[-empyre-] Week 1: Intersubjectivity

Horea Avram horea.avram at gmail.com
Sat Jul 11 14:44:33 AEST 2015

To pick up on the (excellent) idea that interactive dispositifs are highly
personalized: we are now within a "soft skinned space", i.e. a
personalized, although open and penetrable space; its name, however, points
rather to the fact that this is an intersubjective space where - to quote
Manovich - "software takes command".

(To be continued)

Pe 10.07.2015 20:41, "george sabau" <george.sabau at gmail.com> a scris:

> ----------empyre- soft-skinned space----------------------
> *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 *interactivity
> *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 capabilities.
> 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
> atelier.
> 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.
>> _______________________________________________
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