Back to the Future: Memories from Ars Electronica 2022
Ideas
Technozoosémiotique
Si le langage a permis à l’humanité de développer une forme de coopération entre les individus qui semble radicalement différente de celle des sociétés animales, l'existence d'une césure qui délimite le monde animal du monde humain n'est pas tout à fait convaincante, dés lors qu'elle est confrontée à la recherche scientifique actuelle en matière d'éthologie, de communication et de cognition animale. Il n'est pas prouvé que, dans le règne animal seuls les êtres humains soient capables d'apprendre...
Introduction to Drama and Artificial Intelligence
The theoretical framework I have tried to draw, allows us to figure out a new kind of performing space, which is able to respond automatically, intelligently to the performer's actions. Stage and actors are no longer in opposition, but in symbiosis. Here the dream of the Avant-gardes (from Symbolism to Futurism) became a starting point, a lens through which the scholars and the artists may see new experiments. On the other hand, the body of the actor itself can be augmented thanks to technology....
A scuola con Lukes e Foucault per riconoscere i segni del potere
A nostro avviso, anche il primo Foucault potrebbe tornare utile a pensare la profondità del potere contemporaneo. Oggi le cronache ci parlano sempre più di manipolazione dei corpi e la riflessione filosofica si incentra sempre più sulla biopolitica. Forse varrebbe la pena di non escludere l’eventualità che i processi di socializzazione che ci abituano a determinati desideri, passino anche se non in primo luogo dai nostri corpi, da quei grovigli irriducibili che ci costituiscono. Questo non compo...
Forward/Backward – Living/Still
Art that concretely deals with carbon-based biological systems is ephemeral by its very nature. The artists featured in Still, Living act less by pure technophile affirmation of anthropocentric biotechnological prowess or cognitive dominance over the non-human than by reflected scepticism towards our current notions of progress.
Conversation à trois
Si possono produrre, quasi in simultanea, arte e filosofia? Sulla scìa di quanto afferma Jean-Paul Thenot nel suo libro imperniato sul percorso artistico di Jean-Pierre Giovanelli, l’arte può diventare filosofia – nell’atto di prodursi - ponendo domande? Più che una risposta affermativa, si può aprire un discorso ricco di domande ...
Can Organized Networks Make Money for Designers?
My interest in this talk is to consider what the political concept of organized networks might mean for designers wondering how to make a buck. I know for sure that I won't be able to offer a one-size-fits all business model, so if that's what you were hoping for, then be disappointed now. Instead, I will focus on what I consider the primary conditions that attend the practice of collaboration in an era of network cultures and informational economies.
The Three Basic Forms of Remix: A Point of Entry
For the Selective Remix the DJ takes and adds parts to the original composition, while leaving its spectacular aura intact. An example from art history in which key codes of the Selective Remix are at play is Marcel Duchamp’s Fountain (1917); this work consists of an untouched urinal (save for a traditional artist signature) to reinforce the question, what is art?
Vernacular Video
The technology of video is now as common as a pencil for the middle classes. People who never even considered working seriously in video find themselves with digital camcorders and non-linear video-editing software on their personal computers. They can set up their own “television stations” with video streaming via the Web without much trouble. The revolution in video-display technologies is creating massive, under-utilized screen space and time, as virtually all architecture and surfaces become...
Collaboration. Seven notes on new ways of learning and working together
Facing the challenges of digital technologies, global communications, and networking environments, as well as the inherant ignorance of traditional systems towards these, 'working together' has emerged as an unsystematic mode of collective learning processes.
For any reason or no reason – on virtual (extra-)territoriality
The virtual embassy in Second Life will be a copy of a real world embassy: The House of Sweden, situated in central Washington DC next to a big park and a river. The embassy was developed as a consequence of the new politics on architecture. A competition was announced by the Swedish National Property Board (SVF) in 2002 and the winning proposal, designed by Gert Wingårdh and Thomas Hansen opened 2006. House of Sweden is a concept developed in collaboration between the Swedish National Property ...
La politica e le tecnologie della trasparenza
Grazie alla trasparenza delle ICTs, l’e-government può assicurare “il comune di vetro”, ma dentro la teca non c’è più niente da vedere perché ogni tensione conflittuale che unicamente sostanzia di sé il potere è neutralizzata. Nelle sale dei consigli comunali si decide sempre meno e senza assumersi la responsabilità di scontentare qualcuno.
G/MOL Space Project (Beta1)
The G/mol Space experimental project brings us nearer to Virtual Reality, and takes the morphology of the molecular shapes as initial reference… those structures revealed decades ago as the visual and interactive genesis of graphic computing. G/mol Space is a non profit-making investigation project.
Arte e biotecnologie
Soprattutto dalla metà degli anni ’90 del secolo scorso sono apparse forme espressive collegate a strumenti e approcci del tutto diversi da quelli di derivazione informatica. Pure spesso condividendo alcune delle istanze provenienti dallo stesso quadro filosofico e scientifico generale di riferimento e talvolta ibridandosi con tecnologie di derivazione informatica, queste nuove forme hanno fatto riferimento soprattutto alla dimensione organica, all’ambito della biologia, alle “discipline del viv...
Models, Knowledge, post-Fordism – all that Crackpot Science Fiction…
Science Fiction as a rotating hall of mirrors... there are two prominent figures within the wide boundaries of SF which I would like to discuss here: One is the model, the miniature, the other is the time machine.
