Here the Poster and announcement of the symposium I am organizing, starting tomorrow!

matter_memory_poster_tiny

Matter, Memory, and the More-than-Human

Relational Aesthetics and Politics in the Age of the Anthropocene

Symposium: 16:00-19:00, Room 5.K12 (Nov. 27, 2014)

Workshop: 10:00-12:00, Room 5.K03 (Nov. 28, 2014)

In times of renewed debates on the status of the object and the real in the arts the question of a new radical empiricism is at stake. How is experience not human but always more-than-human or ecological? We ask: how such an ecological approach is political and what are its aesthetics?

Current enthusiasm about new forms of realism, like speculative realism, strikes the art field with immense force. What we perceive is a certain return of the “object,” similar to architecture’s return to the sketch-board, after three decades of conceptually driven discourse and its discomforting pitfalls. Finally, some might argue, we overcome the predominance of discourse and encounter “things” beyond language. What seems crucial, is the status of the real in these new aesthetic and philosophical debates.

With this symposium we want to extend the rather dialectic procedure with which this debate continues and investigate how the relations between matter, memory and the more-than-human enable a multi-shaded formation of the real, inclusive of the materialist sensibilities of Marxist, post-structuralist and radical empiricist philosophies of the last century. Making such an inquiry an aesthetic concern motivate us to reconsider the status of the empirical in relation to the experiential. Rather than following phenomenological traditions the symposium puts particular attention to early pragmatist philosophies like William James, Alfred North Whitehead and Ralph Waldo Emerson, providing a different, radical empiricist, version of the real.

Finally the question would be, how such a take on realism in the age of the anthropocene affords us to re-assess what a more-than-human politics might look like and what forms of organization are in need for its realization.

Speakers:

Heather Davis (Penn State University)

“Ancient Archives of the Future: Strange Temporalities of Plastic”

Ridvan Askin (University of Basel)

‘Every pumpkin in the field, goes through every point of pumpkin history’: Emerson and the Memory of Matter’

Stamatia Portanova (independent scholar)

“The Genius and the Algorithm. Reflections on the Postdigital Aesthetics as Capitalist Neurosis”

Joel McKim (Birkbeck University of London)

Object, Matter, Energy: Towards a Philosophy of Infrastructure

Organization: Christoph Brunner (ZHdK)

Link

Where: Zurich University of the Arts, Toni-Areal, Pfingstweidstrasse 96, 8005 Zurich

Themes:

Accelerationist Aesthetics

Digital Aesthetics and Affect

Ecologies of Practices

Aesthetic Politics

New Materialism

Process Philosophy

Anarchitecture

Speculative Realism

Relational Aesthetics

Activist Philosophy

program_matter_memory

I am co-organizing with Dimitrina Sevova a symposium entitled The Diagrammatic Practice of the Micropolitical – the Spatio-temporal Expression of Play between Power, Knowledge and the Aesthetics of Existence at Zurich University of the Arts.

Here are all the infos:

International Public Symposium at Pfingstweidstrasse 6, 8005 Zurich, ZHdK, 14/15/16 November 2013, around the notion of play, its processual (diagrammatic) and political and aesthetic potential in times of cognitive capitalism and its mechanisms of control over life and the urban environment.

Left: "The Playground, a Vacant Lot," Hale House, Boston, Mass., c1903, Social Museum Collection, Fogg Museum, Harvard Art Museum.  Middle: Seattle Potlatch Parade showing float, 1912. Right: Nuria Vila + Marcelo Expósito, Tactical Frivolity + Rhythms of Resistance, video still, 2007.

Left: "The Playground, a Vacant Lot," Hale House, Boston, Mass., c1903, Social Museum Collection, Fogg Museum, Harvard Art Museum. Middle: Seattle Potlatch Parade showing float, 1912. Right: Nuria Vila + Marcelo Expósito, Tactical Frivolity + Rhythms of Resistance, video still, 2007.

