Stevphen Shukaitis: The Composition of Movements to Come: Aesthetics and Cultural Labor after the Avant-Garde (2016)
Filed under book | Tags: · aesthetics, affect, antagonism, art history, autonomy, avant-garde, capitalism, class, creativity, everyday, imagination, immanence, labour, marxism, media, organization, situationists, strategy, value
“How does the avant-garde create spaces in everyday life that subvert regimes of economic and political control? How do art, aesthetics and activism inform one another? And how do strategic spaces of creativity become the basis for new forms of production and governance?
The Composition of Movements to Come reconsiders the history and the practices of the avant-garde, from the Situationists to the Art Strike, revolutionary Constructivism to Laibach and Neue Slowenische Kunst, through an autonomist Marxist framework. Moving the framework beyond an overly narrow class analysis, the book explores broader questions of the changing nature of cultural labor and forms of resistance around this labor. It examines a doubly articulated process of refusal: the refusal of separating art from daily life and the re-fusing of these antagonistic energies by capitalist production and governance. This relationship opens up a new terrain for strategic thought in relation to everyday politics, where the history of the avant-garde is no longer separated from broader questions of political economy or movement, but becomes a point around which to reorient these considerations.”
Publisher Rowman & Littlefield, London & New York, 2016
New Politics of Autonomy series
ISBN 9781783481736, 1783481730
PDF (4 MB)Comment (0)
Filed under book | Tags: · agency, artificial intelligence, cognition, computation, computing, epistemology, ethnicity, imagination, interface, meaning, media, metaphor, narrative, new media art, poetics, power, race, self, semiotics, subjectivity, technology, theory, video games
“An argument that great expressive power of computational media arises from the construction of phantasms—blends of cultural ideas and sensory imagination.
In Phantasmal Media, D. Fox Harrell considers the expressive power of computational media. He argues, forcefully and persuasively, that the great expressive potential of computational media comes from the ability to construct and reveal phantasms—blends of cultural ideas and sensory imagination. These ubiquitous and often-unseen phantasms—cognitive phenomena that include sense of self, metaphors, social categories, narrative, and poetic thinking—influence almost all our everyday experiences. Harrell offers an approach for understanding and designing computational systems that have the power to evoke these phantasms, paying special attention to the exposure of oppressive phantasms and the creation of empowering ones. He argues for the importance of cultural content, diverse worldviews, and social values in computing. The expressive power of phantasms is not purely aesthetic, he contends; phantasmal media can express and construct the types of meaning central to the human condition.
Harrell discusses, among other topics, the phantasm as an orienting perspective for developers; expressive epistemologies, or data structures based on subjective human worldviews; morphic semiotics (building on the computer scientist Joseph Goguen’s theory of algebraic semiotics); cultural phantasms that influence consensus and reveal other perspectives; computing systems based on cultural models; interaction and expression; and the ways that real-world information is mapped onto, and instantiated by, computational data structures.
The concept of phantasmal media, Harrell argues, offers new possibilities for using the computer to understand and improve the human condition through the human capacity to imagine.”
Publisher MIT Press, 2013
ISBN 9780262019330, 0262019337
Filed under journal | Tags: · alien, astronomy, cosmos, earth, extraterrestrial, imagination, life, science, space
“A growing number of researchers in the social sciences and the environmental humanities have begun to focus on the wider universe and how it is apprehended by modern cosmology. Today the extraterrestrial has become part of the remit of anthropologists, philosophers, historians, geographers, scholars in science and technology studies, and artistic researchers, among others. And there is an emerging consensus that astronomers and other natural scientists—contrary to a common prejudice—are never simply depicting or describing the cosmos “just as it is.” Their research is always characterized by a specific aesthetic style and by a particular “cosmic imagination,” as some have called it. Scientific knowledge of the universe is based on skilled judgments rather than on direct, unmediated perception. It is science, but it is also an art. This special section focuses on two at first sight contradictory aspects of this cosmic imagination. On the one hand, there is a distinctive move toward viewing the extraterrestrial in familiar terms and comprehending it by means of conceptual frameworks that we, earthlings, are accustomed to. On the other hand, there is a tendency to understand our own planet in unfamiliar terms, especially in astrobiology, where so-called analog sites and “extreme environments” provide clues about alien planets.”
Special section edited by Istvan Praet and Juan Francisco Salazar
Publisher Duke University Press, November 2017
Creative Commons BY-NC-ND 3.0 License