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


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.

I am participating in a really exciting workshop on Simondon and digital culture. Below the poster and my presentation abstract.


Affective Timing and Non-sensuous Perception in Differential Media

The relation between ethics and aesthetics defines a crucial problematic through which Félix Guattari develops his philosophy and analytic practice. Simondon exposes similar lines in his work with equally strong indications of its political relevance. He conceives of the aesthetic as immanent force in experience pertaining to its preindividual field as unexhausted resource for potential becoming. His overall theory of individuation could be also considered as continuous process of differentiation through such a field of potential.

Simondon defines the aesthetic as temporal relation between the preindividual as partially expressed present experience and its pull towards a future becoming, i.e. differentiation. The aesthetic is the interval through which experience passes as felt intensity in the immediacy of its occurrence. It is Alfred North Whitehead who links this temporal process of experience to perception, not as mere sense perception of given empirical data but through his notion of non-sensuous perception. Non-sensuous perception emphasizes the immediate past shaping the passing of the present and the present, as tendency of the future, shaping the potential function of the past. Through non-sensuous perception an interstice for aesthetic practices opens up allowing for an ‘immanent’ and ‘transcendent’ process of co-becoming between the temporal passing of the event and its metastable bodily expression.

For similar reasons Guattari, thinking at the dawn of the digital media era, envisioned post-media practices as “laboratories of thought and experimentation for future forms of subjectivation.” He underlines that what comes to be termed post-media describes a general transformation away from media as mere technological entities. Guattari interlinks aesthetic and ethical concerns pointing out that a “post-media society “will be invented, created within the perspective of a new aesthetic-political paradigm.“ For both, Guattari and Simondon technology defines an active and vital realm of potential not as a means but as enabling ecology. In their works both emphasize technology’s processual dimension, where aesthetics generates links between perception and its relation to time, ethics pertains to acts developing relations with other acts. How can we conceive of such acts not as a volitional and anthropomorphic activism but as a relaying of temporal entanglements between the immediacy of occasions of experience and their material constraints? Further investigating Simondon’s and Guattari’s take on ethics and aesthetics in a post media era I will look at digital media technologies susceptible to (temporal) differentiation. Such “differential media” (Andrew Murphie) highlight the potential of digital processes of timing as discontinuous yet relational processes of timing. Looking at Icelandic artist Ragnar Kjartansson’s video installation The Visitor’s I will work through the affective and emotive temporalities of digital media art and its relation to non-sensuous perception. How can we conceive of such artworks as instigating collective individuation foregrounding the temporal affective tonality at the heart of their expression in experience?


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?


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.


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.



A bit later than thought, I am positing some images from the collaboration between Martina Fritschy and myself for the dOCUMENTA 13 readers circle we participated in on June 26, 2012. We picked Brian Holmes‘ essay “Profanity and the Financial Markets: A User’s Guide to Closing Down the Casino” from the 100 Notes/100 Thoughts Series. Our idea was not only to read and discuss the text but to change the affective tonality of such a situation toward a less hierarchical and more mutually engaging manner. We started off by facilitating drinks and inviting the members of the Occupy camp outside the Fredericianum to be our guests (thus bypassing entry-ticket checks). After approximately 30 minutes of reading 15 pizzas have been delivered to the main entrance of the gallery allowing all of us to enjoy some food while talking about the text. After about an hour we were asked to vacate the space leading us to continue our exchange occupying the stairs in front of the building.

Questions coming from our experience remain: How can we undo the appropriation of philosophy and political theory by a constantly hollowed out art dispositif? What are the techniques at hand beyond bringing together signifiers and signs? Which vocabulary can we develop for a more gestural approach through “a-signifying processes of existential singularization” (Guattari “Entering the Post-Media Era”)? And how can we move from figures such as analysis and debate toward more open-ended formations of collective aesthetic practices?


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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.

space invaders - impression taken by christoph brunner in paris 2009
In relation to my research and the fabulous projects that surfaced in the last years I thought it would be useful to have some hints towards really great sites for urban activism, actions and interventions that happen in the in-between spaces of the urban fabric. One is co-founded by Jean-Francois Proust and entitled Adaptive Actions - he is also involved in Montréal’s VIVA! Art Action festival of which I will report more throughout the week. Another great site is the well acclaimed and really beautiful site of the CCA’s (Canadian Centre for Architecture) exhibition Actions. FInally a site a good friend pointed me out to in Europe *Book [of] Urbanism. All three propose transversal, activist and creative practices that shift urban configurations and create pockets of difference.

ICMC 2009 Christoph Brunner - A Cultural Approach Toward the Interface

Attending the ICMC (International Computer Music Conference) I have seen various presentations so far of which I liked the two by Robert Gluck form Albany University most. The conference in total is very well organized and the crowd as usual appears attentive and precise. Tomorrow at 9.20 a.m. I will give my paper “A Cultural Approach Toward the Notion of the Instrument” in the Paper Session entitled Aesthetics. I regard the allocation of my paper as very suitable and will hopefully be able to give an insight on an ehtico-aesthetic approach towards creative music production and instrument/interface design. Here is the abstract:

“In the field of computer music research the development of new input devices for musical performance and sound interaction plays an important role. This paper explores the cultural implications embedded in the use and concept of the notion of the instrument in such fields. Cultural implications in this particular context are the meaning structures that evolve from knowledge expressed through language and developed through practices. The main focus of this inquiry is based on the potential to detect the impact of new computer music research on its socio-cultural environment. Concepts such as assemblage and ecology will propose alternative ways to address the hybrid relational (interdisciplinary) networks that create such input devices. This approach proposes alternative models to conceptualize interaction as performative relations between humans and nonhumans, as outlined in the domain of Science and Technology Studies. Computer research interweaves the cultural dimensions with a social context and foregrounds the political implications signified by its practices and technologies.”

The full paper can be downloaded here


The Centre for Critical and Cultural Theory In cooperation with Culture, Imagination and Practice Research Group, School of Social Sciences


In light of my acceptance for the Deleuze and Activism Conference in November in Cardiff, I would like to publish my abstract for remarks and discussion:

Expression as Micropolitical Force of Change

For Deleuze and Guattari expression evokes a shock that is in excess of the human body’s contained capacity of perception. It is the potential for change as an ethico-aesthetic and political enunciation. Expression as ethico-aesthetic concept yields the creative capacity of a becoming through an unfolding of its transductive and transversal forces of potential. Expression’s ethical implications lie in the question of “how one performatively contributes to the stretch of expression in the world” (Massumi 2002, xxii). It defines a particular mode of emergence, a becoming that is singular and yet in relation (collective). As a collective mode of becoming, expression reshapes the body as event producing a complicated field of potential that is constantly negotiated by molar captures and molecular series of singularities. The body in its state of shock becomes a negotiated territory for capture being executed (the molding of the expressive potential into a defined system) or it creatively acknowledges change (the acceptance of expression’s potential as novelty).

In an attempt to contribute performatively to the “stretch of expression in the world,” and thus to open up bodies towards the excessive potential of expression, the Senselab (www.senselab.ca) launched a series of events, called Technologies of Lived Abstraction, of which the latest was entitled “Society of Molecules (SoM).” Echoing Whitehead’s concept of society as a relational collective, SoM is a transnational and transversal series of events creating ethico-aesthetic interventions in their immediate local environment. The process-based events yielding an activist micropolitics will function as domain of inquiry to trace expression’s affects on a global, yet transversal, territory.