View allAll Photos Tagged genZ
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
The man behind Oneohtrix Point Never is the Brooklynite Daniel Lopatin. His album Returnal (Editions Mego, 2010) was made using vintage synthesizers to create widescreen ambient landscapes. His latest album Replica (Mexican Summer, 2011) manipulates samples from 1980s TV commercials to construct evocative tracks of unexpected emotional depth. Although Lopatin has complained about people using the word "nostalgic" to describe his music, the term is rather apt. In the best sense, Replica does indeed conjure a feeling of nostalgia: as if someone has hacked into your vaguest, most distant memories and reassembled them as clear recollections of things that never really happened.
pointnever.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
Nell’ Anno Internazionale delle Foreste, la tradizionale manifestazione dell’Infiorata di Genzano, divenuta negli ultimi anni un appuntamento internazionale d’arte e di cultura, dedica alla campagna Deforestazione Zero di Greenpeace un quadro di fiori.
© Genz, Lindner / transmediale
The transmediale Marshall McLuhan Lecture 2012 will be held by Andrew Feenberg.
Andrew Feenberg is Canada Research Chair in Philosophy of Technology at the School of Communication of Simon Fraser University (Burnaby, BC). He received his doctorate from the University of California, San Diego, where he studied under Herbert Marcuse. Among his research interests are philosophy of technology, Critical Theory, the Internet, and Japanese intellectual history. His work combines an approach based on Critical Theory with concepts and methods drawn from the field of Science and Technology Studies. He is the author of Transforming Technology, Questioning Technology, Alternative Modernity, Heidegger and Marcuse, and Between Reason and Experience, co-author of When Poetry Ruled the Streets, and co-editor of Technology and the Politics of Knowledge, Modernity and Technology, and The Essential Marcuse. He has taught at Duke University, San Diego State University, the University of Paris, the University of Brasilia, and the University of Tokyo.
> sfu.ca/~andrewf
With the Marshall McLuhan Lecture, the transmediale invites a figure in the Canadian cultural landscape, whose work expands on McLuhan’s media theories in the context of contemporary culture and society, to present their insights.
Lecture topic: Ten Paradoxes of Technology
This lecture presents a philosophy of technology. It draws on what we have learnt in the last 30 years as we abandoned old Heideggerian and positivist notions and faced the real world of technology. It turns out that most of our common sense ideas about technology are wrong. This is why I have put my ten propositions in the form of paradoxes, although I use the word loosely here to refer to the counter-intuitive nature of much of what we know about technology. The story is one of reconciling the incompatibilities between whole and part, lay and expert, means and ends, authority and democracy, reason and experience.
Moderator
Kristoffer Gansing (se/de)
© Genz, Lindner / transmediale
www.transmediale.de/content/ideomotoric-chatroom-glitch-m...
ideomotoric chatroom | Billy Roisz, dieb13, Mario de Vega
Inspired by the idea of the ideo-motor reflex, for the performance ideomotoric chatroom trio Billy Roisz, Mario de Vega and dieb13 build up their work as an eclectic machine, whose basic pattern consists of seemingly automatic, unconscious and random actions and reactions. It goes beyond the difference between concept, composition and improvisation; the entire context of the performance becomes the material. On stage, the three artists interact musically and physically in the room, and visually in an ideomotor feedback loop: three overlapping projections are shown. The screen also makes the internal architecture of this "ideomotoric chatroom" visible for the audience.
Antonia sägt mit Inbrunst die Schnittstelle ihres Ringes passend. Das filigrane Sägeblatt ist tückisch. (Foto: Ilka Bärwald)
Die Goldschmiedemeisterin Katja Osterhoff-Genz schmiedet in ihrer kleinen Dorfgoldschmiede in Haltern am See individuelle Schmuckstücke nach Kundenwunsch.
Sie gibt bereits seid über zehn Jahren in Kooperation mit dem Trigon Haltern, dem Katholischen Bildungswerk Recklinghausen der VHS Marl, dem Areopag Recklinghausen der VHS Dorsten oder der Familienbildungsstätte Recklinghausen Goldschmiedekurse für Erwachsene, Kinder und Jugendliche.