SPEAKERS: Paolo Caffoni, Giusy Checola, Binna Choi, discoteca flaming star (Cristina Gómez Barrio & Wolfgang Mayer), David Dibosa, Anja Kanngieser, Maurizio Lazzarato, Isabell Lorey, m-a-u-s-e-r (Mona Mahall & Aslı Serbest), Carmen Mörsch, Daniel Morgenthaler, Roberto Nigro, Susanna Perin (S.M.U.R.), Gerald Raunig, Adrian Rifkin, Kerstin Schroedinger, Marco Scotini, Diego Segatto, Joshua Simon, Kuba Szreder, Axel Wieder, Espace Temporaire (Magdalena Ybarguen).

RESPONDENTS: Jens Badura, Christoph Brunner, Karmen Franinović, Roberto Nigro, Romy Rüegger, Dimitrina Sevova.

PERFORMANCES: Chiara Fumai, T. Melih Görgün, Michael Hiltbrunner, Franziska Koch, David Maroto.

SCREENINGS: Marcelo Expósito, Silvia Maglioni and Graeme Thomson, RELAX (chiarenza & hauser & co).

MICROPOLITICAL WORKSHOP: Wiktoria Furrer & Sebastian Dieterich in cooperation with Elke Bippus.


Throughout three intense days the symposium will be an experimental space for expressing and sharing ideas – a place for intervening, investigating and provoking collective discussions on how to re-activate play’s potentiality in urban space, considered as a playground of deskilled, affective and precarious labor.

The symposium aims at relocating the notion of play from the outdoor to the outside as an ecology and extended space for experimentation and micropolitics beyond spatial confinement. We ask how such an outside emerges through practices unfolding and altering dominant diagrams of power in urban environments. Here, playing-together involves the capacity of forces of resistance to create situations as intensive fields of affection through the micropolitics of diagrammatic practices. Both, playing bodies and the process of learning as a common, a self-productive and living knowledge, perpetuate new forms of social subjectivity and its immanent growth between power, knowledge and an aesthetics of existence.

Bringing together artists, curators, activists and thinkers from the fields of performance, art, aesthetic theory, philosophy, architecture and design, the symposium comprises talks, artistic interventions, performances and screenings.

Curated by Dimitrina Sevova and Christoph Brunner in cooperation with the Bachelor Media & Art, specialization Fine Arts of the Zurich University of the Arts, Elke Bippus, Franziska Koch.

A cooperation with Z+ ‹ http://www.zhdk.ch/zplus ›.

In conjunction with the a-disciplinary project consisting of a platform of irregular non-serial events, screenings, public readings, performances, talks, urban interventions and other ephemera, on the theme of Opportunities for Outdoor Play? Playgrounds – New Spaces of Liberty (The Question of Form) outdoorplay.tumblr.com ›, curated by Dimitrina Sevova at Kunsthof Zürich between March and October 2013 in cooperation with Elke Bippus, Franziska Koch and the Bachelor Media & Art, specialization Fine Arts of the Zurich University of the Arts.

For further information please see ‹ outdoorplay.tumblr.com › or ‹ www.kunsthof.ch .

No registration required. Admission free. Seats limited. Please be on time for each thematic bloc, performance or screening.

[The curatorial text by Dimitrina Sevova and Christoph Brunner, and all other materials, can be found on the project blog, outdoorplay.tumblr.com. And in printable layout as PDF: programabstracts and bioscuratorial text.]

I will be giving a paper (for the rare occasion in German) at the Dramturgien des Anfangens (Dramaturgies of Beginning) at Freie Universität in Berlin. The dates are 7-9 of November and the Abstract is below.

Link to the program.

