Leuphana universitt lneburg essay wettbewerb

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  3. Die Materialität der Musikinstrumente. Neue Ansätze einer Kulturgeschichte der Organologie

Sean's Deckspace. He is a writer of the research platform expolar. He focussed political engage- michacardenas. SPC delling of civil disobedience, Dr. Goetz Bachmann is an editor of Mute, for which she between computation, and wurzel. Jonathan Kemp mining. The problems from the Latvian Academy of media arts. Europe, Brazil, and the US.

As a and publications. Valencia, Calif US. Whilst Studies. He has machines. After fitting it out of Deleuze and Stiegler. James teamed up with onal modelling.

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Tatiana Bazzichelli is under- as chief editor for iRights. Many The Institute for New working as concept developer publications on juridical and Cultural Technologies was and programme curator at social aspects of digitization established in in Vienna. Transmediale using the potential of the Since she has taught www.

We wrote on issues in the nexus understand ourselves as part between media, art and of the grassroots movement politics. In Sollfrank and cover social and political completed her practice-led The Post-Media Lab is part protests and resistance. One on top private sector by working of the other to decant the as product manager for vectors and possible traces Philips Media for two years for cultural reaction. This event will strive to reach a more global understanding of these issues by drawing together a series of partial and local perspectives and embedding the discussion of politics and media structures into real conditions.

Most of all they challenge the nation as master-frame for the political. Denkerei, Berlin You will create plugins, hack templates, and build a demo to easily remix web content into video, using open tools and colla- borative design. Moderation: Clemens Apprich In Part 2 reflect on network strategies of creating disruption among political and economical systems.

The scope is to open up a critical perspective, intervening direct- ly on symbols of economic value, national identity and political power. Second is to zation. Being Minga means to learn to listen and to obey proposing. It is the consciousness of the ordinary as superior to the parti- explore how through-the-art-established dialogue with society, cular, where every particular effort is critical. Hence, we ask, whether or not there is a connection between the chan- ging language of art and the creation of a dialogue with society.

Reimagining community is not just the preserve of belligerent nationalisms and Web 2. A clip from the new Singularity salesman — Jason Silva — became central to our deconstruction and psychomedia analysis. An open source model of sharing information while still engaging in realworld organization platforms. Moses Moderation: Oliver Lerone Schultz The event itself will be an interdisciplinary conference and workshop where PhD students and other participants can engage with members of the three participating institutions and invited international guests.

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One aspect of the conference will be a writing workshop wherein new digital writing practices and forms of collaborative writing will be explored. Ahead of the conference, invited participants will be asked to take part in an online discussion and collaboration process as an experiment in the peer production of knowledge.

After the conference, participants will be involved in the production of a peer-reviewed research newspaper—itself an experiment in new forms of scholarly publication, and to be presented and distributed at transmediale Almost twenty years later, these media technologies have become part of our everyday life Oliver Lerone Schultz c. Web 2. Media convergence means for video that distinctions between cinema, television and amateur culture dissipate, as do rigid distinctions between art, gaming and documentary. Fiction, narration and reporting likewise mix-up in multiple new ways.

What do these changes mean? What new formats, aesthetic languages and repertoires do arise?

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What characteristics can be found with networked videos and the new video- 36 37 spheres? Inherited from idealist philosophy Kant, Schelling, Hegel and used by Karl Marx to theorise the development of the capitalist mode of production, subsumption has emerged as an important term for contemporary theorists attempting to describe and periodise the development of technologies,knowledges and class relations under capital. Marx theorises subsumption as a two-stage process by which capital takes hold of a existing process formal subsumption and begins to shape and transform it to its own ends real subsumption.

Capital is no longer content to merely encompass existing forms of production in its pursuit of value, but must convert and transform all of life production and reproduction into capitalist forms. Through this ceaseless deterritorialisation, it finds ways to extract value across all forms of so- cial, material and biological activity, radically altering them in its wake. Within this, our ways of relating, caring and of expression, of communicating and collaborating, are enclosed, templated and optimised.

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As ICT is folded into this process the creation of new forms of sociality, new edges, speeds and channels of communicating, and an endless wake of data are produced by and for subjects. ICT accelerates capita-list subsumption but also changes the nature of struggle against its domination, forcing it, and us, into more bound and arguably intimate confrontations. At the center of this discussion was the idea of using these technologies as experimen- Kambouri Hatzopoulos gr tal playgrounds for new forms of cooperation and networking.

