Bulletin of PNRPU. Culture. History. Philosophy. Law.最新文献

(Deep) Media Art and Meme Shaping: the Artistic Involvement in Science and Technology and the Foundation of Alternative Narratives (深)媒体艺术与模因塑造:科学技术的艺术介入与另类叙事的基础

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.06

Magrini Boris

{"title":"(Deep) Media Art and Meme Shaping: the Artistic Involvement in Science and Technology and the Foundation of Alternative Narratives","authors":"Magrini Boris","doi":"10.15593/perm.kipf/2019.4.06","DOIUrl":"https://doi.org/10.15593/perm.kipf/2019.4.06","url":null,"abstract":"The turbulent relationship between art, science, and technology has a long and fertile histo- ry. While the separation of these disciplines in modern times continues to increase, many at-tempts to bridge them again are flourishing in recent times [1]. Digital technologies – from Artifi- cial Intelligence to Bioinformatics – are deeply embedded in our life and the efforts to involve a larger community in the discussion of their meaning and consequences are necessary. The capitalist imperatives prevail on a global scale, allowing leading companies that have achieved the monopoly of international services – Google, Facebook, Alibaba, Uber, etc. – to produce immense benefits through automation. The products of these companies are affecting our life in a subtle way and we have developed a symbiotic relationship with algorithms: we change our behaviours and adapt our lifestyle to accommodate the applications that we use while these provide massive amount of personal data to instruct and improve their algorithms. This bond is not a novelty. We are defined by the technology that we have developed through the centuries, from the primitive, agricultural tools to the products of the industrial and later digital revolution. While often viewed as the counterpart of nature, technology is by many considered the exten-sion of nature, a credo that is widespread among progressive thinkers, as well. In the light of the growing embedding of digital technologies in our everyday life, the artistic engagement with technology and scientific research is a necessary one. On the one hand, it is a beneficial step in the dissemination and understanding of science outside the privileged field of practitioners, a point often emphasised by promoters of art and science endeavours. On the other – the hypothesis that I am proposing – it allows to develop alternative lectures regarding the narratives that are given us by the scientific community and by the corporations producing and administering these technologies. In this article I am mainly considering the works that engage with the recent developments of computation and digital technologies, and their application in entertainment, bio-technologies and economics. I am interested in the attitude and the contribution of artists toward the techno-scientific discourse, rather than at- tempting to define a specific field of artistic production related to a specific media.","PeriodicalId":216595,"journal":{"name":"Bulletin of PNRPU. Culture. History. Philosophy. Law.","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127382555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

From Ground Level: the Environment Strategy of Joseph Beuys and Timothy Morton 从底层看:约瑟夫·博伊斯和蒂莫西·莫顿的环境战略

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.10

Tcyrlina Yana

{"title":"From Ground Level: the Environment Strategy of Joseph Beuys and Timothy Morton","authors":"Tcyrlina Yana","doi":"10.15593/perm.kipf/2019.4.10","DOIUrl":"https://doi.org/10.15593/perm.kipf/2019.4.10","url":null,"abstract":"In this article it is affirmed that revising the ideas and art-practice of Joseph Beuys is closely connected with contemporary philosophical discussions of environment, matter and ecology. Investigating the works of the artist and the influence of phenomenology and myth on his practice, it will be actualized the Beuys’ approach to art determined by a set of methodologies in which human and non-human beings interacted with the outside world are closely associated in physical and vital senses. Beuys’ works indicate to the potential for a new myth of the environment and interaction with its aspects placing us within a vibrant world of matter which shape and transform human beings and are transformed, in turn, thanks to them. However, the potential of human community and environment relation has still remained poorly studied. Earlier this potential revealed itself in myths and in the modern philosophical contexts (for example, in the dark ecology of Timothy Morton) and in the art it could be recovered promoting the existence of both of them. The structure of Joseph Beuys art practice which is appeared to be important for understanding these processes will be examined in this article. Beuys was one of the artists who defined their work in terms of ecology, and in this article it will be analyzed some of the basic premises of the artist’s ecological position and investigated a number of examples of his work. It could be assumed that the astonishing result of the artist’s work constitutes a valuable precedent for reconsidering the ties between human community and the outside world. This is the important precedent not only due to the fact that philosophers searching the new models of understanding the surrounding world turn to the art but also because of the Beuys’s art exemplifies the development of ecological thinking and his works are really accentuating this potential.","PeriodicalId":216595,"journal":{"name":"Bulletin of PNRPU. Culture. History. Philosophy. Law.","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115250578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“Strange” Objects of Art&Science “奇怪的”艺术与科学对象