Eine öffentliche Tagung am Institut für Theaterwissenschaft

Abstract:

Dramatisierung als Technik: Affektive Zeitlichkeit in Collective Writing Machines

Gilles Deleuze verwendet den Begriff der Dramatisierung konsequent in Verbindung mit der Frage nach der Aktualisierung von Ideen durch raum-zeitlichen Dynamiken. Wie ergeben sich raum-zeitliche Erfahrungsgefüge anhand von (virtuellen) Kräften und ihren Beziehungen? Der Frage der Aktualisierung nachgehend, entwirft Deleuze (auch in Zusammenarbeit mit Guattari) ein Denken der Aktualisierung, sprich der Emergenz und möglichen Dauer von raum-zeitlichen Manifestationen. Entgegen einer phänomenologischen Annahme von Erfahrung als körperlich geformter Wahrnehmung von Welt, befasst sich der Prozess der Dramatisierung hier mit den nicht-körperlichen, aber realen, Verhältnissen und Singularitäten, deren Dynamiken, Ideen, und Konzepte und wie diese körperliche Erfahrungen hervorbringen. Es handelt sich hierbei eben nicht um einen Prozess der Materialisierung ideell geformter Einheiten oder Prozesse sondern um einen Differenzierungsakt zwischen virtuellen Verhältnissen und empfundenen Qualitäten sowie Singularitäten und geformten Entitäten. Der dynamische Prozess der Dramatisierung unterstreicht, dass es sich im Wechselspiel zwischen Virtualität und Aktualität nicht um lineare Abläufe handelt, sondern um die Hervorbringung von extensiven raum-zeitlichen Gefügen durch die Bewegung von Verhältnissen und Singularitäten entlang eines intensiven Felds. Die Problematik der Dramatisierung verweist auf eine Form der Zeitlichkeit und Räumlichkeit innerhalb der körperlichen Erfahrung, die eine vor-individuelle intensive Tiefe und deren Differenzierungserie voraussetzt.

Wie lässt sich der dynamische Prozess der Dramatisierung im künstlerischen Kontext von Kreativprozessen verstehen? Ich werde hierzu die von Diego Gil entwickelte Performance Collective Writing Machines untersuchen. Die Performance befasst sich mit Prozessen der Wahrnehmung während dem Schreibakt. Die TeilnehmerInnen werden gebeten in verschiedenen Intervallen und mit jeweils unterschiedlichem Aufmerksamkeitsfokus (auf den eigenen Körper, die Umwelt, oder einer Imagination) gemeinsam in einem Raum beim Sitzen und später beim Gehen zu schreiben. Mittels dieser Performance wird deutlich, dass sich Aufmerksamkeit anhand von aktualisierten ebenso wie virtuellen Tendenzen konstituiert, im körperlichen Denken ebenso wie im intensiven Feld der Potenzialität. Dramatisierung in diesem Fall beschreibt die heterogene und heterochrone Bewegung zwischen Aktualität und Virtualität als „a-modalen“ relationalen Prozess zu verstehen (Massumi). Wie können wir diesen Dramatisierungsprozess als kontinuierlichen Übergang begreifen, als ein Verknüpfen von dynamischen Beziehungen? Speziell im Hinblick auf die affektive Wirkung von Zeitlichkeit und ihrem „Timing“ wird Dramatisierung hier zu einer ästhetischen Technik.

toa-web1

I am very exited to participate in this conference. Here is my abstract:

Affective Politics of Timing: Ragnar Kjartansson’s The Visitors

In his video-installation The Visitors artist Ragnar Kjartansson constructs an immersive nine-screen video-piece of a collaborative sound performance. Eight musicians dispersed throughout Rockeby Farm Mansion in upstate New York, play instruments and repeatedly chant the lines of a short poem by Ásdís Sif Gunnarsdóttir.

