We've explored the practice of publishing in relation to ‘the post-digital’, a notion that describes a condition in which we live in, a hybrid time in which distinctions of 'old' and 'new media' have become obsolete, and where any publishing practice is being acknowledged as a material practice. What strategies, formats and notions of authorship and public may emerge from this new sensibility?
The second session took the form of a workshop on publishing, called “Performing Interstices: Reading as Writing forward”. Here we looked at text not as a secluded work, but as a provocation that offers its possibilities as an event, inviting us to intervene. By applying choreographic protocols as a “code for bringing-into-relation”, we will explore how we are provoked physically and cognitively into reading and responding, and thus contributing to the creation of the text. […]
The temporal structures of reality have become far more complex since digital technology has become present in everyday life. Clearly the notion of ‘human’ time perception cannot exist without the times also hidden within the tools and technologies that co-construct our lived experiences. Lived ‘human time’ is never a given, is multiple and idiosyncratic; however, the current algorithmic age is one dominated by universalizing models - normalized databases, lossy information encodings, and algorithms optimized for efficiency - leaving our diverse and plastic minds to brave a potential Cartesian jungle. […]
During his residency Jochem van Tol focused on conducting research and writing about artists who combine in their practices the roles of composers, instrument makers and performers, addressing questions such as: how do you compose for self-made musical instruments? what language do you use or develop to communicate and document the scores for your new musical work?
In this conversation we have focused on issues of digital rights as human rights, and considerations of digital piracy and copyright inflecting life and conditions of living. […]
With the theme 'Technologies of Survival', this cluster of The Reading Room seeks to build a toolbox of postcolonial perspectives on computation, and to think through these ideas to better understand the computer, computation and the lives of those who are computed. In this conversation we identify touchstones for thinking about Postcolonial scholarship on computing and technology. […]
In this relay conversation we continue our discussion on improvisation with Marcel Cobussen, Lila Athanasiadou, and Andrej Radman. We continue with a focus on ways in which improvisation can be considered as relational, existing within a physical space occupied by players and potentials to act. Through this perspective, we will work to deconstruct the persistent idea of the improviser as a freewheeling subject, or navigator, and instead emphasize a model of subjectivity that is constantly shifting in the exchange of energies between human and technological players. […]
While there has been much written and said about the value of improvisation in discussions about innovation and creativity, there seems to be no prescriptive formula for improvisation itself. The aim of this cluster of The Reading Room is to make improvisation slightly more knowable. With guests Marcel Cobussen, Andrej Radman and Lila Athanasiadou. […]
Artist in residence Peter Bosch from Bosch & Simons shares the process behind building the installation "Último Esfuerzo Rural V" for “Installatie Expeditie” at the Kruithuis in Den Bosch. "After losing their original functions, objects that remind us of everyday aspects from our recent past are given a new soul. Once brought into resonance by air-driven industrial vibrators, these objects recover their forgotten value by producing mysterious, hypnotic sounds" […]
On October 5th, 2017, iii hosted the symposium "The Craft of Experience Design". Goal for the symposium was to bring together different views on creating participative artworks: in which the audience is invited to take part in playful and open-ended experiences. We invited six speakers coming from performance, theatre, exhibition design, media art, game design and larp to share their ideas and methods. […]
Counter-movements and efforts to archive the daily practices left out of official archives are gaining momentum and challenging the limits of traditional approaches. Anarchival practices attempt to reproach archival methods that often erase the processual, affective, and contextual aspects of lived experience. […]
In this cluster of Reading Rooms we ask how can anarchiving be developed as a creative approach for both artists, activists and academics to use? These questions were unraveled through texts and works in the diverse fields of dance, film, queer and feminist movements as specific memories of daily life. […]
The Undercommons was chosen to highlight overlaps between radical positions in ecological and postcolonial thinking, and the importance of taking histories and systems of colonization into account when considering the histories and lived experiences of logistics that contribute to our current planetary crisis. […]
For the Sound of Silence festival 2017 iii created a multimedia performance inspired by Benjamin Christensen’s silent film Häxan: Witchcraft Through the Ages. In this article, we discuss our approach to reworking the format of a silent film screening accompanied by live music. […]
Marije Baalman In preparation for the symposium “The Craft of Experience Design”, I have been reading a number of books that deal with the topic from different perspectives. I am briefly describing them here. Participation Edited by Claire Bishop 2006; MIT Press, copublished with Whitechapel Art Gallery, London This book is a collection of a […] […]
The current planetary situation is perceived as one of crises; ecological, economic, and psychological. While it is tempting to surrender oneself to these paralysing processes, it seems ever the more urgent to question the current tendency of subsuming the "ecological" as a label for anything and everything. What kinds of artistic practices and aesthetic strategies emphasise a kind of “ecological thinking"? And how can we conceive of such an ecological thinking so that it does not become a haunting "new call to order", falling victim to the reductive tendencies of our mental, political, and social present? […]