Das zweitägige Symposium Women under Surveillance tritt vermeintlich neutralen Definitionen von Überwachung entgegen. Es führt einen künstlerischen und interdisziplinären Dialog über Überwachung im Digitalzeitalter. Dieses Bezugsfeld wird dabei mit einem besonderen Fokus auf dessen Bedeutung für Frauen diskutiert.
Das Symposium bringt Vorträge, Performances, Installationen und Filmscreenings zusammen, die sich mit Themen wie Datensammlung oder Kontrollobsessionen im Namen der Sicherheit auseinandersetzen.
Ziel ist die reine Diskussion, ob exzessive Überwachung notwendig und zielführend ist angesichts einer zunehmend unsichereren Welt, hinter sich zu lassen und stattdessen anhand geschlechtsspezifischer historischer Überwachungskomplexe, wie beispielsweise der Regulierung der Autonomie der Fortpflanzung und der Sexualität, die Frage zu stellen, wer von wem beobachtet wird, wie, warum und zu welchen Kosten?
Konzeption und Organisation: Prof. Julia Scher, Christian Sievers, Dieuwke Boersma und die Surveillant Architectures Group an der Kunsthochschule für Medien Köln. Filmprogramm kuratiert von Christa Pfafferott. Design von Stephanie Glauber.
Im Rahmen des Symposiums präsentiert GLASMOOG – Raum für Kunst & Diskurs an der Kunsthochschule für Medien Köln „Tektite Revisited“, ein Ausstellungs- und Filmprojekt der Filmemacherin Meghan O’Hara und des Kunsthistorikers James Merle Thomas.
Referenten / Performer:
bankleer (KünstlerInnengruppe, Berlin)
chicks on speed (KünstlerInnengruppe, Köln/Hamburg)
Sophie Maintigneux (Bildgestalterin, Professorin für Bildgestaltung, KHM)
Karin Michalski (Vertretungsprofessorin für Kunst- und Medienwissenschaften/Gender, KHM)
Lívia Nolasco-Rozsas (Kuratorin, ZKM Karlsruhe)
Meghan O’Hara (Filmemacherin, California State University, Monterey Bay, Seaside, CA) & James Merle Thomas (Kunsthistoriker und Kurator, University of Southern California, Los Angeles, CA)
Christa Pfafferott (Autorin und Regisseurin, Hamburg)
Angela Richter (Regisseurin, Schauspiel Köln)
Katrin Schlösser (Filmproduzentin, Professorin für kreative Film- und Fernsehproduktion, KHM)
Dirk Schulz (GeStiK – Gender Studies, Universität zu Köln)
Mark von Schlegell (Autor und Kulturtheoretiker, Köln)
Mi You (Wissenschaftliche Mitarbeiterin, Kunst- und Medienwissenschaften, KHM)
und Studierende der KHM
The two-day symposium Women under Surveillance counters neutral definitions of surveillance to establish a platform for artistic and interdisciplinary dialogue along the lines of women and surveillance in our digital age.
Lectures, performances, installations and film screenings go deeper into the critical means of collecting data and monitoring processes in the name of security and the general interest of the “public”.
The symposium aims to move beyond the discussion whether excessive surveillance is a necessary and productive practice in an increasingly insecure world.
Rather, in taking the gendered history of surveillance strategies as its starting point—such as the regulation of women’s productive autonomy and sexuality—the symposium engages artistically and critically with questions as: “Who is being watched by whom, how, why and at what expense?”
Konzeption und Organisation: Prof. Julia Scher, Christian Sievers, Dieuwke Boersma and the Surveillant Architectures Group at Academy of Media Arts Cologne. Filmprogram curated by Christa Pfafferott. Design by Stephanie Glauber.
As part of the symposium, GLASMOOG – Raum für Kunst & Diskurs at the Academy of Media Arts Cologne presents “Tektite Revisited”– an exhibition and film project by filmmaker Meghan O’Hara and art historian James Merle Thomas.
Speakers & Performers: bankleer (artist group, Berlin) chicks on speed (artist group, Cologne/Hamburg) Karin Michalski (professor for art and media studies/gender, KHM) Lívia Nolasco-Rozsas (curator, ZKM Karlsruhe) Meghan O’Hara (filmmaker, California State University, Monterey Bay, Seaside, CA) & James Merle Thomas (art historian and curator, University of Southern California, Los Angeles, CA) Sophie Maintigneux (cinematographer, professor for artistic cinematography, KHM) Christa Pfafferott (author and film director, Hamburg) Angela Richter (director, Schauspiel Köln) Katrin Schlösser (film producer, professor for creative film and TV production, KHM) Dirk Schulz (GeStiK – Gender Studies in Cologne, University of Cologne) Mark von Schlegell (author and theorist, Cologne) Mi You (assistant researcher, art and media studies, KHM) and students of the KHM
Opening this Thursday! (12th November 2015, 18:00, Dortmunder U, Cinema, free admission) Welcome addresses, opening lecture (de) by Hans Ulrich Reck (Academy of Media Arts Cologne), film programme, part I: “Living Data” with works by Walter Koch, Ridley Scott, Norman Cowie, Emma Charles, Steffen Köhn, Jen Liu, introduction: Florian Wüst.
