Was ist Soziologie?: Eine Ausarbeitung zu Norbert Elias’ gleichnamigem Werk (German Edition)

Die Medienkultur befand sich in einer akuten Belastungsreaktion, als deren Symptome u. Grenzschicht-Effekte Zu den De-Stabilisierungsdynamiken sind auch die sog. Sie sind, anders als relativ kurzfristig auftretende Schocks, das Ergebnis also Resultate bzw. Die Diffusionstheorie setzt z. Es kommt auf die richtige Reihenfolge, auf das richtige Zusammentreffen und auf das in einen Zusammenhang passende Eintreten von Ereignissen oder Entwicklungen an.

Alle Phasen- und Zyklenmodelle setzen solches Wissen voraus. Was der Methodische Konstruktivismus und Kulturalismus vgl. Erst wenn bestimmte Voraussetzungen erreicht bzw. Bedingungen des innovativen bzw. Der einfachste Fall ist der Mangel-Schock, der ein Produktions- bzw.

Inter- ferenzen verschiedener Teilprozesse. Der bereits seit den 50er Jahren laufende und sich in den 80er Jahren stark beschleunigende Digitalisierungs- bzw. Bedeutender erscheint da schon das Versagen des Medienrechts angesichts globalisierter, d. Mindestens ebenso bedeutend ist ein Marktversagen, wie es bei Intransparenz von Angeboten, Preisgestaltung, Lieferbedingungen und Garantiefragen auftritt.

Unter- steuerungen wahrscheinlicher ist. Angesichts der Innovationsrate des Medienbusiness muss man sich fragen, wie lange noch bzw. Und wieder einmal ist es der Kompetenzbegriff: Auch auf diese Frage gibt es keine einfachen Antworten. Aber das Konzept der Medienkom- petenz ist weit und differenziert genug, um eine Richtung zu weisen, und zwar in zwei Hinsichten. Literatur Becker, Howard Art Worlds. Genes, Culture, and Human Diversity. Eibl, Karl Kritisch-rationale Literaturwissenschaft.

Eibl, Karl Animal Poeta. Bausteine einer Kultur- und Literaturtheorie. Giddens, Anthony Die Konstitution der Gesellschaft. Giesecke, Michael Sinnenwandel, Sprachwandel, Kulturwandel. Studien zur Vorgeschichte der Informationsgesellschaft. Grundlinien einer konstruk- tivistischen Sozialtheorie. Hoffmann, Stefan Geschichte des Medienbegriffs. Janich, Peter Kultur und Methode. Medienrezeption seit , Baden Baden , S. Kittler, Friedrich Grammophon, Film, Typewriter.

Lewis, David Konventionen. Lorenzen, Paul Konstruktive Wissenschaftstheorie. Luhmann, Niklas Soziale Systeme. Malinowski, Borislav Eine wissenschaftliche Theorie der Kultur. Martindale, Colin The Clockwork Muse. The Predictability of Artistic Change. Das Ende des Buchzeitalters. Bonn, Paris, Reading, Massachusetts u. Der Weg der Mediengesellschaft in das Merten, Klaus Evolution der Kommunikation.

Die Wirklichkeit der Medien. Moles, Abraham Soziodynamik der Kultur. Urteilsbildung im Zeitalter der Unterhaltungsindustrie. Prigogine, Ilya Vom Sein zum Werden. Rusch, Gebhard From Face-to-face to Face-to-face. Rusch, Gebhard Medienwissenschaftliche Systemanalyse. Eine theoretische Erkundung aus konstruktivistischer Sicht. Saxer, Ulrich Medien- und Gesellschaftswandel als publizistikwissenschaftlicher Forschungsgegenstand. Saxer, Ulrich a Medien, Rezeption und Geschichte.

Saxer, Ulrich b Mediengesellschaft: Politikvermittlung und Demokratie in der Mediengesellschaft. Der Diskurs des Radikalen Konstruktivismus 2. Film — Rundfunk — Multimedia. Organisations as Self-Designing Systems. Winston, Brian Breakages Limited. Electronic Media and Technoculture. Zwischen Interpretation und Formerkennung Rainer Leschke Zusammenfassung Die Formen in den massenmedialen Unterhaltungsangeboten scheinen sich im letzten Jahrzehnt gewandelt zu haben: An ihre Stelle tritt ein Formwissen, das andere Rezepti- onsmodi aufruft.

Das Formwissen eman- zipiert sich dadurch auch tendenziell vom einzelnen Medium genauso gut wie vom konkreten Medienangebot. Und dieses Interpretationswissen hat es durchaus in sich: Das Interpretationswissen der Sinnkonstruktion markiert dabei einen durchaus besonderen Komplex des Wissens: Die narrativen Formate, die seit langem nahezu unangefochten den Ton angaben, sind zusehends in die Defensive geraten. Fiktionale Medienprodukte werden seit den 90er Jahren nicht nur anders gebaut, sie rufen vor allem auch andere Modi ihrer Wahrnehmung und Rezeption auf. Wenn sich also an den Formen der Narration etwas bewegt, dann ist zugleich immer auch ein Komplex von Wissensformen involviert.

Auch hier hat man es mit einer keineswegs marginalen Entwicklung zu tun: Stories enrich us and help in our development. Medienformen und Medienwissen 39 halb solcher hoch aufgeladenen Formen an. Isotopiebruch im Computerspiel Nachdem dieser Isotopiebruch medial stabilisiert und normalisiert ist, kann er als Form fun- gieren und durch die Medien wandern. So etwa die Form der Exposition, die auf jeden Fall in allen narrativen Umgebungen und d.

Mediale Formen entstehen also in einer bestimmten medialen Umgebung. Isotopiebruch durch Head Up Display Quelle: Es wird dabei ein Verfolgungsrennen auf unterschied- lichen Zeitebenen konstruiert, das als Isotopiebruch inszeniert und mithilfe von Head Up Displays plausibilisiert wird. Zugleich werden damit Medien vernetzt. Vernetzungsstrukturen sind dabei im Mediensystem an sich eine relativ alte Sache. Allerdings setzt diese Profilierung erst einmal auf Kontrast und nicht auf Vernetzung. Sobald die jeweiligen Medien jedoch ausdifferenziert und gealtert sind, sobald sich ihre Repertoires arrondiert haben, beginnen sie Redundanzen zu produzieren.

Es kommt zu merklichen Redundanzen und zu zunehmenden Demonstrationen von Einfalls- losigkeit. Diese Reproduktion funktioniert nach dem Prinzip kontrollierter Varianz und d. Der Film bedient sich bei der Literatur, dem Comic, dem Theater, der bildenden Kunst und nicht zuletzt beim Computerspiel. The Punisher Film , Trinity Film , Spider- Man 2, Der letzte Widerstand, Spider- Man 3, Fantastic Four 2, Der erste Prozess ist ein Effekt des digitalen Medienumbruchs, der zweite einer des Alterns eines Mediums.

Die gesellschaftliche Praxis des Umgangs mit bereits erfasstem narrativen Material ist daher von der Prozedur der Rezeption selbst zu unterscheiden und stellt letztlich eine Art Akt der Weiterverarbeitung dar. Die Identifikationsofferten sind zumeist alles andere als anspruchsvoll: Die Protagonisten sind ebenso bedeutsam wie eindeutig, so dass die Identifikation durch keinerlei Zugangs- barrieren behindert wird. Allerdings deutet zumindest die prinzipielle Strukturhomologie der geisteswissenschaftlichen Theoriebil- dung darauf hin, dass dem so produzierten Wissen immerhin ein kultureller und historischer Status zugebilligt wird.

Und selbst wenn dieser Status und die Resultate dieses Wissens aus szientistischer Perspektive8 alles andere als unumstritten sind, so hat man es doch zumindest 8 Die Umstellung vom Interpretationswissen auf ein Formwissen setzt einen der szientistischen Kritik an der Herme- neutik analogen Prozess in Gang. Interpretationswissen als lebensweltlich motivierte Sinnsetzung produziert offensichtlich das, was man nach Theo Hug unter Instantwissen Hug , S. Sinnimplementation fungiert daher als ein zentrales Schema der Wissensbildung und die Strukturen der massenmedialen Narrationen fordern es stets aufs Neue heraus.

Dabei bilden Wissen und Methode9 prinzipiell eine konstitutive und daher nicht auseinanderzudividierende Einheit: Es ist nicht mehr so furchtbar inter- essant, was die Protagonisten tun und warum sie es tun, sondern es ist weitaus interessanter herauszubekommen, was hier womit kombiniert wird und was von der besonderen Kon- struktion und Konstellation zu halten ist. Wenn die Protagonisten weitgehend dem Zufall ausgesetzt werden, dann macht eben Sinnzuschreibung keinen Sinn mehr, und wenn wie in Hypertexten und Computerspielen ein Set von Handlungsalternativen angeboten und alle auch gleich durchexerziert werden, dann ist die Motivation, auf die die Sinnkonstruktion stets ihr Hauptaugenmerk richtete, allenfalls noch von untergeordneter Bedeutung.

Konstellationen werden erprobt und das Material wird kritisch gesichtet. Es geht nicht mehr um ein Normwissen und Sinnsetzung, sondern um die Beurteilung der performativen Leistung von Medienprodukten. Es geht um die Geschicklichkeit und Leichtigkeit, mit der seine Effekte hergestellt werden, es geht um die Eleganz der Konstruktion. Es geht statt um den Sinn um Regeln und ihre Variationen. Insofern ist die Bereitschaft des Publikums, sich auf ein solches Material einzustellen, durchaus erstaunlich.

Allerdings kann das Massenpublikum bei seinem Umgang mit dem neuen Material immerhin bei drei ver- trauten Rezeptionsmodi andocken: Sport und Spiel haben mit dem neuen Material des massenattraktiven formorientierten Kinos gemeinsam, dass sie tendenziell sinn- frei sind. Das Publikum ist ein Examinator, doch ein zerstreuter. Luhmann denkt diese Dialektik als eine ebenso abstrakte wie universale Differenz. Hier wird der Formbegriff immer schon konkret und d.

Es dreht sich also um das Erkennen von Formen in Medien. Der Film The Matrix formuliert das wie folgt: Einzig die auf Sinnsetzung fixierten Kulturwissenschaften bleiben aus dem neuen Komplex offensichtlich ausgeschlossen. Wissensstrukturen sind daher immer auch medientechnisch grundiert: Zur Kritik der funktionalistischen Vernunft.

