No subject

Wed Sep 17 19:00:04 EST 2014

ations
of digital materiality further, particularly as it relates to digital
objects. Digital Materiality, as concept and phenomenon, lends itself to a
conversation on digital objects in two significant ways. First, much of the
recent work on digital objects is informed by materiality either through
phenomenological accounts of their =E2=80=9Cmaterial=E2=80=9D grounds or in=
 response to
philosophies associated with Materialism.  Second, materiality is
frequently leveraged as a means of animating digital objects, ascribing
them with agency and vitality as autonomous material =E2=80=9Cthings=E2=80=
=9D. In this
case, materiality becomes an essential means through which to articulate
digital objects as such. In response to these terms, and building upon our
discussion of practice, during our second week we will explore questions
such as:

> Beyond citing the physically robust supports of computation, how might we
account for the materiality of the digital? What makes the digital material=
?

> What are the conceptual and political ramifications of attributing
materiality to digital objects?

> How might we respond to Kirschenbaum and Drucker's assertion that digital
materiality is a matter of modeling, appearance, and interpretation? If we
are in agreement with these terms, what implications does this have for the
terms of materiality? What implications does this have for
conceptualizations of 21st century computing?

> What insight might contemporary new media artists, artworks and making
practices provide into current debates regarding digital materiality?

*Invited Discussants*

*Yuk Hui* is currently postdoctoral researcher at the Centre for Digital
Cultures in Leuphana University L=C3=BCneburg in Germany, where he has cond=
ucted
research projects on the work of Gilbert Simondon, J-F. Lyotard's Les
Immat=C3=A9riaux as well as a project on personal archives; Before joining =
the
CDC, he was postdoctoral researcher at the Institut de Recherche et
d'Innovation of Centre Pompidou in Paris. Yuk Hui has led several joint
research projects with Tate, Centre Pompidou as well as T-Labs Berlin. He
obtained his PhD in Philosophy from Goldsmiths University of London, with a
thesis titled On the Existence of Digital Objects.

*Jan Robert Leegte* is a net-based artist and curator researching the
phenomenology and conceptual understanding of digital materiality
introduced by the arrival of the computer and the internet. He is
lecturer at the Gerrit Rietveld Academy, Amsterdam and at the ArtEZ
Academy in Arnhem and cofounded the Internet Art and Culture research
platform browerBased based online and in Amsterdam.

*Kelani Nichole* is an independent digital strategist and curator working
at the intersection of Art + Technology. She is the Director of TRANSFER,
an exhibition space in Brooklyn, NY that explores the friction of networked
contemporary practice and its physical instantiation. Nichole has produced
and hosted 25 (and counting) exhibitions supporting artists working with
computer-based practices in NYC and Philadelphia, and has exhibited
internationally at art fairs in London, Munich, and Istanbul.

*Nicholas O=E2=80=99Brien* is a net-based artist, curator, and writer. His =
work has
appeared and featured in several publications including ARTINFO, Rhizome at
the New Museum, Junk Jet, Sculpture Magazine, Dazed Digital, The Creators
Project, DIS, Frieze d/e, San Francisco Art Quarterly, the Brooklyn Rail,
and the New York Times. Currently he teaches as a visiting artist professor
and gallery director for the Department of Digital Art at the Pratt
Institute in Brooklyn.

*Daniel Rourke* is a writer and artist currently finalizing a PhD in Art
(and writing) at Goldsmiths, University of London. His work is concerned
with re-articulating the digital in light of current debates surrounding
posthumanism, and is predominantly realized through critical fabulations
that treat everything as a science fiction. He is visiting lecturer in the
History of Art, Design and Film at Kingston University, London, and
visiting lecturer in Arts and Digital Media at London South Bank
University.

*Brian Cantwell Smith* (Respondent =E2=80=93 University of Toronto, Faculty=
 of
Information) =E2=80=93 Professor Brian Cantwell Smith's research focuses on=
 the
conceptual foundations of computation, information, and cognitive science,
and on the use of computational metaphors in such fields as biology,
physics, and art. These investigations have increasingly led him into
metaphysics -- specifically, to an attempt to lay out a systematic
metaphysics that aims (i) to steer a path between realism and
constructivism, (ii) to account for the integrated emergence of subject and
object, and (iii) to reconcile our causal and normative understandings of
the world ("matter" and "mattering"). A first cut at this project was first
described in On the Origin of Objects (MIT, 1996). A multi-volume study of
the foundations of computing, The Age of Significance, is being
simultaneously published by MIT Press and serially, on the web, over a
period of five or six years (at www.ageofsignificance.org).

