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© 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)
Dạo này lướt mạng, thấy từ "Sẽ gầy" xuất hiện dày đặc, nhất là trong cộng đồng GenZ đúng không cả nhà? 🤔
Nghĩa đen thì đơn giản là "sẽ ốm đi" thôi.
Nhưng cái "sẽ gầy" mà mọi người hay dùng trên mạng lại mang nghĩa bóng là... "sex gay" đó! ️🌈 Từ lóng này dùng để nói giảm, nói tránh hoặc đôi khi là cách trêu đùa khi nhắc đến quan hệ đồng giới nam.
Là GenZ, tiếp xúc với đủ loại tiếng lóng, nhưng liệu chúng ta có *hiểu đúng* về ý nghĩa và *tác động* của chúng, đặc biệt khi nó chạm đến vấn đề nhạy cảm như giới tính, xu hướng tính dục không?
Việc dùng từ "Sẽ gầy" có thật sự chỉ là "cho vui", hay đang vô tình góp phần bình thường hóa việc nói đùa, thậm chí là thiếu tôn trọng về một nhóm trong xã hội? Dùng từ lóng như vậy có đang làm méo mó cách chúng ta nhìn nhận về giới và tình dục không? Comment cho page biết ý kiến của bạn nhé! 👇
#Segay #TiengLongGenZ #GioiTinh #TinhDuc #ThaoLuanMangXaHoi #HieuDung
Nguồn: www.gioitinhtuoiteen.org.vn/teenager/thuat-ngu/se-gay-la-gi/
Dave Genz, inventor of the Fish Trap, with an unbelievable Large Mouth on the ice at Bomoseen while out with Shawn. Check out more about Dave and his contributions to ice fishing at www.davegenz.com
Shawn Hayes, The Fish Whisperer, has a great guide service that you can learn more about here, www.thefishwhispererguideservice.com, or email him at fishwhisperer66@hotmail.com
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"
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School project on the topic "#GenZ". The series should show how easily you can pick up someone or be picked up by someone nowadays...
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📷 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.
© Genz, Lindner / transmediale
Dark Drives: Uneasy Energies in Technological Times
www.transmediale.de/de/node/20516
www.transmediale.de/node/20515
The focus on “uneasy energies in technological times” in the transmediale 2012 exhibition responds directly to the overall “in/compatible” theme of the festival. On the one hand, uneasy energies can be said to produce the in/compatible, while on the other hand the in/compatible can be said to produce uneasy energies. The two form a circuit of mutual exchange. The question of which one of the two comes first and determines the other is beside the point. The point is rather to engage with the multiple instances where uneasy energies and the in/compatible connect and generate processes that challenge consensual and standardised perceptions of technology. As such the exhibition is inscribed within the context of the festival theme at the same time as it is intended to expand the vocabulary of the in/compatible through the art works and cultural objects displayed.
But what exactly are “uneasy energies in technological times”? Rather than attempting a definition by references to philosophy or art history, the exhibition through an extensive and diverse group of examples claims that distortions, ambiguities, irritations, ironies, and unrest constitute as a significant trajectory in our relations with modern technology and have done so since the use value of electricity was discovered. It is a trajectory that resists conventional formalisation and the exhibition challenges visitors to develop a sensibility and intelligence towards the trajectory as a way to engage with the critical and inventive potentials that it contains.
However, just like the uneasy energies in themselves do not add up to a clear point, the exhibition does not aim at resolution. It offers no promise of overcoming the uneasy energies. On the contrary, it claims that uneasy energies are insuperable, an integral and constitutive part of technological times, and invites visitors to explore the trajectories and horizons of the dark drives that they present.
The exhibition is curated by Jacob Lillemose.
Angelo Sferrazza, capo ufficio stampa di Greenaccord, e signora
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
Solch hübsche Schmuckstücke können selbst geschmiedet werden - dafür bedarf es allerdings etwas Übung. (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
With: Susanne Jaschko (de), Rudolf Frieling (de/us) (image), Thomas Munz (de), Dieter Daniels (de), moderator Baruch Gottlieb (ca/de)
In computer jargon, to "unarchive" something is to de-compress data, such as from a zip file or on a backup drive. The archive in this form is an unaccessible, incompatible being. It is inherently in need of unpacking. Join us in this session in an attempt to dig into the 25-year old transmediale archive and unpack some of its impenetrable secrets.
Initially, transmediale Advisory Board member Dieter Daniels will place the history of the festival within the context of the emergence and subsequent institutionalisation of media arts festivals in Germany and abroad. Baruch Gottlieb will then talk about his work with the transmediale archive as such, explaining how it is being digitised, disseminated online and given a presence in the current festival programme. A more curatorial perspective on past festivals will be given by Thomas Munz, former transmediale film and video curator, who will focus on unpacking works shown at transmediale from the late 1990s onwards. Finally, two special guests from different formative and transitional eras in the festival history: curators Rudolf Frieling and Susanne Jaschko who have been asked to each "unarchive" an item from the transmediale history.