Hug, Theo; Perger, Josef Hrsg. Instantwissen, Bricolage, Tacit Knowledge. Kerckhove, Derrick de Medien des Wissens. Wissensherstellung auf Papier, auf dem Bildschirm und Online. Das globale Netz von Text und Bild. Kracauer, Siegfried Theorie des Films. Luhmann, Niklas Die Gesellschaft der Gesellschaft.

Gattungstypologie und Funktio- nen kanadischer Fictions of Memory. Hipfl, Brigitte; Hug, Theo Eds. Sexl, Martin Die Problematik impliziten Wissens. Educational Media Communities at the Margins. Ende oder Transformation einer Disziplin? Denn es gebe kein wahres Wissen, sondern immer nur beliebige, referenzlose Konstrukte. Gegen eine solche These ist einzuwenden: Philosophie und Wissenschaften erleben heute, im Kontext und unter den Bedingungen der Telematik, keineswegs ihre Abschaffung, sondern eine — wenngleich weit reichende — Transformation.

Im Gegen- satz dazu nehmen die meisten akademischen Philosophen an, Philosophie werde durch die neuere Medienentwicklung kaum tangiert, das eine habe mit dem anderen nichts oder nur wenig zu tun. Plakative Titel haben jedoch den Vorteil, dass sie eine Thematik deutlich beim Namen nennen. Philosophie ist — oder zumindest: Wie menschliches Denken insgesamt, so ist auch der philosophische Diskurs erst im langen Verlauf der menschlichen — der biologischen wie, darauf aufbauend und mit ihr verflochten, der soziokulturellen — Evolution entstanden.

Was unter derartigen Bedingungen und auf diese Weise entstanden ist, kann — und wird wahrscheinlich auch — irgendwann wieder vergehen. Die Frage ist allerdings, wann und unter welchen Be- dingungen ein solches Vergehen denkbar ist, und die Zusatzfrage lautet: Demnach verhindern und erschweren — oder: Der Altphilologe Eric A. Gemeint ist mit diesen Etiketten ihre systematische, empiristisch- rationalistische Um- und Ausformung. Mittlerweile wird nun freilich diese neuzeitliche Gestalt der Philosophie und Wissenschafts- theorie durch die Neuen Medien in Frage gestellt, ihre Anwendbarkeit und Legitimation wird bezweifelt.

Dies geschieht allerdings nicht erst seit dem Siegeszug der Computerkultur, son- dern geschah weitgehend schon durch die innovativen Medien des Die selbstkritische Wende in der Philosophie, die das typografisch-neuzeitliche Paradigma prob- lematisiert, beginnt bereits im Anders als der philosophische Mainstream im Philosophie und Telematik seien als solche unvereinbar. Philosophie und Neue Medien 55 und auch wahrscheinlicher erscheint mir eine andere Perspektive: Es ist also zu fragen: Das erste Segment sind die empirischen Medienwissenschaften.

Medienwissen- schaftler, die so denken, denken freilich zu kurz. Es handelt sich weder um typische Empiriker noch um typische Philosophen, sondern — das ist eben ihr neuer, alternativer Diskurs — um Medien- theoretiker die z. Und nicht zuletzt stellen sie die philoso- phisch-anthropologische Frage nach Wesen und Erscheinungsbild des Menschen.

Der Mensch wird als ens mediale, als animal mediale, als homo medialis beschrieben. Das dritte und kleinste Segment des Mediendiskurses ist die explizite, als solche deklarierte Medienphilosophie z. Hartmann , Sandbothe , Konitzer Glaube und Wissen, Theologie und Philosophie bewegen sich aufeinander zu und gehen eine Reihe interessanter Synthesen ein. Machen wir jetzt aber einen philoso- phiehistorischen Sprung ins Metaphysik — er setzt die bei- den Begriffe gleich — fordert.

Nicht nur die Philosophie ist laut Bolz von diesem Ende betroffen, sondern auch der Wahrheitsbegriff, die Wissenschaften und — politisch relevant — die Ideologiekritik. Sein und Schein, Doxa und Episteme — jene Grundunter- scheidung, die den Diskurs von Philosophie und Wissenschaften als solchen konstituiert — seien heute nicht mehr unterscheidbar. Es werde frei, assoziativ und grund-los gedacht. Alles sei im Fluss, alles beliebig, alles ein anything goes. Mosaikmethode und Methode des schwebenden Urteils korrespondieren mit der Rhizom-Metapher von Deleuze-Guattari, aber auch mit anderen Theorie- und Anti- theoriekonzepten von Poststrukturalismus und Postmoderne: Philosophie und Neue Medien 59 Hartmann folgt Bolz in der — wie ich meine: Putnam, Toulmin, Goodman und Rorty.

Keiner von ihnen vertritt die von Bolz und Hartmann unterstellte Konzeption von Wahrheit als adaequatio. Worum es also gehen sollte, ist ein Interaktionsprogramm zwischen Mediendiskurs und Phi- losophie: Mit allen anderen traditionellen Diskursen teilt die Philosophie ihre — zumindest weitgehende — Medienvergessenheit.

Diese Medienvergessenheit ist zu revidieren, ist abzuarbeiten. Nur wenn sich die Philosophie selbst als ein mediales Unternehmen versteht — in ihrer Entstehung, ihrer Geschichte und ihrer Gegenwart —, kann sie sich in den Mediendiskurs sinnvoll einbrin- gen, kann sie diesen und dabei auch sich selbst voran bringen. Margreiter in drei Thesen zusammen: Philosophie und Wissenschaften erleben heute keineswegs ihre Abschaffung, sondern ihre Transformation: Vom Ende des Diese Wege miteinander sowohl zu konfrontieren als auch zu vernetzen, verspricht vor allem zweierlei: Musik, Sprache und Schrift bei Friedrich Nietzsche.

Das griechische Alphabet als kulturelle Revolution. Philosophie und Neue Medien 61 Havelock, E. Reflections on Orality and Literacy from Antiquity to the Present. Als die Muse schreiben lernte. Instantwissen, Bricolage, Tacit Know- ledge. Kulturelle Exis- tenz und symbolische Form. Philosophische Essays zu Kultur und Medien. Grundlegung einer neuen Disziplin im Zeitalter des Internet. Nietzsche Studien 33, S.

Es sind stereotype Erwartungs- haltungen, mit deren Hilfe wir uns in der Umwelt orientieren.

Full text of "Herbert Strauss Collection. s bulk: "

Nach Dreyfus gibt es gar keine Interpretationsschemata, die dem Input unserer Erfahrung erst im nachhinein eine Bedeutung zuschreiben, statt dessen werden unsere Sinnes- daten direkt als signifikant erfahren und sind daher auch keine Abbilder einer externen Welt. In diesem Beitrag geht es mir um zweierlei: Nehmen wir ein Beispiel aus der Mustererkennung. Ein neuronales Netz wird darauf trainiert, den Buchstaben A zu erkennen. Nun sind aber Menschen dazu in der Lage, direkt aus einer Situation, in der sie einbettet sind, zu lernen. Es handelt sich hierbei um Lerntechniken, bei denen Kategorisierungen direkt aus der Lernum- gebung des Netzes ohne Einschaltung eines externen Trainers vorgenommen werden.

Man stelle sich nur eine Situation vor, in der ein neuronales Netz eine falsche Zuordnung trifft, beispielsweise einen ganz anderen Buchstaben als A klassifi- ziert. Nun bemerkt Dreyfus hierzu: Gemeint ist da- mit das folgende: Wenn wir etwas mit der Hand greifen wollen, so tun wir es so, dass wir den besten Zugriff haben. Diese darf nicht zu nahe und nicht zu ferne sein.

Bleiben wir beim Buchstaben A. Die damit verbundenen Probleme kennen wir bereits: In diesem Sinne bezieht sich intentionales Ver- halten direkt auf die Dinge, ohne sie dabei nur intellektuell vorzustellen. Wir sehen die Welt nicht durch die Brille eines unbeteiligten Beobachters, sondern als Betroffene. Hier kommt eine alte Vorstellung von Dinglichkeit zum Tragen, wie sie uns be- reits im Altgriechischen begegnet.

Dinge sind Pragmata, Zeug. Es war Martin Heidegger, der im abgelaufenen JH diese Bedeutung von Dinglichkeit besonders betont hat. Dazu ein einfaches Beispiel: Eine solche Abstraktionsleistung gilt es zu sehen als das, was sie wirklich ist: Umgekehrt wird ein Schuh daraus: Verfeinerung ausgerichtet, ohne dass wir aber diesen Umstand bewusst wahr- nehmen. Die Identifikation eines bestimmten Stimulus erfolgt dieser Theorie zufolge dann dadurch, dass der entsprechende Attraktor aktiviert wird. Ein Attraktor ist nichts anderes als ein stabiler Gleichgewichtszustand, auf den ein dynami- sches System sich im Laufe der Zeit zu bewegt.

So aktiviert ein bestimmter Stimulus bei jedem Feldversuch nur einen Bruchteil jener Rezeptoren, die auf die chemische Struktur dieses Stimulus ansprechen. An der Erzeugung dieses Musters sind aber alle Neuronen des Bulbus beteiligt. Dieses Muster isoliert betrachtet stellt nur einen relativ kleinen Baustein dar in Freemans Modell der Neurodynamik, das ja von einer hochgradigen Vernetzung aller Wahrnehmungs- komponenten auf der Makroebene ausgeht.

Jedes Muster weist aber bei gleicher chaotischer Wellenform an verschiedenen Stellen des Bulbus eine unterschiedliche Amplitude auf. Warum wird der Input unserer Erfahrung von unserem Gehirn direkt als signifikant erfahren? Weil die Signifikanz ja erst intern im Gehirn erzeugt wird. Merleau-Pontys Idee, unsere motorischen Fertigkeiten seien magisch auf einen optimalen Zugriff, auf die Beseitigung eines Ungleichgewichts des Selbst und seiner Welt ausgerichtet, findet bei Freeman seine Entsprechung im Konzept der Assimilation. Freeman versteht einen solchen Zustand als ein Attraktorbecken.

Wir handeln mit unseren motorischen Fertigkeiten in eine Welt hinein. Dieser epistemologische Solipsismus ist freilich nicht ganz neu. Inwiefern lassen sich AM-Muster direkt — und eben nicht nur metaphorisch — in der Sprache der Chaostheorie rekonstruktiv beschreiben?