The piece deals with duration, repetition and immediation through its insistence on time as collective and affective force holding the work together. While recent responses to affect in contemporary theory have led to a critique of its emphasis on immediacy, I will attempt to reconsider immediacy as opening a problematic field rather than becoming another object of critique. The power of suspense and duration in The Visitors provides a vital ground for addressing its aesthetics as an affective attunement of heterogeneous elements cued into specific timings. Using Brian Massumi’s differentiation of three kinds of memory (active memory, conscious memory and a memory of the future) I will investigate how The Visitors enables a collective sense of emergent ecologies of timing, an affective politics of timing. Immediacy according to this fine-grained conception of affect is not an instant independent of its milieu, on the contrary, its very power of existence consists of disjunctive times constantly attuning and being attuned. Change, and the potential thereof, emerges through the eventual encounter, its re-activation and unnoticed but active tendencies. The political question then is: how to inflect, activate and enable situations capable of more potential to actively become part of our immediate concerns and how to develop a sense of care for their effects?

crang_thumb

Jonas Fritsch and I are going to hit the road to Buffalo for the Media Cities 4 conference, May 3-5, 2013.

Here is our abstract:

Beyond the Network: Urban Media Ecologies and Experiential Fields

The growing proliferation of urban interactive technologies into our everyday lives demands a move from an initial fascination for the technologies in themselves to their actual experiential impact and how they ‘…affect the ways in which we use and understand walls, windows, doors, sidewalks, streets, intersections, parks, markets, and playgrounds.’ (Greenfield and Shepard, 2007). Increasingly, this cannot be done by focusing on singular devices, subjects or places. One way of approaching this heterogeneous plurality of elements has been prominent in the diverse analysis of networks. The problem, however, is the continued conception of entities or nodes as foundational building blocks of such networks and how they are connected or experienced.

In a recent resurgence of William James’ radical empiricism Adrian Mackenzie proposes an approach toward wireless technologies not as merely facilitating networked experiences of a particular kind but as constitutive of relational practices blurring boundaries between confined entities such as architecture, human bodies or technological devices. According to Mackenzie, wirelessness ‘… designates an experience trending toward entanglements with things, objects,  gadgets, infrastructures, and services, and imbued with indistinct sensations and practices of network-associated change” (2010, 5). These entanglements are in particular evident when dealing with e.g. media architecture or mobile technologies in urban or public space.

While building on the conceptual outline of wirelessness foregrounding experience, we propose the concept of experiential fields emphasizing the emergent and affective quality of experience. Experiential fields address experience as an ecological and relational process, focusing on the conditions of emergence of urban interactive environments. We are concerned with ways of facilitating experiential situations pointing at urban media-ecological processes and investigating how to work with them creatively beyond confined spaces, bodies or technologies.

Through an analysis of two urban interactive installations, Frequency and Volume (2003) and Ekkomaten (2012), we bring to the fore a range of challenges and questions concerned with accounting for the workings of media ecologies and experiential fields. Both works deal with sound activating and activated through its urban context. Frequency and Volume by Rafael Lozano-Hemmer is an interactive art installation amplifying radio frequencies through bodily engagement with the exhibition space, foregrounding awareness for electromagnetic fields. Ekkomaten is a gigantic listening machine that lets people explore echoes from the past tied to a particular site in the city through their interaction with it. Either work constitutes a media ecology activating an experiential field which modulates the potential for action in the city through an affectively engaging mobilization of  emergent forces.

Investigating relations between media and the urban along the constitutive lines of experiential fields allows us to reconsider what we usually separate into discrete entities such as the body, the urban or the political. Shifting the focus on media in urban contexts from an infrastructural or informational discourse toward urban media ecologies as processes of immediation opens new potentials for considering mediatic encounters and the situations they facilitate in experiential terms beyond the network.

And the conference schedule.

third_text

I will be participating in a one-day conference at UCL London on March 2nd, 2013. The conference is based on the latest issue of Third Text (see antecedent post). The format is going to be a kind of open discussion/forum without paper presentations and more conversational developments of collective thinking around the theme of art and ecologies.