![Generic Infrastructures [3]](https://noemalab.eu/wp-content/uploads/2007/04/Generic-Infrastructures-3-2.jpg)
Generic Infrastructures [3]
This movement of digital technology towards our everyday life and our daily encounters in the streets, which are themselves becoming a digital territory, a hybrid space made up of services and communication protocols, is – as we have seen - currently being negotiated by the logistics, retail, telecommunications and security industries.
![Generic Infrastructures [2]](https://noemalab.eu/wp-content/uploads/2011/06/Generic-Infrastructures-2-12.jpg)
Generic Infrastructures [2]
We are YOU, the most influential person of the year 2006, according to TIME Magazine. You fill the Wikipedia entries in your spare time, you blog your daily activities, you co-bookmark on de.l.i.c.i.o.u.s, upload your photos to flickr, you buy mating gear in Second Life, and mark your position on Plazer or Google Earth. You fill out the forms. Isn’t it time you start questioning the principles behind the formats? And, to make matters even worse, your naïve ideas of sharing are corrupting notions...
On Byways and Backlanes: The Philosophy of Free Culture
We see before us a turning in free culture. This turning, lies between the claims of the ordinary against those of the extraordinary, and suggests that we need to carefully examine our current situation. The ordinary highlights the fact that even in the beginnings of free culture there existed its middle and its end, that its past invaded its present, and even the most extreme attention to the present is invaded by a concern for the future.
![Generic Infrastructures [1]](https://noemalab.eu/wp-content/uploads/2007/03/Generic-Innfrastructures1-021.jpg)
Generic Infrastructures [1]
The coming decade will see the European nation states' monopoly of knowledge-power crumble; the digitally literate middle class will script its own forms of solidarity (with its nationally non-affiliated community), breaking with the 19th century democratic institutions (starting with the health, education and security systems), and triggering new class wars between the disempowered majority of non-cognitariat unemployed and the cognitariat which abandons national solidarity.
Chaos TM and the Aesthetics of Active Passivity
The global society, born from the contingent spread of capital over new physical territories (Eastern Europe, Southeast Asia), is not the result of capital spread over certain geo-political lines (states, etc.), but of disappearance of the very borders of these territories/states. The new territories are not at all physical, but fields of science, communication technologies, cyberspace, art and culture, and, last but not least, the human body.
Control through neoliberal democracy
Histories of the world (that seems to be without a world, as reference to Alain Badiou “worldless world”) cannot be read as an excess, or as an error or a mistake to be evacuated as soon as possible. It is a paradox: developing such histories today means linking them to new media technology, and it is becoming obvious that what was very local has to be connected to global migration, to exclusion of bodies, – to migratory transitional bodies that are really pushed to the edge of society.
Ready for Action
We have a critical vocabulary to understand the power of media in terms of its ideological effects. Yet we lack a vocabulary to understand the power of media otherwise: that is, in terms of its ability to transmit affects. During at least the last forty years, criticism has focused on the social and cultural construction of knowledge. It has directed attention toward the conditions that make meaning possible.
The Creative Common Misunderstanding
In his blog entry "Creative Commons Is Broken," Alex Bosworth, program manager at the open source company SourceLabs, points out that "of eight million photos" posted under a CC license on Flickr.com "less than a fifth allow free remixing of content under terms similar to an open source license. More than a third don't allow any modifications at all.
Identity, Transformation, and Digital Languages: a conversation with Ali Zaidi
Motiroti is a London based international arts organisation founded by Ali Zaidi and Keith Khan in 1996. Zaidi describes himself as Indian by birth, Pakistani by migration and British by chance. Together with his art companion, he has been working with traditional art craft and new digital media in public events and performance.
Millesuoni. Intervista a Emanuele Quinz
Oggi l’universo della produzione musicale è estremamente complesso e ricco, e forse, ciò che caratterizza di più le tendenze attuali non solo della musica, ma dell’arte in generale è questa profonda permeabilità tra gli orizzonti, l’infrangersi delle frontiere tra discipline, della commistione tra i generi.
Semplicità?
E anche quest’anno, fra il 31 agosto e il 5 settembre, le sirene di Linz hanno attratto migliaia di partecipanti – provenienti davvero da ogni parte del mondo, e soprattutto dall’Oriente (Corea, Cina, Giappone) e dall’America (Usa, Canada) – per portarli a confrontarsi con i temi, le opportunità, le proposte e i problemi legati in particolare al design delle interfacce: sotto l’ombrello, come abbiamo detto, del concetto di Simplicity, associato/contrapposto all’arte della complessità. ...
Robots@Play
Ormai è chiaro che il rapporto tra uomo e robot all’inizio del 2000 è esattamente proporzionabile al rapporto che c’era tra uomo e PC alla fine del ‘900. Quindi tanto vale iniziarci a fare i conti e preparare culturalmente le nostre società, in un processo che neghi le mistificazioni e che viceversa porti certi elementi delle future società a diretto contatto con il pubblico.
La trasformazione multimediale dei linguaggi comunicativi
Multimedialità sintetizza la possibilità di muoversi fra linguaggi attraverso un unico medium digitale e la possibilità di una nuova complessità comunicativa attraverso di essi, fino a negare la “forma compiuta” dei linguaggi espressivi e della narrazione lineare occidentale.