Podcasts about Transmediale

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices

Swiss artist and composer Thom Kubli recounts a trek into the Amazon to record the environs in a conversation spanning the topics of sonic thought, shamanism and the split between nature and the technological intervention of humanity.  About our speaker:  Thom Kubli works as an artist and composer in Berlin. His practice is multidisciplinary, blending elements of composition, sculpture, and conceptual approaches. His installation pieces oscillate between spectacle and contemplation, exploring the social implications of physical space and virtual presence. Kubli often collaborates with scientific institutions like the MIT Media Lab or the Rensselaer Polytechnic Institute to devise new technologies and materials. His performances and installations have been shown internationally, amongst others at the New Museum of Contemporary Art, NYC, Ars Electronica, Linz, Transmediale, Berlin, Eyebeam, NYC, Laboratorio Arte Alameda, Mexico City, FILE, São Paulo, LABoral, Spain, and in numerous art galleries. His composition pieces and experimental radio plays have been widely broadcasted through public radio stations as WDR, DLRK, ORF, SRF, and others.  find out more about Thom at https://thomkubli.net/. 

We zijn zo geobsedeerd met onze favoriete personages dat we er soms bakken met geld aan uitgeven. Hoe zit dat eigenlijk? Wetenschapper Joleen Blom schuift aan om het te hebben over Genshin Impact, anime en transmediale verhalen. Met zijsporen over Nijntje, Astarion en AI. Besproken media: Genshin Impact Astroboy Marvel Baldur's Gate 3 Andere genoemde media: Bartender: Glass of God Delicious in Dungeon Wind Breaker Jujutsu Kaisen Yatagarasu: The Raven Does Not Choose Its Master Paper Mario The Thousand Year Door Destined With You The Legend of Heroes: Trails to Azure Final Fantasy XIV online Avatar The Last Airbender Nijntje Vind ons hier: Website Discord Twitter Bluesky Instagram TikTok Kevin op Twitter Jocelyn op Bluesky Andere links: Website van Joleen Joleen op Bluesky Gratis digitale versie van Joleens boek Video Game Characters and Transmedia Storytelling

Recent EU law now allows citizens to complain if they have been harmed by AI, but what if they have co-conceived your offspring without you even knowing it?For Future Artefacts 20th Episode we're welcoming back Nina Davies with her new work SubScanners, alongside guest co-host Rebecca Edwards. This is the fourth work in a series of fictional traditional dances which loosely follow the structures of western folk dance; agricultural, spiritual, war and courtship. Set within a 15 minute fictional podcast from a nearby future, the characters discuss InterReproduction in the space sector, a reproduction research program for deep space exploration. They share InterRepro's "counterfeit labour scandal", resulting in the emergence digital offspring and of new courtship rituals called SubScanning.Davies presents questions on relationships with digital personhood inside and outside of a phone screen, and how reproduction and labour might exist outside of the body. Together we imagine what types of digital kinship might exist for these offspring, how we could care for them as children, and what their material connections to us might be.SubScanners warns us about the corporate consumption of public law, presenting a fiction where digital persons are co-opted by corporate guardianship and the only way people can regain control of their digital selves is to play these companies at their own game and settle the matter in family court.Working primarily with video, performance, writing and installation, Nina Davies considers current dance phenomena in relation to the wider socio-technical environments from which they emerge. Previous research projects have included; the recent commodification of the dancing body on digital platforms and rethinking dances of today as traditional dances of the future. Oscillating between the use of fiction and non-fiction, her work helps build new critical frameworks for engaging with dance practices. Her work has recently been exhibited and shown at Matt's Gallery, London; Transmediale, AdK, Berlin; Seventeen, London; Pradiauto, Madrid; and, Chemist Gallery, London. Her work has been selected to partake in Bloomberg New Contemporaries 2023; Circa x Dazed Class of 2022 and Alchemy Film and Moving Image Festival. In 2021 she co-founded Future Artefacts FM with artist Niamh Schmidtke and was awarded an Arts Council Project Grant to produce their 2022 programme and in 2023 they produced a mini series for Het HEM's online programme The Couch.Rebecca Edwards is a London based curator, writer and producer. Her interests include cultivating experimental curatorial methods, interweaving fluid approaches to production, dissemination and representation of artwork, and exploring the nested fields of technology, digital aesthetics and internet culture.Artist: Nina DaviesHosts: Rebecca Edwards and Niamh SchmidtkeMusic: Joe Moss and John TrevaskisProducer: Mat JennerBroadcast through Radio Thamesmead

Last week, I traveled to Berlin to give the annual Marshall McLuhan lecture to open the Transmediale festival. I gave the talk to a full house at the Canadian embassy, and the embassy was kind enough to upload their video of the speech. This podcast is a rip of the audio from that Youtube video.... more

Probst, Carstenwww.deutschlandfunk.de, Kultur heute

Transdisciplinary artist and biohacker Heather Dewey-Hagborg shares her latest work on future pigs and hybrids.Keep up with Heather Dewey-HagborgWebsite | InstagramAbout Heather Dewey-HagborgDr. Heather Dewey-Hagborg is a New York-based artist and biohacker who is interested in art as research and technological critique. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed up gum) collected in public places.Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, the Guangzhou Triennial, and the Shenzhen Urbanism and Architecture Biennale, Transmediale, the Walker Center for Contemporary Art, the Philadelphia Museum of Art, and PS1 MoMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, SFMoMA, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired.Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society. She is a founding board member of Digital DNA, a European Research Council funded project investigating the changing relationships between digital technologies, DNA and evidence.

This and all episodes at: https://aiandyou.net/ .   Making movies about AI with AI is Tabitha Swanson, who comes to tell us how that works - and what it was like exhibiting it at the Venice Film Festival during the writers'/actors' strikes. Tabitha is a Berlin-based multi-disciplinary designer, creative technologist, and filmmaker. Her practice includes 3D, animation, augmented reality, digital fashion, graphic design, and UX/UI. She has worked with brands including Vogue Germany, Nike, Highsnobiety, Reebok, and Origins, and has exhibited at Miami Art Basel, Fotografiska,  Transmediale, and Cadaf Arts among others.  Her part of the White Mirror project saw her doing everything from writing to cinematography with the latest AI tools like Runway Gen-2, ChatGPT, and Stable Diffusion, lowering typical animation costs from $10,000/second to $10,000 per minute. She explains what those tools are good at and where their limitations are, and helps us understand how they will evolve and impact the roles of humans in the movie industry. All this plus our usual look at today's AI headlines. Transcript and URLs referenced at HumanCusp Blog.          

Heather Dewey-Hargborg, American artist and bio-hacker most knowned for the project Stranger Visions. Ana Brígida for The New York Times Dr. Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (such as hair, cigarette butts, or chewed up gum) collected in public places. Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, and the Shenzhen Urbanism and Architecture Biennale, the Van Abbemuseum, Transmediale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, the Wellcome Collection, and the New York Historical Society, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired. Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a visiting assistant professor of Interactive Media at NYU Abu Dhabi, an artist fellow at AI Now, an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society. Hybrid (Trailer) from Heather Dewey-Hagborg on Vimeo. Installation view, Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery. Still from Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery.