Conference abstract:

The Eco-Aesthetics conference marks the release of Third Text no. 120 (January 2013), dedicated to the subject of “Contemporary Art and the Politics of Ecology,” guest-edited by TJ Demos. The event will include numerous contributors to the special issue, which investigates eco-aesthetics in a postcolonial framework—from global warming in the arctic to oil industry environmental damage in Nigeria’s delta, from conflicts between mining corporations and tribals in rural India to the ecological effects of industrial development in the port of Bahia Blanca, Argentina, from urban farming in Detroit to the Occupy movement’s development of a post-media social ecology. The special issue and conference seek to link international and interdisciplinary researchers, artists, and critical theorists in order to consider the questions of how such politico-ecological developments have been recently analyzed, mediated, and negotiated within the visual cultural of art and activism.

Link

Below the abstract for my mini-presentation at the 2011 Netaudio Festival and Conference:

How do collectives constitute and endure themselves beyond social or interpersonal strata? In a time of “social” media as potential motors of political change, the attention paid to what constitutes the “social” in social media is often considered as a mere connection between humans by means of technology. Marshall McLuhan’s statement “the medium is the message” aims at undermining the conception of media as bare means to human ends. The medium itself determines how a message is expressed and does not merely transmit its content. The medium becomes active and renders what is expressed. I assume that this assertion is difficult to sustain if one tries to consider the Internet as “a” medium. Instead of considering the Internet as medium I would like to address its technologies as enabling for practices of immediation. Immediation accounts for the embodied experience of any aesthetic expression and sensation and locates the event of immediated experience in everyday life. Through immediation the human and the nonhuman become part of a relational logic where the boundaries between subject and object blur and are negotiated to form transindividual collectives. These collectives are as much social as they are political or ethico-aesthetic.

In light of social media the medium is not the message. Rather processes of immediation entangle embodied experience with immediated collective forces. A collective is not the formation of a group composed of individuals, but an affective relational experience amongst different modes of existence: technologies as much as ideas, perceptions humans and other bodies.

One has to consider the constitution of a collective as the co-emergence of social formations with their environment. Collective means to become enmeshed in a relational logic where each situation is negotiated between its participants. To make these relational becomings palpable, I will use as an example the SenseLab’s (senselab.ca) last event “Society of Molecules” (see: inflexions.org, no. 3 –Tangents). By means of physical and (im)mediated exchange different local nodes (molecules) were able to stage a series of collective events across fifteen countries in 2009. The potential to physically experience local events and at the same time to participate in virtual relations between the different produces the constitution of transindividual collectivity.

original (2)

I have been asked to participate in the accompanying conference of this year’s Netaudio Festival in London. Since I attended the festival in its first generation in 2006 it has developed massively and presents itself as a solid discourse on general themes concerning collective creative production, issues of open source and various forms of sonic expression, from broadcasts, to live performances and discussion panels.

I will be part of a panel entitled “Creativity and Collaboration in the Internet Era” together with Michael Bauwens, Matt Fuller and Tamara Barnett-Herrin. Other panels include Liliane Ljin, Jeremy Gilbert, Matthew Herbert, Mark Fisher and the UK Uncut.

The format of the conference defines for me the most exciting aspect. While there will be short presentations, a main focus lies in the formation of small working groups with each of the panelists to have in-depth discussions. After some internal discourse the groups will then come together to present their insights to the rest of the panel. I deem it as a relieve to partake in a more experimental format that allows for some dialogue beyond self-representational modes usually deployed at conferences.

In my mini-presentation I will take on the notion of the transindividual in the work of philosopher Gilbert Simondon to discuss modes of collective individuation that are different from general concepts of collectivity as a multitude of bodies. If possible I will make use of the last Senselab event “Societies of Molecules” to highlight modes of collective individuation with the help of online-platforms and actual gift economies.