Dabei bedient sie sich aber eines bestimmten Tricks. So hat bereits in den 50er Jahren des vorigen Jahrhunderts Alfred Delp Heidegger ironisch vorgeworfen, dieser verwandle den Menschen in den Besitzer eines riesigen Zeughausladens. Stattdessen geht es mir darum, sie in einem anderen Licht auszulegen als dies bei Dreyfus der Fall ist. Bewusstsein ist nicht in unserem Kopf. Es entsteht erst dadurch, dass die menschliche Kultur externe Symbole entwickelt hat Sprache, Schrift etc.

Zur Philosophie Martin Heideggers. A Critique of Artificial Reason. The Relevance of Phenomenology to Scientific Explanation. Heideggerian AI 73 Dreyfus, H. Wie wir die Welt durch unsere Wahrnehmung erschaffen — die biologischen Wurzeln des menschlichen Erken- nens. It is intended to be an introduction, expressed as non-technically as possible. It is intended to respond to writers like Chris Anderson who, like many other writers, describe connective forms of knowledge as probabilistic. These forms of knowledge, created by means of interactions among connected entities, are outlined in publications such as James Suroweicki's The Wisdom of Crowds.

They should not be thought of as probabilistic, but rather, as a distinct and new form of knowledge. The purpose of this paper is to introduce the reader to this new, connective, form of knowledge. It should go without saying that these are my own thoughts, and this discussion should not therefore be considered an authoritative reference on the subject.

Moreover, this is intended to be a brief overview, and not an academic treatise on the subject. Types of Knowledge You probably grew up learning that there are two major types of knowledge: These two types of knowledge have their origin in major schools of history and philosophy, the former in the works of the ancient Greeks, and the latter in Arabic and then later Renaissance philosophy.

Connective knowledge adds a third major category to this domain, knowledge that could be described as distributed, because it is spread across more than one entity. A property of one entity must lead to or become a property of another entity in order for them to be considered connected; the knowledge that results from such connections is connective knowledge.

This is more than just the existence of a relation between one entity and another; it implies interaction. A relation — such as 'taller than' or 'next to' — is a type of quality. It describes a property of the object in question, with reference to a second object. But the fact that I am, say, 'taller than' Fred tells us nothing about how Fred and I interact.

That is something differ- ent. This is why it is incorrect to represent distributed knowledge merely as a type of probabilistic knowledge. The logic of probability implies no connection between correlated events; it merely observes a distribution. A connected system may exhibit probabilistic characteristics, but it is not itself probabilistic.

It is based on the counting of things or events, or whatever and of comparisons between one count and another one needs only to read Carnap to see this clearly. A poll, for example, gives us probabilistic in- formation; it tells us how many people would vote today, and by inference, would vote tomorrow. But the fact that Janet would vote one way, and I would vote one way, tells us nothing about how Janet and I interact.

Connective knowledge requires an interaction. More to the point, connective knowledge is knowledge of the interaction. If Janet votes a certain way because I told her to, an interaction has taken place and a connection has been established. The knowledge thus observed consists not in how Janet and I will vote, nor in how many of us will vote, but rather, in the observa- tion that there is this type of connection between myself and Janet.

This knowledge may have nothing to do with voting at all. Rather, we may recognize it as part of a larger pattern of interaction between the two of us. Interpretation What we 'know' about the world is irreducibly interpretive. That is to say, we do not through our senses and cognition obtain any sort of direct knowledge about the world, but rather, in- terpret the sensations we receive. This is true not only of connective knowledge, but of all three types of knowledge.

Consider qualities, for example. We take it as basic or atomic see people like Ayer for example that a statement like 'this apple is red' represents a pure and unadjusted fact. However, looking at this more closely tells us how much we have added to our original sen- sation in order to arrive at this fact: First of all, the apple itself has no inherent colour. Colour is a property specifically, the wavelength of light reflecting off the apple. In different coloured light, the apple will appear to us differently — it appears white in red light, for example, or gray in diminished light.

Yet we say the apple is 'red' — standardizing our colour descriptions to adapt to the natural light that surrounds us day to day. Second, our perception of the apple as 'red' depends on our organizing light patterns in a cer- tain way. When I was a child, the spectrum had six colours — red, orange, yellow, green, blue and purple.

As an adult, I find that a seventh — indigo — has been added. It's not that a new colour came into existence when I was twenty, it's that our nomenclature changed. In a simi- lar way, we can divide the colours of the spectrum in numerous ways: And third, when we say that 'the apple is red' we are drawing on our prior linguistic ability to use the words 'apple' and 'red' correctly and apply them to appropriate circumstances.

Indeed, our prior knowledge often shapes our perceptions themselves: An Introduction to Connective Knowledge 79 Less intuitively so, but equally clearly, interpretation applies to quantitative knowledge as well. It is easy to say that a sentence like 'there are twenty schoolchildren in the yard' is a basic fact, but this all depends on how you classify schoolchildren.

Suppose, unknown to us all, one of the children had just been expelled; is our statement now false? Perhaps one of them is over sixteen — is this person still a child and hence, a schoolchild? It depends on your point of view. Quantification is essentially the enumeration of members of a category or set. Consequently, it depends crucially on how that set is defined. But membership in a set, in turn, is typically based on the properties or qualities of the entities in question.

So such membership is based on interpretation, and hence, so is counting. One might be tempted to say that even though applied instances of counting are based on interpretation, mathematics itself is not. But in my view, this too would be mistaken. For one thing, as people such as Mill and Kitcher argue, the rules of mathematics depend on empirical verification for their importance: Nothing but our observations prevents us from saying that one plus one is three, and in some contexts such a statement makes perfect sense.

Emergence Emergence is a hard concept, but at this point I can gloss it with a simple characterization: There are two equally valid ways of thinking about this: First, we may perceive an actual set of connections linking a group of entities as a distinct whole. For example, when one domino topples another, and so on, in turn, and we observe this from a distance, we may observe what appears to be a wave moving through the domi- noes.

The wave that we observe can be said to be an 'emergent phenomenon' — it is not a property of the dominoes themselves, or even of the falling of the dominoes, but of the con- nectedness of the falling — because one domino causes the next to fall, we see a wave. Second, we may perceive something as a distinct whole and interpret this as a set of connec- tions. For example, when we look at the image of Richard Nixon on the television, we do not perceive the individual pixels, but rather, the image of a person. But our inference goes be- yond merely the observation of the person; if asked, we would say that the appearances of the pixels are connected to each other, through the mechanism of having a common origin Richard Nixon himself and the mechanism of video broadcasting.

Emergence is fundamentally the result of interpretation. As mystics and Spinoza are fond of arguing, everything is connected. At a certain point, as the old saying goes, when a butterfly flaps its wings in China, the result is a thunderstorm in Halifax. But broadcasters in Halifax do not watch butterflies in China in order to predict the weather, because this connection will be of no use to them. In the same way, the observation of sets of connections between entities depends a great deal on what we already believe.

That is why we see swans in clouds or faces on Mars when, manifestly, there are none. We have brought our prior knowledge of connected entities to bear on our interpretations of these phenomena. As Hume would say, our 'perception' of a causal relationship between two events is more a matter of 'custom and habit' than it is of observation. Physicality We generally think of knowledge as being about facts, and about facts in turn as being grounded in an independent reality, a physical reality.

Consequently, it is natural for us to say, for example, that when we see that something is red, that there is a physical basis for that statement, that even if we bring some interpretation to bear, there is some physical fact of the matter than makes the apple red, and not blue. Certainly, were we not to think of things this way, we would be hard pressed to say anything about anything.

Physicality provides us with a substrate on which to hang our interpretations. It is, as Kant would say, a necessary condition for the possibility of perception. Physi- cality moreover offers us a means of sorting between what might be called 'correct' interpretations and 'misperceptions', between reality and a mirage.

All this may be the case, but nonetheless, there is nothing in our interpretations that is inher- ently based in physical reality, and hence, nothing that precludes our discussion of them without reference to this foundation. Indeed, this has been enormously useful in other do- mains.

Despite, for example, the empirical basis of mathematics, it is much more productive and useful to refer to quantity without reference to the physical entities being counted, to in other words think of quantity in the abstract. The same is true of quality. Thinking of quality in the abstract leads to Aristotle's syllogisms Kemmerling and is the basis of categori- cal reasoning.

Moreover, non-physical entities may have or be attributed properties that are themselves on this theory based in physical properties. In our ideas and dreams, we think of vivid colours and large numbers. And the ideas are transferable. Consider the concept of 'purple prose' Stover — an expression which if applied literally is in all cases either meaningless or false, yet of significant utility and meaning.

What is to be learned from this? That the entities in the various categories of knowledge — be they properties or numbers — are themselves not real. When we talk about 'redness', we are not talking about something that has an independent, concrete existence in the world, but rather, in something that exists insofar as it exists at all only in our own minds.

When we talk about the number 'four', we are not describing some Platonic entity Dye , but rather, nothing more than our own thoughts or sensations. An Introduction to Connective Knowledge 81 That does not make them less 'real'. Our perception of the colour 'red' is as real as any phe- nomenon in the world. It is merely to distinguish between the perception, which results from a complex of factors, from the physical entity, which ostensibly caused it.

In a similar manner, our interpretations of connections is distinct from the actual set of inter- actions that may exist in the world. Consider, for example, conspiracy theories — the postulation of a complex and inter-related set of people and events leading to the conclusion that someone is out to get you. Such theories, notoriously, have no basis in the physical world. But they may nonetheless be contemplated, and discussed, and passed along, as though they were real.

And the experience of a conspiracy theory may be, to the perceiver, every bit as real to the person having the experience. There is a tendency on the part of readers, whether of talking about crickets, or of Shirky talking about power laws, to represent connections as something 'natural' and 'real' that is simply 'out there' — as though what is said about networks of connections represents some immutable law of nature. Quite the converse is the case; our understanding of the existence of connections, and the nature of the networks they form, is something we bring to the table, an interpretation of what we think is salient.

Salience and Inference Our knowledge consists of interpretations of perceptions, which are in themselves distinct from any physical reality that may have caused them. In this sense, one might say that these interpretations are 'constructed' — that is, they are the result of some mental or cognitive pro- cess, rather than something that comes delivered to us already assembled.

Inference is, broadly speaking, the manipulation of these bits of knowledge, in the abstract, to produce new bits of knowledge. In our mind, for example, we can postulate that if a red light is added to a yellow light, the result will be an orange light.

Or that two sheep added to two sheep will result in four sheep. Often, subsequent perceptions will confirm such predictions, thus leading us to rely more greatly on the manipulations that resulted in them and less greatly on manipulations that did not result in them, though the human mind is notoriously fickle in this regard. All such inferences, however, are the result of a complex process of selecting what might be called the most 'salient' data.