Das Kurprogramm wird durch Intensivkurse mit wenigen Teilnehmern, Pastoralkursen oder Beauty&Wellness Kursen ergänzt. Regelmässig treffen Sie die Goldschmiedin zum Beispiel beim Moonlight Shopping Seppenrade und anderen Veranstaltungen.
Buchen Sie auch Ihren Platz in einem Goldschmiedekurse bei der Goldschmiedemeisterin Ihnen mit Rat und Tat zur Seite steht.
Kurstermine und weitere Informationen gibt es auf der Internetseite: www.mobile-goldschmiedekurse.de
© Genz, Lindner / transmediale
www.transmediale.de/node/20280
The work of Daniel García Andújar combines the hacking and appropriation of material of contemporary culture. As a founding member of the web collective irational, he exposed the problematic and often absurd undercurrents of Internet logic, desires, and politics. After 2000, the work became more explicit about issues around collective production, open source and the social imaginary generated by technology. In 2009 he represented Catalonia at the Venice Biennale, in 2006 opened the touring exhibition Postcapital Archive (1989 - 2001), an extensive mapping of the cultural territory from the fall of the Berlin Wall to 9/11. Andújar has received continuous support from the company Technologies to the People, where he is also an advisor.
© Genz, Lindner / transmediale
The transmediale Marshall McLuhan Lecture 2012 will be held by Andrew Feenberg.
Andrew Feenberg is Canada Research Chair in Philosophy of Technology at the School of Communication of Simon Fraser University (Burnaby, BC). He received his doctorate from the University of California, San Diego, where he studied under Herbert Marcuse. Among his research interests are philosophy of technology, Critical Theory, the Internet, and Japanese intellectual history. His work combines an approach based on Critical Theory with concepts and methods drawn from the field of Science and Technology Studies. He is the author of Transforming Technology, Questioning Technology, Alternative Modernity, Heidegger and Marcuse, and Between Reason and Experience, co-author of When Poetry Ruled the Streets, and co-editor of Technology and the Politics of Knowledge, Modernity and Technology, and The Essential Marcuse. He has taught at Duke University, San Diego State University, the University of Paris, the University of Brasilia, and the University of Tokyo.
> sfu.ca/~andrewf
With the Marshall McLuhan Lecture, the transmediale invites a figure in the Canadian cultural landscape, whose work expands on McLuhan’s media theories in the context of contemporary culture and society, to present their insights.
Lecture topic: Ten Paradoxes of Technology
This lecture presents a philosophy of technology. It draws on what we have learnt in the last 30 years as we abandoned old Heideggerian and positivist notions and faced the real world of technology. It turns out that most of our common sense ideas about technology are wrong. This is why I have put my ten propositions in the form of paradoxes, although I use the word loosely here to refer to the counter-intuitive nature of much of what we know about technology. The story is one of reconciling the incompatibilities between whole and part, lay and expert, means and ends, authority and democracy, reason and experience.
Moderator
Kristoffer Gansing (se/de)
...awaiting the arrival of a local celebrity..
The new idolatry.....amongst many many other new idols
Nell’ Anno Internazionale delle Foreste, la tradizionale manifestazione dell’Infiorata di Genzano, divenuta negli ultimi anni un appuntamento internazionale d’arte e di cultura, dedica alla campagna Deforestazione Zero di Greenpeace un quadro di fiori.
Sábado de treino classificatório da 3ª etapa da Stock Car 2018, no Autodromo do Velopark, em Nova Santa Rita, RS.
© Genz, Lindner / transmediale
www.transmediale.de/node/20280
The work of Daniel García Andújar combines the hacking and appropriation of material of contemporary culture. As a founding member of the web collective irational, he exposed the problematic and often absurd undercurrents of Internet logic, desires, and politics. After 2000, the work became more explicit about issues around collective production, open source and the social imaginary generated by technology. In 2009 he represented Catalonia at the Venice Biennale, in 2006 opened the touring exhibition Postcapital Archive (1989 - 2001), an extensive mapping of the cultural territory from the fall of the Berlin Wall to 9/11. Andújar has received continuous support from the company Technologies to the People, where he is also an advisor.