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.09

Komarov Sergei

引用次数: 0

From Fact to Feikt: Transformation of Experience in Digital Reality 从事实到假象:数字现实中的经验转换

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.03

Ocheretyany Konstantin

引用次数: 0

The Aspects of the Nonhuman: Manifestations of the Other in Contemporary Ontology and Aesthetics 非人类的面向:当代本体与美学中他者的表现

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.07

Myshkin Oleg

引用次数: 0

Disentangling Aliveness, Greennes and Naturalness 解开活力、绿色和自然性的纠缠

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.05

Hauser Jens

{"title":"Disentangling Aliveness, Greennes and Naturalness","authors":"Hauser Jens","doi":"10.15593/perm.kipf/2019.4.05","DOIUrl":"https://doi.org/10.15593/perm.kipf/2019.4.05","url":null,"abstract":"In their technical nature, humans tend to culturally hyper-compensate for what they feel they have lost. This media archaeological talk discusses two case studies. The first concerns contemporary art forms that employ biotechnologies in actual practice. Paradoxically, they emphasize both their ‘aliveness’ and authenticity on the one hand, and their explicit technicity and artificiality on the other. This article aims at performing a parallel deconstruction of two positively connoted tropes in cultural history and in the arts: aliveness and greenness, terms both putatively non-technological, and often uncritically associated with the idea of naturalness. The first concept, aliveness, can be analyzed against the background of the trans-historical pattern of ‘enlivenment’ in artistic practice. With the advent of software, hardware and wetware in the late 20 th century, artistic practices have demonstrated that the concepts of ‘life’ and ‘nature’ need to be uncoupled. First, art employing soft and hardware has dealt with the animation of the technological ; later, art that is employing wetware implies the technologization of that which is already animate. Both trends together imply that ‘alive- ness’ cannot stand in for ‘naturalness’ any more. We encounter a similar problem with the culturally pervasive greenness trope: Aliveness and greenness are linked through ‘biofacticity’, the idea of biological artifacts that at the same time grow and indeed are technically constructed from the beginning – the concepts ‘green’ and ‘nature’ need to be uncoupled as well. ‘Green’, symbolically often associated with the ‘natural’, will be addressed as the most anthropocentric of all colours, crucial in human self-understanding beyond colour, as percept, medium, material biological agency, semantic construct and ideology.","PeriodicalId":216595,"journal":{"name":"Bulletin of PNRPU. Culture. History. Philosophy. Law.","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121720345","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Art as the Conjectured Possible 作为推测可能的艺术

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.01

B. Dmitry

引用次数: 0

Godly Media: Christianity's “Technicality” and the Fate of Contemporary art 敬虔的媒介:基督教的“技术性”与当代艺术的命运

