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Seth Oliver Wheeler. Seth Hastings Wheeler. The Replicator Moment? Critical Shorts. Happy Precarity Critical Shorts. Occupy Everything! Toggle navigation. Mobile Apps Login. Full Profile. Mentions about a name: Seth Wheeler. Lived in:. Resumes Resumes Engineering and Facility Operations.

Work Company:. Underwater Wonders Owner since Minnesota State University, Mankato. Journeyman electrician, UPS systems, Generators, Power distribution, building monitoring systems, etc. Professionals Accountants Bookkeeper. Food Preparation Worker. Head Cook. Aerospace Engineer. Chief Executive. Operations Manager. Date of birth:. Total arrested:. Publications Amazon The Replicator Moment? The painter walks into his garden and decides to paint the garden in all its minute detail. Upon finishing, however, he realizes that he himself is missing from the painting, so he adds himself.

Now, he has the painting he wanted.

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But a second later, he realizes that the painting is incomplete, because the totality of the situation is: a garden, the painter and a painting with a painter painting. So he starts again, but when he finishes he realizes that also the new painting fails to capture the new totality, because the painting should have a garden and a painting with a painter painting a painting with a painter in it. He starts again and again but never manages to paint the garden in all its minute detail. If reality cannot be accepted as an object-in-itself to be grappled from the outside, what are the ethical and political implications?

If the observer is understood to be an inextricable part of reality, how does this affects our definitions of objectivity, truth, neutrality, bias, etc.? Is the search for reality like an endless sliding-down-and-into the rabbit hole? Or, is it just a temporary tunnel that can lead to a more stable answer? When and how do we make a conscious decision on any given situation?

Welcome to the Rabbit Hole!

Curated by Mengxi Wang, who created this programme as part of her internship at Impakt. We have full time functions, but also more flexible services. Sign up now! For that period, Impakt is looking for a responsible and reliable exhibition manager who manages the location.

This includes opening and closing the exhibition, checking and selling the tickets and being a host for the visitors. Ideal for combining with studying or writing your thesis. For Het Huis Utrecht, Impakt needs assistant location managers to ensure that everything runs smoothly. They help ensure that each program starts on time, has a coordinating role and is the contact person for guests, artists, public and volunteers. Want to know more about how logistically works at a festival?

Are you a social person with a flexible attitude, who can deal with problems and has a sense of responsibility? Then this position is definitely for you! As a stage manager, you will work with the producer and technicians of Het Huis to make sure the programs run smoothly.

For this function it is important that you have some knowledge and experience with audiovisual technology. As an operator, you are responsible for the problem-free realization of the audiovisual programs in Het Huis Utrecht. During the festival you take care of ticket sales and provide guests with information about the program. You are precise, have a good sense of responsibility, service oriented and hospitable. You run the guest desk, have a lot of contact with visitors, speakers, artists and other guests of the festival. You can give more information about the festival and the program.

You make sure we have a delicious lunch every afternoon from groceries to the dishwasher and help the caterer to serve dinner. Both in Het Huis Utrecht and at the exhibition, the construction and decoration team makes sure Impakt looks good! Are you good with your hands?

Buildin a pedestal is easy for you? You know how to screw in a lightbulb? You like to paint or build a wall? Want to take a look behind the scenes at the production department? Then this job may be something for you. Together with the producers, you make sure that all materials are in the right place on time. Road knowledge of Utrecht is a pre, no must. A driving license is very convenient. Can you plan well and are not you afraid towork hard? Then we will be happy to meet your application. Moving images are, in their essence, a visual manipulation; a sequence of still images becomes a moving image.

A new world is created where every image is ripped out of context and used for the purpose of the message one wants to get across. Do you want to be part of an organization full of media, art, film and discoveries? Are you enjoying your studies in the cultural field, but are you also eager to check how it actually works in real life? Do you love art, digital culture and media? Apply for an internship at Impakt! A brief introduction to who we are: Impakt is a media arts organization based in Utrecht and founded in We present critical and creative views on contemporary media culture and arts, in an interdisciplinary context.

Our aim is to identify emerging paradigms in transglobal culture, by focusing on the relationship between society, media, technology and arts. To this end, Impakt organizes the annual Impakt Festival each autumn, featuring exhibitions, screenings, video art and lectures. Next to this, Impakt is a year-round operation. From our new venue on the Lange Nieuwstraat 4 we organize an annual program that includes events, presentation, exhibitions, artist talks and a residency program.

Management Preferably Dutch speaking — start and duration to be discussed. Available immediately. Production and programme immediately available. For more information, contact Christine Breur via 44 93 or interns[at]impakt. If you want to apply immediately, submit your motivation, CV and a completed questionnaire. It is a place where information is exchanged. That can mean information between humans and computers, or different software or even different species. To interface to something means to link to it — with the goal of forging a connection.

