Allen, Jamie
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- PublikationHistories of White Ecologies, Gratitudes for Black Ecologies(2022) Allen, Jamie [in: MARCH]Prepared collaboratively with architectural historian Daniel A. Barber, Histories of White Ecologies, Gratitudes for Black Ecologies points to white supremacists tropes, histories and customs within the natural science of ecology, while drawing attentions and praise, gratttiude and appreciations, to the work of contemporary Black Ecologies and ecologists. The essay was prepared in the context of the MARCH journal of art & strategy's 2021 issue "Black Ecologies".01B - Beitrag in Magazin oder Zeitung
- PublikationMicroreview: Dialectic Diatribes on the New European Bauhaus(2021) Allen, Jamie; Gruendel, Anke [in: SARN]Launched on 14 October 2020, the New European Bauhaus (NEB) Initiative is a project initiated by the European Commission with the express purpose of using design for politics, politics for design, or both. Bound up in it are numerous histories, ambitions, and conceptions of what it means to make policy, practice art and design, or use media for political purposes in a fraught European landscape today01B - Beitrag in Magazin oder Zeitung
- PublikationMessage Send Failure(27.05.2019) Allen, Jamie; Garnicnig, Bernhard [in: A*DESK]Message Send Failure is collaborative writing, messaging and texting on the topic of the iterative misfires, cyclical catastrophes and the perilous, treacherous pathways, breakdowns and breakthroughs of meaning we embark on every day. With Bernhard Garnicnig, it begins with a sense we have all had of how miraculous it is that anyone succeeds in communicating anything, ever. Our modern-day incantations of digital communication, these necessary methods, are the magical cornerstones of an edifice of economies, social systems, personal relations, friendships, societies, beliefs and philosophies. We are tested and fail before Hermes, the messenger of the gods, as we demand proof of one another’s faith, belief and trust, falling short with every badly penned email or miss-sent misread or misunderstood iMessage. We strive toward the integrity of intention, but don’t always hit the mark. As goes the relativizing liberation of “not crying over spilt milk”, so goes the invocation of cali-fornicative technologies to fail early, fail often and profit from these failure. “Progress” these days means to project projects, cantilever life, unreservedly and constantly risk to fail. And with the crash and burn comes a freeing clearing, a conjoined with an imperative to “emerge from the ashes”, together, to revel in misunderstanding one another.01B - Beitrag in Magazin oder Zeitung
- PublikationThe Matter with Media(Fundacio per la Universitat Oberta de Catalunya, 2013) Allen, Jamie [in: Artnodes]An Artnodes node developing new materialisms through media, art and technology01B - Beitrag in Magazin oder Zeitung
- PublikationAn Art and Technology of Understanding(Vice Publishing, 2011) Allen, Jamie [in: Vice]Those of us active in the work of art and technology seem a comparatively anxious, self-critical bunch. It has been pointed out elsewhere and often that communities engaged with "new media," "art and technology," and "multimedia" are rife with artist-researchers, craftsman-critics, and technologist-theorists. These people are in the business of simultaneously employing and critiquing the material and social complexes we call "technology" in ways more emphatic than other artistic methods, aesthetics and histories (Criticalengineering.org provides an encouraging and exciting recent example of these kinds of practical motivations). Why all this questioning of form, of motivation, of intention? What's with all the talk of context, architectures and infrastructures? Why continue to bother with the work of fusing and conjoining fields and conventions separated by historical, cultural, and institutional silos, misunderstandings and discords? In short: Why not just relax, and paint yourself a nice watercolour landscape?01B - Beitrag in Magazin oder Zeitung
- PublikationCould this Be What It looks like? Lifelike Art and Art-and-technology Practice (I si això fos el que sembla? Art que imita la vida i pràctica artística tecnològica)(Fundacio per la Universitat Oberta de Catalunya, 2011) Allen, Jamie [in: Artnodes]For more than ten years, a number of archival and curatorial projects have mapped out a trajectory of art-historical roots for the values and practices of new media arts, its conventions and institutions. These accounts are, as often as not, earnest attempts made by practitioners and theorists alike to “save” new media’s artists and works from the purported inevitability of becoming a ghettoized subculture, walled off from the resources and distribution channels associated with Western contemporary (and commercial) museum and gallery culture. Saving new media in this way purportedly holds the promise of improving critical discourse surrounding “the work”, developing audience and interest, stimulating economic potential, and securing new media its rightful detent as another lineal “movement” in histories of creative practice. The experimental, process-driven and often anti-professional outlook of the conceptual avant-garde of the latter half of the 20th century provides an oft-cited and somewhat contradictory framework for situating new media within a contemporary art system that has remained relatively formal. As well, the current proliferation, popularization and extension of abilities that only a decade ago were the exclusive purvey of self-proclaimed new media artists have resulted in a number of points of entry for non-specialists to access concepts in non-objective art, participatory performance, process and systems-art. Is the dream of the early techno-artistic avant-garde becoming a reality?01B - Beitrag in Magazin oder Zeitung