The Digital Hub, in partnership with Aisling Murray and with the support of Science Foundation Ireland (SFI), are putting in place plans for a new international arts and technology festival for Ireland. Beta, which will take place across 4 days in November, is seeking to critically engage with technology's impact on society through a combination of creativity, debate, and experimentation. Beta will focus on a number of key themes which are dominating the technology discussion at present, including artificial intelligence, quantum technologies, data rights and sustainability. The festival has identified a need to bring together Ireland's research and digital arts communities in order to foster a discussion about how the two disciplines can combine for the benefit of society. Beta is led by Aisling Murray, a curator and creative producer with 15 years of experience across exhibitions, festivals, literature, spoken word, theatre and dance. She most recently worked with the Goethe-Institut Irland in developing their Quantum Technology Art residency and curated the inaugural art and science stage at Electric Picnic, funded by SFI. Prior to this, she worked for Science Gallery Dublin, where she produced national and international creative programmes converging art, science, technology and society. Ultimately, the festival organisers are aiming to position Ireland as a leader in the intersection of art and technology programming in an audience-centred way to engage the public playfully and critically with new technologies. Beta will also include performances, discussions, workshops and a nighttime programme over the four days. Beta has already confirmed a number of acclaimed artists to participate in this year's festival, including Libby Heaney, Leon Butler and Peter Power. Two unique works have been commissioned to support the launch of Beta. Artist Leon Butler has imagined what the identity of a festival of art and technology could be and has generated a new font seen in the Beta logo. The final logo almost looks hand drawn or screen printed with beautifully imperfect edges - this intersection of cutting-edge technology and human creativity is exactly what Beta will explore with the festival. Beta's website, which launched today, features a new commission from artist and designer Farouk Alao. Specialising in 3D motion and web design, he has drawn inspiration from nature, his world, and human emotions. His vision explores the intersection of reality and imagination. The motion piece on Beta's website called the Beta cube, positions Beta as a centre point in which art, technology and creativity resolve and makes use of the unique font designed by Butler. Beta is also launching a new international residency in partnership with transmediale in Berlin, supported by the Arts Council of Ireland. Transmediale is one of the leading and longest-running festivals for art and digital culture in Europe. The Beta x transmediale residency will bring together four artists from Ireland and Germany to explore critical perspectives on artificial intelligence and digital art. Taking place as a hybrid residency with two weeks online, three weeks in Dublin, Ireland and 3 weeks in Berlin, Germany, the residency programme will provide space, resources and mentorship to four artists to develop new artworks that generate new imaginaries around climate resilience and political polarization. Aisling Murray, Director of Beta, said: "Beta has the potential to really put Ireland on the map in terms of the intersection of research, technology and digital arts. Each of these disciplines continues to grow from strength to strength, which is why it's very timely that Beta is now coming to fruition. The Digital Hub are the ideal co-founder for this with their experience both creatively and with industry, I'm so grateful for their support and excited to create an anchor point in the year for the communities interested in these themes. I'm hugely excited for what is...

Nina Davies shares her work ‘Learned Friends; Piasecki vs Wade' for episode 14 of the show. It is a fictional podcast voiced by characters Riley and Devon, who discuss legal cases that present the rising issues of using predictive technology within the justice system. Set in a world where technology documents the future just as well as in documents the past, people have begun to move in pre-programmed ways as a matter of safety, to be better detected by self-driving cars or correctly prescribed medications. In this episode we explore Nina's research alongside guest co-presenter Jorge Poveda Yanez. Together we connect the moving body to forms of digital choreography and truth making to predictive movement technologies.Bios;Nina Davies is a Canadian/British artist who considers the present moment through observing dance in popular culture; how it's disseminated, circulated, made, and consumed. She recently graduated from Goldsmiths MFA Fine Art where she was awarded the Almacantar Studio Award and the Goldsmiths Junior Fellowship position. Her work has recently been exhibited and shown at Transmediale, AdK, Berlin; Seventeen, London; Matt's Gallery, Mattflix program; Circa x Dazed Class of 2022, Piccadilly Lights in London, Limes in Berlin, K-Pop Square in Seoul, Fed Square, Melbourne; Overmorrow House, Battle; and Alchemy Film and Moving Image Festival, Hawick. In 2021 She co-founded Future Artefacts FM with artist Niamh Schmidtke and was awarded an Arts Council Project Grant to produce their 2022 programme. Jorge Poveda Yanez is a dancer, theater-maker, researcher, and scholar working with new technologies, human rights, and the arts. He is currently the editor of Ghent University's DOCUMENTA journal, which focuses on theatre and performance studies. His training as a dancer/anthropologist (UCA - France), Performer (UCE - Ecuador), and Social Scientist (UDLA - Ecuador) led him to enroll in UCR's Ph.D. program in Critical Dance Studies, where he currently works as a Teaching Assistant too.Artist: Nina DaviesHosts: Jorge Poveda Yanez and Niamh SchmidtkeMusic: Joe Moss and John TrevaskisProducer: Flo LinesBroadcast through Radio Thamesmead

Happy New Year from the URSA team! The first episode of 2023 features news headlines on the rescue of the last ‘restaurant bear' in Albania, and how the Orthodox Church in Ukraine is allowing parishoners to decide when they celebrate Christmas. We also discuss Europe's climate NIMBYism and how a revived local river in Madrid has brought back visitors, both human and animal, to the area. We then hear from EU Scream, a progressive European politics podcast, about how EU politicians have been handling the discussion surrounding decolonization and how politicians can decolonize foreign aid. Our second feature is produced by Julia Joubert and stems from her visit to the historied Major Oak tree in the UK. The adventure inspired an exploration of some of the famous trees of Europe, and awoke a desire to get to know them, properly know them.Fantastic foodie Will Maidment discusses all things German food with us - and dare we say - gets us excited to get our hands on the next schnitzel we see! Jonny Tiernan of Lola Magazine chats about the Transmediale festival, upcoming music gigs, and much more!Our artist spotlight is Cava, a local punk duo who makes raucous, melodic songs reminiscent of the early 90's Riotgrrl era. Our theme music is from Lucas Carey, with audio from Epidemic Sound. Cover art by Sian Amber Fletcher. This episode is brought to you by Bear Radio. Special thanks to EU Scream and Julia Joubert for sharing their incredible work with URSA this month. Thanks also to our Food & Culture correspondents, Will Maidment and Jonny Tiernan of LOLA. If you're a producer based in Europe and have an idea for an URSA story, we'd love to hear from you! We're always accepting new pitches.Support for this podcast comes from our Patreon - if you like URSA and all the incredible stories that come with it - then please consider supporting us at patreon.com/ursapodcast. The price you'd spend on a coffee would go to supporting us and our contributors each month.

Probst, Carstenwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Probst, Carstenwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Electronic: Modelling the digital present and tools for the future Speakers: Seb Chan and Sahej Rahal Seb Chan is the Chief Experience Officer (CXO) at the Australian Centre for the Moving Image where he is responsible for a holistic, multi-channel, visitor-centred design strategy for the institution. Until August 2015, he was Director of Digital & Emerging Media, at Cooper Hewitt Smithsonian Design Museum in New York. There he led the museum's digital renewal and its transformation into an interactive, playful new museum reopened after a 3-year rebuilding and reimagining. His team's work won awards from the American Association of Museums and Museums and the Web, One Club, D&AD, Fast Company Innovation by Design, Core77 Design Awards, and has been featured in Slate, The Verge, Fast Company and elsewhere. A sculptor, coder, painter and performer, Sahej Rahal is a graduate of the Rachana Sansad Academy of Fine Art, Mumbai. He has been a recipient of a number of residencies including Bar1, Bangalore, 2011; FUTUR foundation, Zurich, 2011; INLAKS Shivdasani Foundation sponsored residency at KHOJ international artists' association, New Delhi, 2013. Rahal has presentd work in major solo and group projects, including recently at Akademie Schloss Solitude & ZKM Center for Art and Media, Stuttgart, Germany in 2018, at the Vancouver Biennale and Australian Centre for Contemporary Art in 2019, in the 2020 Gwangju Biennale, and as part of Transmediale.

Nach ganz vielen Natur- und Tierbegegnungen ziehen wir uns im Juli in die endlich wieder geöffneten (und klimatisierten) Ausstellungsräume der Stadt zurück, aber die Natur wartet da schon uns auf. So zumindest der Plan! Freizeitstress Berlin im Juli mit Berl-Berl (Halle am Berghain), DARK MATTER, der Transmediale und einer Videoinstallation im Silent Green, Sun Rise | Sun Set (Schinkel Pavillon), der Sammlung Hoffmann und 21 Sunsets auf dem Haus der Kulturen der Welt.

