Near-Field Communication Digital Art Biennale

#nfcdab is a DIY or DIWO? digital art biennale that travels on wireless technologies, light waves and electromagnetic fields e.g.: Wi-Fi routers, QR codes or NFC tags to access content. the idea of the biennale is to take advantage of the potential of near-field (mis)communication and other sharing technologies for making web-based digital art accessible in outdoors settings. it slack-keeps presence next to the frameworks of galleries and institutions.

#nfcdab 2018 is a multi-centered, travelling biennale which will take place in Gol(NO), Warsaw, Wroclaw(PL), Amsterdam(NL), Valencia(ES), and possibly Prague(CZ), Berlin (DE), Athens(GR) throughout 2018.

#nfcdab Gol is taking place from Friday 4th to Sunday 6th of May 2018. The biennale uses public space as its platform for exhibition and events:

  • Planter exhibition of 56 works at Flekken park (map). Media: visual-, video-, web-, network-, essay-, performance-, installation-, descriptive-, imaginary-, simulated-, dissimulated-, sound-, site-specific-, land-, phenomenological-, game-, personal satelite radio system broadcast-, spam-, chatbot-, and other arts. The digital works are accessed through QR codes on smartphone and tablet.
  • Roaming activity by organizer and public consisting of an exploration of the wider surroundings as psychogeography, tagging, scanning, as artist-bricoleurs within the technological and social given.
  • Alternative mapping strategies of exhibition and roaming. Adding works and findings into an essayistic, forking narrative as a sum-over-histories, resisting the collapse of dimensionalities, empowering the virtual as human experience.
  • Experimental catalogue and documentation practice. Fictionalization, obfuscation, and muddling of information, activating associative, lateral, derailing storylines. a staging of events, not for common digestion all bombyx (written on a box of canned silk worm pupaes). there should always be the possibility that the biennale doesn’t exist. it may be a practical joke or simply a hallucinating of arcane references found in public spaces, toilet walls, and bricked streets.

the character of the gol biennale is low-tech and low profile, even to the degree of being ‚bricked‘ (unresponsive) as a strategy against the spectacle which is technology.

Talk Screen Operations

Together with my colleague Kathrin Friedrich I will give a talk on „Screen Operations“ at the Ringvorlesung „Bildumwelten“ at Universität Paderborn on May 8, 2018.

Abstract: „Screen Operations. Head-mounted Displays in der medizinisch-therapeutischen Praxis“
Bei der Verwendung von virtual und mixed reality Anwendungen fungieren Bildschirme nicht mehr nur als statische Anzeige- oder Darstellungsmedien, sondern werden in Handlungsabläufe und Wahrnehmungsprozesse eingebunden. Diese neue Form der Interaktion mit und durch Bilder stellt NutzerInnen vor die Herausforderung, ein komplexes Gefüge von Bildtechniken und -informationen angemessen in ihre Handlungen zu integrieren. Insbesondere head-mounted Displays versprechen, raumbezogene Daten auf neue Weise zu operationalisieren und zu materialisieren, um alternative Zugänge zu Körpern, Erinnerungen und Verhaltensweisen zu eröffnen. Der Vortrag wird anhand zweier Fallstudien aus Chirurgie und Traumatherapie vorstellen, wie virtual und mixed reality Anwendungen die Strategien und Techniken des Sehens und Zeigens in der medizinischen und psychotherapeutischen Praxis verändern und soll medientheoretisch ausloten, welche neuen Möglichkeiten und Probleme sich aus der Verschränkung von Bild, Körper und Handlung ergeben.

Postinternet vs postdigital

Workshop mit der New Yorker Künstlerin Marisa Olsen
2. Mai 2018, 16.00 bis 19.00 Uhr
Brandenburgisches Zentrum für Medienwissenschaften (ZeM), Hermann-Elflein-Straße 18, 14467 Potsdam

Kaum sind wir im „Neuland“ angekommen – Internet: check, total digital –,
schon befinden wir uns im Danach. #postinternet #postdigital? Hat uns die
Transformation aus der Kurve geworfen? Digitale Informationstechnologien
haben unser Leben beschleunigt, heißt es. Doch kann die Maschine überhaupt
schneller sein als wir kraft unseres Denkens, wenn wir uns über sie
vernetzen? Eilt uns das paradoxe Präfix „Post“ voraus? Und: Wer gibt den Weg
vor, wenn von selbstlernenden Maschinen die Rede ist? Außerdem stellt sich
die Frage, welche neuen Wege des Lernens wir angesichts erweiterter
Erfahrungsmöglichkeiten durch die Maschine gehen können. Oder die Maschine
durch uns? Ist das Subjekt unumstößlicher Ausgang aller Erfahrung?

