Türkçe ∙ English
One of the major concerns during the Gezi resistance was how to keep the memories of pain, grief, anger, gains and losses alive. There were attempts to preserve the experiences and present them in numerous media; however, critically approaching the ever growing archives or creating technologically-enhanced curated content was not possible, due to the lack of time and means.
This symposium brings together three artists, a curator, and an academic who works in the area of software art, archive, and media archaeology. Cultural practices that use the language of technology and digital born content from different perspectives of preservation and memory will be debated. How can we preserve the software itself along with the content it generates? In what way should we consider software itself as the creative archive, arche, of our digital culture? What new archival practices does technology-based art and culture present? How do software, social media, and network practices introduce a sphere of counter-representation which curate alternative narratives of the present? Panelists will discuss the topics of archiving the present as we live, algorithmic curating in crisis, critical collective intelligence, and language of technology as a thinking tool.
The talks will be held in English.
Wednesday June 26th
19:15 Jussi Parikka - Media Archaeology: Archives of the Present
20:00 Nicolas Malevé - Sniff and Sneak Through My Archives
20:45 Ali Miharbi - Language of Technology as a Thinking Tool
Thursday June 27th
19:00 Joasia Krysia - Speculations on Algorithmic Curating
19:45 Burak Arıkan - Counter Collective Intelligence
20:30 Round Table
Media Archaeology has emerged the past years as a dynamic theory about media culture. This refers to the impact it has had in giving a vocabulary for the material constitution of contemporary technical media culture. Media archaeology examines media technical conditions of existence of culture, and as such, is in a good position to frame the relevance of software for questions of the archive.
However, media archaeology is also a way to investigate the ontology of the present: it asks what sorts of mechanisms of inclusion and exclusion constitute what we perceive, and what remains unperceived? How is the network conditioning our sense of knowledge and our sense of the everyday? How will the speculative future archivist, looking back at June 2013, see and understand our events and networked condition, conditioned by software as well as its political context.
Dr Jussi Parikka is a media theorist who writes on media archaeology, digital culture and obscure topics from insects to viruses. He is Reader in Media & Design at Winchester School of Art, University of Southampton and author of various books, essays and other writings. His monographs include the award-winning Insect Media: An Archaeology of Insects and Technology, as well as the recent What is Media Archaeology? He blogs at http://jussiparikka.net
‘(6/24/1996 9:44pm, Personal)' Will she (either of them) share the love of pornography? Or at least, art? I shall present myself to both of them as a geniality self-flagellat%n machine. Just one bottle tonight, ok? I shall invite them on to my journey of change, showing the way ahead. Immortality. I will let them to sniff and sneak through my archives. (Erkki Kurenniemi, Newton diary, 1996).
The presentation will take as a point of departure the rich set of documents collected and created by Erkki Kurenniemi, Finnish pioneering electro acoustic musician and inventor of early synthesizers, who obsessively recorded his life. The talk will introduce to the different tools and methods we, Michael Murtaugh and Nicolas Malevé, members of the Belgian collective Constant, used to enter in dialog with the vast amount of unclassified documents that constitute the humus for an archive of Kurenniemi's work.
These tools are our intermediaries, our extra senses to “read” the images, to “listen” to the sounds, to “watch” the videos. The algorithms we borrow, design or customize become our interlocutors. They report back from what they detect, correlate and connect in the different layers of data. They are different voices, each telling a its own story. Having presented these different voices, we will see what happens when other human agents (lawyers, archive institutions) join the dialogue between these intermediaries and ourselves.
Since 1998 Nicolas Malevé, multimedia artist, has been an active member of the association Constant. As such, he has taken part in organizing various activities to do with alternatives to copyrights, such as Copy.cult & The Original Si(g)n, held in 2000. He has been developing multimedia projects and web applications for cultural organizations. His research work is currently focused on information structures, metadata and the semantic web and the means to visually represent them.
In this presentation I will sketch the potential of the language of technology as a tool to open up, enrich or simply illustrate our current discussions on social/political issues. Using examples of my work as points of departure I will touch on a variety of concepts like performativity, humor and the problem of representation.