I’m on a panel with someone from the fantastic Peng!Collective on Sunday Nov 15, from 17.30-18.30, talking about my Hop 3 project currently on show here in Cologne, and how art & activism can go together.
On Saturday Nov 14, Holly Herndron will perform together with Mat Dryhurst in the context of the medienwerk.nrw conference “Every Step You Take” – Art and Society in the Data Age” , at Dortmunder U – Centre for Art and Creativity. Admission is free! Please RSVP here: email@example.com
Video: Holly Herndon/Metahaven (already a classic)
Organized by Christian Sievers & Mathias Antlfinger/KHM together with Chaos Computer Club Cologne, taking over large parts of KHM for a weekend in May. We had over 550 visitors and around 45 speakers and performers, forming a good mixture of students, artists, hackers and makers. See http://chaos.cologne/ for the program.
The Around the World Conference is an experiment that brings together a research dialogue without the environmental cost of traditional conferences. Institutes and researchers are invited to participate either through presenting or by joining in the discussion. The conference is live-streamed world-wide and archived after the event.
The conference is hosted by the Data and Democracy Initiative at University of California at Berkeley. Do let me know if you would like your work included as part of the dialogue.
Event: Pan Optics: Perspectives on Digital Privacy & Surveillance
March 6, 2014 11am-4:30pm
Banatao Auditorium, Sutardja Dai Hall
Presented by CITRIS, CITRIS Data & Democracy Initiative, UC Davis Research Initiative in Digital Cultures
“Recent disclosures about the NSA’s international and domestic surveillance activities have stimulated overdue policy discussions among politicians and outrage among activists. The revelations have also suggested a need to address issues of privacy and surveillance on a broader level across a range of disciplines.
As a pervasive practice employed by governments, corporations, and individuals, routine data collection and ubiquitous camera technology are shifting boundaries and cultural expectations about what should and should not be shared. This symposium will bring together scholars and practitioners from a range of disciplines to discuss privacy protections, surveillance methods, and modes of resistance in a digital age.”
9 November 2013
Tate Modern (Starr Auditorium)
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Timetable and speakers for Future Imperfect: Cultural Propositions and Global Perspectives.
“The idea of the future, pregnant with an infinity of possibilities, is more fruitful than the future itself, and this is why we find more charm in hope than in possession, in dreams than in reality.”
What can speculations on the future tell us about the priorities of the present and the demands of past?
Future Imperfect brings together an international line-up of artists, writers and cultural practitioners to consider ways in which artistic practices can help inform and shape collective futures. Through performances, interviews, panel discussions, and a screening programme, contributors will highlight how present histories and institutions are being shaped through propositional speculations on the future.
This symposium is organized by Ibraaz, and supported by the Kamel Lazaar Foundation in partnership with Tate Modern.
For tickets and further details, please visit this website.
10.30–12.30h: Propositional Futures
Living in the shadow of an apparently unending ‘war on terror,’ the far from resolved global financial crisis, ongoing uprisings across North Africa and the Middle East, and ubiquitous systems of connectivity and surveillance, it would seem that the future—constricted by the all too immediate challenges of the present—is not what it used to be. This panel will explore what is at stake in articulating propositions on the future and question why the future is not what it used to be.
13.30–15.15h: 1967/1968: What Was Lost?
The events of 1967 still resonate across the Middle East and beyond. In June of that year, the so-called Six Day War, or an-Naksah (The Setback), heralded an end to a number of things: the nationalist ideal of Pan-Arabism, the political will towards more open societies, economic growth, and the nascent cultural dispositions that marked the 1960s. One year later, in 1968, a revolutionary politics emerged in struggles against dictatorships, state repression, and colonization, across the United States, France, Mexico, Brazil, Northern Ireland, Czechoslovakia, Yugoslavia, Spain, and Germany. This panel will revolve around a singular question: what was lost in the idealism associated with the period of Pan-Arabism and the radical politics of 1968? And what do those losses tell us about the apparent social, political and cultural impasse that marks the present and the future?
15.30–17.30h: Structural Futures: Where to Now?
The future, as Louis Althusser once observed, tends to last a long time. The possibilities associated with it often remain unrealized and this can be, under the compromised conditions of modernity, a conceptual necessity: the future must always remain in the future. However, for possibility to become potential and be realized over time, both within cultural practices and institutional contexts, infrastructure needs to be in place. This panel will discuss what a future arts infrastructure might look like across the Maghreb region, to begin with, and how the role of artists and institutions could change in a global context.
as mentioned a couple of weeks ago, you have the chance to show some artworks at the SIGINT 2012. The SIGINT is a huge conference of the Chaos Computer Club, which will take place in May 18th-20th in Mediapark, Köln.