Das Projekt PKKB (Postdigitale Kunstpraktiken in der Kulturellen Bildung)
lädt zum Workshop „Postinternet vs. Postdigital“ mit der New Yorker
Künstlerin Marisa Olson – und stellt sich unter anderem den oben genannten
Fragen. Marisa Olson wird zu ihrem aktuellen Projekt WellWellWell sprechen
und ihre Perspektive auf Postinternet(-Kunst) vorstellen. Im Anschluss daran
diskutieren Wissenschaftler*innen und Künstler*innen das Thema: Judith
Ackermann (Moderation), Marie-Luise Angerer, Jan Distelmeyer, Kristin Klein,
Magdalena Kovarik, Marisa Olson, Anne Quirynen und Hanne Seitz.

via https://www.fh-potsdam.de

Holosurgery

Our new „patient“ has arrived. Together with humanX we developed a realistic reproduction of a patient during liver surgery which will be used to develop visualization strategies and design principles for mixed reality for Microsoft’s HoloLens. The project is conducted together with the experimental surgery department at Charite Universitätsmedizin Berlin. (image credit: Simon Moosburner, 2018, CC-BY-NC-SA 4.0)

Manœuvres by Francois Quevillon

Visualizing Computer „Vision“. It is actually bizarre to conceptiulaize computer vision using the term vision. Those images are only visualized for humans to understand, decide or judge upon processes made by comupters. Machines don’t need images.

La série Manœuvres fait partie d’un corpus qui s’inspire des technologies utilisées par les véhicules autonomes et des compilations d’enregistreurs de conduites (dash cams). Via francois-quevillon.com/

CFP: Digital Cultures – Knowledge / Culture / Technology, Lüneburg

Leuphana University Lüneburg, September 19–22 , 2018
co-hosted by the Centre for Digital Cultures (CDC), Leuphana University Lüneburg, and
the Institute for Culture and Society (ICS), Western Sydney University

https://digitalculturesconference.org

Initiators: Armin Beverungen (CDC / University of Siegen), Ned Rossiter (ICS)

CFP: The advent and ubiquity of digital media technologies precipitate a profound transformation of the spheres of knowledge and circuits of culture. Simultaneously, the background operation of digital systems in routines of daily life increasingly obscures the materiality and meaning of technologically induced change. Computational architectures of algorithmic governance prevail across a vast and differentiated range of institutional settings and organizational practices. Car assembly plants, warehousing, shipping ports, sensor cities, agriculture, government agencies, university campuses. These are just some of the infrastructural sites overseen by software operations designed to extract value, coordinate practices and manage populations in real-time. While Silicon Valley ideology prevails over the design and production of the artefacts, practices and institutions that mark digital cultures, the architectures and infrastructures of its operations are continually rebuilt, hacked, broken and maintained within a proliferation of sites across the globe.
To analytically grasp the emerging transformations requires media and cultural studies to inquire into the epochal changes taking place with the proliferation of digital media technologies. While in many ways the digital turn has long been in process, its cultural features and effects are far from even or comprehensively known. Research needs to attend to the infrastructural and environmental registrations of the digital. Critical historiographies attend to the world-making capacities of digital cultures, situating the massive diversity of practices within specific technical systems, geocultural dynamics and geopolitical forces. At the same time the contemporaneity of digital cultures invites new methods that draw on digital media technologies as tools, and, more importantly, that engage the intersection between media technologies, cultural practices and institutional settings. New organizational forms in digital economies, new forms of association and sociality, and new subjectivizations generated from changing human-machine configurations are among the primary manifestations of the digital that challenge disciplinary capacities in terms of method. The empirics of the digital, in other words, signals a transversality at the level of disciplinarity, methods and knowledge production.
This conference brings together research concerned with studying digital cultures and the ways that digital media technologies transform contemporary culture, society and economy. The hosts specifically encourage approaches to digital cultures emerging from media and cultural theory, along with transnational currents of communications, science and technology studies. We also explicitly invite researchers from digital humanities, digital anthropology, digital sociology, gender studies, postcolonial studies, urban studies, architecture, organization studies, environmental studies, geography and computer science to engage in this endeavor to develop a critical humanities and cultural studies alert to the operations, materialities and politics of digital cultures.