Pagina 3 con Edoardo Camurri

Digital networks have centralized power over identities and information, creating problems for both markets and democracy. Does the solution require more shared agency over data? What might that look like? This panel discussion is structured around thought experiments to find solutions to this issue. SPEAKERS Matt Prewitt is RadicalxChange Foundation’s president, a writer and blockchain industry advisor, and a former plaintiff’s side antitrust and consumer class action litigator and federal law clerk. Nick Vincent is a Ph.D. student in Northwestern University's Technology and Social Behavior program and is part of the People, Space, and Algorithms Research Group. His broad research interests include human-computer interaction, human-centered machine learning, and social computing. His research focuses on studying the relationships between human-generated data and computing technologies to mitigate the negative impacts of these technologies. His work relates to concepts such as "data dignity", "data as labor", "data leverage", and "data dividends". Kaliya Young also known as the "Identity Woman" has spent the last 15 years working to bring about the creation of a new layer of the internet for people based on open standards. She co-founding the Internet Identity Workshop, which was recently profiled in the Wired UK. In 2017 she graduated in the very first cohort from UT Austin's iSchool with a Master of Science in Identity Management and Security. Her master's thesis The Domains of Identity: A framework for understanding identity systems in contemporary society is being published this month by Anthem Press. In 2019, she traveled to India for two months as a New America India-US Public Interest Technology fellow to study Aadhaar their national ID system. She co-founded HumanFirst.Tech with Shireen Mitchel, a project focused on creating space for diverse voices and building a more inclusive industry. In 2012 she was recognized as a Young Global Leader by the World Economic Forum and Fast Company named her as one of the most influential women in tech in 2009. She consults with governments, NGO’s, startups, and enterprises on decentralized identity technologies. MODERATOR Jennifer Morone is the CEO of RadicalxChange Foundation and a multidisciplinary visual artist, activist, and filmmaker. Her work focuses on the human experience in relation to technology, economics, politics, and identity, and the moral and ethical issues that arise from such systems. Her interests lie in exploring ways of creating social justice and equal distribution of the future. Morone is a trained sculptor with BFA from SUNY Purchase and earned her MA in Design Interactions at the Royal College of Art in London with Dunne and Raby. Her work has been presented at institutions, festivals, museums, and galleries around the world including ZKM, Kunsthalle Düsseldorf, Ars Electronica, HEK, the Martin Gropius Bau, the Science Gallery, Transmediale, SMBA, Carroll/Fletcher Gallery, panke.gallery, Aksioma, Drugo more, and featured extensively on international media outlets such as The Economist, WIRED, WMMNA, Vice, the Guardian, BBC World News, Tagesspiegel, Netzpolitik, the Observer.

Los niños robados de Chile en Europa, Una visita virtual al festival de cultura digital Transmediale, Ali Stone, estrella ascendente del pop electrónico, morir intoxicado y rico en la mina más grande del mundo.

Computerkunst auf dem Land? Geht das überhaupt? Ich habe mit dem Mediendesigner Christian Riekoff über das Leben zwischen Stadt und Land gesprochen, über seine aktuellen Arbeiten und Auftraggeber.

Endlich: die Transmediale hat ihre Ausstellung eröffnet, einmal im Bethanien und einmal im Silent Green. Unsere Kollegin Cora Knoblauch hat sich das mal ganz genau angeschaut.

OPER & MEDIENKUNST Symposium | Panel Discussion [25.01.2020] Digitale Technologien, die uns tagtäglich umgeben, eröffnen auch in der Oper zahllose Möglichkeiten, dem Publikum diese Kunstform auf ungewöhnliche und neue Weise näher zu bringen – und auch Menschen zu begeistern, die noch nie in einer Opernaufführung waren.

Autor: Probst, Carsten Sendung: Kultur heute Hören bis: 19.01.2038 04:14

Meet the RadicalxChange(s) podcast and its hosts Jennifer Morone and Matt Prewitt. Jennifer Lyn Morone is RadicalxChange Foundation's CEO and a multidisciplinary visual artist, activist, and filmmaker. Her work focuses on the human experience with technology, economics, politics, and identity, and the moral and ethical issues that arise from such systems. Her interests lie in exploring ways of creating social justice and equal distribution of the future. Morone is a trained sculptor with BFA from SUNY Purchase and earned her MA in Design Interactions at the Royal College of Art in London with Dunne and Raby. Her work has been presented at institutions, festivals, museums, and galleries around the world, including ZKM, Kunsthalle Düsseldorf, Ars Electronica, HEK, the Martin Gropius Bau, the Science Gallery, Transmediale, SMBA, Carroll/Fletcher Gallery, panke.gallery, Aksioma, Drugo more, and featured extensively on international media outlets such as The Economist, WIRED, WMMNA, Vice, the Guardian, BBC World News, Tagesspiegel, Netzpolitik, the Observer.Matt Prewitt is RadicalxChange Foundation's president, a writer and blockchain industry advisor, and a former plaintiff's side antitrust and consumer class action litigator and federal law clerk.This trailer featured RadicalxChange(s) interviews with Fred Turner, Jo Guldi, and Tom Atlee. Credits• Production by Angela Corpus and Jennifer Morone• Editing and Sound Engineering by Jennifer Morone• Music by MagnusMoone “Wind in the Willows” is licensed under a Attribution-NonCommercial-ShareAlike 3.0 International License (CC BY-NC-SA 3.0) If you like this podcast you might also like our other series called “RadicalxChange Replayed.”  RadicalxChange is a global movement for next-generation political economies. It advances plurality, equality, community, and decentralization through upgrades of democracy, markets, the data economy, the commons, and identity. Find out more about RadicalxChange at www.radicalxchange.org.  Founded by Glen Weyl during the wake of public discussion about his book “Radical Markets” in 2018, RadicalxChange Foundation is a 501(c)(3) nonprofit dedicated to advancing the RxC movement, building community, and educating about democratic innovation. Please support RadicalxChange Foundation and productions like this with a crypto or PayPal donation.

In 2020, ideological conflicts reached a fever pitch, and the media landscape has become extraordinarily disorienting. Are we simply heading into a more fragmented era? This panel aims to find the light at the end of the tunnel, discussing all kinds of approaches to discover common ground for a more nuanced and vital politics. SPEAKERS Paula Berman is a researcher and builder at the intersection of technology and democracy. She is a founding member of Democracy Earth Foundation, a non-profit organization backed by Y Combinator and Templeton World Charity Foundation, building open-source censorship-resistant digital democracies. Jennifer Lyn Morone is the RadicalxChange Foundation CEO and a multidisciplinary visual artist, activist, and filmmaker. Her work focuses on the human experience about technology, economics, politics, and identity, and the moral and ethical issues that arise from such systems. Her interests lie in exploring ways of creating social justice and equal distribution of the future. Morone is a trained sculptor with BFA from SUNY Purchase and earned her MA in Design Interactions at the Royal College of Art in London with Dunne and Raby. Her work has been presented at institutions, festivals, museums, and galleries around the world, including ZKM, Kunsthalle Düsseldorf, Ars Electronica, HEK, the Martin Gropius Bau, the Science Gallery, Transmediale, SMBA, Carroll/Fletcher Gallery, panke.gallery, Aksioma, Drugo more, and featured extensively on international media outlets such as The Economist, WIRED, WMMNA, Vice, the Guardian, BBC World News, Tagesspiegel, Netzpolitik, the Observer. Mark R. Reiff is the author of five books, including In the Name of Liberty: The Argument for Universal Unionization (Cambridge University Press, 2020); On Unemployment, Volume I and II (Palgrave Macmillan, 2015), and Exploitation and Economic Justice in the Liberal Capitalist State (Oxford University Press, 2013). He has taught political, legal, and moral philosophy at the University of Manchester, the University of Durham, the University of California at Davis, Sonoma State University, and the Frankfurt School of Finance & Management. Before returning to academia in 1998, he was a practicing lawyer, representing clients in commercial litigation matters for many years. In 2008-09 he was a Faculty Fellow at the Safra Center for Ethics at Harvard University. His current book project is called The Unbearable Resilience of Illiberalism. Abstracts of all his work, plus excerpts from his books, samples of his papers, and more, are available on his website: www.markreiff.org. MODERATOR Leon Erichsen is an entrepreneurship and technology evangelist at RadicalxChange Foundation, a nonprofit organization building next-generation political economies. Previously, he has worked as a venture analyst for the Blockchain Labs of Accelerator Frankfurt, a crypto-focused go-to-market program for early-stage startups. He graduated with the Class of 2020 in Management, Philosophy & Economics (B.Sc.) at the Frankfurt School of Finance & Management, where he directed the student initiatives FS Blockchain and FS Model United Nations.

