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FCJ-126 The Becoming Environmental of Power: Tactical Media After Control

By ⋅ October 9, 2011 ⋅ Post a comment

Michael Dieter Media Studies, The University of Amsterdam. There is a last enterprise that might be undertaken. It would be to seek experience at its source, or rather, above that decisive turn where, taking a bias in the direction of our utility, it becomes properly human experience. (Bergson, 1991: 184) Tactical media (TM) was originally conceived during a period of widespread media diversification, enabled most dramatically through digital and networked technologies (Garcia and Lovink, 1997). In the original account, ‘tactics’ was used with reference to Michel de Certeau as an explanation for the material diversification and experimentation with media that could challenge and compete with forms of centralised mass concentration. In this respect, while TM was informed by the rise of the Web and a nascent participatory culture, in many ways the concept was still expressed in opposition to older hierarchical formations of congealed hierarchical power (The State, Mass Media). […]

FCJ-123 The Transversal Generic: Media-Archaeology and Network Culture

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Kristoffer Gansing. transmediale – festival for art and digital culture School of Arts and Communication, Malmö University The generic no doubt cuts across the contemporary operators of thought, like the transversality of Deleuze-Guattari, or Foucault’s diagonality.—Francois Laruelle (2011: 252) ‘Take, for instance, an overhead projector’ as Bruno Latour wrote in a 1994 article (36). And why not? Introduced as a non-human actant by John Law in 1992 (3), Latour further employs this standardised piece of presentation equipment as an example of a generic black-box technology whose operation is hidden from the user. Most likely drawing on his own immediate experience as a lecturer, Latour described a situation where the technological complexity of the overhead projector only reveals itself in breaking down, when technicians come to the rescue and open up the machine, revealing components in a seemingly never-ending network. Today, one may assume that Law and Latour have long since […]

FCJ-122 Anxious Atmospheres, and the Transdisciplinary Practice of United Visual Artists

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Vince Dziekan Faculty of Art & Design, Monash University, Melbourne In the electric age all former environments whatever become anti-environments. As such the old environments are transformed into areas of self-awareness and self-assertion, guaranteeing a very lively interplay of forces. – Marshall McLuhan   This article initiates a course of research that takes as its focus the transdisciplinary practice of United Visual Artists (UVA). At the heart of UVA’s distinctive art and design practice is a prevailing interest in testing the spatio-temporal relations that exist between site, the performed work and audience perception. Concentrating primarily on the example of their kinetic light and sound sculpture, Chorus, the following text will investigate the aesthetic conditions that underwrite the work’s exhibition. By doing so, this enquiry will speculate on how the integration of digital processes and spatial practice embodied by this particular artwork operates transductively as part of its framing as a […]

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