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Workshop Part 1: Digitality (arts & aesthetic education)

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Int. Winterschool "Spectra of Transformation", Akademie für Schultheater und performative Bildung, Nürnberg, 21.2.2017

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Workshop Part 1: Digitality (arts & aesthetic education)

  1. 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. 2. „The Digital“ as Software, Data, 
 Networks, & Interfaces with regard to arts & aesthetics
  3. 3. https://www.ableton.com/de/live/
  4. 4. https://www.ableton.com/en/blog/searching-for-sound-simon-mejia/
  5. 5. Software & Code/Algorithms Data & Data Structures Networks & Protocols Interfaces & Materialities
  6. 6. Software/Code/Algorithms Data Networks Interface
  7. 7. Digital entities as „material“ in artistic processes
  8. 8. „Live coding“: coding as musicking
  9. 9. http://sonic-pi.net/
  10. 10. 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.
  11. 11. Software/Code/Algorithms Data Networks Interface
  12. 12. 2007 Software, as a hyperversatile logic/ symbolic actor, requires the most versatile materialities. 19641950 1970ies 2007
  13. 13. 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)
  14. 14. Hardware as an extension of software, buiding a new type of instrument/ music production hybrid.
  15. 15. Eigenharp Roli Seaboard Rise Roli Blocks
  16. 16. Pressure sensitive touchscreens + multiple sensors as universal musical interfaces Roli Seaboard 5D Roli Noise Geoshred
  17. 17. Software/Code/Algorithms Data Networks Interface
  18. 18. Data = digital cultural objects defined by Protocols performed by Software/Code/Algorithms
  19. 19. Look, it’s the Mona Lisa! 0xFF 0xD8 0xFF 0xE0 0x00 0x10 0x4A 0x46 0x49 0x46 0x00 0x01 …
  20. 20. Protocols and formats „lock in“ the relation of cultural objects and perception mp3 – psychoacoustics jpg – psychovisualistics .h264 – ps.vis. in time
  21. 21. MIDI (Music Instrument Digital Interface) byte 1: note on/off byte 2: coded note value (diachronic) byte 3: velocity (0-128)
  22. 22. 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).
  23. 23. Software/Code/Algorithms Data Networks Interface
  24. 24. 1) A structuralist view upon networks
  25. 25. Heidler, R. (2010). Positionale Verfahren (Blockmodelle). In C. Stegbauer & R. Häußling (Eds.), Handbuch Netzwerkforschung (pp. 407–420). Wiesbaden: VS Verlag, S. 410.
  26. 26. Networks as resources Granovetter, M. S. (1973). The strength of weak ties. American Journal of Sociology, 1360–1380; S. 1363/1365.
  27. 27. „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.
  28. 28. 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
  29. 29. 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)
  30. 30. network theory educational theory this presentation
  31. 31. arts education digitalization our workshop
  32. 32. 2) A relational-sociological view on networks
  33. 33. White, H. C. (2008). Identity and Control: How Social Formations Emerge. 
 Princeton University Press.
  34. 34. 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
  35. 35. 3) A critital/antihegemonial view on networks
  36. 36. „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.
  37. 37. 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.
  38. 38. „‚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
  39. 39. 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“
  40. 40. Menkman, Rosa (2011). The Glitch Moment(um). S. 25
 http://www.networkcultures.org/networknotebooks
  41. 41. 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
  42. 42. https://www.ableton.com/en/blog/explore-north-african-music-max-live-sufi-plug-ins/ „Sufi“ Plugins: Software as anti- (western-) hegemonial agent
  43. 43. The DIY way: Onyx Ashanti – BeatJazz https://www.ted.com/talks/onyx_ashanti_this_is_beatjazz
  44. 44. 4) A transactional view on (actor-) networks
  45. 45. 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.
  46. 46. 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?
  47. 47. 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

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