Forschungsdaten
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Working with the Paradoxes of Technology
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Author that can easily go onto 2 lines as well
- Untertitel
- Interview with Marek Tuszynski
- Autor/in
- Datierung
- 16.9.2018
- Schlüsselwörter
- Beschreibung
- In this interview, Marek Tuszynski, one of the two co-founders of Tactical Tech, explains what the goals of their non-profit organization are, how it is structured, how it aims to reach a wide audience through a variety of public engagements, and what its basic assumptions are. Originally dedicated to train human rights defenders and social justice activists in safe handling of technology, the organization has expanded over time and now also provides easily accessible information about critical use of technology for the average user. This is mainly done through exhibitions, workshops and freely accessible training materials on its website. Working with the paradoxes of technology means for TT to present technology, information and data in all their ambiguity, raising awareness of the political aspects of technology, including both empowerment and disenfranchisement.
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- creating commons
- Dozierende/Projektleitung
- Felix Stalder
- Importiert am
- 17.12.2019
- Übergeordnete Sets
- 1
Thick Webs & Continuous Relays: Feminist Epistemologies for the Digital Commons
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Author that can easily go onto 2 lines as well
- Untertitel
- Lecture by Isabel de Sena
- Autor/in
- Datierung
- 11.10.2019
- Schlüsselwörter
- Beschreibung
- This talk examines several feminist concepts that are relevant for envisioning the (digital) commons. What they share is an understanding of knowledge as that which occurs by sustaining relational webs and ongoing relays, rather than as the endpoint of linear progressions.
Isabel discusses firstly Ursula Le Guin’s The Carrier Bag Theory of Fiction (1986), in which she urges that the first piece of technology was not a weapon but a bag for carrying seeds, asserting that the function of technology is not a resolution but a continuing process. Donna Haraway’s concept of “string figures” builds further on Le Guin by proposing how distributed forms of access to and dissemination of knowledge can give rise to collective agency, while Karen Barad’s diffractive methodology contributes to envisioning the commons as something that necessarily involves a constant transformation of knowledge – regarding both the objects of inquiry and the apparatus (resources, discourses) through which they are viewed. This is relevant for addressing how the commons can produce situated knowledges (Haraway) and understanding how its collective nature only seemingly suggests that it conflicts with the partial positionings of individuals within a collective.
Isabel de Sena is a curator, author, and lecturer based in Berlin. She is working on the Philosophy and Aesthetics of Science and has published internationally. She has worked as a curator for institutions like Martin-Gropius Bau here in Berlin and others abroad. She is currently teaching at NODE Center for Curatorial Studies in Berlin and as a guest lecturer at CalArts in California.
- This talk examines several feminist concepts that are relevant for envisioning the (digital) commons. What they share is an understanding of knowledge as that which occurs by sustaining relational webs and ongoing relays, rather than as the endpoint of linear progressions.
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- creating commons
- Dozierende/Projektleitung
- Felix Stalder
- Importiert am
- 17.12.2019
- Übergeordnete Sets
- 1
The Visitor
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Author that can easily go onto 2 lines as well
- Autor/in
- Datierung
- 2007
- Beschreibung
- Trading Zones: Camera Work in Artistic and Ethnographic Research
Contributions by Shirin Barghnavard, Laura Coppens, Heidrun Holzfeind, Louis Henderson, Daniel Kötter, Uriel Orlow, Bina Elisabeth Mohn, Anette Rose, Lena Maria Thüring, Zheng Mahler, Artur Żmijewski
Edited by Jürgen Krusche, Barbara Preisig and Laura von Niederhäusern, Institute for Contemporary Art Research IFCAR, Zurich University of the Arts, 2021
Print publication and e-book
Summary
Artistic and ethnographic work intersect where the camera is no longer merely an instrument of research or a visual medium. At this intersection, photographic or cinematic images themselves become the sensory bearers of latent knowledge. A shared field of Art and Ethnography opens up in this border zone. Its potential — for explorations, experiments and reflections — has far from been exhausted.