Петко Дурмана: Среща с първия български художник, който прави изцяло създадено за интернет изкуство, използвайки добавена реалност, инфрачервено излъчване и инфрачервена фотография. Tворбите му са показвани на едни от най-важните форуми за изкуство и технологии, като: Transmediale,, ISEA, SIGGRAPH и Sundance Film Festival. Петко Дурмана в разговор за изкуството у нас през погледа на времето: Последвай ни и в: / Follow us in: YouTube: bit.ly/3jFjmXS Facebook: bit.ly/2FJlMHl Instagram: bit.ly/3jl8L4h Twitter: twitter.com/LegendiLegends Apple Podcasts: https://podcasts.apple.com/bg/podcast/legendi-legends/id1538275381 GooglePodcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjg5NjIxNTM0OC9zb3VuZHMucnNz?sa=X&ved=2ahUKEwjg6eXspYXtAhUI9hoKHVTgAw4Q9sEGegQIARAC Spotify: spoti.fi/2TeTM1p SoundCloud: https://soundcloud.com/cfcjgwgp3shy Deezer: https://www.deezer.com/us/show/2067872?deferredFl=1 - Георги Харизанов Веселин Вълчев Легенди / Legends Българският подкаст / The Bulgarian podcast

Consigli Non Richiesti.-The Watchmen è la prima serie televisiva tratta da un fumetto ad aver vinto un Emmy. Ma non è la sua qualità a rendere questa serie unica. E' l'idea che si nasconde dietro la sua realizzazione. Quale idea?Scopriamolo in questo episodio!EVVIVA!-Link al bando Poliniani ‣‣‣ https://rebrand.ly/bandoPoliniani-Link puntata su Buffy ‣‣‣ https://rebrand.ly/buffyCNR-Contatti di Frekt-‣ Gruppo Telegram https://rebrand.ly/TelegramFrekt‣ Twitch: https://rebrand.ly/twitchFrekt ‣ Instagram: https://www.instagram.com/iosonofrekt‣ Pagina Facebook: https://www.facebook.com/thefrektAltre cose di Frekt:-https://linktr.ee/iosonofrekt---La sigla è di Chiara del podcast "Avrei qualcosa da dire show". Per ascoltarla -> https://www.spreaker.com/show/lo-show-di-avreiqualcosadadireoppure ->https://linktr.ee/aqddshowBlog di Avrei qualcosa da dire show ->https://aqddshow.blog---► Music Credit: LAKEY INSPIREDTrack Name: "Better Days"Music By: LAKEY INSPIRED @ https://soundcloud.com/lakeyinspiredOriginal upload HERE - https://www.youtube.com/watch?v=RXLzv...Official "LAKEY INSPIRED" YouTube Channel HERE - https://www.youtube.com/channel/UCOmy...License for commercial use: Creative Commons Attribution 3.0 Unported "Share Alike" (CC BY-SA 3.0) License.Full License HERE - https://creativecommons.org/licenses/...Music promoted by NCM https://goo.gl/fh3rEJ ––– ♪♫ FREE DOWNLOAD ♫♪ –––► Download "Better Days" for free HERE - https://soundcloud.com/lakeyinspired/...––– ♪♫ Artists' Links ♫♪ –––► Music by: LAKEY INSPIRED• SUBSCRIBE to the LAKEY INSPIRED YouTube channel HERE - https://www.youtube.com/channel/UCOmy...• Follow LAKEY INSPIRED on SoundCloud HERE - https://soundcloud.com/lakeyinspired• Follow LAKEY INSPIRED on Instagram HERE - https://www.instagram.com/lakeyinspired/• Follow LAKEY INSPIRED on Spotify HERE - https://open.spotify.com/artist/3zDGj...• Support LAKEY INSPIRED on Patreon HERE - (Optional) https://www.patreon.com/lakeyinspired►The Background Image Is From: https://unsplash.com.• Unsplash commercial use license: https://unsplash.com/license––– • (C) Copyright Notice: This is FREE royalty free music that has been released under the "Creative Commons Attribution 3.0 Unported "Share Alike" (CC BY-SA 3.0) license." 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This history of the corporation is a meandering and expanding one but one thing that is common among them, more often than not, is that the profit motive overshadows the potential negative impacts they have on society and the place we all call home. While today’s landscape of corporate structure has broadened to include more mission driven, or worker owned structures, there remain mechanisms in place and questions left unasked that keep the corporation fundamentally flawed. In this session we will hear from leading experts who are asking those questions and are developing mechanisms that can radically move the goalpost. SPEAKERSColin Mayer is the Peter Moores Professor of Management Studies at the Saïd Business School at the University of Oxford. He is a Fellow of the British Academy and the European Corporate Governance Institute, a Professorial Fellow of Wadham College, Oxford and an Honorary Fellow of Oriel College, Oxford and St Anne’s College, Oxford. He is a member of the UK Competition Appeal Tribunal, the UK Government Natural Capital Committee, and the Board of Trustees of the Oxford Playhouse. He was appointed Commander of the Order of the British Empire (CBE) in the 2017 New Year Honours. He was chairman of Oxera Ltd. between 1986 and 2010 and is a director of the energy modelling company, Aurora Energy Research Ltd. He leads the British Academy enquiry into “the Future of the Corporation” and his most recent book Prosperity: Better Business Makes the Greater Good is published by Oxford University Press. Michelle Meagher is a Senior Policy Fellow at the University College London Centre for Law, Economics and Society and co-founder of the Inclusive Competition Forum, a think tank focused on democratising corporate power and the enforcement of competition law. Michelle is a UK- and US-qualified lawyer, specialising in competition law and corporate governance. Michelle sits on the corporate governance committee of the Institute of Chartered Accountants in England and Wales. Michelle's first book, Competition is Killing Us: How Big Business is Harming Our Society and Planet - and What To Do About It, will be published by Penguin Business in September 2020. Nathan Schneider is an assistant professor of media studies at the University of Colorado Boulder, where he leads the Media Enterprise Design Lab. He is the author of Everything for Everyone: The Radical Tradition that Is Shaping the Next Economy, published by Nation Books, and two previous books, God in Proof: The Story of a Search from the Ancients to the Internet and Thank You, Anarchy: Notes from the Occupy Apocalypse, both published by University of California Press. His articles have appeared in publications including Harper’s, The Nation, The New Republic, The Chronicle of Higher Education, The New York Times, The New Yorker, and others, along with regular columns for America, a national Catholic weekly. He has lectured at universities including Columbia, Fordham, Harvard, MIT, NYU, the University of Bologna, and Yale. In 2015, he co-organized “Platform Cooperativism,” a pioneering conference on democratic online platforms at The New School, and co-edited the subsequent book, Ours to Hack and to Own: The Rise of Platform Cooperativism, a New Vision for the Future of Work and a Fairer Internet. Follow his work on social media at @ntnsndr or at his website, nathanschneider.info. Jennifer Lyn Morone is the CEO of RadicalxChange Foundation and a multi-disciplinary visual artist, activist, and filmmaker. Her work focuses on the human experience in relation to technology, economics, politics, and identity and the moral and ethical issues that arise from such systems. Her interests lie in exploring ways of creating social justice and equal distribution of the future. Morone is a trained sculptor with BFA from SUNY Purchase and earned her MA in Design Interactions at the Royal College of Art in London with Dunne and Raby. Her work has been presented at institutions, festivals, museums, and galleries around the world including ZKM, Kunsthalle Düsseldorf, Ars Electronica, HEK, the Martin Gropius Bau, the Science Gallery, Transmediale, SMBA, Carroll/Fletcher Gallery, panke.gallery, Aksioma, Drugo more, and featured extensively on international media outlets such as the Economist, WIRED, WMMNA, Vice, the Guardian, BBC World News, Tagesspiegel, Netzpolitik, the Observer.

What place is there for art in the 21st century world of technology, business, and science? Everywhere. Award-winning cross-disciplinary artist and current SETI artist-in-residence Scott Kildall discusses collaborating with scientists, technologists, and others. He'll share his work and explain the vital role for Art Thinking as a tool that offers perspective
 in a dynamic, fast-moving world. Scott Kildall is a cross-disciplinary artist whose work includes writing algorithms that transform datasets into 3D sculptures and installations. His art often invites public participation through direct interaction. He has been an artist in residence with the SETI Institute and Autodesk; and his work has been exhibited internationally at venues including the New York Hall of Science, Transmediale, the Venice Biennale and the San Jose Museum of Art. Besides many other fellowships, residencies, and honors.

