Olga Goriunova

Born	Ulan-Ude, Soviet Union (today Russia)
Lives in	London, United Kingdom
Web	Academia.edu, Aaaaarg

Olga Goriunova (1977, Ulan-Ude, USSR) is a scholar and curator in the fields of digital media arts and cultures. She is a Senior Lecturer in the Media Arts Department, Royal Holloway, University of London.

She graduated in philology from the Moscow State University (1999). She completed her Ph.D. on "Art Platforms. The constitution of cultural and artistic currents on the Internet" in Media Lab, University of Art and Design Helsinki, on the concept of art platforms, with close attention to the questions of organizational aesthetics, autocreativity, collective, flexible and amateur production, network politics and valorization as playing out in the materiality of digital cultures.

She taught audiovisual arts, sociology of art and media theory in Moscow City University and Moscow State University of Humanities; in many educational media institutions in St. Petersburg (course on the history of media technologies and essentials of media theory "Media: history of expansion", 2000-2001 Pro Arte Institute); Almaty/Kazakhstan ("New Media Art Strategies" Programme, 2001 Center for Contemporary Art); Moldova and has lectured world-wide.

In 2001 she curated and moderated the round table discussion Copyright in the Age of Digital Reproduction, MediaForum, Moscow. She is a co-organizer of Readme software art festivals (Moscow 2002, Helsinki 2003, Aarhus 2004, Dortmund 2005); a co-organizer of software art repository Runme.org. From 2001 a member of Data Exchange Laboratory. In 2010, Goriunova organized an international exhibition Funware that was first shown in Arnolfini gallery in Bristol and which then traveled to the cultural organisations MU and Baltan, in Eindhoven in The Netherlands (November 2010 – January 2011).

She written and published on a broad range of topics in the areas of new media theory and art, literature in the digital age, history of philosophy of technology, aesthetics, social and critical theory, emphasizing questions at the intersection of digital materiality, aesthetics and organisation. Research interests include digital folklore, aesthetics of glitch, FLOSS (free, libre and open source software) and culture, online participatory platforms, 8-bit music and low tech aesthetics, sociology of artistic experiment and "male" literature, amongst others.

She lives in London.

Publications

Books

• Art Platforms and Cultural Production on the Internet, Routledge, 2011.
• with Matthew Fuller, Bleak Joys: Aesthetics of Ecology and Impossibility, University of Minnesota Press, 2019, 224 pp. [1]

Books edited

• editor, with Alexei Shulgin, Read_me Festival 1.2: Software Art/Software Art Games, Moscow, 2002.
• editor, with Alexei Shulgin, ReadMe 2.3 Reader: About Software Art, Helsinki: NIFCA, 2003, 87 pp. [2]
• editor, with Alexei Shulgin, Read_me: Software Art & Cultures, Aarhus: University of Aarhus, 2004, 396 pp. TOC.
• Readme 100 Temporary Software Art Factory, Dortmund: Hartware MedienKunstVerein, 2006.
• Fun and Software: Exploring Pleasure, Paradox and Pain in Computing, New York and London: Bloomsbury, 2014, 285 pp.