Between 2018 and 2020, a lecture series at Zurich University of the Arts (ZHdK) further investigated these relationships. The resulting contributions (by artists, filmmakers, visual anthropologists, and theorists) are gathered in the present volume. «Trading Zones» brings together essays, interviews, and image-based work that illumine the audio-visual practices of camera-related work while transcending generic conventions: What is the documentary value of fiction? How do video installations circumvent linear narrations and forms of representation? Is there a difference between aesthetic and scientific knowledge?
Although the authors have diverse disciplinary backgrounds, their contributions emphasize that the camera, as an apparatus, questions the material process of visual perception and enables conversations between author, subject, object, and viewer. The contributions as such take into account all levels of camera-based work: recording, post-production, and presentation. Thus, Camera Work in Trading Zones invites new approaches of theoretical and practical interest to artists, researchers, filmmakers, and ethnographers and establishes a basis on which these related fields enable inventive experiences.
- Trading Zones: Camera Work in Artistic and Ethnographic Research
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- Trading Zones
- Dozierende/Projektleitung
- Jürgen Krusche; Barbara Preisig
- Importiert am
- 10.08.2021
- Übergeordnete Sets
- 1
The Practice of Sharing Knowledge
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Untertitel
- Interview with Sean Dockray
- Autor/in
- Datierung
- 19.10.2017
- Schlüsselwörter
- Beschreibung
- Sean Dockray is an artist and initiator of the knowledge-sharing platforms The Public School and aaaaarg.
aaaaarg is an online library and open-source platform for freely sharing books and texts. It has its origin in collaborative working groups where resources were gathered in ‘online bookshelves.’ The project eventually evolved as part of the self-organized educational project known as The Public School where it served as a repository for shared study materials. From there it grew to become a major online resource for publications in the field of philosophy, art and political theory with tens of thousands of users, containing material in many different languages. The underlying infrastructure, as well as the contents, are the result of a collaborative effort to which various programmers and the users and editors of the site regularly contribute.
- Sean Dockray is an artist and initiator of the knowledge-sharing platforms The Public School and aaaaarg.
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- creating commons
- Dozierende/Projektleitung
- Felix Stalder
- Importiert am
- 17.12.2019
- Übergeordnete Sets
- 1
The Micropolitics of Publishing
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Untertitel
- Interview with Eva Weinmayr
- Autor/in
- Datierung
- 15.09.2018
- Schlüsselwörter
- Beschreibung
- Eva Weinmayr is an artist, designer, educator, and researcher based in London. Her long-standing engagement with digital and print publishing includes projects such as The Piracy Project, AND Publishing and other practice experiments that are all based on the idea of alternative knowledge production and the exploration of the agency of books.
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- creating commons
- Dozierende/Projektleitung
- Felix Stalder
- Importiert am
- 17.12.2019
- Übergeordnete Sets
- 1
Taste of Hope (4)
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Untertitel
- Machine
- Autor/in
- Datierung
- 2019
- Beschreibung
- Trading Zones: Camera Work in Artistic and Ethnographic Research
Contributions by Shirin Barghnavard, Laura Coppens, Heidrun Holzfeind, Louis Henderson, Daniel Kötter, Uriel Orlow, Bina Elisabeth Mohn, Anette Rose, Lena Maria Thüring, Zheng Mahler, Artur Żmijewski
Edited by Jürgen Krusche, Barbara Preisig and Laura von Niederhäusern, Institute for Contemporary Art Research IFCAR, Zurich University of the Arts, 2021
Print publication and e-book
Summary
Artistic and ethnographic work intersect where the camera is no longer merely an instrument of research or a visual medium. At this intersection, photographic or cinematic images themselves become the sensory bearers of latent knowledge. A shared field of Art and Ethnography opens up in this border zone. Its potential — for explorations, experiments and reflections — has far from been exhausted.
Between 2018 and 2020, a lecture series at Zurich University of the Arts (ZHdK) further investigated these relationships. The resulting contributions (by artists, filmmakers, visual anthropologists, and theorists) are gathered in the present volume. «Trading Zones» brings together essays, interviews, and image-based work that illumine the audio-visual practices of camera-related work while transcending generic conventions: What is the documentary value of fiction? How do video installations circumvent linear narrations and forms of representation? Is there a difference between aesthetic and scientific knowledge?