Morehshin Allahyari is an Iranian media artist, activist, educator, and curator uses technology as a philosophical toolset to explore the social, political, and cultural. Her projects are often research heavy and employ new media as a method of documentation and as acts of resistance. In this episode we discuss Allahyari's use of 3D printing to recreate and preserve cultural artifacts destroyed by ISIS, and her exploration and reframing of Middle-Eastern myths and folklore to include female/queer figures.Projects DiscussedMaterial Speculation: ISISShe Who Sees the Unknown-About Morehshin Allahyari-Morehshin Allahyari is an artist, activist, writer, and educator. She was born and raised in Iran and moved to the United States in 2007. Her work deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a philosophical toolset to reflect on objects and as a poetic means to document our personal and collective lives and struggles in the 21st century. Morehshin is the co-author of The 3D Additivist Cookbook in collaboration with writer/artist Daniel Rourke. Morehshin has been part of numerous exhibitions, festivals, and workshops around the world including Venice Biennale di Archittectura, New Museum, The Whitney Museum of American Art, Pompidou Center, Museum of Contemporary Art in Montreal, Tate Modern, Queens Museum, Pori Museum, Powerhouse Museum, Dallas Museum of Art, and Museum für Angewandte Kunst. She has been an artist in residence at BANFF Centre (2013), Carnegie Mellon University’s STUDIO for Creative Inquiry (2015), Autodesk Pier9 Workshop in San Francisco (2015), the Vilém Flusser Residency Program for Artistic Research in association with Transmediale, Berlin (2016), Eyebeam’s one year Research Residency (2016-2017) in NYC, Pioneer Works (2018), and Harvest Works (2018). Her work has been featured in The New York Times, BBC, Huffington Post, Wired, National Public Radio, Parkett Art Magazine, Frieze, Rhizome, Hyperallergic, and Al Jazeera, among others.She is the recipient of The Joan Mitchell Foundation Painters & Sculptors Grant (2019), The Sundance Institute New Frontier International Fellowship, and the leading global thinkers of 2016 award by Foreign Policy magazine. Her 3D Additivist Manifesto video is in the collection of San Francisco Museum of Modern Art, and recently she has been awarded major commissions by The Shed, Rhizome, New Museum, Whitney Museum of American Art, Liverpool Biennale, and FACT.Learn more at http://www.morehshin.com/Follow her Morehshin @morehshin

Seit Freitag läuft in Berlin das CTM Festival - Festival for Adventurous Music and Art. Früher bekannt als Club Transmediale, vereint das Festival, das parallel zur Transmediale läuft, experimentelle meistens elektronische Musik mit anderen Kunstformen.

¿Hasta qué punto nos conocen los algoritmos? ¿Hacemos bien en fiarnos tanto de ellos? ¿Y cómo pueden utilizarse los datos recopilados sobre nosotros para influir de forma muy precisa en nuestra conducta?

Nach einer gefühlten Ewigkeit sind wir wieder da! Linn hat aus New York genug Enthusiasmus für zwei mitgebracht und das ist auch gut so, Freerk kommt nämlich schlecht vorbereitet zur Aufnahme... Dafür sind die Tipps für den Januar diesmal aber so überzeugend, dass wir uns direkt nach dem Gespräch Tickets kaufen. Selbsthypnose erfolgreich! Mit: Tompkins Square Bagels, 20 Jahre Rimini Protokoll, Universität der Künste Kollisionen, Tanztage Berlin, ganz viel Transmediale und CTM Festival, Burns Supper und ein wenig Grüne Woche und Berlin Fashion Week.

Exploring the value, ritual, and tradition of storytelling while straddling different Jewish worlds. Pearl Gluck’s work has been part of the Sundance Lab, played at the Cannes Film Festival, Tribeca Film Festival, and PBS. The Turn Out is her first fiction feature film. Her first documentary feature film, Divan (2004) opened theatrically at Film Forum in NYC, was broadcast on the Sundance Channel and played across the country and internationally at festivals. Pearl’s first narrative short, Where is Joel Baum (2012), won prizes such as Best Actor at the Starz Denver Film Festival and Best Film at the Toronto Female Eye Film Festival. She continues to make both documentary and narrative films that explore themes of class, gender, and faith. Pearl teaches Screenwriting and Directing at Penn State University and is currently developing a documentary project exploring specialty courts that offer an alternative, treatment-oriented approach for victims of sex trafficking. Ten years after leaving her native Borough Park, Brooklyn, Pearl Gluck received a Fulbright grant to collect oral histories from Yiddish speakers in areas of Hungary once home to thriving Hasidic communities. At heart, she is a zamler, Yiddish for collector, an ethnographer. Gluck directed a one-hour TV documentary, Soundwalk: Williamsburg, (2007) broadcast on Paris Premiere, and the audio tour for Soundwalk which was nominated for a 2007 Audie Award. She is co-writer on Goyta (2007) which premiered at the 2007 Cannes Film Festival as part of Cinefondation. Her first film, Divan (2004), is a Hasidic tale five years in the making which was developed in part at the Sundance Institute, premiered at the Tribeca Film Festival, opened theatrically at the Film Forum in NYC (2004) and broadcast on the Sundance Channel. Gluck continues to draw from her rich Hasidic heritage and through her current work seeks to provide both a bridge to the past and a form of cross-communal dialogue through the arts. Gluck co-directed the award-winning short, Great Balls of Fire (6 mins; 2001) which is a homeless man's response to September 11. The short continues to screen worldwide at venues such as Transmediale, Oberhausen, Walker Center for the Arts, New York Video Festival, and in competition at the Globalica 10th International Media Art Biennale in Wroclaw, Poland. Gluck has spearheaded community arts programs, curated literary and film events from Hungary to Israel to New York City, including an artist residency at the Paideia Institute in Stockholm. As part of her ongoing commitment to educational outreach, she has appeared on numerous college and university campuses, and acted as writer/mentor at the MacArthur-granted program, The Harlem Writers Crew. Her first involvement with documentary film was in A Life Apart: Hasidism in America (1998; Oren Rudavsky and Menachem Daum). Her appearance in the film has encouraged grass-roots organization for an ex-Orthodox creative alliance.