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.08

Kurtov Mikhail

引用次数: 2

Harder, Deeper, Tougher: Toward a Genealogy of Deep Media. 更难，更深，更强硬:走向深度媒体的谱系。

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.02

Galkin Dmitry

{"title":"Harder, Deeper, Tougher: Toward a Genealogy of Deep Media.","authors":"Galkin Dmitry","doi":"10.15593/perm.kipf/2019.4.02","DOIUrl":"https://doi.org/10.15593/perm.kipf/2019.4.02","url":null,"abstract":"The art of deep media finds itself embedded in the strange logic of media systems for- mation in contemporary societies. Only two decades ago there were little doubt that the screen digital media gave us an inexorable dynamic of dematerialization and the strategies of the \"visual turn\". If earlier it was needed a separate material carrier (paper, typographic set) for a particular image in painting, photography, or even in music and literature, now all the images are digital and on the universal screen. The new media world seeks to get rid of the material world, \"put\" us on the screen hallucinogen. This conviction continues to motivate many of the adherents of “digitalization”. But already during the 2000s, “digital traitors” and adherents of hybrid strategies were opening us new horizons for materiality. Chimeras, wet media, techno-bio-creatures, DNA manipulations – it began to seem that artists understand all these things better than our scientists and engineers do. Has the next step into the solidity of the mineral kingdom and the deep world of geology become inevitable within the paradigm of a \"material turn\"? Perhaps we have simply underestimated the \"mineral” and molecular roots of the digital world? Or are we rediscovering today a philosophy of nature? The most remote point of the deep media is the ancient natural philosophy which ex- plained from what point the materiality of nature can be formed in General as a media and, moreover,as a prerequisite for any media. In a less distant perspective, we have seen that modern technological \"interactivity\" (=new media) implies a deeper layer of ontological inter-activity linking technology with \"ontological theater\" as a form of becoming (as in Heraclitus). In addition, when we discussed the parameters of structure, effect, and discourse for any media, we found that deep media is characterized by reductionism in simplifying the structure and zeroing out the effect, but the critical potential of discourse in relation to new media capi-talism is quite decent (although it contradicts the principle of the celibate machine).","PeriodicalId":216595,"journal":{"name":"Bulletin of PNRPU. Culture. History. Philosophy. Law.","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129477650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Fluid Matter and Turbulent Seas – Liquids and Art 流体物质与汹涌的海洋-液体与艺术

Bulletin of PNRPU. Culture. History. Philosophy. Law. Pub Date : 1900-01-01 DOI: 10.15593/perm.kipf/2019.4.04

B. Laura

{"title":"Fluid Matter and Turbulent Seas – Liquids and Art","authors":"B. Laura","doi":"10.15593/perm.kipf/2019.4.04","DOIUrl":"https://doi.org/10.15593/perm.kipf/2019.4.04","url":null,"abstract":"The boundary between wet and dry is blurring and similarly the expectations towards sol- id versus soft objects and machines are being redefined. These developments are impacted by many different factors ranging from developments in biotechnology and life science to innovation in new materials and their behavior, among various other areas. Also, in the hu-manities and in the arts there has recently been increasing interests towards material agen- cies and processes that are based on inorganic matter or executed by non-human organisms. This article has a focus on liquids and flows. One can say that the technological and the bio- logical realms – the biologically grown and the artificially constructed – unite in liquid matter. This can be detected when looking into methods and practices of biology, biotechnology and biochemistry, which involve technological tools and methods to investigate biological organ-isms and create chemistry-based experiments, all of which typically take place within wet environments. These practices are very similar throughout the sciences and the arts. Artistic work with liquids defy object-ness with its core focus in the liquid-based processes. Also, the author’s artistic experiments-in-progress with protocells feed into this. The author’s interests are triggered with a notion that at the same time as liquids present challenges to us, they may also provide new perspectives, concepts and ways to approach our future. In line with Jules Verne’s Nautilus, which was envisioned as a dynamic component of the sea, protocells pre- sent a dynamic relationship with their environment. Instead of the top-down approaches in-herent in many biotechnology methods, protocells provide a bottom-up approach that focus- es, not on design of novel organisms, but on engineering the evolution. The author sees that there is a correlation between our visible inability to tackle current environmental, climatic and societal challenges, and contemporary artistic approaches that are focused on fluids. These experiments can be characterized as fluid, temporal and contin- uously evolving in their exploration across science, technology, art and liquid matter.","PeriodicalId":216595,"journal":{"name":"Bulletin of PNRPU. Culture. History. Philosophy. Law.","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115287059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0