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| start [020180521 234124] – [research description] joost | start [020210624 170639] – [research description] joost | ||
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| ===== research description ===== | ===== research description ===== | ||
| - | A recently updated short description of my research goes as follows: | + | A recently |
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| - | Artists who work with technology often develop their own tools as part of the articulation of an aesthetic language. My research starts from the comparison of this process with the mutual transformations of devices, procedures, concepts and scientists that take place in a scientific lab. During the research period, I want to investigate the mutual construction of tools and artist, as a way to take a conceptual and practical step in my work and position it more explicitly relative to recent developments in the exact sciences. Central to formulating such a position will be to reflect on the dialogue between humans and technology, focusing on the point where concepts and materials interact.\\ | + | |
| - | By engaging in a dialogue with devices and the cultures they are part of, I want to open a space of alternative technical possibilities. These are musical, poetic as well as utopian, and form a critique of a purely functional approach to technology. | + | |
| - | + | ||
| - | Positing technology as the other side in a dialogue implies that it has some degree of autonomy. To elucidate this, I am interested in concepts relating to the surprising behaviours of human inventions and artefacts.\\ | + | |
| - | The archetypal example of such surprising ' | + | |
| - | A second important track for articulating the concept of a dialogue with technology are ideas about the autonomy of technological development; | + | |
| - | A third track, relating more directly to practical activities, consists of fairly recent ideas about the role of material agency in science (Pickering, Barad, Rheinberger, | + | |
| - | + | ||
| - | Practical work in this research project has started from the historic technologies of analog computing and electronic modeling. The medium-term goal of this was to build an analog computer optimized for the synthesis of HD video signals (a project of several years that is now nearing completion) and to make a series of moving-image works that give a voice to the physicality of the systems that produced them.\\ | + | |
| - | The longer-term goal is to use the culture of analog computing and electronic modeling as a vantage point from which to explore the artistic potential of chemistry, nanotechnology and other technologies that deal with matter on the molecular scale. The newest of these technologies tend to be thought as a confluence of nanotechnology, | + | |
| - | As a way to formulate an alternative approach, I would like to investigate the concept of ' | + | |
| + | This research project started as an attempt to deal with a question that Socrates gets asked in his dialogue with Meno: how can we learn something we don't already know ? I will be exploring what I think is one answer, that new things can be learned in interaction with devices outside of us. It is an answer that interests me because what I have been calling a ' | ||
| + | my media-art practice for many years. But despite these roots, the aim of this project is not primarily to think about art; the aim is to clarify the concept of a ' | ||
| + | a view of technology that is also relevant outside of the arts. By focusing on the agency of | ||
| + | technological artefacts in speculation and creation, I hope to contribute to a reflection on technology | ||
| + | as something else than a tool to subjugate our planet and ourselves.\\ | ||
| + | Practical work has focused on the room full of historic and recent analog computers that has been my studio for the past few years. I have been making artistic works nourished by a form of media-archeology that serves two purposes that are almost opposed: it seeks to illuminate aspects | ||
| + | of current practices by going back to their origins, and it looks at the past as a rich and relatively | ||
| + | accessible source of difference.\\ | ||
| + | In my reading and writing I am trying to articulate the sources of what can be perceived as an agency of machines and look at how a dialogue with machines can be a form of collaboration in which new representations appear. For this I am primarily leaning on the work of Alfred North Whitehead, Gilbert Simondon and Isabelle Stengers, with frequent appearances by Katherine Hayles, Bernard Stiegler and Andrew Pickering. An important element in these reflections is the notion of abstraction as articulated by Whitehead: abstractions are not objects but decisions to focus on certain aspects of a situation and relegate other aspects to the background. This is a view on abstractions as performative, | ||
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| ===== presentations and publications ===== | ===== presentations and publications ===== | ||
| - | * presentation at Alchemy Filmmaker [[http:// | + | * presentation at Alchemy Filmmaker [[http:// |
| - | * [[http:// | + | * [[http:// |
| - | * presentation at the [[http:// | + | * presentation at the [[http:// |
| * [[https:// | * [[https:// | ||
| + | * artist' | ||
| + | * [[https:// | ||
| + | * [[https:// | ||
| + | * artist' | ||
| + | * artist' | ||
| + | * artist' | ||
| + | * exhibition of installation #71.1 during the Sonic Acts festival at the Stedelijk Museum, Amsterdam (February 2019). | ||
| + | * artist' | ||
| + | * exhibition of (partially reworked) installation #71.1 at iMal in Brussels. (November 2019) | ||
| ===== this librarinth ===== | ===== this librarinth ===== | ||
start.txt · Last modified: 020240205 185506 by joost