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In a state of ontological crisis, all boundaries between human and machine, nature and culture, and the organic and inorganic have been severely blurred. These are times of curious contrivances, novel natures, inescapable automation, and posthuman performances – where human and nonhuman find themselves being entwined, meshed and muddled into new unwitting entanglements. But from biased machine-learning to surveillance capitalism and digital colonisation – what power-structures are implicitly and covertly being embedded into these technologies?
In a demand for more transparency, multiple movements are making a turn toward democratising knowledge and technology. They are exploring the potentials of open data, software, hardware and wetware to battle concealed hierarchies and partisan paradigms – eliciting a practice of counter-coding in a proliferating politics of machines.
Within the Politics of the Machines conference series – following Copenhagen (2018) and Beirut (2019), the third POM conference took place as a hybrid conference on the 14-17 of September 2021, hosted by the chair for Open Science at the Technische Universität Berlin / Einstein Center Digital Future and the Berlin University of the Arts / Weizenbaum Institute.
The goal of this edition of POM was to debate and devise concepts and practices that seek to critically question and unravel novel modes of science – what roles do academia, researchers, scientists, artists and designers have to take on in times of crisis, how must we re/position ourselves?
What chances or challenges might the democratisation of technology and knowledge elicit, and what potential do practices such as critical making, community science, trans/feminist hacking or citizen forensics hold to bend the hierarchies of power – how can we work with active matter and technical turmoil to re/act?
‘POM Berlin – Rogue Research’ aimed to probe new methodological approaches from art, design and civic activism within the framework of academia in order to surface an inter- and transdisciplinary terrain that attempts to exceed the boundaries of theory and practice, academia and activism, and science and civil society.
The POM Berlin conference emerged as a collaboration between the Technische Universität Berlin, the Berlin University of the Arts, Aalborg University, Aalto University, and the International University of Beirut. The conference took place over four days, comprising a series of tracks, interventions and a student exhibition.
The conference brought together track chairs, speakers and interventions from 31 countries across Asia, Africa, Europe, North and South America, representing critical perspectives on technology – decolonial, feminist and sustainable approaches, across disciplines, knowledge cultures and spaces.
Taking place in times of a pandemic and geopolitical crisis, the editors, conference committee and organisational team would like to sincerely thank all of the track chairs, authors, intervening artists and designers, and students involved in this endeavour, for making both the conference and the resulting proceedings possible. It is the profound engagement of all parties, especially the ever-growing POM community,
that has allowed this publication to arise.
Separating data and design
(2023)
This paper explores the concept of "Separation of Concerns" and its relevance to artistic education. We discuss the importance of separating data and design in software development and its benefits in opening access to distinct layers. Arguing that the separation of data and design is crucial in creating functional and effective digital tools for artistic education.
Language is the essential medium of human communication, and it takes various
forms, from music to computer code, each of which is suited to specific purposes.
This paper explores the realm of vernacular language, infused with sarcasm, within
the contexts of poetry and folk music. Specifically, we explore its transformative role
within the socio-political landscape of post-1967 Egypt, shedding light on its
dynamic impact on the political and social structure of the time.
Our research places particular emphasis on the works of Ahmad Fouad Negm and
his collaborative partnership with Sheikh Imam. Through their unique lens, this
paper explores the profound significance of vernacular poetry as a powerful tool for
articulating the everyday struggles and sentiments of the underprivileged class.
Their compositions served as a means of resistance to Egypt's ruling class and
provided a powerful voice for those marginalized within society. This study
highlights the enduring importance of vernacular sarcastic poetry in addressing
socio-political issues and advocating for the underprivileged in post-1967 Egypt's
socio-political landscape.
Planetary Embodiment (2021-2023) is a seminar and transdisciplinary artistic practice coordinated by Luïza luz at the Berlin University of Arts as part of Studium Generale. Engaging with the "Transformation of Silence Into Language and Action" as suggested by Audre Lorde, we envisioned this publication with the intention of investigating the power of words in breaking silences and cultivating awareness of intersectional environmentalism. The content was developed through workshops and guest lectures in collaboration with Andrea Galano Toro, gal sherizly, Denilson Baniwa, participants, and friends. In reciprocity for the causes we are addressing, the profits from this publication are directed to initiatives supporting Indigenous, land, human, and more than human rights.