The program aims to reflect on and question existing notions of the user interface and imagine its future. How do interfaces define the way we interact with technology? And how does this alter our behaviour and perception? Together we want to reflect on these critical aspects, but also speculate and envision how we can construct new emancipatory narratives through technology.

This work will be exhibited during the festival in October. From Winnie the Pooh to the pill-popping scene of the Matrix, seemingly friendly icons and well-known film moments lead completely separate lives on the Internet. Cartoons are appropriated by the far right to get around filters and to communicate conspiracy theories, but are also used by political activists in restrictive regimes to avoid censorship. What is the role of symbols on the Internet and which secret codes are hidden in the appropriated elements of pop culture, such as in memes and in the use of emoji?

How do online subcultures use these codes? How can democratic forces use similar tactics to mobilise against repression and dictatorship? These events are part of the IMPAKT series Contested Environments , a series of events looking into new media platforms as uncharted terrains of political debate and opinion making. Battle lines still have to be drawn, the rules are not yet in place: new media such as augmented reality and virtual reality offer unique possibilities for creating mutual understanding.

While AR might be used to reveal the hidden forces at work in our society, VR can make people embody experiences they never felt before. Feel what it means to be a refugee, swap gender or experience climate change, the possibilities for creating empathy with unfamiliar situations are seemingly endless. During this panel we will discuss the political potential of AR and VR for creating much-needed understanding in a world more divided than ever. This is a translation, original article here.

With visible pleasure, he creates a chaotic reality through alter egos and fictive persona in which he asks uncomfortable questions. It is the prosopopoeia: a stylistic trick where a writer or artist speaks from an object or another person. It is a handy way if you come to bring bad news and do not want to be the messenger or if you want to question your own position or reliability through the eyes of someone else. Rosen is an Israeli artist whose father survived the persecution of the Jews, but who, in his work, approaches the commemoration of the Holocaust with fierce iconoclasm.

His Live and Die as Eva Braun provoked fierce and disapproving reactions in the Israeli media. In addition to the works that you can view in book form, a fake documentary can also be seen on a small screen in the same space. Two longer films by Rosen are shown in a loop in a large room where you can sit on a couch. Through alter egos and fictive persona, he tries to expose uncomfortable things.


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Characteristics that came back in caricatural and mocking images that were used in anti-Semitic propaganda, such as in the shocking Nazi film Der ewige Jude In the form of the fictive character Justine Frank, Rosen also refers to that contaminated iconography. There is already a tension in the name Justine Frank itself. These two histories or storylines come together in the life and work of Justine Frank, a Belgian lesbian Surrealist who cannot be placed in any box and thus transcends all constructions of identity. In the fake documentary Two Women and a Man , which can be seen in the first room, she is portrayed as a tragic figure who would die in obscurity.

Her book Sweet Sweat achieves posthumous cult success and her drawings and paintings are not inferior to the work of Salvador Dali and Max Ernst. Rosen has clearly enjoyed bringing all those different references together and then mixing them together in an almost occult way. Rosen complicates things by introducing himself into the story.

The voice-over thinks he is just a provocative obstructionist that shocks conservatives, while the left-cultural establishment tolerates him. The aforementioned Live and Die as Eva Braun is cited. Through Justine Frank, Rosen shows the entire circus that arises around a rediscovered outsider artist and contrasts it with the hostile reception of his own work in Israel. Something similar happens in the character Maxim Komar-Myshkin, the pseudonym of Efim Poplavsky, to make it even more confusing. Komar-Myshkin is an artist and poet who suffers from persecution fanned by the unhindered power of Vladimir Putin.

Komar-Myshkins story is also highlighted in the first room by various drawings, texts and photos hanging on a wall. It is Komar-Myshkins way to resist repressive forces. Rosen clearly enjoyed bringing together all those different references and then mixing them together in an almost occult manner. These short films can be seen on a large screen in the second room of the exhibition. In The Dust Channel , Rosen lets a classical music ensemble play a minimal and serene composition while they do strange things in a modern home. This is how the Dyson vacuum cleaner is sung that, with its suction and unique dust container, gives the dirt no chance at all.

A dance performance of cute Roombas — round robot vacuum cleaners — is a nice side effect. But this ridiculous spectacle is interrupted by shocking news reports and a revealing interview about the degrading treatment of refugees in Israel. A link is made between strangers and dirt. An old analogy that now re-emerges everywhere and reduces people to things that can simply be cleaned up. The Dust Channel places this problem in a disturbed everyday setting. An immaculate and spotless house opposite of the phantom threat of the dirty Other who can disrupt the pure idyll at any moment. An immaculate and spotless house opposite of the phantom threat of the dirty Other who can disrupt the pure idyll at any time.