The counting of sheep, for example, is of utility only to people who own sheep or are reading philosophy papers. Normally, during the course of our every- day lives, we have little need to count sheep, and so for the most part we ignore the actual number of sheep present to us at any given time. In a similar manner, when we perceive an orange light, we do not typically view it as a confirmation of the idea that red and yellow make orange.

Unless we are visual artists we see it merely as an instance of 'orange'. Our inferences, therefore, are based on salience, where salience may be thought of as the importance, relevance or vivacity of some property or perception. We 'pick out' those percep- tions that will be of use to us, and disregard the rest. This is not often even a conscious process; it is based in part on innate reactions such as jumping when we hear a loud sound and largely on prior expectations.

In the same way, some connections are more salient than others. Think about your sense of place or location. It is centered on the city or town in which you are located, the streets spreading out from you in a pattern unique to your position. Change your location, and your map of the world changes with it; WalMart, which was once 'two blocks away', is now 'one block away'.

Or consider your circle of friends: Your friend, however, will count a different set of people as being most proximate, and others, including some you hold more close, as more distant. Things become even more complex when considering the mind. We know that the mind is a massively connected set of neurons, but where is the point of view from which we regard these connections?

While we can consider the bird's eye view in the abstract, and speak dis- passionately about the hippocampus or the corpus callosum, we cannot adopt such a frame of reference with respect to our own thinking. And yet, it seems manifest that there is a point of view with which we regard our own mind; it is the essence of conscious thought, that we are aware of our mental processes at the same time we are having them. Again, it is that which is most salient that comes to the fore here. You may have mental repre- sentations of hundreds or even thousands of people but, if you are enamoured, be thinking only about one.

Your body consists of millions of nerve ends, but if you have a toothache, your attention is focused only on those few related to the tooth. In a similar manner, it is only your most active and your most consistent thoughts that intrude on your consciousness, and it is through the lens of those thoughts that you interpret phenomena and through phenomena that you have those thoughts. Inference is the observation of salient similarities among thoughts and perceptions. It is the recognition of common properties — qualities, quantities and connections — among varied per- ceptions, and the consequent drawing of connections between those entities, and between other properties of those entities.

Seeing that two sheep and two sheep make four sheep, you are led via the salience of quantity, and the newly found salience of cows to contemplate the idea that two cows and two cows might make four cows. Associationism This process of inference has a history in philosophy under the heading of 'associationism', a type of reasoning associated with until the advent of logical positivism empirical philosophy and people such as Hume and Mill. The central idea of associationism is this: This connection or association in turn allows knowledge about one to be inferred of the other. Thus, if we experience one tiger-like creature, and it tried to eat us, then if we see a relevantly similar tiger-like creature, we are led as Hume would say, naturally and senselessly to believe that it will try to eat us as well.

Various types of associationism exist, from association of impressions postulated by Hume to the similarity of phenomena described by Tversky Two major types of associationism are relevant to us here: The first is simple associationism, sometimes known as 'Hebbian associationism' Haselager , which is postulated to be and probably is foundational in the forming of neural con- nections in the mind its applicability to the world outside the mind is much less evident.

The principle, specifically, is that if two neurons fire at the same time, a connection will tend to be formed between them. This is, of course, an 'all else being equal' hypothesis: A lot like a love story. Derived from the idea of the Boltzmann machine, this sort of associationism is an expression of something like thermodynamic forces.

Think of it as the network attempting to settle into a 'balanced' or 'harmonious' state. The idea behind Boltz- mann associationism is that a certain amount of energy applied to a system will create a certain amount of kinetics — in other words, your brain goes on thinking even though it's not receiving input. In the absence of external influences to cause Hebbian connections, the brain settles into a thermodynamically stable configuration. Whether such modes of associationism, or any other method of connection-forming, is at work within any particular system, is a question for empirical observation.

Probably, in any given system, it will be a combination. We understand similarity well enough with respect to quality and quantity. Things can be more or less alike — large, round and orange, say. And we can see how though this similarity how an association can be formed — our perception of what we interpret to be two different orange phenomena leads us to draw an association between them.

Quantities, as well, are associated: In the case of connections, the concept of similarity is less intuitive, but breaks into two major categories: First, we can say that two entities are connectively similar if they share connections with the same set of entities.

For example, Michael and I may be connectively similar, even if we have never met, if we share the same group of friends. Of course, such a similarity makes it more likely that a connection would form between us: The similarity precedes the connection. For example, Paul and Michelle may be political activists, but working for different political parties.

In such a case, they will share the same types of connections, but with differ- ent sets of friends. Such sets of connections are more of less isomorphic. It is worth noting that this isomorphism will tend to lead to a connection between the two groups political parties tend to interact with other political parties, but much less so with hockey teams which in turn again leads to connections between the members.

Distribution At this point we reach a central concept of connective knowledge, that of distributed knowl- edge. In the previous section we looked, a bit glibly, at the possibility of political parties interacting with each other. And this is a concept we can intuitively grasp; we see it every day in political debates, in the legislature, and as represented in political polls and newspaper articles.

But a political party is not per se a self-contained entity: The political party is a distributed entity. What is important to note is that it is more than merely a collection of associated or even similar people. A group of people, even if they all hold the same beliefs, and even if they all know each other, does not constitute a political party.

Nor is it a question of quantity: What makes a political party and similar entities, such as corporations, hockey teams and univer- sity faculties is the set of connections between its members, the existence of which is often manifest and recognized with special documents and legal standing. It's a nebulous concept. The political party does not exist, is not contained, in any of its mem- bers, nor is it a mere aggregation of the properties or number of its members, but it would not exist without its members.

The existence of the political party is distributed — there is no single place it could be said to be, but many places in which its existence could be said to be manifest. Each member forms a part of the political party, but they are not a miniature version of the party as a whole. The properties of the party are separate and distinct from those of the members. We have here once again reached the concept of emergence, but from a different direction.

Any property the political party may have is an emergent property. Consequently, it is a prop- erty that exists in our minds solely by virtue of it having been recognized or interpreted as such which is why we have a formal process of 'recognizing' political parties. And yet, while this property depends on the constituent members, it is not in turn a property of the members Davidson calls this supervenience.

Strictly speaking, every entity in the world is a distributed entity save, perhaps, indivisible subatomic particles — and in my view these may exist only by virtue of a reverse distribu- tion, consisting entirely of entities that are larger than they are, much like a point in a moire pattern — but this is very speculative. Every entity is composed of additional entities, and the properties of the entity in question are not all mere reflections of the smaller entities, but rather, unique properties, that come into existence because of the organization of those enti- ties.

Thus the same collection of carbon atoms may result in very soft charcoal or a very hard diamond. When we speak of one of those properties, therefore — say, the hardness of a diamond — there is no place that we can point to where this property is located.

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There is no specific instance of the hardness of the diamond, save in our perception and interpretation that carbon atoms, when organized this way, are what we call 'hard'. The property of being hard, in addition to being distributed across the carbon atoms that constitute a diamond, in addition exists only as a result of our perception of it. Strictly speaking, were there no perceivers to recognize dia- monds as being 'hard', there would be no 'hardness' for diamonds to have.

Meaning Above, we discussed the possibility of considering properties separated from the physical entities that are instances of them. Thus, for example, we can think of 'red' without thinking of a 'red thing'. At the time, we said that it does not follow that there is any specific entity such as 'redness'. But now we have to ask, in what does 'redness' consist. Because there is a sense in which 'redness' is real: The concept of 'redness' is an example of distributed meaning. There is no particular place we could point to where the 'meaning' of 'redness' is located.

Indeed, that we have a concept such as 'redness' in our minds is in itself only something that we could know through interpretation of the myriad patterns presented in our consciousness and our behaviour. No doubt we have numerous other similar concepts, however, because they are not salient — because they never play a role in higher order cognitive behaviour — we do not recognize them.

We are, in a sense, blind to them, until through some process such as a Rorschach test they are searched for and observed. In a sense, having the concept of 'redness' in our own mind is similar to having 'liberal' as a description of a political party. Low-level subsymbolic concepts exist in our minds — collec- tions of connected neurons that themselves do not have meaning we would recognize, but which in combination eventually form higher-order structures that do correspond with the meanings of words or melodies, or icons, etc , such as 'redness'. Saying that we have the concept of 'redness' in our mind is to pick our a particularly salient set of collections of con- nected neurons.

For example, consider the word 'Paris'. We would at first blush take this word to refer to — and be — something concrete and definite, a city in north-central France. But the use of the word 'Paris' conjures different associations for differ- ent people. For example, 'city', 'France' and 'Eiffel Tower'. And some people think of plaster, other people think of Hilton, other people think of the left bank, other people think of Kurt Vonnegut. We might say loosely that the connection between subsymbolic entities A,B,and C constitute the meaning of 'Paris', while the connec- tion between B,C and D gives us the meaning corresponding to 'plaster' obviously this is a vast oversimplification.

When the meanings of words are distributed, the basis of their mean- ings — the smaller subsymbolic entities that make up the meanings — are intermingled. In a certain sense, you can't understand what 'Paris' means unless you at the same time understand what a set of other words, and indeed, other concepts such as 'naming' mean.

This may seem like a hard, even impossible, concept, but it is one that we work with and manage every day. Edmonton is at latitude 52 north, a cartographer might respond, involving in our understanding the na- ture and employment of Cartesian geometry. The answer to the question 'where is Edmonton' and the meaning of the word 'redness' are of a similar nature, entrenched in a complex and interwoven networks of other meanings.

Shared Meaning From the writings of people like Wittgenstein we get the idea that meanings, in the truest sense, exist only when they are shared by a community of speakers. Wittgenstein even went so far as to say there could be no private language, that meaning is possible only if it is shared publicly. This strikes many people as wrong because they think of meaning as reference or following Kripke following a necessary order of things in the world.

And indeed, it is our common experience of an independently existing physical world that also leads us to such intuitions. An Introduction to Connective Knowledge 87 And yet — an Inuit would say 'snow' in Inuktitut, and a Brazilian in Portuguese, and the words in these two languages are different, and reflect different interpretations of reality. Languages are not isomorphic Chomsky notwithstanding. The basis of English structure, for example, lies in the distinction between myself and the other, while in the French it is myself, my body, and the other.

