[-empyre-] empyre: Resistance is futile, ISEA, Sydney 2013 - week 2

Gary Warner gwarner at cdpmedia.com.au
Mon Jul 8 20:06:27 EST 2013

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resistance is futile / fertile / facile / fecund / febrile / feral / fecal [predictive text doesn't want to let me type this word - suggests 'decal' - I have to actively opt-out of its algorithmic second-guessing - resistance is, indeed, required] … these and innumerable other pseudo-slogans, puns and putative semantic finials were casually tossed around isea's conversational littoral 

which is where the action is - the littoral zones in-between talks, openings, events, meals, sleeps - where the brokerage unfolds, the ontological beds are messed or made, the seeds sown, metonyms tested, agency wended, metaphors mixed, introductions extended…

where there's little resistance, 'cause its about flow and where that takes us, about the polity of digital arts like-mindedness, like all like-mindedness polities, like venn diagrams, some overlap, lots of enclosure and a lot more beyond...

that week, I left my one-room production studio piled high with books, devices, debris, deadlines, and wandered the halls of academe, sat in theatres and wondered how so many people who perhaps 'do this for a living' still read their powerpoint slides out loud - still use powerpoint at all - resistance is negligible, it seems, when such poorly designed, who-knows-how-that-happened ubiquitous junk software for decades shapes the performative deliverance of connection twixt mind-idea and other bodies in over-conditioned spaces…

but that's just a niggling aside… I do like to listen to others, see their images, hear their sounds ...

if resistance is futile, engagement is all - aptly demonstrated in michael naimark's mnemonic time-casting, flicking lines out into the never-the-same river of human inventiveness, reeling in slippery anecdotal instances, those old names, those young faces, splashing about in the tributarial memory pool of our digital arts wetlands - under the cascade of technologic supercession - dromo, hypno, techno, psycho - those influencing machines hacked out of desire to command, control, stretch and bend this soft-skinned fragility…

nothing is less than a little

the technolateral boundaryland {of social media] invites us to go disjecta membra, go touch-action fever, go microdish hunter

go invocation of the antecedents - a little heidegger, a refreshing spray of zizek, a deleuzian waft, a blast of virillion velocity... and there's guy debord deriving - hey there, guy, long time no see/hear/run/play } hats in the air to d'cruz and de bruyn - situated, saturated, intoxicated remonstrances, remembrance swirl, we've been at this game a while now { 

resistance is perennial, enduring, emphatic…

resistance is binary mechanism - the perpetual motion of ideological affray, the piston and shaft of human enginuity [no, no, predictive text machine - I wanted to write that]

now dusk has passed, night arisen - time to wander the streets among my citizen anonymies, make my way home in this here and now, under the streetlights, past the backlit promotions, dodging vehicles, catching the bus, having a beer, reading to sleep…

gary warner




blurb books

cdp media

On 08/07/2013, at 4:19 PM, BIGGS Simon <s.biggs at ed.ac.uk> wrote:

> ----------empyre- soft-skinned space----------------------
> Welcome to week two of empyre's July 2013 discussion: Resistance is futile, ISEA Sydney, 2013
> Thank you to Terry Flaxton, who graciously and provocatively kicked off the debate for the month. Other's, notably Johannes Birringer, Christine Spiesel and Simon Taylor, responded energetically, with much of the focus being upon how knowledge and cognition might variously be constituted. Thanks to everyone for writing and reading.
> Before introducing the second week's three discussants (Paul Sermon, Charlotte Gould and Gary Warner) it is probably wise to restate that July's discussion on empyre will engage the themes and activities underlying and emerging from this year's International Symposium of Electronic Arts, held in and around Sydney, Australia during June 2013. The primary theme for ISEA was "resistance is futile". How are we to interpret this? Resistance to what? The conference programme offered a positive take on this statement - proposing that the electronic arts have moved from the margins to occupy a central role in contemporary culture. But has this happened - and, if it has, is it generally the case or only so in certain contexts? Resistance can be a positive or a negative form of agency. Are we talking about resistance as something heroic or reactionary - or both? What of those aspects of our technologised society which many of us would wish to resist? Do we seek to be the willing subjec
> ts of the pervasive surveillance systems the ISEA keynote Julian Assange spoke of and which are again in the news after Edward Snowden's recent revelations? Do we wish to be gamified and appropriated into the attention economy? Is it possible to resist these forces?
> Other themes were also apparent at ISEA, addressed in the various conference tracks and emergent in the creative works presented. Important questions were asked about:
> - sustainability - how this can be achieved in relation to the environment but also how artists, arts groups, academics and activists might ensure their activities are sustainable as the processes of technologisation and globalisation unfold?
> - notions of the human - what does it mean to be human now, in the context of developments in genetics and ICT?
> - globalisation, diasporas and cultural identity?
> - the boundaries of the real - where virtual and augmented realities have become pervasive media?
> - the post-digital and its implications for aesthetics and questions of agency?
> - the challenges and opportunities associated with big data?
> - urbanism, activism and the socially disruptive potential of technology?
> Our guests during the second week of our discussion about resistance and futility are:
> Gary Warner (AU) has a 40-year history of cultural engagement in Australian and international galleries, museums, botanic gardens and visitor centers as artist, curator, writer, creative director and digital media producer. He has collaborated with leading artists, exhibition designers and architecture firms, curated large-scale exhibition projects, directed and produced numerous multimedia installations, and researched and written interpretation of social history, natural sciences, contemporary art and Aboriginal and Torres Strait Islander cultures. While skilled in the use of digital media systems, he maintains a strong interest in hand-making, building small buildings, the adventure of materials and writing tanka poetry. Recent exhibition projects have included pencil drawings, folded paper and laser-cut plywood structures, and custom design of a timber and aluminium system for construction of geodesic domes.
> Paul Sermon (GB) has, since the early nineteen-nineties, pursued practice-based research centered on the creative use of telecommunication technologies. Through the unique use of videoconference techniques in artistic telepresence applications he has developed a series of celebrated telematic art installations that have been widely exhibited throughout Europe, East Asia, the United States and Australia, including first prize awards at the Interactive Media Festival Sparky Awards in Los Angeles, the Prix Ars Electronica Golden Nica Award in Linz, as well as nominations for the San Francisco World Technology Awards, the ZKM International Media Art Prize Karlsruhe and twice Prix Ars Electronica runner up.
> Charlotte Gould (GB) is Senior Lecturer in Digital Media at the University of Salford, School of Arts & Media. Through her research she explores the creative and cultural potential that urban screens have to offer in the digital media age and how these emerging technologies and digital infrastructure impact on how the public interacts within the urban environment. She has undertaken a number of interactive installations and projects with key industrial partners, including interactive installations for Moves09 at the BBC Big Screen in Liverpool, the BBC Big Screen at the Glastonbury Festival and for ISEA09 at the Waterfront Hall Belfast.
> moderator:
> Simon Biggs
> simon at littlepig.org.uk<mailto:simon at littlepig.org.uk>
> http://www.littlepig.org.uk @SimonBiggsUK http://amazon.com/author/simonbiggs
> s.biggs at ed.ac.uk<mailto:s.biggs at ed.ac.uk> Edinburgh College of Art, University of Edinburgh
> http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php
> http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html
> http://www.eca.ac.uk/circle/  http://www.elmcip.net/  http://www.movingtargets.org.uk/  http://designinaction.com/
> MSc by Research in Interdisciplinary Creative Practices  http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php
> -- 
> The University of Edinburgh is a charitable body, registered in
> Scotland, with registration number SC005336.
> _______________________________________________
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