Ali Miharbi (b. 1976) lives and works in Istanbul. He acquired a dual degree in Electrical & Computer Engineering (BS, 2000) and Art Theory & Practice - Painting (BA, 2000) at Northwestern University. In 2010 he completed his MFA from Virginia Commonwealth University. He opened his first solo exhibition at Interstate Projects, Brooklyn, NY. His recent group exhibitions include “Commons Tense”, Electriciteitsfabriek, The Hague (2012), “Turkish Art New and Superb”, TANAS, Berlin (2012), “Consequences are no coincidence”, Pilot Galeri, Istanbul (2012), “video_dumbo: Quasi Cinema”, Dumbo Arts Center, Brooklyn, New York (2011), “FILE 2011″, FIESP Cultural Center, São Paulo (2010), “When Ideas Become Crime”, Depo, Istanbul (2010). His work can take many forms from photographic, graphic or sculptural pieces to dynamic systems driven by live or stored data where he investigates mechanisms that underlie or are constituted by the flows of daily life.
Between the 1960s and 2005, Erkki Kurenniemi, the Finnish artist, scientist, futurologist and technology pioneer set out to document his everyday life with the intention to create a template for all human life that could be reenacted by algorithms to be written in a future quantum world (with the date 2048 in mind). In a wider sense Kurenniemi acted not only as an archivist of his life but also a kind of curator – working with materials not simply to collect and store but to shape using computational power once it is sufficient for purpose. In 2012 Constant Association for Art and Media began to develop some experiments, making programs to begin to understand Kurenniemi’s materials in ways that go beyond the traditional archiving procedures of ordering and classifying. I would like to argue that their approach is not simply archival either but curatorial in as much as they uncover aspects of what is not directly apparent in the material and produce meaning out of the work. This talk speculates further on this algorithmic approach and extend it to possibilities of thinking about the curatorial process in this way. I want to speculate on the use of algorithms in producing small curatorial experiments that begin to suggest new ways of understanding materials that are not directly apparent to human curators. Can we begin to think of curatorial processes and the production of curatorial knowledge that extends human agency and uncovers dynamic qualities of materials?
Joasia Krysa is Artistic Director of Kunsthal Aarhus (Denmark), and prior to this she was Associate Professor (Reader) in Art and Technology at Plymouth University, UK (2000 – 2012). She is co-founder of KURATOR, an association of curators and researchers interested in algorithmic culture, and was part of curatorial team for dOCUMENTA (13). She has a background in political sciences and cultural theory, and has PhD in the the field of curating. Her academic and curatorial work is located across contemporary art, digital culture, and critical theory.
She is series co-editor of the DATA browser books (New York), author of Ada Lovelace, notebook no 055 in the dOCUMENTA (13) series 100 Thoughts - 100 Notes (Hatje Cantz 2012) and the edited anthology Curating Immateriality (Autonomedia, 2006). She has contributed chapters to, amongst others, Software Studies: A Lexicon (MIT Press, 2008), and New Media in the White Cube and Beyond (University of California Press, 2008). Her current curatorial work include Systemic Series, a two year programme developed for Kunsthal Aarhus (2013-2014).
Arıkan will pursue a traversal in his works, starting from MyPocket (2008) and raising questions on the preservation of immateriality; discussing Network Map of Foundations and Corporations in Turkey (2010) in relation to the problem of power and governance during the Gezi protests; narrating the collective network diagrams generated on the Graph Commons platform (2011-); and finally calling for action for a recent data research and mapping project, code named "Network of Dispossessions" on mapping of government-corporate partnerships in urban transformation.
Burak Arıkan is an artist working with complex networks. He takes the obvious social, economical, and political issues as input and runs through an abstract machinery, which generates network maps and algorithmic interfaces, results in performances, and procreates predictions to render inherent power relationships visible, thus discussable. Recent exhibitions include: Home Works 6 (2013), 11th Sharjah Biennial (2013), 7th Berlin Biennale (2012), and Nam June Paik Award Exhibition (2012). Arıkan is the founder of Graph Commons platform, dedicated to provide “network intelligence” for everyone.