Neither is factually incorrect; snow is 'white' in each instance, and yet meaning diverges or may diverge; as Quine says, we can't know for sure. Meaning, for Wittgenstein, is established in the act of communicating. From the perspective of the current discussion, we would say something like this: Just as we can examine two dif- ferent people to find different meanings of the word 'Paris', so also can we examine two distinct types of entity — a person and a society — in order to understand its meaning.

Because there is no single and distinct entity which the meaning of the word 'Paris' must be. What con- nections are salient, what entities are salient, in our determination of the meaning of the word is a matter of context, a matter of interpretation. Without this counterpart, a book is no more than some paper and ink. With a counterpart, books can go far beyond. But in which form? These objects, together with the corresponding books or book series are now presented to the public in a small circulating exhibition. This book - organized by Veronika Spierenbrg Artist Veronika Spierenburg will talk with people who have an interesting connection with the medium of books.

Dekonstruktion eines Vierecks, im Viereck. Das neue Heft Workshop Heinz Emmenegger: Handle with care mehr oder weniger Vortrag Chris Jaeger Brown: Rhythmischer Unfug drum solo C. Dreizeilern Workshop Philipp Messner: Practioners in this field have come to understand the conversations about conceptual writing as being unresolved somewhere between poetics and aesthetics via new media theory. Any conversations about how these media also effect distribution and reading experiences will be a very welcome bonus!

Anschliessend gibt es Eintopf und vielleicht einen Dessert aus Tillessens Geheimrezeptbuch. In fact the book is not an academic but personal compilation by photographer Peter Tillessen. The 40 photographs show excrements of the black-headed earthworm, which aggressively ploughs through a cemetery in Zurich. The pictures of those fragile sculptures are contrasted with parts from the detailed descriptions of nuclear fission from the original book, a text by Darwin that explains the work of earthworms and a text by the artist, who describes his childhood in the atomic age as a son of an atomic engineer.

The number 40 is in this compilation no accident: Tillessen took the pictures on his —rainy— fortieth birthday for one of his best friends to pay off his debts from a bet — as he wasn't a father of a big family like his father at the age of The design of the book in the book accentuates the biographical fission within the big context of the atomic age: At the end it's all about evolution. Whether the personal is political or not, Tillessen drew 18 sketches in his Moleskine, which are all represented in this black and white Xerox-printed booklet.

The publication is housed in a white paper bag with a self-made potato stamping by the artist and his daughter. Dictators is the second publication in his series at Kodoji Press. Ausstellung Aus der unmittelbaren Unwirklichkeit 6. Die Buchvernissage findet in Zusammenarbeit mit dem Kunstmuseum Thun statt. Vorkommnisse aus der unmittelbaren Unwirklichkeit; Ausstellung offen ab If you would like to suggest a specific text or film for a Theory Tuesdays winter session, please attend the planning round with your ideas.

We will then, collectively, fill in a calendar with everyone's suggestions and begin winter sessions starting on December 4th. Below is a list of requirements to keep in mind as you prepare your suggestions. The Boy Mechanic, Vol. Starting in , during the last Friday of each month at Corner College, a volunteer will teach or workshop a practical skill to the group.

Instead of discussion about a specific text or film, we will have a hands on experience of learning something practical. This can take the form of many skills including how to play the Swiss card game "Jassen", sharpen a knife or effectively change a flat bike tire. We look forward to learning something practical from you in ! Please attend the Theory Tuesdays winter planning session on November 20th with your ideas or send suggestions to theorytuesdays gmail.

The difficult and complex situation in Syria leads to a fragmentation of society into various isolated parts. Some of these parts seem to be in line with each other better than others. Sometimes it appears to be a unified. And then again it falls to pieces. Syria as concept has become a synonym for itself and all the questions that arise when the line is crossed: In order to understand the development in Syria we take a closer look at the Egyptian revolution and the struggle for information, media coverage and connectivity.

Battuta, Muhammed Radwan is an engineer, activist and social media entrepreneur from Cairo. He visualises and analyses the complexity and multiple layers of the Egyptian revolution, and its use of language on the basis of flyers, stickers, etc. Also, besides Facebook and Twitter, other transnational social media platforms with a simplified operation mode, such as Bambuser or Ushahidi, are used to promote identities and opinions.

Battuta draws on his own experiences from the streets, digital spaces and the financial market. He links this to the opportunities of social media tools in times of transition and their field of application — a cultural landscape oscillating between representation and archive; one of his theses states that the speed of technical development is overtaking history. Rayelle Niemann the people - revolution of the people power to the people Die schwierige und komplexe Situation in Syrien produziert viele einzelne, isolierte Teile. Manche Teile scheinen besser zueinander zu passen als andere.

Manchmal erscheint das Bild klar. Die Veranstaltung wird am November im Cabaret Voltaire. The presentation will be continued on November 25th at Cabaret Voltaire. This is the message distilled from these portraits of 30 reused industrial areas. In a wide variety of places all round the globe, reinterpretations of the legacy of the industrial age are releasing tremendous potential energy and creativity — in the USA, Russia, Brazil and China just as much as in Europe.

The book examines the background, protagonists and concepts involved and shows various strategies for reuse. In essays and interviews, specialists from both the theoretical and practical fields explain their findings and experiences. Joost Grootens gta Verlag. In in mid to late 60's Sharits made a number of "flicker" films which will be the focus of the evening.

In this temporal mandala, blank color frequencies space out and optically feed into black and white images of one love-making gesture which is seen simultaneously from both sides of its space and both ends of its time. Color structure is linear-directional but implies a largely infinite cycle; light-energy and image frequencies induce rhythms related to the psychophysical experience of the creative act of cunnilingus.

This interview includes excerpts of Paul Sharits films. G 12 mins 'I am not at all interested in the mystical symbolism of Buddhism, only in its strong, intuitively developed imagistic power. In a sense, I am more interested in the mantra because unlike the mandala and yantra forms which are full of such symbols, the mantra is often nearly pure nonsense — yet it has intense potency psychologically, aesthetically and physiologically.

Sword swallowers, lions, contortionists and acrobats made of wire were manipulated by the artist, re-creating delicate little circus acts. The stage was designed to fit inside suitcases to be portable. Calder used to give regular performances of his circus in Paris and New York through the mid-thirties. The live shows, provided with an intermission, lasted up to two hours. The pages book is the final result of a longterm research project, which was presented as an multi-media exhibition at the OK Centrum for Contemporary Art which commissioned the project in Linz, Austria in early The Indian Ocean Tsunami was one of the worst natural catastrophes in history.

While international attention has faded, post-tsunami challenges continue to have an impact on affected communities. Six years later and just weeks before Fukushima, Christoph Draeger and Heidrun Holzfeind looked at what has been achieved, what went wrong and what challenges remain. Using video and photography, they documented the long-term effects of the disaster through conversations with survivors, eyewitnesses, aid workers and rescue personnel. They also established a collection of footage of the disaster and the reconstruction efforts. Additionally, Corner College will be exhibiting two related slide projections in the windows.

The site-specific installations will be running over Christmas time including December 26, the 8th anniversary of the Indian Ocean Boxing Day tsunami. Together the texts form a rhizome as a map of shared knowledge between practice and theory, rather than contrasting theses to be juxtaposed, and build on the intersection between two major discourses linked to economic theories: Marx's critique of political economy and Freud's psychoanalysis. During this first session we will examine Christian Marazzi and his scientific analyses of capital and it's affects.

Christian Marazzi "Starting from Work," in id. During one Friday evening each month at Corner College, a volunteer will workshop a practical skill. During this Practical Fridays session, Julia Schwartz will conduct a two-hour workshop where she will teach the basic physical principles of spoken voice use. She will get people's bodies active in order to be able to apply the voice, and then get practical and use it. Everyone will benefit from hearing the others' spoken work. The workshop is free and will be held in English.

Please bring your bring your house shoes or thick socks with you. During this second session, we will examine the final three texts written in different time periods, from until Bifo - Franco Berardi "No. One reason is that complex and thought-provoking art is having a harder time than ever, not only to come about but also to circulate beyond an already converted audience. Another reason is that entertaining and easily digestible art is becoming more and more prevalent - in the public eye, almost synonymous with "art" itself.

Both developments are connected with new power dynamics in the wake globalization, neoliberal policies of deregulation and financialization, and the boom of the commercial art market. In this TT-session Stefan Wagner suggests the essay "tainted love: The text out of "contemporary art and its commercial markets We will discuss the text and see if we are agreeing with that concept.

Sie geben einen Einblick in ihre Auseinandersetzung mit der Erinnerung oder der produzierten Vergangenheit aus intimer Perspektive. Drawing the attention toward the multiplicity of processes and things generative of situations of critique, Latour proposes to move from "matters of fact" to "matters of concern" and from "Realpolitik" to "Dingpolitik.

This session has been organized by Christoph Brunner and will be held in English. The movement allows the common to flow through dispersal, reaching into the solitude of each protester. Each one recognizes her situation in that of the others; affective resonance is transmuted to a point of fusion.

Repression can only break up linear collectivities; here, at every turn, at every corner, the common returns in a swarm. The protests tie together not only problems of a culture of indebted men but also environmental and social issues throughout all strata of society. Insurgence is an expression, a movement of thought becoming a movement of felt sensation.

Was ist ein Denkmal? Wird das individuelle Erinnern wichtiger? Sowohl das Denkmal im engeren Sinn wie auch das Baudenkmal dienen der Erinnerung. Ersteres wurde aber genau zu diesem Zweck errichtet, letzterem werde dieser Zweck erst im Laufe der Zeit auferlegt.

War das unter Denkmalschutz stehende Haus in den 60er und 70er Jahren ein progressives Instrument zur Steuerung der Stadtentwicklung, wird es heute mehr und mehr zum Verkaufsargument. Erinnerungskultur hat Hochkonjunktur und so muss man sich fragen, welche Formen von Denkmalschutz in Zukunft sinnvoll sind.

Vielleicht sollte neu, nebst Industrie- oder Landwirtschaftszonen, auch Kulturzonen geschaffen werden. Das Denkmal als politisches Instrument untersteht dem Wandel der gesellschaftlichen Gegebenheiten. Was passiert mit leeren Denkmalsockeln? Diesen und anderen Fragen versuchen wir mit Hilfe von Experten aus den Bereichen Kunst, Wissenschaft und der Denkmalpflege nachzugehen. Georg Kreis Historiker Im Vordergrund des Workshops stehen die Fragen: Wie bewerten, benennen wir das, was wir sehen?