Although the authors have diverse disciplinary backgrounds, their contributions emphasize that the camera, as an apparatus, questions the material process of visual perception and enables conversations between author, subject, object, and viewer. The contributions as such take into account all levels of camera-based work: recording, post-production, and presentation. Thus, Camera Work in Trading Zones invites new approaches of theoretical and practical interest to artists, researchers, filmmakers, and ethnographers and establishes a basis on which these related fields enable inventive experiences.
- Trading Zones: Camera Work in Artistic and Ethnographic Research
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- Trading Zones
- Dozierende/Projektleitung
- Jürgen Krusche; Barbara Preisig
- Importiert am
- 10.08.2021
- Übergeordnete Sets
- 1
Taste of Hope (3)
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Untertitel
- Montage machine vs workers
- Autor/in
- Datierung
- 2019
- Beschreibung
- Trading Zones: Camera Work in Artistic and Ethnographic Research
Contributions by Shirin Barghnavard, Laura Coppens, Heidrun Holzfeind, Louis Henderson, Daniel Kötter, Uriel Orlow, Bina Elisabeth Mohn, Anette Rose, Lena Maria Thüring, Zheng Mahler, Artur Żmijewski
Edited by Jürgen Krusche, Barbara Preisig and Laura von Niederhäusern, Institute for Contemporary Art Research IFCAR, Zurich University of the Arts, 2021
Print publication and e-book
Summary
Artistic and ethnographic work intersect where the camera is no longer merely an instrument of research or a visual medium. At this intersection, photographic or cinematic images themselves become the sensory bearers of latent knowledge. A shared field of Art and Ethnography opens up in this border zone. Its potential — for explorations, experiments and reflections — has far from been exhausted.
Between 2018 and 2020, a lecture series at Zurich University of the Arts (ZHdK) further investigated these relationships. The resulting contributions (by artists, filmmakers, visual anthropologists, and theorists) are gathered in the present volume. «Trading Zones» brings together essays, interviews, and image-based work that illumine the audio-visual practices of camera-related work while transcending generic conventions: What is the documentary value of fiction? How do video installations circumvent linear narrations and forms of representation? Is there a difference between aesthetic and scientific knowledge?
Although the authors have diverse disciplinary backgrounds, their contributions emphasize that the camera, as an apparatus, questions the material process of visual perception and enables conversations between author, subject, object, and viewer. The contributions as such take into account all levels of camera-based work: recording, post-production, and presentation. Thus, Camera Work in Trading Zones invites new approaches of theoretical and practical interest to artists, researchers, filmmakers, and ethnographers and establishes a basis on which these related fields enable inventive experiences.
- Trading Zones: Camera Work in Artistic and Ethnographic Research
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- Trading Zones
- Dozierende/Projektleitung
- Jürgen Krusche; Barbara Preisig
- Importiert am
- 10.08.2021
- Übergeordnete Sets
- 1
Taste of Hope (2)
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Untertitel
- Meeting
- Autor/in
- Datierung
- 2019
- Beschreibung
- Trading Zones: Camera Work in Artistic and Ethnographic Research
Contributions by Shirin Barghnavard, Laura Coppens, Heidrun Holzfeind, Louis Henderson, Daniel Kötter, Uriel Orlow, Bina Elisabeth Mohn, Anette Rose, Lena Maria Thüring, Zheng Mahler, Artur Żmijewski
Edited by Jürgen Krusche, Barbara Preisig and Laura von Niederhäusern, Institute for Contemporary Art Research IFCAR, Zurich University of the Arts, 2021
Print publication and e-book
Summary
Artistic and ethnographic work intersect where the camera is no longer merely an instrument of research or a visual medium. At this intersection, photographic or cinematic images themselves become the sensory bearers of latent knowledge. A shared field of Art and Ethnography opens up in this border zone. Its potential — for explorations, experiments and reflections — has far from been exhausted.
