28 07/16

The Iliad and the trichromatic theory 

Tags: , , | Categories: art, colour, technical media

​ Three glittering dragons to the gorget rise,
Whose imitated scales against the skies
Reflected various light, and arching bow’d,
Like colour’d rainbows o’er a showery cloud
(Jove’s wondrous bow, of three celestial dyes,
Placed as a sign to man amidst the skies). 

  • Homer. The Iliad of Homer. Trans Alexander Pope. XI:198. The Project Gutenberg: Sep 2006

03 05/16

Comparisons: eight

Tags: | Categories: art, diseño, technical media
Command Occurrence
Obedience Resistance
Magical Monstrous

Befehl und Einfall. Kreativ Dialog 4 Konferenz an der BWG interdisciplinary laboratory von der HU-Berlin. 28-30 April 2016.

Compare: Comparisons

03 03/16

Comparisons: seven

Hierarchical classification, ordering, ranking Porous, flat branching
Static Adaptive, shifting, flexible
Closed Ill-defined
Screens, surfaces, black boxing Hands-on, cracking, hacking, disassembling
Presentist, futurist Archaeological, temporal shifting
Humanism, rationalism Situatedness, partially, post-humanism/posthumanities
Singular, individualistic Collaborative
Narrative Fragments, non-linearity
Goal oriented, utilitarian Embodied, infrastructural thinking, craftwork

Emerson, Lori. University of Colorado at Boulder
Situating the Media Archaeology Lab: Research, Art
and the Public. Media Art History RE-CREATE 07 Nov 2015.

Source: https://youtu.be/Yhju8INkxds?t=3m33s

Compare: Comparisons

16 07/15

Postmedia 3: from tactical to postmedia

Tags: | Categories: technical media

Third and final part.

  1. From tactical media to post-media by Clemens Apprich

The practices of tactical media has not disappeared but merge into the everyday media. Apart from the physical layer of media the focus are the mental and the ecological. The idea is not hacking the media but building your own media.

Past the Present: Post-media as meta political and theoretical marker

Other contributions: Oliver Lerone Schultz

There is a crisis of theory in which reflection need to become mode of practice. Post mass-media to mass self-mediation. The fundamental tension defines the post-media age is that one pole of the digital media used by minorities. The other pole is subsumption. Machine subjugation understood as a generalisation to the regimes of discipline and control (Foucault and Deleuze). In subsumption everything is co-opted and appropriated.

Conclusion of the workshop

Destabilization of media, film history that consolidated around mid 1890, the same happened with gramophone, typewriter, video, radio and today’s algorithmic moment. There was a time when all channels were clearly separated today the entire context has collapsed. The post-media term should not be followed entirely from the theoretical philological stream.

Do-it-yourself and amateur practices have shaken the technological media landscape. R. Cedeño Montaña

If media are the technical supports of representation and memory, communication and consciousness, post media holds the hope that there are alternative ways to imagine and make them, and the subjectiveties they engender. A. Broeckmann

14 07/15

postmedia 2: the condition

Tags: | Categories: technical media

Second part.

  1. The postmedia Condition in the wake of Japan’s 3.11 Disaster by Takeshi Kadobayashi. Kansai University

Medium is understood as condition, not as technical support. There is a reinvention of old medium, a self-differenciality within a medium.

Today film is a postmedium because it does not rely on its material condition under the digital context. Film has always been in the postmedia condition. Since its media specificity on the support but on a set of technical support and the conventions of structure of film.

What if the McLuhan term media is already obsolete under digital conditions? then the postmedia condition will never be achieved.

Three symptoms:

  • Jean Baudrillard. Media are not producers of socializations but of the opposite, of the implosion: Simulacra
  • Paul Virilio. Mediation is about speed. Dromomobile.
  • Friedrich Kittler. The digital erases the differences between individual media. Standardized, translations between media. The total algorithmic connection overrides the medium.

Under around the clock tv coverage, the amateur materials get into the mass media transmission. In postmedia there is fear to invisible threats.

Concluding remarks:
Petra Löffler

Lines of inquiry
What is a medium? Ontology
When, how, is a medium? History.

Postmedia means the dead of all media and the survival of the algorithmic media.

Has these conversations focused on the term? on philology? on the genealogy of the term? How can be the aesthetic condition today described?
Postmedia- amateur? Distributed aesthetics and the distribution of aesthetics.? Film and Cinema are different things. The linguistic turn is not enough to produce a genealogy but rather a cluster of situations.

The crisis in which people engage with mass media? stems from the production memory the creation of present.

13 07/15

Postmedia 1: Historical moments

Tags: | Categories: art, technical media

More than a year ago I participated in a workshop under the title: Postmedia Discourse and Intervention, organised by Christina Vagt at the TU-Berlin on 20 June 2014.

The central question of the workshop revolved around the term postmedia, a term that manifests fears and expectations that with electronic media something is happening but that is clouded. Electronic media do weird things to history and historiography. The history of television is one example, the medium is not dead but more alive than ever and connects several elements.