Do you know the origin of Coca-Cola? Or the secret powers of Swiss triangular milk chocolate Toblerone? And what has sanitary porcelain to do with all this? There is only one way to find out. Wir verlosen am Abend einige Ausgaben der Special Edition. Buchvernissage also nicht verpassen! Manon de Boer By now, art is probably seen more on Facebook walls than real-life ones. Why is it that the growing importance of the digital does not have a similar impact on the contents of works of art, as it has on the way they are presented?

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After a short introduction and a brief summary of the text and some responses to it , the discussion could evolve around the following questions: Why do we separate media arts and digital arts from more conventional media, even exhibiting them in specialized institutions? Will art eventually be left behind by the fast developments within the digital realm?

Or can it rather be a tool to counter the predominance of the digital? This session has been proposed by Daniel Morgenthaler and will be held in English. Dies zeigen die historischen Herrscher eindrucksvoll. Kollision Julia Marti , Milva Stutz. Um es gleich vorwegzunehmen: Das Heft zeigt Arbeiten von: Kollision 19 Uhr Vortrag: Seit den er Jahren performt er seine Gedichte zusammen mit Musikern in wechselnder Besetzung, welche vorwiegend aus dem Jazz Bereich stammen.

Da wartete niemand geringerer als Charles Mingus, der die Studenten auf seinem Kontrabass begleitete. Eine musikalische, stark rhythmisierte Art des Rezitierens, welche zwischen Singen und Sprechen changiert. Inhaltlich nimmt einem Barry in seinen Gedichten auf kleine, grosse Reisen mit, surreale Begegnungen mit dem Nachbarn, einem Hasen oder dem Zorn Anger When anger falls on the plate like food limp -- something you wouldn't want to eat-- don't force yourself I tell myself let it go the feeling of being pissed off having been ripped off on the run taken for a fool some no count lame ass crier couldn't put a shoe in a basket on a bet or control his own best leads a shame to his hours sucking on anger.

Diese neue soziale Bewegung ist mit dem Occupy-Impuls noch nicht zu Ende, sie hat gerade erst angefangen! Diese Sitzung von Theory Tuesday wird in deutscher Sprache abgehalten. Bitte vorab den Text lesen. So potenzieren sich 7 Positionen um die Sicht- und Handlungsweise einer jeweils anderen. Und was haben wir davon? Worin verweisen sie noch auf diese? After her return to Switzerland, Ingrid taught Sigrid 'needle-binding', or 'Nadelbinden', which is a term to best describe this unique, "viking way" of knitting. Both Ingrid and Sigrid would love to share this old knitting technique with you!

If you would like to participate in this workshop, please bring the following: The language of the workshop doesn't matter: The words austerity and debt imply or signify a lack of something. These two words are part of the vocabulary used in mainstream media to describe the current economic situation in Portugal. Taking place in the midst of intense social struggles, the event began shortly after the November 14th European General Strike, a protest marked by police brutality and severe repression in Lisbon. Performances, concerts, and discussions were the response to the open call to use the gallery space.

More Informations about current political struggels in Portugal: During this session, Philip Matesic will present the following two essays from the book "Everything is in Everything: Smith The essays collected in this book represent versions of papers presented at a symposium held at the Art Center College of Design in Pasadena, California. It's encouraged that you read the essays beforehand. The discussion will be held in English. During this session, Daniel Morgenthaler will present text excerpts from the Sternberg publication "Solution — United States of Palestine-Israel" is an anthology of texts proposing a doable solution for the region.

With contributors based in Ramallah and Tel Aviv-Jaffa, Beirut and Jerusalem, New York and Bethlehem, Nazareth and Warsaw, the book offers solutions that will make life better, and proposes ways to do it. Kunst und algorithmische Maschine Teleonomies - Pause - Zootechnologien — Swarm Intelligence als Kulturtechnik Das Kunstwerk als technisches Individuum Inmitten der Kunst, inmitten des sozial-politischen Aktivismus, inmitten der Medien.

Und dann kam die Krise. Learn how to assemble a hand-held bouquet and wrap it in a professional manner! Two types of bouquet making will be taught, the forward facing and the rounded bunch, which are very popular in Switzerland. Please bring a bunch of flowers with you and be prepared for them to be man-handled by the group.

You will of course get to take home your own bouquet at the end of the class. The workshop will be conducted in English, with German explanations on hand. A bunch of flowers. Kino Raum 1 is the first in a series of collaborative exhibition events by Jann Clavadetscher and Rouzbeh Rashidi. The practice of both artists is rooted in experimental cinema, and Kino Raum will explore and dissect the concept of the cinema-space, both physical and mental.

Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image. Atlantik Film Jann Clavadetscher: A match was struck and for this short moment audience and cinema became one. Kino Raum 1 will be the continuation of this Exposure Project. This event will take place in two parts: Day one, the film is exposed to light. Day two, the film will return from the Laboratory and be projected. Homo Sapiens Project Rouzbeh Rashidi: Homo Sapiens Project are highly experimental works, part cryptic film diaries and part impressionistic portraits of places and people, and often suffused with an eerie sense of mystery reminiscent of horror cinema.

From highly composed and distantly framed meditations to frenetically flickering plunges into the textural substance of moving images, the restless creativity of this vision of life as a cinematic laboratory is never short of surprising. Encompassing everything from documentary monologues to found footage, Rashidi constantly strives to expand his filmmaking palette while putting his unmistakable stamp on whatever footage passes through his hands. I, An Actress, George Kuchar 8min 2: Mario Banana No1, Andy Warhol 3min 3: Keys to Our Heart, Kalup Linzy 24min 6: K section a , Ryan Trecartin 33 min.

Its format shores up the paraliterary, confessional, and epistolary precedents for our virtual vernaculars. Designed by Eric Nylund, the pages concretize found quotes, trending language, anecdotes, notes and rants; call it inattentionality as method. If the book sustains a material limit that belies the diffuse shape of the cloud, then its readings attempt similar concretions by having reader and audience occupy the sites that compose the physical form of the Internet.

On other occasions, readings pair with documentation shot on server floors, thus temporarily constructing the data center within the art institution. Each scenario discloses securitized spaces in which reader and audience already reside, for we encounter the material doubles of our virtual subjectivities as data stored in server form.

Rather than concede to the seeming intractability of cognitive capitalism, these readings potentiate novel, critical operations through shared access, listening and discussion. The reading-performance will take place at Google Zurich and is booked out. No seats available anymore. Thanks to Google for supporting and hosting "I'm that angel".

Heftvernissage On-Curating Issue Design Exhibited - - -. Design auszustellen, ist heute kein Ausnahmefall mehr. Design im Sinne industrieller Herstellung hat sich in eine Disziplin des Ausstellens gewandelt. Dabei ist auch das Herstellen zum favorisierten Ausstellungsthema geworden. Intervention Interventions is an informal and open symposium that allows scholars and thinkers to present their recently finished work and their work in progress. Interventions thrives on the unexpected juxtapositions and clashes that result from addressing a wide range of philosophical and political issues such as autonomy, economy, finitude, aporias, capitalism, and many more.

Interventions does not limit itself to a specific discipline and welcomes all intriguing papers from Switzerland and abroad. Wie lehrt die Kunst? Die Ausstellung kann also nur von aussen eingesehen werden. Juni , 19 h. Juni , 20 h. Diagrams are strange devices and techniques which attempt to make relations tangible and at the same time evade straight formats of representation. They are expression in physical as much as in immaterial ways. Ian Kerr - Diagram The goal of the session is to familiarize ourselves with diagrammatic practices as means for tracing and enabling movement.

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Not dividing between movement in space and movement of thought, we want to foreground and experiment with techniques of non-representational expression and relational movement. The material exposure will be complemented with collectively developed techniques and propositions for diagrammatic practices.

We aim for collaborative and experimental processes with the 'stuff' at hand! Lia Perjovschi, The Universe, As this year's Romanian Pavilion is the talk of the town and has made the "Best Pavilions" list of numerous critics, while several major artists and galleries from Romania are on view at Art Basel, the perception might be that the Romanian art scene is strong and thriving. But major challenges and obstacles are more the reality.

Olga Stefan will present the political and cultural context in Romania, selections of work by practicing artists and initiatives, as well as the current debates and issues affecting the art scene. Buchvernissage , , What goes into a compost, and what should not? How do you build a compost? What exactly happens inside it?

And how many worms should you ideally find in a handful of compost? Please bring along with you what you think makes for good compost. Paula Troxler zeigt Tafelbilder aus ihrem Tageskalender. Julian Sartorius spielt live aus seinem Beat Diary. Keine Loops, keine Effekte. This first chapter focuses on male portraiture and questionable masculine structures that are developed from metabolic architecture, modernist patterns and digital pixilation.

Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening. Following chapter one are: Interventions is an informal and open symposium that allows scholars and thinkers to present their recently finished work and their work in progress. Cara Judea Alhadeff Wall-E and the Management of Human Finitude.

The four events will happen throughout and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity. This second chapter thematically derives from subtle erotic bouncing rhythms in nature. Following chapter two are: Lady Boy Snooker Match Using techniques of pencil drawing in conjunction with the 'Universal Pain Assessment Scale' and clay modeling, this workshop will engage in notating the sensations of everyday surfaces. The sensory registers of tactility, weight and felt resistance and the specific surface character of the surfaces being notated will morph into a hybrid sensory representations of the body.

This approach to drawing and modeling is dramatically different from typical figurative representations that reduce the body to impermeable outlines. Moreover, these sensation techniques lend a great deal of complexity and multiplicity to how sensations can be described and felt as compared to conventional analytic parameters that only measure sensation according to a linear scale of intensity. The sensory notation techniques that we will explore and develop in the workshop will instead instigate a complex, generative and relational approach to conceptualizing embodied experience.

Please wear clothes that can get dirty or bring a skirt. A detailed examination of De Brabandere's research processes can be found on the Research Catalogue and on her website. Lady Boy Snooker Match is the third of four chapters from a larger body of work: This third chapter plays with gender, material fetishism and game strategies. Following the third chapter: Geers's essay appeared in issue number 17 of Fillip, a Vancouver-based publication on art and culture.

The exhibition displays the evolving library that was part of the Occupy Wall Street movement. We will be reading one text that relates to the exhibition title and one text from this library itself, and then having a long-distance discussion together. This session will be held in English and will start promptly at 7pm. Performance The art of not Knowing , Pawel Kruk.

I am arriving in Zurich on Monday, September 30, Feel free to meet me at the Zurich Airport. I am scheduled to arrive at I don't want to know. I want the insecurity of not knowing. This is what performers feel before a performance. Please scribe my name on a piece of paper so I can find you in the crowd. This session will take place in Dan's attic, where he has built a fully featured two-seat cockpit and flight simulator.