Between 2018 and 2020, a lecture series at Zurich University of the Arts (ZHdK) further investigated these relationships. The resulting contributions (by artists, filmmakers, visual anthropologists, and theorists) are gathered in the present volume. «Trading Zones» brings together essays, interviews, and image-based work that illumine the audio-visual practices of camera-related work while transcending generic conventions: What is the documentary value of fiction? How do video installations circumvent linear narrations and forms of representation? Is there a difference between aesthetic and scientific knowledge?
Although the authors have diverse disciplinary backgrounds, their contributions emphasize that the camera, as an apparatus, questions the material process of visual perception and enables conversations between author, subject, object, and viewer. The contributions as such take into account all levels of camera-based work: recording, post-production, and presentation. Thus, Camera Work in Trading Zones invites new approaches of theoretical and practical interest to artists, researchers, filmmakers, and ethnographers and establishes a basis on which these related fields enable inventive experiences.
- Trading Zones: Camera Work in Artistic and Ethnographic Research
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- Trading Zones
- Dozierende/Projektleitung
- Jürgen Krusche; Barbara Preisig
- Importiert am
- 10.08.2021
- Übergeordnete Sets
- 1
Taste of Hope (1)
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Untertitel
- Opening Scene
- Autor/in
- Datierung
- 2019
- Beschreibung
- Trading Zones: Camera Work in Artistic and Ethnographic Research
Contributions by Shirin Barghnavard, Laura Coppens, Heidrun Holzfeind, Louis Henderson, Daniel Kötter, Uriel Orlow, Bina Elisabeth Mohn, Anette Rose, Lena Maria Thüring, Zheng Mahler, Artur Żmijewski
Edited by Jürgen Krusche, Barbara Preisig and Laura von Niederhäusern, Institute for Contemporary Art Research IFCAR, Zurich University of the Arts, 2021
Print publication and e-book
Summary
Artistic and ethnographic work intersect where the camera is no longer merely an instrument of research or a visual medium. At this intersection, photographic or cinematic images themselves become the sensory bearers of latent knowledge. A shared field of Art and Ethnography opens up in this border zone. Its potential — for explorations, experiments and reflections — has far from been exhausted.
Between 2018 and 2020, a lecture series at Zurich University of the Arts (ZHdK) further investigated these relationships. The resulting contributions (by artists, filmmakers, visual anthropologists, and theorists) are gathered in the present volume. «Trading Zones» brings together essays, interviews, and image-based work that illumine the audio-visual practices of camera-related work while transcending generic conventions: What is the documentary value of fiction? How do video installations circumvent linear narrations and forms of representation? Is there a difference between aesthetic and scientific knowledge?
Although the authors have diverse disciplinary backgrounds, their contributions emphasize that the camera, as an apparatus, questions the material process of visual perception and enables conversations between author, subject, object, and viewer. The contributions as such take into account all levels of camera-based work: recording, post-production, and presentation. Thus, Camera Work in Trading Zones invites new approaches of theoretical and practical interest to artists, researchers, filmmakers, and ethnographers and establishes a basis on which these related fields enable inventive experiences.
- Trading Zones: Camera Work in Artistic and Ethnographic Research
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- Trading Zones
- Dozierende/Projektleitung
- Jürgen Krusche; Barbara Preisig
- Importiert am
- 10.08.2021
- Übergeordnete Sets
- 1
Sperrige Relikte
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Autor/in
- Datierung
- 2022
- Schlüsselwörter
- Beschreibung
- Der Film mit den Titel «Sperrige Relikte» ist eine Montage ausgewählter Aufzeichnungen von Spaziergängen und Interviews, die während der Datenerhebung des Projekts entstanden sind. Dabei geht sie der Frage nach, wie die Sperren umgenutzt und umgedeutet werden: eine Momentaufnahme unterschiedlicher Perspektiven auf die Betonhöcker in der Kulturlandlandschaft.