*Phil Thompson* (born 1998, Manchester) is an artist who lives and works in
London. His work engages with the role that digital reproduction has on
original artifacts, as well as questioning the materiality of digital files
themselves. He has exhibited internationally and is currently represented
by Xpo Gallery in Paris.

*REFERENCES OF POTENTIAL INTEREST*

Blanchette, J.F. (2011) =E2=80=9CA Material History of Bits.=E2=80=9D Journ=
al of the
American Socity for Information Science and Technology, 62(6):1042-1057

Brown, B. (2010) =E2=80=9CMatter,=E2=80=9D in Critical Terms for Media Stud=
ies. Ed.
Mitchell. W.J.T & Hansen, B.N. Chicago: University of Chicago Press.

Chun, W. (2008) =E2=80=9CThe Enduring Ephemeral, or the Future Is a Memory.=
=E2=80=9D
Critical Inquiry V.35:148-171

Drucker, Joanna (2009) SPECLAB: Digital Aesthetics and Projects in
Speculative Computing. Chicago: University of Chicago Press.

Ekbia, Hamid R. (2009) =E2=80=9CDigital Artifacts as Quasi-Objects: Qualifi=
cation,
Mediation, and Materiality,=E2=80=9D Journal of the American Society for
Information Science and Technology. Vol. 60(12), pp. 2554-2566

Groys, B. (2012) Under Suspicion: A Phenomenology of Media. Trans. Carsten
Strathausen. New York: Columbia University Press.

Hui, Y. (2012) =E2=80=9CWhat is a Digital Object?=E2=80=9D Metaphilosophy. =
Vol 43, No. 4

Kirschenbaum, M. (2010) Mechanisms: New Media and the Forensic Imagination.
Cambridge: MIT Press

Leegte, J. (2010) =E2=80=9CDrop Shadow Talk: Observing the Shadow of Shadow=
s.=E2=80=9D
Public Lecture at the Berlin Technische Kunsthochscule: Hochschule fuer
Gestaltung.

Leonardi, P. and Barley, S. (2008) =E2=80=9CMateriality and Change: Challen=
ges to
building better theory about technology and organizing.=E2=80=9D Informatio=
n and
Organization, 18:159-176

Lillemose, Jacob (2006) =E2=80=9CConceptual Transformations of Art: From
Dematerialization of the Object to Immateriality in Networks,=E2=80=9D in C=
urating
Immateriality. Ed.

Nunes, M. (2011) =E2=80=9CError, Noise, and Potential: The Outside of Purpo=
se,=E2=80=9D in
Error: Glitch, Noise, and Jam in New Media Cultures. Ed. Mark Nunes. New
York: Continuum

Parikka, J. (2012) =E2=80=9CNew Materialism as Media Theory: media Natures =
and
Dirty Matter.=E2=80=9D Communication And Critical/Cultural Studies. Vol. 9,=
 No. 1,
pp. 95-100. Routledge

Steyerl, H. (2010) =E2=80=9CA Thing Like You and Me.=E2=80=9D e-flux. 2010:=
04

Steyerl, H. (2009) =E2=80=9CIn Defense of the Poor Image.=E2=80=9D e-flux. =
2009:11

Stevens, Martijn (2012) =E2=80=9CSettle for Nothing: Materializing the Digi=
tal,=E2=80=9D
ArtNodes No. 12.

Thrift, N. (2006) =E2=80=9CBeyond Mediation: Three New Material Registers a=
nd their
Consequences,=E2=80=9D in Materiality. Ed. David Miller. Durham: Duke Unive=
rsity
Press.