There will be a short introduction to flight theory, followed by a practical landing attempt by everyone who dares to climb into the cockpit. I am arriving in Amsterdam on Monday, October 7, Feel free to meet me at the Schiphol Airport. Drawing on the Paris Commune as well as Occupy Wall Street and the London Riots, Harvey asks how cities might be reorganized in more socially just and ecologically sane ways—and how they can become the focus for anti-capitalist resistance.

Une affaire de montage, Myriorama reassembles heterogeneous ready-made element and fabricated artefacts, thus proposing an intertwined understanding of the common and the personal as complementary agents. Myriorama leads to no final conclusion; rather, it eventually presents a constant movement of composition and decomposition of the collected material that like the eponymous game offers infinite combinations of the same image.

Open to interpretation Myriorama never substitutes experience with commentary. If the cap fits, come and wear it! Bereits seit Beginn der er Jahre im Quartier wohnhaft, begann er damit, die Umgebung systematisch zu dokumentieren. Blick vom Balkon der Familie Dahinden, und Serving as presenter and guide is the charismatic Slavoj Zizek, acclaimed philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humor.

The screening will begin promptly at 8pm. The film will be in English with German subtitles. I am arriving in Zurich on Thursday, October 17, I am scheduled to arrive at 8. I am arriving in San Francisco on Sunday, October 20, Feel free to meet me at the San Francisco International Airport. Kommen Sie an die Demonstration am Samstag Woher kommt das Geld und in wessen Taschen fliesst es? Welche Gesetze regeln Plakatwerbung?

Wie steht die Stadt dazu? Und welche neuen Werbeformen werden auf uns zukommen? But who owns the billboards? And who owns the owners of the billboards? Where does the money come from and in whose pockets does it end up? How much goes to the community? How much tax do the outdoor advertising companies pay in Zurich? Which laws regulate outdoor advertising?

And which new forms of advertising are we going to face in the future? Often, when it comes to the outdoor advertising business, vague or even romantic ideas prevail. This talk will present facts little known to the general public and aims at kindling the discussion around outdoor advertising as well as putting it on a firm footing. Alle Interessierten sind herzlich eingeladen auch mit ihren Fragen teilzunehmen. Stylewriting is a thorough analysis of the alphabet and its use by graffiti writers.

Characterising every letter as well as different forms of putting them together from tag to wildstyle this text gives a very structured overview of American graffiti. The authors — all writers themselves — try to explain the esthetics of style and their approach to it. In a culture usually distrusting theoretical debates, this essay is a rare exception. It's encouraged that you read the essay beforehand and the session will be held mostly in German. The selection will give a deeper insight in Coehlo's interests and art practice that is based on personal research with collaborations from various cultures, geographies and histories.

These works begin to take on the form of human-shaped media-landscapes and often contend with conflict, emotion, culture, gender, history and the environment. Corner College will open the kitchen at 7pm, screening starts at 7: Please feel free to join us for a insight and chat with Baptist Coehlo. Talk in English language.

In her essay, Dean investigates the relation between what she calls the pathological conception of the individual as form similar to the commodity as form and the potential for emergent collective desires. For Dean, collective desire should become a want for dissensual collectivity and differential activity, beyond the pathology of the individual. It's encouraged that you read the essay beforehand. This concluding chapter reflects on camp superfluous intuition and human physiology. Es interessieren folglich mehr Fragen als Antworten. In , the year anniversary of Dada will be celebrated in Zurich.

On this occasion how will the pieces of the Global Art Game be locally distributed? Who will come out on top? You are cordially invited to join us on this evening to participate in the discussion.

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The conversation will be held in German. Lesung Schaum Joanna-Yulia Kluge. Departing from experimental practices in Gestalt psychology and Cognitive Science, participants will be asked to react to Rorschach inkblot images, which are commonly used in personality tests: Gunplay Though hip hop music and culture was first born on the poverty stricken streets of the Bronx, it's spread across demographics in the four decades since. Mostly this has been to the betterment of the culture, though recent shifts in the media and music industries have resulted in a widening of the gap between rap's haves and its have nots.

Join us for a conversation about American rap music and how commerce, technology and classism is changing its face. Co-editor Linda Jensen will give an hour-long polyphonous and juxtaposing glance into the editorial content of Torrent No.

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The multimedia presentation will section in on five to six features. For more information check here: Performance Introduction to Interstellar Travel: Corner-College" the audience is invited to engage with scientific primacy in a pedagogical fantasy. Both audience and artist assume the role of synthetic beings of the future, built entirely from digital codes.

The artist, Zoe McCloskey, takes the role of an anthropology professor and digital historian, teaching a class the corner college audience to travel interstellarly in the archaic form of a computer screensaver. While the amalgam of the lecture's contents maintain a fanciful illusion, all information relayed to the "class" is a direct appropriation of peer reviewed science studies featured in contemporary science anthologies, including "Neuroscience of Creativity" MIT Press: Recurring themes in "Introduction to Interstellar Travel: Corner-College" highlight the potential roles for individual autonomy, genetic manipulation, and creative individuality in the biological and digital future.

In-character participation is encouraged! In den er Jahre entstanden in Italien Bauwerke, die dem Razionalismo, also etwas vereinfacht gesprochen der italienischen Variante des Internationalen Stils zuzuordnen sind. Wohin verschwinden die alten politischen Konnotationen in der postfaschistischen Gesellschaft? Eine Untersuchung der Form und ihres politischen Gebrauchs.

Wir freuen uns auf Ihren Besuch! Klaus Lutz is a unique filmmaker who creates a visual universe completely his own. Writing rapidly, in the last year of his life, and conscious of a terminal illness, the distinguished anthropologist Alfred Gell developed a highly original approach to the anthropology of art. The topic had been neglected for over a century, in spite of the fashion for primitivism within the art world, as anthropology had focused its attention on questions such as kinship systems. What Gell suggested was an approach called "methodological philistinism", by which art is treated not so much as an expression of genius or cultivated taste, but rather as a field of animism and ritual.

His approach, as laid out in the posthumous "Art and Agency" has sweeping implications for questions of the role of aesthetics, the marginality of ornament, and cross-cultural theories of art. A resurgence of interest in Gell's work is currently to be seen in anthropology, and his work is increasingly being applied in other fields. This lecture will introduce "methodological philistinism", abduction, agency, and ornament, with the aid of pictures, explain their importance, and show how Gell's theory might be used to resolve or aggravate some contemporary controversies in the fine arts.

After the demonstration, it's encouraged that everyone participates in bottle flipping, drink mixing, orange flaming and cocktail tasting. The workshop will be held in English and is strictly limited to 15 participants. There will also be a 20 CHF workshop fee, per person, to cover the cost of alcohol and supplies. Januar wird Alexander Tuchaceks "archiv aus lesen" im Bayrischen Rundfunk br2 gesendet. In der Mathematik bezeichnet man damit einen Algorithmus oder eine verwickelte und komplexe Materialmasse. Phantasies of violence and marginality belong to the attitude of the Heavy Metal scene which was founded in the late '70s.

This movement broke with the rules and morals of the christian middle class in their reenactment of archaic-warrior representations and gestures at a time when censorship started to have a political impact especially in the UK and the US. In opposition to the male role model of the hippies, Heavy Metal staged aggression, destruction and demonstration of power.

Thereby men could once again distiguish themselves from women by referring to gender-related attributes. These three individually accomplished acquaintances are now developing their archive together and are connected not only by the passion for heavy metal, but also in their affinity for accumulating memorabilia and insignia from this scene.

Als Intermezzi werden alte Aufnahmen der beiden Musiker abgespielt. Heavy Metal arose mostly in societies dominated by censorship and still existing authority structures at the parental homes and the educational institutes. Martin Stricker and Marky Edelmann will tell about what is was like to grow up Zurich in the 70ies and 80ies and what kind of revolt Metal actually was about.

In the interludes they are going to play unpublished recordings. Diese Doppelperspektive, ist faszinierend, die Tatsache, dass beide Seiten von demselben Ereignis berichten, aber dieses jeweils anders schildern. The duality is fascinating, the fact that both sides subjectively report about the same event, but in quite different ways. This book is a manifesto for the importance of a politicized representation of the contemporary in today's art. The Swiss government was accurately observing specific citizens during the cold war period. Reason for the observations could have been simply meeting a person or playing in a theatre - but also for political actions.

Many of these files provide an insight onto the riots in Zurich, whose aftermath changed the city into a more open and culturally diverse city. The readings will bring up the language of the observing officers but also the absurdities and rather scary notes. The reading will be held in German. Jahrhunderts, die Teil der Stadtentwicklung ist, deutlich werden.

Walter Angst will present the latest surveillance technologies available on the market. With these technological tools contemporary city management, which includes the development of neighborhoods and social surveillance, can be realized through the use of tactical police forces. Angst will show examples of this security management, using specific examples in Zurich.

The presentation is part of the exhibition "Observing and Surveillance", exhibiting the dynamic shifts in surveillance techniques and technologies. How to open a closed door How to close an open door and a bit about the Vast Threshold Using two doors installed in the space as central models we will examine methods of opening, closing and communicating with doors.

We will explore door histories, types and problematics, practice door uses and cultural door etiquette. A few work stations for different door and lock exercises will be available for learning how to deal with doors and feel with doors, how to enclose yourself and others. Anhand von den drei Buch-Publikationen "Vue par Eher schon thematisiert sie damit geschickt wie Kunst im kognitiven Kapitalismus positioniert ist. Nicht demonstrativ, sondern auf den ersten Blick eher spielerisch, das Webseitenpublikum dazu animierend, die Lesart des Bestehenden neu zu organisieren.

Februar bis zum 7. September wird sie im Haus Konstruktiv eine Audioarbeit zeigen. Stencils, watercolour, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes can be spontaneously executed and with no previous sketch. This technique is easy to learn, no previous skills are required. The workshop will be held in English, is free and open to the public. Cybernetic theory provides her a model for analyzing how critique becomes functional to the maintenance of existing states of affairs. Finally, other potential avenues for critique as rhetorical stance and praxis are evaluated through case studies.

The session will be held in English and it's encouraged that you read the essay in English beforehand, to participate in the discussion. Immediations is an international transdiciplinary research network. Art, Media, Event will experiment collaboratively investigating the notion of the urban fabric along questions of emergence, infrastructure, metamodelization, and ecology. For the participants the urban fabric is a loose term pertaining to the interstices between infrastructures, materialities, cultural practices and their relation to artistic, architectural, design, and philosophical concerns.