© Genz, Lindner / transmediale
No copyright UBERMORGEN.COM, 2003
Courtesy Caroll / Fletcher London, Fabio Paris Brescia, [DAM] Berlin
photo: Oliver Jiszda
PsychOS, 2004
Lambda Print on Aluminium
In common language the notion of an operating system refers to the basic set of programmes that manages the hardware resources and facilitates the software applications of our personal computers. It is the basic infrastructure that makes the enclosed entity of the computer function efficiently. But ever since the publication of Vannevar Bush’s article “As We May Think” (1945) computers have been conceived and developed in continuation of the human mind, and with the intensification of computer use is it not necessary to expand the notion and say that the operating system also affects, or rather controls, the hardware and software of our brain? And what if the operating system turns out not to function as intended, if its processors overheat or it gets infected by a virus? After a decade of dot.com success, media hacks that were discussed on CNN, a Golden Nica award, and the drug infused partying that was part of the net art jet-set, in 2002 Hans Bernhard of UBERMORGEN.COM experienced a manic attack. He was hospitalised and embarked on a quite different journey into the landscape of digital utopias, where the sky is not “Windows blue.”
Series:"#safersexting"
.
School project on the topic "#GenZ". The series should show how easily you can pick up someone or be picked up by someone nowadays...
.
.
.
.
.
📷 shows Underwood Tyler. Photos are edited by me. This is #5 of a series, maybe more some more will follow...
These new GenZ Sock Monkeys are created with babies in mind. No button eyes on these guys! Embroidered eyes mean no choking hazard and tons more hugging! Of course GenY and GenX love them too! Fresh from the sock monkey factory here in the Garden State, grab one for your special someone this holiday!
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
The man behind Oneohtrix Point Never is the Brooklynite Daniel Lopatin. His album Returnal (Editions Mego, 2010) was made using vintage synthesizers to create widescreen ambient landscapes. His latest album Replica (Mexican Summer, 2011) manipulates samples from 1980s TV commercials to construct evocative tracks of unexpected emotional depth. Although Lopatin has complained about people using the word "nostalgic" to describe his music, the term is rather apt. In the best sense, Replica does indeed conjure a feeling of nostalgia: as if someone has hacked into your vaguest, most distant memories and reassembled them as clear recollections of things that never really happened.
pointnever.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
© Genz, Lindner / transmediale
From the look of it the black external hard drive placed on the plinth is recognisable as an object ofdesire sold at media stores all over the world. Its cool minimalist aesthetic invokes the authority of technology. It is a black box that efficiently and securely protects what is inside. However, the invisible content tells a different story. The people behind Art 404 have illegally downloaded and collected 5 million dollars worth of copyrighted software, from AutoCAD to fiction books, that in size adds up to the 1 terabyte capacity of the hard drive. The object embodies a challenge to intellectual property rights. How are we to relate to this ambiguous object, at once beautiful, effective and unlawful? Is the hard drive a contemporary version of the black monolith that in Stanley Kubrick’s 2001: A Space Odyssey (1968) seems to influence the course of humankind? If so, in what direction is it taking us?
© Genz, Lindner / transmediale
Discussion with Inke Arns (de), Wolfgang Ernst (de), Jussi Parikka (fi/uk) and Siegfried Zielinski (de)
Conceived and moderated by Timothy Druckrey (us)
With such an array of histories whirling through the media sphere over the past decades, it seems important to tackle some questions about how these methodologies have and are inflecting an equally wide range of artistic practices that incorporate, re-evaluate, rethink, spoof, or re-invent technologies under rubrics ranging from “archaeology” to “variantology”. This “Open Conversation” brings together a range of participants whose work traverses historiographic and contemporary curatorial practices that resonate with assessments and contributions to this debate. In a sphere with such varied approaches to artistic production – geneaologies, archaeologies, and other approaches to revive, extend, reconsider, etc., previous techniques or media – this “conversation” will attempt to bridge differences, clarify methodologies, and, most importantly, ask what is the relevance of all this historiography in the working spheres where art is being made.