Phew, exactly one week after I came back from ISEA 2010 I find a few minutes to reflect and share my excitement about one of the better conferences I have been part of this year. What has been very pleasing to me and apparently a lot of other participants was the high quality of art exhibitions and performances that accompanied the symposium. Another beautiful aspect of the conference was the first site for the events in Essen, Zeche Zollverein. Here we had the fabulous fun to plunge into a factory pool at Kokerei made out of shipping containers and experience a performance by Wet Soundswet-sounds

The conference opened with a keynote by Brian Massumi who, as we know, tied in a fine mesh of aesthetic considerations through the lens of pure experience and radical empiricism. Wonderfully presented and even so wonderfully contextualized by a long comment from Marie-Luise Angerer. The second day was scheduled for the Motion Lab Panel convened by Scott deLahunta. It was very interesting to see the different works of Scott, Nathaniel Stern, who’s work I really fell in love with, Erin Manning together with Norah Zuniga Shaw and Chris Ziegler. Despite the circumstance that the two evening performances were overbooked and hard to get in, I really enjoyed the Synchronous Objects installation by Norah in relation to her longterm work with William Forsythe.

Sunday reminded me an Odyssey  trying to reach Marl with commuter trains on a day without commuters to see the exhibition for the German Sound Art Awards 2010. The exhibition was not very exciting but to have seen a conceptually built city complex with wonderful attempts of concrete ornamentation made it worth the journey. In general, the commuting between the different conference sites was a bit a of pain, if one didn’t change hotels. The evening of that Sunday though was quite amazing. At the Folkwang University of Arts in Essen the conference co-organized the Day of Sound with fabulous electro-acoustic pieces and a concert space that made you shiver with its stunning acoustic quality. Highlight, certainly, was the performance with the Max Brand Synthesizer in a piece faithfully called Hell Machine.

On Monday the conference took its proper format meaning too many parallel panels in often too small rooms. Since I had to leave after the second day of the conference, I will only comment on two things. First, The Digital Aesthetics of Climate Change panel, organized by a group of befriended scholars from Aarhus University in Denmark and successfully turned into an “Un-Panel” by The People Speak from London. Thematically and in its expression the panel raised a vital discussion that didn’t leave the impression of flaky and fuzzy climate-talk but a profound an continuous critical inquiry fueled by contributions from outside the room posted and projected on a screen. The People Speak moderated the panel friendly and to the pint which turned it into a refreshing format, especially at 10 a.m. in the morning. The second panel, was the one in which Jonas Fritsch and I presented our reflections on our experiences from Society of Molecules in May 2009 in Montréal. We were surprised about the number of people that crammed into the room for a panel on Urban Interventions. The unfortunate part of our panel was the rather loose time-keeping which resulted in no time for discussions and a focus on one particular, rather uninspiring presentation (no names of course). Apparently, our title “Balloons, Sweat and Technologies - Urban Interventions through Ephemeral Architectures” raised interest trough the very notion of Ephemeral Architectures. Not having thought of it properly, I was asked if our installation was called ephemeral architectures or if we regarded the entire event as ephemeral architectures. A very interesting question for which I would like to thank Katrin Rickerts a lot. At another point in time I will come back to these considerations.

Impressive were the TURST exhibition with very high quality works and the performance by Ei Wada and his Braun Tube Jazz Band. In general one could recognize a shift in digital aesthetics away from a data-centred and often pseudo technological or scientific attitude (except the work of Carsten Nicolai of course) toward a thorough media practice that carefully examines its needs to trigger certain modes of expression. Ai Wada took the notion of the signal to its core and blew the gallery apart with his performance. Here is another set, but you get the impression.

I enjoyed very much the work of Seiko Mikami entitled “Desire of Codes.” The work consists of an entire wall of motorized webcams that trace you. The captured images get projected on a screen where they are remixed with other video material mined from the Internet. Aesthetically and conceptually a very strong work. Another project that caught my attention was Ariel Guzik’s work “Nereida.” Nereida is an underwater capsule that contains musical instruments to establish contact with cetaceans. What impressed me the most was the serious engagement concerning potential means of communication with other species by aesthetic means. For me this is a very beautiful and strong work in the field of research-creation.