Coming from different backgrounds and sharing a strong interest in transversal and collaborative practices, they will engage in interventions, readings, cooking, living, meandering, writing and diagramming with the aim to articulate what we understand as urban fabric in the immediacy of emergent experience. On April 28nd you are cordially invited to share our preliminary impressions, ideas, and insights. We consider our research as emergent and our structure as open — come and play with us!

You are cordially invited to join the contoverse discussion of the two texts and read the papers beforehand. Lia Perjovschi will discuss a few of her previous projects in context, the evolution of her practice and the changes it underwent as a result of various personal, social and political events, and how she ultimately reached the Knowledge Museum. The Knowledge Museum is a project in which Lia recycles all her other artistic projects including elements of her Contemporary Art Archive CAA , the first archive of its kind in Romania.

Like an architect, she presents a model - on a table, on the walls, or in a space - using diagrams from her interdisciplinary research. This research comes from books, reviews, the internet, and objects mainly in museum stores from around the globe collected from until today and used for educational purposes.

The Knowledge Museum comprises 7 departments: It is not 'The Museum', but rather a basic starting point. Knowledge is Surviving doing the best you can out of what you have. Hans-Christian Dany kommt wieder und liest dieses mal. Sein neustes Buch hat er mit "Morgen werde ich Idiot - Kybernetik und Kontrollgesellschaft" betitelt.

Im Klappentext heisst es weiter: Jeder ist nun Beobachter aller anderen und ein von allen anderen Beobachteter. Ansonsten kann sein Buch auch bei einem der sympathischsten Verlage bestellt werden. The session will be held in English and it's encouraged that you read the chapter in English beforehand, to participate in the discussion. April , a collaboration of Hackteria and their long term partner, lifepatch — citizen initiative in art, science and technology , together with diverse local partners.

The two week collaborative and interdisciplinary practice of HLab14 was defined by three ongoing Ecological Research Nodes within the practice of the local Indonesian facilitators. The topics are tightly related to the daily life of Yogyakarta. Biorecovery of Volcanic Soil, 2. Environmental Monitoring of the Rivers, 3. HLab14 brought together a large group of international and regional participants, of makers, artists, scientists, hackers, educators to investigate and foster the concept of DIWO do-it-with-others , bio art and citizen science.

HLab 14 had a strong focus on workshopology, sharing and collaboration, field-trips and musical experimentation, and was additionally presented in an exhibition format at LAF, Yogyakarta from 25 April — 2. Hackteria is a community platform encouraging the collaboration of scientists, hackers and artists to combine their experitise to develop access to practical knowledge in the artistic engagement with the life sciences.

The web platform servers to share simple instructions to work with life science technologies and the network cooperates on the organization of workshops, temporary labs, hack-sprints and meetings. To create public discussions hackteria invites international artists, tinkerers and scientists for critical and theoretical discourse. Hands-on workshop within this network have been held in more than 20 countries since The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College.

Haludovo Malinska Each summer season, the sun-drenched coasts of Bulgaria and Croatia turn into densely inhabited, intensively exploited tourism industry hot spots. This book traces the various architectural and urban planning strategies that have been pursued there since the mid s—first in order to create, and then to further develop, modern holiday destinations.

It portrays late modern resorts of remarkable architectural quality and typological diversity that have lasted for decades: It shows how—after the fall of state socialism—individual resorts and outstanding buildings have been restructured both economically and physically and traces the present-day conflicts triggered by coastal development in the name of tourism. Seaside Architecture and Urbanism in Bulgaria and Croatia" here. Freedom and the Future of the Internet" by Julian Assange et al. The session will be held in GERMAN and it's encouraged that you read the excerpts one in German, one in English beforehand, to participate in the discussion.

Adressaten waren die Bewohnerinnen und Bewohner eines Altersheims in Zug. Dort wurden die Dinge in einer von ihr entworfenen und eigens angefertigten Vitrine ausgestellt. Bevor Vreni Spieser ihre Objekte verpackte und in die Schweiz verschickte, hatte sie diese zu Dokumentationszwecken fotografiert. Vreni Spieser verfasste ihre Kommentare in Deutsch. It includes examples from emerged and immerging artists within these regions and discuss their culturally driven motives for visual expression and their artistic processes.

The presentation also focuses on comparing the differences in education and inspiration between artists from the Gulf and from Europe, while shortly discussing a segment on the hyper economically driven Art Market within the Gulf. Our life takes place in hybrid space merging the physical and virtual. As we continue to develop and use technologies which now also include the manipulation of the living we are challenged to rethink our concepts and relations to the environment we inhabit.

Erich Berger and Yashas Shetty will give two lectures about their current work. Wawies Wisnu Wisdianto from Lifepatch Indonesia will also be present and briefly introduce their activities in Yogyakarta, as they have already been discussed at the last edition of HSC 1. Lifepatch has just received the Honorary Mention from Prix Ars Electronica, Finde more infos here We are looking forward to seeing you. Ian Wooldridge presents the work of Jeff Keen. Jeff Keen — was a pioneer of experimental film whose rapid-fire animations, multiple screen projections and raucous performances redefined multimedia art in Britain.

There is also supplementary reading, the essay "Cult Hero: Jeff Keen" by Jack Sergeant, to accompany the films. Please reference the following. Jeff Keen - by Jack Sergeant. Die Forderungen der Demonstration sind: Wir laden euch herzlich ein, euch zu beteiligen! Eigentlich bestand sie bereits seit deren Kindheit. Es sind solche gemeinsame Entwicklungen, manchmal auch ein Begleiten, die die Dinge zum zusammenwachsen bringen. Eingriffe, die von der Gewohnheit abweichen werden deutlich und lassen die Werke ins Surreale kippen. Hence, bio-art has established itself as the latest trend in the field of media art.

However, this artistic production is extremely heterogeneous, encompassing the spectacular works of Eduardo Kac and SymbioticA, the thought-provoking ones of Paul Vanouse and the Critical Art Ensemble, or again the participative and performative activities of Hackteria, for instance. How have these practices been described and examined by critics and historians?

How were they presented in institutions, museums and festivals? Furthermore, what are the future challenges for the artists engaging in biotechnologies? Through the discussion of a selection of works, exhibitions and essays, I will attempt to answer these questions and offer a possible, critical perspective on bio-art and its reception.

In performance in the collision of body and movement, electronic sounds and gestures, the domains of music and dance fuse into an expression of an intricate and densely woven web of meaning. Links and dependencies, analogies, similarities and a common movement and sound language are being explored and transformed artistically to create an instant composition. The ultimate state and expression of this union reveals itself as one of intense presence, flow and fusion between the media and art forms. Jan Schacher electronic music, interaction technologies , Lionel Dentan electronic music , Angela Stoecklin contemporary dance and Namrata Pamnani Kathak and cotemporary dance are searching for a linkage between the non-verbal art forms dance and music, where the body can take on the role of a musical instrument and the electronic music obtains a physical form and expresses motion pattern.

They are interested in finding a crossing point where the two art forms become like one. The group works in the field of improvisation, as this is the most direct form of communication and aims for dialogue and equal positioning more than music accompanying dance or dance following the music.

Sharing this process and the show with one musician and one dancer from the local context of Delhi, we add the aspects of a culturally informed approach to non-verbal artistic communication. Doch ein Schicksal ist ihnen gemein: In particular the care of recreational and essential water resources will be addressed through a discussion of WaterBar, a system that creates mineralized water in response to bad water news and WaterBank, a water analysis and fresh water distribution system designed for the Terban district of Yogyakarta, Indonesia.

It is both an anachorism and an anachronism. It is a combined production of words and images, of printing and design. Martin Robinson, the English wordmonger, is as yet unknown and can remain un-introduced for the time being, not out of any false modesty, but as a bow to his belief that the words are not his but common property. Either part of this project has its own intrinsic interest, but married they resonate just that little bit more.

You are therefore very cordially welcome to join both men and see the pages of the project at Corner College from Bas Jan Ader, Tea Party In the s a transformation took place in the way that global art was shown and discussed. Retrospectively, this can also be seen as a period of the invention of an entirely new anthropology of art, in particular by Alfred Gell, around whose work there is a currently a resurgence of interest. It is perhaps the strongest example of an attempt to test the exhibition as a machine for generating ideological consensus. It also acts as the trigger for one of the most provocative and unusual cross-cultural ontologies of art ever to be devised: Alfred Gell's argument that the art object is, quite literally, a kind of cognitive trap.

The profusion of interest in anthropological ontology, in combination with the dilemmas of contemporary curating, provides dual motivation for a closer reading of early Gell, as well as the careful historicisation of his ideas. This is the second lecture Adam Jaspers is giving about Alfred Gell. First took place in December at Corner College. Wir alle nutzen Wikipedia. Dem wollen wir etwas entgegenhalten.

You're invited to bring material you want to edit and publish on wikipedia. Or just come on in and collaborate with others. Members of Wikimedia Switzerland will introduce us to the technicalities. Saturday, September 6, pm. Bring your own laptop or tablet. Also, please create a Wikipedia account before the event. During each session, a different person initiates discussion about a specific text, film or leads an instructional workshop.

If you would like to lead a session, please bring a concrete idea about a text, a film or a practical workshop with you to the planning session. During the session, everyone will briefly present their ideas and we will collectively fill in a calendar with the suggestions. Below are a list of requirements to consider. TEXT - The texts presented and discussed are usually about art, architecture, design, critical and literary theory. Please keep in mind that a workshop should be no longer than two hours and everyone should be able to participate. Please don't hesitate to make suggestions that are in German.

Es diskutieren - Dr. In return, the government demanded a financial compensation of half of the lost revenue from the international community. In , Ecuadorian President Rafael Correa announced the failure of the initiative due to the lack of international support. Ausstellung A4 Tom Menzi. Oder aber er verdichtet durch Repetition Sprachsequenzen verschiedener Kunstinstitutionen, die oft in schwurbeligem und zumeist gestelztem Deutsch verfasst sind.

Das wird auch an den an konkrete Malerei erinnernden farbigen Collagen deutlich, die auf Museums- und Galerieinseraten basieren. Auszug aus dem Gedicht: It's told she holds her men for the kill and never gets measured herself. But, having come a long way, with nothing else to do in the town, I stepped a pace and looked her up and she led me in all softness and covered my mouth as if to silence caution.

Then, and slowly, she worked her fingers into my mouth.