HOW TO SHORT CAPITALISM: THE CRYPTO-POLITICAL ECONOMY OF ECSA Economic Space Agency (ECSA) is building the next generation network infrastructure for programmable economies. Most blockchain and distributed ledger technologies applications are oriented toward the creation of distributed markets, reinforcing rather than disrupting oligarchic concentration of wealth over time and questioning what “value” is actually traded. ECSA offers something different: a fully integrated, commons-oriented approach to cryptoeconomy. Economic Space + Cryptophilosophy + Post-Capitalism + Speculative Economy + Fabulation I met with Erik Bordeleau at the ECSA 'Economic Space Design Program' in the Haus der Statistik Werkstatt in Berlin to find out exactly what is 'Economic Space' and how we can claim agency. The readings and notes come from the subsequent 'Token Logic Design' seminar series with Erik at the School of Disobedience, Art and the Blockchain. ----more---- Edited transcript: JR: Can you tell me what exactly the Economic Space Agency is? I imagine intergalatic cryptocurrencies… EB: As it exists now comes from an initiative called ‘Robin Hood Hedge Fund Coop’ making captures on the actual financial markets. We were able to gather some money and redistribute it to projects that we found interesting. Commons-oriented projects essentially. And then blockchain and distributed ledger technologies came in. We were being Robin Hoods of the traditional markets, which can only go up to a certain point. Then with distributed ledger technologies, you can start to imagine creating new markets or new financial stratas that you can start operating with. The way I understand it is the opportunity to create a thousand financial plateaus, from which you can start deterritorializing finance as it exists, and start making value a little bit more multi-dimensional. One of the things we used to say at ECSA is that we are stuck in a mono economy, where everything gets valued within a very narrow set of coordinates, which we call capitalism. Which generates as all we know tremendous externalities. The way forward towards a post-capitalist economy needs to be towards recognising all these values that are considered external to our economic system. JR: What is fabulation? EB: Fabulation is a way of saying that you can't think of the 'real' economy, as opposed to the speculative economy. The economy is always speculative, all the way down. That's not something to judge, or it's not something to deplore. It's something to accept, to deal with, so we need to accept that we are also part of self-fulfilling prophecies or processes. We are part of that. We're a little bit lunatic at times, we are entertaining ideas that seem completely incredible. But it's part of the game. The economic game is fuelled with dreams, and fabulation is a term to name the passage from the virtual to the actual. As one philosopher I really like says 'Only people who are dreaming can modify someone else's dream'. You can't just go up to someone and make them change their minds. You have to be meeting people in the space where they dream, they're also dreaming of something... So, the open office was organised here at Haus der Statistik which is a dream itself. But a dream with a fantastic reality.. I would like to have this collective adventure keep on going, and grow organically. So there's a mix of fantasy, craziness, crazy ambition that we express collectively, but I also want other types of intelligences that are more grounded, closer to the granular aspects of all the relationality of our lives. I want that to be more and more part of our process. Because that's how something sustainable, organic will sustain in the future. That's really important. We're coming in with quite radical ideas but they need to be translated, converted into practices of different kinds, and that's what I envision for the future. A very multi-dimensional proliferating set of practices that share some sort of common financial or alter-financial understanding, so that we can federate when necessary for a common agenda, but otherwise most of the time developing these practices for their own sake. Economic Space Agency is a group of radical economists, software architects, finance theorists, game designers, critical thinkers and artists, coming together to reimagine the future of the economy. Our crew in Berlin includes, among others: Akseli Virtanen, Pekko Koskinen, Jackie Vu, James Foley, Jon Beller, Joel E. Mason, Erik Bordeleau, Fabian Bruder, Emma Stenström, Emanuele Braga, Tirdad Zolghadr, Matthias Einhoff and more. *** Erik Bordeleau Erik Bordeleau is researcher at the SenseLab (Concordia University, Montreal), fugitive finance planner at the Economic Space Agency (ECSA) and affiliated researcher at the Center for Arts, Business & Culture of the Stockholm School of Economics. His work articulates at the intersection of political philosophy, media and financial theory, contemporary art and cinema studies, with a marked interest for the speculative turn and the renewal of the question of the possible in contemporary thinking. He recently taught a seminar series in critical cryptoeconomics at the School of Disobedience at Volksbühne (Berlin) and is currently working on the creation of an MA program in Cryptoeconomics at the Global Center for Advanced Studies (GCAS). With Saloranta & De Vylder, he is developing The Sphere, a p2p community platform for self-organization in the performing arts, which is also part of ABC’s research projects. He is based in Berlin. Erik Bordeleau PhD ECSA on Medium     Economic Space Agency (ECSA) ECSA STACK Gravity:: Distributed Runtime Gravity provides secure computational containment, serialization, persistence, networking, and hardware interfaces to be utilized upwards throughout the ECSA stack. Gravity Protocol The Gravity protocol provides event ordering, scaling, strong security, fail recovery and high availability. It ensures network wide consistency, and enables distributed atomic transactions. Space:: Organizational Expression Space is a grammar for the creation of programmable organizations which can seamlessly combine models of governance and economy. It provides Gravity with an organizational programming environment, utilizing Gravity's implementation of object capabilities. Space Protocol:: Organizational Interoperability The Space Protocol allows the organizational forms of Space to interoperate, regardless of their implementation substrate, establishing fully organizable economic networks. Economic Space:: Value Expression ECSA's offer:: networked value production, distribution and measurement through a new economic abstraction:: The Economic Space. Economic Space Protocols:: Economic Interoperability Protocols and models such as distributed exchange, trading units, synthetic indexing and network derivatives enable the creation of organizational forms with a shared economic grammar. Economic Space Agency (Medium.com) A global collective working to remake the DNA of the economy. Programmed decentralised commons production, April 2017 Video: After Scarcity "A compelling economic sci-fi is mathematic disguised in a well-crafted storyline." SCREENING + DISCUSSION around "After Scarcity" (Bahar Noorizadeh, 2019) with Stefan Heidenreich and Economic Space Agency. Haus der Statistik, Monday 6th May, 19:30 to 22:00 pm  For many of us, computer technology seems almost inseparable from the corporate hypercapitalism of Silicon Valley. In "After Scarcity", Bahar Noorizadeh explores the soviet cybernetic past in search of our possible post-neoliberal future. "How might we use computation to get us out of our current state of digital feudalism and towards new possible utopias? After all, what would Vladimir "socialism is electricity plus statistic" Lenin have to say about blockchain?" This fascinating 30 min. sci-fi essay film will act as a free indirect entry point for a wider discussion around the disruptive potential of crypto- and cyber-economies. Including: Stefan Heidenreich's recent work around a non-money economy partly based on algorithmic matching formulas, and ECSA's general proposal to build a financial and computational infrastructure for post-hayekian economy. “Flying through swarms of floating dots outlining monasteries and city streets, After Scarcity flashes through decades of history to propose the ways contingent pasts can make fictive futures realer, showing us that digital socialism was inbred into the communist revolution and that computation doesn’t mean we’re condemned to today’s tyranny of total financialization.” Complementary readings Imagine there's no money: dialogue between Stefan Heidenreich & Geert Lovink  Geert Lovink: German media theorist Stefan Heidenreich has produced a concise proposal for a ‘non-monetary economy’. The book is entitled */Money/* and came out late 2017 with Merve Verlag in Berlin. Excerpts in English can be found at the Transmediale website. There we find the following description of Heidenreich’s project: ‘Given complex information infrastructures that have already been developed for documenting transactions, tying consumer habits to identities, and accurately predicting future exchanges, the substructure of a new kind of economy is now in place.’ March 2018 How Not to Network a Nation: The Uneasy History of the Soviet Internet. Peters, B. (2016) Cambridge: MIT Press. Red Plenty: Inside the Fifties’ Soviet Dream. Spufford, F. (2010). London: Faber & Faber. Review by Philip Cunliffe In the fifties, Soviet economic growth made it seem that the USSR might still win on the front of delivering material abundance to the masses: ‘Moscow would out-glitter Manhattan, and every Lada would be better engineered than a Porsche’... The heroes of Spufford’s Soviet dream are an entire generation of peasants brutally torn off the land and propelled on an astonishing ascent in the breakneck process of Soviet industrialisation. Dictionary of Now #9 | Philip Mirowski Markets as Computer Programs in a Theory of Markets Video introduction to Mirowski's work on Hayek MONEYLAB Resources A constantly-updated resourceful collection of theories, media discourse, creative projects and events focused on alternative revenue models. Of central importance to this project is the formation of a collaborative network of researchers, artists, developers, engineers, and others interested in sharing, coining, critiquing, and ushering in alternative network economies. We are always looking for radical submissions that closely reflect the stated aim of the MoneyLab: Economies of Dissent project. BITCOIN AND BLOCKCHAIN  https://bitcoinembassy.nl/  https://bitcointalk.org/ https://en.bitcoin.it/wiki/Main_Page https://www.reddit.com/r/Bitcoin/ https://www.ethereum.org/ http://www.coindesk.com/ Proof of Existence 3. COMMUNITY AND ART PLATFORMS http://www.furtherfield.org/artdatamoney/ – collective artistic investigation into use of blockchain for creativity and the commons https://www.ascribe.io/ – Blockchain based art distribution platform https://www.nextnature.net/tag/alternative-currencies/ – A ten part series exploring the design of an invisible technology: money. Art Commons – art sharing platform and community in NY, US BitcoinCloud – interactive art and media installation by Artistic Technology Lab (AT) Dadara (NL) Debt Fair (US) – a decentralized art market where art collectors can purchase artworks directly from the artists, which use it to repay debts. Kunst Reserve Bank (NL) Lanchonete (BR) Mon3y.us – Online exhibition featuring Digital & Net.Art on the subject of Money & Error Time/bank e-flux (US) Timebank CC (NL) Schwartzbank (DE) Amplitive Art     Aragon The Aragon project is a community with the mission to empower freedom by creating tools for decentralized organizations to thrive. Aragon lets you freely organize and collaborate without borders or intermediaries. Create global, bureaucracy-free organizations, companies, and communities.  The world’s first digital jurisdiction Aragon organizations are not only great because they are decentralized, global and unstoppable. They will also benefit from the Aragon Network, the world’s first digital jurisdiction. Decentralized organizations change the way we think about organizations. The Aragon Network will change the way you think about jurisdictions and governments. Aragon, The Film We are building Aragon because we believe decentralized organizations can solve the world’s worst problems. Come chat with us at the Aragon Chat Explore the Aragon Wiki Follow Aragon on Twitter Subscribe to the Aragon subreddit Contribute to Aragon at GitHub Subscribe to Aragon Monthly Newsletter Video production company Metamension Pando Network Pando Network: infrastructure for distributed creation What is Pando? Pando is a fully distributed and immutable VCS based on top of IPFS, aragonOS and the ethereum blockchain. Developed by the Ryhope Network’s team, it intends to become a community-driven standard. Its goal is to provide content creators, and mostly software developers, with a universal open-source versioning, cooperation and archiving layer. Pando has been crafted with the intent to be faithful to git’s philosophy while creating a bridge towards blockchain’s and ethereum’s rationale: a common good providing one more brick towards the decentralization of societies and the empowerment of human beings. That’s why we are building pando as an open source and standalone tool. No token, no ICO: just a medium to provide the blockchain community with a way to self-organize its development and its growth — though the Ryhope Network will use an homemade token to offer an income to free and open contents. Decentralized Autonomous Literary Organization: a decentralization of literature Pando Network, by inaugurating both a protocol and an interface capable of hosting and organizing collaborative creation, also opens great perspectives for literature. More broadly, should we not consider the possibilities opened up by the Ethereum blockchain, Aragon and Pando on the decentralization of literature, understood both as a historical mode for the valorization, diffusion and distribution of works, and as writing activities that govern these works?   CIRCLES A self-issuance based cryptocurrency basic income Circles is an electronic cryptocurrency with the aim to create and distribute a globally accessible Universal Basic Income. In traditional debt-based currencies one sells goods, borrows money, or invests working power to receive money. With Circles, one receives money unconditionally to engage with their community, creating value through offering goods or services. Cryptoeconomics Is Hard Aleksandr Bulkin  We are not used to designing economic structures. This is a wholly new territory. This article is an attempt to illustrate some very subtle problems people encounter on this road, often well after fixing them stops being easy or even possible. Economics is hard in general. The reason is that economics studies interactions in a very large group of people and people are not something you can model mathematically very well. But traditional economics works because it studies behaviors in a long-established system which changes very slowly. The way mainstream economic structures work is a product of years of research, governance, and social dynamics. In some sense you can say it was designed but a better way to look at it is that it was partly designed, partly discovered, and partly evolved on its own. So cryptoeconomics is harder, precisely because the economics of every single cryptoasset is designed from inception. This includes supply, inflation, rewards, fines, and so on. Cryptoeconomics of a token is a hybrid between rules programmatically implemented on a blockchain and the entire world of interactions real human beings have with it. Designing good rules necessarily entails understanding the way humans will interact with them. Talking token The full guide for understanding a token role in a token-enabled ecosystem  Today seeing a yet another blockchain-powered project promising to change how the old world works is not a news. None of such projects fail to emphasize that “token is an essential part of the ecosystem”. Yet, a rare project convincingly explains “why it needs a token in the first place.” Often times a seemingly simple answer leads to countless nuances and triggers a lot of consequences. A token is a tool that ignites and powers a “digital cooperative” around some activity. The incentives it carries determine whether the cooperative outlives its creators (the token issuers) or becomes a facade for speculative activities with no one giving a damn what the token is needed for. Measuring Value in the Commons-Based Ecosystem Bridging the Gap Between the Commons and the Market Primavera De Filippi and Samer Hassan (MoneyLab reader #1) Lovink, G., Tkacz, N. (eds.) The MoneyLab Reader. Institute of Network Cultures, University of Warwick, 2015  January 31, 2015 Commons-based peer-production (CBPP) constitutes today an important driver for innovation and cultural development, both online and offline. This led to the establishment of an alternative, Commons-based ecosystem,based on peer-production and collaboration of peers contributing to a common good. Yet, to the extent that this operates outside of the market economy, we cannot rely on traditional market mechanisms (such as pricing) to estimate the value of CBPP. We present here a system - which we will name Sabir - that can resolve some of the most recurrent problems encountered within CBPP communities. The Sabir system is composed of three layers that will help us: (1) Understanding the social value - as opposed to market value - of different CBPP communities, so as to compare them to one another. (2) Identifying the value generated by individuals contributing to the Commons and evaluating it through a common denominator of value. (3) Creating an interface between the market and the CBPP ecosystem so that the two can interact, and benefit from each other. Keywords: commons-based peer-production, alternative economies SELF-CAPITAL (1, 2, 3) Self-capital is an ongoing video series by Melanie Gilligan. Smart art tv series to learn to see and feel like Capital. First shown Sept. 2009. POPULAR UNREST Popular Unrest is a multi-episode drama set in a future much like the present. Here, however, all exchange transactions and social interactions are overseen by a system called ‘the Spirit’. A rash of unexplained killings have broken out across the globe. They often take place in public but witnesses never see an assailant. Just as mysteriously, groups of unrelated people are suddenly coming together everywhere, amassing new members rapidly. Unaccountably, they feel a deep and persistent sense of connection to one another. The film explores a world in which the self is reduced to physical biology, directly subject to the needs of capital. Hotels offer bed-warming servants with every room, people are fined for not preventing foreseeable illness, weight watching foods eat the digester from the inside and the unemployed repay their debt to society in physical energy. If on the one hand this suggests the complete domination of life by exchange value do the groupings offer a way out? Global Center for Advanced Studies Crypto-Economics Department GCAS College Dublin is partnering with the Economic Space Agency (ECSA), a collective of radical economists, software engineers, artists, game designers, social theorist and crypto-technologists working together to warp economic spacetime. As part of the collaboration between GCAS and Economic Space Agency (ECSA), Erik Bordeleau will be in charge of creating an MA in cryptoeconomics at GCAS with fellow ECSA agent and GCAS faculty member, Tere Vadén. Thank you for tuning in, we hope you enjoyed listening as much as we did talking! Transit Lounge Radio is 100% independently produced, and ad-free. Your generous support, event invitations and sharing to community networks will help keep the conversation free-flowing! Support independent radio! Donate & keep the conversation flowing Hang out in the Transit Lounge on facebook Reviews and stars on iTunes make us happy Listen on the TLR YouTube Channel Subscribe to TLR RSS Feed Commission Transit Lounge Radio for your event signal at transitloungeradio dot net