In Out two young Israeli women are interviewed who practice SM and bondage. They speak frankly about the temptation of that sexual experience. Gradually it is about the existing right-wing politician Avigdor Lieberman, who is fiercely raging against foreigners and Palestinians in his inflammatory speeches. The ghost of Lieberman has nestled in one of the women like a demon and Rosen shows a sadomasochistic exorcism in which one of the women gives the other heavy blows.

The voice of Lieberman is fueled by the pain and can be heard distorted as in a horror film. The words he utters as a diabolical entity were taken literally from his hateful speeches. Out is an intense viewing experience. The bondage session is shown explicitly. The camera accurately records the naked body that is being beaten and zooms in on the damaged skin as a result of the blows. The transition is therefore all the more surprising.

In the concluding part, a musician plays a tender song that refers to the complex background of Lieberman, a Russian Jew who emigrated to Israel and is just as well an Other. You must understand him to expel him from the possessed body. It also shows the underlying empathic side of this exhibition that hints behind all provocations and subversivities. Poetry and Catharsis offers particularly stimulating attempts to break open identity — a concept that is often closed and unshakable — and to question it and to see the Other in yourself. With works on paper, Rosen enters into a conversation with the visitor.

Xenophobia — it all starts with that. Aggression and fear towards strangers, intolerance to those with a different opinion, to differently colored, differently grounded. It is not easy for anyone to live in a country like Israel, but certainly not for an artist like Roee Rosen , who has a super critical eye for political and social abuses and links these to a rich imagination.

Rosen is a filmmaker, draftsman, writer as well as an actor. In that capacity, he fights — sometimes as a he, sometimes as a she — against narrow-mindedness, racism legitimized by legislation, and the all-pervading legacy of the Holocaust in Israel. Rosen — as can be seen in the retrospective exhibition Poetry and Catharsis at IMPAKT in Utrecht — performs the play with appearance and reality in a compelling way, so compelling that it is sometimes hard to look at. Tse is hardly subtle.

Here too, the keynote is grim, because here too the relationship is made between something apparently simple cleaning the house, producing a vacuum cleaner, the love for the vacuum cleaner and the politics of expulsion and imprisonment of immigrants in detention camps in the Negev desert. The Dust Channel , however, is much less literal than Tse — and because of that it hits harder. Rosen is not just a filmmaker. In the front room of IMPAKT, three great presentations can be seen around fictive personalities, aimed at fictive personalities.

With beautiful, partly folkloric and partly pornographic works on paper — copied and hung here, but also brought together in refined books — Rosen enters into a conversation with the viewer. Or imagine you are the mysterious translator of the French, pornographic surrealist Justine Frank who died in Tel-Aviv in Who still believes who?

What is real, what is unreal? Real and unreal slumber, brood, kill and enrich each other in this work and beyond. Roee Rosen — Poetry and Catharsis. Up to and including 26 May. Utrecht City Theater. Be on your guard because nothing is what it seems in the work of the Israeli artist Roee Rosen. With his smart and absurd art, which can now be seen in Utrecht, he likes to weaken the position of the truth. She rearranges her haircut, sighs and looks at the interviewer off screen in a challenging way.

The camera zooms in. This is the face of artist Roee Rosen Rosen therefore criticizes himself. But the video is even crazier when you know that Justine Frank does not exist at all. Rosen constantly plays a game with the spectator. Extremely smart, funny and absurd. The Israeli artist does everything to confuse the viewer.


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  7. Justine Frank is no joke, her oeuvre, made by Rosen drawings and paintings full of vulvas, landscapes and Jewish symbolism , responds to art history, the role of Judaism within it and to sexuality. Everything has been thought through, leave that to Rosen. But Rosen does much more, as can be seen in Utrecht: he makes books, films, performances, paintings and drawings. He puts his teeth into a variety of subjects and does not let go until he sees blood, until it hurts, even for the viewer. Simply put, an operetta yes, really in which we see a young couple singing their vacuum cleaner.

    But much more is happening and everything seems to be related: the development of the Dyson vacuum cleaner, the now closed Holot detention center in the Negev desert, suppressed sexual desires and the xenophobia of inventor Sir James Dyson. The montage is brilliant. Suggestive, smart and seductive, a true mind cluster fuck. In the Encyclopedia of fictive artists was published, compiled by Koen Brams. Not invented by Brams himself, he is a scientist, critic and the former director of the Jan van Eyck Academy.

    The examples came from literature and art history. In the English-language edition from , there were already more than artists. Another book appeared, The Addition , with contributions by Roee Rosen. Justine Frank is unfortunately missing in the encyclopedia, just like Maxim Komar-Myshkin, another artist invented by Rosen. The encyclopedia from seems to be in need of an update.

    The Israeli artist Roee Rosen juggles in a dizzying way with facts and fiction. It seems simple: politicians must speak the truth. This moral rule has not been certain for a long time, given the rise of post-truth politics and politicians who spread fake news without any criticism. Where do the facts end and fiction begin — and vice versa? One is about the fictional character Maxim Komar-Myshkin, a dissident Russian artist. The second part of the book has an extensive list of notes to the poem — supposedly provided by an imaginary literary scientist — figured by a procession of fictional characters, but also by a large number of people who have actually lived.