By bringing together such divergent experiments, we will scrutinize some of the cultural practices that have been associated with digital cities International Correspondents Interpret Video Spheres in order to critically investigate current modes of interaction. In this sense, the digital city not only represents a spatial metaphor through which to structure cyberspace, but it can also be seen as a background to new regimes of control.

Though English is the most common language of international communication, in the Russian Internet, behind the Chinese firewall and in African countries active social video networks are constructed with completely unique subcultures. Through YouTube channels, blogs and other social media, personal and often erratic insight is possible. But what is negotiated on the micro level, how is video use in the web changing and what new phenomena stand out? In the conference context, these contributions resurface as reference material to create a closer connection between theoretical discourse and digital practice—as known formats and media intermix into new hybrids.

Ma Ran introduces video parodies in the Chinese Internet, Matthew Andeiza from Nigeria questions stereotypical representations of Africa and Boaz Levin investigates the movement of media toward immediacy. Video remains a part of our future—so much can be seen in the current previews of parallax screen cultures. Videodrome and Terminal Identity already projected surreal futures of video long ago.

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Nowadays, these new pre-mediations of the future can be read as videos them- selves, as visual advertisements for visionary things to come. They come manifold, as competing and complementary declarations of something that can by no means be known or foreseen.


They will always look like the presentations of a media future that has been around for a long time or imminent, inevitably mocking past futures, looking familiarly unfamiliar. Every single one might stage a global view or magnify traces that could come to track us. So we collected technological touchscreen infantilities, clickporn celebrations, advertisements of the unrewindable Against these demeaning claims, this talk asserts that the opposite altogether might be true and that comics actually lie at the heart of the logical templates taking over our media cultures, dominating the grammar and semantic interface of Web 2.

The following 4 clips were specially edited teasers of the Digital Natives videos for public transport in Lueneburg.

Die Materialität der Musikinstrumente. Neue Ansätze einer Kulturgeschichte der Organologie

From 4 February to 4 March they run on the screens in public busses between central station and university campus. Networked video has entered a new phase and become part of major configurations. The days of pioneers and amateurs seem to be over, as do the old worlds of professional broadcasting networks: Digital technologies have professionalized production, and do-it-yourself skills have established new styles and formats. Tubes, channels and domains for mobile video are part of our everyday digital life.

When it comes to raising funds, it is hard to claim urgency if no-one ever heard about the problem. When it comes to agenda setting the same problem applies. Sustainability politics should therefore always also be PR- politics and much care has to be taken not to sacrifice one important topic for the sake of another one but rather to get everything on the agenda which needs to be there. Also, one should not disregard the question of what can be said an what constitutes a taboo. The current system being capitalistic means for instance that the topic of degrowth is a sustainability issue which will not easily be endorsed by widespread political, civil and mediatic support, while other topics, which fit better into the capitalistic mold, are much easier talked about.

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Lastly, I will discuss shortly the possible ups and downs of internet-based activism. While there is no denying its power, one can detect the general problem of activistic over- exposure looking at any one of the NGOs operating on the www. In the world of news agencies, bad news is, of course, good news. Concerning sustainability, this leads to two different conclusions: Any catastrophe will blot out more subtle themes.

If the catastrophe is in some way related to sustainability politics, the huge mediatic repercussion will often help propell things forward at astonishing speed, as has happened in Germany after Fukushima. If, however, the current catastrophe is not related to such a topic, chances are the media space for sustainability related issues will diminish for the time being. As mentioned in the introduction, this was the case when the Samarco dam broke in Brasil on November 5 , just eight days before the terrorist attacks on Paris Depending on the magnitude of the catastrophe in question, it can be hard to get other topics back on the agenda, thus possibly hampering progress in sustainability politics which may have depended on some mediatic help.

This could be observed after the September 11th attack on the Twin Towers, which blotted out virtually all other themes for a long time. It is also important to distinguish between environmental catastrophes, which, being bad news, make for good news, and more in depth coverage of everyday sustainability related topics: As one of the main characteristics of sustainability politics is their focus on long- term results, a certain acute boredom often goes along with the territory. Progress is often slow and not easyly conveyable to the general public.

Even though of course everyone should be concerned about the quality of their drinking water. Here, obviously, advanced PR-work is required in order to create good news.