The following are my hurried notes of that session that for unknown reasons to me only emerged one year after the actual meeting. I briefly edited them and made some spelling corrections.

First approach to the topic: What is postmedia?


  1. The historical Moments of PostMedia by Andreas Broeckmann

“der notwendige gebrauch und widerstand der Sprache in einem durch die Technik beeinflusseten Jahrhundert ist zu untersuchen.” Walter Höllerer, Sprache im technische Zeitalter Nr. 1, 1961.

3 conceptions of postmedia:

  • Post-mass media. Felix Guattari
  • Post-medium condition. Rosalind Krauss
  • Digital as postmedia. Lev Manovich and Peter Weibel


Rosalind Krauss. Post-medium condition goes beyond medium specifity.

For Greenberg, the nature of the medium is brute positivism. It is tied to the physical substance. Installation is postmedia because it introduces ordinary material. It ask what makes this art, rather than the medium. Nicolas Bourriaud considers the postmedia as altermodern that liberates art from the course of modern art. However, Bourriaud refers to the medium specificity.


Peter Weibel. Digital as postmedia

The traditional media of the art only became recognised as media with the technological media. The artistic medium of Greenberg was influenced by McLuhan electronic medium. The history of the perspective undermines the Weibel argument. Postmedia aesthetics: the application of digital media concepts to art history as in Lev Manovich. All art is postmedia art because the computer simulates everything, even creativity is turned into algorithms and rules into the output of a universal machine.


Felix Guattari. post-mass-media means access to production and transmission on an individual scale.

The subjectivation of the media, heterogeneous production, media ecology, in which each subject takes part. Postmedia opposes to small, fragmented, distributed networks of operators. In Guattari postmedia there are passionate individual, amateurs, no professionals.


Postmedia should be taken historical. Are we ready to discuss the google, facebook, as Post mass media? There is no specificity or homogeneity in post-media aesthetics. Some aesthetics are not defined by the digital.

Topics to discuss:

Subjectivity and the technical or rather on the question on how media construct subjects whether as listeners or producers. This looks similar to a post-structuralist approach. The subject is multiple, layered, and historical. There are collective assemblages signified by connections and there are self-conscious artisans, radical and distributed subjects, simultaneously singular and without local rooting. Everyone can participate in the art production this might emancipate the observer, visitor.

What are the media and their technical, affordances that Guattari and Weibel refer to? The digital is not a media. How digital media are specific? Should the media specificity replaced by rootlessness, travelling and translation.


30 06/15

Comparisons: six

Organic Machinic
Growth Fabrication
Hierarchy Forming
Adaptation Selection
Healing Replacement

Schäffner, Wolfgang. Active Matter: 3D code, weaving, folding, and building. Conference at UdK Berlin, Berlin. 26 June 2015 See: Comparisons

26 06/15

22 06/15

12 06/15

idiots, hand workers, philosophers

Tags: , , , , | Categories: digital media, machine

According to Vilém Flusser, Plato establishes three possible relations between us and the world of the Ideas. First, we cannot remember the Ideas and therefore staying in the world of appearances. He calls those in this sort of relation: the idiots. In case the we do remember the Idea, there are two options. First, we could press the ideas out of the appearances and become hand workers or artists, politicians in Plato terms. Or second, we could turn and look directly at the ideas in which case we become theoreticians, philosophers in Plato. Plato mistrusted the artists of the politicians because in their handling of the appearance, the emerging idea is any the original pure Idea. It is a distortion. Their handling prevents access to the Idea as such by presenting a simulation. That way it is explained the hatred some monotheistic religions have to images.


Platonisch Pyramide nach Flusser.

Platonisch Pyramide nach Flusser.


In a cybernetic fashion, Flusser presents us a contemporary example of image creation. Someone thinks a space and atemporal ideas, he then codes them into a computer and this in turn produces an image that corresponds to the pure idea he had thought. This is a pure image of the pure idea because it is based on various technical codes such as a Cartesian coordinate system and symbolic operations with numbers. The image then turns into drawings and plans for an aeroplane that a series of automatic robots build.
Plato would take the person thinking the image and sitting in front of a computer as a true philosopher because these images are pure theory. They are processes of thought not or representation. The computer and the robot merely substitute for the hand workers. And those who pay and trust their lives to what the robots have built are the idiots.
If the person’s interest lies exclusively on the theoretical beauty and the process of thought of the image, he or she might be then a philosopher or a pure artists. Someone who has access the second degree of imagination brought by the technical images. This pure artist does not seek to imagine a particular aeroplane or any contrete entity. Her or his focus is exclusively on the abstract idea. There is no imitation nor simulacrum. Others, the politicians or in a more contemporary accent, the robots, would take this image-idea and imitate it and use it as a model. This pure artist experiences the pure idea, while the robots only try to press an appearance out the idea, whether it is an aeroplane or anything else.

  • Flusser, Vilém. Ein neuer Platonismus?. In kulturRevolution: modelle von gehirn und seele. Nr.19. November 1998. Klartext Verlag, Deutschland.