    With Google or ready knowledge of Russian politics, you can figure out who does or does not exist, but until then you cannot simply trust the notes, or immediately dismiss them as fictional. You have to remain critical and attentive, which is very relevant today.

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    The videos are just as fascinating as the books. On paper, their premises sound like accidental, surrealistic combinations: BDSM, expulsion and Israeli politics; a vacuum cleaner, sexual perversion and xenophobia. They have flair, thanks to the often abrupt humor. Just like in the books, fact and fiction are intertwined. Tse initially seems like a documentary about BDSM, but after a while switches to horror.

    Right-wing nationalist ideas are attributed to possession in the video. The possessed girl and the demon emit literal quotes from the controversial, highly nationalistic Israeli politician Avigdor Levi Lieberman. In a reverse way, the artful operetta The Dust Channel ends with a collage of television images, including fragments of news broadcasts about refugee camps. Thus brutally drawing the art into the domain of daily reality. Rosen too is hard to pin down on the often controversial points of view in his work, because he skilfully juggles with what is real and what is not.

    In the video Two Women and a Man , again seemingly realistic in the form of a number of TV interviews, Rosen himself appears as a female scholar who strongly criticizes a fictionalized artist named Roee Rosen. It is dizzying, but in a very good way. Panel and project launch in collaboration with Cairotronica , Egypt. In this event we will discuss how critical and creative use of new technologies, data, the internet and other digital media platforms can support creativity, autonomy and agency. Together with our partner Cairotronica from Egypt we will focus on the situation in various regions in the world, like Africa and the Middle East.

    In this collaboration the two organizations plan to bring together artists, researchers, developers, coders, designers, activists and journalists from Egypt, the Netherlands and elsewhere to work on projects that contribute to a better understanding of the way data and new technologies are used by our society. The projects will also explore how we can use and appropriate these technologies ourselves for fun, diversity and art. Investigative journalism is essential to a healthy democracy. Today, it has come under threat across the world.

    In many countries authoritarian rulers limit the freedom and resources of journalists. Meanwhile, fake news seems to travel faster than the truth, sowing doubt and division among countries such as Russia and the U. Bellingcat uses social media, Google Earth and online documents to monitor those who are in power. It proved that the Kremlin was involved in the downing of flight MH17, and revealed the identities of the suspects responsible for poisoning double agent Skripal.

    Now Higgins wants to empower citizens to take control of their own digital life and consciously use technology. The presentation includes a screening of Explaining the Law to Kwame , the final part of Kafka for Kids , shown here as a self-standing short film. The studio audience, however, continues laughing on cue, seemingly oblivious to the alarming content of the jokes. Rosen investigates the mechanisms of humor and how we deal with disturbing and forbidden subjects. What remains when the laughter has died out?

    Join us for a conversation and a free drink at 19 May, ! He also edited and introduced a collection of short texts by Roee Rosen, which were published by the Edith-Russ-Haus and Sternberg Press on the occasion of his first solo exhibition in Germany. Who Is afraid of Roee Rosen? Je bent eindverantwoordelijk voor de publiciteitsvoering en marketing van het IMPAKT Festival en onze activiteiten in de aanloop naar het festival.

    Je produceert het drukwerk waarmee het festivalprogramma naar het publiek gebracht wordt en zorgt d. Je stelt en bewaakt deadlines en stuurt vertalers, tekstschrijvers, vormgevers en drukkers aan. In je werk word je ondersteund door stagiaires en je bent verantwoordelijk voor hun begeleiding. Je hebt gevoel voor taal en weet hoe je de inhoud van het festival het beste naar voren kunt brengen.

    Je hebt een uitstekende kennis van zowel de Nederlandse als Engelse taal. Je bent goed thuis in de beeldende kunst, technologie, film en mediacultuur. Je hebt een professioneel netwerk dat hierop aansluit en bent goed op de hoogte van relevante journalisten, organisaties en mediakanalen als online magazines en blogs.

    Ben je klaar voor een gevarieerde en veeleisende baan? Word je gedreven door een passie voor cultuur en een hang naar perfectie? Schrik je niet van hard werken en herken je je in bovenstaande vacature?

    La última noche. Anti-trabajo, ateismo, aventura by Federico Campagna (3 star ratings)

    Ervaring is belangrijk maar ook jeugdig enthousiasme en aangeboren talent voor de functie worden meegewogen. Woonplaats Utrecht is een pre. De eerste gesprekken vinden plaats op 28, 29, 30 mei De tweede gespreksronde vindt plaats op 4, 5 en 6 juni Met een programma dat bestaat uit een jaarlijks festival, events, internetprojecten, residencies en workshops neemt IMPAKT in het Nederlandse en internationale culturele landschap een unieke plek in. In de aanloop naar het festival groeit de bezetting naar 5 fte. Stagiaires vormen een wezenlijk onderdeel van de organisatie en tijdens het festival werken er veel vrijwilligers mee.