Book chapters

• "'Male literature' of Udaff.com and other networked artistic practices of the cultural resistance", in Control + Shift. Public and Private Usages of the Russian Internet, eds. Henrike Schmidt, Katy Teubener and Natalja Konradova, Norderstedt: Books on Demand, 2006. Re-printed in XXXXX, xxxxx and OpenMute, UK, 2006.
• with Alexei Shulgin, "From Art on Networks to Art on Platforms", in Data Browser 3: Curating Immateriality: On the Work of the Curator in the Age of Network Systems, ed. Joasia Krysa, New York: Autonomedia, 2006.
• with Alexei Shulgin, "Glitch", in Software Studies: a Lexicon, ed. Matthew Fuller, MIT Press, 2008.
• "Autocreativity. The Operation of Codes of Freedom in Art and Culture", in FLOSS + ART, eds. Aymeric Mansoux and Marloes de Valk, London: OpenMute, 2008.
• "Vitalist Technocultural Thinking in Revolutionary Russia (on Piotr Engelmeier)", in Place Studies in Art, Media, Science and Technology. Historical Investigations on the Sites and the Migration of Knowledge, eds. Andreas Broeckmann and Gunalan Nadarajan, Weimar: Verlag und Datenbank für Geisteswissenschaften, 2009, pp 183-197.
• "A Life Story of Runme.org, software art repository", in ART ++, ed. David-Olivier Lartigaud, Paris: HYX, 2011, pp 113-140. (French)
• with Matthew Fuller, "Worse Luck", in Down by Law: Revisiting Normativity with Deleuze/Nomadic Thought, eds. Rosi Braidotti and Patricia Pisters, New York/London: Continuum, 2012, pp 159-172.
• with Matthew Fuller, "Phrase", in Inventive Methods: The Happening of the Social, eds. Celia Lury and Nina Wakeford, Routledge, 2012, pp 163-171.
• with Chiara Bernardi, "Social Networking Sites", in John Hopkins Guidebook to the Digital Humanities, eds. Marie-Laure Ryan, Lori Emerson and Benjamin Robertson, Baltimore: The John Hopkins University Press, 2013.
• "Material Imagination: On the Avant-gardes, Time and Computation", ch. 12 in Fun and Software, ed. Olga Goriunova, London: Bloomsbury, 2014, pp 253-273.
• "The Ragged Manifold of the Subject: Databaseness and the Generic in Curating YouTube", in Media After Kittler, eds. Eleni Ikoniadou and Scott Wilson, London: Rowan & Littlefield, 2015.
• "Participatory Platforms and the Emergence of Art", in A Companion to Digital Art, ed. Christiane Paul, Wiley, 2016, pp 297-309.
• with Matthew Fuller, "Devastation", in General Ecology: The New Ecological Paradigm, eds. Erich Hörl and James Burton, Bloomsbury Academic, 2017.
• "Technological Macrobiome: Media Art and Technology as Matter", in across & beyond: A transmediale Reader on Post-digital Practices, Concepts, and Institutions, eds. Ryan Bishop, Kristoffer Gansing, Jussi Parikka, and Elvia Wilk, Berlin: Sternberg & Transmediale, 2017.
• "The Bodily Sounds of the Abyss", in AUDINT: Unsound:Undead, eds. Eleni Ikoniadou, Toby Heys and Steve Goodman, Univocal, Urbanomic, 2019. [3]

Selected papers and essays

• "Notes on the Death of Net.Art", Springerin 3, Vienna, 2001.
  • trans., in ESC, Berlin: Kuenstlerhaus Bethanien, 2002. (German)
• "Artistic Software for Dummies", in read_me 1.2, 2002.
• "Swarm Forms: On Platforms and Creativity", Mute 2:4, London, Jan 2007.
• "Old Contexts for New Media Cultures (in Russia)", Third Text 3(3): "Media Arts: Practice, Institutions and Histories", 2009, pp 261-269.
• "Autocreativity and Organisational Aesthetics in Art Platforms", Fibreculture Journal 17, 2011.
• "New Media Idiocy", Convergence 19:2, Sage, 2013.
• "Die Kraft der digitalen Ästhetik. Über Meme, Hacking und Individuation", Zeitschrift fur Medienwissenschaft 8: "Medienästhetik", eds. Erich Horl and Mark Hansen, Apr 2013. (German)
  • "The Force of Digital Aesthetics: On Memes, Hacking, and Individuation", Nordic Journal of Aesthetics 24:47, 2015, pp 54-75. [4]
• "Digital Ontologies as Productive Process", Cultural Anthropology, 2016.
• Goriunova, et al., "Chatting through Pictures? A Classification of Images Tweeted in One Week in the UK and USA", Journal of the Association for Information Science and Technology 67:11, Wiley, 2016, pp 2575-2586. Preprint.
• "The Lurker and the Politics of Knowledge in Data Culture", International Journal of Communication 11, 2017, pp 3917-3933. [5]
• "The Digital Subject: People as Data as Persons", Theory, Culture and Society: "Transversal Posthumanities", 2019. [6]

Interviews

• Lisa Baldini, "Interview with Olga Goriunova, Curator of Fun with Software", Rhizome, 3 Nov 2010.

Links

• Profile on Visual Social Media Lab
• Profile on U Warwick (archived)
• Profile on U Leuphana