Braucht Medienkunst eine Geschichte? Ausgehend von der Konferenz Media Art Histories, Riga 2013, und einer Reihe von Interviews für die Sendung "Braucht Medienkunst eine Geschichte?", ORF Ö1, Radiokolleg, 27.-30.Januar 2014, wirft dieser Artikel einen inter-subjektiven und polyphonen Blick auf die Geschichtlichkeit von Kunst und Medien.
This article presents in overview form some of the key categories of Technopolitics together with essential reading. Technopolitics is a project that has began as a collaboration between Brian Holmes and me on these pages in 2010. Since 2011 a Technopolitics working group exists in Vienna. There is a lot of additional material which you can find spread out over Thenextlayer, so I thought for newcomers its time to collect a few basic references.
Robert Adrian X is one of the true pioneers of art as telecommunications. This file presents just a few random samples from an interview with him about the need for a history of media art. Bob mixes his thoughts about the meaning of communications with his memoirs about working those technologies from the late 1970s onwards. The beginnings were characterised by the specifically Canadian situation, a vast country that needed telecommunications to keep its ends together.
Video sequence taken during recent Vietnam trip. What strikes me is the contradicition between Vietnam's apparent dynamism, allegedly having joined the club of fast growing economies as a 'tiger cub' - in reference to the other Asian 'tiger economies' such as Taiwan, South Korea or Thailand - while at the same time this catching up modernisation process starts from a very low level.
Check out this river view of a village between Can Tho and Cai Be, in the Mekong delta.
In a two stop lecture tour I will be talking about New Tendencies in Zagreb on December 6th and in Ljubljana on December 7th. Here I share the abstract for the Ljubljana talk and links to the event websites.
Year by year Ars Electronica gets larger, greater and more successful. One visible sign of this success are the blinking lights of the ACE at night, like an upgraded spaceship out of 'Close Encounter of the Third Kind'.
In 2001, Shu Lea Cheang created Steam the green, Stream the field (Cheang, 2001-02), a work which anticipated a major shift in the discourse and practice of post-media art by 10 years. Shu Lea Cheang insists on calling herself a 'self-styled' artist, emphasising her autonomy to define her activities as art. Her projects highlight the potential of the coming together of social self-organisation with a social and trans-media art practice that combines landscapes and datascapes, the natural and the digital commons.