    In video works, paintings and texts, Rosen provocatively links politics to erotica, physical intimacy, trauma and identity. In addition to the video works there will be a reading room with a number of books created by Rosen. One book is written by the fictional Justine Frank, a Jewish-Belgian surrealist paint and author. Sweet Sweat is a hybrid of the pornographic novel Frank supposedly authored, her biography, and a pseudo-academic study of her provocative persona.

    The exhibition is open Wednesday — Sunday — until 26 May Tickets are available here. Why is there so much bullshit these days? This is a question that many people find themselves asking. And while it might seem glib we would be wise to take this question seriously.

    With researchers from OILab. In each plane, the 12 actors carry the letters that make up the literary body. The letters are volumes in three dimensions, the actors are anonymous people of the city and the city acts as a scenery. The film is composed of eight long shots in which the character is centrally framed, almost locked in. We listen to dreams. Little by little, the details words and spaces give away their special features. Locked inside the walls of a prison, the dreams are those of the inmates, who share them with the spectator, staring straight into the camera.

    Hallucinations are widespread, confusing dreams while asleep with those while awake, just like rap with electronica. The dream of one finishes, at times, in that of another. Global Windshield, The Musical replicates the state of hypnosis produced by the prolonged driving in a highly predictable environment in order to rethink, propose and imagine preferable futures. A trip in a scenario in completely disconnection with nature that investigates from the most human the sensation of loss of control, failure and impotence.

    The songs in the video explore how we ignore the signs that manifest around us to live in a world anesthetized by the promises and hopes that technologies offer us. If the traces of our past have become virtual and our present is delivered to a world whose greatest treasure is the data archived as zeros and ones. What proportion of reality remains tangible?

    Mathilde ter Heijne Lament, Song for Transitions. Lamenting is an ancient oral tradition that combines singing and crying. Everywhere in the world, women have traditionally sung and continue to sing these songs at transitional moments in life such as funerals and weddings, or bidding farewell to a loved one. The ritual is used to express suffering and sorrow, heal pain and trauma, and connect the past with the present to advance into the future.

    The material for Lament, Song for Transitions was recorded at a workshop the artist organized during her stay in Suomenlinna, Helsinki, Finland , where she invited singer Pirkko Fihlman to teach the almost forgotten, ancient Karelian lamenting technique. The voice is suture, the voice is seam, the voice is cut, the voice is tear, the voice is my identity, it is not body or spirit, it is not language or image, it is sign, it is a sign of the images, it is a sign of sensuality.

    It is a sign of symbols, it is boundary. The breath of life is its source…. A man chanting monosyllables, over and over, and a young man mimicking him simultaneously. The sing-song that we hear is captivatingly primal and intensely humane. What we see is an accent removal class for an immigrant conducted by a speech therapist in Birmingham UK , a city which is paradoxically known for its strong accent. The work looks at the phenomenon of cultural integration through the erasure of difference in pronunciation and the production of neutrality; obtaining the voice mask, which allows a misfit to shift between different modes of appearances and enables him or her to blend into the environment—to become unnoticeable.

    The site of the Arecibo Observatory is also home to the last remaining wild population of critically endangered Puerto Rican Parrots, Amazona vittata. Filmed directly from the screen of a smartphone using a language translator app that has been told to translate from French into English, Steve Hates Fish interprets the signage and architecture in a busy London shopping street.

    In an environment overloaded with information the signs run riot as the confused and restless software does its best to fulfil its task. The work investigates the mental state of political amnesia by looking at the media images in Turkey, mainly of public figures in order to avoid charges or threats. On the other hand, there are people who do not want to never forget anything and they keep talking. As they keep talking, they lose visibility and have to claim it via other channels than mainstream media.

    The Pressures of the Text integrates direct address, invented languages, ideographic subtitles, sign language and simultaneous translation to investigate the feel and form of sense, the shifting boundaries between meaning and meaninglessness. Television is all talk, which is of precious little meaning. Hollow words, fixed expressions and meaningless gestures form the framework of this video. Ambiguity and persuasion are collateral effects of language as a relational system, which underlies the social aspect of communication.

    Does language communicate more or less that it communicates? By trying of deconstructing the authority of the speaker, being this human, machine or institution the films in the program use diverse strategies to make the language speak more than it actually does, revealing the ways of producing hide, codified and secret meanings. An agitprop film that was made for political purposes, Farocki reacted in a very direct way to the key political events of — the anti-Springer press campaign and the excesses of US violence in Vietnam.

    Alternating the drift and investigation, several characters without any apparent links are found bound together for the same quest, in the traces of the submarine fiber optic cables the connect the infrastructures of the city.

