[-empyre-] Week 1: Intersubjectivity

george sabau george.sabau at gmail.com
Sat Jul 11 00:32:26 AEST 2015

*Interactive Dispositifs *

*New media *is a relevant, conclusive, and encompassing syntagm, although
an extremely prolix one; which is why one might prefer to think of related
practices as operations based on *digital dispositifs* instead. (I use here
the French term, rather than the English quasi-equivalent device or
apparatus.) In this regard, the term *inter-subjective *can only become
fully operational in relation to the term *inter-active*. Although
*is an essential feature of any given digital system, its meaning is in
turn contingent on the term-concept *interface*. As the *interfacing*
occurs between human and computer, the idea of intersubjectivity is
canceled out, since the computer, if understood as a digital entity, lacks
the ability to subjectify itself; however, as Agamben argues: “digital
dispositifs are before all else instruments that engender *subjectifying
processes*” (2010) in relation to users. Therefore, the most creative
contributions emerge on the side of the observers / spectators, inevitably
leading to *intersubjective relationships*, both as acts of reception and
interpretation, as well as in authorial-creative processes.

Even though the forms of expression that *interactive dispositifs *may take
are not manifold, they are nonetheless highly personalized; I’m referring
here to art works made on *disk *support – cd.rom, d.v.d. – which may also
include projections and displays, as well as *network *pieces – net.art,
web art – or analog-digital pieces, which would fit under the eclectic
category of *installations*. In this context, it would be hard to speak of
various degrees of *intersubjectivity*, except to the extent to which there
is a higher or lower degree of *interactivity*, which leads us to a *top
three *in participatory density. It thus becomes evident that a maximum of
interactivity belongs to Internet-based forms of expression, followed by
works made on disk formats, and by installations with fewer interactive

Certainly this “plain text” (I like it …) is based on a selective
bibliography, which is nonetheless also consistent with the exhibition
practices that have been at work for several decades in the kinema ikon

George Sabau

On Wed, Jul 8, 2015 at 5:18 PM, Ileana Selejan <ileanasel at gmail.com> wrote:

> ----------empyre- soft-skinned space----------------------
> Following-up on our previous post: for this week's discussion we're
> pleased to introduce Horea Avram (RO/CA) and George Sabau (RO). Dr.
> Avram is a professor at Babeş-Bolyai University in Cluj, where he
> teaches classes on new media art and related topics; he is a prolific
> writer & brilliant theorist who has also worked on various exciting
> curatorial projects, which he might be tempted to elaborate upon in
> this present context. Mr. Sabau is the founder of kinema ikon ca.
> 1970, the oldest experimental arts group in Romania. As a teacher and
> mentor, he has been a formative figure for several generation of
> artists and experimenters. You can read more about their history and
> current work here  http://kinema-ikon.net/ ... Extended biographies
> below.
> George Sabau, multimedia theorist, born in 1937 in Arad (Ro.).
> University BA in Aesthetics. Researcher at the Art Museum of Arad and
> professor at the Highschool for Fine Arts. Founder (1970) and animator
> of the atelier kinema ikon. Author of experimental films, video-art
> and co-author of hypermedia works on cd-roms, which participated at
> international exhibition of digital art. Theoretical texts on cinema,
> video and multimedia published in anthologies, catalogues, and various
> art magazines, including Intermedia, issued by kinema ikon. AICA
> membership. A promoter of the theoretical fiction with application in
> multimedia installation. (2015)
> Horea Avram is Lecturer at the Department of Cinematography and Media,
> Faculty of Theatre and Television, Babeş-Bolyai University, Cluj,
> Romania. Doctoral studies in Art History and Communication Studies at
> McGill University, Montreal. He researches and writes about new media
> art, representation theory, technology and visual culture. His most
> recent publications include “Augmented Reality”, Encyclopedia of
> Aesthetics, Oxford and New York: Oxford University Press, 2014; “The
> Visual Regime of Augmented Space”, in Theorizing Visual Studies:
> Writing Through the Discipline, James Elkins (ed.), New York:
> Routledge, 2013. He publishes essays in: M/C Media and Culture
> Journal, International Journal of Arts and Technology, Kinephanos,
> Ekphrasis, Idea. Art + Society, Arta, etc. Independent curator since
> 1996. He has curated most notably for Venice Biennale in 1999.
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
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