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Isea presentation heartbreak_zombie_final

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presentation at ISEA 2011 Istanbul. panel with Melissa Barron, Daniela Kuka, Rosa Menkman and Nina Wenhart. September 16th, 2011

Published in: Automotive, Technology, Spiritual
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Isea presentation heartbreak_zombie_final

  1. 5. (failure & art) as var form of hacking
  2. 6. hacking as appropriation <ul><li>Situationist International's détournement, readymades, sampling, cut-up, bricolage, .......................................... </li></ul><ul><li>..............::::::... ::::...:::........................................................... .........................................................::::::..................................................... ;;; ........::::::...... ..........................................................::::....::::...::........... ..... ::: ..................................................................::::..::..:::...::;..::............:::::...::..::.::;...::. ......::..:::...:;...::....:::::::....::::...::..::;..:........................................................................................... .................................................................:::....::..:..::...::>.::................;:;;:::::................... ...............................::..::...::..:>>>...::...:::..:..:..:.::::..:::::................................... ........................................................................................... && etc </li></ul>
  3. 7. bee beee beep <ul><li>diff w dig art -> not the front end, but undercurrents, the layers behind, the source code. </li></ul><ul><li>it is breaking and entering of sth that by code of politics/economics is declared closed – just as an artwork in regard to archiving and to the art market – as an entity of value – is declared closed </li></ul><ul><li>-> faking scarcity </li></ul>
  4. 8. <ul><li>techniques of ripping open, modification, hacking, signal processing, de-/reconstruction of code, transcoding often referred to as </li></ul><ul><li>creative abuse </li></ul><ul><li>infers planned way of using && that system is meant to remain closed -> politics of protocol, not necessity </li></ul>
  5. 9. suorce coed as materila <ul><li>JODI </li></ul>
  6. 10. JODI <ul><li>seemed that media art was all about progress: </li></ul><ul><li>90s net.art category @ prix ars electronica was at some point subdivided into net excellence and net vision, one stressing on the artistic, one on the crafts component of the genre </li></ul><ul><li>from the beginning JODI focused on something else: the systems behind, their breaking points. they ran with and counter current developments. </li></ul>
  7. 11. click to add title <ul><li>“ Whether ritualized or not, art contains the rationality of negation. In its advanced positions, it is the Great Refusal – the protest against that which is. The modes in which men and things are made to appear, to sing and sound and speak, are modes of refuting, breaking, and recreating their factual existence.” </li></ul><ul><li>Herbert Marcu s e , One-Dimensional Man </li></ul>
  8. 12. click ate title <ul><li>protest against that which is </li></ul><ul><li>-> creating that which is not (meant to be) = errorrrr </li></ul>
  9. 13. click to add titel <ul><li>this approach “is critical and ironic, disrespectful and deconstructivist. The artists do not take technological dispositives for granted, but rather manipulate and abuse, circumvent and modify” </li></ul><ul><li>Tilm a n Ba U mgärtel </li></ul>
  10. 14. click to add turtle <ul><li>tilman baumgärtel </li></ul><ul><li>customizing / redesigning code as a form of hacking </li></ul><ul><li>political dimension </li></ul><ul><li>lack of respect for technological givens (Marcuse, Galloway) </li></ul><ul><li>driving system towards epic fail </li></ul><ul><li>bazon brock &quot;laughing terror&quot; </li></ul>
  11. 15. adddd <ul><li>not destructive, but deconstructive </li></ul><ul><li>doesn't destroy, but create </li></ul><ul><li>disrespectful/disbedient </li></ul><ul><li>playful </li></ul><ul><li>ironic </li></ul><ul><li>critical game, language game, wittgenstein, negotiating meaning -> semantically void, made empty </li></ul>
  12. 16. clik cklic clic <ul><li>“ i stare at the glitch as a void of knowledge” </li></ul><ul><li>r 0 sa menkma n </li></ul>
  13. 17. hacking exxxpecctations <ul><li>hacking expectations + automated consumption </li></ul><ul><li>by alienating spectators from learned meaning </li></ul>
  14. 18. click click add add <ul><li>made “meaningless” on purpose </li></ul><ul><li>-> ostranenie as a specific form of language game </li></ul>
  15. 19. ostranenie <ul><li>Viktor Shklovsky </li></ul><ul><li>defamiliarization, “Verfremdungseffekt” (alienation effect -> Brecht) live from making known things appear strange, thereby creating confusion in the audience. </li></ul><ul><li>confusion bec we become estranged from what sth used to mean, meaning is not negotiated yet </li></ul>
  16. 20. ostranenie <ul><li>-> “ failure” as a temporal, temposurreal, temposensitive form only exists as long as it can escape semantical negotiation </li></ul><ul><li>-> failure is a magic creature </li></ul>
  17. 21. post modern post mortem <ul><li>juxtaposition to technotopia's hysteria of constant progress, i.e. perfection, crystallization, timonds </li></ul>
  18. 22. post modern post mortem <ul><li>Slavoj Žižek , “Grimaces of the Real” </li></ul><ul><li>monster as subject of Enlightenment -> monster as result of Enlightenment </li></ul><ul><li>-> romanticism, night tales, uncanny, re-establishment of the Unknown </li></ul><ul><li>-> zombies </li></ul><ul><li>black (magic) box -> sorcerer's apprentice </li></ul><ul><li>curiosity, opening up, hacking, releasing the magic within </li></ul>
  19. 23. hacker ethics+aesthetics <ul><li>f L orian cr a mer </li></ul><ul><li>intentional crudeness as an alternative computer aesthetics that in and of itself conforms w “classical philosophical notions of the sublime as the opposite of beauty” </li></ul><ul><li>til m an baumg Ä rtel </li></ul><ul><li>“ [hacker ethics are] at the core of all creative use and more importantly the creative abuse of computer technology.” </li></ul>
  20. 24. hacking as criticism <ul><li>as a form of criticism, it shifts “from a second-order reflection on things into a mode of creation” </li></ul><ul><li>jus S i parikka, ga r net hertz </li></ul><ul><li>-> criticism within the medium </li></ul>
  21. 25. {work of} art as process & open system <ul><li>Umberto E c o </li></ul><ul><li>Mo r ris Weitz </li></ul>
  22. 26. re-working as a means of preservation <ul><li>“ With wide implications for the media archaeological methodology, the archive is increasingly being rethought not as a spatial place of history, but as a contemporary technological circuit that redistributes temporality in other ways.” </li></ul><ul><li>jus s i parikka, garnet he R tz </li></ul>
  23. 27. timonds & digital punk <ul><li>archiving = timond </li></ul><ul><li>vs </li></ul><ul><li>decision to open up and make visible the scars, surgeries & safety pin mendings has created a digital punk style </li></ul>
  24. 28. after the future <ul><li>'what if' the future has already happened? </li></ul><ul><li>post-futuristic </li></ul><ul><li>dystopian in a mad max tradition </li></ul><ul><li>worst case scenario art </li></ul><ul><li>laughing terror -> Bazon Brock </li></ul>

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