    Happy Precarity – Fred Campagna

    These routes are fed by historical accounts of the first telegraphic cables in the era of a colonized India. In this film, every frame corresponds to one page in the Encyclopaedia Britannica, and at a speed of seventeen frames per second, this reduces the text to an illegible blur, and produces an initial anxiety as the viewer attempts to understand the information as it flashes past.

    So, the point of departure is a text that is universally considered canonical in terms of access to knowledge in its widest sense. Its illegibility here is a reflection on human incapacity to take in knowledge through books and encyclopaedic learning, using a method that turns the text into the object of a new mode of visual perception. Peter Greenaway was teaching his children the alphabet and, as an exercise, began thinking of all the possible words that begin with the letter H.

    The film plays with the absurdity of the idea of the alphabet as an index used for organising information. The work is a deceptively simple and ultimately chilling meditation on the power of text. Speech acts reveals the individual features of language in every single person through the spoken words using the own voice. Beyond this speaking ability, singing involves an extended bodily and performativity dimension which relies more widely on the expressive function of language. But what if the saussurien parole as the complementary to langue reunites not only the individual, the emotional and the physical but turns into a collective protest strategy?

    Being a voice and not an echo constitutes the base of empowerment against linguistic dressage and thinking patterns. The works in the program oscillate between both the individual and collective body and explore mechanisms to unveil hierarchical and normative structures, proposing a polyphonic spectrum of micropolitics of voice.

    Language creates artefacts for mapping and categorizing the world which provide order and clarity but bring into light processes of inclusion and exclusion. Further, statements and discourses act as a dispositive of production of knowledge and opinion which are subtle but deeply influenced by institutions and power instances. These ways of seeing and understanding the world are varying historically, giving rise to different paradigms which affect the order of things and the perception of reality. However, even in this optimal situation half-truth, information manipulation and fake news are current practices, which coexist with severe censure of political totalitarian regimes fuelled by digital media ways of spread information based on a biased consideration of facts.

    The program explores critical aspects from encyclopaedic knowledge, the possible nonsense of language as communication tool and reflects on journalistic and corporate truth fabrications. How do we talk to our machines and other intelligences? If an interface is the place or mode of interaction between human and technology, or between two entities, expanding the notion of communication to other, non-human systems creates possibilities of understanding and new dialogues previously not open to us. How can we support presentations of art works that use digital media in museums and other contemporary art showcases?

    And how can we use new digital technologies to deepen the experience of the audiences of art events? How the future of the interface connects to discussions regarding agency and our relation to technology companies and providers. With each gesture we make and every act we undertake we transfer information, information that is part of our interaction with the people that are close to us and with the institutions and concepts that define our society.

    What will happen now that the way these systems function is determined more and more by artificial intelligence and algorithms? Who will design, produce and control the interfaces of the future? How can we maintain agency on these new platforms and intermediates that we will be so dependent on? Moderator: Tobias Revell curator, UK.

    Contested Territories Friday 1 March Online platforms, games and new technologies such as VR and AR as the new and yet unchartered areas of political debate and opinion making. Can games change the world? Join us for the screening of Gaming the Real World, a documentary about the possibility of using city building games such as Minecraft for solving our urban problems and creating better cities. How we can change the debate around games to allow for their potential for creating understanding and compassion as well new prospects for resistance?

    Moderator: Kristoffer Gansing transmediale, DE. Artists and researchers explore how art can help illuminate the way data is harvested, used and exploited in the urban environment and consequently its increasing influence on citizens and politics. Moderator: Arjon Dunnewind NL. Language defines what it means to be human. This very specific system of symbolic communication makes it possible to name the world around us, to exchange ideas and feelings, and to give or hide information. In the digital era, new technological tools affect the way we think and understand reality.

    Social Media let everyone participate in the narratives of society, however, moods and attitudes are communicated on the same level as information. The endless stream of emotive communication has made it nearly impossible to have a productive debate and often only serves to reinforce beliefs. How has this new emotional language contributed to our age of Post-truth? The selected works in Affected Words explore how technology and language affect each other.

    The programme questions how language is used to reproduce control and grant authority, and shows how it could be used as a tool of emancipation and self-determination. Facts and Fabrications. This first screening will focus on the power of language to create processes of exclusion, truth fabrications and affect our perception of reality. Distortion regime. This programme assembles works that try to deconstruct authority to reveal the ways language can be used to hide and codify meaning. The works in this programme examine the mechanisms of hierarchies and power structures, and propose a polyphonic spectrum with a new politics of voice.

    By , about RAUM investigates the future of living in cities through various art disciplines and forms, in both public space and temporary architectural pavilions. The next D. This event is part of Augment and Disrupt , the EMAP conference, a three-day mini-festival of panels, screenings and performances.

