Institute of Experimental Design and Media Cultures
Dauerhafte URI für die Sammlunghttps://irf.fhnw.ch/handle/11654/19
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Publikation Cum On Feel the Noize(Continent, 2012) Allen, JamieAs someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations.01A - Beitrag in wissenschaftlicher ZeitschriftPublikation The Earth is an Art, Like Everything Else(Osage Publications, 2020) Allen, Jamie; Merewether, Charles; Zielinski, SiegfriedThe contributed chapter The Earth is an Art, Like Everything Else takes the the poem Lady Lazarus by Sylvia Plath and the related essay by Michael Taussig as a starting point for developing the ways in which digital art, media and creative practices might 'reattach' us to the earth. Fujihata's Masaki (literally) groundbreaking 1992 project, "Impressing Velocity (Mount Fuji)", in which the artist packed a rucksack with what then a rather large and heavy kit-of-parts — a serial GPS module, a laptop computer and a (then, not-commercially-available) head-mounted video camera — and climbed up the side of Mount Fuji, serves to example knowledge practices in the future in art, science, research and experience, that might ground and attach us more intimately to the planet and its processes.04A - Beitrag SammelbandPublikation Signal Aesthetics(2013) Jordan, Ryan; Allen, JamieA number of recent contemporary electronic art and performance practices erect signposts in “deeply” (e.g.: Athanasius Kircher) and 20th century (e.g.: Brion Gysin) histories of media and technology. Many such hardware-based techniques can be read as literal fieldwork; as the performance of a media-archeological ‘dig’ and materialised electrical phenomenon by and for both artist and audience. Providing the experience of media-as-signal, and hence media-as-material, performance practice can create a sensible laboratory which reverberates with the history of media studies, chronologies of and fascination with contemplative and perceptual (self-?) experiments with and through technology (e.g.: Beer, Walter, Weiner, Metzinger). What results is a signal-aesthetics that is a distillation of historical practices of media and consciousness studies and alternation, reflected through contemporary immediacies of media signals. The materialisation of the signal phenomenon outside of the more standard forms (I.e.: On screen, through a speaker, inside the laptop) is particularly relevant to these practices. The signal becomes manifest either in the environment (e.g.: ball lightening) or directly perceptible in the brain and mechanical functioning of the human body (e.g.: stroboscopic patterns or static/electric shocks). Thus signal aesthetics operates as an active agent (non-human entity) in the environment rather than a passive consumption as with other modes of media arts practice. The signal directly performs both media practices immediate environment altering EMF’s and the human structure by relying on its receptive signals (mirrors to the non-human signal) and unconscious responses. This in turn highlights the mechanical and material functioning of the environment and the body in direct relation to the functioning of technology.06 - Präsentation