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<div dir=3D"ltr">

<p class=3D"MsoNormal" style=3D"text-align:left"><span style=3D"font-family=
:Arial">Dear --empyre-- community,</span></p><p class=3D"MsoNormal" style=
=3D"text-align:left"><span style=3D"font-family:Arial"><br></span></p><p cl=
ass=3D"MsoNormal" style=3D"text-align:left"><span style=3D"font-family:Aria=
l">While I hope that our conversation on PRACTICE will continue, (there are=
 still several engaging threads on the go,) I would like to circulate the i=
ntroduction for our second sub-theme, MATTER.=C2=A0</span></p><p class=3D"M=
soNormal" style=3D"text-align:left"><span style=3D"font-family:Arial"><br><=
/span></p><p class=3D"MsoNormal" style=3D"text-align:left"><font face=3D"Ar=
ial">Please do join in on the conversation, if you feel so inclined!</font>=
</p><p class=3D"MsoNormal" style=3D"text-align:left"><font face=3D"Arial"><=
br></font></p><p class=3D"MsoNormal" style=3D"text-align:left"><font face=
=3D"Arial">Kindly,</font></p><p class=3D"MsoNormal" style=3D"text-align:lef=
t"><font face=3D"Arial"><br></font></p><p class=3D"MsoNormal" style=3D"text=
-align:left"><font face=3D"Arial">A.</font></p><p class=3D"MsoNormal" align=
=3D"center" style=3D"text-align:center"><span style=3D"font-family:Arial"><=
br></span></p><p class=3D"MsoNormal" align=3D"center" style=3D"text-align:c=
enter"><span style=3D"font-family:Arial"><br></span></p><p class=3D"MsoNorm=
al" align=3D"center" style=3D"text-align:center"><br></p>

<p class=3D"MsoNormal" align=3D"center" style=3D"text-align:center"><b><spa=
n style=3D"font-family:Arial">ON MATTER</span></b></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=E2=80=9CWithout a
basic understanding of the material constraints under which computing syste=
ms
operate, essential dynamics that animate the built environment of the virtu=
al
will remain invisible and unaccounted for=E2=80=9D (Blanchette 2011: 1055).=
 </span></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

According
to Matthew Kirschenbaum, digital materiality refers to =E2=80=9Cthe multipl=
e behaviors
and states of digital objects and the relational attitudes by which some ar=
e
naturalized as a result of the procedural friction, or torque, =E2=80=A6 im=
posed by
different software environments=E2=80=9D (2012: 132-133). Distinguishing be=
tween
forensic (physical) materiality and formal (symbolic-digital) materiality,
Kirschenbaum explains that the formal materiality specific to digital objec=
ts
is one of durable appearance =E2=80=93 it involves the =E2=80=9Csimulation =
or modeling of
materiality via programmed software processes=E2=80=9D (9). Reading Kirsche=
nbaum across
Johanna Drucker, this formulation of formal materiality suggests that digit=
al
materiality emerges through =E2=80=9Ca process of interpretation rather tha=
n a positing
of the characteristics of the objects=E2=80=9D (Drucker 1994: 43). <=
/p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

From
October 12th =E2=80=93 19th we will be discussing the=
 terms and
implications of digital materiality further, particularly as it relates to
digital objects. Digital Materiality, as concept and phenomenon, lends itse=
lf
to a conversation on digital objects in two significant ways. First, much o=
f
the recent work on digital objects is informed by materiality either throug=
h
phenomenological accounts of their =E2=80=9Cmaterial=E2=80=9D grounds or in=
 response to
philosophies associated with Materialism.=C2=A0
Second, materiality is frequently leveraged as a means of animating
digital objects, ascribing them with agency and vitality as autonomous mate=
rial
=E2=80=9Cthings=E2=80=9D. In this case, materiality becomes an essential me=
ans through which to
articulate digital objects as such. In response to these terms, and buildin=
g
upon our discussion of practice, during our second week we will explore
questions such as:

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

&gt; Beyond
citing the physically robust supports of computation, how might we account =
for
the materiality of the digital? What makes the digital material?

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">&gt; What
are the conceptual and political ramifications of attributing materiality t=
o
digital objects?</span></p>

<p class=3D"" style=3D"text-align:justify"><span style=3D"font-family:Arial=
">=C2=A0</span></p>

&gt; How might we respond to Kirschenbaum and
Drucker&#39;s assertion that digital materiality is a matter of modeling,
appearance, and interpretation? If we are in agreement with these terms, wh=
at
implications does this have for the terms of materiality? What implications
does this have for conceptualizations of 21st century computing?