More info here: http://sigint.ccc.de/
I had a meeting with my friend who helps organizing the event and had a look at the possible exhibition space. The idea was spreading artworks all over the place… Here are some pictures I took, so you get an idea.
The CCC has rented 2 buildings, in one building there will be mostly lectures, in the other there will be hackers sitting around, doing crazy things. If you are interested in showing a piece and getting in touch with them, please send me an email with your proposal until April 15th!
CFP: The Second International Conference on TRANSDICIPLINARY IMAGING at the Intersections between Art, Science and Culture
Takes place on 22 * 23, June at Victorian College of the Arts, Federation Hall, Grant Street, Southbank, Melbourne 3006 Call for papers: Interference strategies for art Deadline for Abstracts: March 30, 2012
The Transdisciplinary Imaging Conference seeks papers that explore the theme of *Interference* within practices of contemporary image making. Today we*re saturated with images from all disciplines, whether it*s the creation of *beautiful visualisations* for science, the torrent of images uploaded to social media services like Flickr, or the billions of queries made to vast visual data archives such as Google Images. These machinic interpretations of the visual and sensorial experience of the world are producing a new spectacle of media pollution. Machines are in many ways the new artists.
The notion of *Interference* is posed here as an antagonism between production and seduction, as a redirection of affect, or as an untapped potential for repositioning artistic critique. Maybe art doesn*t have to work as a wave that displaces or reinforces the standardized protocols of data/messages, but can instead function as a kind of signal that disrupts and challenges perceptions. *Interference* can stand as a mediating incantation that might create a layer between the constructed image of the *everyday* given to us by science, technological social networks and the means of its construction.
The Transdisciplinary Imaging Conference wants papers that ask:
· Can art interfere with the chaotic storms of data visualization and information processing, or is it merely eulogizing contemporary media?
· Can we think of *interference* as a key tactic for the contemporary image in disrupting and critiquing the continual flood of constructed imagery?
· Are contemporary forms and strategies of interference the same as historical ones? What kinds of similarities and differences exist?
The conference will explore areasrelated to: Painting, Drawing, Film, Video, Photography, Computer visualization, Real-time imaging, Intelligent systems, Image Science.
Participants are asked to address at least one the following areas in
their abstract: –
* Expanded image
* Remediated image
* Expanded film
* Imaging science
* Computer Vision
* Networked Image
Professor Su BAKER Associate Professor Paul THOMAS
Brad BUCKLEY :: Brogan BUNT :: Ted COLLESS :: Vince DZIEKAN :: Donal FITZPATRICK :: Petra GEMEINBOECK:: JulianGODDARD :: Ross HARLEY :: Martyn JOLLY :: Leon MARVELL :: Anna MUNSTER :: Daniel MAFE :: Darren TOFTS ::
National Institute of Experimental Art, College of Fine Art, University of New South Wales; Victorian College of Art, University of Melbourne,.
Australian National University, CurtinUniversity, Deakin University; Monash University; Queensland College of Art, Gold Coast Griffith University; Queensland University of Technology, RMIT University, Swinburne University; University of Sydney, Sydney College of the Arts, University of Technology Sydney, University of Wollongong.
At the beginning of the 21st Century those changes which were ushered in by cybernetics half a century ago have started significantly to affect man’s sense of his place on the planet. Space and the distances between entities and our human counterparts have shrunken, without however allowing things and people to become better acquainted nor interrelate through heightened closeness of contact.
Media, data programming, progress in understanding, communicating the here and now and the very place of human presence have undergone major transformations giving direction to the future of society. Today therefore it is relevant to query the “figures” cross-linking and alienating human groups, these historic “figures” in social bonding which are today distorted by development in technologies and in digital technology.
European school of visual arts (ÉESI) fulfills its role as overseer and as a higher education academic institution, in analysis, research, educational method and in that artistic creativity best able to lead the way forward on the path to addressing these basic issues.
Together with the University of Poitiers and the Université du Québec à Montréal, the ÉESI and the Espace Mendès-France have devised the launch of a two yearly international multidisciplinary series of meetings from the Fall of 2008, in the form of a think-tank focusing on the “Figures of Interactivity”.
The title of this second Biennial is Memory(Memories). What happens to memory when, after the book, its place seems to be taken by the computer? Is this really so important, after all, and does not the computer free the memory of its obligations to learn “by heart” and to restore the function it had in Antiquity and the Middle ages, that of being a “matrix of cogitation in which memories are moved and gathered in a scheme with random access, a memorial architecture, a library where man spends his time building with the express intention of using it inventively” (Mary Carruthers, Machina memorialis, Gallimard, 2002).