isea_trust_-seiko-mikami guzikariel_nereida_prj_02_craulgonzales_plasmaht-lab

I would like to close with a short but definitively worth wile experience of wearing the McGhillie suit provided through an intervention/performance organized by my colleagues in Zurich Knowbotic Research. McGhillie is an un-person, a Batleby-like figure who evades classification and social or physical order. Neither a person nor a mere object but rather a thing with all its potentials and qualities. A Becomnig-McGhillie means to stop thinking and feeling like an individual ant to melt with your environment. Becoming-McGhillie makes you enter the field of the void that is never the void but an in-between filled with new potential. McGhillie is a thing of the interstice, between different modes of being, between different forms of life. Becoming-McGhillie for only 20 minutes allowed me to enter the interstitial field between being and non-being, not only by means of perception (perceiving and being perceived) but by means of affect that allow different milieus to constitute with and without McGhillie. A definitive must if one seeks for modes of pure experience!

becoming-mcghillie

categories: conferences, events, research
tags:

PhDs on a boat in Aarhus

Here is a quick homage to the fantastic “Event, Signal, Affect” conference at Aarhus University I was invited to last week.  The conference was targeted to bring together selected scholars working on affect, theories of the event, non-representational theory and signal or the signaletic. The setting was very intimate, with 25 people and a perfectly organized structure, including dinner and collective cookout.

The main guests were Erin Manning and Brian Massumi and Nigel Thrift, who unfortunately never made it to the conference. Topics were widely spread but well orchestrated into focused panels. The intellectual debate was engaged and on a mutually interested and curious level. On top of the two fantastic interventions by Manning and Massumi and the very focused crowed of guests, I would like to foreground the environment and techniques that made the conference so unique.

We started off with a round of conceptual speed-dating, a technique to get to know each other and have an idea of the other one’s thinking-space. The concept was autonomy and the range of discussions was wide. The good thing about this technique is that you get an immediate impression of the other one’s personal work and his/her way to move in thought. Another good aspect was to seek for 10 minute presentations and have more time for discussions. In the cases where the time was kept, discussions were very vital. The dinner and especially the collective barbecue gave the conference a very different tonality from other conferences. A free day in between the two conference days added more quality time to relax and meet up and talk. All in all I really had the feeling I have been in touch with people that also don’t want to have large conferences and impersonal panels anymore.

This brings me to a very crucial point about such events. What one seeks in such events might be to network and put yourself in contact with the “right” people. But what actually really counts is the potential of a joyous being together and friendship. In that respect it would be interesting to ask, how do you generate environments that do not allow any straight forward modes of self-representation and networking but are lures for friendship? In that sense I have to say that the potential for friendship to build is way higher in such events. I feel that I had the chance to intellectually relate to my friends Tomas Jellis and Jonas Fritsch more intensively. It is the real joy of the time and ideas shared that need to be accounted for a creative practice such as our intellectual work. Further I finally had the chance to meet Thomas Markussen, also member of the Senselab and associate professor at the Aarhus School of Architecture. Two very lucky meetings that I didn’t anticipate before were Niels Albertsen head of the Department of Landscape and Urbanism and Leila Dawney, PhD researcher at the Geography Department in Exeter. Another wonderful aspect were politically engaged talks by Thomas Markussen on the Cut Up Collective and Tatiana Bazzichelli’s presentation on Italian Hacktivism and the media event of Anna Adamolo.

I would like to close this entry by pointing out the the level of openness of the discussion we enjoyed. Merete Carlson, PhD scholar from Copenhagen, gave the last presentation pointing out the difficulty to affectively engage with interactive media artworks by writing a PhD thesis about it. The problem is not, that one is not capable of writing a thesis according to known norms but rather how to write a thesis as process and in a way that accounts for the movement of thought without representing it in language. For me such highly difficult questions lie at the core of what research-creation might mean and how we have to move “earth and the heavens,” as Bruno Latour says, to allow new minor modes of research and creative practices to flourish.