- Rechteinhaber/in
- Florian Wegelin
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- Materialisierte Erinnerungen (in) der Landschaft
- Dozierende/Projektleitung
- Sønke Gau, Simon Graf, Florian Wegelin, Anna Froelicher
- Importiert am
- 28.02.2024
- Übergeordnete Sets
- 1
Rethinking the Art School
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Untertitel
- Lecture by Laurence Rassel
- Autor/in
- Datierung
- 01.03.2018
- Schlüsselwörter
- Beschreibung
- A school of art is a zone of convergence studded with a multiplicity of individuals, things and flows, stories, fictions, and stagings, with social, cultural, material, singular and interacting asperities. And it is also a common territory by default: if we choose to come there to work or to study, we do not choose those with whom we will share this ephemeral biotope.
Taking her current position as head of the Brussels-based art school e.r.g (Ecole de Recherche Graphique) as a starting point, Laurence Rassel reflects in her talk about how the art school as an institution can be conceived as an environment for developing a sense of collectivity. Assuming the double definition of the word “institution” as a potential to be developed as well as an established form, Rassel identifies alienation where the “instituted” takes precedence over the “instituting.”
In her work, the common is thought and will be constructed as the result of an action composed of the differences in presence. The common will not erase these differences, and it will not only be composed by them. The common is always the result of a “common doing” rather than a fixed group and or an “institution.” The paradoxical task then is to sustain the collective, the common, while preserving heterogeneity and the singularities in place.
For the participants, workers, collaborators related to the institution, however, it is a real instituting movement that is at stake. The inspirations for Rassel’s models for work processes come from open source/free software culture, but also from institutional psychotherapy. The school is a place full of hierarchies, governed by texts, decrees but also by consciences that reveal themselves there as brutal, feverish, urgent, generating a desire to reach a “whole” and a desire to question “the whole,” and nevertheless build a common. By opening up this layer from “read-only” to “read, write and execute,” the very structure of the school can be turned inside out – to serve new purposes. People can get involved and affect the structure by their history to be made. The process is the collective development of the “how.”
Laurence Rassel is a cultural worker who can act as curator, teacher, organizer. She is currently based in Brussels. From 2008 to 2015 she was Director of Fundació Antoni Tàpies, Barcelona, an institution created in 1984 by the artist Antoni Tàpies to promote the study and knowledge of modern and contemporary art (http://www.fundaciotapies). From 1997 to 2008, Rassel was a founding member of Constant, a non-profit association and interdisciplinary arts-lab based and active in Brussels in the fields of art, media and technology. Currently, she is Director of erg (école de recherche graphique – école supérieure des arts) in Brussels.
- A school of art is a zone of convergence studded with a multiplicity of individuals, things and flows, stories, fictions, and stagings, with social, cultural, material, singular and interacting asperities. And it is also a common territory by default: if we choose to come there to work or to study, we do not choose those with whom we will share this ephemeral biotope.
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- creating commons
- Dozierende/Projektleitung
- Felix Stalder
- Importiert am
- 17.12.2019
- Übergeordnete Sets
- 1
Publishing as Commons Practice
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Untertitel
- Interview with Alessandro Ludovico
- Autor/in
- Datierung
- 16.09.2018
- Schlüsselwörter
- Beschreibung
- Alessandro Ludovico is the co-founder of neural, a printed magazine established in 1993 dealing with new media art, electronic music, and hacktivism.
This interview focusses on two things. First, Alessandro reflects on his experience of how print publications changed over the last 25 years and their potential in a fully digital universe. They are now less about providing access, but more about providing a filter and stability against the very dynamic overflow of information. The second major theme of the interview is the “temporary library”, a collaborative practice to create short-term specialized libraries in the context of cultural events (festivals, exhibitions, etc.). After the event, they are donated to established libraries, thus contributing to making underrepresented aspects of (digital) culture available in the long-term.
- Alessandro Ludovico is the co-founder of neural, a printed magazine established in 1993 dealing with new media art, electronic music, and hacktivism.
- Rechteinhaber/in
- Zürcher Hochschule der Künste
- Bereich ZHdK
- Typ
- Projekttitel auf deutsch
- creating commons
- Dozierende/Projektleitung
- Felix Stalder
- Importiert am
- 17.12.2019
- Übergeordnete Sets
- 1