Filed under book | Tags: · aesthetics, digital humanities, image, instagram, photography, visual culture
“This in-depth study of Instagram combines methods from art history, media studies, and data science, and draws on computational analysis of 16 million Instagram photos shared in 17 global cities since 2012. The data collection and analysis were performed in Manovich’s Cultural Analytics Lab in the Qualcomm Institute (UCSD Division of the California Institute for Telecommunications and Information Technology). ”
Self-published September 2017
Creative Commons BY-NC-ND 4.0 International License
Filed under book | Tags: · aesthetics, architecture, art, forensics, image, law, politics, theory, war
“Forensics originated from the term ‘forensis’ which is Latin for ‘pertaining to the forum.’ The Roman forum was a multidimensional space of negotiation and truth-finding in which humans as well as objects participated in politics, law, and the economy. With the advent of modernity, forensics shifted to refer exclusively to the courts of law and to the use of medicine, and today as a science in service to the law. The present use of forensics, along with its popular representations have become increasingly central to the modes by which states police and govern their subjects.
By returning to forensis this book seeks to unlock forensics’ original potential as a political practice and reorient it. Inverting the direction of the forensic gaze it designates a field of action in which individuals and organizations detect and confront state violations.
The condition of forensis is one in which new technologies for mediating the “testimony” of material objects—bones, ruins, toxic substances, landscapes, and the contemporary medias in which they are captured and represented—are mobilized in order to engage with struggles for justice, systemic violence, and environmental transformations across the frontiers of contemporary conflict.
This book presents the work of the architects, artists, filmmakers, lawyers, and theorists who participated directly in the “Forensic Architecture” project in the Centre for Research Architecture at Goldsmiths University of London, as well as the work of associates and guests. It includes forensic investigations undertaken by the project and its collaborators aimed at producing new kinds of evidence for use by international prosecutorial teams, political organizations, NGOs, and the UN. It also brings together research and essays that situate contemporary forensic practices within broader political, historical, and aesthetic discourse.”
With contributions by Lawrence Abu Hamdan, Nabil Ahmed, Maayan Amir, Hisham Ashkar & Emily Dische-Becker, Ryan Bishop, Jacob Burns, Howard Caygill, Gabriel Cuéllar, Eitan Diamond, DAAR (Decolonizing Architecture Art Residency), Anselm Franke, Grupa Spomenik, Ayesha Hameed, Charles Heller, Helene Kazan, Thomas Keenan, Steffen Krämer, Adrian Lahoud, Armin Linke, Jonathan Littell, Modelling Kivalina, Model Court, Working Group Four Faces of Omarska, Gerald Nestler, Godofredo Pereira, Nicola Perugini, Alessandro Petti, Lorenzo Pezzani, Cesare P. Romano, Susan Schuppli, Francesco Sebregondi, Michael Sfard, Shela Sheikh, SITU Research, Caroline Sturdy Colls, John Palmesino & Ann Sofi Ronnskog / Territorial Agency, Paulo Tavares, Füsun Türetken, Robert Jan van Pelt, Srdjan Jovanovic Weiss / NAO, Eyal Weizman, Ines Weizman, Chris Woods.
Publisher Sternberg Press, Berlin, and Forensic Architecture, 2014
ISBN 9783956790119, 3956790111
Reviews: Léopold Lambert (The New Inquiry, 2014), Martin Howse (Mute, 2014), Gaston Gordillo (Society and Space, 2015), John Beck (Radical Philosophy, 2015).
Exh. review: Harry Burke and Lucy Chinen (Rhizome, 2014).
Filed under book | Tags: · art, art criticism, cinema, film, film criticism, image, internet, politics, theory
“Hito Steyerl is considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion.
Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, Too Much World gathers a series of essays and close readings of Steyerl’s films from 2004-2014. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills.”
Edited by Nick Aikens
Publisher Sternberg Press, Berlin; Van Abbemuseum, Eindhoven; and Institute of Modern Art, Brisbane, 2014
Creative Commons BY-NC-SA 4.0 International License