    Professionals can request accreditation here. Augment and Disrupt is a 3-day mini-festival that will explore various urgent topics surrounding the interactions between art, society and technology; from the contested territories of new digital platforms to the future of the interface. In addition to a wide variety of panels there are performances, screenings and exhibitions included in the programme. Funded by:. In August Moll will work on a new project:.

    In our so-called networked society citizens are becoming increasingly machine-like and dependent on data, threatening the connection between humans and their natural habitats. Although most of our daily transactions are carried out through electronic devices, we know very little of the apparatus that facilitates such interactions, or, about the machinery that lies beyond the interface.

    Interfaces play a key role in the configuration and functionality of surveillance capitalism as in the rise of new forms of immaterial labor. The project I propose is part of an on-going investigation on the environmental impact of surveillance capitalism and focus on analyzing the environmental footprint of user interactions, namely immaterial labour, carried out through extensively used interfaces, such as Amazon, Google or Facebook.

    Moreover, a big part of the energy consumption derived from this obfuscated labour processes, falls on the user, who ultimately needs to assume a big portion of the energy costs of such exploitation. The starting point of my proposal takes a theory developed by Ivan Illich which says that when a machine is using more energy than that of the metabolic energy of the human, human is dominated by the machine i. This is obviously very ambitious, but the project I propose will set strong basis for future work. What I intend to do during the residency is to calculate the amount of energy consumed by the machine when a human scrolls down, clicks, logs in, logs out, resizes screens and so on.

    At the same time I will measure the amount of metabolic energy used by a human when carrying out the same operations scrolling, clicking…. The machine is obviously using much more energy than the amount of kcal employed by the human to operate it based on previous research I developed. My work critically explores the complex network of material and immaterial agents that come together to configure the Internet, from submarine and underground cables to interfaces, to surveillance, social profiling and privacy along with their environmental implications.

    My investigations strongly focuses on uncovering and analyzing the ambiguous relationship between networks, data, politics, economics, power and nature in the age of algorithmic governance.

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    It offers grants in 11 member institutions all over Europe. These speeches are always given from the Oval Office and are presumably spoken directly to the American people. The bittersweet melodrama is accompanied by seemingly arbitrary yet unbearably seductive images that push and pull the viewer from the twisted tale. Elizabeth is a hard-working woman who hides fifteen legs in her trousers.

    While trying to find the reason for this phenomenon, she comes across a peaceful old woman named Dorothy Strauss. Erica Scourti uses her digital footprint as the basis for her book The Outage, a memoir written by a ghost writer based on her online communication, including her online searches, social network posts, profiles and statistics that were collected and analysed by cyber security and data privacy professionals.

    The work a star which is not a planet is a sun not a planet. Two email accounts replicate the written 19th century correspondence between Boole and Jevons. For Martine Neddam the ultimate way of expression is by means of fictitious identities. She uses her online character Mouchette to expose the neuralgic and soft spots of contemporary society organised and expressed on the web. In the work I Hate Mouchette the identity of Mouchette is constructed from hate-filled insults.

    The work shows how the post-truth age requires us to take a good look at the ways in which fake content reshapes opinions and identities, occasionally with fatal consequences. Often employing media strategies to expose current political and social issues, The Yes Men turned the tables on the media in their work New York Post Tells the Truth. While appearing to create a fake newspaper, the artists actually provided facts backed by climate change experts that were thoroughly checked by a team of editors.

    In this way the artists successfully produced lies that exposed the truth, thus creating an inversion of the post-truth paradigm. In his work CNN Concatenated Omer Fast tackles the issue of news footage manipulation, and the way the media often allow for misinformation, deception, and falsehood.

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    Fast used hundreds of hours of CNN broadcasts from and , which he catalogued to create a database of ten thousand individual words. The video uses these excerpts of edited footage from news anchors, guest commentators, reporters and weather forecasters to show each presenter only speaking a single word. Collectively their words form seven monologues of varying lengths suggesting emotional personal conversations rather than conventional news broadcasts. In his film The Expression of Hands Farocki explores the visual language, its symbolism, Freudian slips, automatisms and music.

    By exposing the silent language of hands it shows how hands can act in opposition to what has been said. It adds a new layer to the manipulation of language and highlights how language and meaning are produced in the news. In this case, however, the artist is in a snowy forest while squatting behind an entirely improvised cake stand. Just like in My Sweet Little Lamb! The viewer sees the artist as a liar, until the camera takes us to the potatoes that are indeed hidden behind him.

    My Sweet Little Lamb! The reason for this pairing stems from a Bosnian anecdote which suggested that Muslims would call a pig a lamb so they could eat it without remorse. An evening about the power of big data and increasing control over our behavior by autonomous systems, organized in collaboration with FOTODOK with special guests like photographer Esther Hovers.