主持：網癮、Frank (原本要叫辣嘴哥，但怕被笑) 音仔人 (im-á-lâng）是 DigiLog 的廣播節目，音仔人源自 “玩音樂的孩子不會變壞”，從這句話發想，連結至台語 “囡仔人 (gín-á-lâng)”，指說小孩子，把囡(gín)改成音(im)，變成音仔人(囡仔人) im-á-lâng。 這次廣播節目包含回顧本月報告、DigiLog 重點貨物＋發生什麼事、我們記憶中的CTM，以及我們推薦的音樂歌曲，從中不外乎攪一下賽，希望透過廣播節目的方式陪著音樂人與喜歡音樂的大家。 如果你喜歡 DigiLog，請幫訂閱、按讚或分享喔！謝謝大家! 音樂 Playlist 1. 噪音印製 - 失真_Distortion - 成為_Be feat.CocoHsiao 2. 理化兄弟P.C.B - Oslo In KEPLER 452-B 3. 破地獄/Scattered Purgatory - 芒神/God of Silver Grass - 魍魎 4. 美秀集團 Bisiugroup - 電火王 King of Light - 電火王 King of Light (.aka KOL) 5. Madzine - 怪謬 - LEGO Brick 一堆資料： Roland 人聲效果器出新版 VT-4 可接 MIDI 囉！ https://digilog.tw/posts/1134 Ableton、Native Instruments 與各個廠商將加入 MMA ，共同塑形出未來的 MIDI 發展 https://digilog.tw/posts/1148 用 Gameboy 做音樂！？DIY 合成器系統 “Lame Boy” https://digilog.tw/posts/1145 TFoM 11/17- 11/18: http://tfom.info Ableton Loop LA 11/9 - 11/11: https://loop.ableton.com/2018/live/ CTM: https://www.ctm-festival.de/festival-... Transmediale: https://transmediale.de/ Berghain Berlin: http://www.berghain.de/ Kraftwerk Berlin: http://www.kraftwerkberlin.de/cn/ort.... Pedro Reyes (MX): https://www.youtube.com/watch?v=YwQp1... ----------------------------------------------------------- Website: https://digilog.tw Facebook: https://www.facebook.com/digilog.tw Instagram: https://www.instagram.com/digilog.tw -----------------------------------------------------------

