Wiesbaden: VS Verlag, 146 f.
structural
holes
„Ego“ als
Beziehungs-
makler

32. Scheidegger, N. (2010). Strukturelle Löcher. In C. Stegbauer & R. Häußling (Eds.),
Handbuch Netzwerkforschung (pp. 145–155). Wiesbaden: VS Verlag, 149.
The position between structural holes bears chances of
learning and creativity: „Brokerage puts people in a
position to learn about things they didn’t know they didn’t
know“ (Burt 2005: 59). „This way, creativity arises from an
access to knowledge which has not yet been discovered
als knowledge gap“ (Scheidegger 2010)

33. network theory
educational theory
this
presentation

34. arts education
digitalization
our workshop

36. 2) A relational-sociological view on networks

37. White, H. C. (2008). Identity and Control:
How Social Formations Emerge.
Princeton University Press.

38. Identität
Fundierung
„footing“
Orientierung
Kontrolle
Bedeutung
Einbettung
Entkopplung
Netzwerk-
Domäne
(„netdom“)
Netzwerk-
Domäne
(„netdom“)
Switching
Ereignis
Kontrollaktionen sind Ereignisse
Steigerung der Kontingenz für andere
Ressourcen-
konflikte
Chaos,
Narrationen
(„stories“)
Narrationen
(„stories“)
Kontingenz
+ Kontingenz – Kontrolle
Identität
Unsicherheit

39. 3) A critital/antihegemonial view on networks

40. „Perhaps there is no greater
lesson about networks than the
lesson about control: networks,
by there mere existence, are not
liberating; they exercise novel
forms of control that operate at a
level that is anonymous and
nonhuman, … eradicating the
importance of any distinct or
isolated node. … even while
networks are entirely coincident
with social life, networks also
carry with them the most
nonhuman and misanthropic
tendencies.“Galloway, A. R., & Thacker, E. (2007).
The Exploit: A Theory of Networks.
Univ of Minnesota Pr.

41. Galloway, A. R., & Thacker, E. (2007). The Exploit: A Theory of Networks.
Univ of Minnesota Pr..
Participation under the condition of strategic
network(ed) operations and manipulation not
just means co-determination in networks, but
also co-determination about networks –
about its codes, protocols,
and operational modes.

42. „‚User‘ […] designates those who participate in the
algorithmic unfoldings of code. […] Users are
executed, but programmers execute themselves.
[…] Taken in this sense, anyone can be a
programmer if he or she so chooses. If a person
installs a game console modchip, he is
programming his console. If she grows her own
food, she is programming her biological intake“
Galloway, A. R., & Thacker, E. (2007). The Exploit: A Theory of Networks.
Univ of Minnesota Pr., S. 143

43. glitch-aesthetics
Menkman, Rosa (2011). The Glitch Moment(um). S. 25
http://www.networkcultures.org/networknotebooks
click & cuts/
glitch
Farmers Manual :
No Backup (2006)
„Take“

44. Menkman, Rosa (2011). The Glitch Moment(um). S. 25
http://www.networkcultures.org/networknotebooks

45. glitch-Ästhetik
Menkman, Rosa (2011). The Glitch Moment(um). S. 25
http://www.networkcultures.org/networknotebooks
http://rosa-menkman.blogspot.de/2010/08/vernacular-of-file-formats-2-workshop.html

46. https://www.ableton.com/en/blog/explore-north-african-music-max-live-sufi-plug-ins/
„Sufi“ Plugins:
Software as anti-
(western-)
hegemonial agent

47. The DIY way: Onyx Ashanti – BeatJazz
https://www.ted.com/talks/onyx_ashanti_this_is_beatjazz

48. 4) A transactional view on (actor-) networks

49. The transactional approach, as discussed by
John Dewey together with Arthur Bentley
refuses to presuppose a basic difference
between subject and object, thus
strategically suspending the border between
humans and things in order to observe how both
are emerging out of associational, historical and
biographical practices.
Nohl, A.-M. (2013). Sozialisation in konjunktiven, organisierten und institutionalisierten
Transaktionsräumen: Zum Aufwachsen mit materiellen Artefakten. Zeitschrift für
Erziehungswissenschaft, 16(2), 189–202. https://doi.org/10.1007/s11618-013-0419-8
Dewey, J. (1990). The Later Works of John Dewey, Volume 16: 1949-1952 Essays, Typescripts,
and Knowing and the Known. SIU Press.
Dewey, J. (1990). The Later Works of John Dewey, Volume 16: 1949-1952 Essays, Typescripts, and Knowing and the Known. SIU Press.

50. With regard to reserarch on AACE, this means to
look upon the relational settings out of which
aesthetic practices arise, as well as to observe
how and in which ways and forms different actors
emerge out of aesthetic practices.
How, for example, would YOU emerge in a
technically-related aethetic practice as an
artistic subject?

51. Workshop „Digitalization“
Understanding Digitality
International Winterschool „Spectra of Transformation“
Akademie für Schultheater und performative Bildung
Nuremberg, Feb 21, 2017
Prof. Dr. Benjamin Jörissen
Lehrstuhl für Pädagogik mit dem Schwerpunkt
Kultur, ästhetische Bildung und Erziehung
http://joerissen.name
benjamin@joerissen.name