    The restaurant is very popular and even reserving a table is quite the task. Fortunately, SYR provides their delicious food to our visitors of Taferelen so you can enjoy the authentic Syrian cuisine. A maximum of 25 seats are available for this event. To keep the evening dynamic and diverse artists are placed next to theorists. Buy your tickets here! Controlled by algorithms these systems check predetermined behavior that can indicate criminal activity.

    You will get some food, coffee, tea and water, and a tour with two enthusiast speakers. At the self-service bar there will be sodas, wine and beer. The venue is open at For more information or group reservations you can mail to info fotodok. We hope to welcome you at Taferelen! Social media sites and search engines are the key ingredients of the change from the manipulative form of propaganda of the past to the prevalence of the Post-truth paradigm of the present.

    How are words and ideas used to obscure and manipulate? The exhibition and panel discussion of Truth That Lies look at the different political and cultural strategies that have been used in our Post-truth reality and in our recent history. The Fiction Department is represented by Truth That Lies , an exhibition exploring a use of language through gesture, manipulation, hate speech, algorithm, propaganda, make-believe or tautology. The Records Department is mirrored in a panel called War on Facts.

    This panel will be organized on 8 February, prior to the opening of the exhibition, and it will address misinformation, alternative facts, fake news and information manipulation. The programme researches the development of Post-truth, how it was used in the past, how it affects personal identity, and what the future would look like if things proceed from here.

    A panel discussion organised in conjunction with the exhibition Truth That Lies, addressing misinformation, alternative facts, fake news and information manipulation. The exhibition and panel discussion look at the different political and cultural strategies that have been used in our Post-truth reality and in our recent history. The Records Department is mirrored in the panel War on Facts. Speakers in the panel: Emillie V. Join us after the panel for the free opening of the exhibition Truth That Lies from !

    This panel considers the theme of future life from a biological perspective. What is the role of humanity in climate change? Are we the meteorite or the dinosaurs? Do bacteria rule the world? What will the impact of synthetic biology be? Will a new pandemic come and wipe out human life?

    How will life on Earth co-evolve with new technologies and what will the ethical implications be? We will look at the roles of artists and scientists in engaging the public, influencing behaviour and helping us to understand our place in the ecosystem with a focus on BioArt and media art.

    Computational neuroscientists study the data about how neurones in the brain fire in order to calculate the optimum moment to apply light and reset the cells. The aim is to engage in a playful activity in order to learn about the science. The artwork is made in collaboration with Professor Volker Steuber Associate Dean Research in the School of Computer Science at the University of Hertfordshire as well as Head of the Biocomputation Research Group, and Professor Freek Hoebeek at the University Medical Centre in Utrecht and the aim their research is to provide future healthcare treatments for patients with absence seizures and significantly reduce any risk of brain damage.

    He is a renowned expert in infectious diseases and is currently focussing on writing a new book on the natural history of bacteria. After graduating in medicine from Birmingham, he trained as a medical microbiologist in Oxford. He is also an entomologist. This panel explores what the impact of new digital technologies will be on the future of life and asks what are the risks. How is robotics changing the world? How will virtual reality change experience? What new questions are being highlighted by the arts and science fiction? And can the democratization of technology through DIY, maker and hacker culture widen public participation in these debates?

    This panel explore the benefits and risks of artificial intelligence AI. Can AIs make art? What are the limitations of machine learning and genetic algorithms? How can we control or legislate AI? Should AIs be given rights? Are AIs an existential threat to humanity? Paul Brown is a computer artist based in the UK and Australia. Paul Brown discovered digital computers as a creative medium after seeing the Cybernetic Serendipity exhibition at the Institute of Contemporary Art in London in Early in his career he began developing processed-based methods for generating images and time-based artworks as an alternative to the then common approach to art making as a form of self-expression.

    Brown designs computer programs but emphasizes that the art is not embedded in the programs by intention but instead emerges autonomously from the execution of the programs. Every summer, a group of Russian hunters travels to the remote New Siberian Islands to excavate certain animal remains that are being traded for big money on the Chinese market: the tusks of woolly mammoths.

    This hazardous enterprise takes months, and it has cost many men their lives. Success is far from guaranteed. At the same time, a loose alliance of scientists in Boston, Seoul and Shenzhen are chasing their own dream of cloning the mammoth. In a time of rapid developments in the world of synthetic biology, the discovery of a very well preserved baby mammoth suddenly makes their dream seem feasible. Documentary filmmaker Christian Frei War Photographer and his Russian co-director Maxim Arbugaev place the two worlds in diametrical opposition, and the result is an epic, visually stunning film that alternates between humble and grandiose dreams, and between blind faith in progress and a chilling perspective on the future.

    Anna Dumitriu will introduce the film and bring in some of her own perspectives working with CRISPR gene editing and with cold-loving bacteria frozen in the Arctic Tundra. What : Screening of Genesis 2. In his work Belgian artist Maarten Vanden Eynde Leuven, looks for and relates to different fields of study, social contexts and anthropological perspectives.