Transmediale https://transmediale.de/home https://de.wikipedia.org/wiki/Transmediale Haus der Kulturen der Welt https://www.hkw.de/en/ https://de.wikipedia.org/wiki/Haus_der_Kulturen_der_Welt Face Value https://en.wikipedia.org/wiki/Face_value https://de.wikipedia.org/wiki/Nennwert CTM Festival https://www.ctm-festival.de/news/ https://de.wikipedia.org/wiki/CTM_Festival Simon Stålenhag https://en.wikipedia.org/wiki/Simon_St%C3%A5lenhag http://www.simonstalenhag.se/ 404_005 Prozedurale Spielwelten https://404.earth/prozedurale-spielwelten/ Simon Stålenhag - The Electric State https://simonstalenhag.bandcamp.com/ Simon Stålenhag - The Smokestacks Of Kingston https://simonstalenhag.bandcamp.com/track/the-smokestacks-of-kingston Faisal Devji, Sybille Krämer, Nick Thurston, Nelly Yaa Pinkrah: The Weaponization of Language https://2018.transmediale.de/program/event/the-weaponization-of-language Verkippung https://www.duden.de/rechtschreibung/Verkippung https://de.wiktionary.org/wiki/verkippen Simon Stålenhag - Remembering Soest https://simonstalenhag.bandcamp.com/track/remembering-soest Zach Blas, Aria Dean: Reimagine the Internet: Affect, Velocity, Excess https://2018.transmediale.de/program/event/reimagine-the-internet-affect-velocity-excessi Rhizome https://rhizome.org/profile/aria-dean/ Contra-Internet http://www.zachblas.info/works/contra-internet/ Artists Re:Thinking the Blockchain https://2018.transmediale.de/content/artists-rethinking-the-blockchain PDF Download: http://torquetorque.net/publications/artists-rethinking-the-blockchain/ Terra0 https://terra0.org/ https://digicult.it/news/terra0-la-foresta-aumentata-indipendente/ Jaya Klara Brekke http://www.jayapapaya.net/ Simon Stålenhag - Point Linden https://simonstalenhag.bandcamp.com/track/point-linden

Studios artist Marija Bozinovska Jones and musician and artist J.G. Biberkopf introduce a collaborative new work entitled Fascia 171208180222. The live audio-visual performance positions the contemporary self entangled in surveillance economies with data as an elusive currency. The interview was recorded at this year's Sonic Acts Academy in Amsterdam where the work was premiered. Marija Bozinovska Jones’ work revolves around formation of identity within augmented technocapitalism. She examines implications of new technologies and how society adapts to them, contemplating coping mechanisms. Via MBJ Wetware as a hybrid identity, Marija initiates collaborative live performances, simulating immersive heterotopian landscapes to be collectively inhabited. Her festival performances include commissions for CTM/ Deutschlandradio Kultur, a performance at Vorspiel and presentations at Transmediale and MIRA/Scope Sessions. Her past musical collaborators include JG Biberkopf, Iydes, A Guy Called Gerald and Mind:Body:Fitness/Phoebe Kiddo, among others. Virtual voice assistant: MBJ Wetware Music and sound design: J.G. Biberkopf

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Seiji Morimoto: Born in Tokyo 1971, studied musicology at the Kunitachi College of Music, graduating in 1996. During this period he began to play the electronic pieces by John Cage and his own sound performances. Since then he has been creating sound performances, installations and videos. In 2003 Morimoto moved to Berlin, has performed and exhibited in many international festivals including transmediale in Berlin, Experimental Music Festival in Munich. He is interested in the uncertain acoustic appearances between usual objects, for example water and stones, and the technical medium. He has collaborated with Takehisa Kosugi, Keitetsu Murai, Olivier Di Placido, Francesco Cavaliere, Olaf Hochherz, Rius van Alebeek, Ignaz Schick, Luciano Maggiore, Crys Cole, Felicity Mangan, Alessandra Eramo, Nicolas Wiese, Kakawaka, Seijiro Murayama, Jamie Drouin, Hannes Lingens, Johnny Chang, Katsura Yamauchi, Makoto Oshiro, Yan Jun and many others. // Nato a Tokyo nel 1971, ha studiato musicologia presso il Kunitachi College of Music dove si è laureato nel 1996. Durante questo periodo ha iniziato a suonare le partiture elettroniche di John Cage e creare le proprie performance sonore, installazioni e video. Nel 2003 si trasferisce a Berlino. Si è esibito in numerosi festival internazionali, tra cui Transmediale di Berlino e Experimental Music Festival a Monaco di Baviera. Si interessa degli aspetti acustici incerti propri degli oggetti comuni, per esempio acqua e pietre, e delle tecniche per diffonderli. Ha collaborato con Takehisa Kosugi, Keitetsu Murai, Olivier Di Placido, Francesco Cavaliere, Olaf Hochherz, Rius van Alebeek, Ignaz Schick, Luciano Maggiore, Crys Cole, Felicity Mangan, Alessandra Eramo, Nicolas Wiese, Kakawaka, Seijiro Murayama, Jamie Drouin, Hannes Lingens, Johnny Chang, Katsura Yamauchi, Makoto Oshiro, Yan Jun e molti altri. www.seijimorimoto.com Photo Credits: Nicolas Cappelli

Michael Rakowitz is a Chicago based artist whos works have appeared in venues worldwide including dOCUMENTA (13), P.S.1, MoMA, MassMOCA, Castello di Rivoli, the 16th Biennale of Sydney, the 10th Istanbul Biennial, Sharjah Biennial 8, Tirana Biennale, National Design Triennial at the Cooper-Hewitt, and Transmediale 05. He has had solo exhibitions at Tate Modern in London, Lombard Freid Gallery in New York, Alberto Peola Arte Contemporanea in Torino, and Kunstraum Innsbruck. The works find their roots across history, architecture, and cultural exchange. They ask us to play remote witness to atrocity and triumph as we are made complicit in the challenges and trials of a globalized world. Check out his current exhibitions at the Graham Foundation and Rhona Hoffman Gallery.    

Talk with dr Jussi Parikka during transmediale festival, Berlin. On anxiety, Donald Trump as pollution, obscene antrophocene and mapping. Machinology. Machines, noise and some media archeology by Jussi Parikka here: https://jussiparikka.net

Johannes Kleske und Marcel Weiß sprechen über Uber. Weitere Themen sind die Transmediale, Wearables und die Durchbrüche im Feld der Virtual Reality. (Datei) Links zu den Themen: Why Google Glass broke The Oculus Rift Game That's So Real It Nearly Destroyed Me | WIRED People Will Spend the Majority of Waking Time in Virtual Reality...

Für die innovative arte-Serie "Zeit der Helden", die als Echteit-Fiktion das Geschehen rund um eine Familie erzählt und zusätzlich erweiterende Anwendungen im Netz bereit stellt, gab es jüngst den Deutschen Fernsehpreis. Die Macher dieser Serie Volker Heise (zero one film) und Amos (soma labs) stellen ihr Projekt vor.

TVW#10 - Transmediale Erzählung mit Felix Raczkowski Sondersendung im Rahmen des Projekt-Moduls 'Fernsehästhetik' des Instituts für Medienwissenschaft Bochum unter der Leitung von Prof. Dr. Eva Warth. Christian Heinke führt mit Felix Raczkowski ein Gespräch über das Thema 'Transmediale Erzählen'.