<p class=3D"" style=3D"text-align:justify"><span style=3D"font-family:Arial=
">=C2=A0</span></p>

<p class=3D"" style=3D"text-align:justify"><span style=3D"font-family:Arial=
">&gt; What insight might contemporary new media
artists, artworks and making practices provide into current debates regardi=
ng
digital materiality?</span></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><b><span style=3D"font-=
family:Arial">=C2=A0</span></b></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><b><span style=3D"font-=
family:Arial">Invited Discussants</span></b></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

Yuk Hui</=
span> is currently p=
ostdoctoral researcher at the
Centre for Digital Cultures in Leuphana University L=C3=BCneburg in Germany=
, where
he has conducted research projects on the work of Gilbert Simondon, J-F.
Lyotard&#39;s=C2=A0Les Immat=C3=A9riaux=C2=A0as
well as a project on personal archives; Before joining the CDC, he was
postdoctoral researcher at the Institut de Recherche et d&#39;Innovation of=
 Centre
Pompidou in Paris. Yuk Hui has led several joint research projects with Tat=
e,
Centre Pompidou as well as T-Labs Berlin. He obtained his PhD in Philosophy
from Goldsmiths University of London, with a thesis titled=C2=A0On the Exis=
tence of Digital Objects.</=
p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

<pre style=3D"background-image:initial;background-repeat:initial"><b><span =
style=3D"font-family:Arial">Jan Robert Leegte</span></b><span style=3D"font=
-family:Arial"> is a net-based artist and curator researching the phenomeno=
logy and conceptual understanding of digital materiality introduced by the =
arrival of the computer and the internet. He is lecturer at the Gerrit Riet=
veld Academy, Amsterdam and at the ArtEZ Academy in Arnhem and cofounded th=
e Internet Art and Culture research platform browerBased based online and i=
n Amsterdam.</span></pre>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

Kelani Ni=
chole is an i=
ndependent digital
strategist and curator working at the intersection of Art + Technology. She=
 is
the Director of TRANSFER, an exhibition space in Brooklyn, NY that explores=
 the
friction of networked contemporary practice and its physical instantiation.
Nichole has produced and hosted 25 (and counting) exhibitions supporting
artists working with computer-based practices in NYC and Philadelphia, and =
has
exhibited internationally at art fairs in London, Munich, and Istanbul.</sp=
an>

<p class=3D"MsoNormal" style=3D"background-image:initial;background-repeat:=
initial"><span style=3D"font-family:Arial">=C2=A0</span></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

Nicholas =
O=E2=80=99Brien is a net-based artist, curator, and writer. His =
work has
appeared and featured in several publications including ARTINFO, Rhizome at=
 the
New Museum, Junk Jet, Sculpture Magazine, Dazed Digital, The Creators Proje=
ct,
DIS, Frieze d/e, San Francisco Art Quarterly, the Brooklyn Rail, and the Ne=
w
York Times. Currently he teaches as a visiting artist professor and gallery
director for the Department of Digital Art at the Pratt Institute in Brookl=
yn.

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

Daniel Ro=
urke is a wri=
ter and artist currently finalizing
a PhD in Art (and writing) at Goldsmiths, University of London. His work is=
 concerned
with re-articulating the digital in light of current debates surrounding
posthumanism, and is predominantly realized through critical fabulations th=
at
treat everything as a science fiction. He
is visiting lecturer in the History of Art, Design and Film at Kingston
University, London, and visiting lecturer in Arts and Digital Media at Lond=
on
South Bank University.=C2=A0

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

Brian Can=
twell Smith (Respondent =E2=80=
=93 University of Toronto, Faculty of
Information) =E2=80=93 Professor Brian=
 Cantwell
Smith&#39;s research focuses on the conceptual foundations of computation,
information, and cognitive science, and on the use of computational metapho=
rs
in such fields as biology, physics, and art. These investigations have
increasingly led him into metaphysics -- specifically, to an attempt to lay=
 out
a systematic metaphysics that aims (i) to steer a path between realism and
constructivism, (ii) to account for the integrated emergence of subject and
object, and (iii) to reconcile our causal and normative understandings of t=
he
world (&quot;matter&quot; and &quot;mattering&quot;). A first cut at this
project was first described in On the Origin of Objects (MIT, 1996). A
multi-volume study of the foundations of computing, The Age of Significance=
, is
being simultaneously published by MIT Press and serially, on the web, over =
a
period of five or six years (at=C2=A0<a href=3D"http://www.ageofsignificance.org/">www.ageofsignificance.org</a>).=

