Allen, Jamie
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Aeolian Technology
A talk for the "In the Wind" sessions of Anant National University Design programme, relating environmental art, design to principles and ideas of elemental media, ecological and material philosophy, and the history of infrastructure. Using the aeolian harp as a metaphor and actual designed instrument for the tracing of both human and natural actualities and histories, this session asked students to interrogate and reconfigure relationships between ecology and technology, technique and elemental flows.
The Earth is an Art, Like Everything Else
The 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.
Letter from the Editors: R3PAIR VOLUME
Like all collaborative endeavors, bringing together an edited collection is about fixing as much as gathering the insights and details (and yes, flaws and limits) of individually or jointly conceived pieces to bring about a larger conversational whole – a drawing forth, or drawing together, of scattered threads and pieces into something considerably messier than a quilt. All the more so when the collection is the result of a generative collaboration, bringing guest editors Lara Houston, Daniela K. Rosner, Steven J. Jackson in conversation with the continent. collective to present this special issue “R3pair Volume”. The conversation of course runs deeper and longer than the 17+ months of engagement among the contributors here. For the last 5, 10, 20 or 100 years (pick your starting point!), a motley and heterogeneous band of thinkers from Europe, North America, and the world have grown suspicious of the stories we tell about objects as stable and therefore rather settled things (whose drama, if any, inheres only at moments of design); and the way these stories render invisible a whole range of human relationships with and to objects that turn out to be central to sustaining the worlds around us, however provisional.
Techniques of North: Sitting on Top of the World
Louis-Edmond Hamelin, the Quebecois elder statesman of northern geographies, has worked for half a century on fertile concepts such as “winterity” and “nordicity” in order to juxtapose real, extreme environments of high-latitude regions with the rich and complex ways they are perceived, imagined, depicted, and talked about. Hamelin even developed a “nordicity” scale, used by governments to allocate infrastructure and environmental resources. He named it the VAPO, or valeurs polaires. The VAPO is a composite and somewhat subjective measure that tracks ten different aspects—things like “annual cold,” “types of ice,” as well as “accessibility by means other than air” and “degree of economic activity”—rating each on a scale between 0 and 100. The total score, out of a thousand, must be over 200 for a place to be consid- ered “in the North.” The North Pole itself has a theoretical value of 1000, as VAPO as possible.
How to Build a Lie
Dans leur conférence-performance, Jamie Allen et Moritz Greiner-Petter auscultent le "détecteur de mensonge", dispositif utilisé par les services de police et les assurances prétendument capable de décrypter dans le stress vocal les sentiments enfouis.
Shift Register: Tokyo Earth Observatory Workshop
Located all over the world, each EOA is composed through workshop formats, feld sites, textual resources, and the active construction of an EOA. Each workshop is locally resonant with the physical environment where each EOA is installed, and each EOA remains distinct to any other. Tus EOA's are designed to perform as part of a network of 'subaltern' obser- vation stations that generate aesthetic knowledge that escapes formal instrumentation and analysis such that each attempts to elude indexical and colonial epistemologies – for example, 'samples' are not gathered in centralised labs or institutions, but relations are set up and played out, in situ, extemporised and disaggregated. Each EOA provides a mediation and medi- tation on climate, atmospheric, cosmological and/or geophysi- cal science, using parasitic techniques for gathering an uneven, localised, inconsistent impression of the earth.
Testing Against the World
This special issue explores how do we account for the sensitive, intimate ways in which our toolsets ‒ and our choices of these ‒ become the infrastructures that co-produce and co-constitute knowledge and meanings. Testing Against the World aimed at addressing, exploring, and making more explicit the following questions: What drives the choice of toolsets in empirical investigations? Why does contemporary research demand to be ‘grounded’ empirically? What professional, personal, and emotional attachments afford the selection of particular means of observation and translation? What do we expect from our tools? What do they expect of us? How are tools and technologies instrumentalized? How have tools and research adapted or been forced to adapt to new empirical demands, and knowledge economies? What have such settings required us to assume, acquire, or impose? How do choices of instruments and tools pre-format worlds under investigation and authorize the creation of new worlds?
Message Send Failure
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.
transmediale Marshall McLuhan Lecture by Sara Diamond: Anxious to see change…
The artistic appropriation of the term "Age of Anxiety" emerged as a critique of the modernist era. Adapted by W.H. Auden in his famous 1947 poem The Age of Anxiety, it was taken up in the post-war west by social theorists as well as other artists. The term re-emerges with regular ferocity in the context of rapid social change and economic turbulence. It was also a consistent theme in the post-war era of the United States and Canada, as popular psychoanalysis diagnosed women's “anxious” experience within the confines of domestic labor. Drawing from her work as a historian of society, technology, and media, as well as a collaborator with science and new media artists, for the 2016 Marshall McLuhan Lecture Dr. Sara Diamond will provide a wide-ranging think piece on shifting definitions in the understanding of anxiety that have informed feminist concerns. This presentation will both reflect back on her career and examine current developments, exploring the challenges and the possibilities for interdisciplinary work between art, science, and technology today. In particular she will consider the role of women in media art and research, including the revival of critical discussion on the topic with projects such as FemTech. She will end with her own anxieties about the value of the historical record and the loss of specific histories, which we need to preserve in order to more effectively navigate present and future.