Im Rahmen der TURN Konferenz `23 stellte das InKüLe Team mediendidaktische Vermittlungsformen für eine nachhaltige Implementierung von immersiv-medialen Lernumgebungen an einer Kunstuniversität zur Diskussion. Hierzu wurden das technologische VR-Toolkit und das ‚sessions_vr‘ Lehrformat, welches prozess- und erfahrungsorientiert die interdisziplinäre Zusammenarbeit von Studierenden mit immersiven Medien eröffnete, vorgestellt.
‚sessions_vr‘ wurde im Sommer Semester 2023 als Workshop-Reihe mit verschiedenen thematischen Schwerpunkten angeboten. Teilnehmende erhielten Einführungen in innovative Tools und Plattformen, wie zum Beispiel die VR-Sketching-App Gravity Sketch, und hatten die Möglichkeit im Gestaltungsprozess sich transdisziplinär auszutauschen. Durch ein offenes Format zur Erkundung von VR wurden die Teilnehmenden befähigt, die vorgestellten experimentellen Formate weiterzuentwickeln oder selbst zu initiieren. Gleichzeitig erlaubte ‚sessions_vr‘ die kritische Reflexion von Lehr- und Lernkulturen durch die Befähigung von direktem Feedback und dessen Umsetzung in neuen Workshops.
Ziel ist die Schaffung einer offenen Lernumgebung, in der das spielerische Experiment und erfahrungsbasiertes Lernen im Mittelpunkt stehen, und worin kollektive und kritische Wissensproduktion gefördert werden kann. In einer zweiten Projektphase im Winter Semester 2023 sollen die Ergebnisse in Form eines mediendidaktisch reflektierten VR-Toolkits dokumentiert werden, um so den Unterricht von VR-Technologien an verschiedenen Hochschulen und in anderen Bildungskontexten unterstützen zu können. Als Teil der TURN Konferenz wurden die ersten ‚sessions_vr‘ Ergebnisse präsentiert und kritische Reflexionen durch ein größeres und transdisziplinäres Fachpublikum weiter befragt.
listening / zuhören
(2022)
Listening appears as a research strategy: listening to remember, to
resonate, to fill the gap, to unpack, to participate, to endeavour, to
write, to read, to represent, to witness, to change, to resist, to learn,
to un-learn, to dream, to imagine, to meditate, to fall, to question, to
reveal, to travel, to envision, to feel, to wonder, to ask, to think, to
navigate, to dig, to bind, to murmur, to say loud, to share, to commit,
to repair, to speak out, to meet, to hear, to dwell … in becoming.
Handy Handbook of Hands
(2022)
Handy Handbook of Hands is about the finger binary systems. The first part of this book shows how to count and display binary numbers on the fingers. In the second part, a binary finger alphabet is developed that enables the communication of words with fingers.
Children learn to count with their fingers at an early age. The Latin word for fingers or toes “digitus” is the root of the English word digit. A normal person has, if nothing unforeseen happens, five digits on each hand. This limits the counting of the fingers to ten. By using binary numbers with the fingers of one or both hands, it is possible to count and display all numbers from 0 to 1023.
Counting in binary is one thing, but fingers can switch from “counting mode” to “text mode”. The binary finger alphabet technique allows communicating words and even entire sentences with the fingers. It is similar to Morse code and gives each letter of the alphabet a specific finger constellation. It is structured from simple finger constellations for the most commonly used letters of the English alphabet to more difficult constellations for rare letters.
DRAFTS#3
(2022)
DRAFTS#3 invited more than 80 designers, design researchers, and design students to discuss the role of artifacts in research and design activities within disciplines such as fashion, textile, and interaction design through the means of two exhibitions and one symposium.
A cooperation between the Swedish School of Textiles – University of Borås and designtransfer – UdK Berlin.
Understanding dance as a sensory and mentally grounded organisation of movement is at the core of Stephanie Schroedter's reflections. Of particular interest is the “muscle” or “movement” sense, which Émile Jaques-Dalcroze already insisted upon with great clairvoyance to train the transformation of sounds into spatio-temporal and dynamic nuanced, “plastic” movement creations. Against this backdrop Schroedter traces the “discovery” of our kinaesthesia back to its beginnings – as a sense responsible for the perception of one’s own movements, but also for self-perception based on movements. Subsequently, from a phenomenological perspective, the concept of a “kinaesthetic hearing” is established as an immediate interweaving of auditory perception with (visible or imaginary) movements.
While a standard definition of (musical) rhythm indicates that it consists of the duration of individual events of sound and silence, this paper suggests that rhythm consists of the units of events such as
sounds, silences and bodily movements which are no preexisting formal objects that can be combined, but units of action that are constituted in the course of rhythmic experience.