<p class=3D"MsoNormal" style=3D"text-align:justify"><b><span style=3D"font-=
family:Arial">=C2=A0</span></b></p>

Phil Thompson </=
span>(born 1998, Manchester) is an artist=
 who lives and works in
London. His work engages with the=C2=A0role that=C2=A0digital reproduction =
has
on original artifacts, as well as questioning the materiality of digital fi=
les
themselves. He has exhibited internationally and is currently represented b=
y
Xpo Gallery in Paris.

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><span style=3D"font-fam=
ily:Arial">=C2=A0</span></p>

<p class=3D"MsoNormal" style=3D"text-align:justify"><b><u><span style=3D"fo=
nt-family:Arial">REFERENCES OF POTENTIAL INTEREST</span></u></b></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

Blanchette,
J.F. (2011) =E2=80=9CA Material History of Bits.=E2=80=9D Journal of the Am=
erican Socity for
Information Science and Technology, 62(6):1042-1057

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

Brown, B. (2010)
=E2=80=9CMatter,=E2=80=9D in Critical Terms for Media Studies. Ed. Mitchell=
. W.J.T &amp;
Hansen, B.N. Chicago: University of Chicago Press.

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">Chun,
W. (2008) =E2=80=9CThe Enduring Ephemeral, or the Future Is a Memory.=E2=80=
=9D Critical Inquiry
V.35:148-171</span></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

Drucker,
Joanna (2009) SPECLAB: Digital
Aesthetics and Projects in Speculative Computing. Chicago: University of
Chicago Press.

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">Ekbia, Hamid=
 R. (2009)
=E2=80=9CDigital Artifacts as Quasi-Objects: Qualification, Mediation, and =
Materiality,=E2=80=9D
Journal of the American Society for
Information Science and Technology. Vol. 60(12), pp. 2554-2566=C2=A0 =C2=A0=
 =C2=A0 =C2=A0 =C2=A0=C2=A0
</span></p>

Groys, B. (2=
012) Under
Suspicion: A Phenomenology of Media. Trans. Carsten Strathausen. New York: =
Columbia University Press.

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">Hui, Y. (201=
2) =E2=80=9CWhat is a
Digital Object?=E2=80=9D Metaphilosophy. Vol 43, No. 4</span></p>

Kirschenbaum=
,
M. (2010) Mechanisms: New Media and the Forensic Imagination. Cambridge: MI=
T
Press

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">Leegte,
J. (2010) =E2=80=9CDrop Shadow Talk: Observing the Shadow of Shadows.=E2=80=
=9D Public Lecture
at the Berlin Technische Kunsthochscule: Hochschule fuer Gestaltung. </span=
></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

Leonardi, P. and
Barley, S. (2008) =E2=80=9CMateriality and Change: Challenges to building b=
etter theory
about technology and organizing.=E2=80=9D=C2=A0Information
and Organization, 18:159-176

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">Lillemose,
Jacob (2006) =E2=80=9CConceptual Transformations of Art: From Dematerializa=
tion of the Object
to Immateriality in Networks,=E2=80=9D in Curating Immateriality. Ed.</span=
></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

Nunes,
M. (2011) =E2=80=9CError, Noise, and Potential: The Outside of Purpose,=E2=
=80=9D in Error:
Glitch, Noise, and Jam in New Media Cultures. Ed. Mark Nunes. New York:
Continuum

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

Parikka,
J. (2012) =E2=80=9CNew Materialism as Media Theory: media Natures and Dirty=
 Matter.=E2=80=9D
Communication And Critical/Cultural Studies. Vol. 9, No. 1, pp. 95-100.
Routledge

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial">=C2=A0</span=
></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial;background-im=
age:initial;background-repeat:initial">Steyerl, H. (2010)
=E2=80=9CA Thing Like You and Me.=E2=80=9D e-flux. 2010:04=C2=A0
</span></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial;background-im=
age:initial;background-repeat:initial">=C2=A0</span></p>

<p class=3D"MsoNormal" style><span style=3D"font-family:Arial;background-im=
age:initial;background-repeat:initial">Steyerl, H. (2009)
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